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near Cavite could be plainly seen. Then men-of-war could be distinguished, and they seemed very numerous, but no indication of movement or life could be made out. Finally, as we proceeded up the broad bay, dark clouds of smoke began to pour from a funnel; a ship got under way, and then in a little while we could see the Stars and Stripes floating on her, and we knew beyond a peradventure that all was well. It was the Concord, which came to find out who we were. Receiving this information, she showed us the way to our berth, and reported to the flagship.

As soon as we had come to anchor. Admiral Dewey could be seen putting off from the Clympia and coming our way. The officers and men of the Newport crowded the rail to get a look at the famous Admiral, and in a few minutes he was in my cabin giving me a hearty and cheer ing welcome to the waters he ruled by right of conquest.

After greeting me and making the acquaintance of the officers of my staff (some of whom he had known before), the Admiral carried me away to his flagship for lunch. Of course we had much to talk of, and, strangely enough, it was he, who had been for many months in the East, and not I, so lately arrived, that had the news from home to relate. He told me of the magnificent victories of the army and navy at Santiago, which had occurred nearly a month before, of the gallant fighting our soldiers had done, and the sad losses they had sustained. It was hard to crowd all the events of that historic month of July into one brief talk, but he had not forgotten to save me the latest Hong-Kong newspapers. It was hardly necessary for the Admiral to explain why he had not sent a ship to meet us at the rendezvous agreed upon, for I quickly learned that Camara's fleet had never gotten beyond Suez, and our anxiety was quite forgotten in hearing so much good news. While the Admiral was in my cabin on the Newport, his flaglieutenant, Brumby, was out on deck giving the news to my staff; and when one of these went forward to tell our men what had happened in Cuba, they cheered themselves hoarse.

From this time on I naturally saw Admiral Dewey frequently, either visiting his flagship or he coming to the Newport,

where, as a matter of convenience, I retained my headquarters. He always impressed me as a self-contained, nervy man, not given to talk, and prompt in action. On more than one occasion I found it necessary to ask him for supplies of different kinds needed by parts of my command. He always seemed to have what was wanted, and was quick to respond to our assistance.

When the demand for the surrender of the city was formulated, we talked over the situation, and the draft of the letters which called on the Spanish GovernorGeneral to take measures for the protec-* tion of the women, children, and noncombatants; and afterwards the summons to surrender and the notice of intended attack were all submitted to the Admiral and by him cheerfully acquiesced in. Nothing, indeed, could have been more pleasant than the cordial co-operation of the army and navy in all the work they were called upon to do throughout the campaign.

In making the arrangements for the assault of the city, it was Admiral Dewey's desire to open the attack in the afternoon, as he said the sun would then be at his back and in the enemy's face, the light would be better for shooting, and the sea probably smoother. I represented to him, however, the great advantage to the army of attacking in the morning, so as to give us plenty of daylight in which to complete the work, take possession of the city, and guard against the entrance of insurgents. An afternoon attack would leave all of this exacting duty to be done at night, and give every advantage to the beaten enemy, or be disastrous to us in case of failure. The Admiral at once yielded to me on this point, and it was agreed that he should open fire at 10 A.M.

Sailors never like to do the work in a campaign which they think should be done by the troops for themselves, and soldiers can't manage many things on the water which sailors do so handily. To land General McArthur's brigade in time for the assault of the city, which I felt should be undertaken with the least possible delay, to get food, and, above all, ammunition, to the troops through the tremendous surf, was a task for which sailors' skill and navy appliances were much needed, and Admiral Dewey placed both at our disposal.

During the trying week when our trenches were being dug in the face of the enemy, and when our men were subjected to a furious fight every night, although the Admiral was very anxious not to precipitate an attack, yet the Raleigh was stationed off our camp with orders to go in and open whenever we signaled that her assistance was necessary. In these as in all ways, he lent the heartiest co-operation in the trying work our soldiers had to do. We both desired that

the city should not be assaulted until every condition was favorable for quick and decisive results; on the 13th of August this time had come, and Manila was taken with the loss of very few lives of American soldiers.

Admiral Dewey needs no eulogy from me, but any one who comes in contact with him officially will find, as I found, that he does all things in that same workmanlike way which characterized his performance of the first of May, 1898.

