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Average One Directory 04
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When we started taking her down with ropes--our ropes were all rotted by that time, and had no strength whatever--the canoe was tossed about in a merciless manner. I recommended my men as they ran along to beware of the ropes catching on the cutting edges of the high rocks. No sooner had the canoe started down the swift current than one of the ropes at once caught on a rock and snapped. The men who held the other rope were unable to hold it, and let it go. I saw the canoe give three or four leaps in the centre of the channel and then disappear altogether. That was a sad moment for me. But as my eye roamed along the foaming waters, what was my surprise when I saw the canoe shoot out of the water in a vertical position at the end of the rapid and waterfall! That was the greatest piece of luck I had on that journey. By being flung out of the water with such force she naturally emptied herself of all the water she contained, and I next saw her floating, going round and round the whirlpool at the bottom of the rapid.
BLAU, TINA. Honorable mention in Paris, 1883, for her "Spring in the Prater." Her "Land Party" is in the possession of the Emperor of Austria, and "In Spring-time" belongs to the Prince Regent of Bavaria. This talented landscape painter was born in Vienna, 1847. She was a pupil of Schaeffer in Vienna, and of W. Lindenschmitt in Munich. After travelling in Austria, Holland, and Italy, she followed her predilection for landscape, and chose her themes in great part from those countries. In 1884 she married Heinrich Lang, painter of battle scenes (who died in 1891), and she now works alternately in Munich and Vienna. In 1890 she gave an exhibition of her pictures in Munich; they were thought to show great vigor of composition and color and much delicacy of artistic perception. Her foreign scenes, especially, are characterized by unusual local truth and color. Among her best works are "Studies from the Prater in Vienna," "Canal at Amsterdam," "Harvest Day in Holland," "The Arch of Titus in Rome," "Street in Venice," and "Late Summer."
It is not being suggested that the making of arms should cease in the world, but only that in every country it should become a State monopoly and so completely under Government control. If the State can monopolize the manufacture and sale of spirits, as Russia has done, if it can, after the manner of Great Britain, control the making and sale of such a small, elusive substance as saccharin, it is ridiculous to suppose that it cannot keep itself fully informed of the existence of such elaborated machinery as is needed to make a modern rifle barrel. And it demands a very minimum of alertness, good faith, and good intentions for the various manufacturing countries to keep each other and the world generally informed upon the question of the respective military equipments. From this state of affairs to a definition of a permissible maximum of strength on land and sea for all the high contracting powers is an altogether practicable step. Disarmament is not a dream; it is a thing more practicable than a general hygienic convention and more easily enforced than custom and excise.
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