+ f ‘I " >i .urttri ' •' IwflWt 1 Vi i« ihh, ft 
 
 
 

 
 
 
 
 
 
 
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hpI"**" * M * * Ih n 
 
 by 
 
 The World’s Greatest Artists 
 
 Selected from the Best and Most Noted 
 Art Galleries of 
 
 France, England, Italy, 
 The United States 
 
 and Many Other Countries 
 
 CHICAGO 
 
 Stanton ^VanVliet (Q. 
 
 PUBLISHERS 
 
Copyright, 1917, by 
 STANTON & VAN VLIET CO. 
 
 COPYRIGHT 
 
 MCMII 
 
 THOMPSON At THOMAS 
 
Famous Pictures 
 
FAMOUS PICTURES 
 
 The highest form of the painter’s art is conceded to be the delineation of ths 
 human figure, and the loftiest range of figure painting is that which is compre- 
 hended under the general title of the nude The painting of the nude model is the 
 crowning test of an art student’s proficiency, and the accomplished artist turns to 
 classical and idyllic subjects in order to establish the loftiest standard of his skill. 
 Only those who have made an actual study of art can really understand the enor- 
 mous difficulties involved in the representation of the human form, in all its subtle 
 beauties of outline and its delicate inflections of color and light and shade, unassisted 
 by the picturesque accessories of costume. It has been said that the successful execu- 
 tion of such subjects definitively marks the difference between an artist and a painter, 
 and that this is the case, the examples presented in this work will, we think, prove. 
 
 While, in practically every instance, the artists represented in these pages are 
 painters of conceded eminence and international fame, these facts have had no 
 
 OTOM A PAINTING BY F. M. LARD. 
 
 FALLEN ROSE LEAVES.’ 
 
FROM A PAINTING BY H. PICOU. 
 
 LOVE LIGHTER THAN THE BUTTERFLY. 
 
 bearing or influence on the selection of their pictures for reproduction. The intrinsic 
 merit of the painting, its value as an artistic work, the completeness with which it 
 represents the ability and style of the artist, and the interest of its subject, have 
 been combined to form the test by which it has been judged. No picture, for 
 example, has been taken merely because it was painted by a famous man, nor any 
 rejected because the painter was at the commencement of his career or possibly 
 unknown to general popularity, it is only by such rigid impartiality* that justice 
 
FROM A PAINTING BY CARL 80HN, JR. 
 
 “AT THE MASQUERADE.” 
 
 could be done, both to the subject of this work and to the individuals of whom 
 it treats. Among the artists with whom we shall have occasion to deal will be 
 found many whose works are widely known, but the details of whose lives are 
 
obscure. This will be found due to the inadequacy of the ordinary enyclopedias 
 of artist-biography. While these compilations are usually good as far as they go, 
 they do not go far enough. They are not actually up to date in matters of infor- 
 mation even when published, and in a year or two new men achieve success who 
 were unknown when the books were written. In “Modern Figure Painting,” 
 which brings facts down not only to the year but to the month of its issue, will, 
 therefore, be found many items of great personal-interest, which would be looked 
 for in vain in any other publication. This information, laboriously assembled 
 from a hundred different sources, is the latest which is procurable, and as correct 
 as it has been possible to make it, so that, distinct from its pictorial value, 
 “ Modern Figure Painting” will possess that of a current record of the artistic 
 progress of our own time. 
 
 Having, in a general way, outlined our purpose, and the methods applied to 
 its accomplishment, let us direct our attention to the results. 
 
 The first subject chosen by us is a picture which attracted much attention at 
 the Salon Exhibition in Paris in 1894: a young girl, on the morning after her first 
 ball, lost in reverie over the wilted flowers which remain to her as faded trophies of 
 the festival. The painter of “Fallen Rose-Leaves,” F. M. Lard, is a Parisian, for 
 some years a contributor to the Salon of works of a similar class oi genre, and much 
 charm of color and refinement of execution. More elaborate in composition and 
 material is “ Chilly,” by Jules Scalbert: two modern wood-nymphs, one of whom 
 already bathes in the pellucid waters of a sylvan stream, while her companion lingers 
 on the bank, half timid and half shivering at the cold caress of the summer breeze. 
 Scalbert, who has achieved an enviable reputation as a painter of these graceful 
 idylls, was born at the old city of Douai, in the Department du Nord, and studied 
 his art under Pils and Petit. He has been a regular exhibitor at the Salon for some 
 fifteen years. “ Chilly” is one of his latest works. 
 
 The name of Carl Sohn, the younger, is well and favorably known at the Ger- 
 
 FROM A PAINTING BY R. MEGAT DU MALMONT. 
 
 LA CIGALE. 
 
FROM A PAINTING BY L. ALMA-TADEMA. 
 
 THE OLD STORY. 
 
 man exhibitions. He belongs to a family of Diisseldorf artists, his father, after 
 whom he is named and whose pupil he is, being a distinguished portrait and genre 
 painter. “ At the Masquerade” was one of the attractions of the Berlin Annual 
 Exhibition of 1891. 
 
 One of the most successful graduates of the studios of Jacquand and J. L. 
 Gerome, Albert Aublet, is a Parisian by birth. He received his first Salon medal 
 in 1880, and won steadily increasing popularity, chiefly by pictures of a graceful 
 decorative character, remarkable for beauty of form and tender purity of color, of 
 which “ Sleep” is an admirable example. An appropriate pendant to “ Sleep” is “ A 
 Couch of Roses” by Joseph Saint-Germier, another artist whose decorative pictures 
 have gained him merited distinction. He is a native of Toulouse, and after com- 
 mencing his studies at the art academy of his native city, became a pupil in Paris 
 of the famous painter Galland, from whom his mastery of the style of subjects he 
 adopted was largely derived. Those who have had the good fortune to visit the 
 New York mansion of the late William H. Vanderbilt, now the home of his widow 
 and of his younger son, Mr. George W. Vanderbilt, and have examined the 
 magnificent interior decorations of that American palace, will recall, among them, 
 the ceiling and wall paintings executed to order for the places they occupy by 
 Galland, and form from them that idea of the beauties of color in the pictures of 
 his gifted disciple which our illustration cannot convey. 
 
 A painter of striking seductiveness of style is Max Nonnenbruch, of Munich. 
 After winning recognition by his earlier works of domestic genre, he devoted him- 
 self almost entirely to idyllic and semi-classical subjects, akin in feeling to “The 
 Favorite,” in which he found the true direction of his talent, and by which he is 
 represented in the greatest private collections of Germany. Paul Mousset is a 
 Parisian artist, a young man who while still a student achieved a distinct reputation 
 
 10 
 
FROM A PAINTING BY J. D. CAUCANNIER. 
 
 THE MODEL’S LUNCHEON. 
 
 by his mastery of the figure. His pictures show him to be a strong and accurate 
 draughtsman, a good colorist, and a painter of elegant and finished execution. 
 Although he produces portraits and genre subjects, his best work has unquestionably 
 been in the line of “The Love Birds,” pictures painted for the decoration of some 
 of the most luxurious mansions of Paris’. More in the vein of Nonnenbruch, but 
 of even more extended fame and popularity, is Nathaniel Sichel, of Berlin, a grad- 
 uate of the Berlin Academy and the Paris Academy. He was born at Mayence, and 
 was first a lithographer. He is a favorite portrait painter in Germany, and his 
 
 12 
 
FROM A PA.NTING BY EMMANUEL BENNER. 
 
 “A STUDY.” 
 H 
 
FROM A PAINTING BY NATHANIEL SICHEL. 
 
 ■‘TURANDOT.” 
 
 historical pictures may be found in various public collections, but the world knows 
 him best by his refined and dignified classical pictures, like “A Vestal Virgin,” and 
 his peculiarly beautiful ideal compositions. 
 
 Emmanuel Benner is one of the foremost painters of the figure, and one of the 
 greatest masters of the nude in particular, who exhibit at the Paris Salon. He was 
 born at Mulhausen, in Alsace, and studied under Pils in Paris. His pictures, which, 
 
 16 
 
FROM A PAINTING BY EUGENE DE BLAA8. 
 
 ITALIAN PEASANT BOY. 
 
 126* 
 
 like “A Study,” are usually very simple in subject, possess an extraordinary natu- 
 ralness of color, and are equally lifelike in modelling and spirit. In “Turandot” 
 N. Sichel gives us one of his ideal Oriental types, whose voluptuous and alluring 
 beauty is in marked contrast to the serene dignity of his “Vestal Virgin.” The 
 “Japanese Bather” of P. Mousset is another picture in the same feeling as “The 
 Love Birds,” but of more elaborate treatment. The original of this bather is a 
 native Japanese woman of a damling beauty very rare with her race, who came to 
 
 16 
 
FROM A PAINTING BY GUSTAV GRAEF. 
 
 “BIANCHINA.” 
 
 Europe some years ago, and has since served as a model for the Paris painters — 
 the only Japanese model known, at least outside of Japan. Gustav Graef of Berlin 
 is a widely known painter, who has been especially successful in female portraiture, 
 and in those gentle and poetic ideal types of feminine beauty of which his “ Bian- 
 china, ” which is an idealized portrait of a Venetian girl, is a sterling illustration. 
 
 Rene-Joseph Gilbert, who is one of the foremost of the pupils of the late Alex- 
 andre Cabanel, was born in Paris, and is a thorough Parisian in his art. He is a 
 
 17 
 
brilliant and powerful colorist, and his pictures reveal an amazing facility in the 
 rendition of textures, which, even in the black and white reproduction of “A Mid- 
 summer Siesta,” can be distinctly observed. Another of the Paris artists, although 
 only by adoption, is Miecislaw Reyzner. He is of Polish origin, and studied at the 
 Munich Academy and at the Paris Ecole des Beaux Arts. The success he attained 
 with pictures of the dainty, decorative order of his “Morning,” encouraged him 
 to settle permanently in Paris, where he speedily found substantial support. Cas- 
 par Ritter, of Carlsruhe, is a favorite German painter of subjects of sentiment. His 
 “Consolation in Song” is a realization of the German version of our familiar Eng- 
 lish proverb, “Music Hath Charms.” 
 
 At the Salon exhibition of 1891, a picture which attracted a marked amount of 
 attention was a vividly painted midsummer landscape, with the figures of three 
 wood-nymphs, basking in the flood of golden sunshine. It was entitled “ Summer- 
 time. ” The painter was A. Axilette, a Parisian artist whose studio was already 
 well known to collectors. The success of “ Summertime" in Europe was enormous. 
 It was successively exhibited at various continental exhibitions, and everywhere 
 repeated the hit it had made in France. It was, in fact, one of those works of 
 which it is said that they “ make” their authors, and in the sense that it completely 
 established the painter’s reputation, “Summertime - ’ realized this figure of speech. 
 
 It will be noted, from these examples, that they conform closely to the title of 
 this work. They are essentially modern, in every quality of conception and exe- 
 cution. The great and celebrated works of figure art of the first half of the present 
 century, and those of the remoter past, are familiar to all persons of cultivated 
 tastes and a love for the beautiful. The immortal productions of Titian and 
 
 FROM A PAINT.NO BY P. CARRIER- BE. LLEUSE. 
 
 ON THE BEAR RUG 
 
FROM A PAINTING BY MIECI8LAW REYZNER. 
 
 “ MORNING.” 
 
 19 
 
FROM A PAINTING BY CASPAR RITTER. 
 
 “CONSOLATION IN SONG.” 
 
 Correggio, of Giorgione, Raphael, Ribera, and the other masters of the great art 
 revival of Italy, are ripe with the ripeness of centuries. Their splendors have 
 ceased to be mere matters of rare artistic skill, and they have taken their places 
 among the classics of art. So, too, each in their degree, have the masterpieces 
 of Rembrandt, Rubens, and Vandyck, in the Netherlands; those of Watteau, 
 Boucher, Poussin, Mignard, Lebrun in France; of Diirer, Holbein, and the rest, 
 
 20 
 
in Germany; and of the Spanish masters, at whose head stood Velasquez and 
 Murillo. The same world-wide recognition has been accorded to the productions 
 of the early English school, over which reigned the geniuses of Reynolds, Gains- 
 borough, and Romney. Only less famous because they are nearer our own day 
 are the works of the painters of the art revolution in France, and of those who, 
 like Kaulbach and his contemporaries, re-created the art of Germany. It has re- 
 mained for “ Modern Figure Painting” to do for the men of the end of the nine- 
 teenth century, what an army of historians, biographers, and critics have done for 
 their predecessors. 
 
 The art of the present, and especially that of the painter of the figure, is part 
 of the life of the present. The methods and inspirations of the artist have changed, 
 just as our methods of living have changed from those of our forefathers. The 
 world progresses ceaselessly in all things, and in none has its progress been more 
 distinct and marked than in the arts. Literature, music, sculpture, painting, have 
 kept pace with the enormous strides in advance made by science and invention. 
 The end of the last century, the last twenty-five years of it, that is to say, revolu- 
 tionized the world. The American War of Independence created an epoch, and 
 its results completely changed the traditional conditions of the globe, for they 
 reached even into the remotest strongholds of immemorial barbarism, and moulded 
 nations out of what had been a chaos. The same period of the nineteenth century 
 will go into history with a similar record, and in the credit for it art will bear its 
 important share; and the share in it of the art of the modern figure painter will 
 not be the least. 
 
 FROM A PAINTING BY A. AXILETTE. 
 
 “SUMMERTIME.” 
 
 n 
 
The Germans have achieved some of their greatest successes in the art of fig- 
 ure painting with subjects derived from that legendary lore in which their country 
 is so rich. Among the artists whom this world of phantoms has enchanted, prob- 
 ably the foremost is William Kray. He is no stranger to the art lovers of 
 America, for his paintings have long been popular in this country, and are to be 
 found in most of our prominent private collections. He was born in Berlin, and 
 Degan his studies there, afterward residing for a long time in Rome and Venice. 
 
 FROM A PAINTING BY WILLIAM KRAY. 
 
 THE DANCE OF THE WILL O’ THE WISPS. 
 
 Ultimately he returned to Germany and settled in Vienna, where he speedily won 
 distinction. In “ The Dance of the Will o’ the Wisps” he renders a poetic version 
 of the old legend of the wildfires, the gleaming spirits of marsh and fen. The 
 late Charles Chaplin was born at Andelys, in the Department of the Eure, France,, 
 of an English father and a French mother, in 1825. At the age of fourteen he 
 became a pupil of the painter Drolling in Paris, and settled in Auvergne to be- 
 come a landscape painter. But the figure had an irresistible attraction for him, 
 and like Kray, who also commenced by painting landscapes, he gradually aban- 
 doned his first choice of pursuit for the nobler and more enticing one. His suc- 
 
 22 
 
FROM * PAINTINO By MLLE. DIANA COOMAN8. 
 
 THE SPINNER. 
 
 cess as a painter of portraits, and especially of portraits of women, continued 
 until his death. Meanwhile he painted many imaginative compositions, in the 
 coquettish and seductive style of Boucher, to which class “ The Lyre” belongs, 
 
 24 
 
FROM A PAINTING BY E. RICHTER. 
 
 AT HER EASE-GRENADA. 
 
 25 
 
 i m iH \ 
 
FROM A PAINTING BY LEON HERBO. 
 
 “CHERRIES OR ROSES?” 
 
 and executed decorative work for great mansions and palaces, especially for 
 the Tuileries, the Elysee, etc. Chaplin died, very rich, two years ago. He 
 had been an Officer of the Legion of Honor since 1877. P. L. Bouchard is a 
 French artist, of what some critic has classified as the School of Gerome. He 
 is a Parisian, and made his studies at the Ecole des Beaux Arts in the class over 
 which M. Gerome exercised direction. In “ After the Bath” he shows the interior 
 of a bathing room, where the favorite of the harem has been making her ablu- 
 tions. M. Bouchard is, as a draughtsman and colorist, and in his style of painting, 
 one of the foremost of living French artists. 
 
 Some of the ablest of modern German painters have of late years turned their 
 eyes to the Orient for subjects, and among the most successful of these is E. 
 Richter, of Berlin. He is a graduate of the Munich Art Academy, and his renditions 
 of the supple charms of the beauties of the harem have been widely distributed by 
 reproduction in various forms. In “At Her Ease” he gives a scene from the 
 Alhambra at Grenada, where he made many studies in the famous old palace of the 
 Moorish kings, which the Spanish Government preserves as a species of national 
 monument. It is one of the queens of the royal harem who awaits the coming of 
 her lover. She stands in the doorway opening on a balconied staircase, holding in 
 her hand the rose, the flower of love, which has been sent her as a token. In her 
 splendid dress, enriched with costly jewels, her attitutfe and expression, she affords 
 
 26 
 
a perfect picture of the refined type of voluptuous Oriental seductiveness. As 
 a portrait painter Richter enjoys an enviable reputation. Leon Herbo is a 
 Parisian, whose works are well known at the Salon exhibitions. He was first 
 
 LOVE WINS. 
 
 27 
 
rplOM A PAINTING BY GUSTAVE COURTOIS. 
 
 ELAINE. 
 
 presented to the public by ambitious compositions of the style usual to students 
 of the art schools, but presently began to make a reputation as a portrait 
 painter. In the intervals of his engagements in this department of art, he pro- 
 duced pictures of the manner of subject of “Cherries and Roses,” and as these 
 found increasing favor, and secured him commissions for the decoration of the 
 mansions of wealthy Parisians, he gradually increased his productiveness in this 
 direction, and through it he is best known to the world at large. The old Greek 
 legend of the Sirens has attracted many artists, and resulted in the creation of 
 many admirable pictures, from races not dreamed of when Ulysses sailed upon his 
 voyage in quest of the golden fleece. In the composition of Adolphe La Lyre, 
 who is an esteemed artist of the modern school in Paris, to which city he belongs, 
 the tradition finds a quite original and individual interpretation. La Lyre, a 
 painter educated in the Bouguereau class at the Paris Art Academy, somewhat fol- 
 lows his master in correct drawing and pure color, but has quite an individual style. 
 
 Like his twin brother, the distinguished artist Jean Benner, Emmanuel Benner 
 commenced his life as a designer for the mills and factories of Mulhouse in Alsace, 
 where he was born in 1836. At the age of thirty, having amassed some means by 
 strict economy, he devoted himself entirely to art, his masters in painting being 
 Eck, Henner, a fellow Alsatian; and L£on Bonnat. He at first painted pictures of 
 still life, portraits, and genre subjects, and commenced exhibiting at the Salon in 
 1868. In 1875 he struck out in a new direction, and his masterly paintings of the 
 nude won him immediate favor. The character of his art has been sufficiently 
 adverted to in Part I. of this work. Benner won his first Salon medal in 1881, with 
 a picture very similar in character to “The Sleeper,” which was entitled “ Le 
 Repos.” 
 
 28 
 
FROM A PAINTING BY MLLE. HEVA COOMANS. 
 
 A POMPEIIAN FLOWER GIRL. 
 
 The late Joseph Coomans was one of the most popular of European painters 
 with American collectors, and the sale of his works in this country alone made him 
 a very rich man. He was a native of Brussels, and a pupil of Professor Hasselaere 
 
 29 
 
at Ghent, and of Nicaise de Keyser and Baron Wappers at the Antwerp Academy. 
 From Antwerp he removed to Paris, and going with the French army to Algiers, 
 where he resided several years, he later travelled extensively in Italy, Turkey, 
 Greece, and the Crimea. At this time he painted historical and portrait subjects, 
 but in 1857 he visited Italy, and became interested in the remains of ancient Pom- 
 
 FrfOM A PAINTING BY U V. OU RANGEL. 
 
 THE BUTT ERNIES. 
 
 30 
 
\W THE HAREM. 
 
 „ ,rm ; 
 
 « 
 
 FROM A PA'NTING BY JULES GARNIER. 
 
PROM A PAINTING BY CHARLES LANDELLE. 
 
 REBECCA. 
 
 peii, which were then being excavated. From this time forth he took up the line of 
 subjects which made him famous. He had two daughters, both of whom possessed 
 remarkable artistic gifts, and who, as his pupils, became well-known painters. Some 
 
 32 
 
PAINTING BY FRANCOIS LAFON. 
 
 THE THRACIAN WOMEN SPURNING THE BODY OF ORPHEUS. 
 33 
 
years before his death he 
 visited America, residing 
 here for a prolonged pe- 
 riod, and his daughters 
 accompanied him and be- 
 came favorites in the best 
 New York society. Both 
 Miss Heva Coomans and 
 her sister Diana paint the 
 same class of subjects 
 as their father, and very 
 much in his manner and 
 feeling of color. In “ The 
 Pompeiian Flower Girl” 
 is presented an extremely 
 characteristic example of 
 one talented daughter of 
 a famous parent. 
 
 One of the younger 
 Frenchmen who have at- 
 tracted attention at the 
 great exhibitions is the 
 painter of “A Bather.” 
 He comes of artistic 
 stock, at the head of 
 which stood the famous 
 painter of animals, and 
 one of the greatest etch- 
 ers the world has pro- 
 duced, Auguste Lan^on, 
 and is a graduate of the 
 Paris Art School. An- 
 other and much stronger 
 man, in whose death a 
 few years ago French art 
 sustained a serious loss, 
 was Jules Ars&ne Gar- 
 nier, a Parisian, born in 
 1847. He commenced his 
 studies at the Academy 
 of Toulouse, one of the 
 best in Furone, painted 
 
 FROM A PAINTING S') JAMES BERTRAND. 
 
 THE GRASSHOPPER SINGING TO THE MOON. 
 
 34 
 
under J. L. Gerome.in Paris, and travelled much in Holland, Spain, and Morocco, 
 from which latter source his “ In the Harem” is derived. Among the most emi- 
 nent of French figure painters of the older school was Charles Landelle, who was 
 born at Laval, in Mayenne, in 1821, and was a pupil of Paul Delaroche and Ary 
 Scheffer. He never equalled either of his masters in power of expression, but 
 possessed a soft and pleasing style of his own. His life was extremely success- 
 ful as a painter of easel pictures, portraits, and decorative compositions, and 
 examples of him are to be found in all the museums of Paris and the departments 
 
 FROM A PAINTING BY P. FRANC 
 
 A FANTASY. 
 
 35 
 
FROM A PAINTING BY JULES BRETON. 
 
 THE GLEANER. 
 
 1C * 
 
 of France, and in many of the best American collections. The “ Rebecca” is one 
 of his pictures purchased by the Government. Landelle was repeatedly medalled 
 from 1842 down, and in 1855 was received into the Legion of Honor for his 
 picture “The Virgin Resting,” which now hangs in the Louvre. 
 
 Of all the legends of classic antiquity that of Orpheus is, perhaps, the most 
 contradictory. The painter in this instance has adopted the most popular version. 
 According to it, the son of Apollo and Calliope, having been struck dead by a 
 thunderbolt hurled by Zeus, as a punishment for revealing the divine mysteries, 
 
 36 
 
his corpse is rejoiced over and spurned by the Thracian women, whose love, which 
 he aroused by the fascinations of his magic lyre, he had scorned. The artist, Fran- 
 cois Lafon, is the son of the well-known painter Emile Jacques Lafon, born in 
 1817, who died in Paris in 1886. Francois Lafon was born in Paris and was a 
 pupil of his father, who had been in his turn a student under Delaroche and Baron 
 
 FROM A PAINTING BY LUIS FALERO. 
 
 THE BELATED WITCH. 
 
 Gros. James Bertrand, who was born at Lyons, first studied there under Bonne- 
 fond, and liter in Paris under Perin and Orsel, and at the Ecole des Beaux Arts. 
 From Paris he went to Rome and painted many Italian and religious subjects, with 
 which. he won his first medal in 1861. At the Salon of 1882 his poetic rendition 
 of the fable of the grasshopper was one of the pictures of the year. P. Franc 
 Lamy and Louis Paul, the painters respectively of “ A Fantasy” and “ Harem 
 Fruits and Flowers, ’’ belong to the younger generation of modern French artists, 
 which has produced such strong representatives. The first named has won honors 
 at the Salon, where both are regular exhibitors. Luis Falero is one of the most 
 distinguished and original artists of our day. Although he has his studio in Paris, 
 he was born at Grenada in Spain, in 1851. He was intended for the Spanish 
 navy, and was carefully educated to that end in Madrid, England, and Paris. In 
 “The Belated Witch” he gives a fanciful episode of the old German legend that 
 at certain periods the witches and warlocks hold a general holiday or Sabbath 
 among the Brocken Mountains. Here one of the accursed sisterhood, who has 
 neglected her opportunity to join the common parade to the rendezvous, sails out 
 of a chimney on her journey alone, mounted on her broomstick, the traditional 
 steed of the sworn servitors of Satan. 
 
 87 
 
To arrive at a just and comprehensive understanding of any artist’s talent, 
 it is often necessary to examine him in more than one example, according to the 
 scope his fancy may take, in the adaptation of his powers to a varied range of sub- 
 jects. Consequently, when a name reappears in these pages, the reader can refer, 
 for general biographical information, to the part in which it was first mentioned, 
 as in the present case of William Kray, the initial specimen of whose brush was 
 presented in Part II. In this example, “The Water-Nixes’ Victim,” while the 
 material is derived from the same romantic source as the one previously given, 
 it is entirely different in character of subject and in treatment. Otto Lingner 
 is one of the younger German artists of the Munich school, so many of whom 
 are now coming to the front, and his picture was one of the features of the Exhi- 
 bition of 1892 at the Bavarian royal city and art capital. It combines most 
 happily the qualities of imaginative conception and realistic execution, which 
 are demanded by the established standard of modern creative art. Emile Munier 
 is a French painter, born in Paris, and a pupil of A. Lucas and Bouguereau, 
 whose light and fanciful allegorical pictures enjoy an immense popularity. They 
 
 FROM A PAINTING BY W. KRAY. 
 
 THE WATER-NIXES’ VICTIM. 
 
NIGHT. 
 
FROM A PAINTING BY E. MUNIER. 
 
 CUPID DISARMED. 
 
 always tell their story clearly, and with a pleasantly humorous touch to it, are 
 well conceived and graceful in drawing, and agreeable in color. His “ Cupid 
 Disarmed” is an instance in point, possessing as it does all the qualities which 
 have rendered the artist a favorite with the public. Venus, at sport with her 
 tricksy offspring, has playfully deprived him of the weapons of which he makes 
 
 40 
 
FROM A PAINTING B» LUIS FALERO. 
 
 THE PLANET VENUS. 
 
 41 
 
PROM A PAINTING BY N. SICHEL. 
 
 SUMMER. 
 
 such extensive and often wanton and mischievous use, and laughs at his ineffectual 
 efforts to recover them. Cupid deprived of his weapon is, indeed, rendered harm- 
 less, but the time has yet to come when the goddess will actually execute her threat, 
 and convert her jest to earnest. Quite another personification of the same deity is 
 
THE HIERODULES. 
 
 43 
 
that given by the Spanish master Luis Falero, in “The Planet Venus.” This is 
 one of the pictures of what might be called his astronomical series, which so 
 materially assisted in establishing his reputation as a great imaginative artist. In 
 his hand the goddess becomes a gloriously voluptuous creation, dazzling in the splen- 
 dor of her perpetual youth and beauty, which radiate a light like an electric flame. 
 In “Summer” we have one of the beautiful ideal female types of Nathaniel Sichel, 
 who was introduced to the reader in Part I. The Hierodules were one form of the 
 mythological type of enchantresses which we know in modern times as the Sirens. 
 As in all the representations of the legend in modern art, M. Edouard Rosset 
 Granger endows them with the beauty of perfect womanhood, whereas the ancient 
 form given them was in one case that of a mermaid, and in the other of half wo- 
 men and half birds. The artist is a Parisian, whose pictures in this field have 
 been numerous and very successful, both as works of art and in point of popularity. 
 In drawing, color, composition, and selection of subjects, his works show him to 
 have studied the school of Bouguereau, Boulanger, and Lefebvre to advantage. 
 The artist was, in fact, however, a student under Cabanel, Dubufe, and Mazerolle. 
 The Pierrette is a favorite ball masquerade with the modern Parisiennes, one 
 of whom is delineated, in character, by an appreciative brush in that of Alexander 
 Jacques Chantron. Chantron was born at Nantes and is a pupil of Picot. In 
 
 FROM A PAINTING BY A. J. CHANTRON. 
 
 PIERRETTE. 
 
