File:Dogs of all nations. In prose and rhyme (1903) (14767083561).jpg

Identifier: dogsofallnations00mill (find matches)
Title: Dogs of all nations. In prose and rhyme
Year: 1903 (1900s)
Authors: Miller, Conrad Jenness, 1842-
Subjects: Dogs Dogs
Publisher: New York, J.S. Ogilvie Publishing Company
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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s sounds; coming we know notwhence, telling us, we know not what. —Cardinal Newman. The following illustration is that of a dog with a musicalear. Music appealed to him in the same way that beautifulcolors appealed to the dog described elsewhere. Any kindof music attracted Mozart, if nothing more than a hand-organ. But the melodious notes from Faust, the en-chanting strains of Beethoven and Wagners thrillingtones, stirred every fiber of his body. The playing ofthe Pilgrims March from Tannhauser would bring fromhim barks, blinks and the wagging of his tail; the move-ments of his body—his head swaying from side to side—giving him a most dramatic appearance. IN PROSE AND RHYME. 59 When the notes were low and soft, he would drop uponthe floor, resting on his legs and stomach, and when thehigher keys were touched he would sit on his haunchesor stand. If a false note was struck he would bark hisdisapproval in a most emphatic manner. The following was one of the amusing characteristics
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of this unique canine creature. When he heard music ata distance he would at once start on a run as hard as hecould, with his mouth open and grinning as if anticipat-ing a great treat. If it was a band he would follow itall over the town, marching alongside and unconsciously,in a way, keeping step to the music. Mozart also en-joyed the singing of birds. He has been known to situnder a tree upon whose branches a bird was piping itstuneful notes, and to stay there while it sang. 60 DOGS OF ALL NATIONS

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