"We have already," said Mr. Hennessy. "They'se a team up in Wisconsin with a la-ad be th' name iv Jeremiah Riordan f'r cap'n, an' wan named Patsy O'Dea behind him. They come down here, an' bate th' la-ads fr'm th' Chicawgo Colledge down be th' Midway."
"Iv coorse, they did," said Mr. Dooley. "Iv coorse, they did. An' they cud bate anny collection iv Baptists that iver come out iv a tank."
THE FAIRPORT ART MUSEUM
BY OCTAVE THANET
After the war was over, the Middle West addressed itself to Culture. Perhaps the husbands and brothers and fathers might still be busy making money; but the women of the West, whose energies and emotions had been mightily roused, found life a little tame when there were no more sanitary commissions, no more great fairs or little fairs for the soldiers, no more intense emotions over printed sheets. Then it was that the Woman's Club lifted a modest finger at the passing car of progress, and unobtrusively boarded it.
Fairport was conservative, as always, but she had no mind to be left behind in the march of feminine fashion. She did not rush to extremes, but she had women's clubs in 1881. The chief of these were the Ladies' Literary Club and the Spinsters' Alliance. Both clubs tackled the same great themes of ethics and art, and allotted a winter to the literature of a nation, except in the case of Greek and Roman literatures, which were not considered able to occupy a whole winter apiece, so they were studied in company. The club possessed a proper complement of officers, and their meetings went from house to house. They were conducted with artless simplicity, in a pleasant, conversational manner, but with due regard to polite forms; and only at a moment of excitement was the chair addressed by her Christian name.
Naturally, the women's clubs were deeply stirred by the first great World's Fair in America. But the whole West was moved. It turned to art with a joyous ardor, the excited happiness of a child that finds a new beauty in the world. Why had we not thought of the artistic regeneration of our sordid life before? Never mind, we would make amends for lost time by spending more money! In very truth the years following the Centennial witnessed an extraordinary awakening of worship of beauty, almost religious in its fervor. Passionate pilgrims ransacked Europe and the Orient; a prodigal horde of their captives, objects of luxury and of art, surged into galleries and museums and households. No cold, critical taste weeded out these adorable aliens. The worst and the best conquered, together. Our architecture, our furniture, our household surroundings were metamorphosed as by enchantment. And the feature of mark in it all was the unparalleled diffusion of the new faith. Not the great cities only; the towns, the villages, the hamlets, caught fire.
Of course, Fairport went to Philadelphia; and Fairport was converted. It followed, at once that the women's clubs of the place should serve most zealously at the altar; and nothing could be more inevitable than that in course of time there should be a concrete manifestation of zeal. Hence the memorable Art Museum, the fame of which to this day will revive, when there is a meeting of the solid and gray-haired matrons who were the light-footed girls of the Alliance, and the talk falls on the old times.
The art collection would give its admirers shivers to-day, but it excited only happy complacency then. The mood of the hour was not critical. The homes of the Fairport gentry held innumerable oil copies of the great masters of different degrees of merit, which they loaned secure of welcome; with them came family treasures so long held in reverence that their artistic value (coldly considered) had been lost to comparison, and the gems of accomplished amateurs who painted flowers on china cups, or of rising young artists who had not as yet risen beyond the circle of trusting friends in town.