“Venus Appearing to the Three Graces” is presented another characteristic ex- 
 ample of Emmanuel Benner, and the “Algerian Water-Girl,” carrying her brazen 
 water-pitcher to the palace fountain, is another specimen of the brush of Charles 
 Landelle. “The Circassian’s Toilette” is a brilliant work, in his best vein, of a 
 French artist of exceptional powers of their kind. Jacquesson de la Chevreuse, 
 who comes of a family of the old French nobility, devoted himself to art, and by 
 
 45 
 
 FROM A PAINTING BY EMMANUEL BENNER. 
 
 VENUS APPEARING TO THE THREE GRACES. 
 
CUPID AND PSYCHE. 
 
FROM A PAINTING BY N. SICHEL. 
 
 DEBORAH. 
 
 47 
 
FROM A PAINTING BY 8. ARC08. 
 
 THE ABDUCTION OF CHLORIS BY BOREAS. 
 
 48 
 
FROM A PAINTING BY E. VON BLAAS. 
 
 ANGIOLINA. 
 
 family influence and means was enabled to make extensive travels, whose results 
 are profitably applied in his pictures. 
 
 Santiago Arcos, the painter of “The Abduction of Chloris by Boreas,” is an 
 artist of Spanish birth, but a pupil in Paris of Bonnat and of Madrazo, and has his 
 home in that city. He became first known as a portrait painter, and enjoyed an 
 sxtensive patronage, but found time, in intervals between his commissions, to 
 execute pictures of a character of subject to demonstrate that he was an artist of a 
 fecund imagination and a free and powerful brush. Eugen von Blaas is the elder 
 
 49 
 
: . - 
 
FROM A PAINTING BY ANDRE BROUILLET. 
 
 THE HAMMOCK. 
 
 of two sons, both artists, of the eminent Austrian historical painter Karl Ritter 
 von Blaas. He was born in Italy, during his father’s professional residence there, 
 in 1843, and was at first the pupil of his father, afterward studying at the 
 Academies of Venice, Vienna, and Paris, and travelling in Belgium and Eng- 
 land. At all the academies in which he studied he was a winner of high prizes, 
 
 51 
 
FROM A PAINTING BY W. AMBERG. 
 
 SORROWFUL THOUGHTS. 
 
 and he now resides permanently in Venice, where he finds most of the subjects of 
 his pictures, of which “ Angiolina,” a thorough type of a Venetian girl of the poorer 
 class, is a good example. His more ambitious works belong to the genre order. 
 His brother, Julius B. Blaas, is a popular animal painter. Louis Frederick 
 Schutzenberger was born in Strasburg, while Alsace was a French province, so he 
 ranks as a French painter. He was a pupil of Daguerre, and is an energetic 
 draughtsman and good colorist, with much originality of ideas and execution. 
 His pictures have gained for him admission into the Legion of Honor. “ The 
 Drowsy Bacchante” gives an excellent idea of his able and vigorous treatment of 
 
 52 
 
the human figure, and his command of his material. The figure is a masterly study 
 of form, attitude and expression, and the original painting is a superb piece of color. 
 
 The greatest modern master of figure painting, at least in the academic sense, 
 William Adolphe Bouguereau, was born at La Rochelle, in the Gironde, in 1825. 
 When he was seventeen years old, he had saved enough out of his earnings to 
 carry him to Paris and support him there for a year. On this capital he became 
 a pupil of Picot, and in 1843 entered as a student into the Ecole des Beaux Arts, 
 until in 1850 he won the great prize scholarship known as the Prix de Rome, 
 which entitled him to study four years in Italy at the expense of the Govern- 
 ment. He became an Officer of the Legion of Honor. He was elected a mem- 
 ber of the Institute. He was made honorary member of all the great art acade- 
 mies of Europe. He was loaded with medals, until they formed a unique collec- 
 tion in themselves. William Amberg is a native of Berlin, born in 1822, and, be- 
 ginning as a pupil of Professor von Herbig, later became a student under the 
 eminent artist Karl Begas. He then studied in Paris in the studio of Cogniet, 
 worked among the galleries in Italy, especially in Rome and Venice, to good 
 effect, and then returned to his native country, where he found no lack of patron- 
 age. Jules Frederic Ballavoine, who is a Parisian by birth, and has had his share 
 of Salon honors, is a pupil of Pils, who was the master of so many French artists 
 of the foremost talent. His “ Lassitude” is a model in its department of his art. 
 
 FROM A PAINTING BY J. F. BALLAVOINE. 
 
 LASSITUDE. 
 
IV. 
 
 The fable of that imaginary inhabitant of the sea, the mermaid, is as old as 
 fable itself. In one form or another it exists throughout the world. The islanders 
 of the Indian Ocean and the South Sea; the Esquimaux of the North and the 
 Patagonians of the South, as well as the coast and maritime nations of the civilized 
 
 FROM A PAINTING BY W. KRAY. 
 
 AN IDYL OF THE SEA. 
 
 world, have each their special version of the tale. It was, unquestionably, the 
 foundation for the myths of the sirens, tritons, nereids, and the like in classic an- 
 tiquity. Science, with its usual pitiless adherence to demonstrable facts, has traced 
 its origin to those curious marine animals of which the seals and sea-lions are the 
 most familiar types, but art does not permit science to rob it of its picturesque 
 material, and with the painters the mermaid retains its legendary shape and attrac- 
 tiveness, and the world which loves pictures has no occasion to regret the fact. It 
 has furnished the German artist, William Kray, with a charming motive, which he 
 most charmingly works out in his“ Idyl of the Sea.” With him the mermaiden be- 
 comes a mermother, who sports in the waves with her baby mounted on her back. 
 The baby is altogether human in form, however, so that the picture may safely be 
 
 54 
 
FROM A PAINTING BY C. CHAPLIN. 
 
 OFFERINGS TO VENUS. 
 
 assumed to be founded on the old 
 German legend of the mermaid 
 who married a fisherman, and bred 
 a human family. In any way it 
 may be interpreted, “ An Idyl of 
 the Sea” is intrinsically a delight- 
 ful work. 
 
 Quite as realistic as Kray’s 
 picture is poetic is “ The Awaken- 
 ing,” by Ernest Berger, an artist 
 of Berlin. Here we have the inte- 
 rior of a harem, with a Georgian 
 favorite of the ripest and most 
 alluring beauty, rousing herself 
 from the nap which she has taken 
 after her bath. Her attitude and 
 expression have about them the 
 lithe grace suggestive of a cat, 
 when it stretches itself after awak- 
 ening from sleep. The painter is 
 a German of entirely modern im- 
 pulses and methods, rather in sym- 
 pathy with the French school than 
 that of his own nation. One steps 
 from the harem to the home in the 
 picture by E. Tobias, “The Little 
 Housekeeper,” a naive and attrac- 
 tive episode of child life, all the 
 more delightful for the pleasant 
 simplicity with which it is repre- 
 sented. “The Double Star,” by 
 Luis Falero, is another of his won- 
 derful adaptions of a suggestion of 
 astronomical science to the uses of 
 art. The original picture was a 
 sensation of the Salon of 1881. 
 When Aphrodite was born of the 
 sea foam, as the mythologies in- 
 form us, she landed at Cythera, 
 which received the newly created 
 goddess with proper hospitality. 
 She requited this welcome by tak- 
 
 55 
 
ing the island into her favor, and it was made sacred to her, and altars and 
 temples in her honor erected. From this early association, the name Cytheraea 
 was frequently applied to the patron deity of the place. The artist, Lionel Royer, 
 was born in the department of Sarthe, at Chateau-du-Loire, and studied art under 
 Alexander Cabanel. He made his d£but as a religious painter, in 1879, with a 
 
 56 
 
 THE LITTLE HOUSEKEEPER. 
 
FROM A PAINTING BY LUIS FALERO. 
 
 THE DOUBLE STAR. 
 
 57 
 
FROM A PAINTING BY LIONEL ROYER. 
 
 CYTHER/tA. 
 
 58 
 
FROM A PAINTING BY JOS: PH LIECK. 
 
 SILENT HAPPINESS. 
 
 picture of “Christ on the Cross,” and has since painted chiefly secular historical 
 subjects and mythological motives. He received his first medal in 1884. Joseph 
 Lieck, of Berlin, is one of the popular German artists of to-day. He is a Prussian, 
 and a graduate of the Berlin Academy, and has been especially successful in his 
 delineation of the softer and more tender types of feminine beauty. 
 
 Blaise Bukovac is a Dalmatian from Ragusa-Vecchia, born in 1855, but a 
 thorough Parisian by adoption. He visited France as a student, and enrolled him- 
 
 59 
 
self among the pupils of the Cabanel studio. He has painted many pictures repre- 
 senting famous heroines in a certain class of French novels, as “ Nana,” from Zola, 
 “Sappho,” from Daudet, “La Grande Iza,” from Alexis Bouvier, etc. Much of 
 his productiveness, however, has been in the line of decorative subjects, for which 
 
 FROM A 'MIN TING BY B. BUKOVAC. 
 
 THE FLOWER. 
 
 60 
 
PSYCHE AND ZEPHYR, 
 
his taste and talent peculiarly fit him. Of this ** The Flower” may serve as a cap- 
 ital indication. The story of Andromeda, which has furnished Mile. Marguerite 
 Arosa with a subject, is a familiar one. The artist was born in Paris, and studied 
 
 62 
 
 FROM A PAINTING BY CHARLES LANDELLE. 
 
 THE DARBOUKA PLAYER. 
 
PSYCHE. 
 
successively under Mayer, Amand-Gautier, and Barrias, and is a capable painter 
 of portraits, as well as genre and imaginative subjects. In “The Darbouka 
 Player" is presented another of the Oriental subjects of Charles Landelle. The 
 darbouka is the Turkish drum, by whose taps the movements of the dancing girls are 
 timed during a performance. In “An Old Friend,” by A. Duval, a young girl, 
 just budding into womanhood, sits at her bath, contemplating her pet doll. It is 
 
 FROM A PAINTING BY N. 8ICHEL. 
 
 A ROMAN GIRL. 
 
a moment of parting. Its young mistress is making her toilette for her entree 
 into the great world; she is to make her debut in society to-night, and the doll’s 
 days of favor are over. “A Roman Girl,” by Nathaniel Sichel, once more places 
 this favorite Berlin painter on record, and in a most favorable manner. 
 
 The character of Lais is one of those which have come down to us from an- 
 tiquity subject to debate. As the generally accepted story goes, then, Lais was 
 born in Corinth, and sat as a model for the painter Apelles. She was said to 
 possess the most graceful figure of any woman of her time in Greece, and held her 
 court as a courtesan to a host of admirers. She was capricious with all, however, 
 insatiably greedy for money and jewels, and ready to gratify her rapacity by any 
 
 means, fair or foul. Ultimately she was stoned to death by the Thessalian women, 
 and condemned to perpetual torment in Hades. The picture represents her, ac- 
 cording to the version of her fate given by Dante in his “Inferno,” chained to a 
 rock, and bedecked with the jewels which she committed such crimes to amass, with 
 Virgil explaining her story to Dante. The artist, Gustave Courtois, was born in 
 1852 at Pusey, in the Haute-Saone. He became a pupil of Gerome, and in 1876 
 made his debut at the Salon with two pictures. His “ Lais” was shown there in 
 1878, and he followed it with other successful pictures based on Dante’s great 
 poem, for which he has received several medals. 
 
 The gynaecium was, in ancient Greek and Roman houses, the special apart- 
 
 65 
 
 LAIS IN HADES. 
 
ment of the women, where they worked and lounged, and where the children 
 wlayed. It was the most secluded room in the house, and was jealously guarded 
 from intrusion. Miss Diana Coomans’ picture gives a glimpse at this sanctuary of 
 her sex in a Pompeiian mansion. The painter is one of two daughters of the late 
 Joseph Coomans, the artist, and like her sister was a pupil and is a follower of her 
 
 CG 
 
 FROM A PAINTING BY MLLE. DIANA COOMANS. 
 
 IN THE GYN/ECIUM. 
 
father in subjects and methods of painting. “April” is typified by Jacquesson de 
 la Chevreuse as a lovely woman, embowered in the blossoms of an apple tree. It 
 was the picture which represented him in the Salon of 1893, and materially added 
 to his reputation. 
 
 France points with pride to Jules-Joseph Lefebvre as one of the foremost of 
 her great figure painters, in many points the rival of Bouguereau, and in depth of 
 sentiment and feeling undoubtedly his superior. Lefebvre was born in the Seine- 
 et-Marne, at Tournan, in 1836. At the age of sixteen he arrived in Paris, bearing 
 a letter of recommendation from Monsignor Salinis, Bishop of Amiens, to Paulin 
 Guerin, the professor of drawing at the Juilly school. Guerin introduced him to 
 Leon Cogniet, who received him into his studio, where he commenced to study. 
 His only means of support was a pension granted him by the city of Amiens, of 
 1,000 francs per annum for five years. He hoped, before this term expired, to win 
 the Prix de Rome, but was doomed to disappointment. Three times he competed 
 for the prize and lost it. At the end of 1859 his pension expired, but he managed 
 
 FROM A PAINTING BY JULES LEFEBVRE. 
 
 DIANA SURPRISED AT THE BATH. 
 
 to sell a few pictures and paint some portraits. In i860 he went up for the Roman 
 prize once more, won it, and in 1861 set out for the Villa Medici, the headquarters 
 of the French art school in the Eternal City. He received a First Medal at the 
 Salon of 1865, others in 1868 and 1870, and the cross of the Legion of Honor 
 in the latter year. For his exhibits at the Universal Exposition of 1878 he received 
 
 08 
 
a Grand Medal and was made an Officer of the Legion of Honor. The following 
 year, at the Salon, appeared his “ Diana Surprised at the Bath.” 
 
 At Seifert, the painter of “Under the Vine Leaves,” is one of the younger 
 generation of German artists who studied and settled in Munich. His pictures 
 enjoy much popularity in Germany and are widely known through reproductions. 
 
 69 
 
 FROM A PAINTING BY A. SEIFERT. 
 
 UNDER THE VINE LEAVES. 
 
V. 
 
 Some years ago the management of a large and popular hotel in this city, hav- 
 ing added an elaborate public room to the house, hit upon the idea of attracting 
 attention to it by filling it up with pictures and objects of art. Among the former 
 the most prominent was a world-famous, large canvas by Bouguereau, the 
 “ Nymphs Teasing a Satyr,” as the artist christened it, or “ Nymphs and Satyr” as 
 it is most generally known, and the painting by which Luis Falero effectively estab- 
 lished his reputation, “The Vision of Faust.” These pictures alone, and they 
 were but part of a number more, cost many thousands of dollars. It has been 
 estimated, by one of the heads of the house, that they alone have paid some ten 
 times their cost in the amount of custom they have attracted, and relatively to the 
 advance in market value of modern paintings of the first class, they could now be 
 sold for double what was paid for them. The picture, in a technical sense, is 
 certainly Falero’s masterpiece, as far as his productiveness has yet proceeded. 
 
 Laurens Alma-Tadema, one of the foremost figure painters of the century, and 
 one of the most successful in every material sense, was born in Belgium, at the 
 town of Drouryp in the province of Friesland, in 1836. His father was a notary, 
 with a quite prosperous practice, and, purposing that his son should continue his 
 business, he educated him with this point in view. The boy was sent to the col- 
 
 FROM A PAINTING BY LUIS FALERO. 
 
 FAUST’S VISION. 
 70 
 
FROM A PAINTING BV E. BENNER. 
 
 SUMMER. 
 
 lege at Leeuwarden, 
 and in his leisure from 
 school carefully trained 
 to the office duties of 
 his father’s profession. 
 But the art spirit woke 
 in him early, and as- 
 serted itself against all 
 parental objections and 
 restraints. He prac- 
 tised drawing secretly. 
 He made experiments 
 in color. He pored over 
 the engravings and the 
 old missals in the col- 
 lege and the public li- 
 braries. He was par- 
 ticularly fascinated at 
 the college lectures by 
 those which related to 
 the Greek and Roman 
 antiquity, and while his 
 father believed that he 
 was acquiring the 
 knowledge necessary 
 for a provincial lawyer, 
 he was laying the foun- 
 dations for a knowledge 
 which was to render him 
 a greater and wealthier 
 man than his plodding 
 parent ever dreamed of 
 being. At last his pent- 
 up love for art broke 
 forth with irresistible 
 force. He was sixteen 
 years of age. It was 
 time for him to go to 
 work in the notary’s of- 
 fice. He refused. His 
 father yielded to his 
 supplications, and sent 
 
 71 
 
FROM A PAINTING BY MLLE. HEVA COOMAN8. 
 
 A MESSAGE. 
 
 him to the Antwerp Academy to become a painter. He commenced to study at 
 Antwerp in 1852, when Wappers and Dykmans were the professors at the Academy. 
 In 1859 he left the Academy and entered the studio of Baron Leys. Such a school 
 suited such a scholar as Alma-Tadema, and he calls himself to-day a pupil of 
 Leys and De Taye. In 1861 he exhibited his first really worthy original picture, 
 and it was purchased by the King of the Belgians. This gave him not only profit 
 
 72 
 
but encouragement and the commencement of a reputation. He travelled in 
 Germany, Italy, France; visited London; studied the works in the great collec- 
 tions everywhere, and worked unceasingly himself. He made a special study of 
 classical art and literature, and gradually, but slowly, and only as his knowledge 
 increased, and he felt certain of his material, gravitated towards the field of sub- 
 
 FfiOM A PAINTING BY W. KRAY. 
 
 THE NYMPH OF ROSES. 
 73 
 
FROM A PAINTING BY G. BOULANGER. 
 
 A SUMMER BATH AT POMPEII. 
 
 jects to which he eventually devoted himself and upon which his fame rests. He 
 was already prosperous, for his pictures sold from the easel, when he married 
 the daughter of a wealthy English manufacturer, whom he had met on one 
 of his numerous visits to London. His wife, herself, possessed strong artistic 
 talent, and under his tutelage has become so good a painter that the name Laura 
 Alma-Tadema is now sought for in the catalogues of the London exhibitions. 
 In 1871 he settled in London, having previously had his studio in Brussels, and in 
 
 74 
 
FROM A PAINTING BY LUIGI MION. 
 
 EARLY MORNING. 
 
FAOM A PAINTING BY PAUL THUMANN. 
 
 THE SIRENS. 
 
 76 
 
FROM A PAINTING BY FELIX BARRIAS. 
 
 THE TRIUMPH OF VENUS. 
 
 77 
 
 
 
FROM A PAINTING BY N. SICHEL. 
 
 YUM-YUM. 
 
 78 
 
London he remains, in spite of the fact that the dynamite explosion of Regent’s 
 Park in 1874 destroyed his house and his fine classical art collection, and compelled 
 him to build a newer — and much more palatial — home. 
 
 In “ A Message” Miss Heva Coomans is represented by another of the Pom- 
 peiian subjects which ccrrhe to her, in a manner, as a sort of artistic legacy from 
 her father. The Germans have a pretty legend that there is a wood-nymph 
 who has a passion for roses, who dwells by woodland brooks and charms man- 
 kind by the spell of the splendid flower of love. It is this fable which William 
 Kray personifies in “The Nymph of Roses,” in his usual ideal manner. A very 
 great man was lost to French art in the death, a few years ago, of Gustave 
 Rodolphe Clarence Boulanger. He was born in Paris, in 1824, became at four- 
 teen years of age a student at the Ecole des Beaux Arts, and was a favorite 
 pupil of Jollivet and Paul Delaroche. In 1849 won the Prix de Rome, and 
 travelled to Italy, where he remained, studying and painting, until 1856. Previous 
 
 FROM A PAINTING BY F. J. BARRIAS. 
 
 SIRENS. 
 
 to going to Rome, he had spent some months in North Africa, making studies of 
 local life, and after completing the term of his Government pension in Italy, he 
 once more went to Algiers. These two sources of study practically influenced his 
 whole artistic career. The “Summer Bath at Pompeii” was painted in 1876 and 
 is esteemed one of his best pictures, upon his Italian motives. He was made a 
 member of the Legion of Honor in 1865, and when he died was a Chevalier, or 
 Officer, of the order. 
 
 Friedrich Paul Thumann, who was born at Tschaksdorf, in the Lausitz, in 
 1834, was originally intended for a scientific career, and studied with that purpose 
 at the engineering school at Glogau. At the age of nineteen, however, he entered 
 the Berlin Academy as an art student. In 1856 he settled in Dresden, where, until 
 i860, he remained as a pupil of Julius Hiibner. He had now become known as a 
 painter, both of portraits and religious compositions, which found favor. In i860 
 
 79 
 
— r 
 
 FROM A PAINTING BY QA8TON GERARO. 
 
 THE VOICE OF EVENING. 
 80 
 
FROM A PAINTING BY LUIS FALERO. 
 
 MARINA. 
 
UNDINE. 
 
 he removed to Leipzig, the great German publishing centre, where as a draughts- 
 man and illustrator for books and periodicals he acquired both a wide reputation 
 and a great deal of money. This enabled him in 1863 to resume his study of 
 painting, which he did under Professor Pauwels at Weimar. After travelling in 
 Italy, France, and England, he in 1866 became a professor at the Weimar Academy, 
 which he exchanged six years later for the Academy at Dresden, and in 1875 for a 
 similar post in Berlin, where he still remains. “ The Sirens” is an extremely 
 characteristic work from his brush, and gives a new view of a subject which has 
 already been treated in “ Modern Figure Painting” by different artists. In 
 “The Triumph of Venus” one may obtain a clear comprehension of the man- 
 ner of composition and treatment of the eminent French artist F£lix Joseph 
 Barrias. Barrias is a native of Pans, born in 1822, where his father was a painter 
 on porcelain. This trade the parent taught the son, and he was such an apt scholar 
 that at the age of sixteen he was able to earn his own living by it, and to enter the 
 studio of Cogniet for instruction in a higher walk of art. In 1844 he captured the 
 Prix de Rome and went to Italy, and his “ Exiles of Tiberius” in 1850, which is 
 now in the Luxembourg collection, confirmed his position and secured him a medal 
 of the first class, then a very rare recompense. Nine years later he received the 
 cross of the Legion of Honor for a historical painting, representing one of the 
 movements of the French army in the Crimean War. Luigi Mion, a rising young 
 French artist, typifies “ Early Morning” as a maiden in gauzy white robe and drapery, 
 suggestive of the early mist, who smiles joyously out of a rich midsummer land- 
 
 82 
 
scape, with the fields dotted with daisies. “ Yum-Yum” presents Nathaniel Sichel 
 in a new aspect, with a full-length figure of a European lady in Japanese masquerade. 
 We have already given one artistic version of the conflicting ancient stories of the 
 death of Orpheus. From the easel of Emile Joseph Millochau comes an episode of 
 another. He adopts the tale that instead of having been killed by a thunderbolt 
 from Jove, Orpheus, having refused to worship Dionysus, was by the latter’s 
 command torn to pieces by the Msenades or Bacchantes. The artist shows one of 
 the repentant Maenades, who has stolen away from her companions, and is mourning 
 over the head of the singer in whose cruel slaughter she assisted. The artist is a 
 native of Paris, and was a pupil of Cabanel and of Feyen Perrin. Gaston 
 Gerard is another French painter, but one who adheres more closely to decorative 
 than classical lines. In his “Voice of Evening” he suggests the hour lulling the 
 world to sleep with her soft notes of song. 
 
 The spirit of the sea, as embodied by Luis Falero in “ Marina,” is a young and 
 lovely woman, crowned with pearls, and wearing a robe of green and gold, the 
 colors of the royal seaweeds, who wanders on the strand as in a realm of dreams. 
 The “ Undine” of William Kray is a subject whose suggestion is derived by the 
 artist from the well-known tale of the water-fairy. It was first exhibited at 
 the Munich Exposition of 1879, and added much to the artist’s reputation. 
 “ The Flowers’ Revenge” comes from an old legend called “ The Revenge of 
 the Roses.” According to this tale, a beautiful but cruel woman had a passion 
 for roses. Her exactions devastated the gardens of the land, until the poor 
 roses, in their despair, appealed to their mistress Venus for protection, and she 
 granted them the power to destroy life as well as to delight the senses. Once 
 more only did the cruel beauty ravage the garden beds. Next morning she was 
 
 FROM A PAINTING BY EMIL DOERSTLING. 
 
 THE FLOWER’S REVENGE. 
 

 
FROM A PAINTING BY W. A. BOUGUEREAU. 
 
 MARIE MADELEINE. 
 
 found dead on her sumptuous couch, and the flowers which had triumphed over her 
 bloomed around her in exultation. The painter, Emil Doerstling, is a Berlin man, 
 and a graduate of the Royal Academy of that city. Max Nonnenbruch, who has 
 been introduced to the reader in a previous section of this work, appears at his 
 best here in “A Greek Slave.” F. Lequesne is a son of the eminent Parisian 
 sculptor Eugene Louis Lequesne, and received his first instruction in art from 
 his father. “The Two Pearls” is one of a number of striking pictures which 
 have attracted attention to him in different Salon exhibitions. 
 
 85 
 
VI. 
 
 It is only the denizens of southern countries who appreciate that repose during 
 the heat of the day to which the Spaniards nave given the title of the siesta. In 
 the brisk and invigorating atmosphere of the North, where the enervating power of 
 the sun is reduced to a minimum, people are at their busiest at the hours when in 
 more tropical latitudes they surrender themselves to lassitude and indolent ease. 
 It is one of the brunette beauties of the far south of France, drowsing, half asleep 
 and half awake, through the midsummer mid-day, that Marcel-Paul Meys presents 
 in “A Summer Siesta.” The painter, who is of Parisian birth, is a pupil of Delau- 
 nay and of Puvis de Chavannes, to the influence of which masters one may prob- 
 ably ascribe his superb command of form, and the broad and solid handling of his 
 subjects. 
 
 One of the strongest and most individual of modern French painters, a man 
 replete with originality and fiery spirit, is Aime Nicolas Morot. Morot was born 
 at Nancy in 1850, and studied art under Cabanel. He won the Prix de Rome 
 in 1873, and his first picture exhibited at the Salon, in 1876, obtained him his first 
 
 -KOM A PAINTING BY AOOlPHE WEISZ. 
 
 THE PALADIN ROGER RESCUING ANGELICA. 
 86 
 
medal. He was medalled again in 1877 and in 1879, and received the medal of 
 honor in 1880 for “The Good Samaritan,” a powerful .picture which the Govern- 
 ment purchased for the Luxembourg Museum. He painted religious subjects 
 and profane subjects, allegories, mythological compositions, battle scenes, with 
 an endless facility and felicity of touch. From a journey in Spain he brought 
 back a number of Spanish motives, one of which, a scene at a bull-fight, is now in 
 the Corcoran Gallery at Washington. “A Japanese Fancy” is one of his char- 
 
 87 
 
 THE PLUNGE. 
 
acteristically audacious experiments in contrasts, the opposition of the pure and 
 delicate tint and texture of flesh to the blazing and gaudy colors of an Oriental 
 umbrella and robe. Morot is a son-in-law of the great painter J. L. G6rome. 
 
 The story of Phaedra is one of the gloomiest tragedies of Greek legend. She 
 was the daughter of Minos, King of Crete, and Pasiphae, the sister of Ariadne and 
 the second wife of Theseus. She had a stepson, Hippolytus by name. He failed 
 in paying' due homage and worship to Venus, and the goddess, in revenge, resolved 
 on his destruction. To begin with, she inspired his stepmother with an intense 
 and unnatural passion for him, which led her to make advances which the youth 
 indignantly rejected. Phaedra then accused Hippolytus to his father, and Theseus, 
 his jealousy aroused, demanded his life from Neptune. Accordingly, Hippolytus 
 was thrown from his chariot while driving on the seashore, and dragged along the 
 sands till he was dead. Then Phaedra, goaded to madness by remorse, committed 
 suicide. The artist shows the unhappy woman, tormented by the memory of her 
 crime, watched over in her chamber by her anxious and weary attendants. It was 
 in this scene of Racine’s tragedy that the famous French actress, Rachel, achieved 
 her most magnificent tragic success upon the stage, and in it Mme. Sarah Bern- 
 hardt reaches the apex of her art. 
 
 Alexandre Cabanel, who died in 1889, was born at Montpellier in 1823. He 
 began painting as a pupil of Picot, in the old classical manner, but soon adopted 
 a more modern and natural style of his own. After carrying off the Prix de Rome 
 in 1845, he took medal after medal, was made an Officer of the Legion of Honor 
 
 FROM A PAINTING BY ALEXANDER CABANEL. 
 
 PH/CDRA. 
 
