born in Massachusetts in 1838 and died there in 1896. A biography of Blaine was one of her many books, but she is probably known best by

the more popular things, "Archie Dean" among them. She visited Salt Lake and is well known to some of our foremost women.

I never knew the world was beautiful. I never knew that God was love.

Each morning as I rose I gazed upon the never changing plaia of grey and brown. I heard the splashing of the rivulet and far beyond the fields there rose a frowning chain of mountains.

Each day I heard the song of birds and yet I did not hear-or if I heard I could not understand. I saw the sun sink down behind the hills and that was all. I ofttimes roamed among the dim old woods, yet I heard not the music of the winds.

Then I was taught of Him. This little world I knew, grew wider, brighter, than before.

In springtime when the plowman turned the soil, I saw the violets blossoming at my feet; I felt the fragrance of the wiid rose in the lane; I saw the promise of the harvest yet to be, and with the birds. I sang my thanks to Him who gave us life.

In harvest time the golden fields stretched out before me like one mighty blessing sent from God. I loved to watch the reapers at their toil and where the mountains once

rose frowningly, I saw the hills all clothed in purple mist. The meanest flower that grew made life more beautiful.

The wonders of the sunset were a never ending charm. At times the glory of the western sky was like a glimpse of Heaven's borderland.

I learned to love the solitude of forests, to listen for the music of the winds and waves. The earth was not a world of loneliness or poverty, but one great changing canvas, showing forth the love of God for all His people.

Yet sometimes sorrow entered in and with her robe of darkness, shut out the scenes of hope and promise, hid all the merry sunbeams, hushed all the warbling birds.

And then my soul cried out with Him who died upon the cross, “O why hast Thou forsaken me?" and even as I cried, His dear, kind hands were leading me through the shadows and lo! when all the clouds had rolled away the world was fairer than before.

Before the crown, the cross;

Before the glory of a Heaven the darkness of a Gethsemane.

The latest evolution of modern art has a psychological tendency that evolves directly from the chaos of schismatic ideals that seem to be a part of the age. Never were artistic matters so unmercifully scrutinized as today, and never were they so unusually dissimilar. The ideal that has served for centuries seems gradually to fade. It's floccidity occasions various new growths. In the center of these is a new ideal. Like all developing things it is surrounded by contorted and unhealthy growths. These unhappily produced sad misunderstandings as to the real beauty of the new flower. We only obtain occasional glimpses of its brilliant petals. The labyrinth of rank weeds growing around it only serve to produce a perplexed uncertainty. No one thus far seems quite willing to acknowledge it; no one has succeeded in defining it; no one knows into what it may develop. But it is there coming as a minor note in a polophonic composition and really the heart of the apparently incoherent forces.

STANDARDS SUPERSEDE.

It doesn't stand in contradiction in accepted standards of art. It merely supersedes them. There is no assumption to create proportions more perfect than those of the Apollo Belvedere nor to color with more force than Titian. It proposes, rather, to give the why and wherefore of both proportions and color with a conscious. attempt toward an analytic introspection of idea. In place of con

sidering Greek and Italian art as the consummation of perfection, the new ideal purposes to utilize them as a basis for further exploration perhaps intrinsically along the same lines so far as mechanical draughtsmanship is concerned, but much further in regard to the psychic idea or conception.

or.

THE GREEK IDEAL.

Let us take individual examples. The Apollo Belvedere is the Greek idea. The whole thought of his production was manly proportions. Apollo, to the Greeks was a sublime god, the consummation of perfection. They typified him in the Apollo Belevdere. The statue lives as an emblem of extreme manly vigThe sphere of modern art is not to attempt a statue of more vigor or finer proportions, but to supersede it, portraying the rational principle the metaphysical nature, if you will, of man's existence. At least this appears as a tendency, and perhaps at first thought, an absurdity. Mind you this is a mere beginning a kind of apparation which seems too tremendous to take tangible form.

EXPANSION IN ART.

What right have artists to deal in metaphysics-foolish? Wait! What right had Franklin to suppose he could conquer the electric spark in the heavens and make it subservient to man? The particular disposition of the age gave him the right. And did not his genius count for something? It not this an age of expansion?

Do we not contemplate traveling through the air in dirigible balloons? That can hardly be considered palpable yet, but the whole perspective of our civilizations points to it. And modern art seems to be drifting in the same direction. That is, it seems to expand.

