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 74 THE CONDOR Vol. XV other field. His interest centers first in the animal. I-Ie cannot avoid painting a portrait, whether of Caribou, Antelope, or Cougar, and his subject dominates or overrides a scene of immortal beauty. If we .could spare him from the field of illustration, he could speedily escape from.this mannerism. But can we so spare him ? Speaking selfishly, we certainly cannot until "The Birds of Califor- nia" is completed, for the task has become a sacred responsibility which no one else can so well meet as he. In making strong claims for our western champion, I do not mean to over- look or disparage the work of that veteran bird-artist, Louis Agassiz Fuertes, of whom Brooks himself has the very higlest opinion. These men are of the same "order of magnitude." Fuertes' work is bolder and,more masterful, as he is un- doubtedly the better draughtsman. Brooks's work is, perhaps, more subtle, re- strained and finished. The former inclines to hardness of treatment, especially in his backgrounds, while the latter errs, if at all, in vanishing delicacies. Both of them so habitually amaze and delight us that we exclaim ten times to once we criticise. Of Brooks the man I shall find it difficult to speak with a restrained en- thusiasm. In the first place, our artist is thoroughly English, not atrociously, but naturally and delightfully so. In physical appearance he is a trifle under the aver- age stature, but well-set-up and elastic withal. I-Iis hair is light and tends to baldness, while his countenance, which rather inclines to the florid, expresses at once modesty, geniality, and an innocence which is absence of guile rather than lack of savoir faire. A few wrinkles about the eyes show that the man has been much out 'of doors as well as that he is past forty. Truth to tell, I had pictured my lion with a little more of the stamp of the woods upon him (we met him for the first time in Seattle in December, x9o9), and was quite prepared to pardon a little ignorance of the convenances, some degree of uncouthness even, but it required but a moment to perceive that Brooks was a perfect gentleman. I-Iis courtesy is no studied attainment, but is based alike on native generosity and the careful breeding of many generations. The soul of courtesy is unselfishness. The self-forgetful man is better equipped to appear in society than the carefully drilled person whose mask-strings are likely to break under unexpected strain. Brooks was born to the purple, and thirty years of woodcraft have not unsettled his claim. As I had known by long correspondence, modesty is Brooks's most con- spicuous trait. Modesty such as his may be a handicap, undoubtedly has been in the way of business success, but iris a grace of character of the rarest sort. There is no affectation about Brooks's. It reacts spontaneously, gushingly, when- ever self is touched. Such a mental state is fortunately unconquerable. It simply refuses to believe half the good words said of it, and humbly tries to be worthy of the other half. Brooks's modesty, however, will bear analysis. It is no mere fear of men on the one hand, nor unreasoning self-distrustfulness on the other. It comes rather from a clear vision of high ideals, high ideals of art, of conduct, and of scientific attainment, before which those who are wise are always humble. Brooks knows what he can do, and he does it rapidly, unassumingly, and uner- ringly. Or if he makes mistakes, he is the very first to acknowledge them. All the more surprising is the man's unfailing modesty, in view of his breadth and versatility of interest and accomplishment. I knew Brooks was up on birds, and I presumed that he was somewhat versed in mammalogy, but when some one asked him how many mice there were in Chilliwack, and he rattled off