CATALOGUE ORCORAN GALLERY OF ART= WASHINGTON, D. C. 1905. T-A-rv. , - : k - : - ■ '-' 5 . ' ■ ;&£* Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/catalogueofcorcoOOcorc CATALOGUE THE lORCORAN GALLERY OF ART —- WASHINGTON, D. C. 1903. WASHINGTON, D. C.: GIBSON BROS., Printers and Bookbinders. 1902. BOARD OF TRUSTEES. SAMUEL H. KAUFFMANN. THOMAS HYDE. FREDERICK B. MgGUIRE. BERNARD R. GREEN. CHARLES C. GLOVER. JOHN M. WILSON. WILLIAM CORCORAN EUSTIS. ARTHUR JEFFREY PARSONS. President. S. H. Kauffmann. Vice-President. Secretary. F. B. McGuire. Treasurer. Charles C. Glover. COMMITTEES. C. C. Glover. Bernard R. Green. S. H. Kauffmann. On Finance. Thomas Hyde. On the Building. F. B. McGuire. On Works of A?-t. F. B. McGuire. On Legislation. Bernard R. Green. John M. Wilson. John M. Wilson. C. C. Glover. A. ). Parsons. On Accounts. Thomas Hyde. John M. Wilson. Director. Frederick B. McGuire. Clerk of the Gallery. C. Powell Minnigerode. Jayiitor. Benjamin V. Darrell. semi Edition. (10,000 of the new revised edition.) In all, 220,000. Note. —All measurements in this Catalogue are given in inches, except when otherwise indicated. Washington, D. C. January, 1903. THE CORCORAN GALLERY OF ART, MAIN ENTRANCE ON SEVENTEENTH STREET. HISTORY OF THE CORCORAN GALLERY OF ART. The Corcoran Gallery of Art, originally located at the Corner of Seventeenth Street and Pennsylvania Avenue, includ¬ ing ground, building, its contents, and endowment fund, was the gift of the late Mr. William Wilson Corcoran to the public by deed, dated May i o, 1869, “ to be used solely for the purposes of encouraging American genius in the production and pres¬ ervation of works pertaining to the Fine Arts, and kindred objects,” with the condition that it should be open to visitors without any pecuniary charge whatever at least two days in each week, with authority to charge for admission at other times such moderate and reasonable fee as might be prescribed, 8 HISTORY OF THE CORCORAN GALLERY OF ART. the proceeds arising therefrom to be applied to the cut rent expenses of the Institution. The Institution was chartered by Act of Congress May 24, 1870. By that act the building and its contents were declared exempt from all taxation. The building was designed by Mr. James Renwick, architect, and begun in i8s9, but before completion, early in 1861, it was occupied by the United States Quartermaster-General’s Depart¬ ment until 1869. On the 10th of May, 1809, its owner placed it in the hands of a Board of nine Trustees for the purposes already named. After the Institution was incorporated by Congress, in 1870, the general work of reconstruction and adaptation of the building to its original purpose was begun, and finished in 1871. On the 22d of February, 1871, Mr. Corcoran gave a ball and reception in the building in honor of the day, the pro¬ ceeds of which he presented to the fund of the Washington Monument Society. In 1873 a Trustee went to Europe em¬ powered to purchase works of art for the Gallery, and Mr. Corcoran's private collection of pictures and statuary was then placed in it. On November 6, 1873, the Board of Trustees completed the organization of the Institution. On the 19th of January, 1874, the Picture Galleries, Octagon Room, and the Hall of Bronzes were thrown open for private exhibition by day and night, Mr. Corcoran receiving the con¬ gratulations of his friends upon the fulfilment thus far of his munificent plans. On April 29, 1874, the Halls of Sculpture and of Bronzes were opened to the public, and in December, 1874, the two side galleries of sculpture adjoining the Main Hall; so that all the rooms of the Institution for exhibition purposes were then opened to the public. THE PRESENT GALLERY. 9 THE PRESENT GALLERY. The building mentioned above was used for the purposes for which it was intended until it became apparent that, as planned, it would, in a comparatively short time, be wholly inadequate for the proper display of the works of art belonging to the Gallery, while larger and better facilities were already required for the rapidly-growing Free School of Art, for which thoughtful provision had been previously made by Mr. Cor¬ coran. At the same time it was found that, through inability to acquire land adjoining its site, it would be impossible to enlarge the then existing building so as to meet the future wants of the two establishments. These conditions impressed upon the minds of the Trustees the necessity of providing, without delay, for the erection of a larger, more conveniently arranged, and better lighted building, upon a plot of ground large enough to not only furnish space for the projected struc¬ ture, but also to provide for such enlargements of the Gallery as might be required from time to time to suitably house future acquisitions of paintings, sculptures, etc. With these ends in view, steps were taken to find and secure a proper location, and on the 3d of April, 1891, the purchase of a por¬ tion of Square 171, fronting on Seventeenth and E Streets, respectively, on the east and south, and on New York Avenue on the north, was ordered, and subsequently purchased. On the 9th of January, 1892, it was determined to erect a new Gallery building, as indicated above, on the eastern portion of the ground thus secured, and designs*and plans for the proposed structure were invited from a number of prom¬ inent architects. Those submitted by Mr. Ernest Flagg, of New York, were deemed best, and, after some alterations and IO THE PRESENT GALLERY. modifications, they were accepted, and he was employed to carry them out, under the supervision of a special committee, created and empowered for that purpose, and contracts were authorized and entered into accordingly, as follows: On |une 2b, 1895, the ground for the foundation of the new building was broken. On October 9, 1893, the contract was made for the stone foundations. On January 31, 1894, the contract for the basement walls was let. On May 10. 1894, the corner-stone was laid with appro¬ priate ceremonies. On June 23, 1894, the contract for the erection of the build¬ ing was accepted; and, on January 8, 1897, the keys of the building were delivered to the Trustees and the work of trans¬ ferring the works of art from the old to the new building was commenced. On the evening of the 22d of February, of the same year, the new building was first formally opened, for a private view, to which more than three thousand invitations were issued. The invitations were largely accepted, and, notwithstanding the inclement weather of the evening, the several rooms were at times filled to their utmost capacity. The attendance in¬ cluded the President of the United States and Mrs. Cleveland; the members of his Cabinet and their wives; Foreign Ambas¬ sadors and Ministers, and members of their respective legations; Senators and Representatives in Congress; the Judiciary; Artists and Connoisseurs of the Arts; officers of the Army and Navy, and hundreds of other ladies and gentlemen prominent in private and public life. The whole building was brilliantly illuminated by over three thousand electric lights, presenting a scene of rare beauty, and music by the Marine Band, which THE PRESENT GALLERY. I 1 was present by courtesy of the Secretary of the Navy, added to the charm of the occasion. The Reception Committee con¬ sisted of the members of the Board of Trustees, as then con¬ stituted, as follows: Edward Clark. Samuel H. Kauffmann. Frederick B. McGuire. Walter S. Cox. Charles C. Glover. Calderon Carlisle. Matthew W. Galt. William Corcoran Eustis. Thomas Hyde. 13'A9’-6" S © <32 < 3 } DESCRIPTION OF THE BUILDING. The building stands with its main front on Seventeenth Street, ex- tendingfrom New York Avenue on the north to E Street on the south, a distance of 259 feet, extending back 133 feet, and oc¬ cupies about half of the lot. ,The style of Architecture is Neo-Grecian, the material being white Georgia marble, on a basement of Milford pink granite. The first story is pierced by windows; the second story rises in a solid white wall broken only by a row of open¬ work marble panels along the upper edge, used as ventilators to the Galleries. Between these panels and the cornice, which is rich in orna¬ mental carving, extends a narrow frieze bearing in Roman letters the names of some of the most famous painters and sculptors of ancient and modern times. The roof of glass slants sharply upward to the ridge, which is finished by a cresting of bronze, terminating at each end of the building in a winged griffin. DESCRIPTION OF THE BUILDING. 16 The severity of the elevation is broken by the curve at the north end, in which is located the Art School. It also contains a lofty semicircular room, designed for lectures, etc., and like¬ wise, if necessary, for exhibition purposes. The main entrance to the building is on Seventeenth Street. On either side of the steps, upon white marble pedestals, rests a colossal bronze Lion, cast from moulds made over the famous Lions by Canova, which guard the tomb of Clement XIII, in St. Peter's, Rome. Passing through this entrance, a broad and easy flight of stairs leads directly to the main corridor or atrium. This is the largest hall in the building, being 170 feet long and so feet wide, running north and south of the main entrance on the first floor. Its light comes through openings or light wells in the ceiling above, which is supported by forty fluted monolith columns of Indiana limestone. This spacious hall is devoted to the exhibition of casts from sculptures of the antique and renaissance periods. The rooms surrounding it—except those required for the library, administration purposes, etc.—are also given up to original marbles, casts, bronzes, etc., including the large and valuable collection of the works of the late Antoine Louis Barye, the eminent French sculptor of animals. Directly in front, upon entering, and upon the further or western side of the hall or atrium, rises the grand white mar¬ ble staircase, fifteen feet in width, and of easy tread, which leads to the second story atrium, of the same dimensions as the one below. This has an immense skylight supported by thirty-eight fluted monolith columns, also of Indiana limestone. Ten large doorways with sliding doors, lead from the atrium to the galleries for paintings—three fine large rooms on Seven¬ teenth Street, two small and one large one on E Street, and two still larger on the west, on either side of the main staircase, all DESCRIPTION OF THE BUILDING. I? admirably adapted for their purpose and perfectly lighted, whether for day or night exhibitions. The entrance on the north or New York Avenue side of the building leads to the Exhibition Hall, a spacious room, of beautiful proportions, and also to several of the rooms set apart for the School of Art. The dimensions of all the rooms and galleries are given on the accompanying floor plans. The gallery is closed to the public every summer, for necessary renovation, etc., from the first of July to the first of October. It is open on other days as follows: On Sundays, from November 1st to July 1st, from 1: 30 to 4: 30 P. M. On Mondays from 12:00 M. to 4:00 P. M. On Tuesdays, Wednesdays, Thursdays, Fridays, and Satur¬ days from 9: 30 A. M. to 4:00 P. M. from October 1st to May 1 st, and from 9:00 A. M. to 4:00 P. M. from May 1st to July 1st. On Christmas Day it is closed to the public, but on other public holidays it is open from 10:00 A. M. to 2:00 P. M. On public holidays and Tuesdays, Thursdays, Saturdays, and Sundays the admission is free. On Mondays, Wednesdays, and Fridays an admittance fee of 25 cents is charged. For information concerning Copying, Art Education, etc., see Rules and Regulations, separately printed, to be had by appli¬ cation to the Principal of the Art School. Photographs of the principal paintings and other works of art in the Gallery are for sale at the door, where a catalogue of them may be obtained. NO. I. MR. CORCORAN.. CHARLES L. ELLIOTT. MAIN STAIRWAY. PAINTINGS. Note. —The dimensions of paintings in this Catalogue are given in inches, the figures named first indicating the height, the others the width of the canvas. I. ELLIOTT, CHARLES LORING. Born at Scipio, New York, 1812 ; died at Albany, New York, 1868. Pupil of Col. John Trumbull and Quidor. Elected Associate of the N. A. D. in 1845, and Academician in 1840. PORTRAIT OF MR. CORCORAN. Born December 27, 1798. Died February 24, 1888. Painted 1867. 98x70. 20 PAINTINGS. 2 . COLE, THOMAS. Born at Bolton le Moore, England, February 1, 1801 ; died near Catskill, New York, February 11, 1848. In 1819 his father emigrated to America and settled in Ohio, where he first learned the rudiments of his art from a portrait painter named Stein. Two of his allegorical series, “ The Course of Empire ” and “ Voy¬ age of Life,” were very popular. THE DEPARTURE. Painted 1837. 39x63. T COLE, THOMAS. (See No. 2.) THE RETURN. Painted 1837. 39x63. 4 - BOUGHTON. GEORGE HENRY. Born in England, 1834. His family went to Albany, New York, in 1837. First exhibited at the National Academy of Design, New York, in 1858. Made an Academician, 1871. Associate Member of the Royal Academy, 1870, and of the Royal Institute of Painters in Water Colors, London, 1887, where he is now resident R. A., 1896. THE HEIR PRESUMPTIVE. Painted 1873. 42x72. 5 - HARRISON, THOMAS ALEXANDER. Born at Philadelphia, Pa., January 17, 1853. Pupil of Pennsylvania Academy of Fine Arts, Ecole des Beaux Arts, and of Gerome. Medal Paris Exposition Universelle, 1889; Chevalier Legion of Honor and Officer destruction Publique. Medal, Munich Salon. Painted 1883. TWILIGHT. 35x70. GOING TO PASTURE. PAINTINGS. 2 I 6 . COLE, THOMAS. (See No. 2.) THE TORNADO. Painted 1831. 4SX64. 7 - BROOKE, RICHARD NORRIS. Born at Warrenton, Virginia, October 20, 1847. A PASTORAL VISIT. Painted 1881. 46x62. PORTER, BENJAMIN CURTIS. Born at Melrose, Mass., August 29, 184;. Elected A. N. A., 1875; N. A., 1880. LADY AND DOG. Painted 1876. 50x30. 9 - TRUESDELL, GAYLORD SANGSTON. Born at Waukegan, Ill., June 1, 1850; died at New York, June 14, 1S99. He began his studies in Philadelphia, working there three years. He went to Paris in 1885. Pupil of Morot and Cormon. Exhibited regularly at the Salon since 1886. Bronze Medal at the Exposition Universelle, 1889. Medal of the Second Class at the Salon, 1892. Hors Concours, Salon des Champs Elysees. GOING TO PASTURE. Painted 1889. 77X 103. 22 PAINTINGS. IO. GRAY, HENRY PETERS. Born at New York, 1819; died there, 1877. Began the study of art under Huntington in 1839, afterwards went to Rome and Venice. THE JUDGMENT OF PARIS. Painted 1861. 50x40. 1 I. SMILL 1 E, GEORGE HENRY. Born at New York, December 20, 1840. Elected member of Society of American Artists. AUTUMN ON MASSACHUSETTS COAST. Painted 1888. 25x50. Gift of Ralph C. Johnson. 12 . RICHARDS, WILLIAM TROST. Born at Philadelphia, 1833. Pupil of Paul Weber. Exhibited at the Royal Academy, London, 1869 and 1878—’81; Paris Salon, 1873. ON THE COAST OF NEW JERSEY. Painted to order for this Gallery, 1883. 40x72. 1 3 - DOUGHTY, THOMAS. Born at Philadelphia, 1793; died, 1856. AUTUMN SCENE ON THE HUDSON. Painted 1850. 30x48. ON THE COAST OF NEW JERSEY. PAINTINGS. 2? 14. LAZARUS, JACOB H. Born at New York, October 4, 1823; died there, January 1, 1891. Student of Henry Inman in 1843; was made an Associate of the National Academy of Design, New York, 1849. ODALISQUE. 36x61. Gift of Mrs. Amelia B. Lazarus. 15 - DOUGHTY, THOMAS. (See No. 13.) LANDSCAPE. 7x13. 16. BROWN, JOHN G. Born at Durham, England, November 11, 1831. Studied at Edinburgh Acad¬ emy. Elected N. A., 1863. ALLEGRO AND PENSEROSO. Painted 1864—’5. 8x14. ' 7 - SMILL 1 E, GEORGE HENRY. (See No. 11.) A LONG ISLAND FARM. 19x33. 18. BOUGHTON, GEORGE HENRY. (See No. 4.) EDICT OF WILLIAM THE TESTY. Illustrates a passage from Irving’s “ Knickerbocker’s History of New York,” Chapter 8. Painted 1877. 42x66. 24 PAINTINGS. 19 . KENSETT, JOHN FREDERICK. Born at Cheshire, Conn., 1818; died at New York, 1872. Exhibited at the Royal Academy, London, in 1845. Elected N. A. in New York in 1849. HIGH BANK, GENESEE RIVER. Painted 1857. 30x48. 20 . BRIDGMAN, FREDERICK ARTHUR. Bom in Alabama, 1847. Medals, Paris 1877—’78; Legion of Honor, 1878. PROCESSION OE THE SACRED BULL APIS-OSIRIS. [When the ancient Egyptians found a black and white bull marked with a tri¬ angular spot in the forehead and a cross on his back they believed that the animal contained the spirit of their god Osiris, and was held sacred. The picture rep¬ resents a procession in his honor.] Painted 1879. 36x69. 21 . CHASE, HARRY. Born at Woodstock, Vt., 1853; died, 1889. Elected A. N. A., 1883. Awarded the Hallgarten Prize, National Academy of Design, New York, 1885. THE HARBOR OF NEW YORK. Painted 1885. 46x70. 22 . LEUTZE, EMANUEL. Born at Gmiind, Wiirtemburg, May 24, 1816; died at Washington, July 18, 1868. Studied under Lessing. Elected N. A. in i860. THE AMAZON AND HER CHILDREN. Painted 1851. 41x62. PAINTINGS. 25 23. KENSETT, JOHN FREDERICK. (See No. 19.) AUTUMN AFTERNOON ON LAKE GEORGE. Painted 1864. 48x72. 24. CHURCH, FREDERICK EDWIN. Born at Hartford, Conn., May 4, 1826. Pupil of Thomas Cole. Elected N. A. in 1849. Medal Second Class, Paris, 1867. NIAGARA FALLS. Painted 1857. 42x89. 25. GRAYSON, CLIFFORD PREVOST. Born at Philadelphia, 1859. Pupil of Pennsylvania Academy and of Gerome. MID-DAY DREAMS. Awarded to The Corcoran Gallery of Art in the Competitive Exhibition by the American Art Association, New York, 1886. Painted 1886. 50x35. 26. DURAND, ASHER BROWN. Born at South Orange, N. j., August 21, 1796; died there, 1886. He studied engraving with his father and with Peter Maverick, whose partner he became in 1817. His "Declaration of Independence,” after Trumbull, brought him into prominent notice as an engraver. President of the National Academy of Design, 1845 to 1861. EDGE OF THE FOREST. Painted 1871. 78x64. 26 PAINTINGS. 27. INNESS, GEORGE. Born at Newburg, N. Y., 1825; died, 1894. Pupil of Regis Gignoux, 1868. Studied in Italy, 1 87 : -’75. Elected A. N. A., 1853, and N. A., 1868. SUNSET IN THE WOODS. Painted 1891. 48x72. [Mr. Inness, under date of July 23, 1891, writes the following note about the painting: “ The material for my picture was taken from a sketch made near Hastings, Westchester Co., New York, twenty years ago. This picture was commenced seven years ago, but until last winter I had not obtained any idea commensurate with the impression received on the spot. The idea is to represent an effect of light in the woods toward sundown, but to allow the imagination to predominate.”] 28. HART, JAMES McDOUGAL. Born at Kilmarnock, Scotland, May 10, 1828. Taken to America in 1831. Pupil of his brother, William Hart, and in 1851 of Schirmer, in Dusseldorf. A. N. A. in 1857. N. A. in 1859. THE DROVE AT THE FORD. Painted 1874. 54*38. 29. WHITTREDGE, WORTHINGTON. Born at Springfield, Ohio, May 22, 1820. Pupil of Andreas Achenbach and of Lessing. Elected N. A., 1861. President of N. A., 1874. TROUT BROOK IN THE CATSKILLS. Painted 1875. 34x48. 30 . LEUTZE, EMANUEL. (See No. 22). CROMWELL AND MILTON. Painted 1854. 60x84. RUINS OF THE PARTHENON. PAINTINGS. 2? 51 - GIFFORD, SANFORD R. Born at Greenfield, Saratoga Co., N. Y., 1823; died at New York, 1880. Was made an Academician in 1857. RUINS OF THE PARTHENON. Painted 1880. 28x32. 32. TILTON, JOHN ROLLIN. Born at London, N. H., 1828; died at Rome, Italy, 1888. VENETIAN FISHING BOATS. Painted, Rome, 18—. 36x48. 53 - weeks, EDWIN LORD. Born at Boston, 1849, Pupil of l’Ecole des Beaux Arts and of Bonnat and Gerome. Chevalier Legion of Honor, 1896. DEPARTURE FOR THE HUNT—INDIA. Painted 1884. 38x52. 34 - mount, WILLIAM SIDNEY. Born on Long Island, 1806; died, 1868. Began the practice of his profession in New York, 1829. Elected member of the N. A. D., 1832. He was the son of a farmer on Long Island, and was in early life a sign-painter. He had a studio on wheels with a plate glass front, in which, drawn by a pair of horses, he could select any point of view he wished, and thus protected from the weather leisurely make his careful studies. THE LONG STORY. Painted 1837. 17x22. 28 PAINTINGS. NO. 34. THE LONG STORY. W. S. MOUNT. WEYL, MAX. Born at Miihlem, Wiirtemburgh, Germany, 1840. Came to America, 1855. Exhibited in National Academy of Design, New York, and at the Prize Fund Exhibition at the American Art Galleries in 1883. Awarded first prize at the Ex¬ hibition of the Society of Washington Artists in 1891. APPROACHING NIGHT. Painted 1891. 18x24. 36. ROSSITER, THOMAS P. Born at New Haven, Conn., 1818; died at Cold Spring, New York, 1871. Medal, Paris, 1855. Elected A. N. A., 1840; N. A., 1849. REBECCA AT THE WELL. Painted 1852. 39x32. PAINTINGS. 24 37 - RANNEY, WILLIAM. Born at Middletown, Conn., May 9, 1813; died at West Hoboken, N. J., November 18, 1857. Painted 1850. DUCK SHOOTING. 30x40. 38. DAVIS, CHARLES H. Born at Amesbury, Mass., 1858. Studied at Boston and Paris, and was awarded the prize of $2,000 at the Third Prize Fund Exhibition at the American Art Galleries in New York in 1887. THE DEEPENING SHADOWS. Painted 1884. 30x45. 39 - BONHAM, HORACE. Born at West Manchester, Penn., in 1835; died, 1892. Pupil of Bonnat. THE ISSUE OF THE COCKPIT. 16x27. 40. McENTEE, JERVIS. Born at Rondout, N. Y., in 1828; died, 1890. Studied with Church and Thomas Cole, and was made an Academician in 1861. EASTERN SKY AT SUNSET. 24x20. 30 PAINTINGS. 4 <- MOELLER, LOUIS. Born at New York. Studied with Duveneck and the German Professor Dietz. The first recipient of the Hallgarten prize. He was made an Academician in 1895. DISAGREEMENT. 24x34. 42. REINHART, CHARLES STANLEY. Born at Pittsburgh, Penn., in 1844. Studied in Paris and at the Royal Academy, Munich, under Professors Streyhirber and Otto. WASHED ASHORE. Painted 1887. 78x108. Gift of the heirs of the Artist. 43 - minor, ROBERT C. Born at New York, 1840. Pupil of Diaz. He is a National Academician, and a member of the American Water Color Society. EVENTIDE. 22x30. 44 - ranger, HENRY W. Born at New York. Began his career in Syracuse. Member of the American Water Color Society. THE TOP OF THE HILL. 28x36. PAINTINGS. 