The "Salon d' Antomne," recently closed, presents a splendid opportunity for art lovers to investigate these modern tendencies: the latest musical compositions, the choicest modern poetry, the most recent methods of house decoration new phases of architicture, new specimens of sculpture, and last and most important, a collection of over two thousand drawings, etchings, and paintings, most of which have been executed during the year.

To the outsider the first glance at all this must be overwelmingly disappointing, perhaps even absolutely fatiguing. And the art student, though he probably understands it better is undoubtedly puzzeled to arrive at a satisfactory conclusion. The whole imThe whole impression is unexpected, unordinary, revelutionary.

REVOLUTIONARY IDEAS.

The ideals so long nourished as arts ultimatum seem to be mocked at on every side. The crowds that swarm in and out spend time in bursts of sarcasm and fits of laughter.-Crowds, however, are not responsible, they come. once and unable to comprehend unexpected phenomena they never return. But men who think are baffled. They study, theorize, criticize and return firmly convinced that if the "Salon d Antomne" is a fair example of modern art that ours is an age of deterioration. Art students wan

der in and out under the hottest discussions. Most of the younger ones and many of the "onciens," long ago buried in a narrow rut, champion the opinion of the crowds while many of the disgruntled and great numbers of enthusiastic participants of the New Tendency hail it as the awaking of another age ultimately to supersede all art thus far given to the world.

What is art? (a nice question.) Is it possible to remodel its ideals? Shall it laugh at Titian? Are aesthetics to be excluded from the category of standards? These and many others are the questions that revolve hotly through the mind of the bewildered spectator and leave him gasping for breath. This mass of heterogenous paint and marble-what does it mean? Dare artists throw "pot-boilings" in the public's face, and call it art? Or is there something serious and profound underneath this cuticle that throbs with a new and joyous life misunderstood and waiting to be recognized?

SOME EXAMPLES.

Let us take individual examples. Here is a picture by Matisse, comprising a group of three female life-size, nude figures. One stands in the center, tall and ungainly, the chin cut off sharp, the flesh cream-colored. Another painted blue-green with a bluegreen cloth, bends at her feet in the attitude of washing them. In the distance the third is approaching with some flowers. One leg is severed from the body, the eyes are set in crooked and colored smoke-green. She has no lips, her feet are like duck-fect; one arm is larger than the other; and her facial expression is hideous. The

Will you please tell me how to prevent blushing when spoken to?V. S.

One must exercise her will power and be determined not to. Blushing is usually caused by an over sensitive feeling or nervousness; sometimes embarrassment when spoken to. The blush of modesty or shyness I think rather pretty in a girl.

If "Susan" will take a cold bath daily, drink plenty of pure water, eat nourishing food, take some sort of exercise every day in the open air, and devote her time in doing good to others, I'm sure she will be improved, if not quite "cured" in a few weeks.

(1) Please tell me a harmless remedy to reduce flesh. (2) Are these advertised "flesh reducers" harmful?Maud.

(1) If you will send an addressed envelope we will give you some detailed instructions. (2) "Flesh-reducers" may be harmful. I would not use them.

Half the cost of living is the price of food, and it is not the food actually eaten that costs, but waste by poor cooking, excessive quantities, buying out of season, etc. With careful consideration, and good judgment the expense can be cut down one-half without noticeable lack in any regard.

of her gentleman friends when she is engaged to be married?-Luella.

If the young man to whom she is engaged is at home or living in the same town, I should think he would object to her receiving attentions from any but himself.

If, however, he be awav, it would not be improper to occasionally accept an invitation to go out with a dear friend of both, providing her lover does not object. If she thinks as much of some other boy, as the one to whom she is engaged, my advice would be, don't marry until she is quite sure, she is selecting the right one.

If "Rose" will send an addressed envelope she will receive some detailed directions on the care of the hair.

Will you please tell me where I can take lessons in art by mail?-Belle.

Lessons in art by correspondence will not be nearly so satisfactory as actual work with an artist. However, there are some correspondence schools. The "National Studio," a journal devoted to decorative art, and published in Chicago, advertises several schools, among which are, 'Fine Arts Institute," Studio 6517, Omaha, Neb.; "School of Applied Art," 723 Gallery Fine Arts, Battle Creek, Mich. W. Martin Johnson School of Art, Suite 10203 Metropolitan Life Building, New York City.

To Ethel D. would say, if the young man in question persists in his rude behavior, perhaps you would have more peace of mind by letting him entirely alone. Try it for a time at least.