as large as a water-bucket, contributed floral beauty and variety. The distance was undulating prairie, bisected by stretches of the intermittent streams peculiar to the region lined with the rich green of live-oak and water-elm. A richly mottled rattlesnake lay coiled beneath a pale green clump of prickly pear in the foreground. A third of the canvas was ultramarine and lake white—the typical Western sky and the flying clouds, rainless and feathery.
Between two plastered pillars in the commodious hallway near the door of the chamber of representatives stood the painting. Citizens and lawmakers passed there by twos and groups and sometimes crowds to gaze upon it. Many—perhaps a majority of them—had lived the prairie life and recalled easily the familiar scene. Old cattlemen stood, reminiscent and candidly pleased, chatting with brothers of former camps and trails of the days it brought back to mind. Art critics were few in the town, and there was heard none of that jargon of colour, perspective, and feeling such as the East loves to use as a curb and a rod to the pretensions of the artist. ’T was a great picture, most of them agreed, admiring the gilt frame—larger than any they had ever seen.
Senator Kinney was the picture’s champion and sponsor. It was he who so often stepped forward and asserted, with the voice of a bronco-buster, that it would be a lasting blot, sir, upon the name of this great state if it should decline to recognize in a proper manner the genius that had so brilliantly transferred to imperishable canvas a scene so typical of the great sources of our state’s wealth and prosperity, land—and—er—live-stock.