3 ' 45 - ROBINSON, THEODORE. Born at Irasburg, Vermont, in 1852; died in New York in 1896. Pupil of M. Carolus-Duran and of Gerome. Awarded the Webb Prize in 1892; also the Shaw Prize in 1892. VALLEY OF THE SEINE FROM GIVERNY HEIGHTS. 26x32. 46. . B 1 ERSTADT, ALBERT. Born at Dusseldorf, 1830; died in New York, Feb. 18, 1902. Brought to America at an early age. Returned to Dusseldorf in 1853 and entered the Aca¬ demy, afterwards studying in Rome and Germany. Elected a member of the National Academy in i860 ; Chevalier of the Legion of Honor, France, 1867. Medals: Austria, Germany, Bavaria, and Belgium, and various Orders. MOUNT CORCORAN. (Southern Sierra, Nevada.) Painted 1875. 6096. The peak rises 14,094 feet, and was named in compliment to Mr. Corcoran. 47 - CAS 1 LEAR, JOHN W. Born at New York, 1811; died at Saratoga Springs, N. Y., 1893. Studied in Europe in 1840 and in 1857. Elected an A. N. A. in 1835 and N. A. in 1851. LAKE GEORGE. 25 X 45- Gift of Miss Josephine E. Harrison. 32 PAINTINGS. 48. MESSER, EDMUND CLARENCE. Born at Skowhegan, Maine, in 1842. Studied at National Academy of Design, New York, and at Pennsylvania Academy of Fine Arts, and with Collin, Courtois and Aime Morot in Paris. SUNSET IN LOUDOUN. Painted 1899. 48x34. 49. ULRICH, CHARLES F. Born at New York, 1858. Studied in Munich under Professor Loftz and Linden- schmidt. Secured the Thomas B. Clarke Prize in 1884, and the American Art Gallery prize in 1886. Was elected an Associate of the National Academy in 1883. IN THE LAND OF PROMISE. (CASTLE GARDEN.) Painted 1884. 29x36. 5 °. DEWEY, CHARLES MELVILLE. Born at Lowville, N. Y., in 1851. Made his first exhibit at the National Academy of Design, New York, in 1875. EDGE OF THE FOREST. Painted 1888. 32x48. 5 1 • WYLIE, ROBERT. Born iir the Isle of Man; died at Pont Aven, Brittany, 1877. Was taken to America when a child, and began Ins art studies as a pupil of the Pennsylvania Academy of Fine Arts. He was sent by them to France to study. Worked under Gerome. Medal of Second Class at the Paris Salon of 1872. A FORTUNE TELLER OF BRITTANY. 94x47. NO. 53 . the road^to concarneau. PAINTINGS. 33 52. MURPHY, J. FRANCIS. Born at Oswego, N. Y., in 1853. Secured the second Hallgarten prize in 1887. Elected Academician in 1887. OCTOBER. Painted 1888—’93. 32X50. 53 - PICKNELL, WILLIAM LAMB. Born in Vermont, 1852; died at Marblehead, Mass., August, 8, 1897. Went to Europe in 1874, studying with George Innessin Rome two years; later, for a few months, under Gerome in Paris. From France he went to England, and for a number of years was an exhibitor at the Royal Academy. He has lived and painted in Brittany, working under Robert Wylie until the time of that artist’s death. THE ROAD TO CONCARNEAU. Painted 1880. 40x80. 54 - HUNTINGTON, DANIEL. Born at New York, 1816. Educated at Hamilton College. Pupil of Professor S. F. B. Morse, and of G. P. Ferrero, Rome. Exhibited first in 1836 at the National Academy of Design, New York. Elected an Associate in 1838. Acad¬ emician in 1840. President National Academy of Design from 1862 to 1869, and from 1877 to 1891. MERCY’S DREAM. Painted 1850. 89x69. [The scene which this picture illustrates is from Bunyan’s Pilgrim’s Progress, and is as follows: “A sweet dream it was.” * * * “ Methought 1 looked up and saw one coming with wings towards me. So he came to me directly and said, Mercy, what aileth thee? He also wiped my eyes with his handker¬ chief, and clad me in silver and gold. He put a chain about my neck, and ear¬ rings in my ears, and a beautiful crown upon my head.”] PAINTINGS. 55 - JONES, H. BOLTON. Born at Baltimore, Md., 1848. Studied at Paris, 1876—’8o. N. A., 1883. Bronze Medal, Exposition Universelle, Paris, 1889. SPRINGTIME. 36x64. 56. HENRY, EDWARD L. Born at Charleston, S. C., January 12, 1841. A pupil of the Pennsylvania Academy of Fine Arts. Studied in Paris with Courbet. THE OLD WESTOVER MANSION. Gift of a friend. 11x13. 57 - BROWN, JOHN G. (See No. 16.) THE LONGSHOREMAN’S NOON. Painted 1879. 33x50. 58. VOLK, DOUGLAS. Born at Pittsfield, Mass., 1850. Studied in Paris at the Ecole des BeauxjArts under J. L. Geronre. Member of the Society of American Artists. ACCUSED OE WITCHCRAFT. 40x50. PAINTINGS. 35 59 - TRYON, DWIGHT W. Born at Hartford, Conn., in 1849. Studied with Daubigny and Harpignies. Received prizes at the National Academy of Design, the Society of American Artists, the Columbian Exposition in Chicago, and other exhibitions. Member ot the National Academy and the Society of American Artists. THE END OF DAY. 31X46. 60. COUDER, EMILE GUSTAVE. Born at Paris. Pupil of M. Vasselon. Salon Exhibitor up to 1893. FLOWER PIECE (WITH CAT). Bought at Paris Exposition of 1873. 45x58. 61. NICOL, ERSK 1 NE. Born at Leith, Scotland, July, 1825. Elected A. R. A., 1866. Medal, Second Class, Paris, 1867. PADDY’S MARK. Painted 1868. 24x32. 62. CH 1 ERIC 1 , GAETANO. Born at Reggio, Italy, 1838. Professor at Academy, Rome and Florence. Medals : Rome, Lisbon, and Florence. THE MASK (or “FUN AND FRIGHT.’’) Painted 1874. 30x42. 36 PAINTINGS. NO. 6l. paddy’s mark. E. NICOL. DETAILLE, JEAN BAPTISTE EDOUARD. Born at Paris, 1848. Favorite pupil of Metssonier. President of the Society of French Artists, 1895. Medals: Paris, 1869, 1870, 1872; Medal of Honor, 1888; Legion of Honor, 1873; Officer, 1881; Commander, 1897; Grand Medal of Honor, 1897; Grand Cordon of the Order of St. Stanislas of Russia, 1897; Mili¬ tary Medal of England (Queen’s Jubilee), 1897. THE PASSING REGIMENT. Painted 1875. 30x50. [This picture first appeared in the Paris Exposition of 1875, and was afterwards exhibited in Brussels, when it was purchased for this Gallery. Loaned for Ex¬ hibition at the Exhibition Universelle, Paris, 1889, by request of the artist.] PAINTINGS. 37 64. JAPY, LOUIS AIME. Born at Berne. Medals: 1870, 1873. SPRING LANDSCAPE. Painted 1873. 39x03. 65. KAEMMERER, FREDERICK HENDRIK. Born at Client; died at Palis, April 14, 1902. Pupil of Gerome. Medals: Third Class, Paris, 1874. Chevalier of the Legion of Honor. BEACH AT SCHEVEN1NGEN, HOLLAND. Painted 1874. 27x54. 66 . COMTE, PIERRE CHARLES. Born at Lyons, 1823. Pupil of Paul Delaroche, H. Vernet and Robert Fleury. Medals: Third Class, 1852; Second Class, 1853, 1853 and 1857. Legion of Honor, 1857. SCENE AT FONTAINEBLEAU—COSTUME OF LOUIS XL Painted 1874. 31X21. 67. ISABEY, EUGENE LOUIS GABRIEL. Born at Paris, 1804; died at Paris, 1886. Medals: First Class, 1824, 1827, 1855. Legion of Honor, 1832. Officer, 1832. THE WEDDING FESTIVAL. Painted 1874. 23x21. PAINTINGS. 68 . LEROUX, HECTOR. Born at Verdun, France, 1829. Pupil of Picot, and of the Ecole des Beaux Arts. Won the Second Grand Prix de Rome in 1857. Medals: Paris, 1863, 1864, 1874; of Vienna, 1873; of Amsterdam, 1883; Legion of Honor, 1877; Officer of the Academy, France, 1S89. THE VESTAL TUCCIA. Painted 1874. 54X98. This picture carried off a second-class gold medal at the Paris Exposition of 1874. NO. 69. THE DRINKING PLACE. C. TROYON. 69. TROYON, CONSTANT. Born at Sevres, 1810; died in Paris, 1865. Pupil of Riocreaux and Poupart. Medals: Third Class, 1838; Second Class, 1840; First Class, 1846, 1848, 1855; Legion of Honor, 1849. Member of the Amsterdam Academy. Diploma to the Memory of Deceased Artists. Exposition Universelle, 1878. THE DRINKING PLACE. 27x35. NO. 84. LOST DOGS. O. VON THOREN. PAINTINGS. 39 70 . CHIALIVA, LUIGI. Born at Caslano, Switzerland, 1842. Studied first in Milan and afterwards in Paris and Berlin. Decorated by the King of Italy in 1885. FINE WEATHER. Painted 1880. 20x31. 7 >- CHIALIVA, LUIGI. (See No. 70.) A SHOWER. Painted 1880. 20X31. 72. JAPY, LOUIS AIME. (See No. 64.) Painted 1873. TWILIGHT. 39x63. 73 - HENNER, JEAN JACQUES. Born at Bernwiller, 1829. Pupil of Drolling and of Picot. Prize of Rome, 1858. Medals: 1863, 1865, 1866; Legion of Honor, 1873; Officer of the Legion ofHonor, 1878; Medal, Exposition Universelle, 1878; Member of the Institute, 1889. JOAN OF ARC, IN INFANCY. 22x18. 40 PAINTINGS. 74 - VIBERT, JEAN GEORGES. Born at Paris, 1840; died in Paris, July 28, 1902. Pupil of Picot and Barrias. Medals: 1864, 1867, 1868; Third Class, 1878; Legion of Honor, 1870. THE SCHISM. Painted 1874. . 15X21. 75 - BURN 1 ER, RICHARD. Born at The Hague 1826; died in Dusseldorf, 1884. Member of the Amster¬ dam Academy. CATTLE ON THE SEA-SHORE NEAR SCHEVENINGEN. Painted 1881. 42x64. Awarded a gold medal at the Brussels Exposition of 1881. 76. SAINT-JEAN, SIMON. Born at Lyons, 1808; died at Ecully, i860. Medals: 1834, 1841, 1855; Legion of Honor, 1843. FRUIT. Painted 1855. 19x26. 77 - LOUSTAUNAU, LOUIS AUGUSTE GEORGE. Born at Paris, 1846. Pupil of Vibert and Gerome. MONK FISHING. Painted 1874. 36x28. NO. 79, CHARLOTTE CORD AY IN PRISON C. L. MULLER. PAINTINGS. 41 REBOUET, ALBOY. 78. NIGHT. Painted 1867. In the Vienna Exposition of 1873. 84x^2 79 - MULLER, CHARLES LOUIS. Born at Paris, 1815. Medals: 1838, 1846, 1848, 1853. Legion of Honor, 4849; Officer, 1859. Pupil of Cogniet, Gros, and of the Ecole des Beaux Arts. CHARLOTTE CORDAY IN PRISON. Painted 1875. 41X33- VELY, ANTOLE. 80. Born at Ronsoy, 1838; died at Paris, 1882. Medals: 1874, 1880. THE TALKING WELL. Painted 1873. 71x38. 8l. HEILBUTH, FERDINAND. Born at Hamburg; died at Paris, 1889. Medals: 1857, 18^9, 1861. Member of the Legion of Honor, 1861; Officer, 1881; Chevalier Order of Leopold, Belgium. ON THE PINCIAN HILL, ROME. (Cardinal Questioning Acolytes.) 33 X 55 - 42 PAINTINGS. 82. MOROT, AIME NICHOLAS. Born at Nancy, 1850. Pupil of Cabanel and Ecole des Beaux Arts. Prix de Rome, 1873. Medals: 1876, 1877, 1879; Medal of Honor, 1883; Grand Prix, 1889; Officer of the Legion of Honor. EL BRAVO TORO. Painted 1884. 59x32. VAN MARCKE, EMILE. Born at Sevres, 1827; died, 1891. Pupil of Troyon. Medals: 1867, 1869, 1870, 1878; Chevalier of the Legion of Honor, 1872. LANDSCAPE WITH CATTLE. 24x30. 84. VON THOREN, OTTO. Born at Vienna, 1829. Member of the Vienna and St. Petersburg Academies. Medals: Paris, 1865; Munich, 1869; Vienna, 1882; Order of Francis Joseph; Russian Order of Vladimir. LOST DOGS. Painted, 1873. 57 >< 47 - 85. DAUBIGNY, CHARLES FRANCOIS. Born at Paris, 1817; died there, 1878. Son and pupil of the distinguished min¬ iature painter of the French Restoration, Edme Franpois Daubigny, 1789-1843. Studied under Paul Delaroche. Medals: 1848, 1853, 1855, 1857, 1859, •867. Legion of Honor, 1839. Officer of the Legion of Honor, 1874. Diploma to the Memory of Deceased Artists. Exposition Universelle, 1878. A HAMLET ON THE SEINE, NEAR VERNON. Painted 1872. 34X58. NO 8 3- LANDSCAPE WITH CATTLE. PAINTINGS. 4 } 86 . SAINT-PIERRE, GASTON CASIMIR. Born at Nimes, 1833. Pupil of Jalabert and Cogniet. Medals: 1808, 1879. Chevalier of the Legion of Honor, 1881. NEDJMA—ODALISQUE. Painted 1874. 43x60. 87. COURBET, GUSTAVE. Born at Ornans (Doubs), 1819; died at Tour de Pei!, near Vevay, 1878. Studied chiefly with David d’Angers. He exhibited in 1844, though it was not until 1849 that he first attracted attention. As chief instigator of the overthrow of the Vendome Column, May 16, 1871, he was sentenced to six months impris¬ onment and to bear the cost of restoration. After his release he retired to Switzer¬ land. LANDSCAPE. 19x25. DUPRE, JULES. Born at Nantes, 1812; died at Paris, 1889. Medals: Second Class, 1833 and 1867. Legion of Honor, 1849; Officer, 1870. THE POND OF THE GREAT OAK. 37x30. MORETTI, ANTONIO. 89. THE FORUM, FROM THE TABULARIUM, ROME. 21x64. Painted 1853. 44 PAINTINGS. 90 . KNAUS, LUDWIG. Born at Wiesbaden, 1829. Pupil of Dusseldorf Academy under Sohn and Schadow in 1846-52, then studied in Paris until i860. Professor at the Berlin Academy from 187410 1884. Medals: Paris, Second Class, 1853; First Class, 1855, 1857, 1859; Legion of Honor, 1859; Officer, 1867; Grand Medal of Honor, 1867; Knight of Prussian Order of Merit, etc., and many medals. THE FORESTER AT HOME. Painted 1886. 40x56 9 1 • FAED, JOHN. Born at Burley Mill, Kirkcudbrightshire, Scotland, 1820. Member R. S. A., 1851. SHAKESPEARE AND HIS CONTEMPORARIES. 53x68. ■ 92. COROT, JEAN BAPTISTE CAMILLE. Born at Paris, 1796: died there, 1875. Pupil of Michallon and Victor Bertin. Medals: Second Class, 1833; First Class, 1848 and 1855; Second Class, 1867. Legion of Honor, 1846; Officer, 1S67; Diploma to the memory of Deceased Artists, Exposition Universelle, 1878 WOOD GATHERERS. Painted 187s. 44x63. MORF.TTI, ANTONIO. 93 - ST. PETER’S, ROME. Painted 1853. 21X 64. NO. 92.' WOOD GATHERERS. PAINTINGS. 45 94 - SCHREYER, ADOLPHE. Born at Frankfort-on-the-Main, 1828; died, 1899. Member of Antwerp and Rotterdam Academies. Medals: Brussels, 1863; Paris, 1864, 1865, 1867; Munich, 1876; Order of Leopold, 1866; Honorary Member of the Deutsches Nochstift; Court Painter to Grand Duke of Mecklenburg, 1862; Officer of the Star of Roumania, 1888. THE WATERING PLACE. 41x68. 95 - PAUWELS, FERDINAND. Born at Eckeren, near Antwerp, 1830. Pupil of the Antwerp Academy, i 842-’50, under Dujardin, then of Wappers; won the Grand Prix de Rome in 1852. Gold Medals: 1857, 1864, 1868. Order of Leopold, 1861. JUSTICE TO LEVIN PYN. Painted 1862. 45x7!. [Levin Pyn, First Magistrate of Ghent (1541), was wrongly accused by his am¬ bitious colleagues, and beheaded by order of Charles V. Afterwards, the emperor, convinced of his innocence, ordered solemn mass, and a proclamation to be read by the priest declaring Pyn’s innocence, in the presence of his mourning family and four of his accusers.] 96. DIAZ DE LA PENA, NARCISSE V 1 RG 1 LE. Born at Bordeaux, of Spanish parents, 1808; died at Mentone, 1876. Medals: Third Class, 1844; Second Class, 1846; First Class, 1848. Legion of Honor, 1851. THE APPROACHING STORM. Painted 1870. 33x42. 46 PAINTINGS. 97 - CAZ1N, JEAN CHARLES. Born at Samer (Pas-de-Calais); died near Nice, March 27, 1901. Medals: First Class, 1880; Legion of Honor, 1882. MOONLIGHT IN HOLLAND. 25x32. 98. ZIEM, FELIX. Born at Beaune (Cote-d’-Or), 1821. Pupil of Art School of Dijon. Medals: Third Class, 1851, 1855; First Class, 1852. Legion of Honor, 1857. Officer, 1878. CONSTANTINOPLE, FROM THE GOLDEN HORN. Painted 1874. 32x50. 99. BRETON, EMILE ADELARD. Born at Courrieres. Brother and pupil of Jules Breton. Medals: 1866, 1867, 1868, 1878. Chevalier of the Legion of Honor, 1878. Member of the Order of Leopold. SNOW SCENE—MOONRISE. Painted 1873. 22x34. IOO. RICO, MARTIN. Born at Madrid, Spain. Pupil of Federico de Madrazo. Studied in Paris and Rome. Prix de Rome, 1862. Medals: Paris, Third Class, 1878; Second Class, 1889; Exposition Universelle; Legion of Honor, 1878. THE BANKS OF THE ADIGE. 18x31. THE BANKS OF THE ADIGE. PAINTINGS. 47 IOI. BRETON, JULES ADOLPHE. Born at Courrieres (Pas-de-Calais), 1827. Pupil of Drolling and Devigne; Medals: Third Class, 1855; Second Class, 1857; First Class, 1859, 1861, 1867. Medal of Honor, 1872; Legion of Honor, 1861; Officer, 1867. BRITTANY WIDOW. Painted 1886. 36x31. [Represents a sailor’s widow, who carries to the altar of St. Ann, the virgin patroness of Brittany sailors, a taper to the memory of her husband.] 102 . BECKER, CARL LUDWIG FREDERICK. Born, 1820. Professor and Senator of the Royal Academy of Berlin. President, 1888. POPE JULIUS II, WITH RAPHAEL, M. ANGELO, VITTORIA COLONNA, AND BRAMANTE, VIEWING THE NEWLY EXHUMED STATUE OF THE APPOLLO BELVEDERE. Painted 1887. 55 x 77- 103. FRERE, PIERRE EDOUARD. Born at Paris, 1819; died, 1886. Pupil of Paul Delaroche and of Ecole des Beaux Arts. Medals: Third Class, 1850 and in 1855; Second Class, 1852; Legion of Honor, 1855. PREPARING FOR CHURCH. Painted 1853. 18x22. 4 8 PAINTINGS. IO4. MACCARI, CESARE. Born, Sienna, 1840. Gold Medals: Sienna and Parma, 1869; Gieat Piize, Turin, 1880; Order of the Italian Crown. THE FORTUNE-TELLER. 12x16. 105. PREYER, JOHANN WILHELM. Born at Rheydt, near DQsseldorf, 1805; died, 1889. Pupil of Diisseldorf Academy, 1822-27. FRUIT. Painted 1842. 20x21. 106. BAIL, J. A. SUNDAY MORNING IN AUVERGNE. Painted 1874. 35X46. 107. FREY, J. J. Born, Switzerland; died at Frascati, near Rome, 1865. ROME. Painted 1859. Gift of Louis C. Gamier, St. Louis, Mo. 38x53. NO - 9°- THE FORESTER AT HOME. PAINTINGS. 49 FREY, j. j. (See No. 107.) 108. TIVOLI. Painted 1859. 38x53. Gift of Louis C. Gamier, St. Louis, Mo. 109. MORLAND, GEORGE. ’ Born at London, 1763; died there, 1804. Morland exhibited altogether at the Royal Academy between 1779 and 1804, thirty-six pictures. Painted chiefly country scenes with domestic animals, and enjoyed a high reputation. THE FARM HOUSE. 35 x 44- I IO. DE MARNE, JEAN LOUIS. Born at Brussels, 1754; died at Paris, 1829. Called Demarnette. Medals: i8o6-’9. Legion of Honor, 1828. INTERIOR. 8x 10. III. DE MARNE, JEAN LOUIS. (See No. 110.) INTERIOR. 8 x 10 50 PAINTINGS. I I 2 . COUTURE, THOMAS. Born at Senlis (Oise), 1815; died at Villiers le Bel (Seine et Oise), 1879. Pupil of Gros and Paul Delaroche. Won the Grand Prix in 1837. Medals: 1844, 1847, 1855. Legion of Honor, 1848. FEMALE HEAD. 18x21. BJOREK, OSCAR. I 13. THE NAILMAKERS. 52x58. Gift to the Gallery by a number of its friends, May 1, 1896. 1 14. HILDEBRANDT, EDUARD. Born at Dantzic, 1817; died at Berlin, 1868. Professor Berlin Academy, 1853. M00NR1SE IN MADEIRA. Painted 1856. 36x48. 1 I 5. DE BRAEKELEER, FERDINAND. Born at Antwerp, 1792; died there 1883. Pupil of Antwerp Academy. Ob¬ tained the Great Prize in 1819. Order of Leopold. Director of Antwerp Museum. THE HAPPY FAMILY. Painted 1853. 33x28. THE HELPING HAND, B- REMOVE. PAINTINGS. I l6. DE BRAEKELEER, FERDINAND. (See No. 115.) THE UNHAPPY FAMILY. Painted 1853. 33X2S. ” 7 - RENOUF, EMILE. Born at Paris, June 23, 1845; died, 1894. Pupil of Boulanger, Jules Lefebvie, and of Carolus Duran. Medals: Second Class, 1880; Gold Medal and Legion of Honor, 1889. THE HELPING HAND. Painted 1881. 60x89. Loaned for exhibition in the Exposition Universelle, Paris, 1889, by request of the artist. I l8. AIVASOVSKY, J. THE RELIEF SHIP. [Arrival in Riga of the American vessel bearing supplies to sufferers by the famine in Russia, 1892.] 18x26. Gift ofj. A'ivasovsky. I 19. AIVASOVSKY, J. DISTRIBUTING SUPPLIES. [Illustrating the mode of distributing supplies sent by Americans to suffeiers by the famine in Russia, 1892.] 18x26. Gift of J. A'ivasovsky. PAINTINGS. 52 120 . COLLETTE, A. THE YOUNG SAVOYARD MUSICIAN. Painted 1873. 36x24. BRENNER, CARL C. 121 . Born at Lautrechen, Bavaria, 1838; died, Louisville, Ky., 1888. AFTERNOON IN EARLY JUNE. Painted 1880. 26x46. 122 . GOTTHOLD, FLORENCE. Born at Uhrichsville, Ohio, 1858. THE DIFFICULT TASK. Painted 1886. 27X21. Gift of Simon Wolt. 123. MAYER, FRANK BLACKWELL. Born at Baltimore, 1827; died, July 28, 1899. Pupil of Gleyre and Briou, Paris. Medal and Diploma, Philadelphia, 1876. Medal of Maryland Institute. LEISURE AND LABOR. Painted 1853. 13x23. PAINTINGS. 53 ARTIST UNKNOWN. 124. VIRGIN AND CHILD. 23X19. 125. ELLIOTT, CHARLES LORING. (See No. 1.) HEAD OF A ROMAN GIRL (Unfinished.) Painted 1868. 22x18. 126. VENNEMAN, CHARLES FERDINAND. Born at Ghent, 1803; died, 1875. Pupil of De Braekeleer and of the Ghent Academy. Medal: Antwerp, 1845. THE VILLAGE DOCTOR. Painted 1850. 18x24. 127. PERETTI, B. Rome. AUTUMNAL CORN AND GRAPES. Painted 1875. 21x17. 128. WEBER, PAUL. Born at Darmstadt, 1823. Pupil of Lucas, and in Frankfort of the Stadel Institute. Studied in Antwerp under Deichmann. SCENE IN THE CATSKILLS. Painted 1858. 21X17. 54 PAINTINGS. I29. COUDER, EMILE GUSTAVE. (See No. 60.) FLOWER PIECE. Painted 1872. 14X 17. 130. BAKER, GEORGE A. Born at New York, 1821; died there, 1880. Pupil National Academy. Elected N. A., 1851. IDEAL HEAD. Painted 1865. 2 7X22, ' 31 - brown, w. Born in England. RETURN FROM MARKET. 2^x31. JEANNIN, GEORGE C. 132. Born in Paris. Medal: Third Class, 1878. VASE OF FLOWERS. Painted 1873. 33x24. PAINTINGS. b5 1 33 - SULLY, THOMAS. Born at Horncastle, Lincolnshire, England, 1783; died at Philadelphia, 1S72. Studied under Benjamin West, and for a short time under Gilbert Stuart, at Boston. Exhibited at the Royal Academy, 1820-1840. IDEAL FEMALE HEAD. 30x25. > 34 - ■ ODD 1 E, W. M. SCENE NEAR LENOX, MASS. Painted 1850. 36X49. > 35 - ROBBE, LOUIS. Born at Courtray, Belgium, 1806. Medals: Brussels 1839—’42; Paris, Third Class, 1844; Second Class, 1855. Legion of Honor, 1845. Order of Leopold, 1843. Officer, 1863. LANDSCAPE AND CATTLE. 33x48. 136. EASTMAN, SETH. Born at Brunswick, Maine, 1808; died, 1875. (Col. U. S. A.) BALL PLAYING AMONG THE SIOUX INDIANS. Painted 1857. 28x40. PAINTINGS. 56 ' 37 - DETAILLH, JEAN BAPTISTE EDOUARD. (See No. 63.) FRENCH CUIRASSIERS BRINGING IN BAVARIAN PRISONERS (Water Color). Painted 1875. 17x22. 138. MENGS, ANTON RAPHAEL. Born at Aussig, Bohemia, 1728; died at Rome, 1779. Pupil of Ismael Mengs, Court Painter to the King of Poland, Augustus 111 . Cardinal Albain and Pope Clement XIV employed him to paint for them at Rome. Charles III of Spain called him to Madrid in 1761 as Court Painter. ADORATION OF THE SHEPHERDS. 104x60. From the Collection of Joseph Bonaparte. 139. SCHAFFER, AUGUST. Born at Vienna, 1833. Pupil of Vienna Academy. Medals: Strasburg, 1859; Nassau. SUNSET IN HUNGARIAN FOREST. Gift of Edward Lind Morse. 42x61. 140. FULLER, GEORGE. Born at Deerfield, Mass., 1822; died at Boston, 1884. Studied in Boston, New York, London, and on the Continent of Europe. A. N. A., 1857. Painted 1882. LORETTE. 50x30. PAINTINGS. 57 141. GIGNOUX, REGIS. Born at Lyons, 1816; died, 1882. Member N. A., 1831. Painted 1840. LANDSCAPE. 34 x 3°- 142. . NEUBERT, LOUIS. Born at Leipsic, 1846. Pupil of the Weimer Art School under Max Schmidt and Kalckreuth. AN OLD CASTLE IN BAVARIA. Gift of Ralph C. Johnson. 31X53- 143. LACHENW 1 TZ, F. Pupil of Diisseldorf Academy. DOG AND PARROTS. Painted 1847. 38x32. STANLEY, j. M. 144. THE DISPUTED SHOT. 36x29. 145. CRANCH, CHRISTOPHER PEASE. Born at Alexandria, Va., 1813; died at Cambridge, Mass., 1892. Elected N. A., 1864. CASTLE GONDOLFO, LAKE ALBANO. Painted 1852. 36x54. PAINTINGS. 58 146. SALMSON, HUGO FREDERICK. Born at Stockholm, 1S43; died at Lund, Sweden. 1894. Medal: Paris, 1879. Legion of Honor, 1879. Member of the Stockholm Academy, 1871. THE FETE OF ST. JOHN IN DALECARL1A, SWEDEN. Painted 1874. 46x90. 147. PORTAELS, JEAN FRANCIS. Born at Vilvord, near Brussels, 1818. Pupil of Paul Delaroche. Won the Grand Prix de Rome, 1841. Order of Leopold. Medals: Paris, 1855. THE DROUGHT IN EGYPT. Painted 1848. 