Atwood Hammond High School - Post Yearbook (Atwood, IL)

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HENRY GROSS Dry Goods, Clothing, Boots and Shoes, Hats and Caps, Suit Cases, Telescopes, Trunks, Men’s Furnishing Goods. Mutual Phone Atwood, Illinois H. B. BREWER Farm Implements, Buggies and Harness Summer Robes, Whips, and Wire fencing. Latest Styles Fancy Millinery sigeg. f. gross ATWOOD. ILL Farm Loans. Fire and Lightning, Tornado and Windstorm Insurance Bach the best ol its class. As Notary Public. Am at your service to take your acknowledge ment to Deeds, Mortgage (real estate', Releases, and such other pa| ers as may require to be acknowledged before a Notary. l«ab Sipe TEACHER OF PIANO Atwood, t ddtnots Saratoga Restaurant MISS JKSSIK WILLY R. A. Jolly, Proprietor

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Last in iny chronicles, but uot least, is Laura. She made her debut in Atwood many years ago, as a chubby little girl of three. The color of her hair is, in all probability, accounted for by the fact that she was born in Auburn. She was always a great favorite, especially with the preachers. This may have been on account oi her admirable traits of character, but we da not know. However, we do know that whatever her characteristics were, they were constantly getting her into mischief. Hut Laura had talents as well asqnalities. After hearing her recite “I ain't go in ‘ a cry no more several times in the high school, we decided that she was a born elocutionist, and sent her to the county contest, where she fulfilled our highest expectations and carried off the honors of the dav. This was the last important event in her school life, but we have heard that she may join Vivian and Madam Melba, on their Kuropean tour, and who knows, but that triumphs greater yet may wait her there? Thus in the Held ol athletics, explorations, oratory, and music, are we as a class represented; and we look forward to the time when the inusc of history will plac high on the scroll of fame tile name of Sampson for athletics, Perry for exploration, Demosthenes for oratory. Apollo for music, then dipping her pen in the sunlight will write in the clear blue, above them all the names of the members of the class of 1907. CLASS PROFIT RCV I.AURA 1 . WRIGnTSMAN A great many things have happened which .are unknown to modern historians. More than two thousand years ago in the third century before the birth of Christ there was a Greek, called Demoductis, who lived the most of his life in seclusion, for he was chief priest in the temple of Apollo. This temple located at Delphi, a secluded spot in the mountains many miles from inhabitants, was the connecting link between mankind and the gods and was only visited now and then, in the times of trouble, by an official messenger who came for advice from the gods. The most sacred room was located in a wing which stretched out over a large fissure in the ground. Peculiar fumes arose from this fissure and filled the air with a sacred atmosphere. Here the priest would lie and interpret the visions which lie was inspired to see. The gods were good to the Greek- in those days and a continued line of visions enable.1 the high priest to guide his people to many victories. This Demoducus fiad once been a common man in bis youth, but many years of valor an 1 great success in Olympian games had won him favor with thegodsaml he arose to this great position before he had reached th- age of three score years. The early life of this man had made him very energetic; consequently, he was not content with merely interpreting visions when they were needed. He made many offerings to the gods and prayed that he might be allowed to read the future. His prayer was granted. At the particular time of this story Demoducus had been busy for fifty years recording a prophecy of the future and had it finished up to the year of 19.b As was his custom he began this day on the work of reading the development of great characters who Mould start on their careers that year. He unrolled his scroll and peered into the hazy atmosphere of the room. There was a building pirt wood and part stone; the wooden part was old, the wings of stone were new. In this building there was a large ciowd facing five persons on a stage. Over the stage were the letters Class 07. Kvidentaly these five people were to be recorded in history. He closed his eyes and

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TWO GLORIES TRANSLATED BY BEN TOMUNSON STUDENT OF U. OF I. One day when the celebrated Flemish painter, Peter Paul Rubens, was going through the churches of Madrid, accompanied by his famous pupils, he entered the church of a humble monastery, of which tradition has not handed down the name. The famous artist found little or nothing to admire in that poor, ruined church, and was already going on, railing, as was his custom, against the bad taste of the monks of New Castile, when he noticed a certain picture half hidden in the shadows of the ugly chapel, approached it, and gave an exclamation of astonishment. His pupils surrounded him in a moment and asked: What have you found. Master?” Look!” said Rubens, pointing, as his only reply, to the canvas before him. The pupils were as overcome with wonder as the painter of the “Descent from the Cross. The picture represented the “Death of a Monk.” Very young and of a beauty which neither penance nor suffering had been able to efface, he was stretched on the tiles of his cell, with his eyes already veiled by death. One hand was extended and clasped a death-skull, while with the other he pressed to his heart a crucifix ot copper and wood. In the background of the canvas was seen painted another picture, which was represented as hanging near the bed from which the monk was supposed to have arisen, in order to die with greater humility on the hard ground. That second picture represented a dead girl, young and beautiful, placed on her bier and surrounded by funeral tapers and ric i. black hangings. No one could contemplate those two scenes, the one contained in the other, without understanding that they mutually completed and explained each other. An unfortunate love, a dead hope, a disillusionment of life, an eternal oblivion of the world; this is the mysterious poem that is drawn from the two ascetic dramas locked up in that canvas. Moreover, the color, the drawing, the composition, all revealed a genius of the first order. Master, who can have painted this magniBcent picture?” aske l the pupil , who had already approached the painting. “In this corner there hail been a name written,” rjplied the artist, “but a few months ago it was erased. As to the picture, it is not more than thirty nor less than twenty years old. “But the artist— The artist, according to the merit of the picture, might be Velasquez, Zurbaran, Ribera, or the young Murillo, with whom I am so charmed. But Velasquez does not feel in this manner. Neither is it Zurbaran, if attention is paid to the color and to the manner of seeing the subject. Still less should it be attributed to Murillo or to Ribera; the former is more tender and the latter more sombre, and besides the style belongs t » lhe school neither of the one nor of the other. Iu short. I do n t know the author of this painting, and I would even swear that I have never seen any of his works. 1 go still farther; I believe that the painter, unknown and perhaps even dead, who haft left the world such a marvel, ) 'longed to no school, and lias painted no other picture except this, nor could he have painted another that could h ive approach id it in m rit. This is a work of pure inspiration, a. personal experience, a reflection o. the soul, a fragment of his life .... But .... what an idea! Do you wish to know who is the author of this picture? Tnen it is this very dead man whom you s e in it!”