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Frederick Morgan,
GENTLE REMINDER
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
FAMOUS PAINTINGS OF THE WORLD
A COLLECTION OF
PHOTOGRAPHIC REPRODUCTIONS OF GREAT
MODERN MASTERPIECES
EMBRACING
TWO HUNDRED AND FIFTY-SIX OF THE FINEST SPECIMENS OF AMERICAN, FRENCH, ENGLISH, GERMAN, AUSTRIAN,
ITALIAN, SCANDINAVIAN, AND RUSSIAN ART, FROM THE PRINCIPAL PUBLIC GALLERIES,
FAMOUS PRIVATE COLLECTIONS, AND STUDIOS OF EMINENT ARTISTS
INCLUDING NEARLY
ONE HUNDRED OF THE MOST NOTABLE PAINTINGS AT THE WORLD'S COLUMBIAN EXPOSITION
EXEMPLIFYING THE MOST ATTRACTIVE, INTERESTING, PURE AND INSPIRING QUALITIES OF CONTEMPORANEOUS ART
WITH AN INTRODUCTION BY
GENERAL LEW. WALLACE
AUTHOR OF "BEN HUR" AND "THE PRINCE OF INDIA"
DESCRIPTIONS OF PAINTINGS PREPARED BY
J. W. BECK
HENRI GIUDICELLI
ANGELO DEL NERO
ART COMMISSIONER FOR GREAT BRITAIN TO THE WORLD'S
COLUMBIAN EXPOSITION
ART COMMISSIONER FOR FRANCE TO THE WORLD'S COLUMBIAN
EXPOSITION
ROYAL SPECIAL ART COMMISSIONER FOR ITALY TO THE WORLD'S
COLUMBIAN EXPOSITION
W. LEWIS FRASER
HORACE BRADLEY
CHARLES DEKAY
JOHN CLARK RIDPATH
MANAGER ART DEPARTMENT OF THE CENTURY MAGAZINE
ART MANAGER OF HARPER'S MAGAZINE
ART CRITIC OF NEW YORK TIMES
AMERICA'S GREATEST HISTORIAN
WILL CARLETON
GEORGE SPIEL
AUTHOR OF
FARM BALLADS,”
FARM LEGENDS," ETC.
ART EDITOR
PUBLISHED BY
BUTLER & ALGER
NEW HAVEN, CONN
1897

bi
lebynight right
7
W W. Brown
( channely
SPECIAL NOTICE.-In the preparation of this Special Edition
of "Famous Paintings of the World," the greatest care has been
exercised that there are no pictures admitted in violation of the copy-
right laws of any country. The right to use many pictures has been
purchased of the Berlin Photographic Co., of 14 East Twenty-third
Street, New York; Clement, Braun & Co., of Paris and New York,
and other firms owning the copyrights. The written permission to
use many of the paintings exhibited at the World's Columbian
Exposition, and which are reproduced, was granted to the publishers
over the signatures of the artists. The American paintings are
reproduced by special permissions. Many paintings owned by the
Metropolitan Museum of Art, New York City, by the Corcoran Art
Gallery, Washington, and by private collectors in America, have been
used only when the consent of the owner was obtained. We print
notice of permission to use in connection with the description of the
painting only when absolutely necessary in accordance with our agree-
ment with owners of copyrights.
Press of J. J. Little & Co.
Astor Place, New York

GENERAL LEW. WALLACE
INTRODUCT FO N
sit upon
HERE are two reflections which satisfy me of the excellence of the recent World's Exposition,
surpassing every like affair, French, English, or Austrian. No one—we are aware of the dog-
matism-could have stood where the Colonnade arose, and anticipated the architectural display
when the great show was pronounced ready. Or, if one such there was, his imagination must
have been of a wine-like quality to keep him in a state of constant intoxication. The other argument
is, now that the spectacle is over, we so often surprise ourselves thinking of it, not as an actuality, but
something akin to the impossible splendors of a dream; and, sending rivers of regrets after it, we say,
unctuously, it was the fairest city that ever the sun shone on. Why could we not have built it for per-
petuity?
But no matter; now that it is a whelmed city, like those in the Atlantean depths, we can the better
its results and values, and distinguish and measure them.
Wherefore, putting down the smile which will rise—with a disposition to linger—when we permit
ourselves a glance at the crafty advertising which stripped it of its proper Columbian title, and covered
it with a nickname, "Chicago Fair"; forgetting the glamour and thousand subtile influ-
ences born of the marvels there seen; returning to homely fact and phrase, what was
the Exposition other than a school ? And the 25,000,000 visitors; what were they
but pupils ? And what were the wonders, the jewels, the ore, the perfected machines,
the wrought fabrics, the buildings within buildings, and the prodigious exteriors,
so posed that in their separation they helped each other to harmonious variety ;
their relative dissimilarities contributing to a faultless unity—what were they
more than so many teachers ? As we passed them, did they not invite us to
stay, though for an instant, and hear them discourse? And when we did stop
how the tongueless things did talk ? A very kindergarten it was—a kindergarten crowded
with object lessons, the learning reaching us through our eyes! Thus, in the electric display,
it was not Edison who attracted us, although we could not help remembering him. And in
the Tiffany Exhibit, the tools were lecturers, not the workmen; and when from the black earth there now and then appeared a stone with
the unmistakable flash, the stone it was that became eloquent, not the manipulator, much less the naked Zulu at the door, with his wealth of
savagery, his brazen anklets, his gorget of tiger-claws, his shield on arm, his spear in hand. Yes, the Exposition was a School and Academy
And who
a College-a University—and never another with so many students, so many departments of instruction and such a Faculty !
will say the 25,000,000 students departed without their fill of wisdom and their certified diplomas ? Are they not still talking of “the course?"
