8 NORTH SHORE BREEZE and Reminder 
the Georgian has gone to the attic and I enter the din- 
ing-room, these days, to the era of Scottish ecclesiastical 
lore. I feel as carved and mysterious and musty as a 
a Presbyterian crypt.” 
The above only emphasizes the surprise that the 
masculine portion of a fashionable entourage feels when 
mamma and the daughters decide to flit from Mission to 
Louis XIII, or Sheraton to willowwork. 
But when they are both furniture cranks! Town 
Topics, and from it the New York Journal and World 
are soon likely to blare the story of , we fear, a Furni- 
ture Divorce. She, a rotund matron now, and daughter 
of a former: Colorado mining man, goes in for French 
antiques. Every blessed thing she can dig up in the way 
of the fricaseed fancies of the several Louis’ is shopped 
up to the opulent Essex County manor. He is a vicious 
and resourceful crank for Mission and Georgian. 
So many drayloads of these styles have been stored 
in this home that it has long been a question of which of 
the couple is to have this or that corner for the newest 
acquisition ! 
Thus a stately manor has gradually been metanior- 
phosed into a Museum, of gildings and chasings and 
teaks and oaks, one Collector in a corner amidst his pond- 
erous English antiques and the other a Niobe among her 
marquetry ! 
I asked a magnificent dame to tell me just as nearly 
as she could what she considered the main secret in the 
fascinations of antiques. This is her reply: 
“It is the imaginations the confounded junk brings 
up! Talk about opium and hashish, Antiques beats them 
a mile! 1 can survey an alleged treasure, while the own- 
er stuffs me with a bale of data and no matter if I 
haven't the least idea in the world what he is jabbering 
about, I'll go imagining! Suppose he says the thing is 
English—very well, away we go for deep, dark English 
fireplaces, high settles, low settles, plum pudding and the 
Lord knows what else! In Antiques, you see, the less 
you know the happier you are! If I have just shipped 
home a copper teakettle that is supposed to date from 
William the Conqueror, what is the use to go and scratch 
at the thing and try to prove it’s of Indiana tin plate? 
Ignorance is more than bliss in Antiques—it’s just simply 
PARADISE. 7 
“Then, too, you have probably been wondéring why 
we women have been getting so intelligent and rampage- 
ous. Likely you have swallowed some of this ‘higher duty’ 
and ‘broader development’ bosh, but, my son, it’s Antiques! 
More education has been derived by women jn conning 
up because of some trifling old pewter pot or rheumatic 
chair that they’ve been palavered into purchasing than 
in all the colleges combined. Many are the hours I’ve 
worked at the Library posting on the didos of the Doges 
because of a Florentine smelling-bottle I’d picked up at 
some junk shop or other!” ab 
Calusd’s Sea Pictures are Stirring 
Armenian Marine Artist Poetizes the Bosphorus and the Harbors of New York and 
Boston with His Brush 
C CALUSD, an Armenian marine artist, is showing 20 
* of his works for the first time in New England at 
Manchester-by-the-Sea, where a number of summer resi- 
dents have been reviewing them privately this week. Be- 
ginning Monday, the pictures will be on public view, to 
continue through the summer. 
Mr. Calusd’s work has attracted much attention in 
New York, where he has been painting for some time, 
and where he recently received his final naturalization 
papers. 
Although he attained prominence in Roumania and 
Turkey as a result of 15 years or more of painting after 
finishing his studies in the Ottoman school of art at Con- 
stantinople, and even had one of his works bought for 
the national museum at Budapest, Mr. Calusd decided to 
come to America, and liked here so well that he stayed, 
though he had to begin almost as an unknown. 
When he entered New York harbor for the first time 
the dominant object for him, as for other newcomers, was 
the statue of Liberty. Instead of the conventional senti- 
ment connected with the statue, however, the painter was 
struck by a quaint notion. For 20 years he had painted 
and studied in Paris, Vienna and other continental cities, 
and had often seen Americans greet friends seen at a 
distance with a wave of the hand and a “Hello!” 
Instantly the Bartholdi statue struck him as typifying 
this national trait. With the liberty that is the right of 
the artist with a vision, Mr. Calusd made the city appear 
to embrace the foot of the statue, placed the incoming liner 
in an advantage angle of the view and gave the whole 
the effect that Liberty was beckoning and shouting a cheery 
“Hello!” to all comers. 
The work was the means of introducing the artist in 
America, for it attracted the attention of the Persian con- 
sul general, H. H. Topakyan, who bought it and gave it 
to President Wilson. The painting is now in the White 
House collection. 
To the humor and imagination indicated by this inci- 
dent Mr. Calusd exhibits the vivid feeling of color charac- 
teristic of the oriental. The quality of his color is pure 
and delicate to pearliness. All his work reveals sound 
academic training in its observance of the principles of 
balance, action and restraint—all shows individual qualities 
of sentiment and originality. 
“Castles of the Rich” is one of his happiest works, 
the result, it is said, of over 30 studies to get just the 
right effect of transparent mist hanging over the sky- 
scrapers of lower Manhattan as seen from the harbor. 
The commercial element blends with the romantic notion 
of the towering piles as part of great castles, the sky is 
alight with the last rays of the sun and the dark waters 
in the foreground are busy with shipping. 
The greatness of his teacher, Vateri the court paint- 
er, is evident in teaching guidance that could result in the 
really thrilling work called ‘‘Reveille on the Bosphorus,” 
a painting that is not unworthy in its color of comparison 
with Turner. The golden haze of the sun, which is ris- 
ing just behind the dome of a great mosque suffuses and 
dominates the picture. An immensity of shipping and 
shore life is hinted at, yet the sea and the sunlit air are 
the center of interest. 
“In Pleasant Weather” is a tranquil view over the 
sunlit bay, with fishermen toiling at the nets on the shore. 
As in all the works, the painting has an individual mood 
and the color is a complete joy, from the many tints on 
the sail of the boat to the yellow sheen across the water, 
