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THE REPUBLIC: SUNDAY, SEPTEMBER 9. 1900.
VOliijTflOW OF A CARTOON
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THE ROUGH SKETCH.
Showing the Original Idea in Outline.
witiTTn.v foh tiik sfNUAV rsRi-ris:.!.-.
When James Oallray. thf father of tht
political cartoon, used to hans hln colitn'il
prints satlrl7.ini: the notalih-s of his time
ELEMENTS OF A SUCCESSFUL CARTOON.
SIMPLICITY OF IDEA AND EXECUTION.
EVERYDAY OCCURRENCE A
BUNCH OF HUMOR, BUT NOT OF SENTIMENT.
THE FINISHED CARTOON.
LI HUNG CHA.XG: "I WANT TO OFFEKTHISKIUKT IX I'L.H'E
OF THE ONE THAT'S SPOILED'
In Mrs. Hum?hrls shop window, he pr
haps never realized that a century later
Kreat prominence would he given to car
toonlnK by the paper of the world. Kven
in remotest corners of the eartli one fimW
the cartoon, and It Is at effective as an
In that crowd before Mrs. Humphrlr's
shop window stopped J'ilt and Uurke.lirlns
ley Sheridan, Doctor I'rie.-n and Fat, atom;
with the plain beef-eatltiK John Hull. They
wondered, as present-ilay people do. liow
ruch and Mich a cartoon was evolved,
through Just what wt of mental aberra
tion the artist mn.n ko before tlie idea
was polished off and put before the world
Just how a Itepubllc cartoon I manu
factured mav Interest those who have kept
track of them.
Some teem to think that the cartoonist
has a series of stencils one for I'ncle Sam.
ono for John Hull, one for Oom Paul and
so on down the list, and to lie us'd nccord
tidently tell their friends that regularly at
midnight the various editors. asembled ill
th- blue room, hold grave consultations,
and finally send their conclusion: by liveried
messfiiKer to tliec.iiloonlst.who is a'.vaitinc
In fear and trembling In the basement.
Asalri it Is told that over many mtiRS of
beer, and between bites of free lunch, doth
th cartoon .-print: into life, for the edifi
cation of the nest morning's read r. Then,
too. there are always people who want to
help the cartoonist out and they send In
cugKertlons. more or ler-s crude, some ac
ceptable, but the majority too Involved, al
lecorlcal or biblical for practical use.
A cartoon idea of The Republic, like
Topsy. "Just crowed." A close reading of
the dully n-ws. a continual readliiK of his
tory, of fiction. the application of
little incidents of everyday life, must
round out the Ideas used. Not lontc
aRO tha cartoonist had trouble with
his eyes and had tt consult an oc
ulist. As he sat and tried to read n
various assortment of letters on the chart
came the suggestion of a cartoon. T'ncle
Sam as he read the words "Imperialism,"
inff to th reeds of the news: others con
Tnistn." "Hrltish Alliance." was made to
sa to .MeKInley: "It ain't no use; them
words will never look right to me In the
world, irofessor." The cartoon reproduced
from last Monday's ;iaper Is shown In a
rnush-shod hand sketch, and with it Is
the finished picture. This idea came from
a nrfat argument between the cartoonist
and a laundryman the day before over lost
linen. The ronsh pencil .sketch, which,
with from half to h dozen of others, are
dally submitted to the editor, will give an
idea of the first pencil beRinnlnif. After an
Idea Is selected by the editor, who Rets to
know what these shorthand eccentrlcltes
mean. It Is carefully worked up In India
To make a cartoon successful the Idea
of It must be something that touches more
or Ics.i In ont'.w dally life, something we,
perhaps, have experienced ourselves or are
likely to excellence. A cartoon can't bo
made one week and kept In cold storage
until the next. It mnr.t be used and used
quick, for nothing Is ready fur funeral pur
poses In so short a time as a day-old cartoon.
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LT HUNG CHANG: "T WANT TO OFFER THIS SHIRT IN PLACE
OF THE ONE THAT'S SPOILED."
TISSOT'S LIFE OF CHRIST TOLD ON CANVAS. -53
THE FAMOUS PAINTINGS TO BE, SEEN
AT THE EXPOSITION ART GALLERY.
Ih ntnis for tub stjkdat Rtai;iti.ic.
Tho zb(blt of the Tlssot collection of
paintings of th L,Ife of Christ at this
year's Expoeltlon.whlch opens September 17,
affords study for all clashes and conditions
The collection consists of 3 paintings.
It tolls tha goppel story without text In
detail and completeness. It Illustrates tho
events nnd teachings of the New Testa
ment, chapter by chapter, mora graph
ically than has yet been done by any writer
er painter who visited the Holy LanJ.
The paintings which will be hung on thn
walls of the Exposition art galleries are
Palntins of the Birth and Childhood of
Holr Week The Passion.
Classified into these four periods ue have
the real as well &s tha mystic exlstcno
of the God-Man among the children of the
The first period, that of the Birth and
Childhood of Christ, begins with Zacharlas
and Elizabeth, the parents of John the
Baptist, and ends vlth the visit of tho
youth Jesus to the temple at Jerusalem
The Ministry of Christ, His Sermons and
tesons, are comprised In 147 canvases.
Every Bible story Is Illustrated, the alle
gories as well as the real occurrences.
