38 AT THE SIGN OF THE STOCK YARD INN 



ment, Mr. BROWN learned that large areas of his 

 cut-over and supposedly worthless northern timber 

 lands were underlaid with valuable deposits of iron 

 ore, and the discovery placed him again in his wonted 

 comfortable position. While in attendance at the 

 International Show he saw the OGILVIE pictures, and 

 then and there absorbed the big idea of the SADDLE 

 AND SIRLOIN GLUB. Soon afterward he volunteered 

 to pay for the painting of a considerable number of 

 the portraits of old-time Shorthorn cattle breeders, 

 to be permanently retained as his contribution to 

 the collection then in embryo. This revealed a vein 

 of sentiment in HENRY BROWN'S make-up that sur- 

 prised not a few of his acquaintances; but among 

 those who knew him intimately rather than by 

 hearsay it was a characteristic action. 



In the meantime OGILVIE had entered into an 

 arrangement with STUART whose HENRY portrait was 

 the nucleus of the collection to come to Chicago 

 and execute certain pictures already ordered. STUART 

 was a Scotchman who had spent most of his life in 

 America, and at Madison had gained a reputation as 

 a portrait artist by his studies of some of the lead- 

 ing dignitaries of the State of Wisconsin, including 

 governors, judges of the Supreme Court, United 

 States senators and other personages of national or 



