Hita HCG ene tty Tes i a a it: rinieiereatinettty, | Hcuteat iit eistels i itt Frit tiie a ft vir SAE TtAS ttete te } ; ist ate 7 rire Aa rie ee ae a aE Hater 7, a ttt tte itt! sett Tet el of - if vat Siete Feiy it it f, F fat ebsess pt: tre ott Fer el et: tet Hhelits fort iets a te a t a ae ne ae ae iit a it i t tity pt Tati , t t a Hitt i PCat te leer tet et gt tes trite fia ae brett iat eigieielt eirinitrestetet fi ft eieietgieett, set i i if tH rt ytet Ln rit? lit iis y, pt Ter : f : { eae eke : rrr tenons te went Triatelestatetatatriee Ht a ririt eee is rae SeUIC DEH tb ues oot eb tte ota cat at ifetet teat tess Banas Tht! tite tf He i sitet i Hee Hite r geht sea eteet seh ae bas 1 ipieigselrtr irene ar igs ee rately. ata iith rt. ‘+ atts rete eit Thtet tet 4 rt a ofthe aecertt ae teleiser ileteat Tiistetat ut ie Atte fe He spirit 8S Sprites Heettte ‘ Me rari i Sotegririty i fepeirictet it fle eteetttat te Tritt eieieitatatety atyyt qty etutatet Telieleteteletentert et Hiepleteity tieltetettete Atte ee irs: i tir Hitt ltrs Hie ts ieee 1 if ist i: i oe i fit ao iy i ieittt 1 ttt sgpteas Hitt Heytiatt cee Snir eirbehrat startet eatatgterdt + aes tet niet ite st Hats Hata ite i eirteatetrt yt i irre i ite Het r. i tty aaieiteenattt abe S ners riretet giptettrs as fiigiel Hit He Tea teceaty Pasties ny eet - i 7 a ae a ripntt int Height esos tit brett terete nertacty Do Ht rai: iil ref red i at ah ie iat Bit at ; . He : Ha 1 He i : f . atte ae atte atte et bi Ha tele af dak Tet in iit inne an ie rreitt Hitt Hh yt ie pebsti bo ss Ses) vit f i fe *' i af fi iY ean ai ee Nanette a et iasae / iy rf it Ee ; ba | t t tah Hen +f Hitt ie nil et i i ii it Titties it itt eo i Helle itt rf i if ney, tt Tetris tthe it Hirt fi Heit Hae ii fier t at f niet t a ; fi etre beetete i aes - . ae if mt i eit titty! t - f ae tit ee i | TAM 7 ae a it tittlat i talgiearitette tir ft cr tet i Stee Brat ; Siri?) sie ee ibe i Hite rlpit een _ aa tise i He ; ii fitted abet +h ee a aint TH Sth a He If T. ae Hate i ! fi) a Sesesst espe bet S 38 Bea teks Pebcybesioet Sassen: : a seipasciaee rials? et | ah a a Hae ia sitet SF “y fe rysts fk i ite aria) ii fea ist ltt et He nities ately TMetateet Ct ateh pei seseheh eres bh tr + Hit ? + ont ae 4 4 JAMES” H. STEBBINS’ PRIVATE, COLLECTION | ee ey ; - P< OF ie otoe | } a a Masterpieces by the Soren A rtists . COLLECTION TO BE SOLD BY AUCTION | Dees ve WITHOUT RESERVE ; . eae" ON. DAY. EVENING, FEBRUARY. 21H, 1889 UAT CHICKERING HALL Frere AVENUE AND Bie STREET THE PAINTINGS ARE NOW ‘ON. PUBLIC EXHIBITION 7 HK acs. “AT THE AMERICAN ART GALLERIES Nos. 6 AND 8 EAST TWENTY-THIRD STREET, NEW YORK EMAINING ON EXuIITion, Day AND EVENING, UNTIL DAY OF SALE, INCLUSIVE (SunDAys EXCEPTED) AMERICAN ART ASSOCIATION, MANAGERS THOMAS E. KIRBY, AUCTIONEER hg Poet, 7 yee 1889 y fa » * bes ; Copvricur, 1888, BY THE AMERICAN ART ASSOCIA’ , r 4 I ‘ ’ “ =? 4 . ; : ‘ i , i : \ ~ , ; 7 A ” ¥ *“ , , fy : - 1 A ~ r ¥ i Sane 7 ba. ce) ’ ye : is iT - * j nen P, ir : : i : 4 ‘ i ' 4 be 2 + ] 4) y ioe ) EE fe We comet ot CONDITIONS OF SALE fon The highest Bidder to be the Buyer, and if any dispute arise between two or - more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. | 2. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money, z/ required, in default of which the Lot or Lots so purchased to be immediately put up again and re-sold. 3. The Lots to be taken away at the Buyer’s expenee and Risk upon the conclusion of the Sale, and the remainder of the Purchase-money to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold themselves responsible if the Lots he lost, stolen, See or destroyed, but they will be left at the sole risk of the Purchaser. 4. Lhe sale of any Article ts not to be set astde on account of any error in the description, or tmperfection. All articles are exposed for Public Exhibition one or more days, and are sold just as they are without recourse. 5- To prevent inaccuracy in delivery and inconvenience in the settlement of the purchases, no Lot can, on any account, be removed during the Sale. : 6. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited ; all Lots uncleared within three days from conclusion of Sale shall be re-sold by public or private Sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This Condition is without prejudice to the right of the Auctioneer to enforce the contract made at this Sale, without such re-sale, if he thinks fit. THOS. E. KIRBY, AUCTIONEER. PeeCiAl NOTICE DMISSION to Chickering Hall on Night of Sale will be dy Card only (no reserved seats). These Cards will be ready for /ree distribution on Thursday, February 7th. Application for them should be made by letter. Address AMERICAN ART ASSOCIATION, 6 and 8 East 23d Street (Madison Square, South). peer 1!O PURCHASE HE undersigned have volunteered to receive and attend to orders to purchase at this Sale: Messrs. M. KNOEDLER & Co... : , . Fifth Avenue and 22d Street L. Crist DELMonico (Kohn’s Art Rooms) . ; : No. 166 Fifth Avenue Wm. ScHaus, HERMANN ScHaus, and A. W. CONOVER, Successors, . : : : : : : . No. 204 Fifth Avenue Gouri. & Co., of Paris, Boussop, VaLAapon & Co., Successors, No. 303 Fifth Avenue Messrs. BLAKESLEE & Co. . ; u ‘ : Fifth Avenue and 26th Street Messrs. REICHARD & Co. : : : ‘ : , No. 226 Fifth Avenue M. DuURAND-RUEL, : »- WNo: 207 Fiith Avente AMERICAN ART ASSOCIATION . ; Nos. 6 and 8 East 23d Street é ARTISTS REPRESENTED AGRASSOT, JOAQUIN. : : : _ ALMA-TADEMA, LAURENZ . ‘* ALVAREZ, PIS hi’. : : : BAUGNIET, CHARLES. ; PHEARD, WILLIAM H. é ‘ ‘ BERNE-BELLECOUR, E. P. . : BERTRAND, JAMES . : : | BIERSTADT, ALBERT _BonHEUR, MLLE. MARIE RosA BONHEUR, FRANCOIS AUGUSTE . ' BOUGUEREAU, WILLIAM ADOLPHE BOULANGER, GUSTAVE R. C. CERVvI, C. : ‘ a DAuUBIGNY, C. F. pS : DeEcaAmpes, A. G. DETAILLE, J. B. Epouarp, ; DIEFFENBACH, ANTON HEINRICH Dr BEAuMonT, C. EpovarD D’Eprnay, Count GEORGES PROSPER De NEUVILLE, ALPHONSE MARIE DE NITTIs, JOSEPH . FORTUNY, MARIANO . GARRIDO, EDOUARDO Lion GEROME, JEAN LEON GOUBIE, JEAN RICHARD . : GRISON, ADOLPHE, ’ ; ‘ HEULLANT, FELIX ARMAND JAcoMIN, ALFRED Louis LA Tour, CLAUDE S. H. DE x NO, 4, 35 . 54, 58 79, 80 13, 48 55, 77 NO. LELoIR, Louis ALEXANDRE 50 LEON-HERMANN, CHARLES 23 LOTH,UF. Ei; 25 MADRAZO, RICARDO . 45, 51 MEISSONIER, J. L. E. . a 400 86, 723573 MEISSONIER, JEAN CHARLES 64 MICHETTI, F. P. ae Gt MONTELANT, J. O. DE 8 PASINI, ALBERTO, 24 PETTENKOFFEN, Pror. A. VON 59 PORTAELS, JEAN FRANCOIS 19 RICHTER, EDOUARD . 32 Rico, MARTIN , ; Ph 22. Ania a) O35 Rossi, Lucius . : : ‘ 17, 38, 39 SAINTIN, JuLES Emi, 26 SCHEYER, ADOLF 67 SIMONETTI, ATTILIO CAVALIERE . 36, 37, 53 TADOLINI, ADAM SCIPIONE . 78 TEN KATE, HERMAN F., 46 TROYON, CONSTANTINE . : 57 VANNUTELLI, CAVALIERE SCIPIONE : 44 VERNET, E. J. HORACE, 21, 66 VERNIER, Emite Louis : i » 5 VIBERT, JEAN GEORGES 61, 71 VILLEGAS, JOSE . ; : : : 16 WoRMS, JULES . +. 2 WESSEL, O. ’ P : , : 47 WYLIE, ROBERT, . : : Seas Zamacois, EpouarRD . une GOA Or ‘WYLIE (RoBERT), . Deceased _ Born in the Isle of Man, 1839. Died in Brittany, 1877. Brought to America when a child. Pupil of the Pennsylvania Academy, Philadel- phia, the directors of which sent him in 1863 to study in France. Medal at Paris, 1872. = No. 1 FIVE BRITTANY CHILDREN. 9 X 10%. To Robert Wylie is due the discovery and development of Brittany ‘as a mine of artistic material. He it was who first settled to study and paint at Pont Aven, where, now that he is dead, has sprung up one of the most extensive permanent art colonies’ in Europe. Brittany affords material for the painter of figures, of cattle, of landscape, and of the sea. Its picturesqueness is endless, and its variety of pictorial wealth inexhaustible. The people in particular, preserving as they do the manners and costumes of the past, and being but slightly modernized in spirit, furnish the artist with abundant material. It was among them that Wylie found the successes which made him famous. The scene is the interior of some showman’s booth at a rural fair. The five children, perfect types of French peasant life of the younger generation, are watching some absorbing show. One little girl is seated in rapt attention. A second has been disturbed by a teasing younger child, and turns to rebuke it. Behind are two boys, one standing, serious and thoughtful, with his whole interest engrossed in the performance. The individualities of the children are strongly and accurately defined, and the delineation of expression is an important detail. The coloring is rich and subdued. p50 JF § bei TOUR (Criaupe SrpasTian HuGARD De), . Fans Born in Savoy, 1818. Landscape painter. Pupil of Diday. Medals, 1844, ae 1846. 7 Wp lt i : No. 2 EARLY SUMMER. (EFFET D’ETE.) THORNE When the brow of June is crowned by the rose, And the air is fair and faint with her breath, Then the Earth hath rest from her long birth throes ; The Earth hath rest and forgetteth her woes, - As she watcheth the cradle of Love and Death, When the brow of June is crowned by the rose. EMILY PFEIFFER. { The foliage is fresh with the vivid greens that have been unscorched by the sun, and the streamlet still holds the coolness of spring among its ripples. Some cattle give life to the landscape, and a village lends interest to the background. The delicate suggestion of this period of the year, whose beauties are so subtly defined and so difficult to render, is conveyed with a remarkably sympathetic and appreciative touch. Io x MICHETTI (‘eereusco PAoLO), . . . Born at Chieti, near Naples, 1852. Studied in Naples under Dalbono pcm later in Paris. Medals at Rome, Turin, Florence, and Parma. Cheva- / a~ “ lier of the Order of the Crown of Italy. we, i) No. 3 Care IN. THE WOODS. (ENFANT DANS LES BOIS.) 5a X 7 A wood interior in the most verdurous season. The late afternoon sunlight plays amid the foliage of the birch trees, filling the forest with a warm, green, and luminous mistiness. A child, clad in blue, with a red cap, gives the interest of life to the picture. II aneug yw. ZBIERSTADT (Avzert), N. A, ; New York yy 0 | Born in Naas 1830. Brought to America at an early age. In 9 1853 he returned to Diisseldorf and entered the Academy there ; after- ward studied tn Rome, Switzerland, and Germany. Elected Member — jeer” 1860; Chevalier of the Legion of Honor. No. 4 MOUNT HOOD, OREGON. 13 X 19. i Thirty miles beyond the Columbia River, winding its reddening way into the sunset of the Pacific, the noble peak of the great mountain of the Cascade Range pierces the burning sky of evening. Mount Hood measures over eleven thousand feet in height, and presents a magnificent spectacle viewed over the fertile valleys of the Columbia and the Willamette rivers. The range to which it belongs is of volcanic origin, and there are Indian legends that Mount Hood itself has been seen in eruption within the century. It is sufficiently quiescent now, however. The vapors of mountain brooks still wreathe about it in the cool air of dawn, but the fierce breath of subterranean fires is stilled. Mount Hood was one of the last peaks on the Western Continent to be explored by human feet. For many years its savage and dreary upper slopes defied human courage and endurance. Its secret was finally wrested from it, and quite recently some very interesting meteorological experi- ments were made by a United States surveying party that scaled its summit. The date of Mr. Bierstadt’s picture is 1868. I2 Paris ws be. a at Lons-le-Saulnier, france. Pupil of Collette. MM edals, 1869, 1870. ait Cae oe bird | Aires = No. 5 - WASHERWOMEN OF BRITTANY. bi.? (BLANCHISSEUSES BRETONNES.) 16 X 28, Rugged land of the granite and oak, \ I depart with a sigh from thy shore, | _ And with kinsman’s affection a blessing invoke a the maids and the men of Arvér. aes ‘ ee SAMUEL FERGUSON, ae s i he sea is a species of mother, albeit often a harsh and cruel one, | othe” “Breton poor. From her they draw their sustenance, the finny “harvest which constitutes their meagre earnings and provides them with Ny scanty and rude fare, their fuel and often their clothing, which the storm sends ashore to them, as spoil of the wreck. While the men brave its - perils: off shore, the women forage along the strand, gathering seaweed ev tanrd mussels, collecting hie drift cast up by the waves, or among the pools ere. in the channelled rocks by the receding tide, beating out their coarse linens and cleansing their garments, which seem never too old or worn out to be unfit for use. It is a life of perpetual privation and limitless labor, which is fitly lived in the presence of the restless and melancholy sea, under a sky which swells with fitful showers and bursts in the sudden _ trumpetings of a capricious storm. Bg ty. lars 4 : : © Oe, DIEFFENBACH (Anton HeErtnricH), ~. . | Berlin Uae we i 2 ~~ <& Born in Wiesbaden, 1831. Genre painter. Pupil in Dusseldorf of “7 Jordan. Lived for some years tn Parts. a No. 6 | SHEARING THE PET. (LA TONTE DU CANICHE.) TS ox es: Hector is having his toilet made, while his more diminutive friend, Gogo, watches his comrade, perched upon the upturned tub, and resting passive under the master’s shears, with uneasy surprise. And what a fine type is this master, an old soldier rusting his peaceful years away in the snug retirement of a porter’s lodge, caging pet cats instead of capturing warlike prisoners, and cropping the coats of friendly poodles instead of the ears of a foreign foeman! The same strong hand that wrested the Cross of the Legion, shining on his shabby breast, from the fury of battle, touches with the firm gentleness of a kindly master the confiding pet that comes under his control for artistic embellishment... It is an admirable example of the old campaigner of the great Napoleonic era that the artist paints. Of such men neither dogs nor their little mistresses need cherish mistrust or fear. That honest face, bronzed in the aunens smoke and the blaze of burning gunpowder, indexes a brave and truthful heart, that ‘has fairly won the peaceful corner, in which its master may puff his pipe and see, in the softly curling smoke of his glowing bowl, visions of the stormy past which has brought him its placid reward. In such episodes as this, war makes to the human race some extenuation of its heroic horrors and its dark despair. The date of the picture is 1867. 14 "I 2 ae OF ON ne eRe, ee pat TS E~ . S ~ PO ty N2 Pe oat in = ON 4 sll ies) on aia’ BAUGNIET (CHARLES), . Be ty oe Paris a Born in Brussels, 1814. Pupil of Paelinck and of Willems. First pg 3 known through lithography. Member of Ghent Academy in 1836. Ap- ' potnted designer to the King of Belgium, 1841. Order of Leopold, 1843. ieee: Officer of the Same, 1872. Order of Isabel the Catholic of Spain. 3 Order of Branche-Ernstein of Saxony. Order of Christ of Portugal. oe No. 7 } CURIOSITY. (LES INDISCRETES.) 265 xX 21, Although the proverb assures us that the name of curiosity is woman, the trait is, it is but fair to assume, not confined entirely to the sex. Key- hole confidences are quite as dear to man. There is, however, a lack of dig- nity about a male listener which impels the painter naturally to woman when he desires to weave an allegory out of the act of eavesdropping. Woman is always graceful and charming, even in such contingencies as M. Baugniet rep- resents. There is a dainty elegance about the fair being in blue and white, with her ear to the key-hole, and a lissom charm to her companion in pink and white, who is standing and listening to her report, that one would seek in vain in two members of the other sex engaged in the same surreptitious employ- ment. We may imagine, from their expressions, moreover, that the subject of : discussion on the other side of the closed door is of paramount interest to one ‘of the twain. In such rich houses love and diplomacy go hand in hand, and whose verdict is in doubt, that is screened by the jealous barrier. 