OF Jlhte ART AND ARTISTS OF ALL NATIONS OVER FOUR HUNDRED PHOTOGRAPHIC REPRODUCTIONS OF GREAT PAINTINGS EMBRACING MASTERPIECES OF MODERN AMERICAN, FRENCH, ENGLISH, GERMAN, SPANISH, DUTCH, AUSTRIAN, RUSSIAN, BELGIAN, SCANDINAVIAN, AND ITALIAN ART INCLUDING MORE THAN One Hundred and Forty of the Greatest Paintings Exhibited in the Department of Fine Arts at the World’s Columbian Exposition DESCRIPTIONS OF EACH PAINTING PREPARED EXPRESSLY FOR THIS WORK BY WELL-KNOWN WRITERS AND ART CRITICS, AMONG WHOM ARE COMMISSIONERS OF FINE ARTS AT THE WORLD'S COLUMBIAN EXPOSITION Angelo Del Nero ROYAL SPECIAL COMMISSIONER FOR ITALY Hon. A. R. SPOFFORD Hon. D. W. VOORHEES Dr. JOHN CLARK RlDPATH W. LEWIS FRASER MANAGER ART DEPARTMENT OF THE CENTURY HENRI GIUDICELLI COMMISSIONER FOR FRANCE Hon. JOHN T. MORGAN Hon. W. J. BRYAN Rev. ROBERT COLLYER, D.D HORACE BRADLEY ART MANAGER OF HARPER’S MAGAZINE J. W. BECK COMMISSIONER FOR GREAT BRITAIN Rev. Thomas armitage, d.d MARY BAIRD BRYAN Perriton Maxwell CHARLES DEKAY ART CRITIC OF NEW YORK TIMES NEW YORK ARKELL WEEKLY COMPANY io Fifth Avenue 1894 HAT is art? Who is an artist? What is it to produce an artistic work? The answers to these questions bring us close to the highest activities of the human mind and to the history of civilization. Savagery has no art, no artists, and no artistic products. The civilized life has all of these, and has them in varying abundance. In proportion as the civilized life rises to higher and higher levels, art abounds and flourishes. It does so for the reason that it is the blossom of the mind in the highest places of its growth and vision. More concisely, art is the blossom of the ideal faculties of the mind, as distinguished from what may be called the mechanical faculties. Whenever and wherever the ideal faculties expand into beauty and strength, then and there art begins to rise and beautify the world. The history of art is thus the history of the development of the ideal parts of the human intellect and spirit. At a certain stage in the evolution of man-life, these ideal faculties appear. When that happens, the dawn of art breaks over the rim of darkness. The morning glow of the civilized estate illumines some favored land and --s'- people, and the sons of men begin to be poets and painters. Henceforth they are no longer subservient to the rough senses and coarse instincts of barbarism, but rather to the refined perceptions and beautiful dreams of the artistic life. With the springing up of imagination and spiritual passion, the human creature begins to draw and to make pictures. He produces ideal forms by means of color and plastic materials. His eye becomes quick, and his fingers as nimble as his fancy. He stretches the canvas and throws thereon the first visions of beauty and sublimity. Nature furnishes the materials and genius the inspiration of the work. The artistic impulse swells in volume, and throbs through all the channels of thought. The brain glows with the luminous flame of a divine instinct, and the homes and haunts of men begin to be decorated with the products of pictorial art. Thus came the inspired Greeks into the world. Before them had been the Egyptians, the Assyrians, the Hindus. All of these had art. They were the first artistic races of men. They brought art out of the pre-historic darkness and shed it abroad among mankind. The Egyptians, the Chaldees and the Greeks were the intellectual fathers of the modern races. Out of so great a paternity have sprung the esthetic life and products of the great peoples of modern times. Painting competes with literature for the first place in the development of the human mind, and in the dissemination of great ideas and sentiments. There is a sense in which true art is higher than true letters; for the literary form gathers into itself much crude and profane material. It bears along in its volume the debris and wreck of things, which the purer art studiously rejects and casts away. The literary tide includes the rolling together of muddy waters as well as pure. Literature is stained with clay and the rust of subterranean caverns. The art tide is a rivulet of quicksilver winding on, a shining band of light, through the dirt and decay of time and space, containing no particle of contamination in its living currents. Art was the topmost branch in the glory of the classical ages. Greek art ascended Olympus and became the garment of the gods. It descended again to men with divinity in its folds. Hellas was clad about with it as with shining raiment. The spirit of the race rose on the wings of artistic inspiration and flew abroad into the world. The broken and flameless altars of the East were relighted from the torch of the Greeks. Southern Italy, Sicily, the shores of Africa and Spain, were touched with the pencilings of the dawn, and even the barbaric West saw, far off through oak forests and gloomy clouds, the rising light. It is the glory of recent times that the artistic effulgence has again shone forth over mankind. For long ages after- the overthrow of classical antiquity, there was naught but barbarism and gloom in the world. At length the revival came — the revival of art and letters. In favored spots of Europe — in Italy, in Provence, in sunny Spain, and at last on the Danube, the Rhine and the Thames—the radiance of the new era appeared, and men began once more to illumine the canvas and the ceilings of cathedrals and palaces with their ideals and fancies. The old history and traditions of mankind reappeared in the splendid garments of new art. Modern art sprang up in the place of the classical, and the human genius again flashed its visions in color and form on the living canvas. The quick pencil of the Italian artists played in dream and sublime imaginings about the heads of saints and virgins. Thus came that epoch in history known as the Renaissance. It was an age of the revival of ideality. In Italy first, and in all the better parts of Europe afterwards, the new era expressed itself in art and letters; but principally in art. On the hither side of the Renaissance there has been, through all the moods of civilization, the ebb and flow of the artistic spirit. There have been periods of art, and other periods without it. In recent centuries, the incoming of science has changed somewhat the currents and methods of human thought. On the whole, the change has not promoted artistic progress. Something of materiality has insinuated itself in place of ideality. Mere materialism and artistic vision do not go well together. Nevertheless, the spirit of art has continued to .fly abroad, and much of the highest genius of the current age has been devoted to the brush and easel. It is to the credit of the last quarter of our great century that, amid the swirl and roar of material achievement, the ideal faculties of the mind have survived and flourished. Above the whirl of wheels, the rush of trains, the noise of great marts, the clang of innumerable factories, and the confusion of commercial battle, art has not only risen and survived, but has flourished in its most beautiful forms. Recent art has shown an extraordinary efflorescence in every truly civilized country of Europe and the Americas. A thousand easels have received and perpetuated the outline and substance of a thousand beautiful ambitions, and the galleries of the modern world are replete with the visible dreams of great artists. A comparison of the art works of modern times with those of the classical ages shows many points of contrast. It illustrates the changed conditions existing in the ancient and the modern world. The spirit of the two products of the mind differs as much as the New World differs from the Old—as ancient history differs from modern. The classical art was in its themes almost wholly mythological and poetical; that of recent centuries is social and romantic. The old art works had gods and goddesses, heroes and Titans for the subjects; the new art transcribes life and manners, all hopes and sentiments and aspirations, to the canvas, entering but seldom, or not at all, into the realms of the supernatural. More and more the marvelous and the improbable have disappeared from the painter’s studio, and the real and the probable have taken their places. In like manner the miraculous element, so strongly predominant in the works of mediaeval artists, has vanished, and the actual and the historical element been substituted therefor. Modem art reaches into all the humanities, but no longer essays the divine. Painting has, in a word, become a transcript, an image, of human life, reflecting its hopes and ambitions, its griefs and its humors, its laughter and its tears. This work, happily entitled “ART OF ALL NATIONS,” contains the reflected lustre and glory of fully 400 of the finest modern paintings. Nearly all of these have reached a national and, many of them, an international reputation. They have been exhibited at famous expositions and in the salons of two continents. They have been admired and praised by the first geniuses of the age, musing before the splendid originals in a hundred well-known galleries. The pictures presented in this volume are limited to the latest period in European and American art. Not one of these great works but has been painted within the memory of men still living. The collection, in its entirety, is, therefore, an epitome and emblem of the art development of the last quarter of the nineteenth century. The value of this splendid collection lies not wholly in the artistic excellence of the originals, not wholly in the fidelity of the reproductions, but in the fact that the pictures constitute a history and image of modern life. They are a transcript of the manners and customs of the current age, a mirror of the times, a pictorial abstract and brief chronicle of the thoughts and sentiments of the greatest races in the greatest epoch of time. These pieces of fine art show the most striking features, the most poetical forms, the most inspiring aspects and picturesque incidents of the social drama of our era. The work is a gallery of human life, as it is seen and known in the passing age. The artists whose pencils have produced these pictures have selected from the mass of things the most instructive