 88 
 
and a Member of the Institute of France. 
 His pictures are to be found in all the 
 European museums and many of our own, 
 and in every private collection of note in 
 America and abroad ; and his decorative 
 paintings in the Louvre and other public 
 buildings are among the masterpieces of 
 that art. He was also a portrait painter 
 of the first order, especially of women, 
 and no small part of his large fortune 
 came to him from his commissions in this 
 line, many of his sitters being Americans. 
 “Phaedra” was painted by him in 1880, 
 and the original picture is in the collec- 
 tion of Mr. John T. Martin, of Brook- 
 lyn, N. Y. 
 
 The Hungarian painter, F. Dvorak, 
 has won a reputation by pictures of the 
 decorative order, of which “ Spring” is 
 an excellent example. As is common 
 with painters of his nationality, he is a 
 particularly fine colorist. “ An Egyptian 
 Slave” is a good study of voluptuous 
 Oriental character by Nathaniel Sichel, 
 and Lionel Royer appears again in a 
 masterly composition, “ Love and Folly.” 
 Here Folly, mad with wantonness, is 
 leading Love, who is blindfold, to de- 
 struction over a precipice. The idea is 
 original and its realization thoroughly 
 artistic and sound. A figure almost 
 worthy of an old master in sentiment 
 and dignified simplicity of treatment is 
 the “Magdalen” of Mme. Jacqueline 
 Comerre-Paton. Mme. Paton, who was 
 born in Paris and was a pupil of Cabanel, 
 is the wife of the eminent artist Ldon 
 Comerre, and has gained much favor by 
 her work in- portraiture and her pictures 
 of sentiment and feeling, like the one 
 we give herewith. The “ Spring” of L. 
 Bouvier is a charming panel in the truest 
 89 
 
 FROM A PAINTING BY CH. CHAPLIN. 
 
 AUTUMN. 
 
FROM A PAINTING BY N. 8ICHEL. 
 
 AN EGYPTIAN SLAVE. 
 
 decorative feeling, by a young artist of Paris of rapidly growing reputation. 
 Charles Landelle reappears with a half-length figure of an Almeh, or Egyptian 
 dancing-girl, resting in an interval of her performance by leaning against a wall 
 as she watches the other dancers. “ Morning” and “ Night” are two world-famous 
 
 90 
 
LOVE AND FOLLY. 
 
 
FROM A PAINTING BY MME. J. COMERRE-PATON. 
 
 MAGDALEN. 
 
 92 
 
FROM A PAINTING BY E. BENNER. 
 
 AUTUMN. 
 
 paintings by W. A. Bou- 
 guereau, which appeared in 
 the Salons of 1881 and 1882 
 respectively, and both of 
 which are now in American 
 collections. They are, in con- 
 ception and treatment, among 
 the most purely classical of 
 the painter’s productions, 
 and far above his average in 
 refined and tender sentiment. 
 
 The education of the in- 
 fant Bacchus, our mytholo- 
 gies inform us, was confided 
 by his immortal father Zeus 
 to the nymphs of Nysa in 
 Thrace, to which fact lexi- 
 cographers attribute his 
 ancient Greek title of Dion- 
 ysus. The young god’s 
 childhood must have been a 
 pleasant one, spent as it was . 
 among the Thracian groves 
 and by the banks of the smil- 
 ing river Nysa, in which the 
 artist shows him sporting 
 with the ripples of the genial 
 flood. The painter, Joseph 
 Victor Ranvier, is a native 
 of Lyons, and learned to 
 draw at the local art school 
 in order to become a designer 
 for the silk and wall-paper 
 manufacturers. Having suc- 
 ceeded in accumulating a 
 modest capital out of the sur- 
 plus of his earnings in the 
 service of industrial art, he 
 settled in Paris as a pupil of 
 Janniot and of Richard, and 
 won his first medal at the 
 Salon of 1865. He became 
 
'HO 1 -' A PAtriTING BY CHARLES LANDELLE. 
 
 THE ALMEH. 
 
 94 
 
 ” 
 

 FROM A PAINTING BY W. A. BOUGUEREAU. 
 
 MORNING. 
 
 95 
 
a favorite artist in the field of figure, and received the cross of the Legion of 
 Honor in 1878. Francisque Edouard Bertier was another French artist, born in 
 Paris, and educated in the studios of Bouguereau and Cabanel. After achieving 
 success in Paris, he some years ago visited America, and opened a studio in New 
 York, where he painted many portraits and genre subjects, and where his home 
 
 FROM A PAINTING BY J. V. RANVIER. 
 
 THE INFANCY OF BACCHUS. 
 
 was the centre of a refined social circle. He died upon his return to France. “A 
 Trick at Cards” represents a Spanish gypsy girl, who is giving a sleight-of-hand 
 performance before some impromptu rural audience in a country barn or the 
 stable of an inn, the customary theatres for these entertainments of the itinerant 
 mountebanks. 
 
 Another example of the fantastic invention of Luis Falero is presented in “ The 
 Departure of the Witches.” This is a section of one of his famous pictures whose 
 suggestion he derived from his studies of the Faust legend, and is a composition 
 worthy of those creative geniuses in ancient art who followed the lead of Holbein 
 and made “ The Dance of Death” a vehicle for the free fling of their fecund im- 
 agination. The idea is, of course, that of the witches and warlocks and their 
 hideous attendants making their annual aerial flight to their common congrega- 
 ting place upon the Brocken, as veraciously detailed in the old legend. Carl von 
 Bodenhausen, a well-known German artist, is admirably represented by his “Voices 
 of Fairyland,” a picture which attracted much attention in the exhibitions of his 
 native country some years ago. It is a time-honored German story which it illus- 
 trates; telling how a maiden whose home was embittered by harsh parents and sis- 
 ters, a sort of Cinderella, as it might be, fell asleep beside a haunted stream, and 
 was awakened by the voices of the pitying fairies, who presaged for her a grand 
 future, which in due course came to pass, for she was wooed and won by a hand- 
 
 96 
 
some prince in disguise, and became a queen and the ruler over the wicked people 
 whose cruelty had once oppressed her. 
 
 There was once a famous collector of works of art and antiquity in Russia 
 named Charles de Liphart. He was the descendant of a Frenchman who had come 
 
 FROM A PAINTING BY F. E. BERTIER. 
 
 A TRICK AT CARDS. 
 *7 
 
FROM A PAINTING BY LUIS FALERO. 
 
 THE DEPARTURE OF THE WITCHES. 
 
 to Russia to serve the Empress Catherine, and he had in his turn a son who is the 
 present artist Baron Ernest de Liphart. The boy, growing up in an atmosphere of 
 art, quite in a natural way became an artist. His father, who had not yet squan- 
 dered all the fortune which his grandfather had amassed, sent Ernest, who was 
 
 98 
 
rROM A PAINTING BY C. VON BODEN HAUSEN. 
 
 THE VOICES OF FAIRYLAND. 
 
UPHART. 
 
 THE ASSUMPTION OF MARY MAGDALEN. 
 
 100 
 
CROM A PAINTING BY H. ED SIEMIRADZKI. 
 
 THE SWORD DANCE. 
 
 born at Dorpat, to Florence to study. There the boy fell in with the now famous 
 German painter Lenbach, who was studying in Italy under the patronage of Count 
 Schack. Count Schack was a German nobleman of colossal wealth, and a great 
 art collector, who during his lifetime encouraged and supported many struggling 
 young artists whom he esteemed to be of merit, and when he died, a couple of years 
 ago, bequeathed his palace and his matchless collection of pictures in Munich, 
 Bavaria, to the nation as a public museum. Lenbach, who was a favorite of the 
 Count’s, introduced the young Russian to him, and argued so eloquently in his 
 favor that the Count, who had arranged already to send Lenbach to Spain to study 
 the old masters there, sent his friend with him, defraying all his expenses also. 
 This was the turning-point of de Liphart’s career. 
 
 Hendrik de Siemiradzki is of Polish birth, from 1843. The place of his nativity 
 was a village in the province of Grodno called Siemirad, from which he takes his 
 surname, the name of his family being plain Hendrik. His father was a small 
 official under the Russian Government, and sent him to Charkoff to become a pro- 
 fessor of natural history at the college there. The boy was a diligent student, but 
 the necessities of his education caused him to learn to draw, and in doing so the 
 art spirit which was latent in him was aroused. When he had, with honor, com- 
 pleted his course in natural history, he went to St. Petersburg and entered himself 
 as a student of art at the Imperial Academy. His first works were drawings in 
 monochome, crayon, pencil, india-ink, sepia, and these, in 1870, were found so 
 meritorious by the professors of the Academy that they allowed him the Imperial 
 stipend upon which he could travel and study in Europe. He visited Paris and 
 then settled in Munich, where he became a pupil of Piloty, and won his rank 
 among the foremost of his fellows. 
 
 101 
 
VII. 
 
 The history of art presents, in every period or generation, examples of men 
 who are in advance of their time, and who, in spite of the restrictions and conven- 
 tions of the period in which they were born, contrive to emancipate themselves from 
 all such thraldom and by their native originality create a distinct and independent 
 course for themselves. Such an artist was Auguste Barthelemy Glaize. He was 
 born at Montpellier in 1813, at a time when art in France was chained to the cold- 
 est classicism, when the painters were taught to ignore life entirely and to base 
 
 FROM A PAINTING BY AUG. B. GLAIZE. 
 
 LOVE’S FIRST STEP. 
 
 their studies and their methods upon the antique — a beautiful and noble model, it 
 is true, but cold and lifeless as the sculptured marble in which antique art had been 
 preserved to modern times. These were the influences which surrounded young 
 Glaize when he learned to draw as a schoolboy. But a change was coming. What 
 we now know as the romantic movement in French art was gathering strength. A 
 race of original and resolute men had determined to cast off the shackles imposed 
 by the old order of things, and to ignore traditions with which they had no sym- 
 pathy. Prominent among these revolutionaries were the brothers, Achille and 
 
 J02 
 
FROM A PAINTING BY LUIS FALERO. 
 
 THE PRAYER TO ISIS. 
 
 Eugene Deveria. They were the sons of a clerk of the Archives in the Depart- 
 ment of the Marine in Paris, and while Eugene became a painter Achille became a 
 designer and lithographer. He was born in 1800, and was quite a well-known 
 artist by the time Glaize was finishing his schooling. He was one of the greatest 
 original designers on the lithographic stone that ever lived, as eccentric in his 
 
 103 
 
MADEMOISELLE PIERROT. 
 
personai ways as he was original in his art, but with a large, warm heart. To this 
 man Glaize. as a youth, went to learn lithography, because he could make his living 
 by it while he learned to paint. Eugene Deveria, who lived with his brother, 
 advised and instructed the young fellow in painting. So, in due time, he became 
 an artist, and commenced to exhibit at the Salon. He took medal after medal, 
 received the Legion of Honor in 1855, was commissioned by the Government for 
 many decorations for public places, and prospered out of the sheer force of his 
 genius. His art is excellently represented by “ Love’s First Step.” The “Prayer 
 to Isis” is one of the famous pictures of Luis Falero which grew out of his study 
 of the antiquities of Egypt. Here a girl performs upon one of those ancient 
 harps over a sounding skin like a drum-head, of which examples have been found 
 
 FROM A PAINTING BY VAN DEN BOS. 
 
 THE PREY OF CUPID. 
 
 by explorers. The instruments which the younger child uses are sistrums. They 
 were made of metal, and produced a rattling sound which keot time to the notes 
 of music and the chant of the worshippers. 
 
 In French pantomimes they have a character called Pierrot, who is practically 
 equivalent to an English stage clown. He is dressed and made-up as a young 
 boy, and his business on the boards is to be as stupid, simple-minded, cunning, and 
 malicious, and above all funny, as a young boy can be in real life. Pierrette or 
 Mademoiselle Pierrot, like Pierrot, makes up as a young girl, and behaves as 
 mischievously, though not as stupidly, as he. In the picture by Robaudi he shows 
 one of these feminine counterparts of the clown, all silk and satin, who returns 
 
 105 
 
from a masked-ball and rings for admission into her apartment, holding a trophy 
 of the evening in her hand. The artist is an Italian by birth, a pupil of the Paris 
 art schools, and has his studio in Paris. The example which we present of him 
 was first exhibited in the Salon of 1893. 
 
 Jr 
 
 FROM A PAINTING BY JEAN BENNER. 
 
 REVERY. 
 
 JOB 
 
NIGHT. 
 
 107 
 
Georges Pierre Marie Van den Bos, in spite of his name, which smacks 
 strongly of the Netherlands, is a Swiss by birth, and has his studio in Paris. His 
 “ Prey of Cupid” serves as a good example of his style. Jean Benner, the painter 
 of “ Reverie,” is the twin brother of Emmanuel Benner, several examples of whom 
 have been given in this work. He, like his brother, was a designer for the factories 
 until about thirty years of age, when his savings enabled him to study painting. 
 He went to Italy in 1866, after having had instruction in Paris from Pils, Henner, 
 and Leon Bonnat. He had exhibited pictures at the Salon, however, since 1859, 
 and since 1872 has received a number of medals. “Night” is a decorative and 
 beautiful composition by a Flemish artist, resident in Paris, A. de Courten. The 
 prohibited book is the one which is always certain to be read. This young 
 person has been commanded not to read a certain novel — and she takes it to bed 
 
 CROM A PAINTING BY ZUBER-BUHLER. 
 
 THE PROHIBITED BOOK. 
 
 10 read and dream over. Fritz Zuber-Buhler, the artist, was born at Locle, in 
 Switzerland. Locle is a town chiefly devoted to the manufacturing of watches, 
 and as the boy had a taste for drawing he was employed to engrave designs on the 
 cases of the higher-priced pocket-time-pieces. In its small way, this engraving for 
 the jewellers is a profitable business to the employees, so Zuber-Buhler was able 
 
 108 
 
CUPID AND THE NYMPH. 
 
in time to go to Paris to study painting. He there was a pupil of Picot and of 
 the Swiss painter Grosclaude, and under them became an accomplished technician, 
 while he developed a power as a colorist quite uncommon with painters of his 
 nationality. 
 
 Albert Aublet is a Parisian, a pupil of Jacquand and of Gerome, and made 
 the regular course of a student at the School of Fine Arts. A visit to Constanti- 
 
 FROM A PAINTING BV B. EUKOVAC. 
 
 THE WHITE SLAVE. 
 
 nople next added subjects of Oriental life to his repertory, and led to the com- 
 pletion, among others, of his “Turkish Woman at the Bath,” whose appearance 
 at the Salon in 1883 was received with great applause and materially added to 
 his fame and prosperity. 
 
 At the outpost of an Arab camp, the favorite slave girl of the Sheik, with his 
 pet hound, the guardians of his tent, are on the lookout for their master’s return 
 from a hunting excursion. The artist, Gaston C. Saintpierre, is a native of Nimes, 
 and studied art in Paris under Cogniet and Jalabert. He made various excursions 
 into Algiers and the deserts of North Africa, from which he returned with a valu- 
 able collection of motives. He received his first medal in 1868, and the Legion 
 of Honor in 1881. The story of Blaise Bukovoc has been given in detail in a 
 previous part of this work. His “White Slave” represents one of the Greek or 
 Circassian girls who were frequently to be found in Turkish harems, into which 
 they came as spoils of war. The legend of Lorelei, the siren of the Rhine, is one 
 of those which the Germans adopted from classical antiquity and adapted to local 
 surrounding and circumGances. William Kray represents the lovely and love- 
 less enchantress seated on the craggy summit of the cliff, which is nearly five hun- 
 dred feet above the level of the stream, bathed in the beams of the moon, and by 
 her alluring glances inviting the hapless boatmen to their destruction. “ Fatima” 
 
 111 
 
is another of the always popular feminine types of Nathaniel Sichel of Berlin, a 
 queen of the harem, robed in satin and wearing a headdress of great golden coins 
 and jewels. Konrad Dielitz is a German portrait and genre painter of high rank 
 He was born in 1845 in Berlin, and was the son of a well-known literary man. 
 
 PAINTING DV 
 
 LORELEI. 
 
 112 
 
FROM A PAINTING BY N. SICHEL. 
 
 FATIMA. 
 
 He made his first stroke of fortune as a portrait painter, and the reputation he 
 thus gained brought him an appreciative public for his genre, historical, and 
 legendary compositions. In “ The Daughters of the Rhine” he takes up the 
 legend of the water-fairies who guard the fabulous treasures of that picturesque 
 stream, upon which Wagner founded his opera of the “Rheingold.” Jules Lefe- 
 
 113 
 
#ROM A PAINTING BY K. DIELITZ. 
 
 THE DAUGHTERS OF THE RHINE. 
 
bvre, whose biography has already been given, presents in “ Antique Poesy’' a young 
 girl who in a poetic competition has won the coveted wreath of honor. In the 
 simple or antique times it was a wreath of fresh laurel. Later it became a wreath 
 of silver in imitation of laurel. It is such a wreath that the figure in the picture 
 
 ‘ROM A PAINTING BY JULES LEFEBVRE. 
 
 ANTIQUE POESY. 
 115 
 
MARY MAGDALEN 
 
 lie 
 
means. The practice was continued into media;val times, especially in Italy and 
 France, long after Christianity had spread over Europe and Paganism had com- 
 pletely disappeared from the civilized portions of the world. 
 
 Mile. Marie Rose Vasselon, who was born at Craponne in the Department of 
 the Upper Loire, exhibited in earliest childhood a most astonishing artistic talent. 
 
 FROM A PAINTING BY W. A. BOUGUEREAU. 
 
 NYMPHS. 
 
 She seemed to learn to draw by instinct, for she had enjoyed no instruction apart 
 from that which was afforded by t'he pictures and engravings in her home. A 
 Madame Thoret, a very able woman painter of the time, gave her her first actual 
 •instruction in art. She then went to Paris, where, while studying in the art school, 
 she also became a student under Carolus Duran and Henner. Her first successes 
 were made in portraiture, but, strongly influenced by Henner, she commenced to 
 make a specialty of the study of the nude, of which “ The Bath” is a convincing 
 example. Miss Vasselon shows in her pictures a wonderfully fine appreciation of 
 color, and great accuracy and skill in drawing. Her technique is big, broadj and 
 free, and her execution perfect. 
 
 The “ Nymphs” of Bouguereau is one of his famous pictures. It is a subject 
 which explains itself. 
 
 117 
 
VIII. 
 
 When the French Revolutionists undertook to reconstruct the calendar as they 
 did everything else, they rearranged the months on the plan which they called tne 
 Republican year. In this new almanac Floreal, or the month of flowers, was the 
 eighth in order of succession, and extended from April 20th to May 19th. This is 
 the month which the painter typifies in his nymph basking in a woodland glade on 
 a couch of turf and wild-flowers. Louis Joseph Raphael Collin was born in Paris 
 in 1850, and was educated for a profession at the Lyceum Saint Louis and the Col- 
 lege of Verdun. Discarding the original purpose of his career, he, in 1869, entered 
 the studio of Bouguereau as a pupil, after which he made a course of study under 
 Cabanel. In 1873 he exhibited his first Salon picture, “Sleep,” a magnificent nude 
 which secured him a medal, and is now at the Museum of Rouen. In 1875 another 
 picture of similar character was bought out of the Salon by the Government for 
 the Arras Museum, and in 1877 his “ Daphnis and Chloe” was also purchased for 
 the Museum of Alenfon. He has been a member of the Legion of Honor since 
 1884. In the hands of Albert Aublet “ The New Moon” becomes a graceful female 
 figure, which forms a crescent in a sky fleeced with clouds, that wreathe in vapors 
 above the pale peaks of the legendary Mountains of the Moon. “ The Gypsy” of 
 
 FROM A PAINTING SY R. COLLIN. 
 
 FLOREAL. 
 
 118 
 
FROM A PAINTING BY ALBERT AUBLET. 
 
 THE NEW MOON. 
 
 Fritz Zuber-Buhler is one of those itinerant dancing-girls common in portions of 
 Southern Europe still, who reclines by the roadside in the forest to doze and dream 
 away the summer noonday. Jules Lefebvre represents in “Salome,” the daughter 
 of Herodias, an essentially Semitic type of the antique period, with the sensuous 
 and soulless beauty of the tigress rather than the woman, bearing the charger whicb 
 is to receive the head of John the Baptist, and the sword which is to decapitate 
 him, as indifferently as if it were a dish of fruit. 
 
 119 
 
Mine. Adeiheid Salles-Wagner, born in 1825 in Dresden, is the elder of two 
 sisters, both of whom are well-known painters. Her family name is Wagner. Her 
 sister Elise, who became Madame Puyroche, devoted herself to flower painting. 
 Adeiheid studied the figure, first at the Dresden Academy and later under Jacquand 
 and Cogniet in Paris. There she met and married the well-known artist Jules 
 Salles, a native of Nimes and pupil of Paul Delaroche. Mme. Salles-Wagner made 
 her first successes with portraits, in oil and in pastel, and then produced a series of 
 mythological and religious pictures of rare merit. In ner present picture, the 
 chaste Arethusa, persecuted by the persistent attentions of the iove smitten Arca- 
 dian river-god Alpheius, prays to Diana for protection against his unwelcome 
 importunities, and is being changed by her into the magic fountain of Artygia. 
 
 One of the most distinguished artistic figures of our time is that of Charles 
 Auguste Emile Duran, or, as he has chosen to Latinize and abbreviate his name, 
 Carolus Duran. He was born at Lille in 1837, and first studied there under the 
 direction of the old painter Souchon. Souchon was famous as a copyist of the old 
 masters, and he impressed their study on his pupil as more valuable than the direct 
 instruction of any living artist. The youth made rapid progress under his advice, 
 and in 1853 went to Paris, where he appears to have subsisted by the sale of 
 his copies, doing little other painting, but associating much with other art stu- 
 
 FROM A PAINTING BY ZUBER-BUHLER. 
 
 THE GYPSY. 
 120 
 
PAINTING BY JULES LEFEBVRE. 
 
 SALOME. 
 
 121 
 
dents, among whom his wit, fluency of conversation, and energetic character 
 rendered him a leader. In 1861 his native city appropriated a pension for him, 
 upon which he might study in Italy. In 1866, he went to Spain, where he made 
 a close study of the Spanish masters, particularly Velasquez, and upon his return 
 to France took up the painting of the nude with triumphant success, and portrait- 
 ure, in which he soon proved himself a master, especially when he had women or 
 children for subjects. Religious subjects and decorative work came equally easy 
 to his hand. His “Red-Haired Lelia” is a portrait of a well-known Paris model, 
 and painted in such a way that it may be truly said to live. Duran is a writer as 
 well as a painter, and has published several books. His medals may almost be 
 
 FROM A PAINTING BY MME. SALCES-WAGNER. 
 
 THE NYMPH ARETHUSA. 
 
 said to be numberless, and they are headed by the coveted Medal of Honor, which 
 was awarded him in 1879. He has been an Officer of the Legion of Honor since 
 1878. His wife, Mine. Pauline Marie Carolus Duran, who was born at St. Peters- 
 burg, is also a painter of merit. 
 
 Another of the great modern exponents of figure painting in France, though 
 in a totally different feeling and manner to Carolus Duran, is L£on Basile Perrault, 
 who was born at Poitiers in 1832. He was a student under Picot and Bouguereau, 
 and obtained an Honorable Mention for his very first exhibit at the Salon, in 1861. 
 He took his first medal three years later, and many of his works have been acquired 
 by the State for various museums. His pictures are well known in the United 
 States, where they have long been popular with collectors. In addition to easel 
 
FROM A PAINTING BY JEAN AUBERT. 
 
 CUPID’S HOLIDAY. 
 
 paintings he has executed a number of important decorations, and as a portrait 
 painter his place is in the first rank. Perrault is a strong and careful draughtsman, 
 a fine colorist, and a finished but not labored executant. His composition is always 
 h a PPy, his subjects well chosen, pleasing, and full of interest, and his pictures have 
 that quality, which causes people to say : “ His figures live and speak. ” His “ La 
 
 123 
 
FROM A PAINTING BY J. R. BEYSCHLAG. 
 
 PSYCHE IN GRIEF. 
 
 124 
 

FROM A PAINTING BY MLLE. NEVA COOMANS. 
 
 A BIRD SELLER IN POMPEII. 
 
 Cigale” was in the Salon of 1893. In it he gives a charming interpretation of the 
 fable. The merry grasshopper sings her song, careless of the approach of winter 
 which is prognosticated oy the autumn foliage in which she is embowered. It is 
 
 126 
 
an idyll of the thoughtless gayety of light-hearted life, heedless of anything beyond 
 the day, and revelling in the full enjoyments of the present. 
 
 Jacques Clement Wagrez was born in Paris in 1850. His father was a painter 
 of some ability and from him he received his first instruction. At different periods 
 afterward he studied, at the Ecole des Beaux Arts, under Farochon, Lenepveu, 
 Pils, and Henri Lehmann, the two latter of whom most influenced him. Appearing 
 first at the Salon in 1876 with a portrait and mythological subject, “Eros,” which 
 created remark, and in 1878 his “ Education of Achilles by the Centaur” won him a 
 medal and w’as purchased by the Government for the Aurillac Museum. He early 
 began to give much attention to painting for purposes of decoration, and produced 
 many water-colors and designs for the illustration of costly artistic publications. 
 His “Spring Fairy” is one of a series of panels intended for the decoration of a 
 private mansion, and the idea is derived from an old French tale, of the descent 
 from her home among the clouds of the deity who brings the warm mists, the sun- 
 light, and the flowers of spring, to the earth. The nondescript beast which accom- 
 panies her seems to have been introduced by the artist in a purely whimsical and 
 fantastic spirit, as it has no place in the legend upon which the picture is based. 
 
 (ROM A PAINTING BY CHARLES LANDELLE. 
 
 MOTHER AND CHILD: TLEMCEN. 
 
 127 
 
In Pompeii the catching and training of wild birds for sale was quite an im- 
 portant employment of the poorer classes, among whom the professional bird-snarers 
 formed an independent body. Miss Coomans shows a Pompeiian girl, inviting 
 attention to her wares in the market-place. The “ Mother and Child” of Charles 
 
 128 
 
Landelle is a souvenir of the artist’s tour of Algeria, of which Tlemcen is the chiei 
 town of the Department of Oran, the most western of the three administrative 
 divisions of the colony. The admixture of the French with the Arab population 
 has produced some curious modifications of the native costume, a hint of which 
 may be found in the dress both of the woman and the sleeping girl. Jules Louis 
 
 FROM A PAINTING BY ALEXANDER CABANEL. 
 
 THE BIRTH OF VENUS. 
 
 Machard was born at Sampans, in the Jura, in 1839, was a pupil of Picot and Sig- 
 nal, and in 1865 captured the Prix de Rome. He is a painter of portraits, history, 
 classical, and fanciful subjects, of which latter his “ Soap Bubbles” is an excellent 
 example. He has been a Member of the Legion of Honor since 1878. 
 
 Unquestionably the most famous of the late Alexandre Cabanel’s pictures is 
 his “ Birth of Venus.” The original painting is in the collection of the Luxem- 
 bourg, but engravings, photographs, and other reproductions have made it familiar 
 to the whole world as one of the foremost classics of modern art. Under a sky 
 rosy with dawn, Venus Astarte wakes to life on the waves of which she is born. 
 The picture is not only of a matchless grace of composition, but in its soft, deli- 
 cate color and tender modelling the crowning masterpiece of the artist’s produc- 
 tions. It was first exhibited at the Salon of 1875, where it made the sensation of 
 the year. 
 
 In “An Odalisque” N. Sichel again reveals the felicity and variety of his talent 
 in creating beautiful female types. The face is thoroughly characteristic and the 
 attitude and drapery graceful and picturesque. Konrad Delitz, the painter of 
 “The Spirit of the Alps,” has taken a Tyrolean legend for his subject. This pop- 
 
 129 
 
ular tale belongs to the Bavarian Alps, in which most of the artist’s mountain 
 studies were made. A chamois hunter has been led by the ardor of the chase to 
 the very snow line of the loftiest peak of the range. Here the last scanty vegeta- 
 tion that clothes the mountain-side ceases. Wearied by his exertions, the hunter 
 lies down to sleep upon the narrow and dangerous ledge, and the fairy of the 
 mountains discovers the intruder on her domain. His youth and beauty charm 
 
 FROM A FAINTING BY N. 8ICHEL 
 
 AN ODALISQUE. 
 
 130 
 
FROM A PAINTING BY K. DELITZ. 
 
 THE SPIRIT OF THE ALPS. 
 
 [31 
 
-ROM A PAINTING BY MLLE. OIANA COOMAN8. 
 
 AT THE CALLIRHOE SPRING. 
 