THE DEWEY MEMORIAL SWORD

Admiral Dewey's Firmness and Courage

the Olympia, where an excited staff officer of Admiral von Diederichs explained his indiscretion. According to one of the officers present, the American Admiral's comments were as follows :

Do you appreciate what you have done? Do you know that such a rash act on your part is against all the rules of war, and might even have been the cause of serious trouble between your country and mine? Suppose that shot had killed you and sunk your launch, the effect might have been to have brought on misunderstanding and a conflict. It would have been very easy for a Spanish boat meaning us harm to have put up a German flag and sunk the Olympia, if we did not stop it in time. There is no excuse for such carelessness. You should understand the rules of war in a matter of this kind. Please present my compliments to your Admiral, and ask him to direct his officers to be more careful in the future.

In a book about Admiral Dewey just was sent, and escorted the German boat to published by Mr. John Barrett, lately United States Minister to Siam, the author quotes Captain Sir Edward Chichester, of the British ship Immortalité, as saying: "Your Admiral accomplished by tact, firmness, and good judgment in Manila Bay what many naval men would have thought possible only by war. Dewey is a natural fighter, but, true fighter as he is, he prefers to win a peaceful victory. He is a great man." As an instance proving this, Mr. Barrett tells of a minor incident which might have proved of the most serious import: A German steam launch attempted to approach the Olympia after dark. A German collier had come late into the harbor, and Admiral von Diederichs wished to get permission that night for it to join his squadron. As the boat neared the Olympia it was hailed, but without reply. The hail was repeated again without reply. By this time, says Mr. Barrett, the Admiral was looking out into the darkness, and after a moment's investigation he called to the officer of the deck: Why don't you fire? It doesn't stop!" A shot was fired, and the boat came on unharmed. "Fire again, and fire to hit!" exclaimed the Admiral; and the second ball, aimed just as the searchlight revealed the German colors on the intruder, splashed within three feet of the boat. Then she stopped. A launch

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In this connection Mr. Barrett speaks very plainly as to the mooted question why Dewey asked to be reinforced by one or two battle ships, such as the Oregon and the Iowa. Without violating any state secrets," says Mr. Barrett, "I can say that the Admiral wanted them for the plain and simple reason that he wished to be prepared in the event of Germany or any other European Power becoming complicated with America in the settlement of the Philippine question. The attitude. of the Germans in Manila Bay had been a surprise, he argued, and there might be still greater surprises in store. '

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N the fourteenth of August last, at Antwerp, guests from all the European academies of art, together with Belgian civil, military, and religious authorities, assembled in the Grande Place before the City Hall. They were there to hear a special performance on the famous carillon of bells in the tower of Notre-Dame, and to see a procession representing the progress of art through the ages. From the figures of the giant Antigonus and his wife, the traditional patrons of Antwerp, representations. of Egyptian, Assyrian, Greek, Roman, Byzantine, Gothic, and Renaissance art-creative times passed in processional form. Last of all came the crowning feature of the whole pageant, namely, the "Homage to Sir Anthony van Dyck;" for all this celebration was to commemorate the three hundredth anniversary of the birth of the second of the two mighty painters whom Antwerp has given to the world. There he stood, that second one, in impersonation, preceded by a figure representing the Archduke Albert and the Infanta Isabella, his protectors; by one representing Rubens, his master, and by those of many of the personages who, through his portraits, have become immortal in art, if not in history-Charles I., Marie Henriette, and their children, Marie de' Medicis, the Earls of Strafford and Arundel, Marie Louise of Tessis, the Marquises of Brignole and Spinola, Cardinal Bentivoglio, François de Moncada, and others. Sir Anthony rode surrounded by honor-guards, each representing a city where his best-known pictures are to be found-Antwerp, Brussels, London, Paris, Madrid, Genoa, Florence, Munich, Dresden, Berlin, Kassel, The Hague. The great memorial of the anniversary, however, is an exhibition, still open, of the master's works. For this purpose several hundred canvases, many of them of enormous value, have been taken from museums, churches, and private galleries throughout Europe and gathered in the old Flemish capital, always the home both of commerce and of culture, where, three centuries ago, Anthony van Dyck first saw the light of day.