15 : | it may be a marriage settlement, or a proposal from an ardent lover to a parent ) IMONTELANT ( ae O.. DE), Rome 3 Wd. ; hoe No. 8 VIE Weer “NAPLES. 21 ea Naples! thou heart of men which ever pantest Naked, beneath the lidless eye of heaven ! Elysian city, which to calm enchantest The mutinous air and sea ! PERCY BYSSHE SHELLEY. It is the Naples of Shelley, that M. de Montelant paints,—the Naples drowsing in the shadow of Vesuvius, lapping its lazy feet in the warm wave- lets of the sapphire sea. There is no hint of the long troubles of its vicissitu- dinous history, of the savage romance of its existence of conquest and revolt, of tyranny and oppression, in this easygoing city, basking in the summer sun. amid a nature that gives one a hint at the pleasures of Paradise. It has been said that Newien like some handsome woman, has a talent for not showing her age. Yet it was in the shadow of Vesuvius that the Greeks set up their colony of Parthenope and that Virgil was buried. It was here that even after Rome conquered Greece, the Greek refinement and the Greek tongue con- tinued to hold their own, and that, through all the black waste of the Gothic and Byzantine wars, a singularly spirited and independent people preserved their individuality and much of their independence. And even in these days of his degeneracy the Neapolitan is one of the distinct and notable types of Italy. 16 Deceased Ber) April 25, tii Pupil of Jollivet and of Paul Delaroche. 'on the Brie de Rome in 1849. Medals, 1857, 1859, 1863, 1878. pevalier of the Legion of Honor, 1865. Member “UV the Institute of ce, 1882, Died, 1888. | No. 9 - THE EMIR-SCENE IN ALGIERS. eae a (CEST. L'EMIR.) : i We , Seige x 182. i Poor, vagrant scions of the Prophet's race, Who beg an alms with all a giver’s grace. x FRANCOIS COPPEE. { we ee inheritance that the sons of Fatima, the iter of nd ae Be ge a the green turban, which found such eae in the eyes of eae ‘ae ee at himself, But they, thanks to these facts, still encounter a certain word aye ee in effect, an independent Picicdian as well as a _ descendant of the prophet. In M. Boulanger’s picture we see an émir by birth and an émir by the fact of his tribal authority meeting in an oasis in the: as a 3 | ! 17 . * : ips ee ad ¥ THE EMIR—SCENE IN ALGIERS. desert. In the person of the one we have an emblem of a deteriorated race, living upon the traditions of its origin. In the other is embodied the fiery and manly spirit of some family of warriors of the desert who owe their title to their prowess alone. The contrast is well made. The haughty young chieftain receives the humble descendant of the Commander of the Faithful with a certain degree of disdain. Still he extends to him, for the sake of the tradition he represents, the welcome of a peer, and the rude hospitality of his scanty commissariat. | | The recent death of Boulanger was sudden and almost tragic. He was a man of large habit and a noble self-regard. One afternoon he stood at his easel, busy with the sketch of an Arab woman carrying a richly — embroidered saddle. The next evening he and another painter went together to a friend’s house to dinner. As they passed the house where Eugene Scribe lived, they spoke of the death of that distinguished dramatist. Scribe was riding in a carriage, and he died so suddenly that he could not lift his hand to the check cord, which communicated with the coachman. “ That man,” said Boulanger, “had luck all through his life, but the thing I envy him the most was his way of leaving the world, without knowing that he was going.” The dinner party was a pleasant one, Boulanger in particular being full of anecdotes and souvenirs. When he left the table he began to hum a tune. His friends left him at the door of his house, where he also had his studio. A speaking-tube was within reach of his bed, placed there during an illness which he had two years ago. The janitor of the house heard a feeble call, and on placing his ear to this tube heard the artist, in tones so weak that he could hardly make them out, say: ‘‘Go for my doctor.’’ When the physician came, he found Boulanger dead, still holding the end of the speaking-tube in his hand. The picture is dated 1871. 18 SE eee PAT ae ep pee HE PSP SD ae ey “les Den Sone aa lee ee rs Tr f ~ GARRIDO (EpovaRDo Leon), Sete PATS ; a i et at Madrid, 1854. Pupil of V. Palmaroli & No. 10 ke RAINY DAY, PLACE DE LA CONCORDE. (UN JOUR DE PLUIE, PLACE DE LA CONCORDE.) ey Loe eee, a ji aa The place of peace to-day ! ’tis easy said, ‘When every inch space of thy stones is red, Se ee, ae eee a When all the rain that gracious Heaven brings, ee ee) Still cannot purge thee of the blood of kings ! ROBERT BROWNING, te oe In 1747 Louis XV. accorded to the good citizens of Paris permission to _ erect a statue to him, and they set it up in a square called the Place Louis XV. In 1792, when the Republic had been set up, the Assembly decreed the demolition of this monument, and had it replaced by a tawdry plaster figure, colored gaudily, of Liberty. The title of the square was changed to the Place de la Revolution, and the guillotine was set up on the spot where now stands i tethe Obelisk of Luxor. The elaborately sculptured base of the Louis XV. statue, indeed, served also as the foundation for the scaffold on which Louis XVI. and so many others of royal and commoner blood perished. In 1799 the Reign of Terror being over, the title was changed to that of the Place de la Concorde, and since then the work of improvement has been carried on that renders it with its Obelisk, its fountains, statues, columns, and esplanade, the finest public square in Paris, if not, indeed, in the world. The Place de la Concorde has on one hand the palace and garden of the 7uzlerzes, and on the other the long vista of the Avenue des Champs Elysees, terminating in the Arc de Triomphe in the Place de L’Etoile. In the other direction are the Garde Meuble and the Madelaine, seen through the Rue Royale, and the Palace Legislatif, beyond the Seine, and the Pont de la Concorde. Spacious, brilliant, and ever alive with the animation of a great city, it invites the painter's attention by a constant succession of changing pictures, in fair weather or foul. 19 ’ 7 : . 7 I | pV »MICHETTI (Francesco Paoto), . . Naples Qin iB = on Born at Chieti, near Naples, 1852. Studied in Naples under Dalbono ; later en in Paris, Medals at Rome, Turin, Florence, and Parma. 2 Kr labaed No. ll ITALIAN CHILDREN AT A FOUNTAIN. | (ENFANTS A LA FONTAINE.) 8 x 44. Children are drawing water at a crumbling well-side in the neglected garden of an ancient palazzo. The stone wall of the garden and the ground are dappled by the sunshine with flecks of gold. Dated 1871. 20 7 Paris 10 -O | Genre pe Pupil of aes Medals : Paris, bp 39 fs (TEMPS INCERTAIN.) 1 TAD aN ho og And woman's will—how says the ancient sage ?. So like the veering of the weather vane, . Created for man’s pleasure and his pain, And quite above his blandishments or rage. part Lorp Byron. \ a a a ee ea = - “ elas - 4 £ irs. ad a = i man in. ihe nee coat, ayith the white vest and gay breeches, who is putting , osnee ae up his hand to make sure by the moisture on it that the rain has begun to fall, x i suggests his appreciation of this fact. The party have been breakfasting al fresco, i in a suburban garden, near some Spanish city, at a period early a in the century, as their dress betokens. The roof of the little hostelry is seen ig ee ~ above the verdure of the garden crowned with its splendid weathercock. An : { i rny ‘old servant in livery opens an umbrella, while the two pretty girls, whom their , "elderly escort has been entertaining, shrink poutingly within their flimsy sum- Be finery, with the pleasure of the day spoiled by the anticipation of the Une . | 21 a yar drenching to come. ¥ Te. is probably i in eh: moment ‘that. their ee ences a menace as serious as that of the weather itself. _ for etna ribbons and bedanered furbelee ‘The ‘nee of thee r. rete and of the better class. The action of ane neu is fo Deceased are at Barletta, Ttaly, 1846. Died at St. Germain, 1884. Studied ; under Gerome and Meissonier. Medals, sae 1876, 1878; Legion aig of Honor, ou é: Ve of es Rit is a place for confidences, where the verdure whispers secrets to ries caressing zephyr, and the stream babbles them to the rustling sedges. SS eres eter ac a cm % < sh Ne ce — tj a ae". Ae cre ; va , ag) sia tas ‘Upon this shaded bank, under the sky of radiant midsummer, one might well” lie at ease and murmur of forbidden things, and tales that could be told to the safe ear of friendship alone. In this idyllic confessional, one of the artist’s heroines, splendid as a huge butterfly in her robe of blue and ee ronilion, rich with sumptuous broideries, extends herself in the luxu- rious. lassitude of unconstrained repose upon the perfumed greensward, fanning herself lazily as she babbles her confidence to her companion, who listens idly, propped upon her elbow, by her side. To the artist, ‘“Con- fidences” has been the excuse for one of those daring and brilliant experi- a ments in color by which he won, during his phenomenally successful career, such extended fame and favor. It is a triumph built upon the simplest Ny iy foundations, that of the primary tints. The key-note is struck in the | i , vivid red, yellow, and blue of the women’s robes, upon which combination ail the rest of the picture is a variation. / ia The picture bears the date 1863. we : 23 np] SGRISON (ADOLPHE), i ee an : Pats | Born at Bordeaux. Pupil of Lequieu. & wee THE WINE TESTERS. « No, 14 pri (LES DEGUSTATEURS.) 10%. 8: The church and the military have in all times been excellent friends. In a snug corner of a monastery cellar, two examples of the comradeship of the rosary and the sword, a monk and a man-at-arms, are making sympa- thetic and leisurely investigations into the quality of the vintages that fill the convent casks. The wine tasters are characteristic and well-contrasted types. The soldier wears a somewhat critical expression, as is the privilege of a man of the world who holds his own opinion in respect, while the cellarer’s face reflects the contentment of one who knows, and is therefore — comfortably secure in the unimpeachable excellence of his wares. How- ever their opinions may differ on: the subject of the exact flavor of the wine, we may be assured that they will not quarrel over it. The quality of the fluid that brims the social glass is evidently too excellent to promote dissension or permit it. The picture is dated 1881. 24 ~ Hs RE ‘No. vf iE . HIDE AND SEEK. (CACHE-CACHE.) LAox 22. Then in and out and round about We turn and twist and glide, And ever in the merry rout We find a loved one’s side. LORD BYRON. The game of hide and seek possesses a double utility. It is not only mn " flirtation through the broken course of the game. The latter inducement is quite likely to have some weight with M. Alvarez’s frolicsome players. They are certainly rather of the flirtatious than the purely playful age. _ They make, at any rate, an animated and colorful tableau, in the contem- plation of which their sport may be shared without the eveue of physical exertion its actual performance involves. 25 Ye eee Ow ‘ male) 0 ee to hee > i. : 5 FU Pe Oy. Born in Seville. Pupil of Fortuny. Medals at Seville, Rome, Naples, and Turin BULL-FIGHTERS AWAITING THEIR TURN. VI (AVANT LA COURSE DE TAUREAUX.) 84 x 64. In the coudisse of the bull-ring a bull-fighter in blue, with a gorgeous gold-embroidered cape and his crimson cloak draped over his arm, smokes his czgarzllo and watches the progress of the events in the arena, in which he is to take a decisive part. At his feet is a dbanderzlla. A plank fence, with a rude bench, separates him from the vaulted space under the audi- torium of the amphitheatre. Leaning on the fence from their places behind it are another bull-ighter and two spectators, who, by their familiar atti- tudes and expressions, are evidently friends of the actors who have the proud license of an entry behind the scenes. The various Spanish types are closely studied, and the fixed attention and suppressed excitement of the watchers mirror to the imagination the unseen drama which is being enacted before them. Overhead the feet of the spectators are thundering on the planks of the amphitheatre. Behind them the bellowing of fresh victims for the people’s holiday echoes through the gloomy vaults of the cellarium. Through the dust and heat of the arena the movement and the reek of battle come in fitful gusts. It is the moment of watchful repose that precedes the storm. In the twinkling of another eye, one may expect the picture to be empty, and the blue-jacket, mayhap, empurpled with gore. The date is 1871. 26 VILLEGAS' (Jost), . 3... rn ec Pd we wast al ! a) i we. ROSSI (Lucius), . as ee Parts | q Born at Rome. Pupil of the Academy of Rome. Medals at Rome, Turin, o rh 5 and Naples. ! = Noi ve Ha. E “MIDNIGHT AMUSEMENT IN THE OLDEN TIME) 96 —VENICE. ee oe / 0 i (GUET-APENS A VENISE.) 14% X 114. There’s a step on the Bridge of Sighs, The step of a cavalier; Some maiden trysts, and swift he hies To kiss and fondle a lovely prize. ‘ As he speeds, the moon shines clear. \ \ ; -There’s a sound on the Bridge of Sighs, The sound of a struggle loud: A dagger gleams, a shadow flies, An inert form on the pavement lies. The moon goes behind a cloud. FRANCIS S; SALTUS. The moon is out, in Medizval Venice, flooding the open tide with her white splendor and burying the obscure passages of the little canals in a gloom meet for tragedies. Among the shadows, what lurking shapes may crouch, clutching the ready steel, the moment of action only can reveal. There is a rasping on the balcony overhead, the clatter of the rope-ladder, lowered to carry a secret wooer from the trysting place, a figure on the cord, and then, in a moment, swift clashing of steel, fierce oaths, and the tumult of a death struggle, punctuated with a woman’s shrieks and cries of agony. And still Venice dozes or frolics on upon its ways of pleasure and of intrigue, unconcerned. To her such midnight brawls are all too common to send a thrill to her blood or an extra pulsation to her heart. _ The date of the picture is 1870. 27 \ Ne We a GOS PR ee Pe a Ogee a a ‘ Fit. oS in J aa we dot Ge “ie 5 y ‘. * 7 aor. a : ; Se ees i "a 2° Pg@Rassor (JOAQUIN), .. ares. . Rome Born at Orthuela, Spain. Genre Painter. Pupil of the Academy San Carlos of Valencia, and of Martinez. } Ke FORTUN Y5775 FU Dig: (L’,ATELIER DE FORTUNY.) 16 2x0 Tis “acormer of the famous Roman atelier in which the great Spanish painter heaped up the artistic prizes of his mania for curiosity collecting. There is a trophy of arms and bric-a-brac on an antique stand, a gorgeous rug, on which some sketches are scattered, porcelains and metal work, carvings in wood and stone and ivory; part of the gathering, in short, which has given the studio of Fortuny an immortal place in the reminiscences of art, and which two ladies are examining with properly curious interest. This souvenir of his great colleague's atelier was painted in 1871, when the talented young painter formed one of the noteworthy Spanish colony engaged in the practice of art in Rome. Mr. Stephen J. Ferris, who was himself a pupil of Fortuny, writes of this interesting work: “I am told by one who saw it in Fortuny’s studio that Fortuny worked on it until it was recognized as his work. It caused quite a controversy in Rome until Fortuny explained. He was so obliging to young artists as to sometimes paint for hours on their pictures, which was, probably, the case in this instance.”’ Agrassot was a close friend of Fortuny, and his portrait appears in the great Spaniard’s picture, ““ LE FAUST DE GOUNOD,” in which the composer is represented playing on the piano his great score, with phantasms of Faust and Marguerite, and of Mephistopheles and Martha in the air. 28 : : Se ie \ PORTAELS (jean Francois), ... -. Brussels Born in Vilvord, near Brussels, 1818. Pupil of Navez, and in Paris of Dela- roche. Won the Prix de Rome, 1841. Travelled through Europe and the rast. Since 1878, Director Brussels Academy. Order of Leopold, 1851. Medal, Paris, 1855. he Mblnrr~ No. 19 ‘BOHEMIAN CABIN. (INTERIEUR BOHEMIEN.) TO X 14. It is the fireside of a vagabond race but one remove from the nomads of the Steppes. To such as these, home is a name unknown. Their substitute for it isa simple shelter from the elements, where man and beast may huddle together, and the scanty pot be kept warm over the scanty fire. The gypsy traits of the race leave no room in it for the enervating comforts of civiliza- tion or the immaterial pleasures of a high state of existence. Their wants are those of nature alone. A rude meal, a sleep upon the floor of beaten earth, a handful of fire-brands for warmth’s sake when the wind is chill—this is the beginning and the end of the Bohemian’s mundane desires, and the supreme ambition of his picturesque and purposeless existence of vagrant worthless- ness and reckless inutility. 20 Ss 7 7 “CERVI (C)), 7 : Rome Pupil of Lis aren. yj uhh. THE .Dobed ot let TED PICTURE. It is manifestly a very serious matter to decide whether this master-piece is, in effect, a real master-piece, or but a base deception unworthy of consider- ation or tolerance as part of acollection. There has been a dispute upon this point between these two veteran experts, by which the younger man has evi- dently been more diverted than edified.. Now that the debate has reached a deadlock, one contestant seeks authorities in his books of reference, while the other studies the bone of contention’ lovingly set up on a carved chest before him, and still expatiates upon its undoubted genuineness. It is a Descent from the Cross—well, how many such have been painted! But the frame is an antique! That may be, but—and the fluttering of leaves goes on, conflicting authorities are read and re-read, and the difference of opinion remains as far from adjustment as ever. It is in such comedies as this that your true collect- or’s life runs its course, disturbed by its tempests in a tea-pot, now and then, only to settle into triumphant calm upon the acquisition of some prize whose quality is quite beyond dispute. The picture is dated 1871. 30 . | : } VERT, GPM, HAN HLORACE) ee in Paris, emeAeEd Son of Carle Vernet and grandson of Joseph Vernet. Pupil of his father and of Vincent, and commenced an independent career as a painter in 1809. First-class medal, 1812. Chevalier of the Legion of Honor, 1814. Officer, 1825, and Commander of the Order in 1842. Member of the. Institute, 1826. Director of the French Academy at Rome, 1828. french Representative at the Roman Court, 1830. Grand Medal of ffonor, 1855. No. 21 ee So pe ; SOCIALISM AND CHOLERA. X I45. When the revolution of 1848 found Horace Vernet in the fullness of his _ popularity and his fame as the great battle painter of France, the pride of the army and the pet of the king, it dealt him a serious blow, and one from which his spirit never fully recovered. He still continued at his labors, but the sun of his destiny had entered upon its decline, and a newer state of things paved the way for newer men. The revolution resulted in the abdication of Louis Philippe in February, 1848, and the proclamation of a Republic. Four months later came the Red Republican insurrection, which the provisional gov- ernment put down only at the cost of much bloodshed. Then came the Asiatic Cholera and Louis Napoleon to put an end to the Republic in its turn. Vernet lived to paint some of the glories of the successor of his royal patron, and he painted all his detestation and scorn of the socialistic creed which helped to depose Louis Philippe and to place Napoleon III. on the throne, in his picture of “ Socialism and Cholera.” It is a scene of horror, under a sky of dread. Upon the guillotine a vic- tim is bound to the fatal plank. Perched upon him as on a throne, Death and the Plague hold rule over a great field of carnage. Corpses are everywhere in heaps and winrows, losing themselves in the horror-haunted gloom. The guillotine itself is built upon them. They are the fruits of socialism; they typify socialism itself, which, as the artist holds, can only end in destruction, carnage, annihilation, and a restoration of the old and natural social order. 31 j A » C “es. t vs oe r x's ¥ 5 ze F i ra : - / #F 5 % . SOCIALISM AND CHOLERA. But greater than socialism, which can only destroy itself, is the pestilence which can destroy the destroyer—the pestilence which has come with its twin brother out of the Orient, and laid its poisoned clutch upon the West. Vernet paints the Cholera as a gaunt and cadaverous simulacrum of humanity, out of whose face, leaden with the livid pallor of infectious death, burn two eyes like, lights deep set in caves. This creature is clad in yellow satin of oriental web and cut. It plays a pzan of destruction upon a flute formed of a human thigh-bone, and a terrific scourge hangs at its girdle. And, as it pipes its notes of menace and of triumph forth, its comrade, Death, squats on the mon- ument to death beside it, and reads a journal of the day in which the ravages of revolution and the ravages of the plague are recorded side by side. The sentiment of this terrific allegory is expressed with a magnificent strength of execution, a caustic fearlessness of satire, and a fervid, however grim, poetic feeling. The date is 1850. It was, therefore, a creation as well as an inspiration of the time to which it applied. 32 ee : Paris and Venice en Bor at M ripe » Pupil of Madrazo the elder; later studied in Paris 7 and Rome. — Medals, Paris (Lxposition Universelle), 1878. Chevalier te the Legion of ol 1878. Order of Charles III. of Spain. No, 22 | THE SEINE NEAR POISSY. (LA SEINE PRES DE POISSY.) e BM, 15 x 263. ‘‘ Fair is the Seine at Poissy, is | With its islets crowned by trees, \F ringed by spires of lofty poplars - Trembling in the summer breeze.” } $3 BESSIE RAYNER PARKES. | birth-place of that pious king who won the surname of Saint Nas Toute when he left his body on the African sands a prey to the pestilence that put a an end to the crusade he pod six centuries ago, is to-day a place “the artists who make their camp in the forest of peacledtnieay A portion of the river bank at Poissy is given over to the washerwomen, whose wash- “houses line the shore, and whose washing-floats dot the water, and what with the natural beauties of the scene and the quaint variations afforded by its - artificial adjuncts, it offers to the seeker after the picturesque a series of sub- jects admirably calculated to command his attention, to awaken his admira- tion, and arouse his industry with pencil or pen. js | 3 ao MORE te oS v7, -) fi f J wy a }. 4IERMANN-LEON (Cartes), . . = unene < : & L. Born at Havre, 1838. Genre painter. Pupil of Philippe Rousseau and "\ of Fromentin. Medals, 1873, 1879. | 9G ey ca ) COUNTRY AND CITY RATS—LAFONTAINE'’S FABLE. (‘‘LE RAT DE VILLE ET LE RAT DES CHAMPS.) 25 X 194. Among the immortal fables of the ingenious master Jean de Lafontaine, that of the country and the city rats is one of the best told. It is a sly and shrewd satire upon worldly ambition and its perils, and upon the intangibility of worldly glory. The city rat boasts to his simple country cousin of the luxury and splendor of the life he leads, and the country rat, becoming envious, undertakes to forsake his safe and humbly comfortable rural retreat to share in the magnificence that he describes. But the city rat, in dilating upon the advantages of a metropolitan existence, has failed to apprise his unsophisticated friend of its drawbacks, of the ferocious cat with its deadly jaws, of traps set to mangle and maim, and the perils of a servant’s cudgel or a chambermaid’s broom. When the country rat comes to put the matter to a test, under the guidance of his experienced friend, he discovers these things for himself, and wisely abandons pomp and luxury to be gained at such price for the simpler and safer pleasure of the life his worldly congener scorns. 34 aN epee Ore ee eee Baris t Born at Busseto, Lialy, Pupil of Cicert. Medals, Paris, 1859, 1863, 1864. : ; Grand Medal of Honor (Exposition Universelle), 1878. Chevalier | ot of the Legion of Honor, 1868. Officer of the Same, 1878. Medal at Vienna Exposition, 1873. Knight of the Order of Saints Maurice and — 4 } v | os Lazarus. Officer of the Orders of Turkey and Persia. Honorary P¥o- / / ”. 2 : | < 2s | OP | Sessor of the Academies of Parma and Turin. Fo Hee foto No. 24 THE SULTAN’S ESCORT. (L7ESCORTE DU SULTAN.) 22 x 184. ‘« But yester-eve, so motionless around, . So mute was this vast plain, that not a sound SS ait But the far torrent, or the locust bird Hunting among the thickets could be heard :— - Yet, hark ! what discords now, of every kind, Shouts, laughs and screams are revelling in the wind. The neigh of cavalry, the tinkling throngs Of laden camels, and their drivers’ songs— Ringing of arms, and flapping in the breeze Of streamers from ten thousand canopies ;— War music, bursting out from time to time, With gong and tymbalons’ tremendous chime.” THOMAS MOORE. _ The cavalcade comes winding down through a pass in the hills whose bare and sun-scorched summits cut the hot sky in jagged undulations. The spearsmen ride in front, keeping a wary lookout against possible surprise. Their leader grasps his pistol in readiness for any sudden emergency, and his guardsmen are on the alert. With the way thus made secure, the body of the escort follows, surrounding and defending the rear of the splendid palanquin in which the pampered potentate lolls at his ease. All nature blazes with sunshine and heat, and the rich verdure of the palm grove, set like a jewel in the harsh wilderness, vies with the sumptuousness of the gayly caparisoned procession and the gorgeous conveyance it protects in enhancing the oriental splendor of the scene. 35 a kn ge nj) * oe = is eo LOTR (RS ee ee ei Fy to ee | : ra i. Born in Denmark. Pupil of the Royal Academy of Fine Arts. Removed to wo ) ¥) =f Rome, where he spent several years, after which he was called back to a if : Denmark and appointed Professor of the Royal Academy. ee ARTISTS’ AMUSEMENTS DURING CARNIVAL, ROME. (SOUPER D’ARTISTES PENDANT LE CARNAVAL.) 22ers Te ‘‘ Who can forget thy Carnival, Rome, thy Carnival flashing Joy and life through thy solemn streets? Ah, season when’ Pleasure Day after day its kaleidoscope turned of bright robes and bright faces ; Every one free as the wind, by fashion’s conventions untrammelled. All borne away by the moment, and chasing the butterfly Pleasure Till the stars faded and set in the cold gray light of the morning.” CHRISTOPHER PEARSE CRANCH. Even the Romans themselves do no madder honor to the annual carnival season than the strangers who form the famous Art Colony in the Eternal City. The artists’ carnival has been made immortal in song and story. Those who participate in it always continue to invest it with an individual picturesque- ness of costume and characterization, and they surrender themselves to its license with all the wild enthusiasm of the artistic nature. Mr. Cranch, him- self an artist as well as a poet, indicates with a deft touch the amazing revel of joyous animal spirits which his student days made him familiar with, and which lends to the Roman festival one of its most interesting and distinctly characteristic features. : It is evening of Carnival Day. In one of the studios the effervescent gathering of genius has assembled to do honor toa feast. The wreck of a banquet strews the table. Bottles whose mellow contents have aided the light course of pleasure on its tripping path litter the floor. It is a strange 36 Ee So a i ee A ns ARTISTS’ AMUSEMENTS DURING CARNIVAL, ROME. ¥ medley of costumes and of types. An Indian fiddles lustily ; a herald blows discordant notes from a horn into the ears of a sailor; cavaliers and damsels in the garb of contrasting epochs gossip and flirt and cast the notes of broken song into the general uproar. All is life, gayety, the confusion of untram- melled and unbridled good-humor, born of the maxim that is as old as pagan- ism and as eternal as Christianity and civilization—“ dum vivimus vivamus ”’— while we live let us live, for to-morrow may hear our requiem sung. The date of the picture is 1872. 37 YS eee See Cay = Cs~« e@ 4 . SVSAINTIN (JuLes Emig), : ; Paris A : Born in Lemé, France, 1829. Genre painter. Pupil of Drélling, Picot, j f ere and Leboucher. Lived for several years in the United States. Medals, O Paris, 1866, 1870 ; Munich, 1883. Chevalier of the Legton of Honor, 1877. aa he Aw ORG M. THE TWO ORACLES. (LES DEUX AUGURES.) 20 LXer There can be no question as to which of the oracles that this buxom abigail consults will be obeyed. ; Between the advice of an insensate image and a living heart, the latter may be relied upon to claim the victory. Perhaps the comely soubrette, who has halted in the progress of her daily duty to address the question that is uppermost in her mind to this grotesque example of the art of Cathay, has an artful purpose behind her deference to it. It may, in her opinion, be quite as well to have the support of one authority for the decisions of another, and if the wish is parent to the thought, and one oracle is agreeable enough to nod an affirmative to the lightest touch, the verdict of the other can readily be interpreted to suit the circumstances. The artist has touched his satire in with a light hand. He has also made a pleasant picture of modest materials. The girl, in her gray house uni- form trimmed with black and her chambermaid’s cap, nods merrily in concert with the toy she interrogates. The accessories, like the animate and inanimate actors in the scene, are rendered with an _ unostentatious, but none the less faithful and capable hand. The date of the picture is 1878. 