 132 
 
FROM A PAINTING BY E. DEBAT-PONSAN. 
 
 A TOILETTE AL FRESCO. 
 
 away any resentment which she might entertain against his trespass, and she 
 plucks an edelweiss, the mountain flower which grows in the highest and most in- 
 accessible places, to place it in his hand as a protecting talisman. 
 
 Miss Diana Coomans turns from Pompeii to Athens for “ At the Callirhoe 
 Spring.” The fountain of Callirhoe, called the fountain of nine springs, because 
 its waters were distributed in that number of channels, was credited with magical 
 properties and powers, and its fluid treasure was sought with prayer and floral 
 invocation by the maidens, to whom it was supposed to bring good fortune in 
 affairs of the heart. The fountain, it may be added, derived its name from the 
 daughter of the river-god Achelus, to whom it was dedicated. The “ Daphne” of 
 Emmanuel Benner also dives into Greek legend for its subject. Daphne, a beauti- 
 ful nymph of the forest and the stream, became the object of a violent passion on 
 the part of Apollo. She scorned him. He pursued her, and she called upon her 
 mother, the Earth, for succor. The appeal was answered. According to one ver- 
 sion of the fable she was turned into a laurel tree just as Apollo was about to grasp 
 her, and the laurel was thenceforward a tree sacred to all poets and heroes, and 
 was used as a crown of honor. The name of the transformed nymph was given to 
 the grove in which her transformation occurred, and in which was erected a sanctii 
 ary and temple to Apollo and Diana. 
 
 133 
 
IX. 
 
 In the year 1856 a young student at the £cole des Beaux Arts in Paris, where 
 he had studied under Drolling and Picot, entered into the school competition for 
 the Prix de Rome and won it. His name was Felix Auguste Clement, and he was 
 born in 1826 at Donzere, in the Department of Drome. The course of his artistic 
 life began at the Art School of the city of Lyons in 1843, and in 1848 he came to 
 Paris. The four years he spent in Italy as a pensioner of the State proved fruitful 
 in good work. At that time he made a special study of Roman antiquities and 
 history, upon which he based his picture of “ The Death of Caesar” and others 
 After his return to Paris, where he found a profitable market as a portrait painter 
 and for his Italian genre pictures, he became interested in the history of ancient 
 Egypt, and eventually visited that country, where he made a protracted stay and 
 gathered much valuable material. His travels in Egypt were probably more ex- 
 tensive than those of any other modern artist. No ancient ruin was too remote for 
 him to visit, and the mass of studies he made bore fruit on his coming back to 
 France in a powerful picture of “The Destruction of Babylon.” He varied his 
 historical compositions by many pictures of Oriental every-day life, and other more 
 
 FROM A PAINTING BY A. F. CLEMENT. 
 
 MORNING. 
 
 134 
 
FROM A PAINTING BY MLLE. DIANA COOMAN8. 
 
 A POMPEIIAN FRUIT VENDER. 
 
 familiar subjects, to which his “Morning,” a young mother teasing her babe with 
 a spray of ripe cherries, belongs. He took his first medal in 1861, and some ten 
 years ago settled in Brussels, where he hacf been made a professor at the Academy. 
 
 135 
 
Pompeii was essentially an aristocratic city. It bore pretty much the same 
 relation to Rome that Newport does to New York. That is to say, it was the 
 home of the wealthier class, and even its poor, who served them, were relatively 
 
 FROM A PAINTINO BY I.OUI8 CHALON. 
 
 CIRCE AND THE COMPANIONS OF ULYSSES. 
 
well-to-do compared with the rabble of the Imperial City. The fruit-girl in Miss 
 Coomans’ picture is an instance of this. When Ulysses, after the fall of Troy, 
 as the “ Odyssey” relates it, went voyaging in search of adventures, he landed at 
 the island, of JEaea, to the westward of Sicily, which was ruled over by the fair- 
 haired and beautiful sorceress Circe, the daughter of the Sun. Around her 
 wonderful palace, where she sat enthroned on a golden throne, in a pond of lotus 
 
 137 
 
 IN THE BLUE GROTTO. 
 
and lilies, roved herds of beasts, wolves, lions, tigers, oxen, and the like, which 
 had once been human beings and whom she had transformed by her spells. The 
 companions of Ulysses, feasting and drinking her drugged wine while guests at 
 her palace, were converted by her incantations into swine, but the hero himself, 
 forewarned by Mercury and provided by him with a supply of mystic herb called 
 moly, was proof against her sorcery. His invulnerability, courage, and manly 
 beauty captivated the lovely witch, and for a year he remained her guest, when, 
 having induced her, out of her love for him, to disenchant his companions, he 
 resumed his voyage. Louis Chalon, the painter, is a native of Paris, and a pupil 
 of Jules Lefebvre and G. Boulanger. The Blue Grotto, on the island of Capri, at 
 the entrance to the Bay of Naples, is one of the natural wonders of the world. 
 It is a cavern which can be entered only from the sea, whose interior is of magnif- 
 
 FROM A PAINTING BY W. THORNE. 
 
 A SONG WITHOUT WORDS. 
 
 icent proportions and a wonderful blue color, produced probably by the refraction 
 by the water of the sunlight outside. Thousands of visitors cross the bay from 
 Naples annually to visit the grotto, and the island itself is a favorite resort of art- 
 ists, quite a colony of whom have formed a permanent settlement there, many of 
 them marrying girls of the country. Jean Benner visited Capri while studying in 
 Italy, and his picture represents a country girl bathing in the Blue Grotto, which 
 
 138 
 
THISBl 
 
 I 
 
FROM A PAINTING BY W. A. BOUGUEREAU. 
 
 EVENING. 
 
 140 
 
FROM A PAINTING BY N. SICHEL. 
 
 MEDEA. 
 
 141 
 
FROM A PAINTING BY H. ,CHEL, 
 
 ASPASIA. 
 
 is a favorite resort for this purpose during the midsummer heats. The subject 
 of “ A Song Without Words” explains itself. A young girl in an idle mood plays 
 upon a zither the dreamy music whose spell has enchanted half the world. The 
 artist, W. Thorne, is English, a native of London and pupil of the South Kensing- 
 ton Museum School of Art. 
 
 Ovid tells the tragical history of Pyramus and Thisb£ in the fourth book of 
 
 142 
 
FROM A PArNTINQ BY L&JN PERRAULT. 
 
 THE NYMPH’S REVENGE. 
 
wall which divided their adjoining gardens. Having made a rendezvous at the 
 tomb of Ninus, in the necropolis outside the city, Thisbe arrived first on the spot, 
 where she encountered a lioness which had just killed an ox, and in her flight while 
 flying from the dreaded beast dropped her garment, which the lioness tore to pieces. 
 When Pyramus reached the tomb he discovered the robe, torn and covered with 
 the blood of the ox, and supposing his mistress to have been killed and devoured, 
 he, in despair, killed himself. Thisbe, having regained her courage, returned only 
 to find her lover dead, whereupon she too committed suicide. Edouard Paupion, 
 the painter of “Thisbe,’’ was born at Dijon and is a pupil of J. L. Gerome. His 
 
 FROM A PAINTING BY F. T. GROSSE. 
 
 THE JUDGMENT OF MIDAS. 
 
 genre pictures and portraits are highly esteemed and his historical and romantic 
 subjects always well composed and executed. 
 
 The “ Evening” of W. A. Bouguereau is a companion picture to his “ Morn- 
 ing, ” which has already been given in this work, and like it is one of the artist’s 
 most graceful and tenderly sentimental works. The original, like its companion, 
 is in an American collection. Edouard Bernard Debat-Ponsan is a favorite French 
 artist, born at Toulouse, and graduated out of the studio of Alexandre Cabanel. 
 Portraits and idyllic subjects like “Spring Flowers,” a wood nymph who has been 
 gathering wild flowers, are his specialties. He was first medalled in 1874 and has 
 been a member of the Legion of Honor since 1881. In “ Aspasia” Nathaniel 
 Sichel presents a characteristic impersonation of the famous Athenian woman, the 
 wife of Pericles, and the most learned woman of antiquity, from whom Socrates 
 himself did not disdain to take advice. Leon Perrault’s picture shows a nymph 
 
 144 
 
who has detected Cupid in the act of making her a target for one of his darts, and 
 having captured and disarmed him, is taking her revenge by teasing the malicious 
 little enemy to the peace of mind of her sex. 
 
 In ancient mythology, when they had tutelary deities for nearly everything in 
 nature, the riverside was not forgotten. There were two great classes of nymphs, 
 one of the woods and the other of the streams. The riverside nymphs were of an 
 
 IMPROVISATION. 
 
 145 
 
THE FAIRY OF THE MOON. 
 
 146 
 
amphibious nature, partaking of the characteristics of both. It is such a fabled 
 beauty whom the artist depicts, slumbering beside the stream whose shore is under 
 her special guardianship. Georges Lefebvre is the son of an artist and was born at 
 Cezy in the Department of Yonne. He received his preliminary education from his 
 father, and was, when sufficiently advanced, sent to Paris to study under G6rome. 
 The “Improvisation” is another example of G. Van den Bos, and represents a 
 young lady upon the terrace of a chateau, improvising an air upon the violin while 
 another lady accompanies her on the harp. The Isis of the ancient Egyptians was 
 their chief female deity. She was the sister and wife of Osiris, jnarriages be- 
 tween brother and sister being at that time permitted. Her worship was uni- 
 versal throughout Egypt, particularly at Philae and at Bubastis on the Nile, and 
 the annual inundations of that stream were supposed to be caused by her tears. 
 At her death the Egyptians believed that she was translated to the heavens and 
 reincarnated in the star Sothis, which we know as Sirius or the Dog Star. Isis 
 was served in her temples by priestesses of her own sex, one of whom the painter 
 
 FROM A PAINTING BY JOSEPH COOMANS. 
 
 THE SMILE. 
 
 represents, enthroned at the foot of an altar, on the brink of the fountain or pond 
 of the temple. Her long hair is plaited in narrow plaits; on her forehead she 
 wears a golden serpent, the symbol of eternity, and she reposes on the skin of a 
 leopard, one of the innumerable animals sacred to the Egyptian gods. The birds 
 at her feet are sacred ibises, which, like cats, were held to be especially holy 
 members of the world of nature, and were cherished and protected in the temples. 
 
 147 
 
Etienne Bonneau was a native of Chanteloup in the Nievre, and his great talent 
 and rapid progress made him a favorite pupil with his master, Alexandre Cabanel. 
 He died young, in 1881, but had already made a high mark and was regarded 
 and regretted as one of the coming leaders in modern French art. 
 
 FROM A PAINTING BY EDOUARD BISSON. 
 
 LA CIGALE. 
 148 
 
Joseph Coomans, the father of the Misses Heva and Diana Coomans, was a 
 Belgian artist, whose biography will be found in full in a previous division of this 
 work. “ The Smile” is one of his favorite and enormously popular Pompeiian sub 
 
 FROM A PAINTING BY EMILE BAYARD. 
 
 AN AFFAIR OF HONOR. 
 
 jects, a lady reclining upon a divan and casting at some admirer a glance of invi- 
 tation and encouragement. It is one of the most characteristic of this class of 
 works which the painter produced during his long and incessantly active career. 
 Edouard Bisson, in “La Cigale,” gives another interpretation to an old fable of 
 which we have already given versions by several different artists. In this case, 
 they depicted the joyful and merry period of the poor grasshopper’s life. Bisson 
 deals with its tragic side. The Spring ablaze with flowers, the Summer basking 
 in the bland beams of the sun, the Autumn fragrant with its rich harvests have 
 passed; the cruel Winter, against which the Cigale made no provision, had arrived, 
 and her gay songs are hushed as she shivers, shelterless, in the snow. The artist 
 is a Parisian, a pupil of the Ecole des Beaux Arts, and a popular painter of senti- 
 mental and decorative subjects. The “Wood Nymph Reposing” is one of the fine 
 studies of the nude of Emmanuel Benner. This picture was exhibited at the Salon 
 of 1881 and is esteemed the artist’s masterpiece. It was by it that he secured his 
 first medal. 
 
 149 
 
X. 
 
 Several years ago death removed from the Paris art world one of its most 
 curious characters in Charles Francis Edouard de Beaumont. He was born at 
 Lannion, in 1821, and was the son of a sculptor. His father taught him to draw, 
 and sent him then to the painter A. F. Boisselier to continue his studies. Antoine 
 Felix Boisselier was a painter of history and historical landscapes, an artist of 
 sound technique and a good master. Influenced by him de Beaumont at first took 
 to landscape painting, in which field he made his debut at the Salon of 1838. Some 
 three years later he turned his attention to mythological and allegorical subjects, 
 in which his success was soon assured. He delineated the female figure with the 
 most seductive grace, and was a pure and charming colorist. Painting in water- 
 colors and in oils with equal facility, his works found a ready market, and he also 
 prospered by contributing illustrations to various publications. But the man was 
 of a sensitive nature, and disappointment of his ambition soured him. Year after 
 year he exhibited at the Salon without receiving official recognition, and he was 
 nearly fifty years of age before he received his first medal. This encouragement 
 
 FROM 
 
 riNG B* C. £. OE BEAUMONT. 
 
 A NEST OF SIRENS. 
 150 
 
FROM A PAINTING BY N. SICHEL. 
 
 ALCESTE. 
 
 came too late. He had become a recluse and a misanthrope. But for the per- 
 suasions of Alexandre Dumas, who was his closest and almost his only friend, he 
 would not have exhibited at all. He lived alone, among his ancient arms and cos- 
 tumes, of which he was a passionate collector, working steadily to distract his 
 thoughts in his solitude, and disdaining the handsome returns the labors of his 
 
 151 
 
FROM A PAINTING BY AUGUST MANDLICH. 
 
 THE SILHOUETTE. 
 
 1 52 
 
I 
 
 FROM A PAINTING BY LOUIS PRIOU. 
 
 “CHERRY-RIPE.” 
 
 gifted pencil brought in, sinking into ever deeper gloom until, without being posi- 
 tively insane, as the great landscape painter Theodore Rousseau became from the 
 same cause, he grew into a monomaniac on the subject of the injustice with which 
 he was treated and which he regarded as the result of an organized conspiracy. In 
 1877 he sent to the Salon “A Nest of Sirens,” which created a furor. The beauty 
 of the figures, the grace of the composition, and the charm, of the color rendered 
 it one of the pictures of the year. The subject is the endeavor of the sisters of the 
 sea to lure the bark of Ulysses to wreck upon the reefs. The decoration of the 
 Legion of Honor was the result of this superb work, but even this did not tempt 
 the painter from his course. He persisted in his bitter moodiness until his death. 
 Among his later productions were several series of beautiful water-color drawings, 
 to illustrate luxurious editions of “ Bluebeard” and other fairy-tales. 
 
 Alceste, the heroine of Nathaniel Sichel’s picture, was the daughter of Pelias 
 and the wife of Admetus, according to mythology. She was devoted to her hus- 
 band, who was one of the Argonants, and a King in Thessaly, and when he was 
 threatened with death she surrendered her own life to save his, her name thus 
 becoming among the Greeks a synonym for wifely virtue and self-sacrifice. To 
 restore this model matron to the world Hercules descended into hell. The story 
 of Alceste provided the foundation for one of the principal tragedies of Euripides, 
 more than four centuries before the Christian Era. 
 
 Leon Auguste Hodebert was born at Saint-Michel-sur-Loire, in the Depart- 
 153 
 
ment of Indre-et-Loire, and was a pupil in Paris of Galembert. He is an esteemed 
 painter of portraits and a master of the figure. His picture, representing a model 
 preparing to pose for an artist by whom she has been engaged, was his contribu- 
 tion to the Salon of 1893. In his “ Leda” Emmanuel Benner shows the beautiful 
 
 FROM A PAINTING BY JOSEPH COOMAN9. 
 
 CANDOR. 
 
FROM A PAINTING BY DIANA COOMANS. 
 
 THE ELEGY. 
 
 wife of Tyndarus and mother of Castor and Pollux seated on the river bank arrang- 
 ing her hair after her bath, while the enamored Jupiter, full of the eagerness of 
 passion, approaches her on the water in the guise, which he has assumed, of a 
 swan. “ The Fisher” by William Kray is one of his pictures founded on the legend 
 of .the Rhine. This tale recites how a fisherman once inspired a water sprite with 
 such a love for him that she could not overcome it. In order to secure possession 
 of him, she came, while he was fishing, up on the bank of the river and held him in 
 
 155 
 
MADONNA AND CHILD. 
 
AT THE FOUNTAIN. 
 
FROM A PAINTING BY 0. GRAEF. 
 
 THE SOUL OF THE WATER DRAGON. 
 
FROM A PICTURE BY MLLE. HEVA COOMANS. 
 
 YOUTH’S SUNNY HOURS. 
 
 such thraldom by her charms that he did not notice the rising of the tide until it 
 was too late, when the waters engulfed him and his temptress carried him away 
 to her cavern deep under the waves. 
 
 The ancient Egyptians held their dead in the most devout reverence. Those 
 even of the poorest were embalmed with many ceremonies, and in every wealthy 
 house was a private temple in which the statues of the departed were worshipped. 
 Elegiac music and songs were the accompaniment of these ceremonials. The pic- 
 ture by Miss Coomans represents some Egyptian princess who has lost one whom 
 she has reverenced or loved, and to whom, as she sits in the throne chair of her 
 house, her slaves sing the elegy to the dead. In 1862 the literary world of France 
 was treated to a sensation. It consisted in a romance entitled “Salammbo,” writ- 
 ten by Gustave Flaubert, which in the most daring and realistic manner revived 
 the life of ancient Carthage, at the period of the Punic War, and provided a model 
 upon which numberous realistic novelists have built themselves up. “ Salammbo’ 
 took its title from the heroine of the story, a weird creation who has furnished i 
 type which many painters have essayed to realize. One of the most successful oi 
 these attempts is that of Jules Jean Baptiste Toulot, a pupil of Gerome and a 
 painter of the figure of much power. He represents Flaubert’s heroine as she is 
 aDcut to enter> her bath, receiving the caresses of her pet serpent. “At the 
 Fountain,” by Gaston C. Saintpierre, is a study of an Algerian girl, one of his sou 
 venirs of African travel. 
 
 159 
 
Gustav Graef is a distinguished German artist, born in 1821 at Konigsberg, 
 Prussia. He was a pupil of Professor Hildebrandt and Schadow at Dusseldorf, and 
 made his first success with subjects derived from the “ Nibelung” and other Ger- 
 man legends. He left Dusseldorf to study in Antwerp, Paris, Munich, and Italy 
 successively, and while he became a strong and popular portrait painter he 
 adhered for his subject-pictures mainly to the national legendary lore and fairy- 
 tales. He has painted also a number of decorative compositions of a historical 
 character, and developed Biblical and mythological motives. “ The Soul of the 
 Water Dragon” is an old folk-tale in Germany. A malignant witch, to be revenged 
 on a queen who has treated her with disdain, transforms her daughter into a water 
 dragon. The young prince who is betrothed to the princess swears to restore her. 
 His good fairy consents to assist him, under condition that he suffer her to meta- 
 morphose him into a raven. He consents. Advised by the fairy how to proceed, 
 he seeks the stream where his enchanted sweetheart has her lair, and finds her 
 sleeping among the reeds. As directed by the fairy he pecks out one of the drag- 
 on’s eyes and then seizes its dorsal fin with his iron beak, when the hideous, scaly 
 
 *ROM A PAINTING BY BERTHA YERREE. 
 
 A DREAM OF ROSEA. 
 
 skin comes off and the princess stands forth in all her beauty. At the same 
 moment, by a spell of the fairy, the wicked witch enters into the skin of the mon- 
 ster and becomes a terrible land dragon. Next the prince is restored to his human 
 form, arms himself, goes forth and slays the dragon, and being duly united with 
 the princess all live happy ever after in the good old style. 
 
 160 
 
On the terrace of an Italian villa of the later Roman period, which overlooks 
 the sea, three young girls idle away the summer hours. One stretches out on the 
 marble bench, smelling a flower as she listens to the sweet notes a companion 
 evokes from a double flute, while the third lounges at her side, with one hand rest- 
 ing on her lute. Miss Coomans has made a charming picture indeed, out of very 
 
 FROM A PAINTING BY W. KRAY. 
 
 WINTER. 
 
 161 
 
FROM A PAINTING BY JULES AVIAT. 
 
 A REVELATION. 
 
 simple material, in “Youth’s Sunny Hours.” In “A Dream of Roses,” a young 
 girl, reclining on a couch after her bath, covered with a furred robe, indulges in 
 one of those visions which an interesting novel has the power of inspiring, and 
 which we know as day-dreams. The artist is the wife of a well-known French 
 painter who has won distinction at the Salon. “ A Naiad” is one of the most 
 characteristic and expressive of the ideal pictures of Charles Landelle. It was first 
 exhibited at the Salon of 1882. The Naiades were, in Grecian mythology, the 
 nymphs of the fresh-water lakes, streams, and springs, and part of their duty was 
 
 tC2 
 
to attend to the nourishment of the plants and flowers which bordered the waters 
 to whose service they were bound. Jules Aviat was born at Brienne-le-Chateau, 
 in the Department of Aube, and is a pupil of E. Hebert, Leon Bonnat, and La- 
 france. His female portraits are especially esteemed, although he is also strong in 
 male portraiture. His imaginative pictures are always graceful, refined, decorative 
 
 FROM A PAINTING BY JOSEPH COOMANS. 
 
 SATISFACTION. 
 
 in treatment, and charmingly delicate in color. “ A Revelation” is a typical work. 
 In it a young Greek girl, contemplating herself in a hand-mirror, arrives for the 
 first time at the conclusion that she is as beautiful as she has wished herself to be. 
 A girlish coquette, revelling in the reminiscence of some new conquest, is the sub- 
 ject of the picture by Joseph Coomans. The heroine is a type of the blonde beauty 
 of the women of Greek origin or antecedents who bore away the palm for loveli- 
 ness in Pompeii in its prime, when beauty was worshipped there second only to the 
 gods. 
 
 Although he resides permanently in Paris, America claims Julius L. Stewart as 
 one of her own artists, on the score of birth. He was born in Philadelphia. His 
 father was a banker, who settled in Paris in order to conduct the European busi- 
 ness of his banking house, and his son was educated in Paris. The banker Stewart 
 was a great art-lover, and one of the very first patrons in France of Fortuny, Rai- 
 mond de Madrazo, and Zamacois, for he was especially fond of the brilliant and 
 audacious modern Spanish school. As young Stewart positively declined to be 
 
made a banker, and asserted his intention to become a painter, he was given his 
 course. He had probably been inspired to his resolution by the artistic surround- 
 ings of his father’s house. At any rate, he studied under Zamacois, Madrazo, and 
 Gerome, but his innate talent broke a path for itself, and his later works suggest 
 
 FROM A PAINTING BY J. L. 8T EWART. 
 
 SPRING. 
 
none of his masters. He created a style of his own which has been received in 
 Paris, London, and America as thoroughly original. He first exhibited at the 
 Salon in 1878, and since then has received many awards of merit. His “Spring” 
 is one of his higher compositions, and was painted for a decorative purpose J. 
 Albert Begas is a German artist and comes of a family of painters all the members 
 of which have achieved distinction. 
 
 A SUMMER TOILET. 
 
 165 
 
XI. 
 
 The odalisque in Louis Courtat’s picture is dreaming away a drowsy day, lulled 
 by the monotonous melody of the Turkish mandolin with whose strings her slave 
 girl toys with listless fingers. The artist was born in Paris in 1847. He was 
 a pupil of Cabanel, and with his first exhibit at the Salon, in 1873, won his 
 first medal. In each of the two succeeding years he took other medals which 
 placed him in the position known at the French exhibitions as being hors concours , 
 or out of competition for any medals except that known as the medal of honor. In 
 1878 another honor fell to Courtat in the purchase by the State of his picture 
 “ Spring” which is now in the collection of the Luxembourg. “ The Odalisque” was 
 his Salon picture for 1882. “ Undine” was the Salon picture of Jules Lefebvre for 
 
 1882. Since the Baron de la Motte Fouque wrote his exquisite tale, “ Undine,” the 
 type was assumed a personal rather than a general character, and the “ Undine” of 
 the painters is no longer any spirit of the waves but the one spirit of the famous 
 romance. C. A. Lenoir, the painter of “ The Novel,” is a Parisian, young and of ris- 
 ing reputation since he began to exhibit three or four years ago. L£on Perrault 
 represents Venus enthroned in her chariot, in which she traverses her natal 
 
 FROM A PAINTING BY CARL MARR. 
 
 THE WANDERING JEW. 
 JBR 
 
FROM A PAINTING BY HELENE RICHTER. 
 
 PETRUCCIO. 
 
 1G7 
 
FROM A PAINTING BY C. A. LENOIR. 
 
 THE NOVEL. 
 
 waves. N. Sichel’s “Bayadere” is an Oriental dancing-girl who carries, the 
 bottle of water the balancing of which on her head is one of the features 
 of her sensuous and alluring performance. Fritz Zuber-Buhler in “The Dew” 
 represents her as a lovely spirit almost spectral in her pale beauty, who flies over 
 the landscape which is shimmering in the moonbeams, shaking out from the tresses 
 of her golden hair the pearls of moisture which fall upon and refresh the earth. 
 It is a charming conceit, and rendered with a sentiment and feeling which rank it 
 among the very best works the artist has produced. 
 
 The sensation of the Paris Salon for 1878 was, paradoxical as it may seem, a 
 painting which was not there. It was a canvas by Henri Gervex, and was founded 
 -on the last lines of Alfred de Musset's famous poem, “Rolla.” It was a master- 
 piece, one of the few real great works of modern art. Artists and critics alike 
 loaded it with applause, and hailed the painter with acclamations as he took his 
 afternoon promenade. But the Administration of the Fine Arts, the. Government 
 bureau which controls the official business of the Salon, happened to be in a par- 
 ticularly censorious mood that spring, and excluded the picture. The artist then 
 exhibited it in the gallery of a dealer in the Rue de la Chauss^e-d’Antin, where all 
 Paris flocked to see it. It was probably the most successful private exhibition ever 
 made in Paris, and it laid a secure foundation for the artist’s fortune. 
 
 168 
 
FROM A PAINTING BY L^ON PERRAULT. 
 
 VENUS IN HER CAR. 
 169 
 
FROM A PAINTING BY N. 8ICHEL. 
 
 A BAYADERE. 
 
 170 
 
Henri Gervex was born in Paris in 1852. He commenced to study art under 
 the venerable master Pierre Nicolas Brisset, then studied under Fromentin, and 
 finally concluded his course under Cabanel. In 1873 he exhibited for the first time 
 “A Bather Sleeping,” a remarkable study of the nude. The next year he took a 
 medal of the second class, with the “Satyr Sporting with a Bacchante,” a picture 
 which was purchased by the State for the Luxembourg. In 1876 he was medalled 
 again, for a powerful realistic picture, representing the surgeons holding an autopsy 
 
 171 
 
 THE DEW. 
 
FROM A PAINTINO BY CH. CHAPLIN. 
 
 MODESTY. 
 
 172 
 
on the body of a patient in the Hotel Dieu hospital. In 1877 the State purchased 
 another of his pictures, a communion scene in a village church which is now in the 
 Government collection. All this while his fame had been rising steadily, but the 
 struggle was still severe when the sensation caused by “ Rolla” brought it to a 
 climax, and added a new master to the roll of honor of French art. Commissions 
 for portraits rolled in, his pictures were sold from the easel, he received so many 
 orders for the decoration of private houses that he was compelled to refuse a portion 
 
 173 
 
 THE YOUNG CONNOISSEUR. 
 
of them, and two years after the State had rejected his “ Rolla” it anointed the wound 
 with balm by appointing him to paint the great decorative panels for the Mayor’s 
 Office of the Nineteenth Arrondissement. This engagement secured him also ad- 
 
 FROM A PAINTING BY 
 
 LORELEI AND IGORNE. 
 
 174 
 
FROM A PAINTING BY DIANA COOMANS. 
 
 ATTENTION. 
 
 mission into the Legion of Honor. When “ The Masked Model” appeared at the 
 Salon, it created a sensation second only to that of the picture which did not 
 appear. It became popularly rumored that the original was a great lady, who had 
 
 175 
 
~ROM A PAINTING BY A. WAGNER. 
 