87x108. [This picture took the special gold medal, awarded at the Exhibition of the Crystal Palace, Sydenham, for the best picture, without regard to school, style, or subject, by a living artist.] DESGOFFE, BLAISE ALEXANDER. Born at Paris, 1830; died, 1886. Pupil of Flandrin and Bouguereau. Medals: 1861-1863. Legion of Honor, 1878. SOUVENIRS OF THE SIXTEENTH AND SEVENTEENTH CENTURIES. Painted 1874. 40x36. 149* ACHENBACH, OSWALD. Born at Dirsseldorf, 1827. Brother and pupil of Andreas Achenbach. Medals: Paris, 1859, 1861, 1863. Chevalier of the Legion of Honor, 1863. FESTIVAL OF SANTA LUCIA, NAPLES. Painted 1886. 60x81. PAINTINGS. 59 150. 1 s 1. SCHEFFER, ARY. Born at Dordrecht, 1797; died at Argenteine, 1858. Pupil of Guerin. Officer of the Legion of Honor, 1825. Produced his greatest works between 1835 and 1848. COUNT EBERHARD OF WURTEMBERG (THE WEEPER). 65x76. [The subject of this picture is as follows: Ulrich, son of Count Eberhard, had lost the battle of Reutlingen, and was dangerously wounded. Many of the nobility were slain. On his recovery he leisurely sought his father, at Stuttgart, and found him over his solitary meal. He was coldly received. Not a word was spoken. With downcast eyes he placed himself opposite his father. Fish and wine were served to him. The old count seized a knife, and cut the table¬ cloth between them. Frenzied by this insult, Ulrich rushed into the middle of the next fight, gains the battle of Doffingen, and was slain .—Ballad of Uhland. “ And while we were celebrating the victory in our camp, what was the old Count doing ? Alone in his tent, weeping over the dead body of his only son. ”— Ballad of Schiller.] I 52. BRETON, EMILE ADELARD. (See No. 99.) SUNSET. Painted 1869. 43x60. 6o PAINTINGS. 1 53- PRIOU, LOUIS. Born at Toulouse, 1845. Medals: Paris, 1S69—’74. A FAMILY OF SATYRS. Painted 1874. 78x86. This picture took the Gold Medal of the First Class at the Paris Exposition, 1874. 154- VAIL, EUGENE L. Born at St. Servan, France, of American parents, 1856. First Class Medal, Exposition Universelle, 1889. Gold Medal, Salon Paris. Grand Diploma, Berlin, 1891. First Class Medal, Antwerp, 1894. Decoration Cross of Legion of Honor 1894. READY ABOUT. Painted 1888. 84X124. 155- DUMARESCL, ARMAND CHARLES EDOUARD. Born at Paris, 1826. Pupil of Thomas Couture. Medal: Third Class, 1861, 1863. Order of St. Maurice, 1839. Legion of Honor, 1867. Officer, 1881. THE GENEVA CONFERENCE. 30x81. Gift of Herbert Dumaresq, of Boston. NO - *54- READY ABOUT, PAINTINGS. 61 LE ROUX, L. EUGENE. 156. Born at Paris, 1833. Medals: 1864, 1873, 1875. Legion of Honor, 1871. ALEXANDER II OF RUSSIA, RECEIVING THE RESOLU¬ TIONS OF CONGRATULATION ON HIS ESCAPE FROM ASSASSINATION, PASSED BY CONGRESS, AUGUST, 1866. 45x58. Gift of Mrs. G. V. Fox. * 57 - GEROME, JEAN LEON. Born at Vesoul, France, 1824. Pupil of Paul Delaroche and 1 ’Ecole des Beaux Arts. Medals: Paris, 1847, 1848, 1855. Member of the Institute, 1865. Medal of Honor (Exposition Universelle), 1867. One of the Eight Grand Medals of Honor (Exposition Universelle), 1878. Chevalier of the Legion of Honor, 1855. Officer, 1867. Commander, 1878. Chevalier of the Order of the Red Eagle. Member of the Royal Academy, London. Professor at 1 ’Ecole des Beaux Arts, Paris. C/ESAR DEAD. 86 a 25. 158. TA 1 T, ARTHUR F 1 TZWILLIAM. Born at Livesey Hall, near Liverpool, 1819. Pupil of Royal Institute, Man¬ chester. Came to New York in 1850. Elected N. A., 1858. QUAIL AND YOUNG. Painted 1856. 10X13- 02 PAINTINGS. 159- HAYS, WILLIAM JACOB. Born at New York, August, 1830; died at New York, 1875. HEAD OF A BULL-DOG. Painted 1856. 12x13. JOHNSON, EASTMAN. 160. Born at Lovell, Maine, 1824. Elected N. A., i860. GIRLS AND PETS. Painted 1836. 23x29. 161 . INNESS, GEORGE. (See No. 27.) LANDSCAPE. 19x26. 162. KENSEIT, JOHN FREDERICK. (See No. 19.) SKETCH OF MOUNT WASHINGTON. Painted 1851. 11x20. 163. BOUQUET, MICHAEL. Born at L’Orient (Morbiham), 1807. Pupil of Gaudin. Medals: 1839, 1847, 1848. Legion of Honor, 1881. LANDSCAPE. 16x34. PAINTINGS. 6 3 164. HALL, GEORGE HENRY. Born in Boston, 1825. Studied in Diisseldorf in 1849, and painted in Paris, 1850—’52. Member of the National Academy of Design, New York. THE DREAM. Painted 1884. 35 ^ 39 - Gift of the Artist. 165. JEFFERSON, JOSEPH. A distinguished comedian. Born at Philadelphia, 1829. Mr. Jefferson has devoted much of his leisure to the study of landscape painting. FOREST AND STREAM. Painted 1894. 20x30. Gift of the Artist. 166. CROPSEY, JASPER FRANCIS. Born at Rossville, N. Y., 1823. Pupil of Edward Maury. Elected N. A. in 1851. WASHINGTON’S HEADQUARTERS ON THE HUDSON. 22x37. 167. CHURCH, FREDERICK EDWIN. (See No. 24.) SCENERY ON THE MAGDALENA RIVER, GRANADA, SOUTH AMERICA. Painted 1854. 26x36. 6 4 PAINTINGS. l68. HELMICK, HOWARD. Born .it Zanesville, Ohio, 1845. Pupil of l’Ecole des Beaux Arts, Paris, and ot Cabanel. Member of the Royal Society of British Artists. THE EMIGRANT’S LETTER. Painted 1868. 20x16. 169. SIEBERT, EDWARD S. Born at Washington, D. C., 1S56. Studied under Professor Albert Baur and Karl Gusserv, in Weimar Academy. THE FLUTE PLAYER. Painted 1900. 30X26. Gift of Mrs. E. F. Andrews. 170. PEALE, JAMES. Born at Annapolis, Md., 1749; died at Philadelphia in 1831'. He was the youngest brother of Charles Wilson Peale, from whom he received instruction in painting. He devoted himself almost exclusively to painting miniatures, in which field he became highly distinguished. MINIATURE OF MRS. GENERAL JOHN P. VAN NESS (nee Marcia Burns). Painted 1797. Miniature. Gift of Mrs. Phillip Hinkle, of Cincinnati. 171. SARTA 1 N, WILLIAM. Born at Philadelphia, Pa., 184"!. Pupil of Pennsylvania Academy of Fine Arts, l’Ecole des Beaux Arts, Paris, and of Bonnat. One of the founders of the Society of American Artists. Associate National Academy of Design. Instructor Art Students’ League, New York. Silver Medal, Boston. Honorable Mention, Pennsylvania Academy of Fine Arts. STREET IN DINAN, BRITTANY. 19x13. Gift of John Elderkin, of New York. VIEW OF MCTURE GALLERY. PAINTINGS. 65 I72. LOIR, LUIGI. Born at Goritz, Austria. Pupil of Parma Academy and of Pastolet. Medal: 3d Class, 1879. EFFECT OF SNOW. 23x43. • 73 - DETAILLE, JEAN BAPTISTE EDOUARD. (See No. 63.) GENERAL OF THE FIRST EMPIRE. Painted 1892. 32x26. * 74 - ZIEM, FELIX. (See No. 98.) STREET IN CAIRO. 26X14. 175. CAZIN, JEAN CHARLES. (See No. 97.) LANDSCAPE. 18x22. MENPES, MORTIMER. A VENETIAN BALCONY. \oy 2 Y%y 2 . 66 PAINTINGS. MENPES, MORTIMER. * 77 - THE VISTA. 3 y 4- I 7 8. RICHARDS, WILLIAM TROST. (See No. 12.) ON THE COAST OF NEW ENGLAND. Painted 1894. 27x47. 179. CHIALIVA, LUIGI. (See No. 70.) THE OLD SHEPHERD. 26x41. 180. RICHARDS, WILLIAM TROST. (See No. 12.) BALDART CASTLE, KILKEE, COUNTY CLARE, IRELAND (Water Color). I 1 8 1. BONHEUR, (MARIE) ROSA. Born at Bordeaux, France, 1822; died, Paris, May 25, 1899. Animal painter. Began copying in the Louvre, afterwards made sketches and studies near Paris. She was the founder and director of the Paris Free School of Design for Young Girls. Elected member of the Antwerp Institute in 1868. Medals: 3d Class, 184s; ist Class, 1848, 1855; 2d Class, 1867; Legion of Honor, 1863; Leopold Cross, 1880; Commander’s Cross of Royal Order of Isabella the Catholic, 1880. BULL. 1 sx 1834. PAINTINGS. 67 182. VAN MARCKE, EMILE. (See No. 83.) COWS IN MEADOW. 33x23. Note. —The ten paintings from No. 173 to No. 183 were a gift to the Gallery from the heirs of the estate of the late George E. Lemon, of Washington, D. C.) 183. GERICAULT, JEAN LOUIS ANDRE THEODORE. Born at Rouen, Sept. 26, 1791; died in Paris, jan. 18, 1824. Historical and animal painter. Pupil of Carle Vernet and of Guerin. Also studied in Rome and Florence. STUDY OF A TORSO. Gift of Julius Oehme, of New York. 20X15. 184. WYANT, ALEXANDER H. Born in Port Washington, Ohio, January 1 1, 1836; died, 1892. Studied under Hans Gude in Carlsruhe; student of the works of Turner and Constable in London. Elected A. N. A. in 1868; N. A., 1869. LANDSCAPE. 36x60. 185. BARNEY, ALICE CLIFFORD. Of Washington, D. C. Born in Cincinnati, Ohio. Pupil of Carolus Duran. BERTHA (Pastel). Gift of the Artist. 24x20. 68 PAINTINGS. 186. CHASE, WILLIAM MERRITT. Born at Franklin, Ind., 1840. Pupil of B. F. Hayes in Indianapolis, J. O. Eaton in New York, A. Wagner and Piloty in Munich. Awards: Medal, Philadelphia, 1876; Honorable Mention, Paris, 1881; Honors, Munich, 18S3; Silver Medal, Paris Salon, 1889; First Prize, Cleveland Art Association, 1894; Shaw Prize, S. A. A., 1895; Gold Medal of Honor, P. A. F. A., 1895; Gold Medal, Paris Exposition, 1900; Member N. A., 1890; S. A. A., 1879; A. W. C. S.; Munich/ Secession; N. A. C. THE MODEL (Pastel). 19x16. Gift of Ralph C. Johnson, of Washington, D. C. 187. BRUSH, GEORGE DE FOREST. Born, Shelbyville, Tenn., 1835. Pupil of the National Academy of Design, New York; also studied under M. Gerome at the Ecole des Beaux-Arts. Member So¬ ciety of American Artists and an Associate of the National Academy of Design. MOTHER. AND CHILD. Painted 1902. 38x30. 188. DE WENTWORTH, CECILE. A TAPER TO SAINT GENEVIEVE. 78x48. Note. —From number 188 to 200 left blank for future additions. NO. 187. MOTHER AND CHILD. GEORGE DE FOREST BRUSH. NO. 267. EDWARD G. MALBONE. MALBONE. PORTRAITS. 200. HEALY, GEORGE PETER ANDERSON. Born at Boston, 1808; died at Chicago, Ill., 1895. Studied in Paris 1836; went to Chicago about i8s8 and painted portraits; revisited Europe in 1869, and resided long in Rome. Exhibited at Paris Salon and National Academy, New York, of which he was an Honorary Member. Medals: Paris, Third Class, 1840; Second Class, 1853. PRESIDENT GEORGE WASHINGTON (After Stuart). 30x25. 70 PORTRAITS. HEALY, G. P. A. 201 . MARTHA WASHINGTON (After Stuart). 30x25. 202. HEALY, G. P. A. PRESIDENT JOHN ADAMS (After Stuart). 30x25. HEALY, G. P. A. 203. PRESIDENT THOMAS JEFFERSON (After Stuart). 30x25. 204. HEALY, G. P. A. PRESIDENT JAMES MADISON (After C. Harding). 50x25. HEALY, G. P. A. 205. PRESIDENT JAMES MONROE (A Copy). 30x25. PORTRAITS. 7 » HEALY, G. P. A. 206. PRESIDENT JOHN CL ADAMS. 30x25. 207. HEALY, G. P. A. PRESIDENT ANDREW JACKSON. Painted 1845. 30x25. Painted at the Hermitage a short time before the deatli of President Jackson. 208. HEALY, G. P. A. PRESIDENT MARTIN VAN BUREN. Painted 1857. 30x25. 209. ANDREWS, ELIPHALET F. Born at Steubenville, Ohio, 1835. Pupil of Diisseldorf Academy and of Knaus and Bonnat. Elected Instructor of Drawing in Corcoran School of Art, 1887. PRESIDENT WILLIAM H. HARRISON. Painted 1879. 30x25. (From a portrait by J. H. Beard, 1840.) 72 PORTRAITS. HEALY, G. P. A. 2 10 . PRESIDENT JOHN TYLER. Painted 1842. 30x2 c,. 21 I. HEALY, G. P. A. PRESIDENT JAMES K. POLK. Painted 1846. 30X25. HEALY, G. P. A. 212 . PRESIDENT ZACHARY TAYLOR (After Amans). 30x25. HEALY, G. P. A. 213. PRESIDENT MILLARD FILLMORE. 30x25. HEALY, G. P. A. 214 - PRESIDENT FRANKLIN PIERCE. 30x25. PORTRAITS. 73 215. HEALY, G. P. A. PRESIDENT JAMES BUCHANAN. Painted 1859. 30x25. 2l6. HEALY, G. P. A. PRESIDENT ABRAHAM LINCOLN. Painted i860. 30x25. 217. ANDREWS, E. F. (See No. 209.) PRESIDENT ANDREW JOHNSON. 30x25. 218. ULKE, HENRY. Born at Frankenstein (Prussian Silesia), 1821. Pupil of Professor Wach (Court Painter at Berlin). PRESIDENT ULYSSES S. GRANT. Painted 1882. 30x25. 2 19. ANDREWS, E. F. (See No. 209). PRESIDENT RUTHERFORD B. HAYES. Painted 1881. 30x25. 74 PORTRAITS. 220 . MATHEWS, WILLIAM T. Born at Bristol, England, 1821. Came to the United States in 1833. Student National Academy of Design, New York. PRESIDENT JAMES A. GAREIELD. 30x25. 221. HEALY, G. P. A. PRESIDENT CHESTER A. ARTHUR. Painted 1884. 30x25. 222 UHL, S. JEROME. Born at Millersburgh, Ohio, 1841. Studied under Carolus Duran, P. de Chavannes and M. Raphael Collin. PRESIDENT GROVER CLEVELAND. Painted 1891. 30x25. 223. MATHEWS, WILLIAM T. (See No. 220.) PRESIDENT BENJAMIN HARRISON. Painted 1899. 30x25. PORTRAITS. 224. MATHEWS, WILLIAM T. (See No. 220.) PRESIDENT WILLIAM McKINLEY. Painted 1900. 30X25. 77 225. SULLY, THOMAS. (SeeNo. 133.) ANDREW JACKSON (Full Length.) Painted 1825. 95x60. 226. INMAN, HENRY (Attributed to). HENRY CLAY. 20x21. 227. GUTHERZ, CARL. Born at Schoeftland, Switzerland, 1844. Came to the United States in 1851. Studied in the Academie des Beaux Arts, Paris, and under Jules Lefebvre. Awarded Medal and Diploma International Exposition, Philadelphia, 1876. Third Class Medal, Paris, 1889. Member of National Jury, Chicago Columbian Exposition. MISS SUSAN B. ANTHONY. 24x20. Gift of Mrs. John B. Henderson. 7 6 PORTRAITS. 228. STUART, GILBERT. Born at Narragansett, Rhode Island, 1755; died, Boston, 1828. Went to Eng¬ land in 1775. Pupil and assistant to Benjamin West, President of the Royal Academy. In 178s, he set up a studio of his own in London, achieving marked popularity. He returned to America in 1792. Among his sitters in Europe were three Kings, Louis XVI, George 111 , and George IV while Prince of Wales. He painted many distinguished artists, and six Presidents of the United States sat to him for their Portraits, viz: Washington, Adams, Jefferson, Madison, Monroe and John Quincy Adams. He painted but two portraits of Washington from life; one he made life size (the L.ansdowne portrait), the second is in the Boston Museum of Fine Arts. From these he painted many copies. GEORGE WASHINGTON. 29x24. Stuart brought this portrait with him to Washington as a specimen of his skill when he came to this city to paint President Jefferson and his Cabinet. It was purchased from Stuart himself by Col. John Tayloe, of Mount Airy. Gift of Mrs. Benjamin Ogle Tayloe. 229. STUART, GILBERT. (See No. 228.) CHIEF-JUSTICE EDWARD SHIPPEN, of Pennsylvania. 29x24. 230. ELLIOTT, CHARLES LORING. (See No. 1). COLONEL THOMAS L. McKENNEY. 30x24. Bequeathed to the Gallery by the late James C. McGuire. 231. HEALY, G. P. A. (See No. 200). MRS. R. C. M. PAGE. Painted 1859. Gift of Dr. R. C. M. Page. 167x47. NO. 228. GEORGE WASHINGTON. GILBERT STUART. PORTRAITS. 77 2 ) 2 . ELLIOTT, CHARLES LORING. (See No. i.) JAMES C. McGUIRE. Painted 1854. WX’=,. Bequeathed to the Gallery by the late James C. McGuiie. 233. ELLIOTT, CHARLES LORING. (See No. 1.) WILLIAM CULLEN BRYANT. Painted 1854. 24x20. Bequeathed to the Gallery by the late James C. McGuire. 234 - NEAGLE, JOHN. Born at Boston, Mass., November 4, 1796; died at Philadelphia, Penn., Sep¬ tember 17, 1865. Received instruction from Gilbert Stuart. COL. RICHARD M. JOHNSON, Vice-President of the United States from 1837 to 1841. 30x25. Gift of Mrs. Benjamin Ogle Tayloe. 235. HUNTINGTON, DANIEL. (See No. 54.) JOSEPH HENRY. Painted 1857. 25x18. Bequeathed to the Gallery by the late James C. McGuire. 78 PORTRAITS. 236. ELLIOTT, CHARLES LORING. (See No. 1.) A. B. DURAND. Painted 1864. 27x2 a. ELDER, JOHN A. ^ 37 - GENERAL ROBERT EDWARD LEE. 48x40. 238. DUPLESS 1 S, JOSEPH SIFREDE Born at Carpentras, Fiance, 1725; died, 1802. Keeper of the Museum of Versailles. Admitted to the Royal Academy, 1774. BENJAMIN FRANKLIN. Painted 1782. 30x25. [On the back of the stretcher is this inscription: “ This picture of Dr. Franklin was painted at Paris, 1782, and was presented by him to Mr. William Hodson, of Coleman Street, as a token of his regard and friendship.”] ELDER, JOHN A. 239 - GENERAL T. J. JACKSON. 48x40. PORTRAITS. 79 24O. HUBARD, WILLIAM j. Born at Warwick, England, 1807; died, Richmond, Va., 1802 JOHN C. CALHOUN. Cabinet size 241. VANDERLYN, JOHN. Born at Kingston, N. Y., 1776; died there 1852. Pupil of Gilbert Stuart. Medal: Paris, 1808. PRESIDENT ZACHARY TAYLOR. Painted from life, 1852. 30x25. 242. RICHARD, MADAM EMMA G. BARON HUMBOLDT. 38x24. 245. HEALY, G. P. A. (See No. 200.) JUSTIN S. MORRELL, OF VERMONT. Gift of W. W. Corcoran. 244. ANDREWS, E. F. (See No. 209.) AMERIGO VESPUCCI. Copied from an original in the possession of J. D. McGuire. Gift of the Artist. 8 o PORTRAITS. 245. LE CLEAR, THOMAS. Born at Oswego, N. Y., 1818. Elected N. A., 1863. WILLIAM PAGE. Painted 1876. 24x20. 246. PEALE, REMBRANDT. Born in Bucks Co., Penn., 1787; died at Philadelphia, i860. Son of Chailes Wilson Peale. Pupil of his father and Benjamin West. Exhibited at Royal Academy, London, 1833. M. LASTEYRIE. 28x33. [This picture, according to an inscription on the back, is a portrait of a “dis¬ tinguished French economist and author—the first to establish a museum of natural history, a writer on cotton and merino sheep,” and was painted in Paris (no date), by Peale, for the Philadelphia Museum.] 247. HEALY, G. P. A. (See No. 200). ROBERT M. McLANE. Painted 1887. 60x42. Presented to Mr. Corcoran by Mr. McLane. 248. JACKSON, JOHN. Born at Lastingham, Yorkshire, 1778; died at London, 1831. Elected A. R. A., 1S15; R. A., 1817; elected a Member of the Academy of St. Luke, Rome, 1819. PORTRAIT. 30x24. Gift of S. H. Kauffmann. PORTRAITS. 8 I 249. PEIXOTTO, GEORGE DA MADURA. Born at Cleveland, Ohio, 1859. SIR MOSES MONTEFIORE, (at the age of ioo years.) Painted 1886. 43x35. 25O. PEALE, REMBRANDT. (See No. 246.) JACQUES HENRI BERNARDIN DE SAINT PIERRE, Painted from life, 1808. 28x23. Gift of George W. Riggs. 251. KING, CHARLES B. Born at Newport, R. I., 1785; died at Washington, D. C., 1862. JOHN C. CALHOUN, (when Secretary of War.) Painted 1822. 30x25. COSTAGG 1 NI, FILLIPPE. 252. CARDINAL SATOLLI. Painted 1896. Gift of Cardinal Satolli. 50x40. 82 PORTRAITS. 253 - HEALY, G. P. A. (See No. 200.) GEORGE PEABODY. Painted 1854. 30x25. 2 => 4 - MULL'ER-URY, A. Born at Airolo, Switzerland, 1862. First studied under Vela, the Sculptor, then at the Berlin Academy, then three years with Cabanel at Paris. Came to America in 1886, and lived mostly in New York. GENERAL ULYSSES S. GRANT. 61x41. Gift of Jefferson Seligman, of New York. 2S5- WALDO, SAMUEL. Born in Connecticut, 1783; died, 1861. G. W. PARKE CUST 1 S (of Arlington, Va.) 36x29. 256. SULLY, THOMAS. (See No. 133.) CHIEF JUSTICE JOHN MARSHALL. 35 x 27. PORTRAITS. 83 257. HUNTINGTON, DANIEL. (See No. 54.) AMOS KENDALL. 30x25. (Postmaster-General from June, 1835, to May, 1840. Founder of the Deaf- Mute College, Washington, D. C.) Gift of Mrs. Jeannie Kendall Stickney. 258. KING, CHARLES B. (See No. 251.) HENRY CLAY. Painted 1822. 36x28. 259. HUNTINGTON, DANIEL. (See No. 54.) MRS. AMOS KENDALL. 30x25. Gift of Mrs. Jeannie Kendall Stickney. 3 260. SULLY, THOMAS. (See No. 133.) THOMAS SULLY. 30x25. 261. HARDING, CHESTER. Born at Conway, Mass., 1792; died at Boston, 1866. JOHN RANDOLPH, OF ROANOKE. Painted 1830. 30x25. 8 4 PORTRAITS. 262. GUILLAUME, LOUIS MATTHIEW DIDIER. Born at Nantes, France, 1819; died at Washington, 1892. COMMODORE M. F. MAURY. Painted 1882. (From a photograph.) 263. LAZARUS, JACOB H. (See No. 14.) LAFAYETTE S. FOSTER. Painted 1894. Gift of Mrs. Lafayette S. Foster. 264. ELLIOTT, CHARLES L. (See No. 1.) HORATIO STONE. Gift of Samuel P. Avery. 265. SULLY, THOMAS. (See No. 133.) JAMES MADISON. Painted 1809. Gift of Frederick E. Church. 266. DURAND, A. B. (See No. 26.) PORTRAIT OF A CHILD. Painted 1835. 36x46. 30x25. 24x20. 27X20. 55x30. Gift of Mrs. E. J. Stone. PORTRAITS. Ss 267. MALBONE, EDWARD G. Born at Newport, R. I., 1777; died at Savannah, Ga., 1807. An eminent miniature painter, but was little known as a painter in oils. EDWARD G. MALBONE. 28x24. 268. HEALY, G. P. A. (See No. 200). M. F. P. G. GUIZOT. Painted 1841. 94x68. This portrait of the historian and the Prime Minister of Louis Philippe was painted in Paris, 1841, to the order of some American residents there in compli¬ ment to the French statesmen for his memoir of George Washington. The picture was presented by them to the National Institute, a scientific association then existing in Washington. When that body no longer existed, the painting was sent to the Smithsonian Institution, and thence transferred to the keeping of The Corcoran Gallery of Art. . Plate I THE PARTHENON. A. Metopes. B. Pediment. C. Frieze. KEPH1SS0S. CASTS FROM ANTIQUE SCULPTURE. THE PARTHENON. Plate 1 , opposite page. The Parthenon, a Doric temple of white marble, erected in honor of Minerva (Athene Polias), the tutelar deity of Athens, was completed in the year 438 B. C., 16 years after its commencement. The temple was built during the administra¬ tion- of Pericles, who employed Callicrates and Ictinus as architects under the direction of Phidias, to whom he entrusted all works of magnificence, and who embellished it with statues and bas-reliefs. It was 227 feet long, 101 wide, and 65 in height, with 8 pillars front and back, and 17 on each side; these pillars were 42 feet high and \”j% in circumference, the distance between them being 7 feet 4 inches. The Frieze of the Parthenon. Plate /, C. This frieze, in low relief, ran around the top of the inner faces of the colonnade and outer wall of the cella of the temple, yet within and below the roof, and 39 feet above the pavement. As the entablature above the outer columns descended 4 feet 9 inches below the lower edge of the frieze as it was placed on the wall, the frieze could only receive its light diffused between the columns and reflected upwards from the pavement of the colonnade. Owing to this circumstance, as well as to the peculiar position 8S CASTS FROM ANTIQUE SCULPTURE. of the spectator when looking at the frieze, standing within the columns, the artist was forced to keep his relief very flat, so that it only rises i ^ inches from the background, and at the highest point only 2% inches; moreover, it is owing to these circumstances that the relief was kept lowest in the lower parts of the frieze and highest in the upper parts, where even sometimes the background is sunk to gain a bolder relief. The frieze was over 522 feet in length, running around the four sides of the temple. Around the cornice of the south end of the atrium first story, or Statuary Hall of this Gallery, is placed 194 feet of casts from the original marble slabs of this frieze. The reliefs commencing with that nearest to, and south of, the main entrance, presenting an unbroken line of young horsemen sweeping along, with here and there a dismounted group, varying the action of the cavalcade, are arranged precisely as the originals stood in the Parthenon. Following these, and extending to the main staircase on the west, are broken groups representing seated deities (see Nos. 1001 to 1009), virgins with sacrificial oxen, and charioteers. 