Francis Hopkinson Smith

Francis Hopkinson Smith

Summary

Portrait of Francis Hopkinson Smith Francis Hopkinson Smith The Other Fellow

When all the girls and young fellows had arrived,—such pretty girls, with such soft, liquid voices and captivating dialects, the one their black mammies had taught them,—and such unconventional, happy young fellows in all sorts of costumes from blue flannel to broadcloth,—one in a Prince Albert coat and a straw hat in his hand, and it near Christmas,—the old darky grew more and more restless, limping in and out of the open door, dodging anxiously into the drawing-room and out again, his head up like a terrapin's.
Source: Gutenberg

Portrait of Francis Hopkinson Smith Francis Hopkinson Smith The Other Fellow

There is everything within its borders for the painter who loves form and color—boats, queer houses, streets, canals, odd, picturesque interiors, figures, brass milk cans, white-capped girls, and stretches of marsh. If there were not other places on the earth I love equally as well—Venice, for instance—I would be content never to leave its shower-drenched streets. But I know that my gondola, gay in its new tenta and polished brasses, is waiting for me in the little canal next the bridge, and I must be off.
Tyne has already packed my trunk, and Johan is ready to take it down the stairs.
Source: Gutenberg

Portrait of Francis Hopkinson Smith Francis Hopkinson Smith The Other Fellow

I have always believed that duty and beauty should ever go hand in hand in our churches. To me there is nothing too rich in tone, too luxurious in color, too exquisite in line for the House of God. Nothing that the brush of the painter can make glorious, the chisel of the sculptor beautify, or the T-square of the architect ennoble, can ever be out of place in the one building of all others that we dedicate to the Creator of all beauty.
Source: Gutenberg

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