This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1916 edition. Excerpt: ... XII THE STUDIO In spite of the attitude of a suspicious public, Elisabet Ney had already sensed sufficient encouragement from the chosen few to justify her hope that the long awaited new era in her career was about to open. The doctor believed it too, and by their united efforts they contrived, somehow, to raise sufficient money to build a modest studio at Austin. It was located in a new suburban addition, called Hyde Park, and in remembrance. of those unforgotten days in the island of Madeira, she named this last studio "Formosa," after that sweet little workshop there, in which, before she had tasted anything of failure, she had expressed her untroubled ideals in "Sursum." The friendship of ex-Governor Roberts and of the Woman's Columbian Exposition Committee soon brought her to the notice of such of the Austin people as took the cultural development of Texas seriously to heart, and she quickly became the centre of a group of devoted friends. In the little drawing-room of the studio a sort of salon established itself, where visitors were sure to meet the most cultivated, the most interesting, the most distinguished men and women of whom the little capital city could boast. University people, of course, were there, State officials, students and teachers of art, professional men and women, society women of the better sort, club women and, now and then, a skilled artisan whose feeling for his trade lifted him beyond the limitations of the mechanical. It was not a large group--Austin was still little more than an extended village--but it was a group whose members had a true realization of the fact that Texas had reached the point in her history where the extension of culture was one of her chief needs. The first stage in the pioneer era...
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