Show BRYAN IN THfc STUDIO Xew York Journal In a quaint still shadowy place In the heart of all New Yorks turmoila place which by the way was once an old stable Miss Kuehue Beveridge the sculptor is working away upon a bust of William Jennings Bryan It is a magical sort of studio this where the great Democrats likeness is growing so silently under deft fingers I out of the still clay You enter at a narrow oldfashioned door and tread a narrow oldfashioned hallway and then standing in the fair artistes workroom forget that you are in New York There are heavy rugs upon the hardwood floors and all about the walls are old tapestries On stands and shelves and brackets and pedestals are busts ever so many bustsfinished and unfinished There exGovernor Flower and Cuban Maceo and nymphs and goddesses and beggars and sturdy men at arms all made of clay are watching in the stillness the magic growth of the Bryan statue which I stands on a working pedestal in the center of the cozy apartment It is a great leonine head that Is issuing from the graybrown mass upon which Miss Beveridge I began work a leke week agoa head which seems alive I instinct with all the fire and virile en I enrgy which are the master traits of Bryan Within the coming week Miss I Beveridge says the final sitting will be had the last vestige of superfluous clay will have vanished and the work will be ready for trnsferment into bronze after which it is to be taken to the west to be placed in the building I for which the political adherents of Mr Bryan have ordered it < y 0 Very recently the apostle of bimetallism bimetal-lism paid a flying trip to New York and for two hours stopped in the studio and talked and questioned and looked at old curios and new wonders in clay I while the artist enveloped in a huge working apron studied him and with I flying fingers wrought his features and expression in the yielding clay WUhln the past two years Mr Bryan has been a much studied man but the I analysis which in two hours he underwent under-went there beneath the skylight which lets the day into Miss Beveridges workshop he said was the most thorough thor-ough and withal the most satisfactory that had befallen him I The sculptors method was the biggest big-gest of wonders to him When he had laid aside coat and hat he looked about for the subjects chair and the iron headrest with which photographers from time immemorial have prodded I holes in the heads of patient sufferers O said the beautiful sculptor from the depths of her tremendous apron you dont have to sit still It is better bet-ter if you walk about and look at things and talk about things and be unconstrained Thats the only way one can catch personality And so the conversation started and Mr Bryan from that minute forgot all about being a subject and so I made a supremely good one the best I Miss Beveridge says that she has ever known 4 > > < i > The studio amazed him beyond measure she said yesterday working industriously at the clay as she talked The idea of a young womans ever transmogrifying an old jMabifr < < uto a place of this sort he said was anew one to his He asked me all sorts of questions about how I came to think of it and what the advantages were and paid a very nice compliment to my success in making a pretty shop of It too And the thing that interested me was that during the whole hours he didnt talk about politics at all except when I asked him some questions He told me quite a good deal about his travels during the campaign and laughed very heartily over some of the funny things that happened But he talks about himself very little lit-tle He seemed interested chiefly in my work and the study necessary to it and the tools and the other people whom I had modeled The fact is that I never had so thoroughly thor-oughly satisfactory a face as his to work from It lends itself admirably to the work In the first place there is such vast power in it such force lt is positive in everyp oint and view from whatever side There is no passive pas-sive feature in it The whole spirit as well as every outline is definite and clear and strong It is so hard to reproduce re-produce uncertainties Bryans head is contour as well as pose is herioc and to work upon such is a omfort His brow and eyes are wonderful I There is a kindly humor In them which I you do not often encounter where there is such keenness and determination That is the impressive thing about him the way in which so much strength and ruggedness is coupled and tempered with the finer soirlt I should aiv him a man woman would fall in love with not fur a month or a year you understand hut deeply and lastingly But I think he would be terrible If hI i j were angry I S > < b v The lower part of the face S1oS all the strengththe chin is one of the strongest I have ever seen the lips just a little bit cruel in ttfeir l1 te mination perhapsthat is they could be cruel if circumstances caied for it in his life roh affairs This is only my impression von understand i I I should not care to have ShIm I an enemy and yet Mr Bryan as I I met him the other day was charming j in a strong and manly fashion He i seemed to think the work that I do i would be wearying and when I told him that I work from 9 until 4 each day I he was vastly surprised Did you try to study the character of Mr Bryan when you receivpc the I order for the portrait It was not so necessary in his vse as in some others You see I had read I so much about him and read his won derful speeches They thrilled me al I though I was miles Away and ot I under the sell of his voice I studied i a photograph of hisand also a sketch of a very good sort that was published in the Journal The sketch represented I him when speaking and it was won I derfully strong Shall you have another sitting Yes He has promised to come here I again next week and then I will get some finishing details of the head No tice about the eyes for Instance There j are touches that I can only add to the j eyes when he sits again Expression j I lurks there you see and it is subtle and can never be wrought from mem I ori |