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Dividend Two Directory 19
Page 09
BRIDGES, FIDELIA. Associate of the National Academy of Design in 1878, when but three other women were thus honored. Born in Salem, Massachusetts. Studied with W. T. Richards in Philadelphia, and later in Europe during one year. She exhibited her pictures from 1869 in Philadelphia, New York, and Boston. Her subjects were landscapes and flowers. In 1871 she first painted in water-colors, which suited many of her pictures better than oils. She was elected a member of the Water-Color Society in 1875. To the Philadelphia Exposition, 1876, she sent a "Kingfisher and Catkins," a "Flock of Snow Birds," and the "Corner of a Rye-Field." Of the last a writer in the _Art Journal_ said: "Miss Bridges' 'Edge of a Rye-Field,' with a foreground of roses and weeds, is a close study, and shows that she is as happy in the handling of oil colors as in those mixed with water."
The Whooping Crane is much larger than the common crane, which it otherwise much resembles except in color; its plumage, in its adult state, is pure white, the tips of the wings black. He spends the winter in the southern parts of North America, and in summer migrates far northwards. The crane feeds on roots, seeds, etc., as well as on reptiles, worms, insects, and on some of the smaller quadrupeds. They journey in flocks from fifty to a hundred, and rise to an immense height in the air, uttering their loud harsh cries, and occasionally alighting to seek food in fields or marshes; and when they descend on a field they do sad havoc to the crops, several doing sentinel duty while the majority are feeding. In general it is a very peaceful bird, both in its own society and those of the forest.
The contrary might be objected by some foreign observer, or by some one who had a larger acquaintance with European history than had he. I can imagine a French or an Irish critic pointing to a mass of assertion with no corresponding admission that it is assertion only: such a critic might quote even from these few pages phrase after phrase in which Froude poses as certain what are still largely matters of debate. Thus upon page 144 he takes it for granted that no miracles have been worked by contact with the bodies of saints. He takes it for granted on page 161 that the checking of monastic disorders, and the use of strong language in connection with them, was peculiar to the generation which saw at its close the dissolution of the monasteries. He takes it for granted on page 125 that what we call "manifestations" or what not,--spirit rappings, table-turnings, and the rest--are deceptions of the senses to which superstition alone would give credence.
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