1001 ZEUS. Frieze of the Parthenon. 1002 HERA. Frieze of the Parthenon. 1003 IRIS. Frieze of the Parthenon. 1004 ARES. Frieze of the Parthenon. 1005 ARTEMIS. Frieze of the Parthenon. 1006 APOLLO. Frieze of the Parthenon. 1007 HERMES. Frieze of the Parthenon. 1008 ATHENE. Frieze of the Parthenon. 1009 HEPH AISTOS. Frieze of the Parthenon. PEDIMENTS OF THE PARTHENON. ['late II. EASTERN PEDIMENT. go CASTS FROM ANTIQUE SCULPTURE. The Western Pediment. Plate II, Page 89. Tlie myth here represented is as follows: Athene and Poseidon both claim the patronage over the land of Attica; their claims are to be decided by some token, symbol, or sign of their power; and, according to various traditions, the judges who are to decide which of these tokens contains the weightiest claim to the patronage, are either the Olympian gods, or Kekrops the hero-king of Athens with his family, or the Attic people themselves. There is little doubt concerning the figures at the extreme angles of the pedi¬ ment, which are generally admitted to be, on the left the river god Kephissos No. 7 1 , with a nymph not extant, and at the tight angle the nymph (Kallirrhoe) No. 7 r., with the river Ilissos No. 6 r. crouching beside her. The real doubt exists with regard to the remaining figures at either side. No. 1 on the 1 . is called by Michaelis and others, Kore holding the boy Iakchos (No. 2), who is turning towards the seated female figure Demeter (No. 3), while Nos. 4 and 5 are called in the British Museum, Pandrosos and Kekrops, and by Michaelis, Hygieia and Asklepios. The corresponding figures on the other side are called (No. 1) Leukothea with Palaemon and Eros in her arms, (No. 2) Aphrodite in the lap of (No. 3) Thalassa, No. 4 being a Neried. The othei» system of interpre¬ tation, first formed by Brunn, makes all the figures on either side of Nike and Amphitrite partake of the nature of the river gods at either angle, considering them personifications of Attic locality. Of this pedimental group, fortunately drawn by Carrey in 1674, before the destruction of the Parthenon, only more or less fragmentary remains of Athene, Poseidon, Hermes, Amphitrite, perhaps Nike, and of 1, 6, and 7 r., and 4, 5, and 6 1 . are extant in the British Museum. 1010 RIVER GOD, KEPHISSOS. II. 2 ft. 8 in. L. 6 ft. 4 in. Original Elgin Marble, 440 B. C. British Museum. This figure stood in the north angle of the western pediment of the Parthenon, and is represented as raising himself on an arm from a recumbent position, to listen to the announcement of the triumph of Minerva over Neptune. “ This, one of the most famous specimens of Greek sculpture extant, shows the combination of perfect modelling and grandeur which marked the art of Phidias, and displays the care which was bestowed even upon works of mere decoration. Note for instance the remains of finish even on the back of the statue, which could never be seen in situ." Note. —The measurements of the casts give the height of the statues and busts exclusive of their plinths or bases. CASTS FROM ANTIQUE SCULPTURE. 91 The Eastern Pediment. Plate II, page 89. The subject represented in this pediment was, according to Pausanias, the birth of Athene. We cannot believe that the moment represented was that of the actual birth of Athene out of the head of Zeus, an incident sometimes quaintly rendered on archaic vases; nor can we believe that it was that immediately preceding the birth. It must have been the scene immediately succeeding the birth, when Athene stands fully armed before her father and the admiring gods, as described in the Homeric hymn to Athene. In Carrey’s time the centre of the pediment was no longer extant, and he could only give the figures at the wings as here rendered in Plate II, page 89; but there can be little doubt that the centre of the pediment was occupied by Zeus and Athene, with the chief Olympian gods and goddesses to their left and right. In this plate all the extant figures from this pediment, now in the British Mu¬ seum, are given, with the exception of a nude male torso at Athens (Michaelis, VI, H. Guide Brit. Mus., Prometheus or Hephaistos, p. 16), and the torso of Nike (?), which has before been ascribed to the western pediment. No. 1 1 ., the draped female figure rapidly striding towards the angle, is admitted by all to represent Iris, the fleet messenger of the gods, bringing the news of the great event from the dwelling of the gods to the figures seated in the angle. In the case of this, as in that of the western pediment, there are two main groups of interpreters : those, namely, who see in the figures of the angles gods or heroes, and those who con¬ sider them to form subdivisions of the composition as a whole, clearly to be dis¬ tinguished from the central group, and to be personifications of nature in keeping with the character of the chariot-driving figures at the extreme angles, which are admitted by all to represent the sun god and the moon goddess. Accordingly the seated figures, 2 and 3 1 ., would be, after Brunn, the two Horae who watch the gates of Olympus, the reclining nude male figure, 4 1 ., would be the mountain god Olympus, while the hitherto generally accepted interpretation for the two female figures, has been Demeter and Persephone, and for the male figure, Theseus, Dionysos, or Herakles. Nos. 5 and 6 1 . are universally admitted to represent Helios, the sun god, driving his chariot. No. 2 r. represents Hestia, the goddess of the human hearth, while the female figure 4 r., reclining on the knees of her seated companion 3 r., is the sea, Thalassa, resting on the lap of the earth, Gaia. The current names given to these three figures are the Three Fates, who were supposed to be present at the birth, and are thus figured on the late reliefs in Madrid and Dresden; 5 and 6 r., are ad¬ mitted to represent Selene, the moon goddess, driving her chariot. In the western pediment, the myth represented shows Athene in her local asso¬ ciation with Athens; while in the eastern pediment, the birth of Athene from the head of Zeus has an universal association with mankind. The one scene is local, the other cosmical, as the river gods with nymphs framing one scene, and the sun and moon framing the other, certainly indicate, and as the remaining figures probably do. 92 CASTS FROM ANTIQUE SCULPTURE. It must be remarked, that the prevailing difference of opinion in assigning defi¬ nite names to the single figures of these pediments, is due not only to the fact that we have no passage in ancient authors mentioning them, but that the frag¬ mentary condition of the statues has not even supplied us with the symbols which they held in their hands, and which made their meaning clear to every child in ancient Athens. The Parthenon appears to have remained in its original condition until the 5th or 6th century of our era, when it was converted into a Christian church, at first of St. Sophia, then of the Virgin Mary. The alterations necessitated by its new dedication chiefly concerned the interior of the temple, and had little effect upon the sculptured decorations. The entrance was transplanted from the east to the west, an apse was built at the east end, and two niches were placed in the tym¬ panum of the western pediment. At the beginning of the 13th century it was converted from a Greek orthodox into a Roman Catholic church, and in 1458 it was turned into a Turkish mosque, a minaret being added to the west end of the south wall. On the whole, the building and the sculptured decorations remained comparatively intact until the latter part of the 1 7th century, when all nationalities combined in destroying it. In September, 1687, during the war between the Republic of Venice and Turkey, the Venetian general, Francisco Morosini, with an army chiefly of mercenary troops of all nationalities, under the immediate command of Count Koenigsmark, a Swedish general, laid siege to Athens, and bombarded the Acropolis, whither the enemy had withdrawn. Upon hearing that the Turks had stored powder in the Parthenon, on the 26th of September, 1687, at seven o’clock in tire evening, a German lieutenant succeeded in sending through the roof of the Parthenon a shell, which ignited the powder and rent the great temple asunder, heaping fragments on either side. In the year 1800, Lord Elgin, then British ambassador to the Porte, having received permission, began his work of carrying off the Parthenon marbles. After years of the greatest vicissi¬ tudes, occasioning a vast expenditure of money on the part of Lord Elgin, the sculptures finally reached England in 1812, when, being forced to sell the collec¬ tion, he offered it to the nation for the sum he had actually expended. At last it was purchased for £1^,000, a sum less than half it cost him, and now forms the chief treasure of the British Museum. The following 10 casts are arranged as nearly as possible in the position occu¬ pied by the original marbles in the east pediment of the Parthenon: 1011 HELIOS, WITH HIS HORSES. Original Elgin Marbles, 440 B. C. British Museum. At the extreme angle of the pediment the neck, arm, and shoulder of Helios, the sun god, rise out of the sea, and before him the heads and necks of his horses are advancing towards the centre (but one of the three horses is here represented). Though there are but small por¬ tions of the figures of horses and man, the bold upward motion is completely indicated, and the artist clearly suggests that the scenery presented in the pediment takes its beginning at this side and concludes at the other. CASTS FROM ANTIQUE SCULPTURE. 93 1012 OLYMPUS, commonly called THESEUS. H. 4 ft. in. L. 5 ft. 9 in. Original Elgin Marble, 440 B. C. British Museum. The original reclined in an angle of the east pediment, and is uni¬ versally acknowledged, alike by artists and by the outside world, to represent the highest stage of broad and monumental art in the repre¬ sentation of the nude male figure. 1013 TWO HORAE, commonly called CERES (or DEMETER) and PROSER¬ PINA (or PERSEPHONE). H. -. Original Elgin Marble, 440 B. C. British Museum. Guardians of the gates leading to the dwellings of the gods. The first of these two figures, in her more erect attitude and gesture, mani¬ fests the attention she is giving to the news brought by the messenger of the gods, Iris; the other figure, leaning on her shoulder, has not yet completely realized the importance of the scene enacted in the centre. Both these figures manifest in a high degree the characteristics of Pheidiac art. 1014 IRIS. H. 5 ft. 3 in. Original Elgin Marble, 440 B. C. British Museum. The fleet messenger of the gods, rapidly descending from their abode to proclaim the birth of Athene, is here represented as a youthful female figure, clad in the Doric chiton open at the sides. A short mantle is flapping back in the wind, owing to her rapid motion, the indication of which is powerfully expressed in the whole composition. 1015 HEST 1 A. H.-. Original Elgin Marble. British Museum. The common view makes her one of the Three Fates ; the left arm of this figure was probably raised behind the shoulder of Gaia and there held a sceptre; the simple and solemn attitude of this figure would well correspond with the nature of Hestia. 1016 THALASSA and GAIA, commonly called TWO OF THE THREE FATES. H. 4 ft. 11 in. L. 7 ft. 7 in. Original Elgin Marble, 440 B. C. British Museum. The original occupied a position in the angle of the eastern pediment opposite the Olympus. “ Here the perfection of the modelling of the 94 CASTS FROM ANTIQUE SCULPTURE. texture of drapery and the nude has been attained, and this not at the cost of the general breadth of composition. As regards the varied treatment of drapery, notice the folds of the cloth upon which Thalassa is reclining, with its broader surfaces, the more elaborate folding of the upper garment round the legs, and the varied play of smaller creases of the undergarment as it covers the breast, against the nude texture of which it is set off in bold contrast.” 1017 HEAD of one of the horses of SELENE. H. 2 ft. 6 in. Original Elgin Marble, 440 B. C. British Museum. The head projected over the cornice of the eastern pediment, double holes behind the ears, on the nose, between the eyes and mouth, and on the inner corner of the mouth (not well represented in the cast) showed where the metal bridle had been affixed. “ This head has ever been held as the instance of sculpture in which the combination of actual truth to nature on the one hand and the insistence upon the broad, important, and general features, with the avoidance of purely individual and ephemeral traits, upon the other, has been successfully attained.” We are indebted for much of the foregoing matter relating to the Parthenon, to Stuart and Revett, Antiquities of Athens; to Dr. William Liibke, History of Sculpture; and to the writings of Charles Waldstein, Lift. D., Ph. D., L. H. D , Director of Fitzwilliam Museum, Cambridge. 1017A EIGHT SLABS OF THE METOPES OF THE PARTHENON. From the original marbles in the British Museum. These Metopes were of Pentelic Marble and were decorated with sculpture in high relief. There were 92 of them, separated from one another by triglyphs, and running around the whole of the temple, 14 on either front, and 32 on each side Each was 4.41 feet square, but the top contained a projecting seam of 0.45 feet, decorated with a bead ornament which must be deducted from the space left for reliefs. The figures in the reliefs project from the background about ten inches, probably prescribed by the thickness of the slabs. Though there are at present no traces of color to be found on the originals, there can hardly be any doubt that the reliefs were supported by color. The subjects of these Metopes are taken from the contest between the Centaurs and Lapiths at the marriage feast of Peiiithoos. CASTS FROM ANTIQUE SCULPTURE. 95 1018 THE DISCOBOLOS (Quoit-thrower). H. 5 ft. ^'/ 2 in. Original Bronze, in the British Museum. The original statue was executed in bronze by Myron at the close of the first period of Greek sculpture, about 470 B. C., and is minutely described by Lucian and Quintiilian. The discus was a round flat plate of metal or stone, about ten or twelve inches in diameter. There are several antique copies in marble of this figure, showing the head reverted. The copy from which this cast is taken was found in 1791, near Hadrian’s Villa. 1019 DISCOBOLOS. H. 5 ft. 5^ in. Original Marble, in the Vatican. The original of this cast is supposed to be by Naucydes, pupil of Polycletus, who was a pupil of Phidias. The head is supposed not to have formed a part of the original figure. The fillet round the head was the badge of victory. 1020 VENUS OF MELOS. H. 6 ft. Sin. Original Marble, in the Louvre. The original of this cast was discovered in 1820 by a peasant, in a grotto about five hundred yards from the ancient theatre of the town of Melos, in the island of the same name. From its shape and charac¬ ter, the grotto is supposed to have been a grave in which the statue was hidden. It was bought for the sum of 6,000 francs by M. de Marcellas for the Marquis de Riviere, then French Ambassador to the Porte. It was carried to Paris in February, 1821, and presented by 'v Riviere to Louis XVII 1 . It now stands in the Louvre, the pride of Paris, and the admiration of the world. Its sculptor is unknown, but by the grandeur of its style it is justly assigned to the era between Phidias and Praxiteles, and is considered the greatest statue of woman’s form the world now holds. The plinth, the tip of the nose, and a small part of the lips are the only parts restored. Parts of an arm and hand were also found, but so mutilated that, though casts have been taken with them attached, the torso is declared by the world better as it is—the fullness of what is left, and its suggested action, being more satisfactory than any guesswork from an uninspired hand. Mr. Ravaisson, keeper of the Antiques of the Louvre, thinks it prob¬ able that the statue is part of a group of Venus and Mars —“ Love dis¬ arming War ”—-and he has made a cast, with the arms attached, which it is said confirms his theory. Then, again, it is asserted that a small bronze copy of it has been discovered in Pompeii representing her as looking at herself in a mirror held in her left hand. Mr. Millingen, a Dutch antiquary, thinks it a Victory holding a shield with both hands, and Mr. Stillman, a recent critic, contends that it is the Wingless Victory that once stood in the Temple of Nike- Apteros, Athens, and was sent to Melos at the time of a threatened invasion. 96 CASTS FROM ANTIQUE SCULPTURE. The Venus of Capua in the Museo Bourbonico, Naples, is like the Venus of Melos in general form, but has the head bent down and the left arm and empty hand extended towards a Cupid, who, with his bow, stands before her. It is believed to be a modified copy of the latter. All these theories, however, are set at naught, and the ac¬ tion of the Venus of Melos settled, if there be truth in the following evidence of its con¬ dition when found, as quoted by O’Shea in his “Galleries of the Louvre.” The eminent traveler, Dumont D’Urville, landed from the French frigate soon after its discovery, and, after an inspection, says in his account of it, published in 1821: “The statue was in two parts, and about six feet high, repre¬ senting a nude female whose left hand (raised) held an apple, and the right one held up a tunic falling gracefully from the waist to the feet. However, they (the hands) were mutilated and separated from the body.” An officer of the man-of-war, writing about the statue, says: “When M. D’Urville and myself saw the statue it had the left arm raised in the air, and holding m its venus of melos. hand an apple, and the right arm was broken at its narrow part— a la saignee .” O’Shea also states that the forearm and hand holding the apple are in the store-room of the Louvre. This contemporary evidence seems to prove conclu¬ sively that the statue is a Venus Victrix in the contest for the apple with Juno and Minerva. 1021 VENUS DE MEDICI. H. 5 ft. Original Marble, in Florence. Gift of J. C. McGuire. The original stands in the Tribunal of the Uffizi, Florence. It was found in the 15th century, and carried to Venice during the reign of CASTS FROM ANTIQUE SCULPTURE. 97 Cosmo di Medicis—hence its name. When found it was in thirteen pieces, and without arms. These were supplied, but it is supposed by many that the position of the original arms is not given in the substi¬ tutes. It was executed by Cleomenes of Athens at a period when Greek art was rapidly declining. 1022 VENUS OF THE CAPITOL. H. 5 ft. 11 in. Original Marble, in the Capitoline Museum, Rome. Found in Rome, between Viminal and Quirinal hills, and placed in the Capitoline Museum by Benedict XIV, 1752. 1023 SLEEPING ARIADNE. H. 5 ft. 3^ in. L. 6 ft. 11^ in. Original Marble, in the Vatican. Date and place of discovery unknown. Its history can be traced to the beginning of the sixteenth century, when it was in the possession of Girolamo Maffei, a prominent citizen of Rome (Michaelis), pur¬ chased of him by Julius II, between 1509 and 1512, and placed in the Belvedere of the Vatican, whence it was subsequently removed to the Gallery of Statues. 1024 EUTERPE. H. 4 ft. 6 in. Original Marble, in the Louvre. •wJ Formerly in the Villa Borghese, Rome. The head is ancient, but does not belong to the statue. The nose, mouth, and chin are modern; also the neck, the right hand, and por¬ tion of the arm. 1025 DIANA DI GABIL H. 6 ft. 5 in. Original Marble, in the Louvre. Found in 1792 in the neighborhood of Gabii, about ten miles from Rome. At first it belonged to the Borghese Collection; since 1808 it has been in the Louvre. 1026 EROS. H. 2 ft. 9^ in. Original Marble, in the Vatican. Found in the second half of the 18th century by Gavin Hamilton, at Centocelle, in the Via Labicana, near Rome, and sold to Pope Clement XIV, by whom it was placed in the Vatican. 1027 ABUNDANCE, or PLENTY. H. 6 ft. 11 in. Original Marble, in the Vatican. It has the cornucopia in the left hand, while the right holds a rudder resting on a globe, thus indicating Commerce as a source of Plenty. 9 8 CASTS FROM ANTIQUE SCULPTURE. 1028 MINERVA. H. 7 ft. 3 in. Original Marble, in the Vatican. Found in Rome near the Church of S. Maria Sopra Minerva, which, as its name implies, was built over a temple of Minerva. During the time of the first Napoleon it belonged to Lucien Bonaparte. He sold it to Pius VII, who removed it to the Vatican. 1029 GENIUS OF ETERNAL REPOSE. H. 3 ft. 11 in. Original Marble, in the Louvre. The statue is of Pentelic marble; but it is of the Roman period as is shown by the fact that the pupils of the eyes are indicated. This is one of the statues that belonged to the collection of the Cardinal Mazarin, and was one of those which were left by him to the Due de Meilleraye who took the arms and the name of the Cardinal, and who, when he got the statues, did with his own hands a lot of smashing to prove the absolute purity of his thoughts and his abhorrence of the nudities of Greek mythology. The statue has been broken in two, and all the front part of it has been banged and battered. It was so mutilated that at one time it passed for an Hermaphrodite. The restorations are good, and the statue is recognized as a work of excellent art. Whether the original composition was of Greek or of Roman art can¬ not as yet be determined. 1030 GERMANICUS (so-called). H. 5 ft. 11 in. Original Marble, in the Louvre. Of Parian Marble. Place and date of discovery unknown, but in Italy, and probably during the last half of the 16th century. In 1685 it was sold by Cardinal Savelli to Louis XIV, together with the so-called Jason; and placed first at Versailles, afterwards in the Louvre. Some consider it to be a statue of a Roman orator, in the character of Mercury, the god of eloquence, of whom the tortoise below the drapery is an emblem. It is inscribed, “ Cleomenes, son of Cleomenes, made this. ” 1031 ANTINOUS OF THE CAPITOL. H. 3 ft. 10^ in. Original Marble, in the Capitoline Museum. Found in Hadrian’s Villa, near Tivoli; placed in the Museum by Pope Clement XII. 1032 THE BORGHESE WARRIOR. H. 5 ft., and from head to foot, 6 ft. 6 in. Original Marble, in the Louvre. This statue was found on the coast near Antium, early in the 17th century, very near the spot where, a century before, the Apollo Belve- CASTS FROM ANTIQUE SCULPTURE. 