38 ee BEAUMONT (Cuartes Epovarp pe), . Deceased Born at Lannion, France, 1821. Genre painter. Pupil of Botsselier. Medals, 1870 and 1873. Chevalier of the Legion of Honor, 1877. No. 27 THE TEMPTATION OF SAINT ANTHONY. (LA TENTATION DE SAINT peas cate 23% X 37. Possessing the value of a religious allegory, and presenting as well unlimited possibilities for the exercise of a fantastic imagination, it is no wonder that the story of St. Anthony’s ordeal of faith has been a favorite subject with painters since painting began to bea part of the progress of civilization. The story has been depicted in every possible phase, from the wonderful diabolism of Callot’s great etching down to the gross pruri- encies of the modern realists, seeking an excuse for a coarse sensation in an appeal to the vicious with a perversion of a purertheme... To M. de Beaumont, an artist with a singularly acute invention and clear mind, the “Temptation” has provided the inspiration for one of his most striking works. The tempted saint is on his knees at the rude altar of his penitential cavern, his head buried in his arms and his hands clutched in prayer. Carnal temptation besets him in the shape of a radiantly beautiful woman, whose nude form, radiating a brilliant and unearthly illumination, hovers over the altar she seeks to stain. He is surrounded by gibbering and tormenting demons, in fantastically hideous forms, in which one finds the animal, the reptile and the human characteristics grotesquely combined. Through the opening of the cavern, whose vaulted roof and stony walls lose themselves in a vague somberness peopled with malignant shadows, a few rays of daylight steal in, only to lose themselves amid the gloom. The picture is lighted from the gleaming form of the demoniacal enchant- ress, a weird and supernatural light full of the livid glow of diabolic fires. There is no date. 39 | ql | | A hi. Os * wr @ | /) Born in Parts, 1842. Genre and animal painter. Pupil of Gérome. | alg Medal, Paris, 1874. No. 28 THE HONORS OF THE FOOR - (LES HONNEURS DU PIED.) \ a 29 X 424. = ‘‘A southerly wind and a cloudy sky Proclaim it a hunting morning.”’ OLD SONG. The spoils of victory fall to the conqueror. The decree, moreover, is just, according to human law. In the huntsman’s case, his reward is | the quarry, and the rules of the chase have attached to it several curious are familiar with descriptions of the sport, is the honors of the brush, which are extended to the lady who rides in first at the death. This custom iS duplicated in stag hunting by the honors of the foot, a custom which is, moreover, observed in all countries where the chase is pursued as a sport. In this case, the’scene is in France. The hunt has ended in an aban- doned quarry, late in the afternoon. The dogs have been whipped off and — are gathered about the fallen stag on the left, while the horns of the éclaireurs behind them proclaim the victory. The sportsmen who have been ~ in at the death are halted from the extreme right to the centre of the composi- tion, motionless in their saddles, while the chief piqueur presents to a lady the trophy that falls to her as having been at the head of the hunt when the death stroke was given. The landscape is bare and lifeless. The sky is cold, with clouds heavy with chill showers, across a rift in which the late sun sends a gleam of light without warmth in it. The date of the picture is 1872. 40 Pp ““GGOUBIE (Jean Ricuarp), « . ; : Pare ; and interesting practices. One, well known to fox hunters and those who ————— ee ee eee BEARD (Wi. H.), N.A., . New York Born tn Buffalo, 1814. Elected National Academician, 1871. ") No. 29 SORT M. | ae “* Coward,—of heroic size, In whose lazy muscle lies Strength we fear and yet despise; _ Savage—whose relentless tusks Are content with acorn husks ; Robber,—whose exploits ne’er soared O’er the bee’s or squirrel’s hoard. Here, in solitude and shade, Shambling, shuffling plantigrade, Be thy courses undismayed. Eat and drink and have thy fill, Yet remain an outlaw still!” FRANCIS BRET HARTE. Bruin, foraging for his morning-meal, is prowling up a savage glen, pick- ing his clumsy way along the tumbling course of a mountain brook. The forest exhibits the wild traits of primeval nature in all their unrestrained picturesqueness, the last of the great wilderness that remains to New England. Nature’s strength and decay are seen side by side in vivid contrast. Towering stems reach to the arch of verdure which they support, and fallen trees entangle with the thickets. In the fastnesses of the forest reigns a mysterious gloom, full of the vague movement of leaves and boughs. Through an open- ing in the forest as the glen rises the sunlight forces its way in sparse shafts. Amid such surroundings Bruin should find abundant prey, safe from the armed intrusion of the hunter, whose feet have probably not yet profaned these wilds, into which the intrepidity of the artist has preceded him. The date is 1863. | 4I ere YIEW IN THE WHITE MOUNTAINS. * Loe ce ERTRAN D (JAMEs), . , : .. Weceased Born at Lyons, 1825. Pupil of Périn and of Orsel. Later studied in Rome. SF Y at Medals, Paris, 1861, 1863, 1869. Chevalier of the Me of Honor, Le | S 1876. Medal 1878 (Lxposttion a es No. 30 Ks SERENADE IN ROME. (SERENADE A ROME.) 24 XP Ac. ‘‘ With passion replete, A silvery voice. Yet tender and sweet, Will some maid rejoice, Some soft serenade Who whispers, ‘ My love Swells out from the shade, Climb quickly above,’ While o’er the lagoon shines the opal moon.” FRANCIS S. SALTUS, The Roman night has fallen close and dark with the star-bespangled blackness of a moonless summer time. The mystery of the indefinite hours is upon the Roman ruins and among the Roman highways. It is an hour of silence, of idleness and repose. But the lover, who is never idle in the cause he loves, picks at his mandolin under his sweetheart’s window, and, we may assume, chants her praises to no unwilling ears, for her lattice is up and the light of her lamp gleams behind the jealously bowed blind, and the steps that lead up to her doorway are a silent invitation to feet that have travelled them before. At the feet of the ardent wooer, as if to offer to his subdued 42 SERENADE IN ROME. excitement and interest the contrast of stolidity and animal content, a herds- man of the campagna is stretched in the road, with his dog on the watch beside him. Along the wall of some palace garden that closes the road in, a couple of guitarists touch their instruments in gentle accompaniment to the singer’s voice, while several idlers listen, absorbed in the romance of the moment and held spellbound by its melody. The deserted street loses itself in shadows. In the old palace garden the nightingale is hushed. The hour _ belongs to lovers and to love, and the field is all their own. The picture is dated 1868, in which year the artist was in Rome finding his best inspiration amid its picturesque present and its romantic past. 43 FYACOMIN (Atrrep Lous), . | | — / , Born in Paris, 1843., Medal, 1876. iJ) At Aoi oh No. 31 oe . FAUST AND MEPHISTOPHELES. One ayes “ Faust: Reluctantly must 1 at length Speak the spell of greatest strength. “ Mephistopheles [coming forward]: Why all this uproar i ? Is there anything In my poor power to serve you? Most learned master, Your humble servant.” GOETHE. The temptation of Faust, as Jacomin paints it, has a peculiar interest in being a close delineation of the scene of that great allegory as Gounod placed it on the stage in Paris, in operatic form, in 1869, at the Grand Opera House. At that time the great baritone Faure impersonated the demoniac spirit of the opera with remarkable spirit and success. M. Jacomin has made a close study of this famous singer in his principal figure. Mephistopheles, in the conventional costume of flame color and black, stands in argument with the gray scholar who has summoned him to be his familiar. Faust is seated attired in his doctor’s robes. The scene, crowded with books and philosophi- cal and chemical implements, displays the picturesqueness and eccentricity of a philosopher’s study. The Faust, like the Mephistopheles, is a portrait of the singer who impersonated the part, and the scene, while closely following the setting of the stage, is yet without any suggestion of the artificiality of arrangement that characterizes theatrical tableaux. The date of the picture is 1869. 44 feet TR (Epovarp), eae es Paris Born in Paris. Pupil of Hébert and Bonnat. No, 32 THE GALLERY OF THE LOUYRE}\,= ~ (LA GALERIE DU py, Uae © 2) 39 X 32—1862. The Louvre, a palace of kings converted into a palace of art, dates its origin back into the remoter past of French history. The name appears in the chronicles for the first time in 1204, when Philip Augustus completely reconstructed on its present site a still more ancient edifice in order to make of it a royal residence. Francis I. was, however, the founder of the Louvre as we know it. Successive monarchs added to it, until under Napoleon III. the ancient Louvre became part of an enormous irregular quadrangle of _ palaces, the other extremity of which was formed by the Tuileries, which was ~” commenced by Catherine de Medici in 1564. With the Seine on one hand, the splendid Rue de Rivoli on the other, and facing over its gardens upon the Place du Louvre, the palace remains to-day one of the most beautifully placed and charmingly surrounded public buildings of Paris. The Louvre as an art museum owes its origin to the French Revolution. It was by a decree of the Convention of 1793 that the collections of the various royal palaces of Paris were gathered in the Louvre, and with the additions that have since been made to them, they constitute the greatest art collection in the world. The picture shows the entrance from one of the galleries to another, with the uniformed guardian at the door, and a couple of female visitors inspecting the pictures. Outside the wide and lofty windows are seen the trees of the palace garden, or more properly speaking, park. The picture is dated 1860. 45 . 7 : \ NA 4 ad ?: a re Ae Snel oa ee HEULLANT (Fe.ix ArManp), eee Paris / g A Born in Paris, 1834. Genre Painter. Pupil of Picot, of Giraud, and of re, \a Cabanel. At ‘) sd st EL oy v No. 33 . M ARGADIA. (‘“* ARCADIE.”) 21 X 364%, ‘‘ Beside the stream and in the alder shade, Love sat with us one dreamy afternoon, When nightingales and roses made up June, And saw the red light and the amber fade Under the canopy the willows made, And watched the rising of the hollow moon, And listened to the waters’ gentle tune, And was as silent as she was, sweet maid, Beside the stream.” EDMUND GOSSE. * In Arcadia it is always summer, and summer sings the cradle song of love. It is the ideal period of the year as Arcady is the ideal spot of all the wide, wide world. The pellucid river mirrors a sky of opal and of pearl. The alders on its marge send their reflections down into the rippleless flood without a shiver. The grasses faint with the scent of the flowers, and the breeze of balm lulls to dreams of more‘than mortal beauty that enhance rather than disturb repose. There is nothing real about “ Arcadia,” more’s the pity, but its poetic and its pictured semblance. Since we cannot grasp the reality we may wisely accept the counterfeit, and be content that it, at least, is ours. 46 'v— 4 HEULLANT (Fetix Armanp), . its ~~ Paris No, 34 ARCADIA. (‘‘ ARCADIE.”) (COMPANION TO NO, 33.) «« With pipe and flute the rustic Pan Of old made music sweet for man ; And wonder hushed the warbling bird, And closer drew the calm-eyed herd,— The rolling river slower ran. “ Ah! would, ah! would, a little span, | Some air of Arcady could fan This age of ours, too seldom stirred With pipe and flute.” F AUSTIN DOBSON. __ The poets and the painters have made of the Arcadia of the Peloponnesus an earthly Paradise which their imagination has exhausted itself to glorify. It is with them the sublimation of all mundane nature, the perfection of pas- toral days, in one long dream of poetic idleness and idyllic ease. They have endowed it with an atmosphere of its own where storms never darken, and blasts never chill; a climate of its own where rude winds never blow, and made it, in short, a country in which nature to be seen is to be worshipped in the persons of her tutelary deities, Pan and Diana. It is typically the land of peace, innocence and patriarchal manners, and whether it is presented to us with the pen of the poet or the brush of the artist, can never lose its gentle and soothing charm. 47 at Oe ere oii | nd * | i” Bl SRSTADT (Avsert), N. A, New York y eg f) Born in Diuisseldorf, 1830. Brought to America at an early age. In a> va 1853 he returned to Diisseldorf, and entered the Academy there ; after- R ward he studied in Rome, Switzerland, and Germany. Elected a Mem- ber of the National Academy, 1860, and later was decorated Chevalier of the Legion of Honor, France. In 1867 he was sent to Europe upon a Government commission, to make studies for a painting of the “ Discovery of the North River vy Hendrik Hudson.” Several of his paintings are owned by the United States Government. ak No. 35 SUNSET IN THE YOSEMITE. 36. % 52. « Environed by a mouniain wall, So fierce, so terrible, and tall, It never yet had been defiled By track or trail, save by the wild, Free children of the wildest wood ; Where stars and tempests have a home And clouds are curled in mad unrest, And whirled and swirled by crag and crest.” JOAQUIN MILLER. In the golden and crimson splendor of the departing day the great valley is sinking to rest under a coverlet of cloud. The incredible magnificence of the western sunset bathes the towering cliffs and the stream that winds its way between them in a glory of color that only the most daring pencil may essay to reproduce. It is as if the auriferous treasures of the earth were fused into the sky in one superb triumph of pigmentary perfection. The forest, darkening with the shades of evening into mysterious and solemn somberness, catches here and there a glint of the last rays of the sinking luminary. The waterfalls, tumbling in spray from the dizzy heights, flash with its level beams like cataracts of jewels, and it turns the ripples of the river into ropes of gold, that will presently lose themselves in the vapors of evening that have drifted in from the distant sea. The picture was painted in 1868. 48 | ee iy N aples | x Pupil of Fortuny. Professor in Naples. y 7 ye ee No. 36 re ; THE LISTENER. . (LA CURIEUSE.) © PEN-DRAWING, 12 x 83. | ing ata door ina rich interior. Drawn freely and boldly, but with ye Born in Rome. Genre Painter. Pupil of Fortuny. Professor in Naples. (bh | TH Bae ER, (‘* LAS LETTRE,”) tea att es MUA NES 12 x 84. In the snug corner of a richly stocked library, a gentleman in the costume of the latter portion of the last century, with cocked hat and embroidered coat, is perusing a letter. He has a cane under his arm, and his attitude is and careful pen-drawing of one of the artist’s best-known single-figure pictures. Is dated 1871. 50 ir IMONETTI (ATTILIO CAVALIERE), . oye Netess one of interested attention. Behind him is a carved table. This is a spirited | —— i 3 orn in i on 3 Pupil y the oe. eat te Medals at Rome, Turin, a and Maples: an 2 Be : of (0 ee a fee (No. 38 fai. oan tes aN BRAB TAMBOURINIST. each x 7. — ind cating on é 2 tambourine. His figure suggests a rhythmic movement in aera ae ‘ne whom he bears time. | ; ; i = iy y 0 Rc SST ( aa iad a Paris tN FRENCH CAVALIER—TIME OF HENRY IIL 114 x 6, A pen-drawing of a richly costumed cavalier of the era of Henry III, of France. The figure is spirited and life-like, standing in a proud attitude as if of expectancy. It is a drawing from a picture by the artist. and is dated 1871. 