parts, and have touched those parts with the magic and fire of their genius. Every picture in this collection is at once a record and a lesson. Each is a record of customs, habits and sentiments of the recent centuries ; each is a lesson in the social history and development of our age. Each of these 400 admirable pieces speaks to the beholder, not only of artistic skill, not only of incidental beauties, but also of the habits, the costumes, the usages, the institutions, the progress, the purposes, the hopes and the dreams of man and woman and child at the high tide of modern civilization. The materials of this publication have been gathered out of the most famous galleries and the finest private collections in the old world and the new. The selections have been made with respect to the excellence and reputation of the originals, and to the variety and interest of the subjects illustrated therein. No other attempt to bring into one list a panorama of the most exquisite pieces of modern art has been equally successful. As the pages of this magnificent portfolio are turned, the successive pictures flash upon the fancy of the beholder like the ideal landscapes of a passing vision. The eye is pleased and satisfied. The mind is borne on with enthusiasm from scene to scene. The spirit is charmed and illumined. The work, as a whole, will be found a treasure for the home—a source of inexhaustible delight and instruction to every lover of the beautiful, the good and the true. The spirit of our age has demanded the production of such works as this, and the genius of the age has responded triumphantly to the call. Pictures have been multiplied in this era to an extent never hitherto known outside of the narrow limits of classical Greece and mediaeval Italy. Great intelligence, great social ambition, and great wealth have combined with great creative skill as the motive forces in the production and multiplication of famous canvases, until even the remote towns, out-of-the-way places, and frontier stations of civilization are not without some touch and token of the artistic life. The descriptions and interpretations of the pictures in “ART OF ALL NATIONS” are by master, hands, and many of the ablest art critics and well-known authors have contributed to this part of the work. The descriptions are never technical or prolix, but agreeable and spirited—done eloquently in the language of the people. They are intended to interpret the sense and spirit of the pictures in a lively and pleasing manner, and to lead the fancy of the beholder to a thorough appreciation and full enjoyment of the subjects delineated. The paintings reproduced in this collection are nearly all the famous works of great artists. They are the products of such genius as is known and recognized everywhere in the art, literature and records of modern times. These paintings have been selected from an innumerable mass of recent works as the exemplification of the best. They have been reproduced by the highest skill and most scientific methods of our and at a moderate Civilization on our continent is somewhat day, and uniformly done into the present collection as a means of carrying to the people, within a reasonable compass cost, a knowledge of the great art achievement of our age, The importance of art works in the homes of the American people cannot be over-estimated, new, and life has continued to be a battle with material forces. Refinement at length begins to yield manners, and culture to illumine the minds of the people. Among the facts and forces tending to the establishment of a cultured life, art joins hands with letters. Hitherto the introduction of fine art works into the homes has been attended with such a large expenditure as to limit the advantage to the few. Books of art have been so costly as to put them beyond the reach of the many. The purchaser of such works has been obliged to pay from $25 to $300 for publications containing no more than 100 to 150 subjects. In “ART OF ALL NATIONS” the purchaser is enabled to procure a splendid collection of 400 art reproductions at so small a cost as to make the purchase a pleasure. This collection constitutes such a portfolio as makes the best art of the world accessible in an attractive form to all. The collection informs the mind, pleases the imagination, instructs the taste, and opens a long and shining vista into the beautiful landscapes of modern art. It brings within the reach of American homes, alike of the luxurious people of wealth and the humble abodes of the common lot, a historical panorama of the great paintings of our time. The publishers have spared neither pains nor expense in making the collection a fit souvenir for the last decade of the greatest of the centuries. The work commends itself by its elegant and accurate reproduction of masterpieces, interpreted and described by well-known artists and scholars, to the critical public as a means of delight and instruction not to be overlooked in gathering and arranging the treasures of happy homes. THE EDITOR. AMERICA (United States'). ARTIST TITLE PAGE Bacon, Henry Geese ...... • z 35 Beard, W. H. Brer Rabbit and Brer Fox 280 Bierstadt, A. Mount Corcoran . . . . . 210 *Bisbing, H. S. Afternoon in the Meadow . 14 *Bridgman, F. A. Fellahin and Child—The Bath • 2-97 * t i tt In a Village at El Biar, Algiers • ' 258 * tt tt Women at the Mosque, Algiers • 333 * it tt Crossing the Red Sea 3 8 4 Brooke, R. N. A Pastoral Visit . . . . ■ 52 *Brown, J. G. A Card Trick .... . 12 ❖ it tt Pull for the Shore .... ■ 294 ❖ it a A Wall Flower .... 345 *Cameron, E. S. In the Studio . . . . • 34° *CURRAN, C. C. Winter Morning in the Barnyard 373 *Farny, H. F, A Mountain Trail .... ■ 37 * tt tt A Sioux Camp. Got Him! 332 *Gay, Walter Charity ...... • 34 Henry, E. L. On the Tow Path 33 8 tt it The County Fair . • 29 *Hitchcock, G. The Tulip Field 349 *Knight, I). R. Hailing the Ferryman • z 73 Marr, C. Gossip ... 18 *MacEwen, W. The Ghost Story . . . . • 27 *Mowbray, H. S. The Evening Breeze . . 292 * tt it The Rose Harvest . . . 318 *Poore, H. R. The Bridge at Sunset 256 *Richards, W. T. Old Ocean’s Gray and Melancholy Waste • 3 Z 9 Rosenthal, Toby E. The Mother Has Gone Out . . 244 tt tt The Alarmed Boarding-School • 254 tt tt Who Laughs Last, Laughs Best 348 *SCHWILL, W. V. The Closing Hymn ■ 3°9 *Trego, W. T. The Pursuit .... 24 Truesdell, G. S. Going to Pasture . . . . ■ 49 *Weeks, E. L. The Last Voyage • 3»S *WlLES, I. R. Sunshine and Flowers • • 34° AUSTRIA. *Blaas, E. von The Good Brother . , ■ 42 Defregger, F. von The Dance on the Aim . . 61 tt tt The First Travel Study . . 106 tt it The Victors Returning Home . . . 174 *Goltz, A. D. Christ and the Women . . • 3 5 Nicolet, G. In. the Palm Garden at Spa . . I 12 Thoren, 0 . VON The Lost Dogs . • 41 BELGIUM. ARTIST *Carpentier, E. TITLE Convalescence ..... PAGE 0 265 *De Beul, f. Return to the Stable 224 *Farasyn, E. Embarkation of Emigrants at Antwerp . 26l *Gerard, Th. A Bad Reception .... 337 *Gevers, H. Arab Merchant ..... • 43 *Huysmans, J. B. Visit of the Merchant—Algeria 23 *Leempoels, J. The Amateurs ..... . 231 *Ouderaa, P. J., V.-D. The Galleries of the Juweelpand 241 *Plumot, A. Leaving the Stable .... . 228 ^Rosier, J. G. At My Friend Dupon’s 273 Van Den Bos, G. Music ....... *Van Den Eycken, C. Who’s That ?..... 339 *Van Der Meulen, E. Astonishment ..... • 235 *Verhas, F. The Birthday ..... 323 * tt tt The Flowers. * “ J. Martyrs of the Beach • 5 6 Veyrassat, J. J. In Normandy . . . ? 0 • , 168 ENGLAND. Alma-Tadema, L. Rose of All the Roses .... . 206 tt it it At the Shrine of Venus # e 179 * “ “ Laura Battledore and Shuttlecock . • 230 Bethune Flowers of Summer .... „ # 73 Boughton, G. H. The Heir Presumptive .... . 62 * tt ti Dancing Down the Hay • . 284 *Bramley, F. A Hopeless Dawn ..... • 346 * it tt “For of Such is the Kingdom of Heaven” . 362 *Calkin, L. “The Campbells Are Coming” . 20 Fildes, Luke Venetians ...... lz 9 Gow, A. C. After Waterloo ..... . 88 Lewis, J. F. Dutch Orphan Girl .... . 198 *Lockhart, W. E. The Swineherd ..... 0 • 47 *Lorimer, J. H. Potpourri ...... 3 Z 7 *Loudan, M. Fish Market in Cornwall • 3 Z 5 Morgan, F. The Tired Gleaners .... 123 tt tt A Gentle Reminder .... . 86 tt tt A Heavy Load ..... . „ IZ 5 tt tt Watching and Waiting .... . 90 * tt tt The Favored Swain .... . 247 ^Murray, D. Mangold Field ..... ■ 395 Nightingale, L. C. A Foretaste of Summer # . 79 Poynter, E. J. A Corner in the Market Place • ZI 3 *Sant, James Oliver Twist: He Walks to London. 3 11 Tromstead, G. H. The First Step ..... . 132 ENGLAND.— Continued. ARTIST TITLE PAGE Trood, W. H. Dinner ...... s 176 *Tuke, H. S. Sailors Playing Cards .... 35 2 *Ward, Henrietta The Ugly Duckling . 35 ° * Willi ams, A. Port of Dublin — Sunset .... . 397 Williams, J. H. The Last Dance. • • 186 FRANCE. Aubert, E. J. Love Wins ...... . 229 * a a Love’s Captives ...... 400 *Aublet, A. The Aged .. 55 * it tl La F6te Dieu ...... 33 * it tl Women at the Seashore .... 335 It tl Bathing Scene ...... 359 Barillot, L. Autumn in Lorraine ..... 3°4 11 The Watering Trough . . . . . 274 *Bartholom£, A. Hunting the Slipper . . . . . 34 i Berne-Bellecour, E. The Intended ...... 342 It it U On a Campaign ...... 15 Berthelemy, P. E. Dredging in the Roadstead of Barfleur 355 *Beyle, P. M. Life Saving from a Wreck 268 Bonheur, Rosa Weaning the Calves . . . . . 266 Boudet, A. The Harbor of Bordeaux .... 389 Bouguereau, W. Brother and Sister. 296 *Boutigney, E. Combat in a Village. 286 Breton, J. A Grand Pardon in Brittany 283 Corot, J. B. C. Wood Gatherers ..... 242 *Couturier, L. L. The Capstan ...... 189 *Dauphin, E. The Schoolship Iphigine .... 372 *Debat-Ponsan, E. Noon ....... 386 it a << The Return From the Fields 76 it it tt An Opportunity ..... 269 tt it tt The Festival of St. Roche ; Blessing the Cattle 221 * tt tt it In My Greenhouse. 249 tt it tt Peasants ... ... 308 it tt tt Gypsy Woman at Her Toilet l6 *Delobbe, F. A. Breakfast After the Bath 225 *Delort, C. E. Pichegru Takes the Dutch Ships in the Zuyder Zee 2l8 Denneulin, J. Return of the Fishing Fleet . 28l it a The Departure ...... 3 6 3 Deyrolle, A. Song of Spring ..... I 55 Dufaux, J. B. Return From the Market .... 275 *Dupr£, T- The Harvest ...... 