99 dere was found. The stem supporting it is inscribed in Greek letters, “ Agasias, son of Dositheas, of Ephesus, made me and therefore it is a specimen of Greek sculpture of the Fourth Epoch, that ended with the Roman conquest. It is now asserted that this statue does not represent a gladiator, but a foot-soldier, defending himself against a horseman; and that gladiators were principally slaves, who fought with more or less armor. Viardot insists that it is Greek, and represents an athlete of the Hellenic games, gladiators not being known to that peo¬ ple, but were of Roman origin. 1033 GROUP OF LAOCOON AND HIS SONS. H. 6 ft. y z in. to top of head. Date probably B. C. 100. Original Marble, in the Vatican. The original was executed by three sculptors—Agesandros, Atheodo- ros, and Polydoros. It was found in 1506, in the ruins of the Palace of Titus, on the Esquiline, Rome, and the Pope ordered a public festi¬ val in honor of its discovery. The right arm of Laocoon was wanting in the group as found. One in terra cotta, by Bernini, was substituted. Michael Angelo designed one in marble, but never finished it. Liibke and other writers insist that the right arm was not originally in the position given to it by the great sculptor, but was bent down behind the head, which was thus supported by the hand in that moment of exhausted agony. T his posi¬ tion of the arm is often given in engravings. 1034 APOXYOMENOS. H. 6 ft. 5^ in. Original Marble, in the Vatican. This cast represents an athlete scraping from his arm with the strigil the sand and oil of the arena. Athletes were contestants in the public games, and before entering the arena rubbed their naked bodies over with oil. The original, in bronze, executed by Lysippos, was found in the Trastavere, Rome, in 1849. Agrippa had it placed in front of the Thermae, near the Pantheon, and it was so popular that when Tiberius attempted its removal to his own residence, the people rose and forbade it. It is believed that the five-spot on the die (tessera) held out in the right hand signifies that the figure came out fifth in the contest, though Waldstein says the die was placed in the restored right hand on the strength of a misinterpretation of some words of Pliny. 103t BUST OF NERO. H. 1 ft. 11 in. Original Marble, in the Louvre. jo^ 6 AJAX, or MENELAUS. H. 2 ft. 3^ in. Original Marble, in the British Museum. This bust has been erroneously called Ajax. It was found in 1771 by Mr. Gavin Hamilton in the Pantinella, Hadrian’s Villa. 100 CASTS FROM ANTIQUE SCULPTURE. 1037 S 1 LENUS HOLDING THE INFANT DIONYSOS. H. 6 ft. 4 in. Orignal Marble, in the Louvre. The original of this cast was found in the 16th century in Rome, in the gardens of Sallust. The hands, half of the right forearm, and right toes of Silenus, and left leg of Dionysos are restorations. 1038 VENUS KALLIPYGE. H. 5 ft. 1 in. Original Marble in the Naples Museum. So called from the Greek definition of its peculiar character. It was once in the Farnese Palace, Rome. The head and the right leg below the knee are supposed to be restorations. 1039 BOY AND GOOSE. H. 2 ft. 9*4 in. Original Marble, in the Vatican. Found in 1789, at Civita Vecchia, Appian Way. It is thought to be copied from a bronze work by Boetius, of Carthage. Heads of the child and goose, with the wing tips, are restorations. 1040 YOUTH SUPPLICATING. H. 4 ft. lYz in. Original Bronze, at Berlin. The original of this statuette is said to have been found in the Tiber. From Clement XI it passed through several hands to the King of Prussia. The right hand and part of the forearm are restorations. 1041 ACHILLES BORGHESE. H. 6 ft. 9 in. Original Marble, in the Louvre. The original of this cast was formerly in the Villa Borghese, whence its name. Its proper name is doubtful. Clarac thought it a copy of a bronze by Alcamenes, favorite pupil of Phidias. Visconti first gave it the name of Achilles, but Winkelman thinks it a statue of Mars, and that the ring or anklet indicated the custom of the Spartans of chain¬ ing up the God of War, “ that he might never leave them.” 1042 HERMES OF THE BELVEDERE. H. 6 ft. 6 in. Original Marble, in the Vatican. Probably found about 1 ^42 in a garden near the Castle of St. Angelo (Michaelis). Purchased by Paul III, and placed by him in the Belvedere of the Vatican. There are no restorations. The right leg was broken between the ankle and hip, and is not well joined to the foot. CASTS FROM ANTIQUE SCULPTURE. IOI 1043 CROUCHING VENUS. H. 2 ft. 8in. Original Marble, in the Vatican. The original statuette was found at Salone, on the road from Rome to Palestrina. The left hand, right forearm, and upper part of the head are modern. 1044 VENUS AT THE BATH. H. 2 ft. 3 in. Original Marble, in the Louvre. Much of this figure is of modern restoration. It is supposed to be a copy of the Venus of Polycharnres, which Pliny says was taken to Rome in his time. 1045 BONE-PLAYER. H. 2 ft. y z in. Original Marble, in the Louvre. The original of this statue was found at Rome in 730. The right hand, neck, and left shoulder are modern. 1046 COLOSSAL BUST OF AESCULAPIUS. H. 1 ft. 9 in. Original Marble, in the British Museum. Original, made 300 B. C., was found in Isle of Melos in 1828. \_ 1047 JULIA. H. 4 ft. 5)4 i«- Original Marble, in the Vatican. The original of this statue was found on the coast of Barbary, at Ben Ghuzi, and is sometimes called A Young Roman Girl. 1048 DEMOSTHENES. H. 6 ft. 3 in. Original Marble, in the Vatican. Formerly in the Villa Aldobrandini at Frascati. Restorations : both wrists and hand, with the scroll. Perhaps a copy of the bronze portrait statue by Polyeuktus at Athens, 3d century B. C.— [IValdstein.] 1049 SOPHOCLES. H. 6 ft. 8 Yz in. Original Marble, in the Lateran, Rome. Found at Terracina in the court of a private house. Probably a copy of a bronze original of the 4th century at Athens.— [IValdsteinY\ 1030 ARISTIDES, or zESCHINES. H. 6 ft. 6 in. Original Marble, in the Naples Museum. Found in Herculaneum in 1753 in fragments. 102 CASTS FROM ANTIQUE SCULPTURE. 1051 BUST OF SOCRATES. H. 1 ft. 8 in. Original Marble, in the Louvre. “ The portraits of Socrates date back to a bronze statue of him made by Lysippos and erected at Athens after his death. The features of this bust correspond well with the description put into Socrates’ own mouth by Plato.” I0t 2 BUST OF HOMER. H. 1 ft. 1 1 in. Original Marble, in the Louvre. This bust is very like the one in the British Museum. The original was found inserted in a garden wall in Rome. 1053 BUST OF HOMER. H. 1 ft. 9^ in. Original Marble, in the British Museum. The original of this bust was found at Baiae in 1780. There are many copies, and all are of doubtful authenticity as portraits. 1054 COLOSSAL BUST OF JUPITER. fl. 2 ft. 8‘/2 in. Original Marble, in the Vatican. The original in marble of this cast was found at Otricoli, a small town about fifty miles north of Rome, built near the site of the ancient Otriculum. 1055 CARYATID. FI. 7 ft. 5 in. Original Marble, in the Vatican. The original of this figure is from the Erectheum at Athens. iotO POLHYMNIA. H. 5 ft. 11 in. Original Marble, in the Louvre. The statue was once in the Villa Borghese. Only the lower half is said to be antique, the remainder being restored by Augustino Penna from a bas-relief on a sarcophagus in the Capitol. 10S7 APOLLO SAUROKTONOS (Lizard-Killer). H. 4 ft. \oj 4 in. Original Marble, in the Louvre. Found among the ruins of the house of Augustus in the Palatine, during the excavations of the Abbe Rancoureil in 1777. Is mentioned by Pliny as a work of Praxiteles. “ The meaning of the lizard is some¬ what doubtful. It is known that the lizard had certain magic prop¬ erties attributed to it, and was used in incantations; but in this group many critics prefer to see only a genre subject—Apollo, as a boy, try¬ ing to 1 stalk’ and pierce the lizard, simply as an exercise of agility, the animal being extremely quick in its movements.”— [IValdstein.] CASTS FROM ANTIQUE SCULPTURE. I°3 1058 FLORA. H. 5 ft. 5 y z in. Original Marble, in tile Capitoline Museum, Rome. 1059 PUDICITIA. H. 4 ft. 6 % in. Original Marble, in the Vatican. Formerly in the Villa Mattei. Placed in the Vatican by Clement XIV. The statue derived its name from the long, full drapery and the veiled head and shoulders, which are considered appropriate attributes of the Goddess of Modesty. The name has been questioned, how¬ ever, the statue being considered by some authorities as a portrait ot Livia, wife of Augustus. 1060 CENTAUR AND CUPID. H. 4 ft. 6 ] 4 . in. Original Marble, in the Louvre. The original of this cast was found at Villa Fonesca. There is another in the Vatican, and it is doubtful which is the copy. The winged figure is thought by Viardot to be a Bacchus, and not Cupid, as he has an ivy wreath. 1061 DAUGHTER OF NIOBE. H. 5 ft. 6 in. Original Marble, in the Vatican. Discovered possibly in Hadrian’s Villa in the sixteenth century. Formerly in the Papal gardens of the Quirinal. There are no restora¬ tions. 1062 FAUN OF THE CAPITOL. H. 5 ft. 7 in. Original Marble, in the Capitoline Museum, Rome. (The “ Marble Faun ” of Hawthorne.) Found in 1701 near Civita Lavinia, where there was formerly a Villa of Antonius Pius. Placed in the Museum of the Capitol by Benedict XIV in 1753. 1063 FAUN, WITH KID. H. 4 ft. 3 in. Original Marble, at Madrid. 1064 FAUN (a la TacheJ. H. 1 ft. 10 in. Original Marble, in the Louvre. This bust of a laughing Faun takes its French designation from a spot or stain on the right cheek and shoulder of the original marble. 1065 ATHLETE. H. 4 ft. 9^ in. Original Marble, in the Glyptothek, Munich. Date and place of discovery unknown, represents an athlete pre¬ paring for a contest in the public games. 104 CASTS FROM ANTIQUE SCULPTURE. 1066 DYING GALATIAN. H. 1 ft. 11 in. L. 5 ft. 11 in. Original Marble, in the Capitoline Museum, Rome. Found in Rome in the Sixteenth century. Formerly in the Villa Ludovisi, from which it was carried to the Capitol by Clement XI 1 (1730-1740.) Restorations:—The end of the nose, the right hand and arm, part of the left knee, the toes, and part of the plinth, including the sword and a portion of the horn. “ Although this statue is still known as the ‘Dying Gladiator,’ the theory by which it received that name has long since been proved erroneous, partly by the fact that it is undoubtedly a product of Greek art, which knew nothing of gladiators, as they were a peculiarly Roman institution, and partly by the strong resemblance of face and figure to the descriptions of the ancient Galatians. These, the Mysian Gauls, as they are sometimes called, were a barbarous race, who invaded Greece and the Greek settlements of Asia Minor in the third century B. C., and were repressed by Attalos I, king of Pergamon. In commemoration of his victory he dedicated a group of bronze statues representing his vanquished enemies on the Akropolis of Pergamon, and sent others as a gift to Athens. It is now generally supposed that this and the group No. 1092 (Galatian and his Wife) are copies in marble of two of those erected in Pergamon. The toque around the neck, and the moustache, which, when worn without beard, was regarded as barbarous by the Greeks, were distinctive of the Galatians; and there can be little doubt that this represents one of them, who, defeated in battle, is dying from a wound either received from an enemy, or as some think, inflicted by himself in order to escape slavery. “There are few statues in which pathos is expressed in so high a form as in this, an effect produced chiefly by the quiet restrained man¬ ner in which the artist has suggested rather than expressed the emo¬ tions of pain and despair, thus stimulating the spectator’s imagination and appealing to his sympathy. This quality will be better appreciated by comparison with the Laocoon, No. 1033, in which physical suffer¬ ing is expressed in the wildest and most vehement form, both in faces and figures, with an amount of detail which leaves no room for the imagination.” (Catalogue of Boston Museum. J 1067 APHRODITE ARRANGING HER HAIR. H. 4 ft. 10 in. Original in the Vatican. Aphrodite is represented in one of the many toilet scenes, chiefly connected with the bath in which she served as a subject for the later Greek artists. CASTS FROM ANTIQUE SCULPTURE. IO«j 1068 MERCURY IN REPOSE. H. 3 ft. 6 in. Original in the Museum, Naples. The original in bronze of this cast is classed among the finest of ancient date, and was found in Herculaneum in 1758. Its base is the only modern part. The left hand is supposed to have held the caduceus. 1069 APOLLO BELVEDERE. H. 7 ft. 1 in. Original Marble in the Vatican. The original of this statue was discovered at Cape d’Anzo (Antium) in 1503. Bought by Julius II, when still a cardinal, it was placed by him, when Pope, in the Belvedere of the Vatican. The name of its sculptor is unknown. Its date is placed at B. C. 279. Canova and Visconti think it is a copy from an ancient bronze by Calamus. The left hand and wrist, and the fingers of the right hand were restored by G. A. da Montorsoli, pupil of Michael Angelo. Undoubtedly many copies of the original were made, and a bronze copy discovered in 1792 at Paramythia, and now at St. Petersburg, in the judgment of some has changed entirely the meaning of the action of the figure. Apollo is here represented as holding a bow and discharging an arrow at the serpent Python, sent by Juno to destroy his mother, Latona. In the bronze statuette referred to, there is no tree trunk (necessary to support a figure in marble) but the left hand holds a shield bearing the head of Medusa, supposed to turn all gazers into stone, and which Homer, in the Iliad, xv, 318, says Jupiter lent to Apollo. Dr. Liibke accepts this explanation of the action of the figure, and says, “Not until now have we undeistood the statue.” Waldstein says: “The statue is not an original work, but a copy, whether from bronze or marble is uncertain.” 070 COLOSSAL MASK OF JUNO. H. 3 ft. 3 in. From a copy, in marble, in the Villa Ludovisi, Rome, probably after Alcamenes. 1071 MELEAGER. H. 6 ft. in. Original marble in the Vatican. The original was found in Rome, and is supposed to be of the time of Hadrian, A. D. 76-136. 1072 BUST OF MENELAUS, or AJAX. H. 3 ft. Original Marble, in the Vatican. The original of this bust was found at Hadrian’s Villa, Tivoli, and is commonly, but erroneously, known as Ajax. Visconti satisfactorily proved it to be Menelaus. Bas-reliefs of Hercules fighting with Cen¬ taurs are on the helmet. CASTS FROM ANTIQUE SCULPTURE. 106 1073 TORSO OF HERCULES (the BELVEDERE TORSO). H. 4 ft. 1 y z in. Original Marble, in the Vatican. Date and place of discovery unknown. It was taken from the Palazzo Colonna to the Belvedere of the Vatican during the pontificate of Clement VII (1523—’34). There are no restorations. This figure was one of the chief promoters of sculpture during the Renaissance. Michael Angelo regarded it with enthusiastic admiration, and declared himself its pupil. Its influence has not declined with the development of modern knowledge of Greek Art, as it still retains its place among the grandest statues of Rome. 1074 JASON. H. 5 ft. 2 in., W. 3 ft. Original Marble, in the Louvre. Formerly in Rome, in the Palazzo Savelli, later in the Villa Montalto. Purchased of Cardinal Savelli for Louis XIV in 1685, and by him placed at Versailles, whence it was subsequently removed to the Louvre. This statue has been called Mercury and Cincinnatus, but is now considered to represent the famous leader of the Argonauts, hurriedly tying on but one sandal in his haste to seek his uncle Pelias, usurper of his father’s throne, and who had been warned by an oracle to beware of the “ one-sandalled man.” 1075 BUST OF PERICLES. H. 1 ft. io'/i in. Original Marble, in the British Museum. 1076 BUST OF PERIANDER. H. 1 ft. 7 in. Original Marble, in the British Museum. One of the Seven Sages of Greece. 1077 BUST OF JULIUS C/ESAR. H. 1 ft. 2 in. Original Marble, in the British Museum. 1078 THE “ SPINARIO.” H. 2 ft. 4% in. Original Bronze in the Palazzo dei Conservatori,|Rome. The date and place of discovery unknown, and possibly the statue never was buried (Michaelis). The first date definitely associated with it is 1471, when it was one of the few ancient sculptures with^which Sixtus IV founded the Capitoline Collection. After the treaty of Tolen- tino, in 1797, it was carried to France by Napoleon, but subsequently returned. There are no restorations. 1079 HEAD OF ALEXANDER THE GREAT. H. 1 ft. 2]/ 2 in. Original Marble, in the British Museum. CASTS FROM ANTIQUE SCULPTURE. 107 1080 HEAD OF DIOGENES. H. 1 ft. 2 in. Original Marble, in the British Museum. 1081 BUST OF DIONE. H. 1 ft. \\]4 in. Original Marble, in the British Museum. 1082 BUST OF CLYTIE. Original Marble, in the British Museum. 1083 BUST OF SEPTIMIUS SEVERUS. H. 2 ft. 2 in. Original Marble, in the British Museum. 1084 BUST OF TRAJAN. H. 1 ft. 11 in. Original Marble, in the British Museum. The original of this bust was found in the Campagna of Rome in > 77 6- 1085 BUST OF ISIS. H. 1 ft. \\] 4 . ' n - Original Marble, in the British Museum. The Egyptian Goddess, with the lotus flower above her forehead, is here represented unveiled. 1086 THE WRESTLERS. H. 3 ft. Original Marble, in Uffizi Gallery, Florence. Found in 1583 near the Lateran, Rome. First in the Villa Medici, Rome, removed to Florence in 1677. 1087 DIANA HUNTRESS. H. 6 ft. 6 in. Original Marble, in the Louvre. Also called Diana of Versailles. The statue was brought to France during the reign of Francis 1 . It derives its name from the fact that Louis XIV had it removed to Versailles. It was placed in the Louvre in 1798. 1088 AUGUSTUS C/ESAR. H. 6 ft. 10 in. Original Marble, in the Louvre. 1089 HERMES WITH THE INFANT DIONYSOS. H. 7 ft. 2 in. Original in Marble, in the Museum at Olympia. The original of this cast was discovered at Olympia in the Heraeum (Temple of Hera) May 8, 1877. Now in the Museum at Olympia. It CASTS FROM ANTIQUE SCULPTURE. 108 is known to be by Praxiteles, on the authority of Pausanias (2d century A. D.), who saw and described it. Waldstein says: “This is the only Greek statue in existence of which we can say, without hesitation, that it comes directly from the hand of one of the greatest masters.” All below the knee of Hermes is lost, save one foot (seen on the plinth behind the cast). 1090 BUST OF LUCIUS VERUS. H. 2 ft. 10 in. Original Marble, in the Louvre. From tlie original found in Roma Vecchia. 1091 BUST OF MARCUS AURELIUS. H. 2 ft. 1 1 '/ 2 in. Original Marble. Villa Borghese. 1092 GALATIAN AND HIS WIFE. H. 6 ft. 10 in. Original group in marble, in the Villa Ludovisi, Rome. The date and place of discovery is unknown, but it has been in the Villa Ludovisi since it was built in 1632. Restorations:—On the man, most of the right arm, with the handle of the sword and beginning of the blade, the lower half of the nose, the left forearm and fore-finger, and the part of the cloak which stands out from the back. On the woman, the nose, tile left arm above the elbow, the right hand and wrist, the four smaller toes of the right foot, the piece of garment that falls in front of the left shoulder. Also the supports between the two figures, and small pieces inserted in various places. “This group, like the Dying Galatian (No. 1066), is most probably copied from the bronze figures erected by Attalos I at Pergamon in commemoration of his victories over the Galatians or Mysian Gauls. It represents one of their stout-hearted warriors who, finding that defeat has overtaken them, and preferring death to captivity for both his wife and himself, has given her a mortal thrust, and now plunges his sword into his own body, while he supports her sinking form. His attitude and the wild look backwards towards his enemies show the haste with which he has been obliged to act. “ Although in action this is a complete contrast to its companion, the Dying Galatian, yet the spirit which governed the conception of the two works is quite the same, and shows how much of the feeling of the fourth century was preserved in the early masters of the School of Pergamon. What has been said of the Dying Galatian applies equally to this group, except that pathos is here expressed in full action, not in repose. But the pathos is of the same noble quality, and the suffering which is impressed upon the spectator is moral, not physical. CASTS FROM ANTIQUE SCULPTURE. IO9 The monumental sense displayed in the composition, the manner in which all the lines of the two figures are made to combine so as to result in an effect of unity, is well worthy of study, because it is a quality often overlooked in modern groups.” {Catalogue of Boston Museum.) 1093 BAS-RELIEF. From tlie Original Marble, in the Museo Bourbonico, Naples. According to the names on this cast it represents Antiopa between her sons, Zethus and Amphion, who released their mother from cruel bondage by slaying their uncle Lycus, her oppressor; but over the figures of the original bas-relief are the names of Hermes (Mercury), Eurydice, and Orpheus, indicating the meeting of the latter with his lost wife in the realm of Pluto. 1094 FRAGMENT OF A WINGED FIGURE. From the Original Marble, in the Vatican. 1095 ETRUSCAN ARM. L. 4 ft. Original Bronze, in the Vatican. Found in the harbor of Civita Vecchia in 1835, and supposed to be part of a statue of Neptune. 1096 BUST OF AGR 1 PPA DE GABIES. H. 1 ft. 7 in. Original Marble, in the Louvre. 1097 BUST OF ANT 1 NOUS. H. 1 ft. 6 in. Original Marble, in the Louvre. 1098 BUST OF ANTON 1 US PIUS. H. 1 ft. 4 in. Original Marble, in the Vatican. The original was found by Gavin Hamilton, in Hadrian’s Villa. 1099 BUST OF COMMODUS. H. 1 ft. 4 in. Original Marble, in the British Museum. 1100 BUST OF CARACALLA. H. 1 ft. 8 in. Original Marble, in the Louvre. 