 THE RETURN FROM THE FIELDS. 
 176 
 
consented to pose for the artist under condition that her face should be covered so 
 as to prevent her from being identified, and this added piquant interest to the 
 magnificent art displayed in the picture. As a matter of fact, however, it was only 
 the figure of a professional model. While posing for Gervex she had, in a spirit of 
 fun, put on a ball mask which was hanging to the wall, and the effect was so origi- 
 nal that the artist used it for his finished picture. “The Young Connoisseur,” 
 by Paul Prosper Tillier, is a fair-haired girl who examines an etching or 
 engraving. The artist is a native of Baupere in the Vendee and a pupil of 
 Leon Cogniet. William Kray illustrates another page of the Rhine legends 
 
 PROM A PAINTING BY C. SCHWENINGER, JR. 
 
 A QUIET NOOK. 
 
 by his “ Lorelei and Igorne. ” In “Attention” Miss Coomans shows a Greek 
 girl, who has been preparing an offer of incense and flowers to her household 
 deity, on the terrace, and who interrupts it to watch curiously something which is 
 occurring or some one who is passing in the street below. “ Fragility” is one of a 
 series of decorative panels painted by J. F. Ballavoine for the boudoir of a Paris 
 mansion. The subject is a fair social enchantress who, after a great ball, has dis- 
 robed and casts herself wearily on her couch, and in doing so has broken the pearl 
 ornaments she wears in her hair. A natural idea might suggest itself to a possibly 
 cynical observer that the jewel was not the only fragile object in the picture. 
 C. Schweninger, Jr., is the son of the eminent German landscape painter, Carl 
 Schweninger. The elder Schweninger was born at Vienna in 1818, and was one of 
 the most esteemed painters in his line of his time. His son was his pupil, but also 
 
 177 
 
FROM A PAINTING BY EDOUARD BISSON. 
 
 SPRING’S FIRST FLOWERS. 
 
 studied the figure at the Vienna and Munich Academies, and combines them, as in 
 “ A Quiet Nook,” in fine idyllic feeling. “ Spring’s First Flowers” is another of the 
 decorative fancies of Edouard Bisson. The flowers are Cupidons, who have been 
 warmed to life by the gentle atmosphere of the season. The dream of Joseph 
 
 178 
 
Coomans’ Pompeiian maiden is evidently one of those which come by day to young 
 ladies not insensible to the sentiment of love. 
 
 Edouard Dantan, who was born in Paris in 1848, seemed to come into art as 
 into a heritage. His grandfather, who had been a soldier under the First Empire, 
 was distinguished as a sculptor in wood. His father, the eldest son of the veteran, 
 born at St. Cloud, where he died in 1878, in 1798 became a sculptor in marble and 
 left many remarkable decorative works and statues. His uncle, the younger son, 
 also became a sculptor, and was famous especially for his caricature portraits in 
 clay and bronze, and for his burlesque and satirical portraits in crayon of current 
 celebrities and notorieties. Edouard Dantan entered the E'cole des Beaux Arts as 
 a student, and under the mastership of Pils and Lehmann made such rapid progress 
 that in 1867 the Government commissioned him for some important decorative com- 
 positions. Two years later he showed his first picture at the Salon, a picture 
 which had somewhat curious adventures. In 1870 the artist had gone to Paris to 
 volunteer in the army against the Prussians. He left his studio at St. Cloud locked 
 up. When he returned to the town he found that the studio had been burned down 
 during the Prussian occupation and supposed the picture had been destroyed. Some 
 years after, however, it was by accident found at Versailles, rolled up around a 
 broomstick. It had been cut from the stretcher when the invaders sacked the 
 studio, and carried off by some soldier who probably intended to keep it, but who 
 afterward, when the Germans evacuated Versailles, forgot it and left it behind. 
 
 FROM A PAINTING BY J08EPH COOMAN8. 
 
 DREAMING. 
 
 179 
 
FROM A PAINTING BY MLLE. OIANA COOMANS. 
 
 A POMPEIIAN FETE. 
 
 In 1874 Dantan received his first Salon medal, for a picture of a monk making 
 a wood-carving, which the State purchased for the Nantes Museum. In 1875 he 
 won a gold medal at the Rouen Exposition with a picture which was purchased by 
 the city for its municipal museum. In 1880 he took another Salon medal for a 
 picture of his father sculpturing a bas-relief, which the State bought for the Lux- 
 embourg. This seemed to give a new direction to his talent, and he painted a 
 number of pictures representing these artistic interiors, all of which enjoyed great 
 
 180 
 
success. “ Modelling from Life” represents the workshop of a maker of plaster 
 casts. In the background are seen casts from the antique; one of a figure by 
 Michel Angelo, and one of a head by Donatello; the mortar with its swinging pestle 
 for pulverizing plaster, sacks of plaster, and the tubs, bowls, sieves, and the like 
 used in the trade. The mould maker has been taking a cast from life. The nude 
 model is perched on the stand, and the master is removing the first half of the 
 mould from her leg, while his assistant holds the second section in place. These 
 casts from life of arms and legs are very generally used in the preliminary drawing 
 classes of the art schools. Dantan, as this picture shows, was a realist, but in the 
 purest spirit. He enjoys high and profitable repute as a portrait painter also. 
 
 A part of F. A. Clement’s labor during his long sojourn in Egypt was in 
 painting pictures for the uncle of the Khedive. He was only partially paid for 
 these, and after his return to France instituted a long and costly suit against the 
 
 JtKJM A PAINTING BY MME. JACQUELINE COMERRE-PATON 
 
 INGENUOUSNESS. 
 
 old Egyptian voluptuary for the balance. .Unfortunately for him the Khedive was 
 deposed and pensioned off in exile, so the poor artist had only, his trouble for his 
 pains, for the ruin of Halim Pacha, the uncle, followed his nephew’s deposition. 
 One of the last pictures Halim Pacha ordered from him was a portrait of a new 
 Circassian slave whom he had bought, but the artist refused to deliver it and took 
 it to France with him, where he finished and sent it to the Salon of 1880. It .proved 
 extremely successful, and won the artist much merited credit. “ A Circassian 
 Woman in the Harem” is now in one of the French provincial museums. 
 
 181 
 
XII. 
 
 In the Salon of 1884 appeared a painting by a well-known and popular 
 artist entitled “An Affair of Honor.” It represented a due* with rapiers be- 
 tween two women. The scene was laid in a well-known spot in the Bois de 
 Boulogne where there have been countless encounters of this character. The 
 combatants, their seconds and friends were all women of the class which in- 
 habits that half-world for which Alexandre Dumas the younger invented the name. 
 Each personage was a striking portrait of some prosperous courtesan, and the 
 women, stripped naked to the waist, were both living adventurers of notorious 
 recklessness. The popularity of the picture was enormous. It travelled all over 
 the world, and was so great that the artist followed it with a companion and 
 sequel — “The Reconciliation.” Here one of the cocottes has fallen wounded, 
 and her late antagonist forgets her anger and kneels sympathizingly beside her, while 
 one of the seconds calls up the coach, which at a distance has awaited the outcome 
 
 >M « PA NTING BY EMIl£ BAYARD. 
 
 THE RECONCILIATION. 
 
 182 
 
THE BROKEN PITCHER. 
 183 
 
FROM A PAINTING BY A. QAMBA OE PREYDOUR. 
 
 THE BLOOM OF YOUTH. 
 184 
 
 
FROM A PAINTING BY HANS MAKART. 
 
 DIANA’S HUNTING PARTY. 
 
 of the fight. The painter of this picture, Emile Bayard, was born at Ferte-sous- 
 Jouarre, in the Department of Seine-et-Marne, in 1837. In 1853 he entered the studio 
 of Cogniet. He was poor, and supported himself by designing illustrations for books 
 and newspapers. His first exhibits at the Salon were of drawings. He served as 
 a volunteer during the Franco-Prussian war, and in 1870 exhibited a superb draw- 
 ing representing the battle of Sedan. This drawing made his reputation. It was 
 purchased by the State, and won for him the decoration of the Legion of Honor. 
 
 Philippe Parrot is an esteemed painter in France, where he is principally em- 
 ployed by decorative and idyllic subjects. He was born at the village of Excideuil, 
 in the Dordogne, and his early life was a long struggle with poverty. He con- 
 trived to support himself while studying at the Ecole des Beaux Arts by painting on 
 tea-caddies and cheap fancy boxes for the holiday season, until in 1868 he won a 
 medal at the Salon, when his prospects improved. He was again medalled in 1870 
 and 1872, and in 1878 won another badge of distinction at the Exposition Univer- 
 selle. His “Spring” is an excellent example of his sound arid conscientious art. 
 Georg Papperitz is one of the modern German artists who have been largely in- 
 fluenced by the French school. He studied originally at Munich, where he indeed 
 still has his studio and home, but worked also in Paris, and is a regular exhibitor 
 at the French exhibitions. His style is broad, his color rich and harmonious, and 
 he is especially happy in such subjects as “An Idyll,” two wood-nymphs, one of 
 whom pipes a melody of evening tribute to a bust of the god Pan, while the land- 
 scape darkens in the fading day and a new moon makes a oale crescent in the sky. 
 
 Jean Jacques Henner has been called the Titian of modern art, and in the 
 sense of a grand devotion to color and a wonderful power in the painting of the nude 
 figure he has a certain sympathy with the Italian master. But he is also a portrait 
 painter and a painter of religious subjects of supreme force. He is the son of a 
 
 185 
 
poor workingman, a carpenter, of Bernviller in Alsace, and tells with pride and 
 reverence how his father worked far into the night and stinted himself even in the 
 necessaries of life to make an artist of him. The old man was amply repaid when 
 
his son became famous 
 and rich. Henner studied 
 drawing first under Charles 
 Goutzwiller, at the semi- 
 nary at Altkirch, and from 
 there passed into the studio 
 of the painter Gabriel Gue- 
 rin in Strasburg. From 
 Strasburg he went to Paris, 
 where he had Drolling and 
 Picot for masters, and in 
 1858 the old father had no 
 longer the necessity to as- 
 sist him. In that year he 
 won the Prix de Rome, and 
 for four years was support- 
 ed by the French Govern- 
 ment while he continued his 
 studies. “ Sleep” was his 
 Salon picture for 1880 and 
 was the success of the year. 
 He commenced to win his 
 medals in 1863, and has 
 now taken a full series; 
 he has been an Officer of 
 the Legion of Honor since 
 1878, in which year he took 
 a first-class medal at the 
 Universal Exposition. 
 
 Adolphe Weisz, the 
 painter of “It is I!” is a 
 Hungarian by birth, from 
 Buda, but studied art in 
 Paris unde ' Jalabert. He 
 carried away a medal at 
 the Salon of 1875 and has 
 since repeated his suc- 
 cesses. The sderie of his 
 picture is a private box of 
 the Paris Opera House on 
 the night of a masked ball. 
 His heroine has been flirt- 
 
THOM * PAINTING BY JACQUES WAGREZ. 
 
 JULIET. 
 
 ing away the evening with a gallant of her acquaintance who has not recognized 
 her under her mask. The hour for unmasking has arrived, and she shows her 
 face to him in coquettish mockery at the manner in which she has tricked him. 
 
 188 
 
“The Cascade” gives another specimen from the brush of Emile Munier, who 
 represents the sprite of the falling waters bathed in the spray of the stream of 
 which she is the deity. Among the studies which Jacques Wagrez has made of the 
 
 FROM A PAINTING 
 
 JOSEPH COOMANS. 
 
 PENSIVE. 
 
 189 
 
FROM A PAINTING BY A. H. BRAMTOT. 
 
 BASHFUL LOVE. 
 
 picturesque life of the Middle Ages and the Renaissance, none has been more fruit- 
 ful than that which he has devoted to the story of Romeo and Juliet. He is an 
 ardent reader of Shakespeare and spent a long time in Italy gathering material for 
 illustration of the play which, of all others, fascinated him most. His “ Julief" is 
 only one of a number of the finished results. 
 
 Writers who deal with the subject of lace invariably allude to its cobweb 
 
 190 
 
structure, but it may be questioned whether the majority of them are aware of the 
 actual relation between the weaver of the web and the weaver of the lace, as it was 
 established in mythological times. According to the classic legend, Arachne was 
 a beautiful young maiden of Lydia, who particularly excelled in the art of lace- 
 making. The creations of her skill were so lovely that they ensnared the hearts of 
 all her sex, for even in the Golden Age, when beauty unadorned was supposed to 
 be adorned the most, the congenital love of woman for objects of personal adorn- 
 ment made itself felt. By an accident the goddess Minerva happened to destroy 
 one of her laces which Arachne esteemed to be her masterpiece, and the poor 
 artist, rendered frantic by despair, committed suicide by hanging herself. Minerva, 
 in atonement for the wrong she had done her, converted her into a spider, and to 
 
 FROM A PAINTING BY GEORGES ROCHEGROSSE. 
 
 THE KNIGHT AMID THE FLOWERS. 
 
 this day Arachne weaves her mystic web as she did in the past, and as far as their 
 love of lace goes, all women worship her now as they did of old. In Le Quesne’s 
 picture, the nymphs of his artistic Arcadia are enjoying their entanglement in the 
 silken toils of their transformed sister, and those who are not already entangled 
 hurry eagerly forward to seek the same filmy bondage. 
 
 Alfred Henri Bramtot was born in Paris, and is a pupil of W. A. Bouguereau. 
 That he was a diligent and progressive pupil is evidenced by the fact that he took 
 the Prix de Rome for painting in 1879, and that he has since become one of the 
 notable painters of the figure of whom France has just cause to boast. History 
 and religious motives occupy his chief attention, but he has painted many beautiful 
 genre pictures of scenes of country life around his summer villa. “Bashful Love” 
 won him his first Salon medal, in 1879, the same year that he gained the Roman 
 
 191 
 
prize. The scene is laid at one of those public wells common in France. The 
 servant from a neighboring country-house has come to get water from the spring, 
 and her sweetheart, who has been working in the garden, takes advantage of the 
 opportunity to press his suit, while she listens modestly to his arguments. Terentia 
 was the wanton and dissolute first wife of the great Roman orator Cicero, whom he 
 afterward repudiated for her misconduct and who became a notorious public cour- 
 tesan. The artist, Louis Hierle, was born at l’Estrechure in the Department of 
 Gard, and was a pupil of Cabanel. “ A Messenger of Love” is one of the most 
 lovely of Nathaniel Sichel’s productions. “Sea-Gulls and Billows” is by Henri 
 Eugene Delacroix, a native of Solesmes in the Nord and a pupil of Cabanel. 
 
THE YOUNG MODEL. 
 193 
 
FROM A PAINTING BY GABRIEL MAX. 
 
 LACRIMA. 
 
 Gabriel Max is one of the most eminent artists modern Germany has produced. 
 He was born in 1840 in Prague, Bohemia, and was the son of a sculptor of great 
 ability, Joseph Max. Until his father died, when he was fifteen years of age, the 
 boy worked for him in his studio and so gained his rudimentary lessons in art in a 
 practical way. After a three years' course at the Academy of Prague, he entered 
 that of Vienna, where he also remained three years. He was passionately fond of 
 music, and this led him to make a series of designs suggested by the works of 
 
 134 
 
Beethoven, Mendelssohn, and others, which brought him great praise and substan- 
 tial patronage, and procured him the means to go to Munich, where he became a 
 pupil of Piloty, in 1863. He remained with Piloty until 1867, when he established 
 a studio for himself in Munich, where he now resides and works. 
 
 One of the well-known pictures of William Kray, suggested by his long resi- 
 
 IIOM » »»'NTING BY W. KRAY 
 
 THE VENETIAN SWIMMING SCHOOL. 
 
 103 
 
dence in Venice, is “ The Venetian Swimming School.” “ The Return of Spring 
 is painted by Edouard Bisson. Another picture of the decorative feeling of line, 
 composition, and color is J. F. Ballavoine’s “Indiscreet Butterflies.” 
 
 THE RETURN OF SPRING. 
 IS6 
 
 FROM A PAINTING BY EDO'JARD BISSON. 
 
FROM A PAINTING BY W. A. BOUGUEREAU. 
 
 THE EARRINGS. 
 
 197 
 
XIII. 
 
 One of the significant events in modern art has been the revival in Spain. A 
 conspicuous figure in this regeneratory movement has been Don Jose Casado del 
 Alisal, who is a widely known painter of history and genre. ■ Casado del Alisal was 
 born in Valencia, and entered the Academy of Madrid as a pupil under Frederic 
 Madrazo. Spain, like France, has a Government fund for the support in Italy of 
 art students who gain the highest standard of efficiency possible in the Madrid 
 Academy, and in i860 Casado del Alisal won the Spanish Prix de Rome, which en- 
 titled him to his course of study of the Italian masters. He has been decorated 
 with the order of Isabella the Catholic, which corresponds with the French Legion 
 of Honor, made Painter to the Court, and then Director of the Spanish Academy 
 at Rome. Yet during all the stress imposed upon him by his great compositions, 
 he found time to turn to more modest themes. He made many studies of the re- 
 mains of the Moorish occupation of Spain at Grenada and elsewhere in Andalusia, 
 and his “ Zaida, the Favorite,” was one of the results of these investigations. 
 
 Some twenty miles from Rome, on the side of Monte Ripoli, one of the chain 
 
 FROM A PAINTING BV CASADO DEL ALISAL. 
 
 ZAIDA, THE FAVORITE. 
 
 198 
 
FROM A PAINTING 
 
 THE SIREN OF TIVOLI. 
 
— 
 
 FROM A PAINTING BY EDOUARD BISSON. 
 
 A PRISONER. 
 
 of mountains known as the Apennines, is a wretched modern town which contains 
 the relics of a fine rural city of the period of the Roman ascendancy. Tivoli was 
 a famous summer resort in ancient times, and travellers now visit it to see the re- 
 mains of the classical period which it contains. One of its objects of attention is 
 
 200 
 
FROM A PAINTING BY A. J. CHANTRON. 
 
 CUPID BREAKING HI? BOW. 
 
 VV 
 
FROM A PAINTINO BY TONY ROBERT-FLEURY. 
 
 OPHELIA. 
 
 a little river with cascades and waterfalls, quite picturesque and attractive. These 
 are supposed, by popular legend, to be presided overby a beautiful and fatal siren, 
 who allures men to the banks of the river above the falls in order to precipitate 
 them to their death. This is “ The Siren of Tivoli” which William Kray paints. 
 “A Prisoner,” by Edouard Bisson, is a very willing prisoner indeed. “Spring” is 
 
 202 
 
FROM A PAINTING BY GUSTAV CARL LUDWIG RICHTER. 
 
 QUEEN LOUISE OF PRUSSIA. 
 
 a decorative panel by Joseph Eugene Antoine Bagues. The artist is a Parisian by 
 birth, and a pupil of E. Laporte and J. Lequien. Maxime Dastrigue was Iporn at 
 Castelnau-Magnoac in the Department of the Hautes-Pyr£n6es, and studied in 
 Paris at the Ecole des Beaux Arts and under J. L. Gerome. He has been strongly 
 influenced in his subjects by his master, as may be seen in “The Bathing Hour.” 
 
 204 
 
THE SWING. 
 206 
 
FROM A PAINTING BV JAN VAN BEERS. 
 
 “IS THAT SO?” 
 
 Nathaniel Sichel’s “Woman of Thebes” is an Egyptian of the old royal city of 
 the Nile, who vends pomegranates in the street. Paul Nanteuil, the painter of “ At 
 Her Toilette,” is a grandson of the great French designer Celestin Nanteuil, one 
 of the famous artists of the romantic period. He was born in Paris, and studied 
 under Hesse and L. Cogniet. Charles L. A. Weisser is a young Alsatian, a graduate 
 of the Paris School of Art, and a painter of marked ability. “ The Swing” is one 
 of the quaint pictures of everyday life which the pencil of Georges Pierre Marie 
 Van den Bos produces with such happy facility. Jan Van Beers is a Belgian, born 
 
 207 
 
at the town of Lierre. He studied first at the Antwerp Academy and then settled 
 in Paris, where he still has his studio. In 1879 he first appeared at the Salon, as a 
 painter of genre, but he did not make a genuine and profitable hit until he com- 
 menced to devote himself to subjects of the frivolous life of the town, that eternal 
 masquerade with which Parisians divert themselves. “Is that so?” is a good ex- 
 ample of them. One of the sirens of the great city has been flirting the evening 
 away with an admirer. He escorts her home. She throws off her costly furred 
 wrap and seats herself, while he renews his protestations of devotion; and his only 
 
 FROM A PAINTING BY P. TILLIER. 
 
 A FLOWER OF THE SHORE. 
 
 reward is her mocking query which gives its title to the picture. “ A Flower of 
 the Shore” is a pretty decorative conceit of Paul Tillier. 
 
 Edouard Toudouze is a Parisian, born in 1848. He is a nephew of the excel- 
 lent painter Auguste Leloir, and studied art under his uncle, and afterward became 
 a pupil of Pils. In 1867 he first appeared at the Salon, with an historical picture, 
 and entered for the Prix de Rome in 1871 and won it, with his picture “ CEdipus 
 Blind.” His color is pure and tender, and he is a master draughtsman. Besides 
 his easel pictures he has executed many decorative compositions of the first im- 
 portance. Albert Maignan was born at Beaumont, Department of Sarthe, in 1845, 
 and was educated for the law. While studying for this profession he employed 
 his leisure in the study also of art, entering the studio of Jules Noel as an amateur. 
 From the atelier of Noel he passed to that of Luminais, and in 1867 commenced to 
 exhibit £t the Salon. His “ Birth of the Pearl” was a notable Salon exhibit. 
 Maignan has been a member of the Legion of Honor since 1883. The idea of “ In- 
 nocence” is embodied by the painter in a maideni who plays with a serpent which 
 she has found among the flowers in the garden, unconscious of the peril which 
 lies in its ungrateful fangs. The artist, Leon Pierre Urbain Bourgeois, was born 
 
 208 
 
FROM A PAINTING BY W. KRAY. 
 
 NYMPHS AT PLAY. 
 
at Nevers, and was, successively, a pupil of Cornu, Hyppolite Flandrin, and Cab- 
 anel. He took his first medal in 1877. Eisman-Semenowsky is a popular young 
 Russian-Polish painter, whose studies were made in Munich and Paris, and who is 
 particularly successful in such coquettish feminine types as “Lisette. ” The 
 “Libellule” of the French is what we know in English as a dragon-fly. The artist 
 
 FftBM A PAINTING BY J. F. 8ALLAVOINE. 
 
 THE INTERRUPTED SITTING. 
 
 210 
 
\ 
 
 "BOM A PAINTING BY PAUL T1LUER. 
 
 AFTER THE BATH. 
 
 211 
 
from a painting by eibman-semenowsky. 
 
 LISETTE. 
 
 212 
 
FROM A PAINTING BY GEORGES LANDELLE. 
 
 LIBELLULE. 
 
 incarnates this beautiful insect as a lovely female sprite, which skims the water of 
 a summer stream upon its transparent wings. Georges Landelle is a son and pupil 
 of the eminent French painter Charles Landelle. 
 
 As this compilation progresses, and its scope expands in natural course, the 
 reader will gradually arrive at the position of being able to compare and consider 
 for himself the varieties of men and styles represented by the pictures. It is the 
 purpose of this work to discriminate against no schools, and to advocate none, but 
 to arrange with the utmost possible accuracy the characteristic qualities and pro- 
 ductions of the art of the whole civilized world. Up to a certain point it is pos- 
 sible for a sympathetic or experienced eye to distinguish between the origins of 
 one and another forms and methods of art, but this is constantly becoming more 
 difficult, for the reason that actual schools, which half a century ago were sharply 
 defined, have gradually advanced toward merging themselves in one* and that the 
 greatest school of all. Nothing could have been easier in the past than to select 
 from a number Of pictures one of German origin, another of French, others of 
 Italian, Spanish, and the like. That was in the days when the Academies were 
 supreme, and art was taught like writing, from a copying book. But the supremacy 
 of the Academic in art is gone. Nature has taken its place; and as the study of 
 nature becomes universal the pedagogical distinctions of the formulists pass away. 
 
 Artists study in the Academies still. It is a necessary preparation for their 
 careers, but the student of to-day studies at the schools simply to learn the reading 
 and writing of his art. He no longer becomes a mere imitator of the master, but 
 he absorbs all the good his master can communicate to him, and as his innate 
 powers develop, he turns to real life for his models, and gives to what he observes 
 and represents his own interpretation, governed by his personal moods and tastes. 
 
 213 
 
XIV. 
 
 One of the painters of whom the South of France is proud is Alphonse Pellet. 
 He is a native of Marseilles, and early in the seventies became a pupil in Paris of 
 Bouguereau and of Tony Robert Fleury. “A Lesson in Love” is a careful and 
 soundly painted study of a model who reclines upon a couch and watches the play 
 of two pet birds in a cage. “ Bertha” is one of the characteristic and expressive 
 portrait studies which Jan Van Beers produces. so skilfully. Pierre Dupuis, who 
 was born at Orleans, was a pupil of Horace Vernet and of L. Cogniet, and is one 
 of several brothers, all of whom are artists of merit. His fantastic conception 
 
 PROM A PAINTING 3T G COURTOI8. 
 
 THE BURIAL OF ATALA. 
 
 “ Invitation” created quite a sensation upon its exhibition, being in a vein of biting 
 satire of which Paris is especially fond. The allegory is direct and pointedly ex- 
 pressed. Physical lust and folly hold forth their temptations to mankind, while 
 
 214 
 
FROM A PAINTING BY JAN VAN BEERS. 
 
 BERTHA. 
 
 death, in the shape of a shrouded skeleton, grinningly directs attention to their 
 charms. Ldon Franpois Comerre was born at Trdlon, in the Nord, in 1850. He 
 was sent to Paris, where he studied art under Alexandre Cabanel, and in 1875 he 
 took a medal for a picture at the Salon, and captured also the Prix de Rome. 
 Comerre spent many months in travel and study in Spain, and at one time had h?s 
 
 • 215 
 
INVITATION. 
 
ROSES. 
 
 217 
 
studio in the Alhambra, for which he obtained permission from the Spanish author 
 ities. While a student in Cabanel’s atelier, he met a young lady, a native of Paris, 
 but of English parentage, Miss Jacqueline Paton, who was also studying under the 
 master. They were married, and Mme. Jacqueline Comerre-Paton has since ac- 
 
 FROM A PAINTING BY W. KRAY. 
 
 “WELCOME, OLAF 1” 
 
 quired a popularity with the art-loving public scarcely inferior to that of her hus- 
 band. “The Ass’ Skin” is one of her notable works. 
 
 The legend of King Olaf, the patron saint of Norway, furnishes William Kray 
 with material for his picture. Henry Bacon is an American artist, born at Haver- 
 hill, Mass., in 1839. He commenced to paint at home with some success, and in 
 1864 went to Paris, where he has since resided. There he became a student at the 
 Ecole des Beaux Arts, under Cabanel, until in 1866 he entered as a pupil the 
 studio of the eminent genre painter, Edouard Frere, at Ecouen, where so many 
 American and English painters studied. He had served as a volunteer during the 
 Civil War in this country, and been so badly disabled by wounds that his health 
 was for a long time precarious, but he did not permit it to interfere with his pro- 
 fessional progress, and from the period when he established a studio for himself 
 in Paris he found popularity abroad as well as among American collectors. 
 “The Pilot” is an episode of the voyage of a French mail steamer. The vessel 
 has arrived on the coast near Havre, and lies-to to take on board a pilot who 
 is being rowed toward her from the pilot-boat, while a lady passenger watches 
 the distant shore which marks the end of her sea journey. The artist is also 
 well known as a writer on topics concerning his art, and has published many 
 papers in our periodicals. J. F. Ballavoine, in “ Youth,” presents an attractive 
 type of feminine beauty, as fresh and bright as the field-daisies which are the 
 
 218 
 
THE PILOT. 
 
 219 
 
PROM A PAINTING BY JACQUELINE COMERRE-PATON. 
 
 THE ASS’ SKIN. 
 
 220 
 
YOUTH. 
 
 
LOVE’S WEAPONS. 
 
 222 
 
FROM A PAINTING BY W. KRAY. 
 
 THE FRIENDS. 
 
 flowers of maidenly innocence. Cupid, in the picture of W. A. Bouguereau, sits 
 in ambush for an approaching victim, with his bow in his hand and an arrow 
 ready at the string. Saint John’s Day was formerly the universal midsummer 
 holiday of Catholic Europe, and even to the present times is celebrated in many 
 parts. One of the beliefs connected with it was that youth and beauty could be 
 preserved by a purification of the body on this day, and the presentation of a trib- 
 al 
 
ute of garlands and incense to the memory of the Baptist. “The Friends,” by 
 William Kray, is a group from a picture by him entitled “ St. John’s Bath,” which 
 has enjoyed much success. The lady in Edouard Toudouze’s picture has been 
 picking daisies in the garden of a country-house on the French coast, and now 
 sits in revery looking out toward the sea. 
 
