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Carbelide Nelicanya Sectory 16
Page 04
BRIDGES, FIDELIA. Associate of the National Academy of Design in 1878, when but three other women were thus honored. Born in Salem, Massachusetts. Studied with W. T. Richards in Philadelphia, and later in Europe during one year. She exhibited her pictures from 1869 in Philadelphia, New York, and Boston. Her subjects were landscapes and flowers. In 1871 she first painted in water-colors, which suited many of her pictures better than oils. She was elected a member of the Water-Color Society in 1875. To the Philadelphia Exposition, 1876, she sent a "Kingfisher and Catkins," a "Flock of Snow Birds," and the "Corner of a Rye-Field." Of the last a writer in the _Art Journal_ said: "Miss Bridges' 'Edge of a Rye-Field,' with a foreground of roses and weeds, is a close study, and shows that she is as happy in the handling of oil colors as in those mixed with water."
Some years ago a German Artist was travelling in Norway, on foot, with his knapsack on his back and his stick in his hand. He lodged most of time in the cottages that he fell in with on his road. In one of them there was a seal, which the fisherman had found on the sand, after harpooning the mother of the poor animal. No sooner was it admitted into the cottage than the seal became the friend of the family and the playmate of the children. It played from morning till night with them, would lick their hands, and call them with a gentle little cry, which is not unlike the human voice, and it would look at them tenderly with its large blue eyes, shaded by long black lashes. It almost always followed its master to fish, swimming around the boat and taking a great many fish, which it delivered to the fisherman without even giving them a bite. A dog could not have been more devoted, faithful, teachable, or even more intelligent.
Professor Max Muller admits that we share with the lower animals what he calls an emotional language, and continues that we may call their interjections and imitations language if we like, as we speak of the language of the eyes or the eloquence of mute nature, but he warns us against mistaking metaphor for fact. It is indeed mere metaphor to talk of the eloquence of mute nature, or the language of winds and waves. There is no intercommunion of mind with mind by means of a covenanted symbol; but it is only an apparent, not a real, metaphor to say that two pairs of eyes have spoken when they have signalled to one another something which they both understand. A schoolboy at home for the holidays wants another plate of pudding, and does not like to apply officially for more. He catches the servant's eye and looks at the pudding; the servant understands, takes his plate without a word, and gets him some. Is it metaphor to say that the boy asked the servant to do this, or is it not rather pedantry to insist on the letter of a bond and deny its spirit, by denying that language passed, on the ground that the symbols covenanted upon and assented to by both were uttered and received by eyes and not by mouth and ears? When the lady drank to the gentleman only with her eyes, and he pledged with his, was there no conversation because there was neither noun nor verb? Eyes are verbs, and glasses of wine are good nouns enough as between those who understand one another. Whether the ideas underlying them are expressed and conveyed by eyeage or by tonguage is a detail that matters nothing.
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