1101 BUST OF V 1 TELLIUS. Original Marble, in the Louvre. 1102 HEAD OF APOLLO. H. 1 ft. 6 ) 4 , in. Original Marble, in the British Museum. Attributed to the school of Lysippus. CASTS FROM ANTIQUE SCULPTURE. I 10 1103 BUST OF DIANA D! GABIA. H. 1 ft. 8 j 4 in. Original Marble, in the Louvre. 1104 SLAB FROM THE FRIEZE OF THE PARTHENON. From the Original (Elgin) Marble, British Museum. 1105 FRAGMENT—A MASK. Original Marble, in the Vatican. 1106 FRAGMENT—A HUNTER. Original Marble, in the Vatican. 1107 FRAGMENT—A WALKING FIGURE. Original Marble, in the Vatican. 1108 FRAGMENT—FRIEZE OF TRAJAN’S FORUM, ROME. Original Marble, in the Vatican. 1109 BUST OF THE CROWNED AUGUSTUS (CZESAR). H. 2 ft. Original Marble, in the Louvre. mo BUST OF THE YOUNG AUGUSTUS (CZESAR). H. 1 ft. 5 y z in. Original Marble, in the Vatican. 1111 BUST OF SC 1 PI 0 AFRICANUS. H. 2 ft. 1 in. Original Marble, in the Vatican. 1112 MARCUS AURELIUS. H. 2 ft. Original Marble, in the Louvre. Found at Acqua Traversa. 1113 BUST OF A BARBARIAN. H. 1 ft. 6 in. Original Marble, in the British Museum. The original of this cast was found in Trajan’s Forum, Rome, where many similar ones were discovered, fastened as trophies to the walls. 1114 SENECA—HEAD OF. H. 1 ft. 1 in. Original Marble, in the Louvre. 1115 BUST OF EURIPIDES. H. 1 ft. 9 j 4 >n. Original Marble, in the Vatican. 1116 BUST OF ARIADNE. H. 2 ft. 10 in. Original Marble, Capitol Museum, Rome. Often called the Young Bacchus. CASTS FROM ANTIQUE SCULPTURE. 1 1 1 1117 BUST OF ANTINOUS AS BACCHUS. H. 2 ft. Original Marble, in the British Museum. The original of this head was found in the Villa Pamfili, with some fragments of a wall-statue, of which it had been a part. 1118 CAST OF A SMALL MODEL OF THE RUINS OF THE ACROP OLIS AT ATHENS. 1119 NIKE FROM SAMOTHRAKE. H. 8 ft. 8 in. (Statue in the Louvre.) “ Of Parian marble. Found in the Island of Samothrake in 1867 by M. Champoiseau, French Consul at Adrianople, and transported thence to Paris. Excepting the pieces by which the fragments of the wings are joined, there are no restorations. “ This statue was part of a votive offering erected in the sanctuary of the Great Gods (the Kabeiroi) on the Island of Samothrake. It stood upon a huge pedestal in the form of a ship’s prow, also of marble, upon which Nike (Victory) was represented rushing forward in the excitement of battle, carrying a mast in one hand and holding a long trumpet to her lips with the other. The statue and pedestal together, were, there¬ fore, commemorative of a naval victory; and fortunately a coin, or series of coins, has enabled us not only to identify the victor and the battle, but also to restore in imagination the missing parts as above described. Among the coins of Demetrios Poliorketes, king of Mace¬ donia, are some which show both statue and pedestal complete, thereby proving almost beyond a doubt that his was the victory commemorated. The battle was probably that in which he defeated Ptolemy 1 , of Egypt, off Cyprus, in 306 B. C .”—(Catalogue of Boston Museum. J (See No. 1127. A reduced copy of the statue including the pedestal.) 1120 POSE 1 DIPPOS. H. 4 ft. 5 ]/ z in. (Seated statue, in the Vatican.) OfPentelic marble. For History, see Menander, No. 1121. Restorations: The end of the nose and the left thumb. “This statue has been the companion of its neighbor, the Menander, from an indefinitely remote period. Indeed, it has been supposed that the two owe their exceptional preservation to the fact that in the Mid¬ dle Ages they were regarded as images of saints, and therefore placed in a church, where they remained until nearly the end of the 16th century. “ Poseidippos, whose portrait is identified by the inscription on the base, was the last of the poets of the New Attic Comedy, and flourished after the death of Menander, 291 B. C. “The striking manner in which the difference in temperament between the two men is expressed is well worth studying. The one is nervous and energetic, unmistakably a man of action, while the other has the quiet, pensive air of the student and the dreamer. The distinc- 1 I 2 CASTS FROM ANTIQUE SCULPTURE. tion is not in the faces alone, but is felt in every line of the figures, in their manner of sitting, and even in the drapery, which in one case falls in a few simple folds, and in the other is treated with all the vigor and restlessness of the subject .”—f Catalogue of Boston Museum. J i 121 MENANDER. H. 5 ft. (Seated statue, in the Vatican.) Of Pentelic marble. Date of discovery unknown. “Together with its neighbor, Poseidippos, No. 1120, it appears to have stood for several centuries in the church of S. Lorenzo in Panis- perna on the Viminal, Rome, whence they were removed by Sextus V (1585—1590) to his Villa Montalto, now Grazioli. It remained there until the time of Pius VI (1775-1800), who purchased and removed them to the Vatican. “ Restorations: The left hand, with the scroll; the end of the nose; and part of the right foot. “ This statue was established as a portrait of Menander by Visconti, who pointed out its resemblance to a small head inscribed with the poet’s name, and thereby disposed of the popular tradition that it represented the Roman general Maiius. Pausonias, in his description of the Dionysiac Theatre in Athens, mentions a statue of Menander which he saw there, and it was formerly supposed that the,statue in the Vatican might be the one referred to; but this is impossible, because the pedestal of the statue seen by Pausonias was discovered some years ago in its original position, with the name Menander upon it, and it was too small for tire base of this figure. “While it cannot, therefore, be the original statue erected to the poet’s honor in the place where his plays were produced, this is one of the finest examples of Greek portrait sculpture that survive, especially on account of the ease and freedom of the pose, “ Menander died in 291 B. C., at the age of fifty-two, and this por¬ trait evidently represents him in the last years of his life .”—(Catalogue of Boston Museum. J 1122 BOXER RESTING. H. 4 ft. 3 in. “Original bronze in the collection of the National Government in the Baths of Diocletian, Rome. “ Found in the Spring of 1885 among the foundation walls of Aurelian’s Temple of the Sun, on the Quirinal Hill, Rome. “ Restorations: The end of the left thumb, a piece of the right thigh, and the seat. “ This represents a boxer resting after the fight, the severity of which is indicated in every part of his powerful figure. He turns his head sharply to the right, looking up as if talking or listening to some one at his side. Leaning heavily upon his elbows, with his head sunk between his shoulders, one can almost hear the labored breath, and CASTS FROM ANTIQUE SCULPTURE. 11 3 see the trembling of his swollen hands. The muscles of his back are wrought up to the highest state of development, and like those of the arms and legs, are hard and distended from their recent action. The feet are stiff and swollen, and evidently too sore to rest upon the ground. The sculptor has shown his estimation of the boxer’s char¬ acter by making the region of the intellect almost abnormally small as compared with the massive, ugly jaw. The nose, cheeks and ears bear witness of the strength and skill of his adversary, but the realism of the figure reaches its climax in the deep scratches which will be noticed on the various parts of the surface. “There is power in every line ot the figure, and though we may criticise the choice of subject, we must admire the knowledge and the facility with which it has been handled. “ The terrible caestus, or boxing glove, the details of which were clearly illustrated for the first time by the discovery of this statue, con¬ sisted of three parts: first, a close-fitting skin glove, which left the ends of the fingers and the palm of the hand open, and extended above the wrist, ending in a rim of fur. Over this were drawn three stout rings of sole leather, covering the first joint of the fingers, and fastened together on the outside of the hand by murderous clamps of metal. The chafing of the rings against the fingers was prevented by a pad which can be distinguished on the hands of the statue. Finally the rings were held in place, and the wrist was strengthened by means of two long, narrow straps which were interlaced many times around the hand and wrist.” (Catalogue of Boston Museum.) 1123 THREE SLABS IN RELIEF. From the Original in Marble, in the National Museum, Athens, Greece. The middle slab represents the musical competition between Apollo and the flute player Marsyas, with the Scythian between them pre¬ pared to flay the defeated competitor. On the other two slabs are six muses with their instruments. , Gift of Miss Bessie J. Kibbey. 1124 PHOTOGRAPH OF THE RUINS OF THE PARTHENON AT ATHENS, giving a view of the East Pediment, from which was TAKEN THE STATUES REPRESENTED BY THE CASTS ON THE TWO LARGE PEDESTALS. 1125 PHOTOGRAPH OF THE ACROPOLIS from the Stadium Hill. 1126 PHOTOGRAPH OF THE ACROPOLIS from the Hill of the Nymphs. 1127 Reduced copy of Nike from Samothrake, including original pedestal. (See No. 1119.) I 14 CASTS FROM ANTIQUE SCULPTURE. 1128 SATYR PLAYING THE SCABELLUM (Dancing Faun). H. 4 ft. \o>y z in. Original Marble, in the Gallery of the Uffizi, Florence. “ Date and place of discovery unknown. Restorations: The greater part of the head, both arms, the left heel, toes of the right foot, and possibly the tail. (Dutschke.) ” “The Scabellum {/.poutzi^iov, literally a wooden shoe) was an in¬ strument played with the feet, producing the same clattering sound as castanets. It was used by flute-players and others to beat time. Prob¬ ably this satyr is represented as performing that office for a Bacchic dance. “ The figure is spirited and well modelled. The thick, bushy hair, the horns projecting from the brow, and the realistic treatment of the face and skin, the latter being represented as tougher and coarser than that of Greek youths, all are indications that this is a work of the Hel¬ lenistic age, which began in the latter part of the fourth century B. C.” (Catalogue Boston Museum.) 1129 ANAKREON, THE LYRIC POET OF TEOS. H. 5 ft. yin. Original Marble, in the Villa Borghese, Rome. Seated figure. Discovered in the 16th century at Monte Calvo, in Sabina (Brunn). Restorations: The nose. 1130 MARS AND CUPID. H. 3 ft. 4 in. Original Marble, in the Villa Ludovisi, Rome. Found near the Palazzo, Santa Croce, Rome. Executed in the second half of the fourth century B. C. The god Ares (Mars) is sitting in a careless, easy attitude, absorbed in a dreamy reverie. His left knee is elevated and clasped by his hands. The shield is resting, unused, at his side, his left hand inactively and almost absently holds the sword. The Cupid playing at his feet indi¬ cates to us, moreover, that it is love for Venus which has overcome the God of Battles. A mark of the left shoulder seems to indicate that Venus herself stood behind him, and that thus originally the work was a group. The treatment of the slender figure, especially the type of head, with its refined features and flowing hair, calls to mind the Apoxy- omenus of Lysippus. 1131 TRITON (Mezza). H. 3 ft. 6 in. Original in the Vatican. Found by Giuseppe Buti at S. Angelo in the Tiburtino. This is the statue between which and the Ceres of Cnidus Brunn traces so many resemblances. If this Triton formed part of the famous work by Scopas, then these resemblances offer an argument that the CASTS FROM ANTIQUE SCULPTURE. I 15 Ceres was also by Scopas. The statue is but a torso; the parts from the waist down are wanting, also the forearms. The grand style of this extraordinary torso makes it one of the most beautiful and one of the most precious of all representations of marine divinities. His features, though mannered, are filled with an ideal beauty and a nobility which make them becoming to a god, though we must refer them to a mon¬ ster. The mouth, partly open, has an expression that is hardly human. The scaly skin, tied under the throat, recalls the hide worn by Hercules, or by the inebriate followers of Bacchus. The faun’s ears relate to Bac¬ chus, or they may have been added in order that, at the first glance, a monster could be recognized. 1132 MEROPE AND /EPYTUS (ORESTES AND ELECTRA). H. 6 ft. 9 in. Original Marble, in the Villa Ludovisi, Rome. Restorations: The right arm of zEpytus and the left hand of Merope. This beautiful group, executed by the sculptor Menelaus, of Rome, depicts the meeting of a mother with her long lost son at the moment when, as Welcker says, the first agitating emotion at meeting is fol¬ lowed by calm and joy. After various interpretations have been at¬ tempted, such as Penelope and Telemachus, Theseus and zEthra, Orestes and Electra, Otto jahn at length has given an explanation of the scene which more than any other elucidates the work. It is zEpytus who returns after a long absence to avenge his mother, Merope, on her con¬ sort Polyphontes, the murderer of her first husband. In order to make sure of the offender, zEpytus has assumed to be the murderer of the son. Merope, beside herself with grief, is on the point of avenging her child on the stranger, when the former pupil is recognized by an old tutor, and the son is restored to the mother. This subject, which is dramati¬ cally treated by Euripides, and also employed by the Roman poet, Ennius, is depicted in the marble work at the touching moment of recognition. The group exhibits fine action and depth of feeling, but the execution, from the great care displayed in the arrangement of the drapery, is not free from forced elegance, and this takes away from the freshness of the first impression. 1133 L’ARROTINO, BARBARIAN EXECUTIONER WHETTING HIS KNIFE FOR THE FLAYING OF MARSYAS. L. 3 ft. 7 in. H. 3 ft. 7 in. Original Grecian Marble, in the Gallery of the Uffizi (Tribune), Florence. A Sculptor of the Pergamene School. Third century B. C. Found between the years 1534 and 1538 at Rome. CASTS FROM THE RENAISSANCE. (DATE—COMMENCEMENT OF THE I 5TH CENTURY.) No. 1300. CAST FROM THE WEST BRONZE GATE OF THE BAPTISTRY AT FLORENCE. Lorenzo di Cione Ghiberti. Born 1378. Died 1455. These gates are historically of great interest, as they represent the main work of a distinguished artist’s life, for Ghiberti, when he began them, was forty-six years of age, and when he finished them he was an old man of seventy-four. (The gates were finished in 1447, but they were not gilded until the month of April, 1452.) This cast was brought from the South Kensington Museum, London, and con¬ sists of ten square panels containing designs from the Old Testament, each design illustrating three or four incidents. The left highest panel shows the Creation of Adam and Eve, the Forbidden Fruit, and the Expulsion from Eden. On the right panel opposite are the Offer¬ ings of Cain and Abel, the Killing of Abel, Man’s Labor, and Cain with his Maker. The left panel below has the Ark after the Deluge, Noah’s Sacrifice and Inebria¬ tion. On the right are the Sacrifice of Isaac, Servants at the foot of the Mount, and Abraham with the Three Angels. The left central panel contains Jacob and Esau, and on the right Joseph and his Brethren, their Cruelty, their meeting in Egypt, and the Cup in Benjamin’s Sack. The left panel below the center shows Moses Receiving the Law, and the People at the Foot of the Mount. On the right are Joshua before Jericho, and the Division of the Tribes. The lowest panel on the left contains David and Goliath, and on the right Solomon and the Queen of Sheba. Among the statuettes in the upright panels are Samson with the Pillar, Joshua in Armor, Judith with the Head of Holofernes, Jephthah’s Daughter. Among the heads are two on a line with the top of the second panel represent¬ ing the artist Ghiberti (the bald one on the right) and Bartoluccio, his father- in-law. The outer panels, bearing fruits and flowers, were finished by Ghiberti’s son, the artist having died ere the completion of his work, at the age of seventy-four years. CAST FROM THE WEST BRONZE GATE OF THE BAPTISTRY AT FLORENCE. (See No. 1300.) CASTS FROM THE RENAISSANCE. 117 The cast of this gate, as it stands, is 18 feet 2 inches high by 12 feet 6 inches wide, exclusive of the frame, which makes it altogether 19 feet 7 inches high by 14 feet 6 inches wide. 1301, 1302, 1303, 1304, 1305, 1306, 1307, 1308, 1309. GROUP OF NINE BAS-RELIEFS OF NYMPHS OF THE FOUNTAIN OF INNOCENTS. From the Original Marbles, in the Louvre. Jean Goujon. Born at Paris, 1530. Died, 1572. 1310. THE FOUR EVANGELISTS. Bas-reliefs. Original in Marble, in the Louvre, from the Roodloft of St. Germain l’Auxerrois. The small panels represent Religion, Faith and Strength. Jean Goujon. 13 1 1, i 3 I2 > 1 3 l 3 > I 3 I 4 - BAS-RELIEFS OF SEA-NYMPHS. Original Marbles, in the Louvre, formerly in the Port St. Antoine. Jean Goujon. • 315 - bas-relief FROM THE TOMB OF CARDINAL AND CHANCELLOR DUPRAT. Original Marble, in the Louvre. Jean Goujon. 1316. BAS-RELIEF OF HISTORY RECORDING THE WORKS OF PRESIDENT J. A. DuTHOU, COUNSELLOR AND HISTORIAN. Original Bronze, in the Louvre. Francois Anguier. Born at Eau, in Normandy, 1604. Died at Paris, 1669. CASTS FROM THE RENAISSANCE. 1317 - BAS-RELIEF OF VICTORY. Original, in the Louvre. Jacquet. 1318. FLYING MERCURY. H. 5 ft. 1 in. Original Bronze, in the National Gallery, Florence. Executed about 1560. Gio, or Gian Bologna (John of Bologna.) Born at Douai, in Flanders, 1524. Died, 1608. 1 3 1 9. DAVID WITH HEAD OF GOLIATH. H. 5 ft. 1 in. Original Bronze in the National Gallery, Florence. Donato di Betto Bardi (Donatello ) Contemporary with Ghiberti. Died, 1468. 1320. THE THREE GRACES, or CHARITIES. H. 6 ft. 6 in. Original Marble, in the Louvre. 1560. Germain Pilon. The date of his birth is not known with certainty; it has been given as 1520 and as 1515. Died about 1590. This example of the Renaissance of French sculpture was executed for Catharine of Medicis in memory of her husband, Henry II of France, whose heart was placed in the original urn, supported on the heads of the three female figures, standing back to back, with linked hands, upon a triangular pedestal. These figures rep¬ resent Catharine herself, the Duchess d’Etampes, and Madame Villeroy, three of the fairest women of that time. This work was cut out of a single block of mar¬ ble. The pedestal was made by a different hand, and bears on its three faces inscriptions in Latin, to the following effect: CASTS FROM THE RENAISSANCE. “ Here Catharine lias deposited the heart of the king, her husband, wishing she could bury it in her own bosom.” “ The united heart of both testifies before men enduring love—a subdued spirit before God.” “ The Three Graces (or Charities) rightfully bear on their heads a heart once the seat of the graces (or charities)—a heart that aspired to the highest things.” This monument formerly stood in the Chapelle d’Orleans, Church of the Celes- tins. I 32 I. COLOSSAL BUST OF DAVID. H. 2 ft. 10 in. Michael Angelo Buonarroti. Born, 1475. Died, 1564. This cast is taken from the original colossal statue in marble, 19 feet high, in Florence, representing David about to hurl the stone at Goliath. 1322, 1323. THE PRISONERS, or SLAVES. H. 7 ft. 3 in. Original Marble, in the Louvre. Michael Angelo Buonarroti. These statues were designed for a grand monument to Pope Julius 11, planned by M. Angelo, but never executed. The artist gave them to a friend who had nursed him in illness, and he presented them to Francis 1, who in turn gave them to the Constable Montmorency for his Chateau d’Ecouen. During the troubles of the Revolution in 1793 they were found in the stables of the Due de Richelieu, and were bought for the Republic. They are now in the Louvre, and are the only great works of M. Angelo in France. They were taken to Florence in 1875 to swell the memorials of the sculptor’s mighty geniusat the centennial celebra¬ tion of his birthday. l 3 2 4 - CUPID. H. 4 ft. 6 in. Original Marble, in the Kensington Museum. Michael Angelo Buonarroti. This statue was brought from the Campagna Collection. 120 CASTS FROM THE RENAISSANCE. 1325. SITTING STATUE OF LORENZO DE MEDICI. H. 5 ft. 8 in. Michael Angelo Buonarroti. The original, in the church of St. Lorenzo, Florence, with a similar statue of his brother, Giuliano, was erected by order of Pope Leo X. Below them, on the curved tops of their sarcophagi, recline the figures of Dawn and Twilight under Lorenzo, and of Day and Night under Giuliano. Reduced copies of these sym¬ bolic figures, Nos. 1339 to 1342, furnish an idea of the general form of the monu¬ ments. 1326. HEAD OF THE STATUE OF GIULIANO DE MEDICI. H. 1 ft. 6 in. Michael Angelo Buonarroti. 1327. MASK OF MOSES. H. 2 ft. 7 in. Michael Angelo Buonarroti. From the original of the colossal statue of Moses, executed in Marble foi the monument of Pope Julius II. 1328. BAS-RELIEF OF AN ALTAR-PIECE. H. 4 ft. 3 in. W. 4 ft. 4 in. Mino da Fiesole. Born, 1400. Died, i486. The original of this bas-relief in marble, in the cathedral at Fiesole, Florence, represents the Virgin between St. Remigius and St. Leonhard, with the infant Jesus below, and St. John worshiping him. One of the saints directs the sitting figure, holding a crutch, to the Saviour. 1329. BUST OF BISHOP L10NARDI SALUTATI. H. 1 ft. 10 in. Mino da Fiesole. From the original marble monument in the Cathedral of Fiesole. CASTS FROM THE RENAISSANCE. 121 ' 330 . FIVE BAS-RELIEFS. Each, H. 2 ft. 7^ in. W. 2 ft. 5^ in. Benedetto da Majano. Born, 1442. Died, 1498. These reliefs are from the marble pulpit of the Church of Sante Croce, Florence, and represent scenes in the life of St. Francis, as follows: A. MARTYRDOM OF FIVE BRETHREN OF THE ORDER IN MAURITANIA. B. DEATH OF ST. FRANCIS. c. SAINT FRANCIS RECEIVING THE STIGMATA, OR IMPRESS, OF THE FIVE WOUNDS OF CHRIST. D. SAINT FRANCIS WALKING, UNINJURED, THROUGH FIRE BEFORE THE SULTAN. E. POPE HONORIUS CONFIRMING THE RULES OF THE ORDER OF SAINT FRANCIS. ‘ 331 - HEAD OF ST. GEORGE. Donatello (Donato di Betto Bardi). From the marble statue of St. George, clad in armor, with cross-emblazoned shield which stands in an external niche of Or San Michele, Florence. 