 At the Salon of 1879 Pierre Puvis de Chavannes was represented by two 
 pictures, “The Prodigal Son” and “Young Girls at the Sea-Shore,” both of which 
 received much commendation. The artist, who ranks to-day as one of the fore- 
 
 FROM A PAINTING BY ED. TOUDOUZE. 
 
 THE TIME OF DAISIES. 
 
 most of living painters, is a native of Lyons, where he was born in 1824. He be- 
 came a pupil successively of Ary Scheffer and Thomas Couture, two of the strongest 
 men of their time, but in no manner does his art betray its foundation by any imi- 
 tation of either of his masters. His originality declared itself while he was yet a 
 student, and he has maintained his independence through all his years of incessant 
 and tireless productiveness. He took his first medal in 1861, and the great Salon 
 Medal of Honor in 1882, and has been an officer of the Legion of Honor since 
 1877. The art collections in this country are rich in works by him, and his latest 
 
 224 
 
employment has been the painting of a vast decorative composition for the 
 new building of the Boston Public Library, for which he received the sum of 
 $50,000. 
 
 “ The Birthday Morn,” by Emily Hart, appeared in the Salon of 1892 under 
 
 FROM A PAINTING BY PUVIS DE CHAVANNES. 
 
 YOUNG GIRLS AT THE SEA-SHORE. 
 
 225 
 
FROM A PAINTING BY MISS EMILY 
 
 THE BIRTHDAY MORN. 
 
the title of “A Holiday.” The artist is an American who has studied art and 
 resides in Paris, where her works have earned her a position of respect. “ The 
 Chilly Model” is a picture of a class which the artist is constantly tempted to 
 paint. The color and texture of tapestries, and the picturesque surroundings of 
 his studio, are a standing challenge to his powers which it is very difficult to resist, 
 and there are few, if any, painters of the figure who have not at one time or an- 
 other found subjects in the immediate environment of their easels. The dexterous 
 use to which the artist puts these objects confers upon his studio an atmosphere 
 of sumptousness and grandeur more suggestive of a royal palace than of the work- 
 
 FROM A PAINTING BY ALPHONSE DUMAS. 
 
 THE CHILLY MODEL. 
 
 ing-room of even a prince of the world of art. Charles Chaplin’s “ Girlhood” is 
 one of the sweetest of his many pictures in this vein. The very soul of purity and 
 innocence breathes under his sauve and tender brush. The face is a type of girl- 
 ish French loveliness distinctly national, while the handling is of finest freedom 
 and simplicity. 
 
 “ Day Dreams” is another example of L. A. Hodebert, and like the one pre- 
 viously given is a strong study of a shapely model, under the brilliant and concen- 
 trated top-light of the studio. It scarcely justifies so sentimental a title, unless 
 one allows a poetic character to what would be probably the meditations of a 
 model under such circumstances; as to how much longer she shall have to pose, 
 before she can put her fee in her pocket and go off to luncheon or dinner. But the 
 
 227 
 
original picture is one which has brought the artist much credit for its technical 
 excellence in color, the firm and realistic painting of the figure, and the extremely 
 effective management of the light and shade. The reproduction conveys a good 
 
 rROM A PAINTING BY CHARLE8 CHAPLIN. 
 
 GIRLHOOD. 
 
 228 
 
idea of the form and effect, but the color and technique, on which so much of the 
 success of a picture depends, must be imagined. It is the impossibility of even 
 such a highly perfected process of reproduction as is employed upon the embellish- 
 ment of this work to render more than the material substance, which makes it im- 
 possible to adequately reproduce some pictures at all. Where drawing, light and 
 shade, and color, are in combination, the two first can be accurately given, and the 
 third at least suggested. But there is a class of paintings which, in the phrase- 
 ology of art, depend entirely upon color and technique for their effect. Seen as 
 
 FROM A PAINTING BY MME. JACQUELINE COMERRE-PATON. 
 
 A SONG OF THE WOODS. 
 
 they were painted they are often very fine and even masterly. But reduced to 
 black and white they become a mere confusion of splotches, masses of light and 
 shadow, for the simple reasons that there is no actually defined form in them to 
 furnish a foundation. There is, or was, for he is now dead, a figure painter in 
 France named Monticelli, whose works are greatly and justly admired and sought 
 for by collectors. Their charm is entirely that of color and tone. As far as form 
 is concerned they are as vague and indefinite as the pictures of a dream. Every 
 possible reproductive method has been essayed to render them intelligible in mono- 
 chrome. Engraving, etching, photogravure, lithography — no resource of the art 
 has been left untried, but they remain themselves, and can be judged from them- 
 selves alone. The same rule applies with the works of the modern impressionists, 
 so called. There is one of these painters whose pictures, like those of Monticelli, 
 are of great merit, always picturesque in composition and with a great charm of 
 color. Hanging on a wall they seem to open windows in it by which one looks 
 out on actual landscapes. Yet in photographs they are absolutely unintelligible. 
 
 229 
 
XV. 
 
 A picture thoroughly characteristic of the painter in thought and expression is 
 “The Woman or the Vase?” of Hendrik Siemiradski, which was first shown at the 
 Munich Exposition in 1879. The subject is of a pointedly satirical nature, and is 
 carried out with the utmost skill. The scene is in the house of a Roman patri- 
 cian, who is a collector of works of art, by which he is surrounded. A young 
 sculptor has brought him for inspection a decorated vase, which the old connois- 
 seur holds upon his knee. At the same time two slave-dealers present to him a 
 new prize which they have secured, in the person of a young and beautiful woman. 
 The voluptuary listens to their praise of this chattel, uncertain whether he shall 
 purchase the gem of art or the tempting jewel of nature. The girl shrinks in 
 shame from his intent and gloating gaze, while the young sculptor, forgetting even 
 his own interest, looks with pity on the lovely captive. The story could not be 
 more plainly told in words, and it is not difficult to imagine what will be the luxu- 
 
 FROM * PAINTING BY M. 8IEMIRA0SKI. 
 
 THE WOMAN OR THE VASE? 
 
 230 
 
FROM A PAINTING BY E. HUBERT. 
 
 MAGDALEN. 
 
 231 
 
FROM A PAINTING BY V. CORCOS. 
 
 THE TEA-ROSE. 
 
 232 
 
THE TOILET OF VENUS. 
 
rious and sensual Ro- 
 man’s choice between 
 the two propositions 
 which he is debating 
 in his mind. 
 
 Antoine Auguste 
 Ernest Hebert was 
 born in 1817 at Gre- 
 noble, and at the age 
 of eighteen arrived in 
 Paris, with the pur- 
 pose of studying law. 
 While pursuing this 
 course he devoted such 
 leisure as his studies 
 permitted to working 
 as an amateur student 
 in the studios of Da- 
 vid d'Angers and of 
 Paul Delaroche. He 
 had carried his abili- 
 ties to such a stage of 
 development that in 
 four years, in 1839, a 
 picture by him, repre- 
 senting the discovery 
 of Joseph’s cup in Ben- 
 jamin’s sack, secured 
 the Prix de Rome for 
 him, whereupon he re- 
 nounced the legal pro- 
 fession, cut off his 
 studies in that direc- 
 tion, and went to Italy, 
 where he remained ten 
 years in Rome. He 
 was one of the first 
 Frenchmen to devote 
 himself to Italian sub- 
 jects of a sentimental 
 and poetical charac- 
 ter, and in 1850 one of 
 
 FROM A PAINTING BY HECTOR LE ROUX. 
 
 THE VESTAL TUCCIA. 
 
 234 
 
 16 
 
these, “ La Malaria, ’’ scored a most brilliant hit. The picture represented a scene 
 in the Pontine Marshes, with peasants flying in a boat from the dreaded and 
 deadly swamp fever, and is now in the Luxembourg collection. Other paintings 
 by Hebert were purchased by the Government for museums and churches at vari- 
 ous provincial cities, and a considerable number crossed the Atlantic to become 
 
 FROM A PAINTING BY E. RENARD. 
 
 SLEEP. 
 
 part of American collections. As a portrait painter, especially of women and chil- 
 dren of the upper classes, he also took high rank. Hebert took the whole range 
 of Salon medals, became a commander of the Legion of Honor and a member of 
 the Institute in 1874, was Director of the French School of Art in Rome from 
 1866 to 1873, and again from 1885 until his death. The “ Magdalen” is one of 
 his pictures painted for the decoration of a French church. 
 
 Matteo Yittoro Corcos is an Italian artist, born at Leghorn, and a pupil of 
 Morelli, who resides in Paris, where his fanciful and graceful pictures, always 
 spirited in treatment, gay in color, and happy in their choice of subject, have be- 
 come excessively popular. “The Tea Rose” is a fine example of his elegant and 
 essentially aristocratic art. 
 
 Paul Jacques Aime Baudry was born at La Roche sur Yon, in the Vendee, in 
 1828. His father was a poor workingman, and his boyhood was one of the most 
 grinding poverty. Still he contrived tc learn to draw from the charitable instruc- 
 tions of a local drawing-master, and his astonishing and rapidly developing talent 
 attracted the attention of the Prefect of La Vendee, who secured him admission to 
 the Paris art school and supplied him with means to live. At the age of twenty- 
 two he carried off the Roman prize with a most brilliant work, and soon after cast 
 off the cold, classical style which he had acquired under his master Drolling for a 
 combination of realistic treatment with ideal motives which was of the first distinc- 
 
tion il was a style especially adapted for decorative painting, and secured for 
 the artist many important commissions, among which the most celebrated are the 
 pictures which embellish the foyer of the Paris Opera House. He painted por- 
 traits and easel pictures, to which latter class “ The Toilet of Venus” belongs. 
 The goddess arranges her hair before a bust of Pan in an Arcadian grove, while 
 
 (ROM A PAINTING BY MME. URANIE COLIN-UBOUR. 
 
 PENSIVE. 
 
BY LEON BON NAT. 
 
 FROM A PAINTING 
 
 THE BROKEN JUG. 
 
mOM A PAINTING BY a OUOUFE. 
 
 PROFANE MUSIC. 
 
 238 
 
-uyu. . 
 
 Cupid, who has borne his mother company, has seized her mirror and is admiring 
 his reflection in its polished surface. Baudry died in 1886. He had taken all the 
 possible medals, had been a member of the Institute since 1870, and a commander 
 of the Legion of Honor since 1875. 
 
 In “ Andromeda” Carolus Duran indulges in one of those triumphs of color in 
 which he revels, and which he carries to such a unique pitch of splendor. For a 
 perfect picture of childish repose the“ Sleep” of Emile Renard would be difficult to 
 rival. It was one of the favorite pictures at the Salon some years ago, and secured 
 for the painter a medal which placed him hors concours. The artist is a native of 
 Sevres, and began as a painter on porcelain at the famous Government factories 
 there, where his father was one of the chief designers. He was quick, clever, and 
 possessed a graceful invention in design, so he earned good wages, out of which 
 he was able to economize till he had a fund sufficient to warrant his going to Paris. 
 There he studied under Cabanel and Caesar de Cock, among the first of whose 
 pupils he was ranked. 
 
 Leon Joseph Florentin Bonnat, one of the supreme figures among the great 
 painters of modern France, was born at Bayonne in 1833. The proximity of his 
 native city to Spain influenced the commencement of his career as an artist, by 
 
 FROM A PAINTING BY EDOUARD BISSON. 
 
 BY THE SEA-SHORE. 
 
 sending him to Madrid as a pupil of Frederic Madrazo, and a student of the royal 
 collection of old Spanish masters. His earlier works were largely influenced by 
 those of Velasquez, Ribera, and Murillo. From Spain he went to Paris, where 
 
he entered the studio of Leon Cogniet, and in 1857, winning the second 1'rV tie 
 Rome, was enabled to travel to Italy. His pictures of Italian life first made him 
 widely known, and many of the best, among them “The Broken Jug,” came to the 
 
 FROM A PAINTING BY CHARLES VOILLEMOT. 
 
 YOUNG GIRL WITH A DOVE. 
 
 United States. His strength is in his deep, rich, and harmonious color, broad and 
 powerful handling, command of character, and form and solidity of execution. He 
 has taken all the medals, including the Grand Medal of Honor, which fell to him 
 in 18&9, nas been a Commander of the Legion of Honor since 1882, and is a mem- 
 
 340 
 
->ei of the Institute. Many American painters of the first rank have been student 
 under him. 
 
 Mme. Uranie Colin-Libour, the painter of “Pensive,” is of Parisian birth and 
 
 MADEMOISELLE ZUCCHI. 
 241 
 
was a pupil of P. Rude, Charles Louis Muller, and Franpois Bouvin. Her picture 
 is of an Alsatian woman, in the sober and picturesque country costume. “After 
 the Bath” is a solid and lifelike study by the Strasburg artist, Louis Frederic 
 Schutzenberger ; and “By the Sea-Shore” presents an admirable out-of-door effect 
 by Edouard Bisson. Andre Charles Voillemot was born in Paris in 1822 and was 
 
 FROM A PAINTING BY PAUL TILLIER. 
 
 THE SIESTA AT THE BATH. 
 
 a pupil of Drolling. He is best known as a painter of portraits and of ideal sub, 
 jects and female heads. He was first medalled in 1870, in which year he was also 
 received into the Legion of Honor. 
 
 The portraits of Georges Jules Victor Clairin are among the glories of modern 
 art. They are distinguished by the most vital spirit, powerful color, amazing free-, 
 dom of brushwork and brilliancy of effect. Two of the most famous are his full 
 lengths of Sarah Bernhardt, that of Mme. Krauss of the Grand Opera, and that of 
 Mile. Zucchi, the premiere danseuse of the same company. Clairin was born in 
 Paris in 1843, and studied at the Ecole des Beaux Arts and under Picot and Pils. 
 He has travelled extensively in Italy, Spain, and North Africa, largely in company 
 with Henri Regnault, who was his intimate friend. Like Regnault he fought with 
 the artists’ battalion in the defence of Paris against the Germans, and it was by 
 his side that his more than brother fell dead of a Bavarian bullet in the bloody 
 mire of Buzenval. It is said that Clairin actually carried Regnault’s body off the 
 field, as indifferent to the shower of screaming bullets from the needle-guns of the 
 enemy as if they had been hailstones. The gallant character of the man reveals 
 itself in his appearance. Bold, original, independent ; an incessant student and 
 seeker after new triumphs of technique; quick-sighted, keen-witted, disdainful of 
 schools, cliques, or fads in art, his future place in the roll of honor of art is in the 
 
 242 
 
FROM A PAINTING BY W. A. BOUGUEREAu. 
 
 BATHING GIRL. 
 
 243 
 
FROM A PAINTING BY PELEZ DE CORDOVA. 
 
 AN INTERESTED CRITIC. 
 
 first rank. Among his great decorative works, of which he has executed many, 
 perhaps the greatest are his four panels on the grand staircase 'o'f'the Paris Opera 
 House, and the ceiling of the theatre at Monte Carlo. A picture of his which 
 created a veritable sensation in this country, where it is now owned, «*was “ Frou 
 
 244 
 
Frou,” a perfectly dazzling embodiment of the poor, frivolous heroine of that once 
 famous play. Clairin took his first medal in 1882. 
 
 “ The Siesta at the Bath” is another of Paul Tillier’s strongly decorative studies, 
 rich in color and of a dazzling brilliancy of effect. The “ Bathing Girl” is a com- 
 paratively recent work of W. A. Bouguereau, and one of the most delicate and 
 masterly character. It is now part of a famous private collection in the United 
 States. Fernando Pelez, called Pelez de Cordova to distinguish him from another 
 artist of the same name, his son, who also resides in Paris, was born in that city, 
 of Spanish parentage. He became a pupil of Gerome, but devoted himself chiefly 
 to genre works of an elegant character, upon familiar subjects of Parisian life. 
 The “ Interested Critic” of his picture is the model who has been posing for the 
 artist, and who, in one of her periods of rest, views the progress of his work and 
 passes her opinion on it. The artist himself is a portrait of the painter’s son. 
 
 FROM A PAINTING BY C. SCHWENINGER. 
 
 INGENUOUSNESS AND EXPERIENCE. 
 
 “Ingenuousness and Experience” is a speaking allegory by Carl Schweninger: a 
 thorough woman of the world, mature in beauty and the wisdom of her kind, 
 counselling youth and innocence, for whom all the world is yet a sealed book, while 
 they lounge in the private bath of a Roman villa. The original picture is an 
 enormous canvas, covering one entire wall of the summer house of an Austrian 
 nobleman, to whose order it was painted. It ranks among the finest productions 
 of modern German art in color and technique, and is held to be the artist’s 
 master-piece. 
 
 245 
 
XVI. 
 
 In the preceding section of this work we gave a detail from William Kray’s 
 painting of “ St. John’s Bath,” which is now presented in its entirety. Maidens 
 and matrons, representing various types of beauty, are gathered beside the waters 
 
 FROM A PAINTING BY W. KRAY. 
 
 ST. JOHN’S BATH. 
 
 of a sylvan lake. They bring offerings of flowers, the natural jewels of mid- 
 summer, to cast in tribute to the miracle-working pool. The world is gay with 
 sunshine, and their beauty lights the forest as if it carried with it a reflection of 
 the splendor of the glorious luminary. The work belongs among the most success- 
 ful of the many which the painter has produced. It is part of the decoration of the 
 mansion of a millionaire banker in Berlin. 
 
 William Heinrich, commonly known as Henri Schlesinger, is a German by 
 natwty born at Frankfort-on-Main in 1814, but a naturalized citizen of France. 
 He studied at the Academy of Vienna, and after thoroughly grounding himself as 
 a student, went to Paris to continue his studies. There he has since resided and 
 studied. His pioductions are mainly in the line of historical genre and portraits, 
 
 246 
 
FROM A PAINTING BY H. 8CHLESINGER. 
 
 A MODERN VENUS- 
 
 247 
 
and in the latter field his fascinating female creations, pregnant with life and 
 coauetry, ana of the most brilliant technique, are especially famous. He was a 
 favorite painter with the Emperor Napoleon III., who patronized him liberally, and 
 his “ Modern Venus” is asserted to be a portrait of an English woman in whom the 
 Emperor was interested. The idea of the picture is in a manner borrowed from 
 Rubens’ universally known portrait of his wife, but the execution is thoroughly 
 the painter’s own. Schlesinger commenced to take Salon medals in 1840, and has 
 been a member of the Legion of Honor since 1866. 
 
 Louis Emile Adan was born in Paris in 1839. He was a leading pupil of Picot 
 and Cabanel, and early revealed his powers by the production of pictures replete 
 with character and spirit and of a most attractive and harmonious color. He 
 painted in water-colors as brilliantly as in oils, and was one of the founders of the 
 French Society of Aquarellists. He took his first medal at the Salon in 1875, and 
 has since been repeatedly honored. Of late years he has devoted much attention to 
 subjects of country life, sometimes among the great people of the chateaus, and at 
 
 ACROSS THE FIELDS. 
 
 others among the peasantry in the fields, painting his pictures in the open air and 
 securing striking effects of atmosphere and light. In “Across the Fields” a peas- 
 ant girl who has been gleaning in a wheatfield turns her steps homeward as the sun 
 is setting. There is the noble dignity of accomplished labor in the pose and action 
 
 248 
 
AUTUMN FLOWERS. 
 
 of her figure, and it is not to be wondered at that the work secured a medal for the 
 artist when it was exhibited. 
 
 “The Hand Mirror,” by Jules Scalbert, is one of his favorite subjects of the life 
 of that half-world which, in Paris, is considered quite as much a matter of fact as 
 that there should be any world at all. Alexandre Jacques Chantron is a native of 
 Nantes and a pupil of Picot, who after studying in Paris returned to his native city 
 
 249 
 
A SAINTLY SPINNER. 
 
 250 
 
FROM A PAINTING BY JOSEPH COOMANS. 
 
 THE FAN-BEAPER. 
 
and set up his studio. He enjoys high local esteem as an artist, and in conse- 
 quence his pictures do not travel in any considerable number far beyond the 
 boundaries of his residence. This may account for the fact that, although he is a 
 sound and able painter, he has received but little of that official recognition in Paris 
 for which French artists yearn. “ The Toilette of the Manikin” is one of his char- 
 acteristic works. It should be understood that while some painters are very exact- 
 ing and severe with their models, others, and these in the majority, permit them 
 many liberties. In this case the model is taking advantage of her privilege. She 
 has a rest from posing, and whiles away the idle time by dressing up her employer’s 
 
 FROM A PAINTING BY T. LOBRICHON. 
 
 A TF.MPEST IN A WASH-BOWL. 
 
 lay figure in her own costume, which she has laid aside for professional purposes. 
 The “ Fan Bearer” was an important servitor in the luxurious life of Greek and 
 Roman times. In the house, the office of cooling the mistress and fanning away 
 troublesome insects devolved upon a favorite slave girl, who was, in a way, the 
 confidante of her owner and enjoyed many enviable privileges. When the mistress 
 went abroad, to promenade or ride, male slaves were employed to perform the duty. 
 Joseph Cooman’s “Fan Bearer” is a Greek girl, many of whom exited as slaves at 
 Pompeii, and that she has no reason to resent her captivity is shown by her golden 
 
FROM A PAINTING BY J. J. HENNER. 
 
 LOLA. 
 
 ornaments, her placid and contented expression, and the authoritative manner in 
 which she carries her fan of peacock feathers set with jewels. 
 
 The influence of his master, Gerome, reveals itself in “ The Slave Market at 
 Cairo,” by Maxime Dastugue. The slave-dealers have placed a new consignment 
 of captives on sale, and the unfortunates are set to displaying their best points to 
 
 254 
 
possible purchasers. Some accept the matter with the calmness of complete aban- 
 don, or the philosophic placidity of resignation to their fate. Others betray no 
 special emotion except curiosity as to who will become their owner, and others still 
 resign themselves to shame and despair. In the foreground an aged slave-dealer 
 sits smoking his pipe and critically surveying his stock, and his prize slave, a pearl 
 
 FROM A PAINTING BY PAUL MERWART. 
 
 THE BACCHANTE. 
 
 destined for some opulent harem, stands near him, partially concealed behind a 
 column, awaiting the moment when the proper customer arrives. In the courtyard, 
 a dealer ushers in a stately old Pacha, whose attention he calls to the merits of the 
 wares exposed for sale, while other dealers and customers chaffer and gossip in the 
 background. 
 
 Franpois Lafon is the son of a French artist of great merit, Jacques Emile 
 Lafon, who was born at Perigueux, and studied under Gros and Paul Delaroche. 
 The elder Lafon became a member of the Legion of Honor in 1859. His son was 
 born in Paris, and, after being thoroughly grounded in art by his father, was sent 
 by him to the studio of Cabanel to complete his education. Cabanel was an old 
 friend of the elder Lafon and consequently took particular interest in the younger, 
 whose rapid progress justified the master’s confidence in him. Young Lafon’s 
 “ Eve” appeared in the Salon of 1882 and was a distinct success. It represents the 
 common mother of humanity in her fall, lamenting her expulsion from Eden, and 
 is a strong and valuable work. The painting is now in one of the provincial art 
 
 255 
 
museums ot France. The 
 “Lola” of Jean Jacques 
 Henner is one of those 
 strong and seductive female 
 heads of which he has 
 painted so many and which 
 enjoy a universal and never- 
 waning popularity. They 
 are characterized by the 
 purest transparency of com- 
 plexion, intensity of expres- 
 sion, and resonant force of 
 color. The artist calls them 
 his love-birds, because he 
 paints them for pure love 
 of the work, but they have 
 wings which carry them all 
 over the world and bring a 
 golden harvest to their cre- 
 ator. “ Lola” is the prop- 
 erty of an American col- 
 lector, in whose gallery it is 
 one of the choicest gems. 
 
 Early in the seventies, 
 there made his appearance 
 in Paris a young Russian 
 named Paul Merwart. He 
 settled in the Latin Quarter, 
 the chosen abiding-place of 
 Parisian Bohemia, and it 
 presently appeared that he 
 was an artist. He was re- 
 puted to have fled from 
 Russia in order to avoid the 
 penalty for implication in 
 a revolutionary conspiracy, 
 making the voluntary jour- 
 ney to France in order to 
 avoid an involuntary one to 
 Siberia. However this may 
 have been, he kept his own 
 counsel. He was poor, but 
 
 FROM A PAINTING BY TONY ROBERT-FLEURY. 
 
 ARCHITECTURE. 
 
master. His “ Bacchante” belongs to this class. She is one of the nymphs 
 devoted to the worship of Bacchus, and reclines on the seashore, in the balmy 
 atmosphere of early autumn, couched on her leopard skin and with her staff of 
 office under her, toying with bunches of grapes, luscious and ripe as her own beauty. 
 Allusion has already been made to the “ Truth” of Jules Lefebvre. It is one of the 
 pictures upon which his reputation was founded, and won him the cross of the 
 Legion of Honor in 1870. The “ Atala” of Gustave Courtois is a famous picture. 
 It illustrates the pathetic passage in Chateaubriand’s immortal romance which de- 
 scribes the interment of Rene by her Indian lover, with the aid of the missionary 
 monk. The “April” of Charles Voillemot is a gracious sprite, embowered in 
 flowering fruit-trees, and veiled as in a gauze mantle by the tender mists of bud- 
 
 257 
 
 was believed to be in receipt of aid in periods of necessity from wealthy Nihilist 
 exiles who resided in Paris. He was born, it came out, at Marianowka, and had 
 studied art at the St. Petersburg Academy. In Paris he entered the studio of 
 Henri Lehman, the great decorative painter, and supported himself by making 
 designs for the publishers, to whose issues of the press, in fact, he still con- 
 tributes. His early pictures were character studies of Russian life, but in time 
 he fell into a profitable line of decorative art, influenced thereto, no doubt, by his 
 
 FROM A PAINTING BY GUSTAVE COURTOIS. 
 
 ATALA. 
 
FROM A PAINTING BY L. E. FOURNIEH 
 
 THE RETURN FROM THE BALL. 
 
 258 
 
FROM A PAINTING BY W. A. BOUGUERfcAU. 
 
 THE WET CUPID. 
 
 259 
 
ding spring. “ The Wet Cupid” is a recent and quaint conceit of W. A. Bougue- 
 reau. The little scion of Venus is in it no more exempt from trouble than are his 
 victims. He has been caught in a shower, and seeks protection, shivering with 
 cold, under a sheltering tree. The original picture is in an American gallery. 
 
 FROM A 
 
 riNO e> 
 
 THE VEXATIONS OF LOVE. 
 
 260 
 
FROM A PAINTING BY F. DE CHAMBORD. 
 
 IN MIDSUMMER. 
 
 The “ Vexations of Love” in Harry Finney’s picture are merely those of a lady 
 who is disappointed in a rendezvous with her lover. The artist is of English birth 
 and a pupil of the Munich Academy. Fernand de Chambord is a Parisian by birth, 
 and a pupil of Hodin, who has done much good work in ideal and decorative com- 
 positions. “ In Midsummer” was his Salon picture for 1881. It is a well com- 
 posed and painted studio composition, quite adequate in the expression of its title. 
 One of those ladies who are better known to the theatres and cafes of Paris than 
 to its drawing-rooms has been refreshing herself at her bath from the oppressive 
 heat of a suffocating afternoon, and revels in the luxurious coolness of the 
 reaction, stimulated by the light breeze of her fan. The boudoir is darkened, 
 to prevent the intrusion of the sun, while its open lattices permit free passage to 
 such air as may be stirring. The world without swelters and gasps in the torrid 
 air. The asphalt of the boulevard radiates heat like a furnace, and the loungers 
 at the little tables in front of the restaurants doze over their beer or absinthe or 
 lukewarm water with a lump of sugar melting at the bottom of the tumbler. But 
 here, indoors, things are as comfortable as any device of human ingenuity can 
 make them. It is not much of a story for a picture to tell, to be sure, but such 
 as it is the story is well told. 
 
XVII. 
 