212 it it The Balloon ...... 321 *Durst, A. Turkeys ....... 287 Fleury, F. A Young Girl ...... 236 Frappa, J. The Choir ...... 167 Friant, E. The Good Little Dog .... 3 6 Galliard, C. The Rendezvous Before the Hunt 214 Gagneab, L. Reaching the Bank ..... l6o *Goeneutte, N. The Morning Soup .... 187 Goubie, J. R. A Rustic Esmeralda ..... 5 i tt ti The Flirt. 96 a tt Friends ....... 46 *Granger, R. Young Girl Chasing Butterflies 246 *Grolleron, P. A Capture in 1793 6 3 FRANCE.— Continued. ARTIST TITLE PAGE *Guillon, A. My Little Brother .... 382 Hermann, Ch. Charles the Hunter 296 *Jourdain, Roger Yachting. 344 *Landelle, C. Young Girl of Tougourth, Algiers 3 ID Leloir, M. Opportunity Makes the Thief . r 3 *Michel, M. Photograph of a Mummy 75 Moreau, A. A Pleasant Stroll .... 223 tt tt The Bath ..... 2l6 it tt In the Park ..... 358 Moreau-Ce. Make Haste ..... 201 Moreau de Tours, G. In the Woody Bower.... 181 tt it “ Morphiomaniacs .... 68 *Motte, H. P. The Trojan Horse .... 70 *Moutte, A. In the Sunshine .... 3 1 *Nozal, A. In the Bay of Mount St. Michel 32 Outin, S. A Wedding Tour .... l6l *Paris, Alfred In Full Pbight ..... 326 Pelouse, G. The Turkey Girl .... 29I tt It Depth of the Forest .... 37 ° *Perret, Aime Distribution of Prizes . 22 *Realier-Dumas Luncheon Under the Trees 277 Roybet, F. A Gallant Proposal 169 SCALBERT, J. The Banks of the Marne . 154 *SlNABALDI, P. Daughter of the Rajahs 271 *Tavernier, P. Huntsman Blowing the Retreat From the Water 288 Toudouze, E. Flower Merchant .... 19 *Trupheme, J. A. Singing Lesson in a Public School of Paris 60 Vairin, J. Horse Artillery .... 365 Van Marcke, E. Landscape with Cattle . 192 GERMANY. Amberg, W. The Country Joiner 59 tl tl The Narrow Pass .... . 197 Assmus, R. The First Stop .... . . 190 Becker, C. Apollo Belvedere .... 272 Blume-Siebert L. Rain in the Parlor . . 140 it a a The Heyday of Summer . . 15 ° Bockelmann, C. L. The Crash ..... Bredt, F. M. Arabian Lady Boating 145 Brook, Ernst A Question of the Heart • 354 Deiker, C. F. Pointer and Setter .... 82 Dielitz, Iv. Grace ...... ■ 234 Eberle, A. The Two Mothers .... 213 Eckhardt, A. Black Peter ..... . IOO Ehrenberg, C. The Destinies ..... xi6 Ehrlich, F. Praying ...... • 325 Erdmann, O. Love Service ..... 233 it a Trying to Steal a Kiss . . 126 a it The Birthday . . . . . 215 ti it The Mercy Plea .... . 102 Falat, T- Return of the Emperor William from the Bear Hunt 156 Fleischer, L. Bitter Medicine .... . l8o *Frenzel, 0 Cattle in the Marshlands of the River Elbe . 39 6 Genzmer, B. The Black Man .... • 99 it it The First Plaything . 354 GERMANY.— Continued. ARTIST TITLE PAGE Geutz, W. Crown Prince Frederick Entering Jerusalem 178 Goldmann, 0 . A Secret ....... ■ 9 1 Grosch, C. Farewell ........ 1 34 GRtjTZNER, E. Time of Praying in the Convent Beer-Cellar 250 ti a An Amusing Story ..... . 122 ti a The Card Players ...... 139 tt a The Wine Taster ...... • 203 tt ti Brother Butler ....... 141 tt It Cheating at the Play ..... • 74 Gysis, N. The Hair Cutting ...... 366 Hafften, C. von The Coast of Ireland and Dunraven Castle . • 149 *Hammer, E. Grandmother’s Pet ...... 28 Handler, H. Between Love and Duty .... • 152 Heichert, 0 . “The Entrance of Thy Word Giveth Light” . 3 01 Hein, F. The Holy Legend of Gmtind . 262 Heyden, Ch. My Mother-in-Law ...... I2 5 ti tt Rustic Happiness ...... . 202 Hiddemann, F. Little Red Riding Hood ..... 129 Horsch, H. The Idol of the Monastery . 207 Hunten, E. The 39th Fusileer Regiment .... 394 Jacobides, G. The Naughty Grandson .... . 48 *Kallmorgan, F. Neighbors ........ 380 it it The Emperor’s Bust ..... • 375 *Kaulbach, H. Once Upon a Time ...... 369 ti tt The Chiding ....... ■ 3 66 Kindler, Albert The Fandango ....... 185 Kirberg, O. The Interrupted Musician .... 157 Kleehaas, Th. Right or Left ...... • io 5 Knags, L. Valuable Instruction ...... 196 tt tt The Forester’s Home ..... ■ 252 tt It The Village Witch ...... 188 tt it A Bad Customer ...... . 66 it tt The Young Gamblers ..... 164 ti tt A Picnic Party ...... • 92 a a As the Old, so the Young .... 290 a tt In Great Distress ...... ■ 53 tt tt Pastimes of the Children ..... 151 a a The Artist and Her Model .... . 120 Knorr, G. Church Collection ...... 58 Koch, H. Love is the Joy of Two Hearts . ■ 163 Kohlschutter, P. “Oh, How Far Away What Once Was Mine!” • 39 Koster, R. The First Breath of Spring .... 232 Kray, W. The Sea and the Lovers ..... i6 5 Kroner, C. Stags F’eeding ...... . 118 it tt Boar Hunt and Winter Scene .... 144 Kretzschmer, H. The Milk Boils Over ..... ■ 95 Langer, R. von The Approach of Autumn .... 200 Lassner, N. Blindman’s Buff ....... 67 Leinweber, R. An Arabian Song ..... . 89 Leisten, J. A Concert Given by Richelieu .... 299 Leyrendecker, P. Beethoven at Bonn ..... . 184 *Liebermann, M. The Flax Barn ....... 35 1 Lieck, J. The Styrian Girl ...... ■ 1 99 Lins, A. A Song Without Words ..... 78 ti tt Little Folks ....... • 3 : 3 GERMANY.— Continued. ARTIST Lins, A. Loewe, M. Lonza, A. tt tt tt tt Luben, A. tt ti tt It It it Malchin, K. Max, G. it a Mayer von Bremen Muche, C. *Muller, P. P. Neustatter, L. Nonnenbruch, M. Papperitz, G. F. It ti it Patzelberger, R. Raudnitz, A. Rettig, H. Richter, G. it It TITLE The Village Acrobat . . A Scene from the Merry Wives of Windsor . The Interrupted Performance In the Park . . . . An Interesting Story .... Here’s a Fine Business .... After the Christening .... Trying to Make His Peace .... Young Talents ...... Winter Landscape ...... The Greeting ...... The Fortune Teller ..... Blindman’s Buff ..... Little Pepeta ...... Beechwood in Autumn .... Winter Pastimes ...... Spring Blossoms ...... The Lovely Folks ...... Adrian Brouwer and His Models . Tired of Waiting .... The Faithful Guardian .... Called to Her Calling ..... The Egyptian Girl ..... tt a a *Rosen, J. Roubaud, F. Salentin, H. it a Schmidt, Th. Schreyer, A. Schroder A. a a SCHUTZE, W. Schweninger, C. Schwiering, H. SlCHEL, N. it It tt tt Seifert, A. *Simm, F. *Smith, C. F. Sohn, C. “ “Jr. Sperling, H. tt tt tt it Steffan, J. G. it ti Steffeck, K. *Stetten, C. von Thumann, P. *Uhde, F. von Vautier, B. it a a tt The Battle of Stoezek, Poland Riders of the Caucasus The Flower of the Forest The Shepherd’s Children . Photograph of the Family Group Arabs on the March . Our Darling ...... Undetermined ..... Blindman’s Buff . . . . . Reminiscences ..... Children’s Party . . . . . Girl of Thebes ..... Cetheris ...... Fatima ...... Hypatia ...... The Pride of the Family . Children in the Nursery Garden . At the Masquerade .... An Old Marriage Custom J. aSte j- The Senses .... Sight ) The Senses (Hearing, Smelling, Feeling) Mountain Gorge and Torrent Autumn Solitude , . . . . Gypsy Boys on Horseback Portrait of Gustave Courtois A Fair Critic ..... Christmas Evening . . . . Going to the Magistrate . The Morning Bath . First Dancing Lesson 248 . 217 222 ■ 205 !3 8 . 162 136 . 128 3 ° 6 . 87 204 ■ 37 8 219 ■ 374 282 . 1 o 1 227 . 107 130 . 81 137 . 142 117 33i • 3 8 7 146 . 226 240 237 • 312 • 257 108 . 267 191 . 80 I 5 8 • 158 45 ■ 334 379 ■ 357 . 143 • i °3 no . in T 95 • 171 148 • 345 r 3i • 3°7 7 1 • 83 98 GERMANY.— Continued. NORWAY. ARTIST Vautier, B. a a VOGLER, H. Wagner, C. Weese, F. Weiss, A. ( i it Weiser, J. Weisz, A. Werner, A. von Wunsch, M. tt a HOLLAND. Bource, H. J. *Blommers, B. J. *Calissendorf, A. *De Haas, J. H. L. De Courten, A. Eerelman, O. Laasner, N. ITALY. Andreotti, F. a << *Bompiani, A. Cecchi, A. Chialiva, L: a a Chierici, G. *DaMolin, O. u a Ferrazzi, L. *Gabrini, P. Gilli, A. *Joris, P. Laurenti, C. Marchetti, L. *Moradei, A. ♦Mollica, A. *Novo, S. * a a *Ricci, F. Rico, M. Rotta, A. a a a u “ S. G. a a *Savani, A. Signorini, S. *Tommassi, P. de Vinea, F. (i U ZONARO, A. The Visit of the Newly Married . In the Barber Shop . Without the Artist’s Permission Thine is My Heart .... Bull-fight in the Arena Morning in the Nursery The Easter Vacation The New Model .... The Carnival ..... An Act of Courage .... Storming of the Heights of Spicheren . Doggie is Dressed Up A Plot ...... Hercules and Omphale Fishing for Shrimps at Scheveningen In the Almshouse at Ryswyk . Donkeys on the Shore . The Victor ..... Horse-Fair at Rotterdam Blindman’s Buff ..... A Shady Nook No Kissing .... Southern Flowers . A Story Out of the Past . Fine Weather A Shower ..... The Mask; or, Fun and Fright The Ill Fed .... Pawnbroker’s Shop The Mother’s Delight At Sea ..... Congress for the Emancipation of Afternoon in a Roman Villa . The Manner Shows the Mind The Winner of the Grand Prize Maternal Anticipations Rivals .... The Worst of All Fruit-Seller, Venice, The Interrupted Nap Palace Reale . Pussy’s Temptation . The Cricket . Nothing to Do . The First Prayer . The Story-Book A Child of the Fields . An Amusing Little Story Ready for the Procession The Introduction Long Live Wine and Love The Fortune-Teller A Quiet Lakeside . Masters PAGE 85 i 59 170 1 93 384 279 114 194 36 1 183 353 175 69 54 220 393 3 °° 93 3 r 4 67 109 38 33 ® 94 243 316 64 276 44 110 3®7 is® 32° 97 r 53 285 40 2 95 360 276 298 2 55 270 124 263 182 3 2 4 5 ° 3°3 65 104 57 260 ARTIST Lundby, A. A. * a a *Thablow, F. ‘Uchermann, K. RUSSIA. Chelminski, J. V. CzaCHORSKI, V. *Frentz, R. F. *Golumsky, V. A. *Kuznezoff, N. D. * a a *Makovsky, C. E. LMakowsky, V. *Miesoildoff, G. *Orenbursky, D. PlOTROWSKI, *Repine, E. E. Semenowsky, E. *Venig, K. Wierusz-Kowalski, A. SPAIN. *Agrasot y Juan J. *Aranda, L. J. *Arroyo, R. Baixeras, D. *Bermudo, J. *CuSACHS, J * it tt * tt tt *Dominguez, M. a a *Dumont, C. A. *Esteran, E. Gallegos, J. *Gasch, L. *Jiminez-Aranda L. a a a *Moreno-Carbonero, J, * u a a * a a a *Pena, M. Perez, A. a a *Robles, J. Russinol, S. *S 0 R 0 LLA, J. *Villegas-Brieva, M. Worms, Jules SWEDEN. *Hagborg, A. TITLE Gebirgsschlucht Among the Trees Winter at Christiania A Drama of the Woods Afternoon in Hyde Park A Question .... An Inn ...... Mushroom-Gatherers . The Interrupted Breakfast In Her Garden .... The Toilet of the Bride Little Russian Tobacco Smokers The Harvest ..... Sunday in a Village . The Meet ..... Answer of the Don Cossacks to the Autumn ...... Spring ..... Winter ...... Summer ..... Russian Girl ..... Return from the Bear-Hunt Starting for the Boar-Hunt . Across Country in Winter Sledge Riding in Lithunia Coming of the Guests Tz To the Health of the Bride . The Lovers .... Andalusian Dancer Boatmen—Port of Barcelona Under the Awning Cavalry Crossing the Ford . Lancers on the March Trumpeters of the Chasseurs A Venetian Terrace A Royal Ball .... Episode of the War of Independence Flying Artillery .... A Procession ..... An Idyl. The Lovers ..... Love’s Fortune .... Adventure of the Flock of Sheep (Do Gee Up! Donkey Gil Bias ..... The Potato-Diggers’ Dinner The Toilet .... Selecting a Servant A Game of Cards A Bohemian .... Another Marguerite Memories ..... The Fountain of Granada Quixote Evening PAGE : 33 3°5 393 25 1 35 ® 172 392 209 39 ° 381 177 343 359 347 39 i 289 239 37 ® 238 377 271 121 77 259 166 84 264 3®4 3 10 21 302 314 399 329 328 37 i 278 11 72 322 3®4 147 21 I 368 26 17 208 383 388 127 3 ° 327 293 33 ° The * indicates that the original was exhibited at the World’s Columbian Exposition. ff'V'LYING ARTILLERY, by E. Esteran .