nurture and subsidy. And, therefore, it behooved the
legislature of this great state to make appropriation for the
purchase of Lonny Briscoe's immortal painting.

Rarely has the San Saba country contributed to the spread of the
fine arts. Its sons have excelled in the solider graces, in the
throw of the lariat, the manipulation of the esteemed .45, the
intrepidity of the one-card draw, and the nocturnal stimulation of
towns from undue lethargy; but, hitherto, it had not been famed as
a stronghold of aesthetics. Lonny Briscoe's brush had removed that
disability. Here, among the limestone rocks, the succulent cactus,
and the drought-parched grass of that arid valley, had been born the
Boy Artist. Why he came to woo art is beyond postulation. Beyond
doubt, some spore of the afflatus must have sprung up within him in
spite of the desert soil of San Saba. The tricksy spirit of creation
must have incited him to attempted expression and then have sat
hilarious among the white-hot sands of the valley, watching its
mischievous work. For Lonny's picture, viewed as a thing of art,
was something to have driven away dull care from the bosoms of the
critics.

The painting--one might almost say panorama--was designed to portray
a typical Western scene, interest culminating in a central animal
figure, that of a stampeding steer, life-size, wild-eyed, fiery,
breaking away in a mad rush from the herd that, close-ridden by
a typical cowpuncher, occupied a position somewhat in the right
background of the picture. The landscape presented fitting and
faithful accessories. Chaparral, mesquit, and pear were distributed
in just proportions. A Spanish dagger-plant, with its waxen blossoms
in a creamy aggregation 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 rec