52 ai rs MEISSONIER (Jean Louis Ernest), . Paris db /0 i a Born at Lyons. Pupil in Paris of Léon Cogniet. Medals, Paris 1840, 1841, a pn 1843, 1848; Grand Medal of Honor, 1855 (Exposition Universelle)e We 3 f) Grand Medal of fonor (Lxposition Universelle), 1867. Grand Medal NA wv. * of Honor (Lxposition Universelle), 1878. Chevalier of the Legion of . Ffonor, 1846. Officer of the Same, 1256. Commander of the Same, 4 7 1867. Grand Officer of the Same, 1878. Member of the Institute of France, 1861. Honorary Member Royal Academy, London. The | paintings by this artist have commanded higher prices than those of any % c living painter. fits famous picture entitled “1807,” in the Stewart Collection, was sold for $66,000, tts purchaser afterward presenting it to the Metropolitan Museum. eo ee o | H ‘ No. 40 ANCIENT ARMOR. a gs x 6, % | WS An exquisitely accurate study in black and white of a trophy of armor. The minute attention given by the artist to detail, and his almost photo- graphic closeness of observation and fidelity of repetition are admirably illustrated in it. Not a single feature of the original is neglected, and no minutest point of the effect of light upon the metal left in doubt. 53 s \ alt 1 19, BONHEUR (MARIE Rosa), ; : » Paris i A “a ee Ye eo fT Born at Bordeaux, Mercia 22, 1822. Pupil of her father, Raymond B. Bonheur, Began by copying in the Louvre ; afterward made studies and sketches near Parts. Her first two pictures, exhibited at Bordeaux, 1841, attracted much attention, and were followed by others which established her world-wide fame, During the Franco-Prussian War, her studio and restdence were respected by special order of the Crown Prince of Prussia. Since 1849 she has been director of the Paris Free School of Design for Young Girls, which she founded. Elected member of Antwerp Institute in 1868. Medals, 1845, 1848, 1865, 1867 (Exposition Universelle). Cross of the Legion of Honor, 1865. Cross of the Order of Leopold, —— 1880. Commander’s Cross of the Royal Order of Isabella the Catholic, 1880. Conceded to be the greatest female painter the world has pro- duced. Her celebrated “Horse Fair,” in the Stewart Collection, was sold for $53,000, and now f in the Metropolitan Museum. Of A. Koed READY FOR THE MARKET. No. 41 (CHEVAUX A VENDRE.) Ir x 18, A black crayon drawing of half a dozen stout Normandy horses, which have been gathered in from the fields for the horse market. Their tails are clubbed, and they have the sleek semblance of beasts well fed for sale. On one of them is a saddle, but the rider who has charge of the string is evidently bibbing in the wine-shop whose palm-branch shows from the 54 tk ag house beyond the tree to cinta fe charges are felivered. le : makes 1 friends over his ups the horses make ene out ~The drawing is full of spirit, and r of the animals in their various subtleties of individuality is i ] i ie ‘ - , 3 a ' : 5 i . ; 7 a i sy -DECAMPS (ALEXANDRE-GABRIEL), ; Deceasi d Born in Paris, 1803. Pupil of Abel de Pujol. Medals, Paris, 1831-1834. | ‘Na , | f Chevalier of the Legion of Honor, 1839. Officer of the Same, 185 1 : 2 q Died, 1860. +, y. i we M S No. 42 HOUND. | Be Stet ; 83 x Of. % ' ‘ er” = | i a ie A study from life of a sitting hound, one of a species of dogs the artist was especially fond of studying, in consequence of his personal Nie love of the chase, which resulted in his breaking his neck by a fall from | b: his horse while hunting in the Forest of Fontainebleau. Or The drawing is executed in sepia. » . pease — | Be ik ee tile, Jy leeds Se a i ‘ae - f) BERNEBELLECOUR (Etienne Prosper), . Paris _ Born at Boulogne-sur-Mer. Pupil. of Picot and of F. Barrias: Medals} . | % Paris, 1869, 1872, 1878 (at Salon and Lxposition Universelle). ee | | lier of the Legion of ger 1878. a Pfs fae | No. 43 ee ee | ree THE LOVE TOKEN. | i | % (VARBRE CONFITANT,) F | 144 X IO, “I carved her name upon a tree, Ah me! My Chloe’s name upon a tree I carved in letters fair to see ; Now Chloe has forsaken me, 1”? | Woe’s me! | OLD ENGLISH BALLAD. To the friendly confidence of the forest, youth and passion confess the | secret of their love. How many similar symbols has the hand of adoration | carved upon Nature’s face! And how often has the fickle god laughed at | these enduring emblems of courtship and flirtations that have ended in | a naught, but left these notes of their progress to mock their futility! Perhaps | this lover's fate may be happier than that of the hero of the old ballad. His present, at any rate, is happy enough. The picture is executed in water colors, and is dated 1869. 7, Dene ee er TREE MORNETO, 57 | 50 a ie BV. DN N UTELLI (CAVALIERE Scone . Sin Ona Le Born in Rome. Genre painter. Studied tn Vienna under ph iba S8 afterward in Paris under Heitlbuth. Medal, Paris, 1864. DAY DREAMS ON THE CAMPAGNA, (REVES DE JEUNESSE.) 15 x 104—1871. ‘‘ Beautiful dreams, that haunt the younger earth, In poet’s pencil or in minstrel’s song, Like sighs or rainbows, dying in their birth, teas Perceived a moment, and remembered long ! THOMAS KIBBLE HERVEY. The youthful dreamer is stretched on his back upon a pleasant plain. He has laid his book by, and is watching the swallows skimming their airy flight overhead and the clouds making their voyages of mystery across the zenith. In the distance Rome, from which, no doubt, the young pursuer of waking phantoms is a whole world away, is seen. The picture is executed in water Brie: and i is dated 1871. 58 —s _ 27 62° MemeeazO (Rieko), . . . . . Paris LOM Son of Federico and brother of Raimundo de Madrazo. Has eeu: OG (1) 2. \ reputation as a painter in water colors. = 4 a Se STREET IN, GRANADA. 18 xX 11—1871. The streets of Granada, like those of all towns of Moorish construction, are very narrow and winding. The private buildings are, with few excep- tions, of the simplest architecture, without any external ornament. In the town itself there is scarcely an old house that does not show some signs of Moorish construction. Some of the Moorish buildings are still completely preserved. Others are built about and absorbed by the newer Iberian 4 structures, till only fragments of them show inthe masonry, that has literally : swallowed them up. The houses are all built about an inner court or patio, which is reached through a door opening from the street, and a little dark ante-court called the zaguan. In the patio, which is paved with stone, a fountain plays, and oleanders bloom in tubs and huge jars of clay baked as hard as stone. Balconies and galleries surround the patio, and the doors of the living and other rooms open upon them. Creeping vines clamber everywhere, and under the dead silence of the glowing sky the tinkle of falling waters and the hum of drowsy insects alone disturb the perpetual quiet of the decaying town. On their street fronts the houses exhibit ‘only black doorways and white walls, that blaze in the sun, broken here 59 STREET IN GRANADA, t , s of the hillsides, end at oe very street where vate began. iy c doe Ne fa in oe ae a donkey driver ges on his face on the oe a Wes history lingers, ghostlike, in the ene air. The picture is executed in water colors. 60 x . ' ae Oo he sae ho 2 $3 — Wks 1 TEN KATE (Herman FREDERICK), The Hague = a | Cornelius Kruseman; later in Parts. Member of the Acade Rotterdam. | No. 46 emma DUTCH GUARD-ROOM. Born at The Hague, 1822. Genre Painter. Studied in Amsterdam bb Y . ye be | 10# x 163, . In an ancient barrack-room, a company of troopers are listening to the | story of some recent event of the wars which a comrade is recounting with animation and evident dramatic effect. The costumes are of that period when the Netherlands made their splendid struggle against the cruel and tyrannical authority of Spain, and the interest with which the story teller is followed would suggest’ that he is dealing with some episode of unusual importance in the great campaigns for national deliverance. The group includés all varieties of characters, from the young soldier, rich in ambitions and enthusiasms, to the veteran, “ bearded like the pard,” for whom battles hold neither secrets nor terrors. The martial quality of the figures is char- acteristic of the period. A noble deep fire-place and a large window give variety and dignity to the background, and the Dutch standard is furled in a corner, ready to be clutched at the first summons to battle and borne to the fray by willing hands. The picture is a water color, to which medium Mr. Ten Kate is chiefly devoted. 61 ¢ we? iP ae a iy | It is an old saying, and an eternally true one, that there is no pleasure rie in life without its compensating pain. The elderly cavalier in the violet | coat, that might do credit to a courtier’s shoulders, has feasted and made | merry. That the cabinet particulier has witnessed a savory repast, the remnants of it on the table show. The wines have been of the right bouquet, and the cordials of the proper flavor. Moreover, pleasant com- pany, and pretty withal, has added zest to the banquet. Good digestion has, no doubt, waited upon appetite until the confounded waiter brought inthe pill. He is an feedenation of the reveller’s fate, this unmoved vassal of the table, who leans placidly against the wall, while the perplexed guest, whose hospitality has outrun the discretion of his purse, ponders over the items he has consumed, and dips into his pocket for the wherewithal to pay for them. It is easy to see, by his expression, that in spite of his gay attire, his exchequer is not in the most superabundantly plethoric state. Perhaps it is just as well that his fair companion should make her { ; 65 exit before an explanation is arrived at. There are occasions wl ei to a discussion are better than nas “and this” is a : | ee history of ass nature that is as Be enty turned to- ie as if ee an Wid when the Bourbon court was yet making merry on the brink of the Vv cano. M. Leloir’s figures wear the costumes of the past. they are acting out is eternal. | The date of the picture is 1870, 66 ; “Map RAZO Bean UO), eres | reine» Paris The Genil and the gold-bearing Darro spring from two narrow, rocky valleys on the eastern declivity of the Sierra Nevada, and join at the foot of the Cerro de Santa Elena to send their united waters down the channel of the Genil, to mingle with the Guadalquivir. In the valley of the | Darro, on both its banks, and on the eastern and southern sides of the Cerro de Santa Elena, reaching down into the plain where the Darro and Geni unite, lies the most ancient city of Grenada. The high back of the Cerro is crowned by the strong fortress of the Alhambra. That part of the city that rises on the right bank of the Darro is called the Albaycin, and forms in some degree, like the Alhambra, a town by itself. On the decliv- ities of the Alhambra and the Albaycin the houses and streets rise one above another, like terraces, mixed with luxuriant gardens. The imme- diately surrounding country exceeds, if possible, the other parts of the Vega in fertility At luxuriant vegetation. The narrower parts of the valleys of the Darro and Genil, and the small side valleys are covered with thick eroves of pomegranate trees, and a girdle of gardens spreads itself all around the city. Overhead is a sky of deep sapphire, spotted with fleecy clouds, and the horizon is walled in by the snowy summits of * the rocky Sierras. Printed in water colors, and is dated 1871. Son of Federico and brother of Raimundo de Madrazo. Has acquired 3 a reputation as a painter in water colors. / ' No. 51 es x ih VIEW AT Ate K /- | Piro. x ST. «¢ And there the Alhambra still recalls Aladdin’s palace of delight : Allah il Allah ! through its halls Whispers the fountain as it falls, The Darro darts beneath its walls, The hills with snow are white.” HENRY WADSWORTH LONGFELLOW. 67 2 yap % CRICO (Martin), Paris and Venice mets Qo i Ty Gag F » Born at Madrid. Pupil of Madrazo the elder ; later studied in Parts and ' i» £4 » ; ran a g Le y ge a Rome. Medals, Parts (Exposition Universelle), 1878; Chevalier of the - Legion of Honor, 1878; Cross of the Order of Charles ITI, of Spain. | WASHERWOMEN AT POISSY. (BLANCHISSEUSES A POISSY.) I4 X 204. ‘The nightingales were singing, At Poissy on the Seine, As I leant above the river, Flooded high with summer rain. Dear is that royal river, With ceaseless, noiseless flow, Past the gray towers of Paris From the woods of Fontainebleau !” BESSIE RAYNER PARKES, The Seine flows its placid course, under a summer sky full of light and flecked with fleecy, white cloudlets. A tender atmosphere suffuses the land- scape with clear, pure blues and delicate gray greens, soft as the breath of the midsummer breeze that scarcely ruffles the surface of the water. On both banks of the stream women are busy washing their linen, beating it upon the stones and gossiping as they work. Some men in a passing boat shout a jovial salutation, to which one of the d/anchisseuses responds merrily. Among the stones of a grassy islet in the river a boy is fishing, too intent upon his : 2 4 sport to give even the attention of childish curiosity to what is going on around him. A boat is drawn in on the strand near by. In the distance, over the farther bank of the river, the houses of the town are seen. The gayety and animation of a perfect, sunshiny day are expressed in nature, and : reflected in the humanity which gives life to the scene. The picture is a water color. 68 . SIMON Peet Tl (Arrizio, Cavarienny rpg ohne ho! ( Born in Rome. Genre Painter. Pupil of Fortuny. Professor in Naples. No. 53 A CONCERT ; 22 x 164. 1869. : “| pant for the music which is divine, My heart in its thirst is a dying flower ; Pour forth the sound like enchanted wine, Loosen the notes in a silver shower.” PERCY BYSSHE SHELLEY. One can imagine the melody which these musicians of the chamber are discoursing to be an agreeable one. Their countenances wear an expression of satisfaction that no discords could call up. It is a trio of aristocratic “amateurs, of which each member is engrossed in his share of the concerted task with the absorption of the true artist. The performer on the flute has laid his coat by, and is inspiring his tuneful reed in his shirt-sleeves. The *cellist looks beyond the walls of the chamber into a space full of musical dreams. The ecstatic eyes of the violinist lose sight of the notes as he draws them under his bow with a loving hand. Music should be happily at home amid such surroundings. The rich cabinet, with its glass doors reflecting the sumptuous apartment, the screen on which a mandolin is suspended, the table, with its crystal pitcher and glass, combine to form a scene of luxury in which the actors in the episode are at home, and in which the strains they concert should echo with a richness and a volume befitting their confining walls. This water color is dated 1869. 69 3 42 / 679) 4 a / 2 OF | 5 DETAILLE (Jean Baptiste Epouarp), a 4 a ay © — Born at Paris, 1848. Favorite pupil of Meissonier. Medals, Paris, 1869, %) #) ) uf U ‘oe 1870, 1872. Chevalier of the Legion of Honor, 1873; Officer of the rv Same, 1881. Grand Medal of Honor, 1888. ac | We ty 4 Pro fn Novos f SCENE IN THE FRANCO-PRUSSIAN WAR. (EPISODE DE LA GUERRE FRANCO-ALLEMANDE.) 