—What the helmet is to the German soldier, the fatigue-cap to the French, and the flat round hat to the Russian, the peculiar cap worn by these horsemen is to the Spanish soldier a distinctive characteristic of the national uniform. Other portions of the uniforms of various nations differ less A materially, but by the headgear one can know them at a glance. There is something very thrilling in the evolutions of light-artillery batteries, even on parade or drill. When their wild and deafening maneuvers are seen in real action, the scene becomes most exciting. We have here a section of flying artillery galloping up to the position designated in their orders—about to go into action. Presently the sharp command will ring out, the horses will suddenly wheel, bringing the pieces into line, side by side, and pointing at the enemy, the artillerymen will leap from the boxes and bring the guns into readiness, the caissons which follow the pieces will bring up behind them and supply ammunition, and, in less time than it takes to tell it, the guns will open fire to check the advance which this battery is ordered up to overcome. Wild business is war. requiring cool heads and prompt action. This picture was a characteristic contribution from Spain to the World’s Columbian Exposition. n CARD TRICK, by J. G. Brown.— This picture is a selection from an original in the Department of Fine Arts of the United States at the World’s Columbian Exposition. It is a delicious piece of humor, described not with words, but with color and form. Strange it is how strongly mere outlines of details and light and shade, developing the similitude of human figures and actions, appeal to our understandings and sympathies. Humor is, in this picture, everything. We laugh with those who laugh. The artist represents a group of four bootblacks in a resting-spell of their professional duties, and devoting their quickening intelligence to the mysteries of cards. Africa, on his knees, is instructing the three descendants of Japheth in a trick which he has learned, and which he is quick to communicate. He has been quite successful in the manipulation of the cards—and, presto! there is the mystery. The boys see it and are alive with wonder and interest. The humor of the thing is delicious. The three ragged boys are so absorbed in the development of the trick that they have become oblivious of everything in the world, including themselves. Yet Jefferson, for his part, black as the blackest of his cards, understands that his professional reputation is at stake in the presence of his white brethren. His otherwise, sluggish mind is preternaturally sharpened with the trial, and his face becomes almost luminous with pride as he holds forth the impossible card. The trick is as successful as the artist’s representation of it in the picture. 12 PPORTUNITY MAKES THE THIEF, by Maurice Leloir. —The original of this elegant reproduction is one of the ornaments of the Metropolitan Museum of Art, New York City. The picture is French in the conception as well as the execution. It is a conceit of love done into visible outline. The landscape is a part of the beautiful and highly ornamented grounds connected with a French mansion. Here is the summer-house, with its clusters of flowers and foliage. To the left a marble stairway leads up to a fountain, and the pedestal is very appropriately mounted with a Cupid, who looks with sly glance askance at the little drama in the foreground. The picture consists first of all, of the opportunity. This is afforded partly by the pre-occupation of the old father, who is climbing the ladder with his face to the summer-house and his back to the lovers. The other opportunity is furnished in the engagement of the lady’s hands. She has her apron full of roses. How, forsooth, could she, under such circumstances defend herself against the imminent peril of the kiss ? The well dressed and eager lover makes haste under these circumstances to seize his opportunity, and to become a thief by stealing what he might no doubt have obtained by honorable finesse and a little judicious courtship. The painter has done full justice to the lady’s costume, which is in the enormous pattern of the last quarter of the eighteenth century. He has also exhausted his fancy with the flowers and vines which bloom and creep in profusion everywhere. Over the picture swims the summer air, luminous in the distance, reflecting its glares even into the thickest shadows. i3 er rFTERNOON IN THE MEADOW, by Henry S. Bisbing. —This is a contribution to the United States exhibit at the World’s Columbian Exposition, by a young American painter, who has chosen his scene in France, where the willows sprout anew from veteran tree-trunks, and grow in long rows by the banks of the stream. What a delicious, lazy, afternoon sentiment he has infused into his picture. For a picture of solid, easy-going comfort, nothing can surpass the well-fed, cud-chewing cow, taking her afternoon “ siesta.” A little shade is grateful, and in a case like this, a little must of necessity suffice. Lying thus at length, with the little stream purling and bubbling past, these awkward, soft-eyed animals contribute to our apprehension the idea of undisturbed serenity. Even the flies seem to have ceased from troubling here, for the white cow has her tail tucked in under her, as under the circumstances a quite unnecessary weapon of defense. The deep perspective of this picture has been cleverly managed, the great apparent distance of the objects on the horizon being due partly to the long, vanishing line of trees running back from the foreground, and partly by the diminished size of the animals, and the increasing faintness of the color as the objects recede. 14 vf '-; **•; : m m ■ 1 - fSsNt SS331 ^ ^ CAMPAIGN, by Etienne Berne-Bellecour. 1 his distinguished representative of the school of military painters who have done so much for French art has, for fifteen years, produced many interesting scenes of French army-life, mostly drawn from the Franco-German war of 1870. He has illustrated both the active operations in the field and the less exciting episodes of peace-time maneuvers. The painting reproduced above is one of the latter class of subjects. A small detachment has been stationed at this point for a guard—perhaps- over the headquarters of a general officer in the house disclosed near by. They have gone regularly into camp and we see trm men at work at some of the humbler occupations of the soldier. One of the potential heroes is splitting wood for the portable kitchen on wheels in which the military “chef is preparing breakfast. Others are unpacking supplies in the commissary tent. The contents of a barrel of hams lies in the foreground. The commissary of the detachment is receiving, from the non-commissioned officer under him, a report which possibly concerns the hams in question, for the commissary is inspecting them critically. In the background other men are engaged in the peaceful occupation of mending their uniforms. So we see that domestic duties of many kinds are a part of what a soldier must know as well as the art of warfare. *5 .YPSY WOMAN AT HER TOILET, by E. Debat-Ponsan. —During all the six centuries that have elapsed since they were driven out of India by the ravages of Tamerlane, the gypsies have been wanderers on the face of the earth. Pariahs in ancient India, they have been pariahs everywhere, outcasts and objects of suspicion, as their nomadic life has led them into every country in the world ; homeless, except for their houses on wheels, which they locate by the roadside remote from human v f settlements. Naturally their facilities for civilized living are very limited. With their rich, dark coloring and brilliant teeth, the gypsy maidens pass for beauties, a reputation they do their best to maintain by such arts of the toilet as are within their reach. A small, cracked looking-glass resting on a broken, almost seatless chair, and a well-worn comb, are all that this saucy girl can command for her adornment. But she seems quite contented, and smiles complacently at the piquant face she sees reflected in what is left of her mirror, as she struggles with the tangles in the tresses that fall so abundantly over her ample, bare shoulders. By the time she gets into her bright-colored gypsy costume, she will be quite presentable ; and when the dusk of evening falls she will tell the fortunes of many a pretty lass and laddie, who will cross her hand with silver. 