1332. BUST OF MATTEO PALMIER!. Benedetto da Majano. CASTS FROM THE RENAISSANCE. I 22 > 333 - bust OF FILIPPO STROZZI Benedetto da Majano. ■ 334 - bust OF PIETRO MELLINI. Benedetto da Majano. Oiiginals in Marble of the above three busts are in Floience. ■ 333 - day. i 536. NIGHT. ■ 337 - dawn. ■ 338 - twilight. Michael Angelo Buonarroti. The above four statuettes are reduced copies from the originals over the tomb ot Lorenzo and Giuliano de Medici, at Florence. ‘ 339 - singing boys. Alto-relief. H. 3 ft. 3 in. W. 2 ft. 2 in. Luca (Della Robbia). Born in 1400. Died, 1481. Original, in Marble, in the National Museum, Florence, was made about 1440 A. D. for the balustrade of an organ loft, but never set up. CASTS FROM THE RENAISSANCE. 123 1340 . ARTHUR, KING OF ENGLAND. Dated 1513. H. 6 ft. 11 in. Original in Bronze. The monument of the Emperor Maximilian I occupies the centre of the nave of the Franciscan Church, or Hofkirk, at Innsbruck. Maximilian is represented in a kneeling posture on a massive marble sarcophagus, surrounded by 28 statues in bronze of his heroic ancestors in the guise of mourners and torch-bearers. Among these statues, and the finest of all, stands that of King Arthur, attributed to Peter Vischer, of Nuremberg. 1341. THE VISITATION OF THE VIRGIN MARY TO ST. ELIZABETH. H. 4 ft. 9 in. Original attributed to Della Robbia. (In the Church of San Giovanni fuor Civitas-Pistoria.) 1342. DEATH AND TRANSITION OF THE VIRGIN. H. 11 ft. 2 in. W. 7 ft. 3 in. Andrea di Cione Orcagna. Born near the beginning of the Fourteenth Century. The original is a portion of the Marble Tabernacle of the Virgin in the Chape! of Or San Michele, Florence. 1343 - PIETA GROUP. H. 5 ft. 10 in. Michael Angelo Buonarroti. Original Marble, in the Chapel in St. Peter’s, Rome. This statue was produced by Michael Angelo in 1499 when he was just twenty- five years old. It is perhaps the most complete part of modern sculpture; genu¬ inely plastic in design and constructed with the finest feeling. The form of the nude figure of Christ is treated with such justness and modesty that the spiritual expression of the beautiful head obtains its full effect. The whole work, however, culminates in the noble and elevated sorrow expressed in the countenance of the mother. 124 CASTS FROM THE RENAISSANCE. 1344 - saint JOHN BAPTIST. H. 4 ft. 5 in. Benedetto de Majano. Born, 1442. Died, 1497. Original in Marble, in the National Museum, Florence. ' 345 - JUDITH AND HOLOFERNES. H. 1 7 ft. 6 in. Original Bronze, in the Loggia de ’Lanzi, Florence. Donato di Betto Bardi (Donatello). Contemporary with Ghiberti. Died, 1468. 1346. SEPULCHRAL MONUMENT. PORTRAIT EFFIGY OF ILARIA DEL CARRETTO. H. 3 ft. 10 in. L. 7 ft. 6 in. W. 3 ft. Jacopo della Quercia. Original in the Cathedral of St. Martino at Lucca. Paolo Giunigi, for the time being “Signore” or political master of that city, had lost his wife Ilaria, daughter of the Marchese del Carretto, and desired to erect a monument to her memory. This was in 1413, and Jacopo della Quercia was employed on the work. He produced a rich example of that type of structure, in which the effigy of the deceased reclines on a sarcophagus supported on a base¬ ment and over-arched by a decorated canopy, which had been first introduced into Tuscan art by Giovanni Pisano in the thirteenth century, and survived with little organic change, only with the substitution of classical for Gothic forms of design and moulding, until the time of Andrea Sansovino in the sixteenth. But within twenty years of the completion of Jacopo’s work the fury of the Lucchese populace broke out against their ruler Giunigi. He was overthrown and cast out of the city, and during the outbreak even the monument he had raised in honor of his wife was desecrated. Its central figure, however, the recumbent effigy of the lady with the carved sarcophagus on which it rests, escaped destruction, and is still to be seen where it was then deposited, on the floor of the church near the entrance to the sacristy. CASTS FROM THE RENAISSANCE. \ 2 ^ > 347 - BACCHUS. H. 4 ft. 8 in. Jacopo Sansovino (1477-1570). Original Marble, in the National Museum, Florence. 1348 . ANDROMEDA DELIVERED FROM THE SEA MONSTER BY PERSEUS. H. 2 ft. 10 in. W. 3 ft. 2 in. Benvenuto Cellini. From the Bronze Model in the National Museum, Florence. "\_ \ NO. 1504. VOLTAIRE. HOUDON. CASTS FROM MODERN SCULPTURES. 1500. VENUS VICTRIX. H. 5 ft. 11J 4 in. Original Marble, in London. John Gibson. Born at Conway, North Wales, 1791. Died at Rome, 1866. 1501. VENUS. H. 5 ft. 634" in. Original Marble, in Florence. Antonio Canova. Born, 1757, in Possagno, Venetian Alps. Died, 1822. I 502. VENUS VICTRIX. H. 5 ft. Original Marble,-. Bertel Thorwaldsen. Born at Copenhagen, 1770. Died, 1844. I503- CLYT 1 E. 4 ft. 1 1in. Original Marble, in Peabody Institute, Baltimore. W. H. Rinehart. Born, Frederick County, Md., 1825. Died at Rome, 1874. 1504. VOLTAIRE. (Sitting Figure.) H. 4 ft. 5 in. Original marble in the vestibule of Theatre Franpais, Paris. Jean Antoine Houdon. Born at Versailles, 1741. Died, 1828. CASTS FROM MODERN SCULPTURES. I SOS- BUST OF VICE-PRESIDENT THOMAS A. HENDRICKS Ulric S. J. Dunbar. Born at London, Canada, 1862. I 506. ALSACE (Bust). Original Bronze, by L. Gregoire. Gift of W. G. Metzerott. ' 507 - MURAL TABLET TO PROF. JOSEPH HENRY. H. 7 ft. 4 in. W. 4 ft. 1 ]/ z in. Original Marble, in the College at Princeton, N. J. Gift of Miss Henry. I S 08 . ALEXANDER HAMILTON. H. 8 ft. 1 1 in. William Ordway Partridge. Original Bronze, in Brooklyn, N. Y. Gift of the Sculptor. 1509. INDIAN HUNTER. (1864.) H. 5 ft. 6 in. J. A. Ward. Original Bronze in Central Park, New York. Gift of the Sculptor. CASTS FROM MODERN SCULPTURES. 129 ISIO. A STUDY FROM NATURE. H. 2 ft. Ercole Rosa. Gift of Prof. Louis Amateis, of Washington, D. C. 1511 - HEAD OF ST. JOHN THE BAPTIST. H. 1 ft. 11 in. Antrakosky. Gift of Prof. Louis Amateis, of Washington, D. ('. NO. 2001 . LAST DAYS OF NAPOLEON. V FLA. MARBLES. 2000 . BUST OF MR. CORCORAN. Ulric S. J. Dunbar. 2001 . THE LAST DAYS OF NAPOLEON I. Height of figure 5 ft., with pedestal 7 ft. 3 in. L. 4 ft. 8 in. W. 3 ft. 3 in. 1871. Vincenzo Vela. From the John Taylor Johnston Collection. 2002 . BUST OF COMMODORE MORRIS, U. S. N. J. C. King. 2003. BUST OF VICE-PRESIDENT JOHN C. BRECKENRIDGE. Henry Kirk Brown. Born at Leyden, Mass., 1814. Died at Newburgh, N. Y., 1886. Gift of George Taylor. 2004. MARBLE STATUETTE OF ECHO. H. 2 ft. 10 in. Larkin G. Meade. Born at Chesterfield, N. FL, 1833. 2005. BUST OF ALEXANDER VON HUMBOLDT. Christian Rauch. Born, 1777. Died at Dresden, 1837. Executed for Mr. Corcoran at the particular request of Humboldt. MARBLES I }2 2006. COLOSSAL HEAD OF NAPOLEON I. H. 2 ft. 4 in. Antonio Canova. A leplica by Canova of his head of the colossal statue of Napoleon I, modelled from the Emperor at Paris in 1805. 2007. STATUE OF A CHILD. H. 3 ft. 1 in. C. B. Ives. Gift of Hon. John B. Henderson. 2008. BUST OF HENRY CLAY. Joel T. Hart. Born in Kentucky, 1810. Died in Florence, 1877. 200C). 2010 . THE GREEK SLAVE. H. 5 ft. 2 in. 1846. Hiram Powers. Born at Woodstock, Vermont, 1805. Died at Florence, Italy, 1873. The Greek Slave was one of the first ideal productions of the artist, and it brought him immediate fame. 2011 . GENEVRA (Bust). Hiram Powers. This was the first ideal bust made by Powers, and was executed in Florepce for Mrs. Preston, as a token of gratitude for the assistance given by her husband to the sculptor. MARBLES. 133 2012 . PROSERPINE (Bust). Hiram Powers. The pedestals of both 2011 and 2012 were designed by Mr. Poweis. 2013. BUST OF WILLIAM J. STONE. Hiram Powers. Gift of Mrs. E. J. Stone. 2014. PENSEROSO (Bust). William H. Rinehart. Born, 1825. Died, 1874. 2015. ENDYMION. L. 4 ft. 4 ]/ z in. H. 2 ft. 2 in. William H. Rinehart. 2016. SLEEPING CHILDREN. L. 3 ft. H. 1 ft. 4 in. William H. Rinehart. 2017. BACCHANTE (Bust). Alexander Galt. Born at Norfolk, Va., 1827. Died at Richmond, Va., 1803. 2018. SHAKESPEARE (Bust). (A copy.) MARBLES. I ?4 2019. THE VEILED NUN (Bust). (A copy.) 2020 . THE PERI AT THE GATES OF PARADISE H. 5 ft. 5 in. Thomas Crawford. Born at New York, 1813. Died at London, England, 1857. This statue embodies the poem in “ Lalla Rookh,” by Thomas Mooie. 202 1 . YOUTH AS A BUTTERFLY. H. 5 ft. E. Caroni (Florence.) 2022. FORCED PRAYER. H. 2 ft. 10 in. P. Guarnerio (Milan). 2023. THE FIRST STEP. H 2 ft. 5 in. Trombetta (Milan). 2024. ISIS (Bust). Green basalt. BARYE, ANTOIN E-LOUIS. Born at Paris, 1796 ; died there 1875. “ Barye belongs to the antique in his knowledge of the structure of the human figure ; to the sixteenth century for his power at grouping his characters in such a manner that from any point of view his composition shows to advantage; and to his own time in the richness of his inspirations, for their occasional exaggerations and in the romantic impetuosity of his hunting scenes and his combat[of animals." BRONZES. 3000 to 3106. In the Barye Room. This collection of Barye bronzes is believed to be the largest extant. 156 3000 3001 3002 3003 3004 3003 3006 3°°7 3008 3009 3010 3011 3012 3013 3014 3 °' 5 3016 3017 3018 3019 3020 3021 BRONZES. General Bonaparte. (1838.) 14X 13 Duke of Orleans. (1840.) ■ 4 X 13 Amazon, Costume of 1830. 14/4 X 14 Gaston de Foix. (1833.) 1434 x 1i >4 Charles VII, the Victorious. (1839.) I 1 34 X 10 Tartar Warrior Checking his Florse. With bronze stand, Arabesque. • 3/4 x i 3>4 Two Arab Horsemen Killing Lion. i4>4 X 15 African Horseman Surprised by Serpent. 8 >4 X 10 Elephant with Indian Mounted, Crushing Tiger. ioj 4 X 12 Roger and Angelica, Mounted on Hippo- griff. (1846.) 20x23 Candelabras (pair), with nine lights, dec¬ orated with six figures, mascarons, and chimeras. (1846.) Originals made for Due de Montpensier. 31 Minerva. 12 Juno. 12 Theseus and Minotaur. (1848.) 18X 10 Theseus and Centaur. (1830.) 1 3 >4 x 14 >4 Ape Riding a Gnu. 9 X 10 Two Young Bears Fighting. (1833.) 8>4 X 6 Bear Sitting. 5 XX 6 J 4 Beagle Standing. 6 x 8 y 4 Wolf Holding a Stag by the Throat. 8x 17 Two Young Lions Wrestling. 8x6 Lion Devouring a Doe. (1837.) 3X11 3022 3023 3°2 4 3025 3026 3027 3028 3029 3030 3031 3032 3033 3034 3035 3036 3037 3038 3039 3040 3041 3042 3043 3°44 3045 3046 3047 3048 3049 3050 BRONZES. > 37 Lion and Serpent. (1832.) Lion Sitting. (1836.) Lioness of Senegal. Lioness of Algiers. Lion Walking. (1836.) Tiger Walking. (1836.) Tiger Surprising an Antelope. Tiger Surprising a Deer. Tiger Devouring a Gavial (Crocodile). ( Tiger Devouring a Gazelle. Panther Seizing a Stag. Panther of India. Panther of Tunis. (1840.) Panther Surprising a Civet-Cat. Jaguar Walking. Jaguar Standing. (1840.) Jaguar Sleeping. Jaguar Devouring Crocodile. Ocelot Carrying a Heron. Elephant of Asia. (1833.) Elephant of Africa. Horse Surprised by a Lion. (1834.) Horse, Half Blood. Head lowered. Horse, Turkish. Right foot raised. Horse, Turkish. Left foot raised. Dromedary, Egyptian. Reduction. Elk Surprised by a Lynx. (1834.) Deer Attacked by Two Scotch Hounds. Stag, Doe, and Fawn. iox 12 14X 12 8x 11 )4 8x 11 >4 9x16 8x i 6>4 i 3>4 X24 6)4 x 10 1831.) 7)4 X 19J4 5/o )4 4x9 4)4x9 5x9 3)4x9 3 X 9)4 6 >4 x 11 )4 5x8 5X7)4 15^ X 15 7)4 X 11 )4 1 \% x 12)4 11)4 x 12 5)4 x 6)4 8 >4 X 1 1)4 (1833.) 17x21 9 X 8)4 BRONZES. 138 3051 Virginia Deer Biting its Side. (1837.) 3032 Bull on the Defensive. (1841.) 3033 Bull Rearing, Attacked by a Tiger. (1837.) 30S4 Bull Dragged to Earth by a Bear. (1839.) 305s Eagle Holding a Heron. 3056 Crocodile Devouring an Antelope. 3037 Python Swallowing a Doe. (1840.) 3058 Python Strangling a Gazelle. 3039 Python Crushing a Crocodile. (1840.) 3060 Huntsman, Costume Louis XV. 3061 Bear Overthrown by Three Mastiffs. (1833.) 3062 Bear Flying From Three Dogs. 3063 Greyhound and Hare. 3064 Wolf Walking. 3063 Greyhound Reclining. 3066 Buffalo of Egypt. 3067 Camel. (Head turned to right.) 3068 Greyhound Sleeping. 3069 African Badger Robbing Nest. 3070 Lion of the Column of July. (1838.) Bas- relief. 3071 Warrior of the Caucasus. 3072 Peasant. (Mediaeval.) 3073 Leopard Crouching. 3074 Deer. (Axis.) 3073 Deer of the Ganges. 3076 Bull Standing. (Small.) 3077 Card Receiver. Fawn’s Feet. Ornamented with grapes. IOX 14 7X 11 )4 9x11 3)4 X 11 12 x 1 2)4 6)4 x 14 3 ) 4 X io )4 6x13 6 ) 4 X io )4 7 ) 4 X 7 iox 13)4 12x18 8x13 9 X 14 2) 4 x 10 6x8 4 ) 4 X 4)4 7 ) 4 X 13)4 4x6 8) 4 x 1 6)4 7)4 X 6)4 12x10 3x7 5 X 5)4 6)4 X 6)4 3 ) 4 X 5)4 3)4 x 7)4 BRONZES. >39 3078 Card Receiver. Ornamented with owls and panthers’ heads. 3079 Candlestick. (Two lights.) Ornamented with owls and panthers’ heads. 3080 ' Candlestick. Ornamented with owls and panthers’ heads. 3081 Candlestick. Greek designs with Syracuse medallions. 3082 Candlestick, with Fawn’s Feet. Ornamented with bell flowers and serpents. 3083 Candlestick. Ornamented with bell flowers, leaves, and scarabei. 3084 Candlestick. Small, with Handle. Ornamented with ivy leaves. 3085 Perfume Burner. Ornamented with chimeras. 3086 Paroquet Seated on a Tree. 3087 Pheasant Walking. Head turned to left. 3088 Pheasant Walking. Head turned to right. 3089 Wolf Caught in a Trap. 3090 Virginia Deer. Left foot raised. 3091 Doe Reclining. (Dated 1840.) 3092 Fawn Reclining. (Dated 1840.) 3093 Rabbits, Group. (Two.) 3094 Turtle. 3093 Crocodile. 3096 Candelabras (pair), with three lights, An¬ tique design, ornamented with serpent, leaves, chimeras, claw feet, and sur¬ mounted with storks. 3097 Theseus and Centaur. (1850.) 3/2X7 iox 10 7 X 3/ 10x4/ 9/X3/ 12/X3K 3Mx 4 / 4x2/ 7^X3 4 ^X 8 / 4 ^X8/ 4/X3 6/ X 6 3/X5/ 1 Y \ x 4/ 2x3/ 1/X4 1/X7 H 31 / SOX 4 I 140 BRONZES. 3098 Jaguar Devouring a Hare. (1850.) 1 S)4 X 38 3099 Leopard. Bas-relief. (1831.) Bronze frame. 3 X 5)4 3100 Panther. Bas-relief. (1831.) Bronze frame. 3)4 x 6)4 3101 Virginia Deer, with Antlers. Bas-relief. (1831.) 4x5)4 3102 Genet Carrying a Bird. Bas-relief. Bronze frame. (1831.) 3x5 3103 Axis. 4)4 X 6 X 3104 Tiger Hunt. Water-color sketch. 3105 Sleeping Lions. Water-color sketch. 3105)4 Bear Erect. 3106 Bust of John C. Calhoun. H. 25 in. Clark Mills, 1850. The original, in plaster, was taken from life by Mr. Mills in 184=,. 3107 Japanese Yoshitaure Vase. 613^x26 in. This vase takes its distinctive title from its bas-reliefs of scenes in the life of the Japanese hero, Yoshitaure. Within the vase is a brazen vessel for fire, and the perforated upper section is a censer, surmounted by the god Hohodermi, who, descending into Japan standing on a dragon, introduced letters and writing. From the Centennial Exhibition of 1876. 3108 Statuette of Augustus Caesar. H. 36 in. Boschetti. BRONZES. 3109 Bust of Washington. H. 18X >n. Clark Mills, 1849. From Houdon’s original bust, in plaster, 1785. Presented by Mr. Mills. 3110 Bust of Dr. James C. Hall. H. iiy 2 in. H. K. Bush Brown, 1880. 14 I 3 m Statuette of a Cow. 9 X 14 in. H. K. Bush Brown, 1883. The two bronze lions in front of the main entrance to the gallery are copies from the originals in marble by Antonio Canova at the monument of Pope Clement XIII, St. Peter’s, Rome. ;ii2 Bust of George Yost Coffin. H. 28 in. Henry J. Ellicott. Gift of Mrs. Mary A. Yost, of Pottstown, Pa. CLOISONNE. 3500 Square Table, with Cloisonne top. 16th century. From the Centennial Exhibition, 1876. 3501 Cloisonne Vase. 16th century. H. 20 in. From the Centennial Exhibition, 1876. 3502 Cloisonne Vase. 16th century. H. 20 in. From the Centennial Exhibition, 1876. 3503 Cloisonne Enamel Dish, representing St.’ George and the Dragon, on enamelled stand, with pedestal of golden bronze. (In Case B.) From the Centennial Exhibition, 1876. 3504 Cloisonne Plate, small, enamelled on both sides, on bronze stand. Subject: “Puck.” (In Case B.) From the Centennial Exhibition, 1876. 3S03 Cloisonne Plate, small, enamelled on both sides, on bronze stand. Subject: “Puck.” (In Case B.) From the Centennial Exhibition, 1876. * A VIEW OF ELECTROTYPE ROOM. PORCELAINS AND GLASS 4000 Japanese “ Arita ” Porcelain Vase. H. 8 ft. 8 in. 4001 Japanese “Arita” Porcelain Vase. H. 8 ft. 8 in. These examples of the ceramic art of Japan were made in the factory ofT. Tawara, at Arita, Japan, expressly for the Centennial Exhibition. 4002 4003 4004 Prometheus Vase. H. 4 ft. (Majolica.) Milton, England. 4005 Majolica Vase, with Japanese decorations. H. 4 ft. 4006 Majolica Vase, with Japanese decorations. H. 4 ft. These two vases, modern imitations of the pottery of the Moors, were made by Deck, of Paris. 4007 Sevres Vase. H. 2 ft. 2 in. 4008 Plaque of Stone Porcelain, with decorations of Poultry, Vegetables, etc. H. 2 ft. 11 in. W. 1 ft. 4 in. Schopin, England. 4009 Plaque of Stone Porcelain, with decorations ot Fish. H. 2 ft. 11 in. W. i ft. 4 in. Schopin, Paris. 144 PORCELAINS AND GLASS. 4010 “Arita.” Porcelain Japanese Vase. H. 7 ft. W. i'/z ft. From the Centennial Exhibition, 1876. 4011 Japanese Porcelain Bowl. Diameter 3 ft. Depth 7 in. From the Centennial Exhibition, 1876. 4012 Engraved Glass Magnum Bonum Claret Jug. Subject: A Fox Hunt. H. 1 ft. 4 '/ 2 in. W. 9 in. From the exhibit of John Miller & Co., of Edinburgh,'Scotland, at the Centennial, Philadelphia, 1876. (In Case B.) ELECTROTYPE REPRODUCTIONS. CASE A. THE HILDESHEIM TREASURES. Electrotyped by Chrisiofle & Co., Paris. These are electrotype reproductions of ancient vessels found on the site of a Roman camp, near Hildesheim, Hanover. On the 17th of October, 1868, some soldiers, while digging near their camp on the slope of Galgen, found, at the depth of ten feet, some bits of metal that proved to be silver. Further search discovered two large bell-shaped vases or bowls, inverted, under which were other vessels and fragments, strangely heaped together, tire feet and handles being detached from the vessels to which they belonged, and all much corroded by the infiltration of a wet soil. They were restored by an expert as nearly as possible to their original condition, and subsequently taken to the Royal Museum at Berlin. Their discovery made a great sensation, and it was at first supposed that the original Treasures were part of the dinner service of Varus, the Roman General, who was defeated by the Germans, under Arminius, near Hildesheim, in the year A. D. 9, but the style of some of the pieces was so evidently of a later date that the idea is now abandoned. The design and workmanship of most of them certainly show their extreme antiquity. 4180 Large Minerva Bowl (Patera). 4181 Bowl, with Hercules Strangling the Serpents. 4182 Bowl, with Deus Lunus wearing the Phrygian cap with horns of crescent. 4183 Bowl, with Cybele with mural crown. 4184 Large Drinking Bowl (Oxybaphon). 4185 Drinking Cup, with four masks of Bacchants. 4186 Drinking Cup, with six masks of Fauns. 4187 Drinking Cup, with ten masks, with scenic accessories. 4188 Drinking Cup, with garlands. 4189 Drinking Cup, with laurels. 146 ELECTROTYPE REPRODUCTIONS. 4190 A Cup, with handles of leaves of acanthus and flowers. 4191 Egg Dish. 4192 Salt-Cellar for Egg Dish, with carved exterior. 4193 Saucepan, handle with water lilies. 4194 Saucepan, handle with leaf of ivy. 4195 Saucepan, with handle knotted. 4196 Saucepan, with handle of palm leaves. 4197 Ladle, with handle of palm leaves. 4198 Ladle, with handle of ivy branch. 4199 Salt-cellar, with ivy leaves. 4200 Salt-cellar, with ivy leaves. 4201 Olive Bowl, with three carved feet. 4202 Turnip Dish. 4203 Duck Dish. 4204 Tripod, base of a candelabrum. 4203 Support, with head of Bacchus; part of a tripod. 4206 Handle of a Vase. 4207 Claw of Tripod, with head of Jupiter. 4208 Conical Cup, with rude carvings of animals. 4209 Large round Dish, bordered with foliage, birds, and squirrels. CASE B. Reproductions of objects chiefly in the South Kensington Museum , London. Electrotyped by Elhington & Co., Birmingham. 4210 Grand Cup and Cover. Copper-gilt. German, 16th Century. Original of silver-gilt, in Gratz, Styria. II. 3 ft. 4*4 in. 4211 Chalice. Spanish, 1340. Original, silver-gilt. ELECTROTYPE REPRODUCTIONS. >47 4212 Tankard. German, 1605. A cock on top. Original, silver-gilt. 4213 Bedford Tankard. Italian, 16th Century. Triumph of Bacchus. Original in ivory and silver. 4214 Shrine or Cover of St. Patrick’s Bell. Irish, nth Cen¬ tury. Original in copper, gold, and jewels, in possession of Rev. Dr. Todd. The back is silver perforated with crosses, surrounded by Irish characters. The bell, of sheet iron, enclosed in the original, is reputed to be of the 4th Century. 42is Pyx or Pix. Portuguese, 17th Century. For holding the consecrated wafer. Original, silver-gilt. 4216 Tankard. German, 17th Century. Original, silver-gilt. 4217 Tazza or Cup. French, 17th Century. Subject: Death of Meleager. Original, silver-gilt. 4218 Tazza. German, 17th Century. Silver oxydized. Sub¬ ject: Judgment of Solomon. Original of silver. 4219 Tankard. German, 17th Century. Original, silver-gilt. 4220 Tankard. German or French, 16th Century. 4221 Salt-cellar. Italian, 15th Century. Original, silver-gilt. 4222 Salt-cellar. German, 1580. Original, silver-gilt. 4223 Salt-cellar. German, 16th Century. Original, silver-gilt. 4224 Salt-cellar. German, 16th Century. Original, silver-gilt. 4225 Salt-cellar. German, 16th Century. Original, silver-gilt. 148 ELECTROTYPE REPRODUCTIONS. 4226 4227 4228 422C) 4230 4231 4232 4 3 33 4234 4235 4236 4237 4238 4239 4240 Inkstand. Italian, 16th or 17th Century. Original, silver-gilt. Knife. French, 17th Century. Gilt, handle in imitation of carved ivory. In the collection of R. Napier. Fork. French, 17th Century. Gilt, handle in imitation of carved ivory. In the collection of R. Napier. Spoon. French, 17th Century. Gilt, handle in imita¬ tion of carved ivory. In the collection of R. Napier. Candlestick. Italian, 16th Century. Original, in bronze. Inkstand or Perfume-burner. Copper-bronze. Italian, 15th Century. With statuette of Hannibal. Plate. German, 16th Century. With medallions of Em¬ perors. Plate. German, 16th Century. Subject: Adam and Eve. Plate. German, 16th Century. With arms of Swiss Cantons. Cup and Cover. English, 1638. Original of silver. Cup and Cover. English: Hall-mark, 1676. Original of silver. Incense-holder. Spanish, about 1S40-15S0. Inscribed with “ Oratio men dirigatur sicut incensum." Original in rock crystal, mounted in silver-gilt. Beaker. On three ball feet. Augsburg. Original, silver parcel-gilt. Goblet. German, 17th Century. Original, silver-gilt. Tankard and Cover. German, 17th Century. Man slay¬ ing a Centaur on top, with Bacchanalian group below. Original in carved ivory and silver, by Bernard Strauss. ELECTROTYPE REPRODUCTIONS. 