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Kansas University Weekly.
was so sweet. Often before, when trouble and care oppressed her, and when the future seemed utterly dark, she had wished that she might die; but now, her troubles were over. Daddy was coming!
One, two,-six weeks passed by,and still Smoke Angel was radiantly happy. Daddy would surely come!
At last, a letter came. Rosalind Mary read it for her.
"Deer Angle," it said, "Found at last. I'm at Jonesville. Kant you send your pore sick old husban enuff money to get a dokter with. Send it do not bring it. Daddy."
"Oh! Bress de Lawd!" cried Smoke Angel. "Bress de Lawd! "I'se goin' to nuss an' 'sport him dis bery day. Bress his ole heart! Jes laike him to want to sabe me de trubble o' goin' there. Bress his dear ole heart!"
$$
* * * * *
$$
An old negro woman bent with age, trudged wearily along the dusty street of a miserable Kansas town. Her old straw bonnet was covered with a thick, green veil, and a bulky umbrella served the purpose of a cane.
"I reckon dis is de place," she said, stopping before a little unpainted hovel. "I reckon dis is de house dat station man meant."
The appetizing fragrance of ham and eggs was hovering about the place.
The old woman entered the unkept yard, and glanced in through the half-open door-way. She saw an old colored man sitting at the dinner table.
“Daddy?” she whispered, "My! How I'll 'sprise him!"
She walked boldly up to the door, and pushed it open.
There, at the table sat a fat, contented-looking negro woman, with several children,—and Daddy was at the head!
"Daddy,"lisped an ebony baby, tugging at the old man's grizzled whiskers.
"Daddy," gasped the visitor.
The air was stifling, it fairly quivered with great waves of heat. No wonder then, that the old woman tottered and fell. No wonder that
a pained, hard look settled upon her face, for the air was stifling, it fairly quivered with great waves of heat.
No wonder—but Smoke Angel was an angel indeed. E.A.H.
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The History of Modern Painting. BY RICHARD MUTHER,
Professor of Art History at the University of Breslau.
[Three Volumes.]
Professor Muther has succeeded in an Herculean task. Merely to enumerate and describe the works of the great modern painters is a labor requiring wide experience and great tact: add to this an accurate classification of the different schools, a keen insight into their relations with each other and with the past, and above all a constant recognition of what is true and great in Art, and you have a work of great value to the student.
With all its comprehensiveness there is nothing ponderous about Prof. Muther's work. On the contrary, the text is bright and interesting, and the hundreds of illustrations are themselves sufficient to hold the attention of the most indifferent from the first volume to the last.
These illustrations are for the most part rendered in the half-tone process and are inserted in the text. It is but just to say that some of them are rather blurred, which is inexcusable in this day of superior screen-work and fine printing. It requires much courage to reject a cut which is slightly defective but the complete work is marred by each one that is run in.
Volume I is divided into two subjects: "The Legacy of the Eighteenth Century," and "The Escape into the Past." This volume treats of the Classic Revival in England, Germany and France, the rise of Romanticism in these countries, and the Historical School of Belgium.
Volume II treats of "The Victory of the Moderns." Impressionism, The Japanese, Realism, Modern Landscape, are some of the chapter-heads. These are all subjects of the liveliest interest and the author praises or blames with exceedingly good judgment. It is difficult to accuse him of partiality in regard either to nationality or school, nor is there prejudice or