16 ■*HE POTATO-DIGGERS’ DINNER, by M. Pena. —(Reproduced by special permission of the artist.') The original of this picture was exhibited at the World’s Columbian Exposition, Spanish' section. It represents a group of peasants seated at their noonday luncheon. They are potato-diggers, and the cloth is spread on the very ground where they have been at work. All things have been cast aside with the coming of the noonday hour, and the meal, such as it is, has been hastily extemporized. The dinner-basket sits at hand. The cloth is clean enough for the table of aristocracy. Indeed, there is an appearance of neatness, as well as despatch, in every part of this picture. The luncheon is of bread and cheese. The father sits on some kind of a seat which he has hastily devised, and holds in the cloth some unknown remainder of the feast. The two barefoot daughters have taken their places. The master at his father’s knee has begun to help himself, but his palate is by no means satisfied with the meagreness of the supply. Bread in a boy’s mouth is good enough, but it is not luscious like the richer viands. The young man at the left has been served with bread only. He has the look of one of nature’s noblemen. The old father, who has well nigh completed the long journey called life, has much of dignity in his wrinkled and weather-worn face. He is toothless and almost blind. The shapely girls deserve a better lot than this ; but, after all, the fate of those who toil, and delve, and spin, is not less auspicious than that of the dainty darlings of wealth and luxury. *7 .OSSIP, by Carl Marr- These two pretty Dutch girls represent a phase of human nature that is universal, and lies at the very foundation of human society. What our neighbors do and say is a very fruitful subject of interested discussion—and a very proper one, too, if only it be kept within the limits of good-natured comment and avoid the deadly sin of falseness. It is a merry tale that is passing between these charming gossips, and it evidently concerns one of them very nearly, if the tell-tale consciousness of ■f the pretty maiden’s downcast eyes is to be trusted as evidence against her. Her friend has put a very direct question and leans forward to catch the admission of the “ soft impeachment,” though that admission'need hardly be spoken, so eloquent of confession is the embarrassed silence of the questioned damsel. The artist has painted a charming interior here,’full of”sunlight and happiness. In grouping his figures at the side of the canvas, he has shown his adherence to the best canons of good art, in which too much symmetry in’grouping is avoided. The well-spread table, the evidences of prosperity in the carefully-made and lace-bordered costumes, the intelligent countenances, and the general air of the picture, indicate that this is a home of comfort and thrift. This painting was presented by George I. Seney to the Metropolitan Museum of Art. 18 (^^LOWER-MERCHANTS, by Edouard Toudouze .—This canvas represents a characteristic bit of Parisian life, where peasant and patrician come together in picturesque ft grouping, and although the time here indicated is the first of the last century, the same custom prevails at the present time. Here is a section of a flower-market and a galaxy A of beauty, rustic and thoroughbred. The flower-merchants of Paris live just outside of the city, where they till, each her own little plot of ground, and cultivate with rare care their roses and mignonette, violets and heliotrope, geraniums and pot plants for a livelihood. Twice each week, Wednesday and Saturday, do they make the trip into the city with their flowers. These days are known as “market days,” and are eventful ones in their lives. For such occasions, the best cap is laid away, a bright ’kerchief or a pretty ribbon bought, and with the true French love of dress, these pretty flower-merchants coquettishly array themselves. To-day business is slow. There are customers, dainty, exquisitely-robed customers, but they do not buy. The day is warm, and Babette and Jeanne have grown idle. They no longer praise the worth of their plants, but stare in silent wonder at the elegance of these beautiful ladies. Marguerite alone chatters away, and, in her stall across the walk, is trying to sell to a fair beauty a handsome purple-belled fuchsia. The scene is enchanting, the faces particularly expressive, and one can almost catch the perfume of the flowers. 19 'HE CAMPBELLS ARE COMING,” by Lanee Calkin.— The breezy freshness of Mr. Calkin’s pictures of life among the people, causes his admirers to regret that after a brief use of his brush in this style of painting he turned his attention almost exclusively to portraits. But he had already done much for his country’s art, to enable England to include so spirited a scene as this in its exhibit at the World’s Columbian Exposition. The bagpipes give the national Scotch music, and, as all readers of Stevenson’s “ Kidnapped ” know, a high degree of skill may be shown in performing on them. The pipes are especially inspiriting in military music, and the sound of “ The Campbeils are Coming,” will bring every villager out into the street. Here w'e have a recruiting-sergeant, inviting, by his music, rustic accessions to Her Majesty’s regiment of Highlanders. He looks full of business. He has already aroused the martial ardor of the young huntsman, who is confiding to his sweetheart his intention to enlist. The blind old man has followed the pipes in his youth, and he steps out proudly, as though in the ranks again, as he hears the familiar sound. The piper sees him, and could he leave the pipes for a moment, he would salute the veteran. He will lose no recruits by the stories that old man will tell at the tavern to-night, of the days when he fought under the Duke of Wellington. 20 § OATMEN—PORT OF BARCELONA, by Dionisco Baixeras. —This characteristic scene on the waters about his native city was exhibited by Baixeras at the Paris Salon of 1887, and it was purchased the same year by George I. Seney, who presented it to the Metropolitan Museum of Art, in New York. Barcelona, which is the chief town of the Spanish province of the same name, has been for centuries celebrated for its maritime interests. It was formerly a rival of Venice and Genoa for the commerce of the world. The famous code of maritime law was originated by the merchants of Barcelona, who were also the first to make use of maritime insurance. Its inhabitants, born and brought up under the influence of such traditions, are all acomplished water-men, either as a calling or in pursuit of pleasure, and the scene here given is therefore eminently typical of the place. The faces of these men are strikingly Spanish—no one could imagine them anything but Spanish. There is a lull in the day’s work. The breeze has fallen so nearly to a dead calm that the steersman has little to do with the tiller, although his boat is in mid-harbor, and he gives his entire attention to the knotty problem, the points of which his companion is laying off on his fingers. He listens judicially, while the third boatman, as he lights his pipe, listens as an impartial, almost a disinterested, auditor. 21 iISTRIBUTION OF PRIZES, by Aime Perret.— (Reproduced by specialpermission of the artist.) The original of this beautiful and suggestive picture was exhibited in the French section of Fine Arts at the World’s Columbian Exposition. The present series contains another picture illustrating an incident of the French public-schools. In this piece we have delineated the scene on the day of the distribution of school-prizes. It is in the F'rench nature to do nothing moderately or informally. The modern Gauls are better able, than any other existing people, to dignify and adorn small facts of life with all the graces of sentiment and beautiful formalities. This distribution of prizes is made with the greatest dignity. The holy father of the Church is one of the committee. He sits, obese and well pleased, in the center of the group. The other members of the committee are seated beside him. He, at the right of the platform, might well be Guizot himself. The chairman is in the act of handing across the table to Minette in white her first award of merit. She is as dainty a creature as civilization has yet produced. Her manner of receiving the prize shows the elegance of the race of which she is the youngest blossom. Others, in the group below, have already received their prizes. One has come down proudly to mamma, in the foreground, and is receiving on her downy cheek the motherly kiss. How different the scene, and yet how identical in its essentials, with that witnessed in the free-schools of our own country, when, on the last day of the term, in some Western schoolhouse, the district-fathers come in to see and approve the closing exercises. 22 ISIT OF THE MERCHANT (ALGERIA), by Jean Baptiste Huysmans.— So strictly are the ladies of Eastern countries kept within doors, or are permitted out under such limitations, that the oriental dame loses all the pleasures that are described in more free and civilized countries by the significant word, “ shopping. Instead of the half-interested, half-curious expeditions which American ladies enjoy making, from store to store, in search of what is necessary or what is novel, their sister of the East has to content herself with the occasional visits the merchants make to her, when summoned to her house, where she sees them and examines their wares in the presence of her lord and master. Attended by his boy, to carry the load, the merchant unrolls, one after another, the packages of rich stuffs, handsomely embroidered and superb in color for her ladyship to choose. She makes her selections in a half-hearted sort of way ; for, fond as she is of handsome dresses and of pleasing her husband, it is the wearing of them rather than the selecting of them that affords her delight. The splendor of this oriental interior affords a good example of the elaborate decoration in the private apartments of a wealthy Algerian. The painting was in the Belgian section at the World’s Columbian Exposition. 'rj "HE PURSUIT, by William T. Trego. —Only those who have felt the wild exhilaration of such a mad gallop, in pursuit of a flying enemy, can fully enter into the spirit |(S\ of this picture. But all who have ever seen horses in action can appreciate its merit as an artistic tour de force. One can almost hear the clatter of the hoofs on the hard dirt- road, and the shouts of the pursuers as they issue commands, or catch sight of the foe in full retreat, or utter cries of mere excitement. Very intent on their business are these *f Union cavalrymen, and it is well for Johnny Reb if his horses are fleeter than theirs. The pursuit of a broken army, transforming retreat into a rout, and defeat into disaster is one of the most useful employments of cavalry, and the reorganization of an army effectively disintegrated by their scattering work is most difficult. The leader of this command has his eye set steadily on the object of his pursuit ; his bugler follows him closely, ready to repeat his orders with the bugle ; the men follow on, in as good order as is possible under such speed, and one of them eagerly points out the way. This painting was shown in the United States section of the World's Columbian Exposition. 