 Edouard Bernard Debat-Ponsan, who is represented by an episode of a harem 
 bath in “The Massage,” was born at Toulouse. He studied first at the local acad- 
 emy and then became a pupil in Paris of Alexandre Cabanel, under whom he 
 developed into a strong genre and portrait painter. In 1872 he won the second 
 Prix de Rome at the Ecole des Beaux Arts, in 1874 captured his first Salon medal, 
 and in 1881 entered the Legion of Honor. “The Massage in the Harem” was his 
 Salon picture for 1883, and was justly accounted one of the strongest paintings of 
 the figure in the exhibition. The “ Innocence” of Emmanuel Benner represented 
 this artist in the Salon of the following year, and won consideration as a capital and 
 representative work. “ A Primrose” is another of the beautiful conceptions of 
 Raphael Collin, of whom an example in a somewhat different vein has already 
 been given. Jean Baptiste Hippolyte de Vergeses is one of the strongest pupils of 
 that very strong master, Carolus-Duran. He comes of an old family, and was 
 born upon the ancestral estates at Issoire, in the department of Puy-de-Dome. 
 What the decayed fortunes of his house made him lack of means, he has amply 
 replaced by the proceeds of his art, of which “The Awakening” can testify to its 
 
 EROM A PAINTING BY 6. DEBAT-PONSAN. 
 
 THE MASSAGE IN THE HAREM. 
 
 262 
 
sound and sterling quality. Its full title, “The Awakening oi a Parisiennc,' 
 completely explains its character and shows how close it is to nature. 
 
 The “Julia Felix” of Joseph Coomans is a page from Roman history. It rep- 
 resents the only child of the Emperor Augustus, in all her loveliness and pride, 
 the wife in succession of Marcellus, Agrippus, and Tiberius, before her far from 
 
 FROM A PAINTING BY E. BENNER. 
 
 INNOCENCE. 
 
 irreproachable life led to her banishment and death in miserable exile. She makes 
 her progress, resplendent in her luxurious loveliness, from some palace or temple. 
 She reclines in a litter, which is borne upon the shoulders of Ethiopian slaves. 
 Her arms and neck are loaded with jewels, and her breasts are covered, as was the 
 custom of the time, with golden shells or masks moulded to fit her form. The 
 populace applaud her and extol her beauty as she makes her stately progress 
 through their ranks, and beside the litter an impressionable youth pours forth his 
 adoration, to which she listens with calm disdain. It is another breed of princess 
 which Emile Munier shows us in “The Billet-Doux” — a comparatively modern 
 princess of the bedchamber, an Abigail who has chanced upon some tender missive 
 which has been sent to her mistress, and is adding another to that store of secrets 
 which render men and women no heroes to their valets and their maids. “ After 
 the Bath” is an unusually fine example of the German artist Georg Papperitz, a 
 picture in his strongest manner of the interpretation of the figure. “ Sleep” was 
 
 263 
 
the Salon picture of Charles Chaplin in 1886. It was painted for the ceiling of a 
 private mansion in Paris, and was one of the artist’s most distinguished works. Its 
 appropriateness for its use may be comprehended from the fact that the ceiling 
 which it decorates is that of one of the greatest and most fashionable ladies of 
 
 FROM A PAINTING BY R. COLLIN. 
 
 A PRIMROSE. 
 
 264 
 
FROM A PAINTING BY J. B. H. DE VEBGESES. 
 
 THE AWAKENING. 
 
 Parisian society. Oscar Begas was one of the acknowledged masters of the Berlin 
 school of painting. He was born in Berlin in 1828. His father was an artist of 
 merit and he studied under him and at the Berlin Academy of Fine Arts. Thence 
 he went to Dresden, where he won the Academy prize which provided him with a 
 stipend upon which to study in Italy. From 1850 until 1854 he remained in Rome, 
 Tainting a few small genre pictures and a number of Scriptural compositions for 
 Berlin churches. When he returned to his native city ne took up portrait-painting 
 
 265 
 
with much success, painted also historical pictures, and even landscapes, hunting 
 scenes, and the like. His “ Eve” was painted in 1881, two years before his death. 
 Jules Salles, a native of the city of Nismes, was a pupil of Paul Delaroche. His 
 “in the Glaciers” is a good example of his robust and vigorous art. Another 
 admirable example of the talent of Mile. Marguerite Arosa is given in “ The Con- 
 servatory Bath,” which luxury is much indulged in abroad by people whose wealth 
 enables them to support conservatories. The “ Mignon” of Jules Lefebvre is one 
 of his quite numerous pictures based on Goethe’s philosophical romance, ‘‘Wilhelm 
 Meister. ” The original painting is now in one of the greatest private art collec- 
 tions of America. 
 
 Victor Giraud, the painter of “The Slave Merchant,” was the son of the emi- 
 nent French artist, Pierre Fran£ois Eugene Giraud, who was born in Paris in 1806, 
 and was a pupil of Richomme, Hersent, and the Ecole des Beaux Arts. The elder 
 Giraud began as an engraver, and died in 1861 an officer of the Legion of Honor. 
 
 FROM A PAINTING BY J. COOMANS. 
 
 JULIA FELIX. 
 
 His son was born in Paris, in 1840, and studied under his father, and afterward 
 under Picot. One of his first exhibits at the Salon was “The Slave Merchant, ’and 
 it was purchased by the French Government for the Luxembourg collection. It 
 was shown in the year 1867. The artist, after an extremely successful career, died 
 in Paris in 1871. Polaris, which supplies Luis Falero with a subject for “ The 
 
Pole-Star,” is in astronomy the nearest conspicuous star to the North Pole. The 
 South Pole has no special star. The artist makes his constellation take the shape 
 of a lovely maiden, chaste and cold, and pure as the icy pinnacle on which she is 
 poised against the purple Arctic sky scintillating with minor stars. 
 
 Auguste Hagborg was born at Gothenburg, Sweden, and is a pupil of the 
 Academy of Fine Arts at Stockholm. After carrying his studies there as far as the 
 advantages of the Academy permitted, he went to Paris, where he completed his 
 
 267 
 
 THE BILLET-DOUX. 
 
FROM A PAINTINO B* w. A. BOUQUEREAU. 
 
 THE LITTLE SHEPHERDESS. 
 
 268 
 
“La Tosca” is an outgrowth. The character is the heroine of the strong play by 
 Victorien Sardou, but it is, in effect, the portrait of a great lady who assumed the 
 costume of the part for a fancy dress party, and found that it became her so well 
 that she had herself painted in character. 
 
 The Salon of 1893 revealed Pierre Le Quesne’s “Daughters of Menesthe” to 
 the public. Mene was the moon of the ancient Greeks, the sister of the sun, the 
 queen and ruler of the tides, and her daughters were the months of the calendar. 
 The picture received high praise from the French critics, for its conception of the 
 subject, its composition, spirit, color, and technical execution, and was purchased 
 by a millionaire banker for the decoration of his dining-room, in which he has for 
 years kept up the practice of giving a banquet on the first day of each month to 
 his personal friends. The work could certainly not be more appropriately applied. 
 
 cadetship in art in the studio of Palmaroli. An artist of the utmost sincerity and 
 of sterling merit, he also commanded great popularity in his social relations. He 
 is a man of majestic stature, with a strong and handsome head, and peculiarly 
 clear and penetrating blue eyes. His first appearances at the Salon were made 
 with pictures representing episodes of the rude and laborious lives of the fishermen 
 and peasantry, and it was one of these which won him his first medal in 1879. 
 This work, “ Spring Tide in La Manche, ” was purchased by the Government for the 
 Luxembourg gallery. Almost from the start Hagborg became an extremely pop- 
 ular painter with American collectors, and while one half of his productions found 
 their way into important European collections, the other crossed the ocean to the 
 United States. Some years ago he commenced to devote less attention to his 
 genre subjects and more to portraiture and character studies of high life, of which 
 
 FROM A PAINTING Br CHARLES CHAPLIN. 
 
 SLEEP. 
 
IN THE GLACIERS. 
 
 271 
 
f ROM A PAINTING BY P. WAGNER. 
 
 ON THE HEATH 
 
In the study of any topic relating to art, the opportunity to compare the 
 works of different artists, and the ability to make a comparison, are essential to a 
 fair and comprehensive conclusion on the subject. In this section of “ Modern 
 Figure Painting” an excellent opportunity to this end is afforded. The sixteen 
 artists who are here represented by their works not only represent sixteen distinct 
 individualities but also sixteen different impulses and influences which are reflected 
 in their productions. In Jules Salles we have a graduate of the semi-classical 
 school of Delaroche, a school which combined, through the force of the master’s 
 
 273 
 
 FROM A PAINTING BY JULES LEFEBVRE. 
 
 MIGNON. 
 
genius, the cold classicism of the past with the growing naturalism of the present. 
 To the entirely modern and up-to-date period belong the examples of De Vergese 
 and Mile. Arosa. In Jules Lefebvre breathes the spirit of the romantic period, 
 and in Emmanuel Benner that of the Italian masters over whom Titian reigned 
 supreme. The voluptuous, decorative art which characterized the reign of the 
 Emperor Napoleon III. breathes in the Chaplin, and the spirit of genre painting is 
 exemplified in the picture by Munier. A completely artificial work is the Coomans, 
 but it is strictly on artistic lines. He had to re-create a period out of his archaeo- 
 logical investigations, and in doing so he made a contribution to history which, in 
 time to come, will be found valuable, for it was a peculiarity with him that he 
 studied and represented closely the subjects that he dealt with upon the firm basis 
 of the relics and material of the time that remained. The example of Victor 
 Giraud belongs to a transition period, that of Le Quesne to the Academic style, 
 the Hagborg is pure naturalism of the most refined and modern type, and the 
 works of Begas and of Papperitz illustrate the adherence of German art in the first 
 named to old lines but with a progressive tendency, and in the second the merging 
 of the conventional German system into the French. The Falero belongs to no 
 period and no school. The artist is affiliated with neither. What he is he made 
 himself. He broke his own road, and it is the road of one of the distinctively 
 original artists of the last half of the nineteenth century. The experienced critic 
 can, as a rule, pronounce upon the nationality of an artist from his works, but no 
 critic could perform this feat upon those by which Falero has won and holds his 
 public. His pictures have nothing suggestive of the Spanish school about them, 
 yet he is a Spaniard by birth and long descent ; they do not reveal any traces of 
 French influence, although he studied his art in France, has always practised it 
 
 1 
 
 »ROM A PAINTING BY VICTOR GIRAUD. 
 
 THE SLAVE MERCHANT. 
 
 274 
 
HOT POTATOES.” 
 
 275 
 
FROM A PAINTING BY A. HAGBORG. 
 
 LA TOSCA. 
 
 276 
 
FROM A PAINTING BY J. WORMS. 
 
 A TEMPTER. 
 
 there, lives in France, and is an active participant in that Parisian life which his 
 art assists in rendering luxurious. It is the art of a scholar and a man of the 
 world; of a student and a thinker, who studies, and reasons, and creates. Even 
 his style of painting is unique, influenced by no one master and no one school 
 the style ot an artist who has taught himself to paint as he taught himself to think, 
 
 277 
 
XVIII. 
 
 The Austrians, in their pride in the greatest artist their country has produced, 
 are fond of calling Hans Makart the modern Rubens. And, indeed, in sumptuous 
 color and dashing technique there is much affinity between the two. Makart was 
 born on May 29th, 1840, in the city of Salzburg, and from earliest boyhood was a 
 queer, unpractical child, of a dreamy temperament and with no special gift, ap- 
 parently, except for drawing. This led to his receiving instruction from a local 
 drawing-master sufficient to enable him to enter the Academy at Vienna, where 
 he had Ruben for a professor. But he and his instructor did not agree, and after 
 a few months the professor secured the dismissal of the intractable youth on the 
 ground of lack of talent. Makart returned to Salzburg on foot, disgusted and 
 
 FROM A PAINTING 
 
 HANS MAKART. 
 
 THE FIVE SENSES. 
 
 ?78 
 
n»OM A PAINTING BY CH. LANDELLE. 
 
 THE ORANGE MERCHANT. 
 
 279 
 
r'ROM A PAINTING BY HEVA COOMANS 
 
 THE RETURN. 
 
 despairing, but a local painter, Schiffmann by name, had clearer eyes than the 
 Vienna professor. He recognized the talent in the boy and assisted him with 
 advice and instruction. More than this, he interested the Prince-Archbishop 
 Maximilian von Tarnovczyin him, and by the munificence of the latter was enabled 
 
 28 Q. 
 
to take Makart, whom he had made his assistant, to Munich. The lad was then 
 nineteen years of age, a little, nervous, fiery fellow, with all the vanity and self- 
 esteem budding genius could well indulge in. 
 
 Schiffmann, on their arrival in Munich, presented this young assistant to 
 Piloty, who received him into his studio, at that time the most famous in Germany, 
 
 FROM A PAINTING BY P. TILLIER. 
 
 MADEMOISELLE ROSE. 
 281 
 
fHOM A PAINTING BY B. EPP. 
 
 “KISS ME QUICK I” 
 
 in 1861, Makart meanwhile supporting himself partly by painting for Schiffmann 
 and partly upon money provided by his Austrian patron. Under Piloty his genius 
 developed rapidly. He had become a good landscape painter under Schiffmann, 
 who worked in that field. Now he became an even better painter of the figure. 
 His first original picture, “Lavoisier in Prison,” was painted under Piloty, and 
 revealed his wonderful feeling for color. The following year came his “Afternoon 
 Pastime of Aristocratic Venetians,” which was at once purchased for a St. Peters- 
 burg collection. These pictures practically set the painter on his feet. He visited 
 London, Paris, Venice, Rome, travelled throughout Italy, and as years went on 
 
 282 
 
visited Egypt, Belgium, Spain, etc. His reputation extended far beyond Germany, 
 and his pictures found a market in France, England, and the United States, while 
 the principal public and private art collections of Austria and Germany acquired 
 examples. In 1869 the Emperor Francis Joseph of Austria had prepared a sump- 
 tuous studio for him in Vienna, and here he lived and worked, when not upon his 
 travels, painting, among other things, a number of decorative works for the public 
 buildings and imperial palaces. In 1884, while his fame was at its zenith, he be- 
 
 FROM A PAINTING BY N, di<Lvf£L. 
 
 THE DAUGHTER OF JEPHTHAH. 
 
 283 
 
came insane. He had always been eccentric and whimsical, and when his reason 
 faded it was never to return. His death occurred in October, 1884. He was a 
 Professor of the Academy at Vienna, from which, as a boy, he had been expelled 
 for incompetency, an Honorary Member of the Academies of Berlin and Munich, 
 and an officer of the Legion of Honor, and had at different times taken gold 
 
 FROM A PAINTING BY W. A. BOUGUEREAU. 
 
 FLORA AND ZEPHYR. 
 
 medals at Vienna and elsewhere, and won the great Salon Medal of Honor in 
 Paris. 
 
 Makart’s productions were about evenly divided between very large composi- 
 tions of the grandiose decorative order, and easel pictures and portraits. In por- 
 traits of women he was especially happy, and his popularity was such that it was 
 credibly stated that some of the most beautiful women of the Austrian nobility 
 voluntarily posed for him for his Dianas, Venuses, nymphs, and the like. 'I he 
 figures in “The Five Senses,” which was painted in 1879, are all portraits of beau- 
 
 284 
 
•ROM A PAINTING BY DIANA COOMANS. 
 
 LESBIA. 
 
 $85 
 
THE FISHERMAN’S RETURN. 
 
 
ties of the imperial court. It was in subjects which permitted the treatment of the 
 nude that he revelled most, and no painter of modern times equals him for volup- 
 tuous and luxuriant rendition of the splendors of form and color of the human 
 figure. 
 
 Alfred Seifert, of Munich, paints a particularly spirituelie characterization in 
 his “ Nymph,” and Miss Heva Coomans presents a charming, glimpse of the life of 
 ancient Pompeii in “The Return.” The “ Mademoiselle Rose,” of Paul Tillier, 
 testifies to her allegiance to the flower from which she takes her name and of which 
 her beauty is in every way worthy. “The Judgment of Paris,” by the eminent 
 German painter E. F. Klein, was painted as a fresco, and upon classical lines. 
 The Homeric hero has been called upon to act as umpire upon the relative charms 
 of Juno, Minerva, and Venus, and seduced by the promise of the latter that if he 
 accords the golden apple to her he shall have the fairest woman in the world for 
 his wife, he complies with her desire. The fairest woman happened to be already 
 married. She was Helen, the wife of the Lacedaemonian King Menelaus. But 
 the son of Priam and Hecuba did not permit such a trifle to interfere with the 
 
 FROM A PAINTING BY H. SCHNEIDER. 
 
 VENUS WITH LOVES. 
 
 accomplishment of his desire. During her husband’s absence he carried Helen off 
 to Troy, of which his father Priam was king, and so brought on the great Trojan 
 war which furnished Homer with the material for his immortal poem. Nathaniel 
 Sichel paints “ The Daughter of Jephthah,” who fell a victim to her father’s vow to 
 
celebrate his victory over the Ammonites by sacrificing to the Lord whoever should 
 come first out of the door of his house in Mizpah to meet him on his return, as a 
 fine type of ripe Semitic beauty, splendid in her rich garniture of jewels and coins 
 of gold. The Flora of the Romans was the Chloris of the Greeks, the goddess of 
 flowers, and her honors were celebrated by the spring festivals which extended 
 from April 28th to May 1st, so that she may be regarded as the patron deity of the 
 modern May-day. She had a temple in Rome, whose ruins still remain, and her 
 
 FROM A PAINTING BY LOUIS DOYEN. .. 
 
 “ NOCTURNE." 
 
 288 
 
^ 
 
 — 
 
 effigy figures on ancient Roman coins. The legend of her amour with Zephyr, 
 which W. A. Bouguereau represents so gracefully, is one of the prettiest in mythol- 
 ogy. Miss Diana Coomans makes a true heroine for the poet out of her “ Lesbia,” 
 of whom among the moderns Tom Moore sang so tunefully. The Virgin and the 
 Lion of the Zodiac furnish Luis Falero with the theme of his “ Leo and Virgo,” 
 one of his most successful astronomical fantasies. 
 
 Hermann Schneider is a prominent historical painter of Germany. He is a 
 
PAINTING BY CH. CHAPLIN. 
 
 THE BALL. 
 
 290 
 
son of the celebrated Munich editor and bookseller, Frederick S. Schneider, 
 whose firm of Braun & Schneider founded the famous humorous journal Fliegende 
 Blatter. Hermann Schneider was born in Munich in 1846, and studied at the 
 Academy there for two years in the studio of Piloty. In consequence of his poor 
 health, he lived for some years in Italy, chiefly in Rome, where he continued his 
 
 FROM A PAINTING BY C. E. DE BEAUMONT. 
 
 THE TEMPTATION OF ST. ANTHONY. 
 
 studies. In 1877, having fully recovered, he returned to Munich, and enterep 
 upon a career of great artistic success. His talent is most versatile. He not only 
 paints religious, historical, mythological, and idyllic subjects, but is also one of 
 the most prolific designers of illustrations in Germany. Louis Doyen, the painter 
 of “Nocturne,” is the son of the well-known French artist, Gustave Doyen. The 
 latter was born at Festieux in the department of Aisne, and was a pupil of Bou- 
 guereau, and his son studied under him. and at the Ecole des Beaux Arts. Eugene 
 Feyen was the elder of two brothers, both distinguished artists, and was born at 
 Bey-sur-Seille in the department of Meurthe in 1815. He studied in the studio of 
 Paul Delaroche and devoted himself to genre subjects, especially those of the 
 coast. He was first medalled in 1866, and in 1881 was made a member of the 
 Legion of Honor. His “ Souvenirs” or “Memories” was exhibited in the Salon of 
 1868. His brother, who painted much the same class of subjects, assumed the 
 name of Feyen-Perrin in order to distinguish himself more clearly from the eldel 
 scion of their artistic house. 
 
 The decorative genius of Charles Chaplin achieved a veritable triumph in 
 
FROM A PAINTING BY V. TOJETTI. 
 
 LOVE AND INNOCENCE. 
 
 “The Ball.” Nothing could be more characteristic of this phase of his art, more 
 spirited, graceful, or brilliant in color and effect. “The Temptation of St. 
 Anthony,” by Charles Edouard de Beaumont, was the picture which made his early 
 reputation. It was purchased by a banker of this city and is now in an American 
 collection. Tommaso Juglarisisan Italian artist, born at Moncalieri, in Piedmont, 
 in 1845, and a pupil of the Academy of Turin, under Morgari, and of Couture in 
 Paris. In 1879 he came to tRe Ujriited States to assume the directorship of a Bos- 
 ton lithographic establishment," but resigned this post and set up a studio of his 
 own, where he worked independently until 1882, when he became a professor at 
 the Boston Academy. His “ Offering to the Lares” or household gods was painted 
 in Paris the year before he crossed the Atlantic. . Virgilio Tojetti is another 
 European artist well known in this country. He was born in Rome, in 1849, and 
 studied in Paris under Gerdme and Bouguereau. He came to the United States 
 twenty-five years ago, and was for a long time mostly employed in decorative 
 painting, for which his talent particularly adapted him. He has, however, painted 
 a number of genre and ideal subjects on a smaller scale, and for a long time had 
 his studio in New York and was a regular exhibitor at the National Academy of 
 Design. Later he returned to Paris, where his pictures figure regularly in the 
 Salon exhibitions. 
 
XIX. 
 
 One of the strong exponents of the art of figure painting of our generation is 
 Lucien Doucet. He is a native Parisian and a pupil of Jules Lefebvre and of G. 
 Boulanger. After leaving their studios, Doucet spent some time in Italy, chi'.fly 
 as a student at the French Academy in Rome. His first successes were made in 
 portraiture, a branch of art by which he prospered much, but his occasional imag- 
 inative pictures, always elegant in line, fine in color, and solid in treatment, even- 
 tually gained a popular ascendancy over his character studies. Of the former 
 works his “ Morning Dreams” is one of the best. It is simple and broad in hand- 
 ling, and the original picture is strikingly fine in its contrasts of delicate and rich 
 color which the monochrome reproduction, of course, only suggests. The fine 
 linen of the couch relieves without violence of effect the soft contour and tender 
 tints of the figure, while the rich tapestry which forms the background gives a 
 sumptuous splendor to the whole color scheme. The original of the picture is one 
 of the best-known and most dashing women in Paris, and she posed for the painter 
 and paid a high price for his portrait of her in order to use it in the decoration of 
 her boudoir, as if to enjoy a constant dream of and revel in her own beauty. 
 
 The charge is brought by captious criticism against such art as this picture 
 
 FROM A PAINTING BY R. POETZELBERGER. 
 
 OLD SONGS. 
 294 
 
NOON. 
 
stands for, that it is an art without ideas, a mere shadowing forth of fact. This 
 is in so far true that it does not put a story in narrative form, but it is not true that 
 it has no idea within it. The artist, if he be an artist and not a mere painter by 
 trade, is a creature of impressions. That which his eye perceives it communicates 
 at once to his aroused intelligence, and in proportion as the impression is strong 
 his interest in his subject grows. A painter, let it be supposed, appoints a model 
 to pose for him for a special purpose. By some accidental effect, while she is pre- 
 paring for her duty, her form assumes a peculiar grace or brilliancy or delicacy of 
 color whiclt! appeals to his eye and awakens in him an ambition to reproduce it 
 upon can«P-the more absorbing as the problem it presents is the more difficult. 
 This is l^j^HS^ttien, and it is quite as clearly defined an idea as if it told a story 
 as eloquent as Charle "'ickens could have wru.cn it. All good art, that is to say, 
 art worthy of the respect confcfi’ed upon if by the title, must be narrative in char- 
 ac^r. It need not tell a story, with a dramatic plot in and a climax to it like 
 H/amlet, let us say, but the sonnets of Shakspeare, which are episodic only, are quite 
 as! great works of art as his plays. A picture, then, need not be a story-telling 
 picture, but if it is a picture it tells you something about the artist himself, because 
 It has in it his feeling, his sympathy, himself in fact, of which his brush is merely 
 the master of ceremonies which performs the courtesy of introduction. The way 
 
 296 
 
 VANITAS. 
 
298 
 
FROM A PAINTING BY E. FAURE. 
 
 THE SPRING. 
 
to judge a picture is, first to study it for itself, next to try to imagine what the 
 artist’s idea or thought was in painting it, further to consider the difficulties he was 
 forced to encounter in creating it. Having these facts in mind you can proceed 
 to your own analysis of its merits according to your lights and your command of 
 logic, 
 
 As an illustration of the points of this argument you can take the “ Noon” of the 
 Polish artist Miecislaw Reyzner, who is one of the strong new men in Paris. This 
 is one of a series of decorative panels painted by him, and like “ Morning Dreams,” 
 is in substance a masterly study of a model, but while Doucet was comparatively 
 restricted by the necessity of producing a portrait as well as a picture, Reyzner en- 
 joyed full liberty to idealize upon his subject and he has done so. His figure shel- 
 ters herself with the trail of her scanty robe from the ardent sunbeams, and the 
 
 FROM A PAINTING BY L. COURTAT. 
 
 LEDA. 
 
 gorgeous midsummer butterflies flutter in the balmy breeze that tosses her hair and 
 blows her gauzy vestments. So the material • figure assumes a decorative and 
 idyllic significance, conferred upon it by the artist himself, to whom the model pro- 
 vides simply a suggestion and foundation for the expression of his ideas. 
 
 The “ Vanitas” of Max von Schmaedel is one of those allegories in which Ger- 
 man art delights. Beauty, in all the voluptuous pride of her ripe loveliness, con- 
 templates herself in a mirror which is supported by wrinkled and haggard age, 
 thoughtless of what she too must come to in time, and taking no heed of the 
 suggestion that her charms are as frail and fleeting as the iridescent bubbles 
 which the child blows at her side, only to watch them shine, float a moment, and 
 then burst and vanish into thin air. The artist is a graduate of the Munich Acad- 
 
 300 
 
emy and has his studio in that city. A. Ner^t-Moreau is a well-known Parisian 
 artist and a regular exhibitor at the Salon. Cupid as “The Judge of Beauty” 
 assumes the honor of arbitrage accorded in Greek mythology to Paris, and like a 
 dutiful son awards the golden apple of the Hesperides to his mother Venus. The 
 poetess in Miss Diana Coomans’ picture reads her latest production to an evidently 
 critical handmaiden, who has suspended her spinning to listen, as in duty bound, to 
 the effusion of her mistress’ muse. Diana and Heva Coomans are the daughters 
 and pupils of a well-known Belgian artist^ the late Joseph Coomans, and. are par- 
 ticularly happy in subjects of Greek and Pompeiian genre, to which they confine 
 themselves almost exclusively. They have visited and painted in America, but 
 now reside in Pans. “ The Spring” is a worthy example of a French artist now 
 deceased, Eugene Faure. He was born at Grenoble, and studied there and at the 
 Ecole des Beaux Arts in Paris, being also a pupil of his father, Amadee Faure, a 
 painter of merit. Eugene Faure received his first medal in 1864, and was widely 
 known as a painter of portraits and subject pictures. The painter of “Leda," 
 Louis Courtat, was born in Pans in 1847, and was one of the most accomplished 
 pupils of Alexandre Cabanel. In the three years 1873, 1874, and 1875, his exhi- 
 bits at the Salon secured him the third, second, and first class medals respectively. 
 His “ Leda” secured him the last-mentioned distinction. The original painting 
 
 A TOUCH OF POWDER. 
 
/ROM A PAINTING BY F. WAGNER. 
 
 DIANA. 
 
 302 
 
was purchased by the French Government and is now in the national collection of 
 the Luxembourg museum. Henri Tenre is a Parisian artist who first became 
 widely known as a designer of spirited and admirable illustrations for the publish- 
 ers. He was a student of the School of Fine Arts and is an adept at catching the 
 fleeting phases and episodes of elegant fashionable life. “A Touch of Powder” is 
 one of his latest pictures and so far his most successful. Ferdinand Wagner is the 
 son of the distinguished Bavarian fresco painter of the same name who died in 
 1881. The son was born at Passau in 1847, and was a pupil of his father, of the 
 Munich Academy, and of Professor Quaglio. He studied also in Rome and 
 Venice, and like his father achieved fame and fortune as a fresco painter. His 
 “ Diana” is one of these decorative works, but he has also produced many easel 
 pictures, which are characterized by great imagination, exquisite humor, and a 
 brilliant command of color. This special picture is one of the decorations painted 
 by him for a great house of aristocratic resort in Munich, in which city he has his 
 studio. 
 
 Charles Gabriel Gleyre, though he rates as a French artist, is of Swiss birth. 
 He was born at Chevilly in 1806. In 1824 he went to Paris, where he studied for 
 a time in the studio of Hersent, which four years later he abandoned in order to go 
 to Italy. There he studied and copied the old masters, living by the sale of his 
 
 FROM A PAINTING BY CHARLES GABRIEL GLEYRE. 
 