The series of paintings of the third period
Begins with Palm S-nday, the descent from
the Mount of Olives and the entrance Into
Jerusalem, and ends with the Savior's
death on Calvary and the Confession of St.
The fourth period Includes the scenes be
neath the cross on Calvary and ends with
These precious paintings are making their
first Journey Into the West. They were ex
hibited In April last in New York, and
created & stir In the religious and the ar
It took Tlssot more than ten years to
paint this "Life of Christ" and several of
these ten years were spent In the Holy
Up to his fiftieth year he Is C2 now Tlssot
was known tn tho artist world of Paris and
London as one of the gayest. He painted
scenes of worldly love, genres with a dash
of the frivolous. His life was reflected in
his art. Although his father was a Chris
tian of the old school, the son had turned
from the ancient teachings and become al
most a heretic In London, where he lived
In the house which was bought afterward.i
by Alma Tadema, Tlssot earned large sums
of money. A very dear friend died about
this time and Tissot's thoughts turned sud
denly from the giddy whirl of life to a con
templation of the hereafter. Ho disappeared
from bis accustomed haunts.
"He's gons to a monastery," said some of
his friends, and smiled.
"He'll soon grow tired of that," solilo
quized others, "and he'll be gayer than ever
when he returns to us."
But Tlssot had not entered a monastery.
He made a pilgrimage to Lourdes and wor
shiped before the shrine of the Holy Coat,
end then wended his way eastward to the
land of the Savior's birth.
In November, ISS6, he reached the out
skirts of Jerusalem, after a careful study
of Egypt. He had read and reread the
Bible story on his Journey down the Medi
terranean and resolved to abandon the beat
en track by which most travelers enter
Jerusalem the gate of Jaffa. Tlssot select
ed Mount Scopus for his first view of the
. -Hcly City. He had a tussle with thedrago-
Jnan who guided him and who saw no rea-
fcoo Jor departing from the ancient custom
of going via the Jaffa gate. From thl
mount Tlssot looked down upon Jerusalem
with its domes and housetops, its vineyard
and cypress trees. In the south he saw the
Mount of Olives, with the Moab Mountains
in the distance. In the valley lay the Dead
Sea like an emerald in a petting of gold.
The eye of the nrtlst held these Impres
sions, and they helped him wonderfully
afterwards in reproducing the Bible story
Perhaps even these Impressions would
not have shaped themselves into this great
collection of paintings but for the drift
given to them by M. Tissot's father.
I'pon his mturn from Jerusalem In
March. 1SS7. Tlssot went to see his father.
He showed him his sketches and studies
and all the documents ho had brought with
The appearance and exact proportion of
these places, particularly of Golgotha, as
tounded the old gentleman, who, a Bible
student himself, had formed his Ideas about
them from history and the works of other
Calvary, pictured as a sugar-loaf eleva
tion, covered with rocks and brushwood. Is
In reality only or 23 feet high. Tissot's
sketches showed the Holy Sepulcher close
beside It, not miles away. Other notions
as fondly cherished were dispelled by real
ity as shown In the artist's sketches, and
ho resolved to give to posterity a work no
longer approximately correct, but truthful
in calculation and detail.
Tlssot went back to the OrInt and spent
years in the land trodden by the Savior's
feet. The artist explains his motive for
painting the Life of Christ on these very
grounds the difference of opinion extstlng
even among the most intelligent students
of the Bible. He says:
"There Is not a stroke In my pictures,
nor a color, which Is not based upon good
reasons. If I have painted Jesus In a flow
ing robe of white. It Is because he could
have worn no other color, and the all
enveloping garb, tradition states, was nec
essary If the Chris: wes to avoid creating
tho sensation which his shining body would
have brought about.
"Jesus has been kept too far away from
the minds and hearts of men. If by my pen
and pencil I have made him more real to
the millions who worship Mm from afar, I
have accomplished my purpose."
Tho garments In which Tlssot clothed his
characters In these pictures are the reult of
close and Intimate study. The Syrian women
in the vicinity of Bethlehem and in
villages near Jerusalem dress to-day prac
tically as the Virgin dressed. These gar
ments are made of striped cloth, woven li
widths of about one foot. The main part Is
blue, with a ntrlpe of green at one edge
and a stripe of red at the other and lines of
yellow separating these from the blue body.
A full width of this cloth forms the front
part of the garment, with a half width on
either side. Then the fullness of the skirt is
formed by a setting In of yellow cloth. The
sleeves are flowing, the ordinary color being
yellow and blue, and over all hangs a long
white veil, draped over a stiff headdress of
red and green. The gown Is held nt the
waist with a girdle of mmy-co!ored threads.
Into which tho front of the gown Is tucked,
so as to form a spacious pockst.
During the ten years which Tls'ot spent
in painting this great work he made many
trips between Paris and the Holy Land. As
foon as he had gathered enough material
he returned to France, worked a few
months in the solitude of his ciudlo. and
Journeyed back to the scene of his labors for
more. Sketches, photographs, black and
whites, ever' mode of artltry were em
ployed In gathering the material for ths
great work, which St. Loulsans and thou
sands of visitors to the Exposition will have
the opportunity to view and study.
A number of those canvases are very
large, taking up almost one entire panel of
the galleries In which they will be hung.
Tho majority are small, measuring 18x30
inches', but the detail Is very fine. Those
who have seen them say that even the
smallest figures are so clear and distinct
that they stand out boldly from the canvas.
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