24 iHRIST AND THE WOMEN, by Alexander D. Goltz.— Those whom we know as the Disciples of Christ were men ; for it was men’s work that he had for them to do after he had left them. But throughout his earthly ministry, it was among the women that he received the readiest acceptance for his teachings, and the most sympathetic response to his demand for supreme zeal on the part of his followers, and, like the Pharisees before him, in them he found the most intense religious enthusiasm and the most earnest support. The pious devotedness of women in the nineteenth century is as old as Christianity, and indeed, as religion itself. This scene may represent any of the conversations of Tesus with the women who sought his instruction. It is not unlikely one of the results of his revelation of himself to the woman of Samaria at Jacob’s well ; for when she went into the city and called the men to “ Come, see a man which told me all the things that ever I did,” we may be sure the women came also. The reverend courtesy which Jesus always showed to women, in his championship of their equal dignity, and the thoughtful, earnest attentiveness of the group while they drink in his words as the very water of life, are striking features of this truly devotional conception of the artist. The original painting was sent from Austria to the World’s Fair. 25 .IL BLAS, by Jose Moreno-Carbonero- (By special permission of the artist.) This elegant and highly-artistic picture is a reproduction from the original in the Spanish Exhibit of Fine Arts at the World’s Columbian Exposition. The artist is Spanish and the picture wholly in the Spanish style. The theme is romantic to a degree. It has the advantage of that over-done chivalry, which, in barbarian Europe, leaping from the ground of savagery, suddenly clad itself in highly picturesque costume and mounted v | v a caparisoned steed. The story of Gil Bias is well known in all civilized countries. He was one of those romantic and knightly creatures, of whom Don Quixote is perhaps the highest type. In the production of that hero, Cervantes had the ulterior end in view of destroying the institution of chivalry and the style of romance which was based thereon. In the language of Byron, Cervantes “smiled Spain’s chivalry away.” Not so in the case of Le Sage. The object of that rather mediaeval romancer was to narrate the adventures of his hero in a way to perpetuate rather than destroy the manner of life which he represented. It is in this sense that Gil Bias and his companions must be understood. The story here depicted is one of those mediaeval affairs in which alleged knights-errant were wont to sally forth and attack, without good cause, some rival faction, or missing that, any company of wayfarers whom they might meet. In this picture we have Gil Bias and his co-adventurers in the act of bringing a coach and six to pause. 26 Vf- HE GHOST-STORY, by Walter MaeEwen.— This is a reproduction from an original painting exhibited in the department of Fine Arts of the United States at the World’s Fair. It is conceded that the woman mind is, more than the man mind, haunted with the shadows of superstition. Physically weaker than man, and incapacitated somewhat by her sex from a vigorous battle with the environment, she becomes in a measure subjective and traditional. Specters affright her, and find T lodgment in her imagination. Here we have a company of women of varying ages, graded down through girlhood to a little miss of ten with her doll. It is a sort of spinning-party, though the old lady at the left is busy with her pan of potatoes. The two spinning-wheels, however, have ceased to hum. One of the spinners, knowing the tale by heart, is reciting a ghost-story for the company. The recital has struck home, and the sensations which it has inspired range all the -way from the mild interest of the woman at the right to the absolute terror of her two companions. As for the little girl, a crime is done against her tender fancy. This story of the ghost will haunt her as long as she lives. It seems strange that with the well-known results of superstition, the people of civilized countries still continue to practice and perpetuate it. 27 .RANDMOTHER’S PET, by Erich Hammer.— The beginning of life and the end of life approach very near to each other in mutual sympathy, and happy is the child who has an indulgent grandmother, charged with no responsibility for “ bringing him up,” but privileged to spoil him to her heart’s content. To the young mother the interest in a child centres in the engaging present and the promising future ; but the grandmother’s delight in her children’s children is largely reminiscent, as indeed most of her T pleasures are. She enjoys seeing him develop the traits of his parents, who blessed her own young motherhood, and the happy hours she spends by the side of ’his little crib are full of a sacred joy. The pensive expression of this dear old lady’s face, we may be sure, is due to such reflections as these. The curly-headed little fellow himself in his comfortable night-wrapper, is very busy with his toys—no doubt already studying out their construction, or pondering the taste of the paint, or considering the best and most’speedy method of smashing them. The operation of his little mind is a most interesting subject for study on the paid of his grandmother ; and indeed, no one in the company of a wood child, capable of amusing himself, could resist watching his entertaining ways. He will have pleasant memories of this kind, old grandmother, after she has passed out of his°life. The painting was in the German Exhibit, at the World’s Columbian Exposition. 28 IrL HE COUNTY-FAIR, by E. L. Henry.— The title of this picture has been made famous in the United States, not only by the scene which it refers to, but by a comedy-drama based thereon. The “ County-Fair” made its appearance, and gained its popularity, about the middle of the century. At that time, or a little later, the custom of making an autumnal display, at some eligible place in the countryside, became popular in a high degree, spreading Westward across the Mississippi valley, and becoming a familiar scene to t old and young. The county fair-grounds were soon the rendezvous of old and young. All classes were eager to participate in the annual festival. To the Romans it would have appeared as the fete day of Ceres ; but the mythological deities are no longer worshipped, for which reason there is much that is prosaic as well as some things poetical about the county-fair. Both of these elements are suggested in this picture by Henry. The scene is completely American. The fair-ground and its excited crowd of country-folk will be recognized at a glance. This is the day of the alleged races, when the country horses were brought forth to try their supposed speed. All are watching, with intense interest, the progress of the race. Girls, and young men and boys, as well as the aged, are stirred as profoundly as these unexcitable people can be with the contest of the pacers. The old man, sitting with outstretched hand, on the wagon, might well be taken for the twelfth president of the United States. 29 er rNOTHER MARGUERITE, by Joaquin Sorolla.-In the uncertain grey light of a misty morning, the massive silhouette of an engine is rather imagined than discerned, ready to draw the early trains to the city. A piercing whistle drowns a despairing sob, and the train goes its way. On the rough bench of a bare freight-car sits a woman in a posture of distress—the abandon of grief. She is young and pretty, but care-worn and sad—the image of misery and death—and the wandering gaze of her eyes reflects only despair. The monotonous motion of the train seems to evoke, and to accompany with a pounding rhythm, all the particulars of a simple but terrible drama, that was born, developed, and ended, within the short space of a year, and that now tortures, with cruel persistency, the forlorn soul. The sweet word, “love,” is now abhorred. What once seemed paradise, suggests now only the bitter desire for vengeance, and those lips, that once whispered tender expressions, are now opened only to curse. She was pure and innocent —her young and inexperienced heart was captivated by a subtle harmony. She loved with every fibre of her delicate being. One sad night she waited—many long, weary hours in vain—in her white attire, to be united by the priest’s blessing, to the beloved one. Soon after she realized the horror of her situation. She became a mother, but in the first maternal impulse to press the little creature to her bosom, in a burst of mother-love, she suffocated her child. The original was exhibited in the Spanish section of Fine Arts, World’s Columbian Exposition. 3 ° TN THE SUN, by Alphonse Moutte. —T he original of this striking picture was exhibited in the French Department of Fine Arts at the World’s Columbian Exposition. The picture tells its own story. Generally, French art prefers to dwell upon the more refined aspects of life. Its subjects are the elite products of the highest civilization. Fashion is its aim and end. In this respect, the present work departs from the common type. These two people are of the lower ranks of society. Their style is by no means I up to the requirements of the French Muse ; but for comedy, the scene is satisfying. We have here what appears to be a whitened sea-wall, with terra firma on the hither side, and beyond the illimitable expanse of ocean. These twain are denizens of the shore. They are acquaintances, and may be in the initial passages of love. But that passion has not yet overmastered either. They seem to be a kind of grown-up playmates. But the man is ready to go further than mere friendship, and the woman, perhaps, is not unwilling to hear his protestations. As for the rest, they are little concerned about their complexions ; for the sunlight pours down on them in a flood. Their features are already bronzed with exposure to the air and sunshine of Normandy. Perhaps the most striking merit of the picture is the preservation, under the woman’s uncouth dress and rustic manner, of a strong flavor of French politeness and culture. 