8? x 11g. The German artillery attack is decimating the French line of battle from | a distant hill. A squadron of French cuirassiers is making a charge, closing . up as they ride, the gaps torn in their ranks by shot and shell. The dead strew the ground, which is littered also with cast-off knapsacks and similar para- phernalia that the soldier discards on going into battle. Under the terrible fire men melt away like snow at the flame of a furnace, and a commanding general, galloping down the line, orders the regiment of lancers in the fore- sround back out of their wanton exposure to destruction. The commander of the regiment salutes, with a respectful sword and a reluctant face. The men, from their position of enforced inactivity, watch the raging of the fight with eyes of discontent. Over all the smoke of combat and the clouds of hot dust beaten up by feet in the mad hurry of destruction sully the smiling sky, and are rent asunder here and there by the bursting of a shell. In sucha scene, it is no wonder that the soldier’s blood stirs, and his heart beats angrily against its prisoning bars. With the challenge to the combat roaring itself at him, and the wild fascination of the fight tempting him, he sits helpless, raging within himself at the discipline which has fettered his hands and laid his martial usefulness by the heels. The expression upon the faces of M. Détaille’s lancers are indices to the martial regrets that they suffer. In each one reads the contest between submission to the iron laws of command and the stirring madness of battle. The date of the picture is 1871, and it is painted in water colors, with great minuteness and accuracy of detail. 70 FORTUNY (Mariano), She eel” co) od Neb easer ‘ 3 } ) ¢ Born in Reiis, Catalonia, June 11, 1839. Pupil of the Barcelona Academy, ~ f Chevalier of the Order of Charles I1l., Prize of Rome from Spain, Y d : 1858. Died in Rome, November 21, 1874. Diploma to the sale. of Deceased Artists (Exposition Universelle), 1878. ~ 3368 yt Ko No. 55 ParrFERARI, 19 X 4. “ The champaign with its endless fleece Of feathery grasses everywhere ! Silence and passion, joy and peace, And everlasting wash of air,— _ Rome's ghost since her decease.” ~ ROBERT BROWNING. He sits under a wall, among the ruins which chronicle his country’s great- ness and decline. The Roman sunlight warms him, while it soothes his senses as he blows his spirit into the rude and simple instrument of his race. He is resting from a journey, as his staff leaning against the wall denotes, and as he sends the notes of his pipe wheezing out upon the air, his eye dwells listlessly upon the lean flocks grazing amid the decay of an empire. His uniform is that of his class; a vest of red wool, blue breeches, and a loose shirt of coarse cotton stuff whose white sleeves show through his sleeveless coat. Simple his wants and few, he has achieved the crown of his ambition, idling by the way- side, and silencing with the drone of his bagpipe the sleepy murmur of the cicadas and the dull buzzing of the wandering bee. The picture is a water color, of Fortuny’s later Roman period. Is dated 1868. 71 \ MEISSONIER (Jean Louis ERNEst), . . Ve Born at Lyons, 1813. He went to Parts when quite young, and was, for a time, a pupil of Léon Cogniet. First exhibited at the Salon in 1836. His picture “A Dream” (1855) was purchased by Napoleon III. and presented to the late Prince Albert, of England. Medals, Paris, 1840, 1841, 1843, 1848. Grand Medal of Honor, 1855 (Lxposition Universelle). One of the eight Grand Medals of Honor (Exposition Universelle), 1867 ; Grand Medal of Honor (Exposition Universelle), 1878; Chevalier of the Legion x of Honor, 1846; Officer of the Same, 1856; Commander of the Same, 1867 ; Grand Officer of the Same, 1878. Member of the Institute of ; France, 1861. yy Member of the Royal Academy, London. Hy Ket CAPTAIN OF THE GUARD—LOUIS AHL : PORTRATT OF] THE AK LIST: No. 56 bho fi eae He stands in the gateway of the guard-house, surveying the passing of the town with martial disdain. There is a suggestion of insolence in his attitude, erect, with one foot slightly advanced, and his right hand resting on his hip and flipping a riding whip as if impatient of so childish a toy. His soldierly face, tanned by the sun of long campaigns and the smoke of battles, is haughty but good-humored. His gray moustaches bristle gallantly, and the twist to his imperial denotes that he has just twirled it, perhaps at some passing damsel, whose combliness has caught his fancy. Resting his left wrist on the hilt of his long sword, he holds in his left hand, by its fingers, a glove with which he beats time against the handle of. his trusty blade. Over his gray coat lined with pink a polished breastplate flashes in the sun. The blue plume in his hat cocks itself audaciously. His legs are encased in claret velvet breeches and high boots of Spanish leather. Whether it be to ride to a duel ora trysting place, to a court reception or a field of battle, here is one who is ! equally ready for the task, whatever it may be. | | The reign of Louis XIII. was preéminently that in France during Haley the gentleman advent nee flourished. The kingdom was filled with soldiers of _ 72

© WM ct i) =) op} ct ie) The picture is mated 1870, and is painted in water colors. = * a we rT : \ hy I ! | N\ » gf. HVN)OYTROYON (Constantine), . . >. 4 Deceased Se BU a a | ‘ 4 %h b bs . Born at Sevres, 1810. His parents wished him to be a painter of porcelain, er ae S ies but after atime spent in the manufactory at Sevres, he studied under ees / D,, , . Rivereux, and became a painter of landscapes and animals. Medals, uy ) } j \ Paris, 1838, 1840, 1846, 1848, 1855. Chevalier of the Legion of Honor, : . on 1849. Member of the Amsterdam Academy. Died, 1865. Diploma to the Memory of Deceased Artists (Exposition Universelle), 1878. ee K PA as No. 57 NORMANDY CATTLE. “ T’ve two great bullocks in my stall, Two great white bullocks mixed with roan, Ponderous the plough is that they haul, Massive the yoke their necks placed on.” PIERRE DUPONT. The foreground is occupied by a red bull with a white frontlet, a close study of cattle character of the breed this great master loved to paint, which is looking out of the picture as if its attention had been suddenly aroused. A dun cow of the true Norman breed stands behind it in a quiet attitude. There is another cow under a tree, and a herdsman’s shaggy dog—that famous dog that Troyon always clung to—completes the composition. The landscape is simple, and the sky threatens a storm. The coloring is low in tone, rich and powerful. 74 DETPAILLE (Jean Bartiste Epovarp), . big ooee Born at Parts, 1848. Favorite pupil of Meissonier. Exhibited at Salon, o / 1868, his “ Halt of Infantry,” which received much praise, and in 1869 the “ Rest During Drill at Camp St. Maur.” Medals, Paris, 1869, 1870, 1872. Chevalier of the Legion of Honor, 1873; Officer of the Same, 1881 ; Grand Medal of Honor, 1888. RN es "LES INCROYABLES—FOREST OF ST. GERMAIN. 9x X 74. The incroyable was one of the most curious products of the great French Revolution. He was the antithesis of the revolutionist, the sans-culotte who gave too much attention to death to spare time for dress. The maddest extravagance of dandyism was indulged in by the zxcroyable, who won his familiar nickname by the incredible exaggeration of his costumes and customs. He literally, as his title would imply, carried his worship of the wild vagaries of foolish fashion past all belief. His appearance was a sort of protest against the brutal abandonment of all the gentler practices of life that characterized the reaction against aristocratic and polite existence which came with the commencement of the revolution, and he lasted as a public character till the great Napoleonic wars left no place in France for anyone but soldiers. M. Détaille shows him in all his glory, a perfect epitome of colors, as gay asa butterfly, swaggering down the great promenade of the Palace Park of St. Germain, with his long stick in his hand. ne date is 1871. 75 Ah v4 jo a 4 yal | ) MBETTEN KOFFEN (Prof. August von), . Vienna ~ f } 4 Born in Vienna, 1821. I wet “Courtesy to an artist who is very much of a stranger demands that some space should Genre painter of great local reputation, Member of the 1 Academtes Rabel Vienna and Munich. Knighted in 1876. be given to the distinguished Austrian, August Pettenkoffen. Pettenkoffen was born in Vienna in 1823, and at the Academy of Art in that city first served his apprenticeship to painting. The German-Austrian school was a school moving ponderously down to a hopeless decadence, in those days before the arising of Matejko, Munkacsy, Makart and Pettenkoffen himself. art-movements, heard the report of a little band of seekers and searchers—Troyon, Rousseau, Meissonier, in Paris, and Leys and Stevens and Willems, in Belgium—who were courageous enough to ask Nature for her secret face to face. This gospel of glad tidings was his earthly salvation. But, in the mean time arrived his turn at the national conscription, and the young man, drafted into the troops of Francis Joseph, fulfilled his duties like an honest soldier, and was promoted with remarkable rapidity to the grade of captain. The profession of arms, however, was unable to keep possession of a spirit that had tasted of artistic delights. The young man had viewed his military routine with the eye of a painter; it remained for him to drill his artistic faculties with the severity of a captain. | ‘‘Resuming the practice of art, he determined to devote himself to his profession from the military point of view, feeling that no one else could recount so well the field-scenes which had passed before his eyes. The event has justified him, and delivered to the world a mass of incidents of the Austrian army and its wild Hungarian contingent such as would have been Jost to posterity without his aid. The young artist was now ready to carry out a project which had tempted him in his salad-days at the Vienna Academy, and repair to France for a more exquisite culture in the things which belonged to his peace. Only at Paris, in the epoch of 1850, could be found a group of seekers and teachers capable of satisfying an earnest seeker after verity. He finished a few portraits at Vienna—portraits of his relations and neighbors, as much to please the originals as to get his pencil-hand in practice again—and departed for the French capital, carrying with him two canvases traced over with the sketches of two pictures, ‘The Spy,’ and ‘ Marauders Dividing Booty,’ the last of which found when finished, a resting place in the collection of Sir Richard Wallace. ‘“A minutely invented, careful and toilsome series of exquisite studies, representing scenes of army-life in the troops he had just quitted, or village groups from Bohemia and Hungary, have occupied his time incessantly. He has learned from the contemplation of the Wouvermans and Van de Veldes how much can be imparted in a small panel finished in the grand manner, and his ambition has restricted itself to the discerning treatment of reality.” | The Art Treasures of America. 76 Happily the young student, though imprisoned in an almost monastic retirement from — Bn! ; i re yi i a Ly fPias§ gee Licey é 1.) MARKET SCENE. rear HUNGARY. No. 59 | a — | MARKET SCENE IN HUNGARY. (MARCHE HONGROIS.) © (Bees eae 3 eee Fark the noise ! | d The laugh and shout of village boys. _ The sound of cymbals cleaves the air ; The gypsy-player tarries there.” ALEXANDER PETOFI. = = me 2 = J6 a ss a CNG AP et 20 a ce A REIN BT ORES Fe RRS Sit pete Bt sn as — be a ‘ % 7 Zl >, on ‘ vo ee An open-air market in a Hungarian village. In the foreground are groups . of men and women seated and standing around the base of a stone boundary-. 5 { o post. The middle distance is filled with market wagons and chaffering sellers 4 : an a buyers, horses, cattle and idling figures. Beyond the crowd one sees a a ie elt sweep and the roofs of. the village. The scene is very animated, and the 4 1 mys colors in the women’s costumes lend it a certain gayety. The types of ay e + a =e character are varied, picturesque, and full of interest, and the suggestion of — oy Pe barbaric movement and color is admirably conveyed, while the Magyar char- ; a | $ ; acteristics of the scene and the actors in it are thoroughly preserved and x . | i f depicted. “0 closely is the detail of the scene followed, that even the vege- i aaa « T - tables and other objects exposed for sale will be recognized by native Hun- 4 | ; -garians as of local origin. 4 eae Dated 1853. | i, f t 3 ig nae mag D ZAMACOIS (Evouagp), — . an . ' Deceased: fv 4 \ a X S v es Born in Bilboa in 1842. Died at Madrid, 1871. Genre painter. Pupil wf / : ag Gh of Balaco, then of Madrid Academy under Federico de Madrazo, and if) in Parts of Metssonter. Treated seventeenth-century subjects with great 4 nf » success. Medals, Paris, 1867. Munich, 1870. Diploma to the Memory fi 8) X of Deceased Artists (Exposition Universelle), Paris, 1878. ww ore A COURT JESTER. (LE FOU DU ROL) 63%) 52 « The jester shook his hood and bells and leaped upon a chair ; The pages laughed ; the women screamed and tossed their scented hair ; The falcon whistled ; stag-hounds bayed ; the lap-dog barked without ; The scullion dropped the pitcher brown; the cook railed at the lout; The steward, counting out his gold, let pouch and money fall; And why? Because the jester rose to say grace in the hall.” WALTER THORNBURY. The court jester was the censor of a corrupt age. Zamacois was, after his fashion, the court jester of his art in our own time. His muse was always merry, but with a strong strain of scorn and satire in it. It was the art of a deep-thinking and sincere reformer that he practiced, and he has left us pictures that will be immortal for their shrewd and bitter : sarcasm and true, however sardonic, commentary upon human nature. The jester was a favorite subject with him. In this instance he represents him attired entirely in scarlet, seated on a couch covered with yellow brocade in a palatial interior. He is picking at a mandolin, and his face wears a sardonic expression. ; fi 4 f a { ¥ . : fF * “s | iJ , a yp | on ome H , i si... ne a a, pai F & $ “RICO (Martin), : : : ; Venice . d Born at Madrid. Pupil of Madrazo the elders then studied in Paris M and Rome. Medal, Paris (Exposition Universelle), 1878; Chevalier of the Legion of Honor, 1878; Chevalier of the Order of Charles JEBE Kober Wa No. 63 MOORISH HOUSE AND COURT—GRANADA. (MAISON MAURESQUE—GRENADE.) £3 8 2 3. At the doorway where the harem once passed out to its promenade of the garden, some humble Dolores sits spinning. At the window, through which the Pasha may have watched his favorite feeding her goldfish’ in the fountain, in the days before the last Abencerrage fled beyond the plain, an humble artificer chatters at his work with a village gossip, her baby in her arms. In the cool gloom of the deteriorated palace, the bang- ing of a loom is echoing, like a lingering menace of the warlike clamor which awoke Granada from her dream of eternal peace, and swept her glory away like the phantasm of a dream. The walls are stained with mould; the dainty tracery of the artist’s chisel is crumbling and melting away under stress of wind and weather; grass is springing over the broken pavement, laid for the promenade of princes and worn by the feet of con- quering churls; and the fountain has wept its last tears for the degrada- tion of the fallen house, and gone sluggishly to sleep in its decaying basin. Such is all the Granada of to-day, the corpse of a dead ‘civilization that has become one of the romances of history, dessicated by the sun that gilded its splendor and that mocks its ruin. 82 MEISSONIER (JEAN CuHar_gs), hee Paris WAGE Born in Parts. Pupil of his father, J. L. E. Meissonier, like whom he J -- paints Eighteenth Century scenes in the style of the old Dutch Masté¥: ) Medal, 1866. 2 é f Me} 0] No. 64 STORY OF THE CAMPAIGN. 7 hale _ (REMINISCENCES DE GUERRE.) Va . 