Life, 1899-05-18 · page 8 of 20
Life — May 18, 1899 — page 8: what you’re looking at
What you’re looking at
# Content Analysis This page from *Life* magazine features two distinct sections: **Top Section**: Three comic panels depicting animals (appears to be an elephant and monkey) with captions like "What's the matter, jockey?" and "Now, jock, let her go!" These seem to be humorous animal sketches with no obvious political content. **Bottom Section**: A book review titled "Bookishness" discussing "The Reminiscences of a Happy Artist" by Felix Moscheles, praising the author's memoir and his friendship with Robert Browning and other cultural figures. The review celebrates Moscheles' artistic life and temperament. **Silhouettes**: Below the review are five black silhouette portraits labeled "Who Are They?" - a common *Life* magazine feature where readers were challenged to identify notable public figures from their profile shapes alone. Without additional context, I cannot definitively identify these specific individuals.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
The Reminiscences of a Happy Artist. HERE Is a charm about the recollections of Felix Moscheles, which he calls “Fragments of an Autobiography" (Harper), that sug- sts the artistic comradeship cclobrated by DuMaurier, Tho two were friends in Bohemia, and Moscheles looks back on his life with something of tho samo glamor that DuMaurier depicted so strikingly. The chapteron Claude Dupont 1s a romance of art-student life. It begins with the fun of the initiation at the studio and ends with the untimely death of the brilliant young artist. ‘The love story of the pathetic Mudoleine, which ends with Cliude’s life, is as idyllic asa poem, The comedy parts of the episode are very amusing, and the adventures of Moscbeles and Claude ona tour in the country remind ono of Stevenson's “ Inland Voyage. His friendship with Robert Browning furnishes two entertaining chapters, There is little attempt to depict the man of letters, It was Browning, the genial studio guest, who interested Moscheles. Mosebeles bas been unusually fortunate in his kinsbip with thearts. The son of an eminent musician, he was brought up in association with composers of the first rank, and bis own musical talent kept him all his life in touch with the musical life of England and tho continent. Hisown art, painting, brought him an entirely different circle of friends, and his literary aptitude in timo added men of letters to his comradeship, Ho seems to have had a very happy temperament,and even his American reminiscences are good-natured—almost rose-colored. They are not of Importance, however ; his “ view” of Mr, Cleveland is rather com- put contains one bit of characteristic Cleveland philosophy, about ing great responsibilities: “When a man has fully and carefully considered all facts and arguments that can help him to a conclusion, and when bo bas decided to do what he considers right, according to the best of his judgment, there is no reason why hoe should not sleep as soundly as ever he did before Mr, Moscheles is to be congratulated upon the sane view ho bas taken of tho artistic life, He has followed it unswervingly and happily, Ithas brought him some fame and many friends—and be is content. . . . “WHAT'S THE MATTER, JOCK? “WHY, WHEN YOU LOOK THROUGH THR CAMERA EVERY: THING 18 UPSIDE DOWN.” RY up-to-date book of travel is Major Younghusband's “Tho A Philippines and Round About” (Mucmilian), It is mostly taken up with Manila since the surrender, Aguinaldo and Dewey aro pictured at close quarters; so also is the American soldier, who has been a source of perpetual amusement to the English Major, who thinks that he is not much of a soldier according to tho rules, but is a very flne man and a dandy fighter, Moroover, ho is uniformly courteous to women of all classes, Tho dialect which he talks in the Major's book 1s fearfully and wonderfully compounded of Bret Harto and Miss Wilkins, ‘This 1s * NOW, JOCK, LET HER GO a8%e ‘WHO ARE THEY?