3 1 TN THE BAY OF MOUNT ST. MICHEL, by Alexandre Nozal.— The painting here reproduced was exhibited by France at the World’s Columbian Exposition. •©• Mount St. Michel is a spot beloved of painters, revered for its historical traditions, hallowed as a sacred place since the days of the Druids, and devoted to Christian worship since X the eighth century. It is a curious rocky islet, rising one hundred and sixty-five feet from the sea, about one mile from the shore of the Bay of St. Michel, on the north coast of France, near the boundary line between Brittany and Normandy. It is surrounded with dangerous quicksands, necessitating guides for the strangers that visit it. An abbey founded seven centuries ago, partly of Gothic and partly of Norman architecture, used as a fortress during many eventful sieges in its history, occupies the most precipitous side of the cliff, the sloping portion being covered with dwelling-houses which line the single street on the island, and are used as lodgings for visitors and pilgrims. The fortress is surrounded by a high, strong turreted wall, which is pierced by only one arched gateway for entrance. 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Going to pasture is an every-day scene in rural France, with this exception^ it is not j 1 She is so dainty as but to need a short ” of the Trianon, Jallery, and is reproduced in this work by special permission. or step into a canvas 49 fN AMUSING LITTLE STORY, by Signorini. —In this picture the artist has introduced fun and jollity into the high places of sanctimony. The contrast afforded by the amusement and abandonment set against the princely garments of the Cardinal and the minor ecclesiastics, constitutes the charm of the piece. The scene is Venetian. A company of church men have gathered in the splendid apartment of their chief, and are regaling themselves with drink and story. The old Cardinal has in his collection a doubtful book, which he sometimes, when a little warmed with wine, shows to his intimate friends. The day is rather chilly for Venice, and the caldron of coals gives a genial warmth to the apartment and keeps the tea simmering for the guests. The Cardinal has reached the sixth act in Shakespeare’s “Seven Ages,” if we may judge by his bony hands, his toothless mouth and thin ankles. But the fire of life still burns within him, and he is deep in the dubious story which he reads to his guests. All of them are greatly amused, but the fat monk most of any. He is hilarious with delight. The artist has succeeded admirably with the rich costume of the Cardinal, and has taken pains to preserve in the face and manner of the reader a modicum of priestly dignity. This picture was first exhibited at the salon, Paris, in 1893. 5 ° RUSTIC ESMERALDA, by Richard Goubie.— The scene here is idyllic and thoroughly French. A riding party, consisting of a young lady, her gallant beau, and her little brother, have taken a joyful canter from the mansion some miles away, and have halted in front of a rural establishment devoted to the double occupancy of human and other kind. This manner may be seen in many parts of Europe. The country girl, nine years of age, leading her gentle goat, has met the party in front of her dilapidated home, and is giving them her best greeting. All three of the riders are interested in the little one with upturned face and hand over the shoulder of the tame creature by her We may not readily discern what the conversation is ; for pictorial art leaves much to the fancy. Perhaps, in answer to their questions, she is telling them of herself and the goat—how long she has lived here, and what she does mornings and evenings. One touch of supreme nature in the picture is the sympathetic interest of the young woman on horseback. True to herself, she has opened her heart to the half-clad Esmeralda, and has made her her friend forever. The interest of the other two is curiosity merely ; but the woman is moved, and the child and she have touched hearts, though they have not touched hands. Si side. (3 PASTOR AL VISIT by Richard N. Brooke.-Tlie original of this striking picture is in the Corcoran Art Gallery at Washington The scene is tVDical of a l-ir-m section of African life in America The negroes are profoundly religious in their later development as they were deeplySuperstition! intheir original stale The African mmd, m all stages of its degradation seems to have looked up imploringly to the supernatural powers. This scene represents the visit of the negro preacher gray strict and respectable to the abode of one of his leading parishioners. This is the home of Brother Eben, his wife, Mima, and their three children-ve -y black« foofherVben ’’ says the old preacher, “them labor signs on your clothes and the growing olive plants at vour knees are as nlea^n’ tn t-nl •/ ^ t corner J^ben, into holes with prayer.” It is excellent theology the old man gives lbs flock^ mixed wkh excellent Jmct «reHgSn “ S?st er S ^ ^ and coolin’ this warm day.” It is a dinner scene, in strictly African fashion The artist has thrown the ubiouito, s hanin ' tn eT. L 7 Ji a u° y °f n l0 ° ks m01 S ht y nlce old parson’s chair. They are humble folks, all these, but the ways and station of life are many, and the mightiest have is humble a destiny at theendasThey'o/p”^ 5 2 I N GREAT DISTRESS by Knaiis. The canvas here preserves for us a country scene full of that beauty which the artist’s eye is so quick to catch. Foliage and flowers - ■ speak to us of summer. In the foreground stands a chubby little urchin, whose face and attitude show dire distress. His plans are spoiled, his happiness is gone. With lunch in X hand he has slipped through the gate and bravely started down the path. His right of way is soon disputed by a hostile band. In dignified procession the geese approach and t the van-guard with threatening hiss, throws down the gauge of battle. Hapless and hopeless he stands. He dares not advance, and the thought of retreat has not entered his little mind. The troubles of life have already begun, and he knows not which way to turn. Poet and philosopher have joined in declaring childhood free from care ; but the mingling of the bitter and the sweet begins in earliest infancy. The little cloud, which to us seems no larger than a man’s hand, shuts out the sun in the sky of childhood as completely as do the storms which sometimes darken the horizon of later life. True, with the child the trial is sooner forgotten, but for the moment the anguish is none the less real. Knaiis, whose brush has given us this touch of nature, proves by it that he has justly earned his reputation as the foremost genre painter of Germany. 53 1 ERCUL.ES AND OM PH ALE, by H6nri J acoups Bourc©. —Bravo vouns - Hercules 1 I ovp HHio-htc tn i . , the reverse of an unwilling one. Even the sailor’s comfort—his pipe,—while the^oothing weed is yet burninf you have kiT a side” Wh?’ J ud ge by ^° Ur ex P ression > ' keep for foul nights on the North Sea when your Omphale will be i memory. And you have other need for fourmomh n da v to’ u , need ° f , that J™* ^ wil see that your tongue is free. To judge by the arrested motion of Omphale’s hands, the skein you hold will take long to wfnd’and whvno^T h r and ^ are , tled ’ 11 ' s , eas y t( are all attended to the smack safely beached in the harbor, and a neighborly call after a week’s rough cruise is not to be -otten [hrouah with in a f S ™ P 6 hou ^ ehold care young Hercules, Never did the Lydian Queen forge a stronger chain for her slave than your Omphale will make foryou out ofthnfe t h * “ a few mlI ™tes. But caution prototype. What an admirable bit of story-telling this picture is* Surely, if the mission of art is in any sense to amuse to recreate Ich a n , t me a ° vTa,/ bUt y ° U f ° U ° W , y ° U: and the artist who paints it is a benefactor. We talk of art for art’s sake, of technique, of artistry of impressionism of realism and th f fidsan . lm P ortant P la ce whenever, as at Chicago lately, we find a throng around a picture, that picture is a painted story of some I’n man jo'y, or sorro’w, some instinct ofsome*p^ion^eT^Lr 54 H f ippn bv Albert Aublet (Reproduced by special fermiMn of the artist .)—The original of this striking picture was exhibited m the french Section at the Worlds TT H , E , A , ED t. by V LVinfipr W romantic a/e artists have delighted to draw the forms and faces of old men. It would seem that the extremes of life have more Columbian Exposition Next after the ro ' the artist has selected as his subject six aged sailors. He has drawn them in such attitudes as to show them at all t These worthies have passed their whole lives mi the sea in its immediate vicing Though still rugged in form and feature, they are ra down with tne adventure anu cuiuucl ui men —--- - ~ ° were no other style among men. There is fidelity and cheerful memory among these old cronies as they gather have been expended, and the sea songs sung and the hopes cherished that have come to so small fruition 55 | St h T as H e?taWi?ht C the d^Ll^re tAfnft^jockeys martyrS "7 ^ d ° nke ^ Here ’ this wide ° animals for a canter over the sand. No tree is seen here-to shadowsaveThat ca J by the 5 a fmtt beasts great , f ° lks “ d °thers-to hire the patien over that the sky, and in the left background the illimitable sea A comnanv ofriders at h I'r V Sh ° re ’ and at the rl S ht a suggestion of hills hitched, waiting for their turn. Jack, who lies on the ground-and who, we hope, never lies 5 therwise-is making good'us^o/Z Hum h^' r^ ^ ^ t”** f ° Ur donke ? s stanc is profoundly absorbed in the incident, but he is a little disgusted with the conduct of the storv The rtonbTl t ’ bj readl ° g 1 ? 0ry - It may be “Crusoe.” He indifference and mental reservation of the rights of insurrection and trea^her^areTll sugg^LThf'the^aturefo?these typical' teLte araCtenStI °' Sleepiness ’ P atience > philosophica 56 (fig; ' jfs pr \ .■ • SK te'S5r'f ,, yg?%S —“r* s 5 , r St^:^“ h "i!^ HSS?