 THE DANCE OF THE BACCHANTES. 
 
 copies, and experimenting with original work, but not exhibiting any until 1840. 
 During this period he also visited Egypt and made many studies there. His “St. 
 John” in 1840 attracted much attention; in 1845 another Biblical subject won him 
 a medal, and in 1848 he exhibited “The Dance of the Bacchantes.” The discus- 
 sion over this picture led to a rupture between the painter and the Administration 
 
FROM A PAINTING BY MILE. HEVA COOMAN8. 
 
 DREAMING. 
 
 S04 
 
a chaste style, and held foremost rank among the masters of his day. His death 
 occurred in 1874, under tragic circumstances. He was visiting an exhibition in 
 Paris, and apparently in perfect health, when he dropped dead, from what, as it 
 afterward appeared, was the rupture of a blood-vessel of the heart. 
 
 The Greek maiden in Miss Heva Coomans’ “ Dreaming” has been offering an 
 incantation to the patron deity of some enchanted spring, and is now in a revery 
 of love which has come to her in response to her invocation. Another, and more 
 modern “ Revery” is that of the heroine of Paul Prosper-Tillier’s picture. The 
 painter was born at Bonpere in the Vendee, and is a graduate from the studio of 
 Leon Cogniet. Jules Marie Sevestre, who is a native of Breteuil in the Depart- 
 ment of Eure, was also a pupil of Cogniet, and his “ Huntress” under the title of 
 “ Nympne Chasseresse” appeared in the Salon of 1882, where it won him a medal. 
 The huntress is a follower of Diana and is pursuing her game into a rocky glen, 
 calling back to her companions to follow and assist her to bring down her quarry. 
 The movement and expression of the figure are lifelike and noble, and the fine 
 drawing and strong color render it essentially a work of capital importance. It 
 stamped the artist as a master of figure painting, and established for him a reputa- 
 
 305 
 
 of Fine Arts, and thereafter he never again exhibited at the Salon, sending his 
 works to Swiss exhibitions and the galleries of dealers, notably those of Goupil. 
 The late John Taylor Johnston of New York was his first American patron, and a 
 picture painted for him sold at the sale of the Johnston collection for the at that 
 time high price of $5,200. He was a man of great inventive and poetic genius and 
 
 FROM A PAINTING BY PAUL TILLIER. 
 
 REVERY. 
 
PROM A PAINTING BY EUGENE FEYEN. 
 
 A YOUNG WOMAN OF CANCALE. 
 
[ion by which he has prospered. The original work is now in one of the French 
 museums. A tender and delicate sentiment breathes in “ Left to the Wide World” 
 by Otto Lingner, of Munich, another well-known German artist. Nathaniel Sichel, 
 of Berlin, in his “ Lydia” embodies a type of beauty of which traces yet exist in the 
 artistic remains of the once famous kingdom of Asia Minor over which Croesus was 
 the fabled ruler. “The Bather” of Mme. Jacqueline Comerre-Paton is another 
 illustration of artistic inventiveness and sentiment adopting and refining a common- 
 place subject into ideal character. The figure is the figure of a model painted 
 
 «OM A PAINTING BY OTTO LINGNER. 
 
 LEFT TO THE WIDE WORLD. 
 
 307 
 
FROM A PAINTING BY N. SICHEL. 
 
 LYDIA. 
 
 from life. But by the attitude, the sylvan solitude of the background, and the 
 beautiful harmony of color with which she has invested her picture, the artist has 
 converted a poseuse hired for a few francs a day into a nymph worthy to be one of 
 the attendants upon Diana. This same model, for example, is one of the best- 
 known women of her class in Paris. She has, what is not common with protes- 
 
 308 
 
sional models, an almost perfect beauty of face and figure. Usually a model of a 
 fine figure is not particularly handsome of feature, and frequently one portion of 
 the figure may be faultless and another deficient in some particulars. Conse- 
 quently, a model who approaches ideal perfection is in great demand and is painted 
 by many different artists. This one will appear in several other pictures, by dif- 
 ferent hands, in “Modern Figure Painting.” and in each case it will be found that 
 
 FROM A PAINTING BY MME. JACQUELINE COMERRE-PATON. 
 
 THE BATHER. 
 
 the artist has treated her differently from a different personal standpoint, and cr* 
 ated from her a distinct characterization. 
 
 This again emphasizes the point to which the reader’s attention has already 
 been directed, that an artist’s personality must reveal itself in his work in order to 
 render it a work of art at all, and that, unless this is the case, his productions re- 
 main purely mechanical, and not in any way superior to a direct photograph from 
 nature. 
 
XX 
 
 The tricksy god of love has been presented in many guises by many painters, 
 but perhaps never more piquantly than as paying the tribute of art to loveliness 
 in “Cupid the Artist.” Here, in a nook of Arcady, where he has surprised some 
 nymphs at their bath in a placid stream, he has chosen from among them the fairest 
 and is delineating her upon the canvas. Strict accuracy renders a modern sketch- 
 ing easel rather out of place in Arcadian groves, and a modern canvas and paint-box 
 equally anachronistic, while most people know that in Arcadian times oil colors 
 were not known. But the poet, when he turns his fancy free, has privileges, 
 whether he paints with pen or brush, and we judge him by the concrete result and 
 not by minor details. The painter in this case has availed himself of this preroga- 
 tive. Emile Louis Foubert is a Parisian by birth, but commenced to study art as a 
 pupil of the municipal school of the city of Bayonne. Then he passed succes- 
 
 FROM A PAINTING BY E. U FOUBERT. 
 
 CUPID THE ARTIST. 
 :io 
 
THE DEATH OF SARDANAPALUS. 
 311 
 
 . 
 
LAIS. 
 
 312 
 
»«0M A PAINTING BY L. ROYER. 
 
 VENUS AND THE BODY OF HECTOR. 
 313 
 
sively through the studios of Leon Bonnat, Busson, and Henri Levi. He took his 
 first medal in 1880, and is mainly known as a painter of historical subjects and 
 portraits, and of ideal compositions of the decorative order. He is a fine draughts- 
 man and a strong colorist, his style combining those of his two strongest masters, 
 Bonnat for color and Levy for ideas and composition. His portraits are also 
 highly esteemed. Alger V. Currier, the painter of “A Study,” is one of the strong 
 young men who now form an important group in French art, upon which their 
 technical skill and energetic progressiveness exercise a healthily stimulating effect. 
 He is a pupil of the Paris Ecole des Beaux Arts, and of American birth. Ignace 
 Spiridon is a prominent figure in the art world of Paris. He was born at Rome, and 
 is one of several brothers, all either artists or dealers in works of art. He studied 
 
 FROM A PAINTING BY HANS MAKART. 
 
 THE ENTRY OF CHARLES V. INTO ANTWERP. 
 
 first in Italy, and then settled in Paris where he still maintains his studio. His 
 chief successes have been made in such artificial but highly polished and finely exe- 
 cuted subjects as his “Lais.” The scene is at a masked ball at the Paris Opera 
 House. A queen of the half-world for which Paris is famous ogles some admirer 
 as she ascends the staircase to the ball-room. The background reveals the grand 
 staircase of the Opera House, one of the architectural masterpieces of the world, 
 which owes its creation to the reign of Napoleon III. Masqueraders ascend the 
 steps, and from the surrounding galleries of the vast entrance hall earlier arrivers 
 survey the new-comers. In his “ Nymph” Louis Courtat again reveals his mas- 
 terly command of form, and his fine gift in the rendition of tone and color. The 
 pensive figure is of a ripe splendor of bodily beauty, relieved by surroundings of 
 rich midsummer verdure, bejewelled with wild-flowers. 
 
 Hans Makart scored one of and perhaps his most triumphant of successes in his 
 
 814 
 
THE LOVE LETTER. 
 
 famous painting of “The Entry of Charles V. into Antwerp.” The historical epi- 
 sode is clearly detailed in the chronicles. Charles V. , Emperor of Germany, was 
 born in Ghent in 1500, and as the son of Philip, archduke of Austria, and of 
 Joanna, daughter of Ferdinand and Isabella of Spain, had also a claim to the latter 
 throne, which he assumed at the age of sixteen upon the death of his maternal 
 grandfather. Three years later his paternal grandfather, the great Emperor Maxi- 
 milian of Germany, died, and he was invested with his title and crowned as Roman 
 Emperor at Aix-la-Chapelle in 1520 by the Pope himself. It was at this period 
 
 315 
 
' w 
 
 FROM * PAINTINO BY E. FORTI. 
 
 THE SONG. 
 
 316 
 
FROM A PAINTING BY L. PERRAULT. 
 
 MEDITATION. 
 
 317 
 
EXPECTATION. 
 
 818 
 
that he made his triumphal entry into Antwerp, at which, it is recorded, the women 
 strewed the streets for him with flowers and jewels, and the fairest maidens of the 
 city, in the gauzy attire of classical nymphs, acted as a part of his escort of honor. 
 His death, as a gloomy and ascetical zealot, in 1558, is well known. Makart’s pic- 
 ture was painted for the Paris Exposition of 1878, of which it was one of the sensa- 
 tions. It is a colossal canvas, of the most daring splendor of color, vivid in 
 lifelike movement, and carefully studied in its archaeology and local color. The 
 introduction of the partially undraped female figures has been criticised, but it was 
 an undoubted custom of the feudal times which had not yet passed away when 
 Charles became the crowned master of half of Europe. The original picture was 
 purchased by the municipality of Hamburg, and is now the chief attraction of the 
 public Kunsthalle of that ancient German city. The artist, who was unquestion- 
 ably the greatest painter Austria ever produced, was thirty-eight years of age 
 when he painted this work, and apparently in a lusty prime with many years of 
 active life and successive triumphs before him. Yet six years later he died, a 
 mental wreck and physically as helpless as an infant. “The Love-Letter,” by 
 Georg Horn, is the work of a Munich artist and graduate of the academy of that 
 famous Bavarian art centre. E. Forti, the painter of “ The Song,” is an Italian 
 painter, largely concerned in decorative compositions, who has his studio in Rome. 
 
 His easel pictures are best known in Germany, where, it may be remarked, the 
 
 319 
 
 CUPID THE PILOT. 
 
works of modern Italian artists enjoy a favor with collectors second only to that 
 of those native to the country. Leon Basile Perrault’s “ Meditation” speak? for 
 itself. It is one cf his most sterling productions. The career of the artist has 
 been in its way one of the happiest in the annals of modern art. He was born at 
 Poitiers in 1832, was a pupil of Picot and of Bouguereau, won his first medal at the 
 
 FROM A PAINTING BY J. J. HENNER. 
 
 DANIELA. 
 
 320 
 
FRCW A PAINTING BY R. POETZELBcSGER. 
 
 THE LOST CHORD. 
 
 821 
 
Salon of 1864, and is now a member of the Legion of Honor. His works are 
 among the most popular of any living French painters in this country, and exam- 
 ples of him are to be found in all the principal collections of America. 
 
 Edward John Poynter was born of English parentage in Paris in 1836. His 
 father, Ambrose Poynter, was a prominent architect. The son studied in London 
 at Leigh’s Art School and under W. C. T. Dobson, and in Paris under Gleyre, in 
 whose studio he spent the years from 1856 to 1859. In i860 he established his 
 studio in London, where he remains. He was first known as a water-color painter, 
 but his industry has since his early success been concentrated on oil and fresco. 
 He was made an associate of the Royal Academy in 1869 and a full member in 
 1876, was Slade professor of fine arts at the University College, London, for five 
 years from 1870, and since 1875 has been director of the art schools at the South 
 Kensington Museum. He is also a member of the Belgium Water-Color Society, 
 and in 1879 published a series of very valuable and instructive “Lectures on Art” 
 in London. His rank in English art is next to that of Sir Frederick Leighton, the 
 President of the Royal Academy. His “ Diadumene” was his Royal Academy pic- 
 ture for 1884. The figure is life-size, and the painting of great brilliancy and 
 purity of color and accuracy of detail. Like Leighton and Alma-Tadema, Poynter 
 
 FROM A PAINTING BY PAUL TILLIER. 
 
 THE CIGARETTE.” 
 
 has made a practically exhaustive study of Greek and Roman archaeology, and in 
 this work some of his strongest and most accurate knowledge is shown. The 
 fresco paintings executed by this artist for public buildings in England are of the 
 first importance, especially those for St. Stephen’s Church at Dulwich. In the 
 Houses of Parliament, and in St. Paul’s Cathedral in London, he has done some 
 
 322 
 
work in mosaic which has no peer in English art. Felix Henri Giacomotti was 
 born at Quingey, in the department of Doubs, in 1828. He s'udied at the Pans 
 Ecole des Beaux Arts and under Picot, previous to which time he had taught 
 himself lithography so that he could earn his living, until, in 1854, he won the 
 Prix de Rome. He was medalled at the Salon in 1864, 1865, and 1866, and in 1867 
 made a member of the Legion of Honor. His “ Nymph and Centaur” was painted 
 
 FROM A PAINTING 
 
 JACQUES WAGRKZ. 
 
 CHANTING THE SONG. 
 
 324 
 
FROM A PAINTING BV H. SCHNEIDER. 
 
 THE DANCE IN THE THEATRE OF BACCHUS- 
 
 in 1.880, and the original picture is now in a French public museum, having been 
 purchased by the State. Joseph Coomans was a Belgian by birth, but had studied 
 in Paris and Italy, travelled much in Egypt, and even resided and worked in the 
 United States. “ Fructidor” was by the French revolutionary calendar the com- 
 mencement of autumn, September, the month of fruit. Georges Pierre Marie van 
 den Bos, the well-known French artist, represents it by a mother and child in the 
 costume of the period of the Directory, traversing an alley of the Luxembourg 
 garden. Ferdinand Max Bredt is a native of Bavaria and a pupil of the Academy 
 of Munich, where he has his studio. “ The Cigarette” is a graceful and character- 
 istic conceit by that most Parisian of artists, Paul Tillier. 
 
 The close study which Jacques Clement Wagrez has made of mediaeval Floren- 
 tine customs and types is illustrated to good advantage in his “ Chanting the Song.” 
 The scene is laid in the famous Cascine Park, the aristocratic pleasure-ground of 
 Florence. The artist was born in Paris, and was a pupil of Pils and Henri Leh- 
 man, and he is widely known as a painter in water-colors and a designer of illustra- 
 tions. The festivals to Bacchus originated with the Greeks, and were adopted by 
 the Romans, and the dance in the temple dedicated to the god was an important 
 feature of them. The artist, Hermann Schneider, is a native of Munich and stud- 
 ied there under Piloty and in Italy. His “ Dance in the Theatre.of Bacchus” is one 
 of a series of -frescoes painted in 1880 for the banquet hall in the Drachenburg, 
 near Konigswinter on the Rhine. 
 
XXI. 
 
 “La Grande Iza" was the heroine of an enormousiy successful realistic novel 
 by Alexis Bouvier, and her pseudonym gave its title to the book. While excite- 
 ment over the story was still at {ever heat in Paris, there appeared at the Salon of 
 1882 a picture of the central figure of Bouvier’s romance, based on his description 
 of her morning toilet. The painter, Blaise Bukovac, was a native of Dalmatia, 
 born in 1855, and had, as a boy, been taken to New York by an uncle. The 
 uncle dying, the nephew, at the age of twelve, was compelled to earn his living by 
 menial labor, and continued to do so for three years, when the Consul-General of 
 Austria in that city learned of his case and provided him with the means for re- 
 turning to his own country. There he shipped as an apprentice of a merchant 
 vessel, and being injured by a fall from a mast was left at the hospital in Constan- 1 
 tinople. After recovering he returned to Ragusa, and once more shipped, this 
 time on a voyage to Peru, left his vessel at Callao, and worked at Lima for the 
 railroad until he was able to obtain a passage to San Francisco. Here he began 
 to paint, and having by rigid economy accumulated a little capital, he went in 
 
 LA GRANDE IZA 
 
 326 
 
SPRING FLOWERS. 
 
 1877 to Paris and became a pupil of Cabanel at the Ecole des Beaux Arts. He 
 commenced to exhibit in 1879, and is now one of the popular and prosperous paint- 
 ers of Paris. 
 
 Auguste Charles Mengin, the painter of “Spring Flowers,” was born in Paris 
 and was also a pupil of Cabanel. He was first medalled in 1876. “The Toilet” 
 is one of the most successful idyllic productions of Paul Tillier, both in conception 
 and subtle delicacy of color. Another example of Blaise Bukovac, in a different 
 
F.IOM A PAINTING BY 
 
 TILUEft. 
 
 THE TOILET. 
 
vein entirely to the first, is given in “ Aurora Dying in the Arms of Day.” It is a 
 decoration for the centre of a ceiling, and held in a high key of light color in order 
 to give height to the apartment for which it was designed. The “ Sainte Marie 
 Madeleine” of Louis Courtat represents the pardoned penitent in prayer in her 
 
 FROM A PAINTING BY NOLA. 
 
 LOVE’S POSTMAN. 
 
cavern, with the answer to her supplication hovering in an aureola over her head. 
 Charles Monginot, the painter of “The Chocolate Hour,” was born at Brienne iri 
 the Aube in 1825, and was one of the foremost pupils of Thomas Couture. He 
 received his first medal in 1864. He devoted himself largely to decorative art, 
 and paints with equal facility and felicity of touch fruits, flowers, animals, and fig- 
 ures. He has made a specialty in its way of subjects of a light and graceful order 
 
 330 
 
 PROM A PAINTING BV 0. BUKOVAC. 
 
 AURORA DYING IN THE ARMS OF DAY. 
 
of the last century in France, to which his piquant “ Chocolate Hour” belongs. 
 Antoine Dominique Magaud is one of the gifted men who graduated from the 
 school of Cogniet. He was born at Marseilles in 1817 and took his first medal as 
 far back as 1861. In 1869 he was appointed director of the Marseilles Academy, 
 in which he had made his first studies in art, and his pictures are to be found in 
 the museums of that and other French cities. He is one of the strong painters of 
 history, portraits and genre, and “ A Kiss in the Glass” fully represents him in the 
 latter field. 
 
 Edouard Zier is the son of an eminent artist, Victor Casimir Zier. The latter 
 was born at Warsaw, and studied first there under Norblin and then in Paris undet 
 
 Cogniet. The son was born in Paris in 1856, commenced to study under the direc- 
 tion of his father, and then became a pupil of J. L. Gdrome. The first picture which 
 he sent to the Salon in 1874 made his reputation and was purchased by the State, 
 and in 1876 he received a medal for a work in the Centennial Exhibition in Phila- 
 delphia. His “Psyche” was painted in 1882. The subject is the task set for the 
 heroine by Venus, to bring her a vase of water from an enchanted spring which 
 was guarded by ferocious monsters. With the aid of Cupid, Psyche performed this 
 duty in safety. Oddly enough, in the same exhibition the elder Zier had also a 
 “Psyche,” although it represented an entirely different episode of her fabulous 
 career. 
 
 Frangois Flameng was born in Paris in 1859. His father was the distinguished 
 
 331 
 
 FROM A PAINTING BY LOUIS COURTAT. 
 
 SAIN ( E MARIE MADELEINE. 
 
FROM A PAINTING BY C. MONGINOT. 
 
 THE CHOCOLATE HOUR. 
 
 
engraver, Leopold Flameng. He studied under Cabanel, Edmond Hedouin, and 
 Jean Paul Laurens, and took his first medal and the Prix du Salon together in 1879. 
 His principal works are important historical compositions or historical genres, usu- 
 ally of the period of the eighteenth century, of which latter his “ Bath of Court 
 Ladies” is a representative example. The scene is in a French park, in the disso- 
 lute times of the Regency, or early in the reign of Louis XV. 
 
 FROM A PAINTING BY A. D. MAGAUD. 
 
 A KISS IN THE GLASS. 
 
FROM 
 
 MNTINQ BY L. COMERRE. 
 
 SPRING. 
 
FROM A PAINTING BY F. FLAMENG. 
 
 BATH OF COURT LADIES. 
 
 Jules Adolphe Breton, one of the greatest figure painters of modern times, was 
 born at Courrieres, in the Department Pas de Calais, in 1827. He studied under 
 Devigne and Drolling, first exhibited in 1849, took all the medals in succession 
 until he gained the medal of honor in 1872, and has been an officer of the Legion 
 of Honor since 1867. From the first he devoted himself to scenes of rural and 
 peasant life, and his canvases now command enormous sums. One sold in New 
 York at auction, a few years ago, for $55,000, and he is represented in all the nota- 
 ble American collections. “ The Laundress” is one of his more recent works. It 
 is the custom in Brittany for the women of the farms and villages to perform their 
 family washing out-of-doors in a convenient stream, and the stalwart figure he pre- 
 sents has completed her task for the day, while in the distance others are still 
 busied with work and gossip. Breton is a poet as well as a painter, and a volume 
 of his verse has received high critical praise. His art assumes the complexion of 
 his mind, and even his simplest subjects are never devoid of poetry, while his color 
 is powerful, his technique broad and forcible, and his drawing unexcelled in 
 accuracy. 
 
 The “ Fellah Woman” of Nathaniel Sichel is an attractive specimen of the mod- 
 ern Egyptian peasant class — more so than her kind often are in real life. Another 
 view of Oriental life is afforded by “ The Odalisque” of Pantaleone Szyndler. The 
 artist is of Polish birth, from Warsaw, and studied first in his native city under 
 Rafat Hadziewicz, from whose instructions he passed to the academies of Munich 
 
and of Rome. Next he settled in Paris, as a pupil of Cabanel, and there he re- 
 mains. Much of his productiveness is in the line of portraiture, but he varies it 
 with works of romantic and picturesque genre. His odalisque is some poor de- 
 posed favorite of the harem, who has fallen into disgrace with her master. The 
 latter has sent his private executioner to dispatch her, and the unfortunate woman 
 
 PAINTING BY JULES BRETON. 
 
 THE LAUNDRESS. 
 
 336 
 
FSOM * e*IHTINa BY N. SICHEL. 
 
 FELLAH WOMAN. 
 
PROM A PAINTING BY P. 8ZYN0LER. 
 
 THE ODALISQUE. 
 
 appeals frantically to the grim visitor to spare her life — an appeal which, as js 
 invariable in connection with these sinister tragedies of the seraglio, will be in 
 vain. “The Captain’s Share” is the work by which Charles Edouard de Beaumont 
 is represented in the Luxembourg collection. It was painted in 1868, and repre- 
 
 338 
 
 
sents a mediaeval town which has been put to the sack by a band of mercenaries. 
 Among the plunder of the place the most beautiful women have been reserved for 
 the commander of the brutal horde. The artist, who died a couple of years ago, 
 was born at Lannion in 1821, and was made a member of the Legion of Honor in 
 1877. Mile. Marguerite Arosa, the painter of “Before the Bath,” is a lady of 
 
 FROM A PAINTING BY 0. E. DE BEAUMONT. 
 
 THE CAPTAIN’S SHARE. 
 
 Parisian birth, and a pupil of Mayer, Amand-Gautier, and Barrias. “ Love’s Post- 
 man,” by an Italian artist, G. Nola, is a conceit which readily explains itself. 
 
 Clemence Isaure was a noble lady of the city of Toulouse who from childhood 
 had possessed the gift of poetry. It was in the period of the troubadours that she 
 lived, and in order to encourage their art she instituted an annual competition in 
 poetry which is known as the Jeux Floreux. The prize of the competition, 'which 
 began about 1490, when the founder of it was forty years of aT^vXas'a laurel 
 wreath finely wrought in silver, with which the victor was crowr spray of 
 
 flowers of the same metal. The picture shows the poetess hefself, crowned and 
 with an illuminated manuscript scroll of her victorious verses in her hand. The 
 original is in one of our American collections. The artist, Jules Joseph Lefebvre, 
 was born at Tournan in 1834. He became a pupil of Leon Cogniet, and won the 
 Prix de Rome in 1861. He received his first Salon medal in 1865, the Grand 
 Medal of Honor of the Salon in 1886, the Grand Prize at the Paris Exposition of 
 1889, and has been an Officer of the Legion of Honor since 1878. The original 
 of his “ Clemence Isaure” has for many vears been one of the gems of a famous pri- 
 vate art collection in the United States. Lefebvre is one of the most powerful 
 
painters of the figure now alive. He is not only a draughtsman of consummate 
 skill and accuracy, but a colorist of the greatest force. He is a student of history and 
 of the classics as well as an artist, and while he seldom essays historical themes, pre- 
 ferring rather the realms of mythology, poetry, and romance, when he does devote 
 
 FROM 
 
 riNO BY HENRY PICOU. 
 
 THESE ARE YOUR PLEASURES. 
 
 340 
 
himself to graver subjects his successes are of the first order. Personally he is 
 a noble type of the progressive man. Even at the age of sixty years he is a large, 
 handsome man, never idle, always working out his ideas at his easel, instructing 
 his pupils, for from his studio graduated many artists of the foremost ability — a 
 master, in short, in all that the term means. 
 
 CLEMENCE ISAURE. 
 
 341 
 
& w 
 
 XXIII 
 
 PROM A PAINTING BY JULES BRETON. 
 
 THE GLEANER OF POTATOES. 
 
 342 
 
FROM A PAINTING BY L. R. CARRIER-BELLEUSE. 
 
 ARLEQUINE. 
 
 343 
 
FROM A PAINTING BY A. DELOBBE. 
 
 MAIDEN AND CUPID AT THE FOUNTAIN. 
 
 From the most primitive times, the rural poor have been conceded the charita- 
 ble privilege of gathering in the wheat-fields the scattered remnants of the harvest 
 which the harvesters have left upon the ground. In France this same rule applies 
 tn the potato-fields. When the potatoes are harvested many stunted or partially 
 blighted tubers are cast aside by the diggers, and these the women, who constitute 
 the majority of the hands employed, are permitted to carry home to use in the 
 
 345 
 

 FROM A PAINTING BY E. HUBERT. 
 
 THE WITCHERY OF MELODY. 
 
 846 
 
FROM A PAINTING BY F. VINEA. 
 
 WINE AND SONG. 
 
 family soup-pot. The peasant woman in Jules Breton’s fine canvas, which was 
 one of his contributions to the Salon of 1887, is, after a day in the fields, plodding 
 homeward, bearing on her head a sack of potatoes which she has gathered. 
 
 347 
 
Louis Robert Carrier-Belleuse is a son of the prominent French sculptor, Albert 
 Ernest Carrier-Belleuse, born at Anizy-le-Chateau in the Aisne and a pupil of David 
 d’ Angers. The son is a native of Paris and was born in 1848. He studied sculp- 
 ture under his father and painting under Cabanel and Boulanger, exhibited his first 
 picture in 1870, and then entered the army to serve against the Prussians and the 
 
 THE READER. 
 
 348 
 
r 
 
 FROM A PAINTING BY 
 
 LANDELLE 
 
 RUTH. 
 
 350 
 
FROM A PAINTING BY CAROLUS DURAN. 
 
 BACCHUS. 
 
 Communists. After the fall of the Commune he resumed his artistic labors, and 
 his pictures found a wide acceptance. In 1877 he commenced to devote much time 
 to modelling and decorating pottery for a private firm and for the Government 
 works at Sevres. He has also collaborated with his father in works of sculpture, 
 and has produced statuary in bronze, having been in his youth employed in the 
 Barbedienne foundry. He is an excellent colorist, and, as is natural from his 
 knowledge of modelling, a strong and correct draughtsman. His “ Arlequine,” a 
 Columbine in a ball masquerade in imitation of her lover Harlequin, is one of his 
 characteristic and popular works. Emmanuel Benner was born at Mulhouse in 
 Alsace in 1836, and until 1866 was a designer of decorative designs for an indus- 
 trial establishment. The means he had accumulated by this time enabled him to 
 study painting under Henner and Bonnat, and afterward in Italy. Much of his 
 Italian period he spent on the island of Capri, in the Bay of Naples, and his “Sum- 
 mer Night in the Green Grotto” is a subject taken from one of the famous caverns 
 of that picturesque spot. Benner won his first medal at The Salon of 1881, and 
 has since taken a number more oi these coveted badges of artistic merit. Francois 
 Alfred Delobbe is a Parisian, born in 1835. In 1851 he became a student at the 
 Ecole des Beaux Arts, but in consequence of the interruption of his studies it was 
 not until 1861 that he commenced to exhibit portraits, genre subjects, history and 
 ideal compositions. In 1874 his Salon picture secured him his first medal, and his 
 progress has since been steady and increasingly prosperous. 
 
 352