The third and fourth drawings are more remarkable for skilled and accomplished draftsmanship than for the expression of any distinctive feature in the varying moods of nature. Our delight in them comes more from the beautiful precision of aim whereby a single stroke is made to record a number of interesting facts at the same time. In the drawing of the barn and shed over-topped by a rugged tree and with a middle ground filled by lively detail, we are reminded of the great masters of etching in the clever abbreviation of each of those details and the manner in which they are grouped or merged one into the other. And then, in the last one, note the contour of the earth, how well it is rendered by that cleverly foreshortened winding line of half obliterated roadway leading up the hill and into the fresh mass of foliage which crowns it. This ability to draw the solid ground so that it appears solid is a rare gift in any draftsman, and it may well be taken as an evidence of the fullness of his talent and training.
Like Constable, Mr. Manley has been content to draw his inspiration from the small section of the world in which circumstances have placed him, the quiet New Jersey country where Inness worked out for himself the distinguished place his name holds among American landscape painters. These drawings by no means represent the full range of Mr. Manley's activities, for he has won high esteem as a painter and an etcher and holds a position of importance as a miniaturist; but they are, perhaps, the things in which his rarest talents are displayed, as they are also the closest to his own pleasure in his art. They are the pastimes of an uncommonly sincere and scholarly master who shows integrity in play as well as in work, and who has carried on his career with an earnestness and a humility and modesty of character which all but deprived us of any sight of his achievements at all.
[THE HOUSE OF MUSIC]
BY
GERTRUDE HALL
One elating, blue and white April morning saw a cheerful company of six assembling in a railroad-station waiting-room. There were the manager of the tour, Duprez—gray-haired in comparative youth, at once care-worn and accommodating looking—the foreign stamp on him not entirely obliterated by the stamp of the country; and his wife, the popular Pearl Wharton-Duprez, whose habit of facing the world as an audience must have found its way into her features; she was recognizable at sight for a singer. Her brilliant face, while not precluding the possibility of a heart, suggested less remotely a temper.
There was one Milen Odiesky, gripping a black violin-box; who listened to a hilarious conversation he but half understood, with a fixed smile, revealing a marked division between his two broad, white front teeth,—disagreeable, for some reason, though he might pass for handsome in a dark, hairy, Oriental way.
Then there was one who at first glance looked in the group as if he must be an aquaintance come to see them off. He was tall and proportionately broad, with stalwart shoulders, a deep chest, and a big neck; superlatively well groomed and dressed. The gloss of his silk hat was not broken by the wilfulness of one hair. He carried himself a trifle more than erect, and swept his limited horizon with a calm, kingly eye. His face was close-shaven, a smooth coppery rose, shading easily into the color of his close-cropped hair. His features were of the rather thick, round, good-natured type, and time was beginning to divide up his face into heavier masses than occur in the forties; but these facts did not prevent his presence on the whole from impressing an observer with the sense that he looked at something really very fine. This was Bronson, whose name on the program would occupy the most room: the great Bronson, Anthony, the tenor of long sustained fame—sustained, indeed, so long that these appearances in parts that knew him only by that fame had now been projected.
Then there was a little plump woman, the one who kept the others laughing; and she carried, besides what one is accustomed to see on the arms of travelers, all the things she had forgotten to put into her trunk; among which were an alarm-clock, a sponge-bag, a pink flannel dressing-sacque, and a little image of the Virgin. She bubbled on, in a voice as impossible to forget or mistake for another's as her face; which face, however, was not pretty, but so faithfully reflected a nature as to be memorable for its want of all malice, concealment, or suspicion. It was not that her features were child-like which accounted for her face bringing to mind a child's, but that it shared some quality inclining one on shortest acquaintance, without fear of rebuff, to treat its winsome, unsevere, uncritical owner familiarly and affectionately. She was not pretty, but certainly her dark-edged, misty, pale blue eyes, with their capacity in the same measure for humor and sentiment, under eyebrows sympathetically working with her thoughts, and lids stained a tender bistre, had an attaching sweetness; and the clear spaces of her face, the forehead and temples, something cool and rare, like the stamp of talent; while just beside her ear, where a faint lock of silken black hung an inch or so down a soft, sallow cheek, was a spot creating an instant desire to kiss it. This was Miss Nevers, the pianiste; Nevers, they briefly called her in speaking of her, pronouncing the name like an English one; Marie-Aimée they called her in speaking to her, all excepting Odiesky, who did not yet know her well enough; except, too, the sixth member of the party, who could never take it into his head to do so. The latter was a homely, thin man, neither young nor old, of the name of Snell, who was engaged to play common accompaniments, and tune the pianos. He stood near the others, but only ventured a smile where they laughed.
Yet he with the rest, as they trooped to the train, was conscious of a lift to his spirits. The tour was a turning the back upon the old and known. It had the charm of beginnings; it opened to life, with this new combination, new possibilities. Hard work and wearing travel were a certainty in the prospect, but it showed nevertheless like a holiday, enlivened by daily change of scene, faces, food.