When he was fifteen years old, he entered Rubens's studio. He made such progress there that before he was twenty he was not only working on pictures which the master gave out as his own, but had done such noteworthy composition as to cause his enrollment as a master in the Guild of St. Luke. This Guild, already two centuries old, named after the artist-Evangelist, was the great instigator and benefactor of Flemish art. The young Van Dyck thus became himself a master while working under one. It was an unheard-of honor to one of such tender age. Rubens was too great a man, nevertheless, to have any jealousy of his pupil as a possible rival. On the contrary, he insisted on procuring a commission for him from the Jesuits, in connection with his own work, to paint forty pictures for them. In the year when the Pilgrim Fathers sailed from the Low Countries, the name of Anthony van Dyck

began to be known in those countries as that of another Rubens. An Antwerp picture-dealer wrote to the Earl of Arundel in England that the new painter's works were gaining almost as much esteem as that enjoyed by those of the master himself. Nevertheless, it was that same kind master who presented his pupil to Lord Arundel, through whom access was later obtained to the English monarch, and to honors never before paid to any painter. At the end of his apprenticeship Rubens gave the finest horse in his stable to Van Dyck, who, in return, presented to his elder three canvases which had attracted the latter's special commendation. One of them, a "Christ Seized upon the Mount of Olives," henceforth occupied the place of honor in the chief room in Rubens's house. From association with such a master, his pupil thus gained, not only invaluable technical instruction, but also a generously given start in life. Further more, both derived a certain mental stimulus from the similitude of their education, tastes, and ideas, their unremitting labors and their material successes. In truth, the pupil's genius merited protection and patronage. If Shakespeare nodded occasionally, so did Rubens; but even in the younger Fleming's early pictures it is hard to find an awkward or unnatural attitude or an expressionless feature.

Acting on the master's sound advice, his pupil went to Italy to study and to work. The influence of the years spent there is noticeable in the modification of an over-great Rubens leaning. The pictures painted before and after that period have greater mellowness and depth of color. Though he lived in Venice, Florence, Rome, and Palermo, most of Van Dyck's work was done at Genoa, and is still there in the splendid old palaces of the Balbi, Brignole, Durazzo, Raggi, and Spinola families. Van Dyck's portraits of members of these houses combine a Flemish strength and energy with an Italian stateliness and elegance-Rubens and Titian in one.

After some years in Italy, Van Dyck returned to his home city, where, by Rubens's departure as Ambassador to England and Spain, the young artist found a clear field. His fame now extended over Europe. He worked not only at Antwerp, but at Brussels and at The

Hague. Once, when residing in Holland, he went to Haarlem to call on Frans Hals, whom he had never met. Not finding the great Dutch artist at home, he sent word to him that a stranger wished to have his portrait painted. When Hals appeared, the Fleming said that he had but two hours to spare. He asked if Hals could make an attempt in that time. The Dutchman was, of course, equal to the task, and finished the picture. The apparently astonished stranger remarked that "Portrait-painting seems a simple thing. I will try it myself." Thereupon he began to sketch, taking Hals as his subject. He had not proceeded very far, however, in his masterly precision, before the Dutchman cried out: "You are Anthony van Dyck! No one else could do what you have done."

That judgment was not alone Hals's. It has been said that the head of Richardot (in the Louvre at Paris), painted at this time, is as strong as any in portraiture, unless it be that of Cornelius van der Gheest (in the National Gallery, London). It might also be added that, of its kind, the portrait of the youthful William II. of Nassau (in the Hermitage at St. Petersburg). has never been equaled, even by Gainsborough with his "Blue Boy."

Anthony van Dyck is not generally thought of as an etcher, but he showed noteworthy talent in this domain also. One finds astonishing workmanship in the series of grisaille portraits of his eminent contemporaries, especially of fellow-artists, which were published as engravings by Martin van den Enden. With wonderful expressiveness, Van Dyck etched the heads in some two dozen of the plates; and the prints in their early state, before any addition of gravers' line-work, are highly prized, both for their historical worth and also as an evidence of the characteristics of an artist's real heyday, when, for the most, part, he was still unconscious, unhampered, unflattered, and hence unconventional. Some geniuses" arrive" early. and the sketches, etchings, and oil work of this period of a particular genius show him at the speedily reached summit of his

powers.

Probably by reason of inducements offered to him in advance, our artist, now thirty-three years old, decided to settle in England; at all events, he was received

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