174 X 14. “ Like an old soldier, telling of the wars, Buying his bed and supper with the tale, And coining comfort from his unhealed scars.” SIR WALTER SCOTT. A vagrant man-at-arms, tramping from one mercenary service to another, has applied for food and shelter at a chateau by the way. The ~ master of the house accords him hospitality, and takes as compensation for it his guest’s gossip from the wars. The campaigner sits upon a settle by the kitchen fire, a dish in his lap, a knife in his hand, a wine-jar on the seat beside him, and his long sword within ready reach. He revels in the rude comforts of an ample meal, seasoned by the talk that pleases him best. His host, standing with his back to the fire, puffs a pipe while he listens and looks on. The chat of his guest awakens in him memories of his own stirring adventures by flood and field. He lives again with the speaker the campaign from which he has come. For one night, at least, the old vagabond free lance will enjoy the repose accorded to an honored guest. The period of the picture is the Seventeenth Century, and it is dated ote At | 83 -— mb~ 3 : | \ / ZAMACOIS (Epouarp}), . Deceased : Born at Bilboa, Spain, 1843. Pupil of Meissonier. Made ‘his début at the | Salon of 1863. Medal, Paris, 1867. Died, 1871. Diploma to the Memory of Deceased Artists (Exposition Universelle), 1878. ole LEVYING CONTRIBUTIONS. No. 65 (CONTRIBUTIONS INDIRECTES.) Lo XLS: Painted in 1866, and exhibited at the Salon in the Spring of 1867, “ Con- , tributions Indirectes”’ attracted to the artist the attention of all Paris. It was the first of the series of satires upon monkish life which the gifted young pupil of Meissonier took up. The wit of the painter flashed in it with the keenness of a steel blade, and within twenty-four hours it had become the topic of the hour. In the court-yard of a superb chateau of the middle of the Seventeenth Century, a mendicant friar, having halted on his regular round of levying con- | tributions upon the neighborhood, receives entertainment for himself at the ! hands of several roguish hosts. He sits upon a bench, sipping at a cup of chocolate, while his entertainers exchange their badinage with him, and at his expense. An elderly cavalier with a swagger of authority about him, stands dressed. There is a smile of mockery on his face, and that he speaks scoff- i at his right, resting one hand upon his long cane. He is richly and gayly 84 | | LEVYING CONTRIBUTIONS. ingly, his attitude and expression alike clearly testify. Seated on the bench, a young lady, in a sumptuous toilette of blue satin and lace, stirs a posset in a glass, and jests with the friar. Behind him a young cavalier is about to pull the cowl from his head. The monk endures the entire proceeding with stolid philosophy. He is sufficiently satisfied with receiving his taxes, direct and _ indirect, to submit to furnishing some diversion to those he taxes. The end justifies the means, and humility is practiced for profit. The composition has all the qualities which made Zamacois famous. The picturesque and the grotesque combine in it, the individualizations of the characters are full of force and humor, and the witty idea is realized with cutting brill- iancy. The spirit of Moliére breathes in the brush of his artistic successor, who in our own century repeated with his brush the triumphs won by the creator of Zartuffe with his pen. 4 % 85 . 5 ¢ co 4' % 2) Oe eV ERNE (EMILE JEAN Horace), Deceased Wet , a ue ca of a ee 2 Born tn the Louvre, Parts, June 30, 1789. Died in Paris, January 17, ) 1863. Son of Charles Vernet and grandson of Joseph Vernet. Pupil of his father and of Vincent, and commenced an independent career as a painter in 1809. First-Class Medal, 1812. Chevalier of the Legion of Honor, 1814. Officer of the Same, 1825; Commander of the Same, 1842. Member of the Institute, 1826. Director of the French Academy at Rome, 1828. French Representative at the Roman Court, 1830. Grand Medal of Honor, 1855. Re THE ORIGINAL STUDY OF J0Reae Lee ed & Vernet’s “Judith” was one of the pictures produced by him during his residence in Rome, as director of the French Academy in the Immortal City. He was appointed to this post in 1828, and held it until 1835. The date of his original study for the “ Judith” is 1830. It is evidently a portrait of some choice model in whom the painter found an inspiration for his scriptural heroine. The type is Italian, of that order in which is perpetuated some of the barbarically patrician pride and haughty beauty of an Italy that has long since vanished into history. She is a big, strong woman, this Roman model, with her luxuriant hair, black and glossy as a raven’s wing, her great eyes, the orbs of “‘ox-eyed Juno,” with their regularly pencilled brows, her set and cruel lip, and her flesh of ivory, full and firm with healthy blood and brawn. The artist departed very slightly from this original when he subsequently introduced her into his picture. 86 SCH REYER (AOE), a a Pa wanes Born in Frankfort, 1828. Pupil of ‘Stadel Institute, Frankfort ; studied the horse anatomically in the riding school ; later, in Stuttgart, Munich and Diisseldorf. Travelled extensively in the East and throughout Europe. Member of Antwerp and Rotterdam Academies. Medals, Brussels, 1863 ; Paris, 1864, 1865, 1867; Munich, 1876; Chevalier of the Order of Leopold, 1866 ; Court Painter to the Grand Duke of Mecklenburg, 1862. WINTER IN WALLACHIA. (HIVER EN VALACHIE.) i 3320. * No product here the barren hills afford But man and steel,—the soldier and his sword ; No vernal blooms these torpid rocks array, But winter, lingering, chills the lap of May.” OLIVER GOLDSMITH. The snows are on the Danubian Principalities, and what pass for highways across the vast expanses of swamp and grazing land are deep with mire. The team dragging the ponderous freight wagon through this dreary waste have all that they can do to keep the wheels from being held fast by the fingers of the greedy earth till the frost makes them effectually prisoners. The team- sters lash the straining brutes with furious blows, the strained joints crack, the harness creaks ominously, the wagon racks and complains as it struggles 87 \ ye WINTER IN WALLACHIA. against the tension put upon it, and to add to the excitement and confusion of the scene, the overcast sky is full of the promise of a coming snowstorm, to encounter which is to invite the menace of a death of frost, amid the waste places of the abandoned plain. It is one of those occasions when no moment is to be lost, and no exertion spared, for the fading of the last gleam of cheer- less and warmthless light from the desolate landscape may be the last moment of his life to reveal to the belated wanderer the light of day. 88 GEROME (Jean Léon), . Parif ante ’ Born at Vesoul, France, 1824. Went to Paris 1841, and entered studiov-y 6) ,) of Paul Delaroche, at the same time following the course at rtoodh | 7 des Beaux-Arts. In 1844 he accompanied Delaroche to Italy. He made his début at the Salon in 1847 with “ Un Combat de Cogs.” In 1853 and 1856 he traveled in Egypt and Turkey, studying closely the history and customs of those countries. Medals, Paris, 1847, 1848, 1855 (Exposition Universelle); Member of the Institute, 1865; Medal of Hlonor (Exposition Universelle), 1867; Medal of Honor, 1874; Medal Yor Sculpture, and one of the eight Grand Medals of Honor (Expost- tion Universelle), 1878 ; Chevalier of the Legion of Honor, 1855; Officer 1867 ; Commander of the Same, 1878; Chevalier of the Order of the Red Eagle, Member of the Royal Academy, London; Professor at l’Ecole des Beaux-Arts. ihe No. 68 root # | fr MOLIERE BREAKFASTING WITH LOUIS XIV. AT VERSAILLES, a, Yy. /\) Al (MOLIERE ET LOUIS XIV.) Wa ‘Bi 164 xX 2094. Jean Baptiste Poquelin, with the self-selected professional name of Moli- ére, with which he baptized himself when he took to the stage, and under which he is immortal, was the son of an upholsterer of Paris, who was later in life a valet-de-chambre to the king. Moliére was born in Paris, on January 15, 1622. There are absolutely no reliable data about his early life, save that at the age of fourteen he was sent to the College de Clermont, a Jesuit Seminary in his native city, and that after leaving college he attended the lectures of Gassendi. He undertook a translation of Lucretius, which is now utterly lost, excepting for a single passage in the fourth scene of Act Il. of his “ Misanthrope;” commenced to study law about 1641, and in 1645 turned actor, and went for a dozen years roving about the country with a band of strolling players. It was during this period of his career that he took to wi Peoe state His first play, “L’Etourdi,” was presented in Lyons in 1653. Finally, sar 89 at a MOLIERE BREAKFASTING WITH LOUIS XIV. AT VERSAILLES. drifting back to Paris, he encountered the Prince de Conti, who had been a school-fellow with him at Clermont, and through the Prince’s power obtained permission to act before the king. Louis was so pleased by the performance, and the Prince de Conti supported his old college comrade so manfully, that Moliére was given permission to establish himself and his troupe in Paris. Now began to appear his superb series of comedies, which found their splendid crown in “ Tartuffe,” in 1669. Four years later, on February 17th, 1673, while acting in “Le Malade Imaginaire,” which he had but just written, Molitre was taken with a hemorrhage, and died at ten o'clock that night. His life had been a light and merry one in spirit. His fearless satire had offended the Church. By some it is even hinted that he had early in life become a priest and broken his vows. At any rate, he died in a state of excommunication; and the Church, which had refused him the final rites of religion when he implored them in his last gasp, refused him also Christian burial. The king’s absolute command alone secured for the greatest comic dramatist that ever lived burial in consecrated ground, and then only a private interment, performed by a party of a hundred friends with lighted torches and without a priest. His body now lies in cemetery of Pere Lachaise, where it was removed in 1817. That Louis XIV. received Moliére with much personal favor is undoubted. The story of the breakfast represented by M. Géréme, is told by Mme. Campan in her “ Mémoirs.” According to it, it came to the king’s ears that certain officers of his household had refused to dine with Moliére at the house of his majesty’s purveyor-in-chief. A day or two later, Moliére happening to be at Versailles, where the court was, with his troupe, called to make a morning service to the king. Through an ante- chamber crowded with the courtiers who had disdained him, Louis, who was just from the hands of his valet, had the comedian introduced into his presence. He was breakfasting lightly on the luncheon that had been prepared for him, as was the custom, should he have wished to eat at night, and commanding Moliére to sit opposite him, served him with a wing of his own fowl, and ordered the courtiers to be admitted, to whom he said: gO ne Moliére ee at Phe right, listening with a ee full of satire action at the humiliation of his arrogant enemies. Servants are in dishes - behind the comedian. The scene is laid in one of the Pe a state AU uN at et an interior ornate in the architec- a | ie i of the painting is 1862. ry ef Sy | } fi} “DE NEUVILLE (ALrHonse Marts), .. sDegeamed at ae Vs > ‘i : Y ne Born at Saint Omer, France, 1836. A member of a wealthy family, his parents f° . i } intended him for an offictal career, but he was only willing to join the army q 3 > | and entered the school at Lorient. Here his astonishing skill in drawing ; was remarked. In order to make peace with his family, he went to Parts and entered the law-school, but he spent more time at the military school and in the Champs-de-Mars, sketching and becoming familiar with all the — details of a soldier’s life. He returned home, declaring he would be a painter or nothing. His friends endeavored to discourage his determina- — tion, and the artists upon whom he called in Paris advised him to go back home. Delacroix, however, became his friend, and with him De Neuville spent many hours. He studied also with Picot. De Neuville’s first pict- ures were not particularly remarkable, but the Franco-Prussian war gave him inspiration and subjects almost without limit, and since that time the artist has produced some of the greatest battle-pictures of any time. Medals, Paris, 1859, 1861. Chevalier of the Legion of Honor, 1873. Officer of the Same, 1881. Died, 1885. Set ae 3 AULING BY THE CAPSTAN—YPORT, NORMANDIE. (HALAGE DU CABESTAN.) 22° x) (38. The sky is sullen and the sea pelts the shingle with angry blows of its uneasy waves. In air and ocean the storm is brooding, nursing its wrath with blackening brows. The tempest is held within check only by its own wanton 92 | | em aa V a "HAULING BY THE CAPSTAN—VPORT, ‘NORMANDIE. ian oon oa? ( apricious will, and those who are on the waters do wisely in fleeing 1 he peril that i is soon to come. One fishing boat has gained the nd, < ind her Revises has been carried up to the huge tapstan by which mir es dragged out of reach of the breakers. panes and youth, old toilsome poee to a safe pee ee The capstan creaks and cet ae ‘ohne of its prey. In contrast with the wild spirit of a the furious easy. of the rude toilers of the sea, face to face with Pe cial toil, and to find in its tragic earnestness the subject for a ted sermon for the eyes of luxury and ease. x ) 93 iy EP ee nO Gm le 2 SRR ANN AO Tt, DE fee ai / ee oe ee eee ,¢) ‘| \~ . | (fe | ,OPONHEUR (Francois Aucuste), . Deceased 2, LL SF ed | : AN “Born in Bordeaux, 1824. Died, 1884. Brother of Rosa Bonheur and pupil \ 0 of their father, Raymond Bonheur, a meritorious artist, who died in 1853. ‘, : Auguste achieved reputation as a landscape and animal painter. Medals, ) 1852, 1857, 1859, 1861, 1863. Chevalier of the Legion of Honor, 1867. a ore NORMANDY CATTLE. No. 70 (BESTIAUX. NORMAND.) 234 X 32. It is a landscape of large lines and simple dignity, mellowing in the mid- summer midday. Under a sky aglow with light basks a champaign broken with clumps of verdure and gentle elevations, in which the rich color of the ripening year is refined by the harmony of a nature all in tune. Ina pool in the foreground, a red cow is drinking. Behind her, and also in the water, is a _ black cow, while on the right a dun and white cow is calling, with her head up. To the right in the second plane, a peasant woman is driving two cows to water along the bank. On the left, over the crown of a road which ascends a low hillock from the pool, is seen the figure of a mounted man. A few stunted but richly verdured trees break the not unpleasing monotony of the landscape. The picture is not dated. 94 Memes) (JEAN GEORGES), . . ... Born in Paris, 1840. Pupil of l’Ecole des Beaux-Arts, and of Barrias, — Paris. Medals, Paris, 1864, 1867, 1868, 1878 (Exposition Universelle 1 Chevalier of the Legion of Honor, 1870. ae ae No. 71 SCENE AT A SPANISH DILIGENCE STATION. (UNE COUR DE DILIGENCE EN ESPANGE.) 