Life — August 1, 1907 — page 12: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

DEPARTURE IN TONE PRODUCTION. Recent experiments in the direction of tone production made by us have resulted in the perfection of a notable Grand Piano, the Style X (next in size larger than the famous Quarter Grand). { It is an instrument of rare and exquisite tone, in which quality and not quantity has been the first consid- eration. It is a new departure in modern piano building, and in inviting attention to it we do so with much pride in the success of our efforts. CHICKERING & SONS, 796 Tremont St., BOSTON Established 1823, Catalogue upon request MORTON TRUST COMPANY 38 NASSAU STREET, NEW YORK Capita, . =- = + $2,000,000.00 Surplas and Undivided Profits, $8,201,262.72 OFFICERS: Lert P, Morton, President. Thomas F, Ryan, Vice-Pres. Charles 1. Allen, Vice-Pres. James K. Corbzre, Vice-Pres. H. M. Francis, Secretary. Past D. Cravath, Counsel EXECUTIVE COMMITTEE: Levi P. Morton Poul D. Cravath Thomas F. Ryan G, G. Haven Charles Ht. Allen James N, Jarvie Edward J. Berwind Jacob H. Schiff Harry Payne Whitney | LUTHOGRAFHED’ AD BRIDGE SCORE PADS egiatered at Pat. fice incon wasmastens OtPawn BRIDGE WHIST SCORES A dozen forms in three dozen styles. “Up and down” ot " parallel” rulings for contin- ; tous of pivoting partners. Sizes, Lange (74 inches), Small (7x 2 ioches) and Medium. t 10 cents, ‘at 10, 15, 20, 25 cents. ‘at 25, 35 cents. Largely etd for table pce. Ask for“RAD-BRIDGE.” |! your dealer doss not poipeid to any adnan on resi ei Sole Manufacturers RADCLIFFE & COMPANY EW YOREs 144 Pear Street LONDON: 5 Aldersgate Hides B.C. tation to dinner. Thackeray, for example, in his most trivial correspondence with ac- quaintances stamped it with the imprint of a studied and perfected manner—never stilted, to be sure, but always the precise product of the bookman. Louis Stevenson, on the other hand, wrote delightful letters, none the less felicitous for unconventional phrasing and a boyish pleasure in artful slang. ‘The “blooming gascous fol his Cashel Byron analysis were les: spared than much premeditated criticism by clumsier hands. When it comes to public utterances, how- ever, one looks for a certain consistency in the bookish and the social manner of the literary celebrity, and we confess a sympa- thy with a devoted admirer of Mrs. Whar- ton’s productions who had sought a pass- ing glimpse of that fastidious writer's comfortable estate in Lenox. The respect- ful visitor, towhom the rights ef privacy are sacred, ad thought to bestow but a fleet- ing glance on the mansion of the literary elect, and she ordered the coachman to slacken his horses’ pace as he passed the grounds, Steeped in memories of the nove- list’s style and originality, she turned a Teverent gaze toward the dwelling; but a sign at the gate distracted her attention. There was no felicity of phrasing, no dis- tinction of style, no amenity of manner. It simply read KEEP OUT! THIS MEANS YOU! Robert Louis and Sir Walter N INDUSTRIOUS, burrowing gene- alogist, whose name is overlooked in the republications of his remarkable dis- covery, has uncovered the information that Sir Walter Scott and Robert Louis S: son were kinsmen. The remote r ship, it seems, proceeds from the union of “Auld Watt Scott,” of Harden, and Mary Scott, “the flower of Yarrow,” in the last half of the sixteenth century. ‘Their son, Sir William, we are told, fathered a line of Scotts whose ultimate offspring was Sir Walter; while their daughter Margaret, wedded to Gilbert Elliot, of Stobs, was the progenitress of Stevenson’s grandfather, the Rev, Lewis Balfour, D.D., of Colinton. Robert Louis, it appears, was not him- self in possession of these facts. But had he been aware of the connection, we doubt if the sentiment of a family tie would in the least have altered his estimate of Sir Walter: “A great romantic—an idle child.” We readers of a later generation—no longer bullied by ex cathedra criticism, and unafraid to disclose our secret tastes—are free to speak out bravely our preference for Stevenson over Scott. Is it because the fastidious modern ear is becoming more and more attuned to the harmonies of style, and less patient of lumbering ex- pression? The suggestion will be com- comicbooks.com