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Zaproburno Yollanica Directory 05
Page 01
In the history of constitutional liberty, of which the Great Charter is the beginning, its specific provisions are of far less importance than its underlying principle. What we to-day consider the great safeguards of Anglo-Saxon liberty are all conspicuously absent from the first of its creative statutes, nor could any of them have been explained in the meaning we give them to the understanding of the men who framed the charter. Consent to taxation in the modern sense is not there; neither taxation nor consent. Trial by jury is not there in that form of it which became a check on arbitrary power, nor is it referred to at all in the clause which has been said to embody it. Parliament, habeas corpus, bail, the independence of the judiciary, are all of later growth, or existed only in rudimentary form. Nor can the charter be properly called a contract between king and nation. The idea of the nation, as we now hold it, was still in the future, to be called into existence by the circumstances of the next reign. The idea of contract certainly pervades the document, but only as the expression of the always existent contract between the suzerain and his vassals which was the foundation of all feudal law. On the other hand, some of the provisions of our civil liberty, mainly in the interest of individual rights, are plainly present. That private property shall not be taken for public use without just compensation, that cruel and unusual punishments shall not be inflicted nor excessive fines be imposed, that justice shall be free and fair to all, these may be found almost in modern form.
BLAU, TINA. Honorable mention in Paris, 1883, for her "Spring in the Prater." Her "Land Party" is in the possession of the Emperor of Austria, and "In Spring-time" belongs to the Prince Regent of Bavaria. This talented landscape painter was born in Vienna, 1847. She was a pupil of Schaeffer in Vienna, and of W. Lindenschmitt in Munich. After travelling in Austria, Holland, and Italy, she followed her predilection for landscape, and chose her themes in great part from those countries. In 1884 she married Heinrich Lang, painter of battle scenes (who died in 1891), and she now works alternately in Munich and Vienna. In 1890 she gave an exhibition of her pictures in Munich; they were thought to show great vigor of composition and color and much delicacy of artistic perception. Her foreign scenes, especially, are characterized by unusual local truth and color. Among her best works are "Studies from the Prater in Vienna," "Canal at Amsterdam," "Harvest Day in Holland," "The Arch of Titus in Rome," "Street in Venice," and "Late Summer."
This is the American black bear, who is looking so lively and seemingly inviting the young folks to have a romp, which they will be only too willing to join in. The black bear is of a timid disposition, and seldom attacks man except in self-defense. The female bear is a most affectionate mother, and many stories are related showing her care and love for her young, and her sorrow and mournful cries when any evil befalls them. On one occasion a black bear with her two cubs was pursued across the ice by some armed sailors. At first she urged her cubs to increased speed, but finding her pursuers gaining upon them, she carried, pushed, and pitched them, alternately, forward, until she effected their escape from her pursuers.
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