Barringer High School - Athenaeum Yearbook (Newark, NJ)

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HIGH SCHOOL ANNUM NEWARK, N. J.t 1S90. CHRISTMAS CAROL. ANNIE C. RUDD, CLASS OF ’90. WE know the old, old story, How on that Christmas morn In Bethlehem’s lowly manger 41 The Prince of Peace ” was born. No cradle of costly splendor Waited his holy birth, But lo! in that manger lying The King of all the earth. No scepter of earthly power, No crown of jewels rare, And naught save the golden glitter Of his clustering locks of hair. But over the hills Judean Angels their voices raise Chanting in tones of triumph Their joyous notes of praise. Glory to God in the Highest! Peace to the men on earth,— Praise for the Father’s goodness, Joy for the Savior’s birth. From the far-off, distant countries, Wise men his cradle sought, And they to this shrine of worship Their choicest treasures brought. Shall not we, too, with gladness, Our grateful homage pay And on the Savior’s altar. Our hearts, our treasures lay? Bring with the myrrh from the forest, Bring with the gold from the mine, Loyal, living and trusting hearts, Sweet gifts for the Lord divine.

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 Forti ct fideli nihil dificilo.

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6 “THE VIKING'S DAUGHTER.” Prize Essay, 1889. “THE VIKING’S DAUGHTER.” GENEVIEVE S. GRORK, 89. ART is most perfect, and is best accom- plishing its mission when it brings the world to a higher sense of its shortcomings, by revealing to it the heights to which it might attain. Art is not art if it is of no benefit to the world, and happy may that worker be who has wrought that which will lift his fellow-creatures up to higher things. This crown of happiness may justly be conferred upon Mr. F. S. Church, for in his painting, “The Viking’s Daughter,’» and indeed in all his better works, he has truly tried to create a standard higher than any which we now possess. He has .shown to us what in these degenerate days we most need—a pure, a perfect woman. He has revealed the influence which lies in the small palm of a woman’s hand. Even the beasts and birds of the air are subservient to her, and, like the omnipotent love, her influence extends to every living creature. The first impression of the “Viking’s Daughter ” is of the mere beauty of the work. The old sea-king’s child stands on the bleak sea-coast, enveloped in her pale- green drapery. Back on the breeze floats her wind-blown hair, and about her head is clustered a snow-white, billowy, shift- ing mass of sea-gulls, white as the foam of their native seas. From the canvas the spirit of the North is breathed forth. The cold, rushing wind, with its icy, sting- ing particles, blows full in the face: the loud, piercing screech of the sea-gulls, and the confused flutter of their wings fall upon the ear, while, out from all, the sweet, delicate face of this child of the North gleams distinctly forth. Mr. Church has called her a viking daughter, but never such a creature] this has been praised in the song of t: old northern scald; never such a face at form as these have been seen in tho lands of ice and snow, and hence, why she a viking’s daughter? Mr. Church is eminently an Americ artist, for the face of his picture is a pun American ideal. The woman he has po trayed is not the soft, feminine, luxtfl loving woman of the South, nor yet isfi the strong, hardy type of the Germa: but she is thoroughly American, a: through her veins is coursing the blood her old ancestors, the far-away Norseme She feels their spirit moving within lie The sea-gulls are whispering it to ht “Maiden fair, take our gifts,” they! “far across the northern seas have 1 brought them to you. The foam of t sea breathed them to us, the icy mod tains whispered them to us, and deep your heart receive the old independen the sturdy rectitude and the brave coura for which your fathers were famed in i old sagas of the North.” This,. then, is why she is a vikin daughter. She is the child of to-di with the impulses of many years gone! In his painting Mr. Church has tried typify a woman who, while still remain! a woman, will by the force of intelk and by the balance of her powers becxx a factor in the world’s greatness. S shall not be the clinging, effeminate ores ure of the Middle Ages, standing on lower level looking up to man, to wh she is considered a mere accessory; s shall she lose her womanly traits a enter into the man’s province, but si