149 4241 Goblet. (Agate.) English: Hall-mark, 1567. Original, silver-gilt. 4242 Goblet. Russian, 17th Century. Medallions of the Seasons. Original silver-gilt. 4243 Beaker. Russian, 16th or 17th Century. Original in silver parcel-gilt. 4244 Cocoa Cup. German, 1585. Original, silver-gilt. 4245 Augsburg Ewer. Original, silver-gilt, in the Louvre. Commemorates the siege ol Algiers by Charles V. 4246 Pax. For communicating the kiss of peace. Represents the Virgin giving a vestment to St. Ildefonso. Span¬ ish, 1540. Original, silver-gilt. 4247 Bottle. In form of Pilgrim’s flask. French or German, 17th Century. Original of silver. 4248 Entombment of Christ. Bas-relief after Donatello. Italian, 1 5th Century. Original, in bronze, in Vienna. 4249 Bowl, with Cover. Arabesque. Original in brass, damascened. 4250 Bowl, with Cover. Arabesque. Original in brass, damascened. 4251 Plaque. Entombment of Christ. Spanish, 17th Cen¬ tury. 4252 Bowl. French, about 1330. Original, silver. 4253 Bowl. French, about 1330. Original, silver. 4254 Plateau. Italian, 1820. Silver oxydized. 4253 Bowl. Arabesque, 14th Century. Original, brass, damascened. ELECTROTYPE REPRODUCTIONS. 150 4256 Bucket. Arabesque, 14th Century. Original, brass, damascened. 4257 Nautilus Shell. Mounted in metal. Italian, 16th Cen¬ tury. Supported by seated Naiad. Sirens below. 42^8 Ewer. Dragon handle, with Roman subjects. Italian, 16th Century. 4259 Tazza. Representing the Deluge. Italian, 16th Cen¬ tury. 4260 Salver. Portuguese, 1 sth Century. Figures in high re¬ lief. Original in silver-gilt. 4261 Cup. English, 1720. Original of silver. 4262 Tazza. Italian, 16th Century. Classical figures at¬ tributed to Benvenuto Cellini. Original in the Louvre. 4263 Candlestick (Base only). Arabesque. Original, brass, damascened. 4264 Candlestick. Venetian, 16th Century. Persian or Mo¬ resque design. Original in bronze. 4265 Plateau. Dutch, about 1690. Original in silver. 4266 Ewer. Venetian, 16th Century. Original in brass-gilt. 4267 Tazza and Cover. French, 1831. Original, silver and jewelled, parcel-gilt. 4268 Vase and Cover. English, 1772. A boy on top; handles of Satyr heads. Original, silver-gilt. 4269 Mirror-case or Martelli Bronze. Italian, 1 sth Century. Allegory of Productiveness, with a legend. Original of bronze, inlaid with silver. 4270 Incense-burner. Belgian, 18s 1. Arabesque. Original of iron, damascened by Falloise, of Liege. ELECTROTYPE REPRODUCTIONS. I 5 I 4271 Tankard and Cover, in fictile ivory, mounted in metal, parcel-gilt. Same subject as No. 3240 (which see), but as the original was of carved ivory, this is a more ex¬ act imitation of it. 17th Century. 4272 Bowl, with Cover. Arabesque. Original of brass, damascened. 4273 Bowl, with Cover. Arabesque. Original of brass, damascened. 4274 Tazza. Italian. Silver oxydized. By Lionnet, Paris. Same subject as No. 3275, by B. Cellini. 4275 Tazza. Italian. Silver oxydized. By Lionnet, Paris. Original by B. Cellini, in the Louvre. 4276 Gilt and Oxydized Emperor’s Tankard. From the Centennial Exhibition, Philadelphia, 1876. CASE C. Electrotypes by Elkington &■ Co. 4277 Small Shield. Benvenuto Cellini. Silver oxydized. 4278 Salver. Italian, 16th Century, illustrating the siege of Tunis by Charles V. 1535. Original in the Louvre, Paris. 4279 Spiked Shield of Francis I, 16th Century. Original in the Museum of Artillery, Paris. Electrotyped by Lionnet, Paris. 4280 Helmet of Francis I. 1543. Original in the Museum of Artillery, Paris. 4281 Sword of Francis I. Original in the Museum of Artillery, Paris. Electrotyped by Lionnet, Paris. 4282 Head-piece. Italian, 16th Century. Marine genii hold¬ ing a warrior’s head, whose body forms the crest. Silver oxydized. Original in the Museum of Artillery, Paris. ELECTROTYPE REPRODUCTIONS. 152 4283 Head-piece. Italian, 16th Century. David and Goliath on one side. Silver oxydized. Original in the Museum of Artillery, Paris. 4284 Hannibal Dish. German, 1567, with Roman figures. 428s Salver. Arabesque, with Moresco chasings. 4286 Salver. Italian, 16th Century. Arabesque. Original in brass-gilt. 4287 Salver. Venetian, 16th Century, with battles and sieges. Original in bronze-gilt. 4288 Salver. Italian, 16th Century. Medallions. Original in brass-gilt. 4289 Salver. English, 1719-20. Original of silver. 4290 Bowl or Plateau. Moorish. Original of brass. 4291 Gilt and Oxydized Dish, representing the months of the year. 4292 Gilt and Oxydized Dish, representing the months of the year. From the Centennial Exhibition. 4293 Shakspeare Dish. Containing medallion of Shakspeare, 10 inches in height, surrounded by scenes from his various plays. From an old repousse plate in the South Kensington Museum. Artist and history of it unknown. CASE D. 4294 Shield. From the Milan Museum. 4295 Shield. From the Turin Museum. 4296 Bourgignotte Helmet. Museum of Artillery, Paris. 4297 Cap of a Doge. Museum of Artillery, Paris. 4298 4299 4300 4301 43°2 4303 4304 4303 4306 4307 4308 4309 4310 ELECTROTYPE REPRODUCTIONS. 155 Shield. French, 15th Century. Medallions of David and Judith. Breast-plate. Milan Museum. Shield of Henry II, France. Museum of the Louvre, 1547~’59- Statuette of Henry IV of France when a boy. By Bosio. Original of silver, in Museum of the Louvre. Shield. Museum of Cluny. Sword of the Duke of Savoy. Turin Museum. Pieces of Horse Armor. Museum of Lyons. Cannon. Renaissance. Attributed to Germain Pilon. Museum of Artillery, Paris. Axe of King John, France. 1350-64. Museum of Artillery, Paris. Suit of Armor of Henry II, France. Museum of the Louvre, 1 547—’59. Attributed to Germain Pilon, the sculptor. NOT IN CASES. Column of the Place Vendome, Paris. (Miniature reproduction.) H. 5 ft. 3 in. Suit of Armor in nineteen pieces. Italian, 16th Century. Original in the Museum of Artillery, Paris. The Milton Shield. Reproduced by Elkington & Co. Oval. H. 2 ft. 10 in. W. 2 ft. 2 in. The original was designed and wrought in silver and steel repousse by M. Morel Ladeuil, England, for the Paris Exposition of 1867. The British Government bought it for the Kensington Museum for $15,000. It represents scenes from Paradise Lost. ELECTROTYPE REPRODUCTIONS. I 54 4311 The Pompeiian Toilet. Circular. W. 20 inches. Reproduced by Elkington & Co. from the original work ( repousse) in silver, with damascened tracery in gold and silver, by M. Ladeuil. 4312 Statuette of the Emperor William I, of Germany. H. 3 ft. 4313 Statuette of the Emperor Frederick I, of Germany. H. 3 ft. From the Centennial Exhibition, 1876. 43'4 4313 Knocker. Copper-bronze. H. 1 ft. 2 y 2 in. W. i ft. 1 in. 17th Century. Original in the Kensington Museum. Attributed to John of Bologna. 4316 Statuette of Christ. H. 3 ft. in. 4317 Statuette of John the Baptist. H. 3 ft. ^y 2 in. (Reproductions by Elkington & Co. from the original by John of Bologna in the Cathedral of Pisa.) 4318 Monument to Frederick William of Brandenburg, the “ Great Elector. ” 1620-1688. H. 2 ft. 2 in. Reduction of the monument in bronze by A. Schluter. Berlin, 1703. From the Centennial Exhibition, 1876. 4319 Monument to Frederick II, the Great, of Prussia. H. 5 ft. 2 in. Reduction of the original bronze work in Berlin by Christian Rauch, 1851. From the Centennial Exhibition. 4320 Bronze Plaque. “Taking the Guns into Action at Colenso. ” H. 1 ft. 7 in. W. 3 ft. 5 in. From the original. Executed by Onslow Whiting. Gift of Alfred Mosely, C. M. G., of Fladley Wood, England. INDEX OF ARTISTS. Achenbach, Oswald, No. - '49 Davis, Charles H., z 00 Aivasovsky, J., - 118, 119 Daubigny, Charles F., - - 83 Andrews, E. F., 209, 217, 219, 244 De Marne, Jean L., - no, 111 Bail, J. A., - - 106 Desgoffe, Blaise A., - - 148 Baker, George A., - - 130 Detaille, J. B. E., 63, 137 , '73 Barney, Alice C., - - .85 De Wentworth, Cecile, - 188 Becker, Carl, - 102 Dewey, Charles M., - - 50 Bierstadt, Albert, - 46 Diaz, Narcisse Virgile, - 96 Bjorek, Oscar, - - - ' '3 Doughty, Thomas, - 1 3 ; ' 5 Bonham, Horace, - - 39 Dunraresq, Armand, - - '55 Bonheur, Marie Rosa, - - 181 Duplessis, Joseph S., - - 238 Boughton, George H., - 4, 18 Dupre, jules, - 88 Bouquet, Michel, - - 163 Durand, Asher B., 26, 266 Braeckeleer, Ferdinandus de, 115, 116 Eastman, Seth, - 136 Brenner, Carl C., - 121 Elder, John A., - 237 , 239 Breton, Emile A., - 99 ) i 5 2 Elliott, Charles L., 1, 125, 230, 232, Breton, Jules A., - - IOI 233, 236, 264 Bridgman, Frederick A., - 20 Faed, John, - 91 Brooke, Richard N., - - 7 Frere, Edouard, - 103 Brown, John G., - ■6, 57 FreyJ.J., 107, 108 Brown, W., - - ' 3 ' Fuller, George, - 140 Brush, George de Forest, - - .87 Gericault, J. L. A. T , - 183 Burnier, Richard, - - 75 Gerome, Jean L., - '57 Casilear, John W., - - 47 Gifford, Sanford R., - - 3 ' Cazin,Jean C., - 97 , '75 Gignoux, Regij, 141 Chase, Harry, - - 21 Gotthold, Florence, - 122 Chase, William M., - - - 186 Gray, Henry P., 10 Chialiva, Luigi, 70 , 7 ', '79 Grayson, Clifford P., - 25 Chierici, Gaetano, - - 62 Gutherz, Carl, - - 227 Church, Frederick E , - 24, 167 Guillaume, Louis M., - 262 Cole, Thomas, - - 2 , 3, 6 Hall, George H., - 164 Collette, A., - 120 Harding, Chester, - 261 Comte, Pierre C., - - 66 Harrison Thos. Alexander, - 5 Corot, J. B. C., - - 92 Hart, James M., - 28 Costaggini, Fillippo, - - 252 Hayes, William J., - - '59 Courier, E. G., - - 60, 129 Healy, G. P. A., 200, 201, 202, 203, Courbet, Gustave, - - 87 204, 205, 206, 207, 208, 2 10, 2 ! I, Couture, Thomas, - 112 213, 214, 215, 216, 221, 231, 243, Cranch, Christopher P., - - '45 247 , 253, 268 Gropsey, Jasper F., - - - 166 Heilbuth, Ferdinand, - 8l 156 INDEX OF ARTISTS. No. No. Helmick, Howard, - - 168 Neubert, Louis, - 142 Henner, Jean Jacques, - - 73 Nicol, Erskine, - - 61 Henry, Edward L., - - - 5 & Oddie, W. M., - '34 Hildebrandt, Edouard, - - 114 Pauwels, Ferdinand, - - 95 Hubard, William J., - - - 240 Peale, James, - - 170 Huntington, Daniel, 54, 235 , 257 , 259 Peale, Rembrandt, - - 246, 250 Inman, Henry, - - - 226 Peixotto, G. Da M., - - 249 Inness, George, 2 7 > l6l Peretti, B., - 127 Isabey, Eugene Louis, - - 67 Picknell, William L., - 53 Jackson, John, - - - 248 Portaels, Jean F., - '47 Japy, Louis A., - 64 , 72 Porter, Benjamin C., - 8 Jeannin, George C., - - - I 32 Preyer, Johann W., - - 105 Jefferson, Joseph, - - 163 Priou, Louis, - 1 33 Johnson, Eastman, - - 160 Ranger, H. W., - 44 Jones, H. Bolton, - - 55 Ranney, William, - 37 Kaemmerer, Frederick H. ' ) - 65 Rebouet, Alboy, - 7 s Kensett, John F., 19 , 23, 1 62 Reinhart, Charles Stanley, 1 42 King, Charles B., - 231, 258 Renouf, Emile, - - 117 Knaus, Ludwig, - - 90 Richard, Emma G., - - 242 Lachenwitz, F., - - '43 Richards, William T., 12, 178, 180 Lazarus, Jacob H., - ' 4 . 203 Rico, Martin, 100 Le Clear, Thomas, - - 245 Robbe, Louis, - - 1 35 Le Roux, Hector, - - 68 Robinson, Theodore, - 45 Le Roux, L. Eugene, - - 1 56 Rossiter, Thomas P., - 36 Leutze, Emanuel, - 22 . 3 ° Saint Jean, Simon, - 76 Loir, Luigi, - - 172 Saint Pierre, Gaston C., - 86 Loustaunau, Louis A., - - 77 Salmson, Hugo F., - - 140 Maccari, Cesare, - - 104 Sartain, William - 171 McEntee, Jervis, - - 40 Schaffer, August, - 1 39 Malbone, Edward G., - - 267 Scheffer, Ary, - - 1 5 1 Mathews, William T., 220, 223, 224 Schreyer, Adolph, - 94 Mayer, Frank B., - - I 23 Siebert, Edward S., - - 169 Mengs, Raphael, - - 138 Smillie, George H., - 1 I , '7 Messer, Edmund C., - - - 48 Stanley, J. M., - - 144 Menpes, Mortimer, - - 176, 177 Stuart, Gilbert, - 228, 229 Minor, Robert C., - - 43 Sully, Thomas, 133, 225, 256, 260, 265 Moeller, Louis, - - - 4 ' Tait, Arthur F., - 158 Moretti, Antonio, - 89 , 93 Tilton, John R., - 32 Morland, George, - - 109 Troyon, Constant, - 69 Morot, Aime N., - - 82 Truesdell, Gaylord S., - 9 Mount, William S., - - - 34 Try on, Dwight W., - - 59 Muller, Charles L., - - - 70 Uhl, S. Jerome, - 222 Muller-Ury, A., - - 254 Ulke, Henry, - 218 Murphy, J. Francis, - - - 52 Ulrich, Charles F., - 49 Neagle, John, - - - 234 Vail, Eugene L., - '54 INDEX OF ARTISTS. 157 No. No. Vanderlyn, John, - 212, 24I Weber, Paul, ... - 128 Van Marcke, Emile, - - S3, 182 Weeks, Edwin L., - - 33 Vely, Anatole, - 80 Weyl, Max, - 35 Venneman, Charles F., I 26 Whittredge, Worthington, - 2 9 Vibert, Jean C., - 74 Wyant, Alexander H., - 184 Volk, Douglas, - - 58 Wylie, Robert, - 5 ' Van Thoren, Otto, - - - 84 Zeim, Felix, 98. '74 Waldo, Samuel, - 253 INDEX OF PAINTINGS. No. No. A Taper to Saint Genevieve, 188 Catskills, Trout Brook i in, - 29 Accused of Witchcraft, s8 Cattle on Sea-Shore, near Schev- Adams, John, Portrait, 202 eningen, - - 75 Adams, John Quincy, Portrait, - 206 Charlotte Corday in Prison, 79 Adige, Banks of the, 100 Child, Portrait of, - 266 Adoration of Shepherds, 138 Clay, Henry, Portrait, - 226 Afternoon in early June, - 1 2 1 Clay, Henry, Portrait, - 258 Alexander 11 of Russia, etc., 1 5 6 Cleveland, Grover, Portrait, 222 Allegro and Penseroso, 16 Coast of New Jersey, - I 2 Amazon and Her Children, 22 Cockpit, Issue of the, - 39 Anthony, Miss Susan B., Portrait, 227 Concarneau, Road to, - 53 Approaching Night, - 35 Constantinople from the Golden Approaching Storm, 96 Horn, - 98 Arthur, Chester A., Portrait, 221 Corcoran, William W., Portrait, 1 Autumn Afternoon on Lake Count Eberhard of Wi urtemberg George, - 2 3 (The Weeper), - - ' 5 ' Autumn on Massachusetts Coast, 11 Cows in Meadow, - 182 Autumn Scene on the Hudson, - 13 Cromwell and Milton, - 30 Autumnal Corn and Grapes, 1 27 Custis, G. W. Parke, Portrait, - 255 Baldart Castle, Kilkee, Ireland, - 180 Deepening Shadows, The - 38 Ball Playing among the Sioux Departure, The, - 2 Indians, - 136 Departure for the Hunt, India, - 33 Banks of the Adige, - 100 Difficult Task, The, - 122 Bavarian Prisoners, French Cuir¬ Disagreement, - 4 ' assiers bringing in, '37 Disputed Shot, - '44 Beach at Scheveningen, Holland, 65 Distributing Supplies, - 119 Bertha,. 185 Dog and Parrots, - '43 Brittany, Fortune Teller of, 5 1 Dream, The, - 164 Brittany Widow, - 101 Drinking Place, - 69 Bryant, William Cullen, Portrait, 2 33 Drought in Egypt, - - '47 Buchanan, James, Portrait, 215 Drove at the Ford, - - 28 Bull (Rosa Bonheur), 181 Duck Shooting, - 37 Bull Dog, Head of, - '59 Durand, A. B., Portrait , - 236 Caesar Dead, - '57 Eastern Sky at Sunset, - 40 Calhoun, John C., Portrait 2 4 0 Edge of the Forest (Dewey), 5 ° Calhoun, John C., Portrait, 25 I Edge of the Forest (Durand), 26 Cardinal Questioning Acolytes, - 8l Edict of William the Testy, 18 Castle Gondolfo, Lake Albano, - '45 Effect of Snow, - 172 Catskills, Scene in, - 128 Egypt, Drought in, - - '47 INDEX OF PAINTINGS. No. El Bravo Toro, - - - 82 Emigrant’s Letter, - - - 168 End of Day, - - - - 59 Eventide, 43 Family of Satyrs, - - - 153 Farm House, - 109 Female Head, - - - 1 12 Festival of Santa Lucia, Naples, 149 Fete of St. John, - 146 Fillmore, Millard, Portrait, - 213 Fine Weather, 70 Flower Piece (with Cat), - 60 Flower Piece, - - - - 129 Flute Player, - - - 169 Fontainbleau, Scene at, - - 66 Forester’s Home, 90 Forest, Edge of the I Dewey), - 50 Forest, Edge of the (Durand), - 26 Forest and Stream, - 165 Fortune Teller, - - - 104 Fortune Teller of Brittany, - 51 Forum, From the Tabularium, Rome, 89 Foster, Lafayette S., Portrait, - 263 Franklin, Benjamin, Portrait, - 238 French Cuirassiers bringing in Bavarian Prisoners, - - 137 Fruit (Preyer), - - - - 105 Fruit (Saint Jean), 76 Fun and Fright (The Mask), - 62 Garfield, James A., Portrait, - 220 General of the First Empire, - 173 Genesee River, High Bank of, - 19 Geneva Conference, - - 155 Girl and Pets, - - - - 160 Going to Pasture, 9 Grant, Ulysses S., Portrait, - 218 Grant, Gen. Ulysses S., Portrait, 254 Great Oak, Pond of the, 88 Guizot, M. F. P. G., Portrait, - 268 Hamlet on the Seine, - 85 Happy Family, - - - 113 Harbor of New York, - - 21 Harrison, Benjamin, Portrait, - 223 Harrison, Wm. H., Portrait, - 209 I S9 No. Hayes, Rutherford B., Portrait - 219 Head of a Bull Dog, - - 159 Heir Presumptive, 4 Helping Hand, - - - 117 Henry, Joseph, Portrait, - - 235 High Bank, Genesee River, - 19 Hudson, Autumn Scene on the, 13 Humboldt, Baron, Portrait, - 242 Hungarian Forest, Sunset in, - 139 Ideal Female Head, - 133 Ideal Head, - 130 Interior, - - - - - 110 Interior, - - - - 111 Issue of the Cockpit, 39 Jackson, Andrew, Portrait, - 207 Jackson, Gen. Andrew, Portrait, 225 Jackson, Gen. T. J., Portrait, - 235 Jefferson, Thomas, Portrait, - 203 Joan of Arc in Infancy, 73 Johnson, Andrew, Portrait, - 217 Johnson, Col. Richard M., Por¬ trait, - 234 Judgment of Paris, 10 Justice to Levin Pyn, - 95 Kendall, Amos, Portrait, - - 257 Kendall, Mrs. Amos, Portrait, - 259 Lady and Dog, 8 Lake George, 47 Lake George, Autumn Afternoon on, ----- 23 Lake Scene near Lenox, Mass., - 134 Land of Promise, Castle Garden, 49 Landscape (Cazin) - - 175 Landscape (Courbet), - - 87 Landscape (Doughty), - - 15 Landscape (C.ignoux), - - 141 Landscape (Illness), - - - 161 Landscape (Wyant), - - 184 Landscape with Cattle (Robbe), 135 Landscape, with Cattle (Van Marcke), - - - - 83 Lasteyrie, M., Portrait - - 246 Lee, Gen. Robert E., Portrait, - 237 Leisure and Labor, - - 123 Lincoln, Abraham, Portrait, - 216 160 INDEX OF PAINTINGS. No. Long Island Farm, - - 17 Longshoreman’s Noon, - - 37 Long Story, 34 Lorette, - - - - - 140 Lost Dogs, 84 Loudoun, Sunset in, 48 McGuire, James C., Portrait, - 232 McKenney, Col. Thomas, Por¬ trait, - - - - 230 McKinley, William, Portrait, - 224 McLane, Robert M., Portrait, - 247 Madison, James, Portrait, - - 204 Madison, James, Portrait, - - 265 Magdalena River (Grenada), Scen¬ ery of - - - 167 Malbone, Edward G., Portrait, - 267 Marshall, Chief Justice John, Por¬ trait, - - - - 236 Mask, The (Fun and Fright), - 62 Massachusetts Coast, Autumn on, 11 Maury, Commodore M. F., Por¬ trait, - 262 Mercy’s Dream, - - - 54 Mid-Day Dreams, 25 Model, The, - - - - 186 Monk Fishing, 77 Monroe, James, Portrait, - - 203 Montefiore, Sir Moses, Portrait, 249 Moonlight in Holland, - - 97 Moonrise in Madeira, - - 114 Morrill, Justin S., Portrait, - 243 Mother and Child, - 187 Mount Corcoran, - - - 46 Mount Washington (Sketch), - 162 Nailmakers, - - - 113 Nedjma-Odalisque (Saint Pierre), 80 New Jersey, Coast of, - - 12 New York, Harbor of, - - 21 Niagara Falls, 24 Night, ----- 78 Night Approaching, 35 October, - - - - 52 Odalisque-(Lazarus), - - 14 Odalisque, Nedjma (Saint Pierre), 86 Old Castle in Bavaria, - - 142 No. Old Shepherd, The, - - - 179 On the Coast of New England, - 178 Paddy’s Mark, - - - 61 Page, Mrs. R. C. M., Portrait, - 231 Page, William, Portrait, - - 245 Parthenon, Ruins of, - - 31 Passing Regiment, - - - 63 Pastoral Visit, 7 Peabody, George, Portrait, - 253 Pierce, Franklin, Portrait, - - 214 Pincian Hill, Rome, - - 81 Polk, James K., Portrait, - - 211 Pond of the Great Oak, - - 88 Pope Julius II, with Raphael, M. Angelo, and others, - - 102 Portrait (Unknown), - - 248 Preparing for Church, - - 103 Procession of the Sacred Bull, Apis-Osiris, - - - 20 Pyn, Levin, Justice to, - 93 Quail and Young, - - - 158 Randolph, John, Portrait, - - 261 Ready About, - - - - 154 Rebecca at the Well, - 36 Relief Ship, - - - - 118 Return, The, 3 Return from Market, - - 131 Road to Concarneau, 53 Roman Girl, Unfinished Head, - 125 Rome, ----- 107 Ruins of the Parthenon, - - 31 Sacred Bull, Procession of, - 20 Saint John, Fete of, - 146 Saint Peter’s, - - - - 93 Saint Pierre, J. H. B. de, Portrait, 230 Santa Lucia, Naples, Festival of, 149 Satolli, Cardinal, Portrait, - - 252 Satyrs, Family of, - - 153 Scene at Fontainbleau, - - 66 Scene in the Catskills, - 128 Scene near Lenox, Mass., - - 134 Scenery of the Magdalena River, Granada, S. A., - - 167 Scheveningen, Holland, Beach at, - - - - 65 INDEX OF PAINTINGS. No. Schism, The, 74 Seine, Hamlet on the, - - 85 Seine, Valley of, from Giverny Heights, - - - 45 Shakespeare and his Contem¬ poraries, - - - 91 Shepherds, Adoration of, - -138 Shippen, Chief Justice Edward, Portrait, - - - - 229 Shower, A, - - - 71 Snow Scene (Loir), - - - 172 Snow Scene, Moonrise, 99 Souvenirs of the 16th and 17th Centuries, - - - - 148 Spring Landscape, 04 Springtime, - - - - 55 Stone, Horatio, Portrait, - - 264 Storm, Approaching, 96 Street in Cairo, - - -174 Street in Dinan, Brittany, - - 171 Study of a Torso, - - 183 Sully, Thomas, Portrait, - - 260 Sunday Morning in Auvergne, - 106 Sunset, - - - - - 152 Sunset iir Hungarian Forest, - 139 Sunset m Loudoun, 48 Sunset in the Woods, 27 Talking Well, - - - - 80 Task, Difficult, - - - 122 Taylor, Zachary, Portrait, - - 212 Taylor, Zachary, Portrait, - - 241 Tivoli,.108 Top of the Hill, 44 Tornado, The, 6 l6l No. Trout Brook in the Catskills, - 29 Twilight (Harrison), - - - 5 Twilight (Japy), - - - 72 Tyler, John, Portrait, - - 210 Unfinished Head of a Roman Girl, 12s Unhappy Family, - - - 116 Valley of the Seine from Giverny Heights, - - - - 45 Van Buren, Martin, Portrait, - 208 Van Ness, Mrs. Gen. John P., Miniature, - - -170 Vase of Flowers, - 132 Venetian Balcony, - - -176 Venetian Fishing Boats, - - 32 Vespucci, Amerigo, Portrait, - 244 Vestal Tuccia, - - - - 68 Village Doctor, - - - 126 Virgin and Child, - - 124 Vista, The, - - - - >77 Washed Ashore, - - - 42 Washington, George, Portrait, - 200 Washington, George, Portrait, - 228 Washington, Martha, Portrait, - 201 Washington’s Headquarters on the Hudson, - - - 166 Watering Place, 94 Wedding Festival, - - - 67 Westover Mansion, The Old, - 50 William the Testy, Edict of, - 18 Witchcraft, Accused of, - - 58 Wood Gatherers, - - - 92 Wood Scene with Hunters, - 163 Woods, Sunset in the, - - 27 Young Savoyard Musician, - 120 GENERAL INDEX. Board of Trustees and Officers, - History of The Corcoran Gallery of Art, Plans of the Building, - Description of the Building, Paintings, ------ Portraits,. Casts from Antique Sculpture, Casts from the Renaissance Casts from Modern Sculpture, Marbles, ----- Bronzes,. Cloisonne,. Porcelains and Glass, - - - Electrotype Reproductions, Index of Artists, - - - - Index of Paintings, - - - -