27 X20. The diligence office is almost as complete an epitome of Spanish life and character to-day as it was at the opening of the century. The world’s progress has, it is true, invaded the Iberian peninsula astride of the iron horse, but | railway communication is by no means universal, and even where it does exist, as a line of connection between the more important points, the ancient stages are frequently kept up. The Spaniard has not outgrown the national predilection for travelling through life by easy stages. Neither has he lost his love of gossip, and of the interchange of badinage by the way—that merry weakness of the idle tongue that has found in “ Figaro” a type of all his race. Modern Spain is still the Spain of Beaumarchais. The characters of “ The ; Barber of Seville” still lounge in its sunny streets and go a-journeying as of | old, and from among them M. Vibert has found material for his picture. In a court-yard at Seville, the passengers are awaiting the departure of the stagecoach. In the foreground to the right, a black-robed priest with the long box containing some ecclesiastical vestment on his knees, is seated | 95 SCENE AT A SPANISH DILIGENCE STATION. against the wall, reading in his breviary. His ascetic face wears a particularly severe expression, caused, no doubt, by an active flirtation between his neigh- bors. They occupy the middle of the picture, in a group of three, whose centre is a coquettish Spanish beauty gayly attired in yellow silk and white lace. She has on her left a Spanish bull-fighter, in a bright blue suit, witha scarlet serape cast over his shoulder, and on her right another admirer more. soberly clad. Their conversation is animated, and accompanied with spirited gestures and cigarette smoke. In the background other figures are gathered about a booth, and a muleteer lies among his trappings on the ground. The diligence, as yet unhorsed, shows in the rear of the court over the heads of its waiting passengers. The picture bears the date 1869. 96 session na EE IE < .* 1 Ea ¢ ¥ : .. ; SC ON IER (Jean Louis Ernesst), a : E> at Lyons, 181 3. He went to Paris when guite young, and was, oP ? ee a time, a pupil of Léon Cogniet. First exhibited at the Salon in 1836. 19 of His picture,“ A Brawl” (1855), was purchased by Napoleon III. an a, presented to the late Prince Albert, of England. Medals, Paris, 1840, 1841, 1843, 1848. Grand Medal of Honor, 1855 (Exposition Uni- verselle). One of the eight Grand Medals of Honor (Lxposition Oniverselle), 1867; Grand Medal of Honor (Exposition U; niverselle), 1878. Chevalier of the Legion of Honor, 1846; Officer of the Same, 1856 ; ; Commander of the Same, 1867; Grand Officer of the Same, - _ 1878. Member of the Institute of France, 1861. nie + " BOUGUEREAU (WiLLiam ADOLPHE), + | 7 Panis BD 4 Pau s : : 3 i OY ‘el Born in La Rochelle, 1825. When quite young, after passing through the it. - v College at Pons, where he showed an aptitude for drawing, Bouguereau ga A 2. was placed in a business house in Bordeaux. While there he attended, \ *) \ two hours a day, the drawing-school of M. Alaux. Treated contempt- wously by his fellow-students on account of his unartstocratic business connections, Bouguereau nevertheless took the first prize at the end of the year, the award causing such excitement in the school that a riot was the consequence. Bouguereau resolved thenceforth to turn his atten- tion to art, and after he had earned sufficient money by painting portraits at Saintonge, where his uncle was a priest, he went to Paris and entered the studio of Picot, and later I’ Ecole des Beaux-Arts, where his progress was rapid. He gained the Prix de Rome in 1850, and then studied in Rome. Medals, Paris, 1855 (Exposition Universelle), 1857, 1867 (Exposition Universelle). Chevalier of the Legion of Honor, 1859. Member of the Institute of France, 1876. Officer of the Legion of Honor, 1876. Medal of Honor (Lxposition Universelle), 1878. Knight of the Order of Leopold, 1881. Grand Medal of fTonor, Paris, 1885. Medal of Honor, Antwerp, 1885. | eS Ay’ Noses HESITATING BETWEEN LOVE AND RICHES: @ (ENTRE L’AMOUR ET LA RICHESSE.) 42 X 35. ‘‘T have no store Of gryphon-guarded gold ; : : Now as before, Bare is the shepherd’s fold. ae Al Rubies nor pearls (is es ee Have I to gem thy throat ; aed — Yet woodland girls Have loved the shepherd’s note.” vith the tempting ‘clink sf gold and the tinkle of glistening gems. | between | the troubadour who offers the treasure of his heart and ages the ae who Petes the treasures of his coffers, the maiden sits . estion of Pie: her choice will be. e genre of the ne for which your, and 29) contend with such ~ On her left, the youthful gallant chants his passion in her ear, n touches upon his mandolin. On her right the aged suitor tempts ma jewel casket. The costumes are of the later fourteenth or fifteenth century, sumptuous in material and rich in color. The ler as face is pure in outline, its youth chastened by gravity. + Her sss of pink stuff, with white at the arms and throat, accentuates by its slicity the richness of its surroundings, and gives meaning to the Be tO figures are shown at three-quarter lenoth. « Thesdate “i 103 i i ah a a> Se o.oo ee 4, EROME (JEAN Léon), . i, Paris Born at Vesoul, France, 1824. Went to Paris in 1841, and entered the studio of Paul Delaroche, at the same time following the course at l Ecole des Beaux- YQ Arts. In 1844 he accompanied Delaroche to Italy. He made his début at the Salon of 1847. In 1853 and 1856 he travelled in Egypt and Turkey, ° studying closely the history and customs of those countries. Medals, Paris, 1847, 1848, 1855 (Lxposttion Universelle). Member of the Institute, 1865. Medal of Honor (Exposition Universelle), 1867. Medal of flonor, 1874. Medal for Sculpture and one of the eight Grand Medals of Honor (Exposttion Untverselle), 1878. Chevalier of the Legion of ffonor, 18553; Officer of the Same, 1867; Commander of the Same, 1878; Chevalier of the Order of the Red Eagle. Member of the Royal Reed London. Professor in 1’ Ecole des Beaux-Arts. 4! oe \ AF WA oi No. 76 | ff EMINENCE GRISE. 293 X 39. There were two kings in France when Louis XIII. was young, and neither wore the crown. These unanointed monarchs were Armand Jean du Plessis, Cardinal Duc de Richelieu, and his strong right arm and brother brain, Frangois Leclerc du Tremblay, otherwise Father Joseph of the Order of Capu- chins. While Richelieu ruled France and swayed the destinies of Europe in the midst of the most magnificent ecclesiastical and worldly state, his ascetic confidant and prime minister passed through the great pages of history stern and severe as a spectre, conquering his victories with sandalled feet on the 104 L’EMINENCE GRISE. ———$$ $$ ___—_ steps of thrones, and with his rude friar’s vestment carrying amid the gayety of frivolous courts the menace of an iron power. | Frangois Leclerc du Tremblay was born of a good family in Paris in 1571. He received the amplest education of the time, and entered the army as a gentleman volunteer, serving in the campaigns as Baron de Maficé. His spirit was sober, and his temperament melancholy. Given to dreams of duty at variance with the light manners of the camp in a gallant age, he withdrew - from the army, and entered the Order of Capuchins in 1599. He had become distinguished as a mission priest of fiery enthusiasm and enormous energy when Richelieu rose to power at court in 1614. His labors in the organiza- tion of missions to India and America brought him in contact with the Secretary of War and Foreign Affairs. Richelieu, with an eagle eye for men of his own intellectual stamp, recognized in this severe devotee also a states- -man of broad views and comprehensive knowledge, and a diplomat of a shrewdness and ability second only to his own. To appreciate a man, with Richelieu, was to advance him. Father Joseph was set to the difficult task of healing the breach between Louis XIII. and his mother, in 1620. He suc- ceeded. The Queen was restored to her position at court and Richelieu’s influence laid on a solid foundation. In two years more the Secretary of War was made Cardinal, and in two more Minister of State. Father Joseph became his secretary and coadjutor. He was henceforth associated with Richelieu’s greatest triumphs of statesmanship. It was Friar Joseph who secured from Rome the dispensation for the marriage of Henrietta of France to James I. of England in 1624, who brought about the dismissal of Wallen- stein by Ferdinand II., who signed the peace of Ratisbonne in 1629, and who, as much as Richelieu himself, shaped the foreign policy which bred dis- cord over all Europe to make France the stronger. Father Joseph died in 1638, after the Pope had granted him a Cardinal’s hat but before he had time to wear it. This is the homely and barefooted friar who in M. Géréme’s picture is descending the grand staircase of the Cardinal’s palace, reading his breviary while the courtiers go cringing up on the other side. They bend servilely while his eye is on them, and turn upon him glances of hatred, scorn and fear, 105 : "where his arms glow and flash’ in crimson aa et The — of Ata a4" i" Cardinal is written in every line of his straight figure, from whose ment adulation and hatred alike recoil as from a suit of mail. Rese is me, Fe i Tal aninerce Grise’”’ was nate hice 7) ee (ity 36 ! Ree: peewee ' Le y py & PORTUNY Y CARBO (Mariano), . Deceased /53 200s | { s-v0 Born at Réus, in Catalonia, 1838. Died in Rome, 1874. Pupil of Palau, o —— ae Lorenzalez and of the Barcelona Academy, where he won the Prix dey Ae 4s (“ 0 s Rome tn 1856. At Rome, which thenceforth became his residence, ie 9 f studied Raphael and made sketches of Roman life. In 1859 he was sent to Morocco by the Government to paint the incidents of General Prim’s campaign. In 1866 he went to Paris, and then to Madrid, where he remained three years studying the works of Velasquez, Ribera and Goya, fits original style, correct drawing and fine color gained for him a great reputation, and the sale of the contents of his studio after his death feed, 800,000 francs, I 1 Morten No. 77 4g AeePANISH LADY gaat (UNE DAME ESPAGNOLE.) 53 X 39. “Carmen est maigre,—un trait de bistre Cerne son ceil de gitana, Ses cheveux sont d’un noir sinistre Sa peau, le diable la tanna.” THEOPHILE GAUTIER. A portrait of a beautiful Spanish woman of the higher rank and the pure Castilian type, painted in an erect position at three-quarter length and on the scale of life. The lady is looking forward with an expression of some gravity. She is dressed in a modern costume of rich black silk, with white 107 A SPANISH LADY. lace at the wrists and a white linen collne The dress is confined at the front with coral buttons, and the left hand, on whose forefinger is a ring, is slightly lifting the skirt with a movement replete with quiet grace. The right hand toys with the antique and oddly designed gold onan of alorgnon. The back- ground is an indefinite gray green, strong but luminous, against which the - black silk, shot with steely lights, is solidly relieved. The story of this picture is in its way a romance; one of those romances, indeed, of which one hears much more in the history of art than one encounters in its actuality. Perhaps it is best told in the words of the late Mr. Edward Strahan in his “The Art Treasuries of America,” from which - the following is taken: ‘‘ The specimen of Fortuny is an important and a charming one. During his culminating, his wonderful years at Rome, the Spanish painter consented, as a caprice and experiment, to resume for one time the life-size scale of painting, a method he had not employed since his studies for the ‘‘ Battle of Tetuan.” The result is before us, a large portrait of the handsome wife of a Secretary of the Spanish Embassy at Rome. Fit for the proud portrait gallery of the Silvas, so elegantly recapitulated in “ Hernani,” this supreme chef d’@uvre is separated, perhaps forever, from the records of a family race to take its position as a work of pure art, and enjoy a lease of artistic life apart from the life of a haughty Castilian house. It will go down to posterity anonymous and famous, like some great Reynolds or Tintoretto. ‘ The Lady with the Pince-Nez” will be its all-sufficient designation, as we mention the Titian of the Glove, or the Rembrandt with a Toque; for the family name, which has been mentioned to me, it is eminently unsuitable to publish under the circumstances.” . It is of this same master-piece that Arstne Houssaye wrote in a letter: ‘The same evening I saw, at the residence of your compatriot Mr. Stebbins, the only woman’s portrait ever painted by Fortuny. It is the wife of a Spanish Secretary of Embassy at Rome. She is beautiful, but the painting is far more beautiful than she. Fortuny was Velasquez come to earth again. To think that this great genius, who held the secret of light in his hand, has been cast back into eternal night because the Roman fever passed by his studio! When will another Velasquez be born ?” The date of this picture is 1862. 108 Deceased. . Pupit of Canova, Professor of the Academy of i | Among. the works of this sculptor are “Venus and Love ;” By: of Ganymede,” Jor Prince Esterhazy ; the Tomb of Cardinal e, for the city of Bologna ; statue of “ St. Francis de Sales,” for St. a : 7 Sy at Rome, and a colossal “ St. Michael,” for the late Mr. Gardner rae Brewer, of Boston. Died, 1870. Myf ers No. 78 °. \ CUPID AND PSYCHE. aa GROUP.) fe pe ka grace of hisown. This beautiful group was eros soon after Sipteaa ee _— he had completed his monument to Pope Clement XIV., and holds its place to this day at the head of his lighter imaginative works, showing as it does. his delicate and masterly treatment of the marble and his poetry of — at their best. Canova, who died in 1822, left, among other dis-. - tinguished pupils, Professor Adam Scipione Tadolini, who became himself a xs sculptor of the highest merit. Professor Tadolini executed in the dimensions of the original a reproduction of his master’s ‘‘ Cupid and Psyche.” The ; : 109 rs CUPID AND "PSYCHE: ut, @ in & lt a amorous god is shown swooping down upon the lavelone maiden with | eas Si graceful sinuousness of motion to his winged figure, while she greets: him throwing herself backward into his arms with the motion of one just aroused | from sleep. The figures are in the dimensions of the life and perfect in their repetition of the original. The character of the female figure is refined and , tender, as befits the bride of the love god in whom the Greeks embodied the E : soul or spirit of mortality, while the Cupid has the refinement and vouthiaie 7 beauty belonging to the son of Jupiter and Venus, who, ‘‘ Uncontrolled through heaven extends his sway, And gods and goddesses by turns obey.” 110 3 | : GEORGE PROSPER), Paris n the Island of Mauritius, Africa. Pupil of Dautan. Legion of er 1878. Hors Concours. Friend and companton of Fortuny. wn ee ee “4 Satyrs of the woodland sort, Their ears pricked up, their noses short, With asses’ hoofs, great goggle eyes, ’ And double chins of monstrous size.” . , : | 2 Y ALDEN. ee. the cemented demi-god as he does. His type remains as ey eee ¥ i ° ° ° . ° co co while it becomes more pees ae and his “Satyr” is made a B Eie himself, the merry Bacchante. Wa Za Itl L SM bontf. Sa Meee f : (7 os vad is ree . : 43 D’EPINAY (Count GEorRGE PROSPER), Paris € Ae ore No. 80 BACCHANTE. ‘« Jolly Bacchus, god of pleasure, Charmed the world with drink and dances.” THOMAS PARNELL, It is one of the priestesses of this merry deity whom the English poet sings that the sculptor breathes life into in the plastic image which his hands built up. He presents us with a worthy incarnation of the supporters of the gay god’s shrine—a priestess whose vocation it is to promote her tutelary deity’s pleasures, and whose religion consists in sharing with him in the gayeties with which he charms the world. II2 ; fié 0. 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