“ wondering whether his sweetheart is constant, and a meeting, perhaps, where two young men, who hive hitherJfought’side byside, wu! face eachotter 57 HIJRCH COLLECTION by Knorr- It is Sunday morning in the fine old village church, and the collection basket is being passed by a dignified deacon among the k assembled worshippers The basket-bearer has come to a bench where three old fellows, in their Sabbath habiliments, are singing lustily the song of praise. Since they were shoeless youngsters have these three old cronies occupied this identical bench in the old church Sabbath after Sabbath. Here they shocked their elders with untimely mirth when rheumatism was unknown to their rugged limbs. Here they doze through the minister’s prosy discourse, now that their eyes are heavy with the weight of age and their movements are hampered by aching bones. The old fellow in the further corner has affected complete absorption in his hymn book, and stubbornly ignored the alms receptacle while his companion is unmoved by the presence of the basket directly under his chin, and bawls the hymn behind his book with a vigor that helps him forget so worldly a thing as money Nearest the spectator is the most conscientious man of the amusing trio. He will give of his meagre store for the enlightenment of the heathen—a bit reluctantly But fearful thought' he has come to church with empty pockets, and his search for alms is a fruitless one. Embarrassing position, this ! But, never mind, he will fall to singing like his comrades and when the basket reaches him, he too will be above the sordid thought of money—a good thing for his soul and pocketbook. Y-i ’ H E COUNTRY JOINER, by Wilhelm Amberg- This might well be an American picture. The scene is familiar to all country people of our States. The f(£\ progress of civilization westward required the head of the house to be a man of many professions. The rude skill of the frontiersman in making all things that were >K requisite for the house and the family was admirable in its kind. The backwoodsman could make chairs, and shoes, and ropes and harness, anti nearly all the other T commodities demanded by his manner of living. He was specially skilled in making things out of wood. The old turning-lathe, shaving-horse, and grindstone and rude saws and planes, were found in hundreds of frontier homes. This picture represents a scene of dilapidation. The old carpenter is Tate in the afternoon of’ life. Prosperity has not attended him, but only a measure of content. He has been busy with his work here by the wall of the old shed. His grand-daughter—representative of a new age—has come with dolly’s cradle for repairs. The old man has risen from his work and is all attention to the appeal of the little one. Of a certainty the cradle will be repaired, and all of Maggie’s other cares will be affectionately heeded as long as grandpa remains on this side of the shadows. 59 INGING-LESSON IN A PUBLIC SCHOOL IN PARIS, by Auguste Joseph Trupheme- The painter of this picture is a native of Aix. He has pro¬ duced at least four pictures on subjects kindred to the one here presented. This painting was first exhibited in 1884. It was an attractive feature of the section of French paintings at the World’s Columbian Exposition. The scene depicted is a familiar one in almost all countries where there are public schools. Into these music has been introduced since about the middle of our century, and the singing exercise is now a part of the curriculum. In this French school the singing-master has made his appearance; the lesson papers have been distributed to the pupils; the good-looking organist has sat down to his task, and the excited master has flung up his arms in signal to his large class of juveniles; he is instructing them in the matter of time and harmony. The trial to the artist in such a work as this, is to give to the multitude of faces sufficient individuality. Sameness has to be avoided, even in the costumes. A common interest, also, has to be preserved, broken only with an "occasional feature of pathos or humor. In this case we have one frowsle-headed urchin “turned down” for some misbehaviour, and left to sniffle at the end of the desk. Possibly he is the original l'enfant prodigue. 60 S HE DANCE ON THE ALM, by Franz von Defregger.— In this picture the artist has delineated a scene from the Tyrol. The happy people dance. It is not so much a question of age as it is a question of spirit. Defregger has put into juxtaposition a young girl and a man aged enough to be her grandfather, yet young enough in mind and action. Indeed, he is more eager for the dance than the laughing creature whom he holds by the hand. There is an assemblage of the village folk, and they have been T drinking wine. With that has come the desire to turn the interior of the rude inn into a dancing hall. The music seems to be wanting, but the old fellow who leads with so much gayety is doubtless humming to himself some air which is quite sufficient to guide him in his rather extravagant gyrations. He has drawn to himself the interested attention and applause of the whole assemblage, except that of the two fellows on the right, who are too deeply immersed in a game of draughts to be interested in anything else. May the old Tyrolese live to enjoy the repetition of his youthful sports for many years to come! vj HE HEIR PRESUMPTIVE, by George H. Boughton.— The original painting, from which this picture is taken, hangs in the Corcoran Art Gallery at Washington. Boughton is one of the most distinguished of modern painters. His subjects and manner of treatment are always characteristic. Whoever has once seen the wild flowers of his foreground will recognize his work at a glance. The scene here delineated is English in every line. The attendants have taken the heir presumptive out for his morning walk •f in the park. It is a beautiful place of great trees, with branches spreading a hundred feet—a well-kept park belonging to the royal estate. Master, the heir presumptive, is done in the manner of Little Lord Fauntleroy, and is accompanied by the nurse and groom ; also by his dogs, the spry and frizzled Spitz, and the huge, smooth St. Bernard. The groom walks behind with the pony. One of the old park-keepers in charge of this part of the grounds has doffed his hat to the heir presumptive as he comes this way. The manner of the haughty nurse, with her muff and Gainsborough, and erect carriage, is strongly English, and the very air has in it the scent of aristocracy. These aspects of life will pass away by and by, under the impact of the universal democracy when the fraternity and equality of men shall come, but will leave a long line of light in tradition and art and letters. 62 PAPTURE IN 1793 bv Paul Grolleron. (From French Section, World's Columbian Exposition.)—The scene here delineated may have been taken from Hugos “ Ninetv-three ” In the time of the French Revolution, certain of the provinces of the South remained loyal to the fortunes of the Bourbon Meanwhile, the young Repub ic Dlmrted itself in Paris and put on garments of fire. The nations were startled at the apparition. The Republic must save itself by war and devastation To such a creature all enemies became the impersonation of devils. To destroy such, seemed not only necessary, but good. The Revolutionists killed and burned with enthusiasm and with no , n f conscience In the province of La Vendee the Royalists rose in favor of the Monarchy. Upon these the fiery Republic let loose the dogs of war Such devastat on , such butcheries and Wings have hardly elsewhere been witnessed in the world. This picture shows a single incident in the drama which was repeated with every variation of atrocity through a wide range of beautiful country. Here the democratic brigands have caught a royalist on his own estate and are binding him to a tree for execution. 1 he ki ers a e ready^with their guns. As soon as he is bound there will be a report of muskets, and the body of a dead nobleman will be left to the kites. 63 S ,' VIASI 5,; ° F ’ ^ UN AND FRIGHT, by Gaetano Chierici.— The painting from which this reproduction is taken is one of the ornaments of the Corcoran Art ^ er3, at V ashm g t0 . n - The artls C Gaetano Chierici, is a native of Reggio, Italy. He is a genre painter, especially noted for his ability in depicting humorous and pathetic T n “ r sce “ es . and mcldent ®> Wlth chlldren for , the actors. Of this kind are his “ Girl and Kitten,” “ Bathing the Baby,” “ Child’s Grief ” etcIn theTcene here den icted f . a littie rascal, bent on spreading consternation, has put himself under a huge hat, with a prodigious mask over his face, and has gone down into the range room where the maid m charge of a younger urchin is at work at her tasks. The apparition at the door has had the effect of terrifying both the denizens of the basement almost to death The fright of voung master, who has tnmhled down with a cri-pam and 1_ ji„ __ ., , . . . c udt >ement almost to aeatn. ine Just at 0 _ . — j_beginning to will suffer for his fun. ~ ° J w “ 10 uwu pl ace before she thoroughly recovers her nerves ; else he 64 Vp-HE INTRODUCTION, by Francesco Vinea .—This picture brings vividly to the mind the costumes and manners of the 17th century. The artist had in him a touch f&N of romance which led him to prefer subjects and situations remote from the present. The scene here depicted is the return of the son of an aristocratic and wealthy family from his sojourn at some university, or possibly from foreign travel. We do not refer to his student life, for it is difficult to make a student out of a born dandy, ■f Nevertheless, we have in the picture much elegance of manner and richness of dress. The mother and the daughters are robed to receive the returning son, but more particularly to receive his companion who has come to spend the season. As to him, the eldest daughter has precedence of rights, and she has risen for the introduction. The other two daughters are hardly less interested and anxious. After the manner of the age, the visitor in his introduction first bows low to mamma. It is well to be on o-ood terms with her in these important and rather diplomatical relations. Note well the beauty of the costumes, and the perfection of manners. These may well belong to the a