Will they ever cease talking of it? And when they meet one who was not of "the class,” with what a tone of superiority their voices instantly
rise! His misfortune in losing the pageant was not nearly so great as their luck in finding him.
Continuing our treatment of the Exposition as a University, every student in attendance had the privilege of choosing the course he
preferred. In other words, it was his to follow the bent of his taste. He had only to speak a word to a guide, and presently he was inducted
into the department which interested him most; and if there he failed to discover the professor whose methods were most agreeable and
illustrative, the fault was his own. If his demands for enlightenment ran in any line-manufacture, machinery, invention, electricity, agriculture,
ordnance, naval architecture, navigation, religion, sociology, education, or science and art-he had but to find the right door, and enter, and
go to work unquestioned, and without certificate or ceremony. Everything was open to his investigation—everything from deep-sea soundings
to the sublimer mysteries of the more unfathomable sky.
Now, there is that in our nature which disposes us to pause and listen to confessions even in matters of preference and taste. Wherefore,
letting the trait go unanalyzed, I will venture to speak of the things pertinent to the Exposition which interested me—which drew me with a
force equivalent to an order from a sovereign not to waste my time and strength on rival displays.
I have always loved Art, and been thankful for the gift to discern the cunning next to the divine in the most commonplace contrivances of
men which do their work well. That is to say, to me there is Art in everything we construct. The Natural is of procession from God. Art
is human. I say, also, that there are degrees in the artistic, and, on account of our adoration of the beautiful, we have agreed on what is
termed the “Fine Arts.” With this key, one can readily understand how it came about that I long ago elevated John Ruskin to a place amongst
Not that he is himself an artist indeed, but that he has the perceptive faculty to discover, and the eloquence to describe, the
spiritualistic in design and the excellences in execution, which many great artists have been blind to in their own work, and has used the
qualities as flaming swords in the cause of Truth. He is a soldier with a record of but one battle; yet that one battle has been lifelong-
And how magnificently he has fought it! And with what benefit to the army of students, daily growing in number, who dig into the depths
of their Art seeking its sources of emotion-its Soul! Verily, he walked one summer noon beside a mere, counting the dewy pebbles, when-
"an arm rose up from out the bosom of the lake, clothed in white samnite, mystic, wonderful, holding”-a pen!
The same with which he wrote Modern Painters and the Seven Lamps of Architecture. And, to please myself, across the pen I have in
fancy graven Excalibur.
This ought to be sufficient to index, not merely preferences out of the variety in the Exposition, but whither I went first.
It was early morning. The sun was beginning to gild the cornices of the fronts opposite it, and make structural reliefs vaster and more
mystic because of the spray with which the waves, dying along the near lakeshore, had ladened the air of the summer night. In a half-
dreamful state, I halted at the steps of the quay, before the gigantic horse overlooking the basin of the Lagoon. An electric launch and a
gondola were there, and I hesitated between them. Had I been in a hurry, the launch would have won me; but I was not in a hurry, and
the gondola and its olive-hued rower--children of Venice, both of them! And then, line after line, it flitted through my brain :
“The path lies o'er the sea
The Statues ranged along the azure sky;
Invisible; and from the land we went
By many a pile in more than Eastern pride,
As to a floating city-steering in,
Of old the residence of merchant kings;
And gliding up her streets as in a dream,
The fronts of some, tho' Time had shattered them,
So smoothly, silently-by many a dome
Still glowing with the richest hues of art,
Mosque-like, and many a stately portico,
As though the wealth within had run o'er."
my heroes.
Was there not before me just such a journey? “Thank you, Mr. Rogers,” I said, stepping into the gondola; “be the steam-launch for the
business-man and the others who have never been to the 'glorious City by the Sea! in beauty next to this more glorious City by the Lake.”
And when I alighted and entered the Fine Arts Building, the voyage had tuned me up into a right mind to enjoy all it contained of real virtue.
Now, I have never been able to understand why there was no Muse appointed for the presidency of Architecture, Sculpture, and Painting.
As certainly deserving as dancing and comedy-more so, in fact--they seem to have been thrust into a group, and left without a special Deity.
Yet can it be said they have not fared well ? Do we not go about studying them, and asking ourselves, not if we like them, but which of
them we like most ?-a question I have decided for myself. Ruskin once said:
“ Every man has at sometime of his life personal interest in Architecture. He has influence in the design of some public building; or he
has to buy, or build, or alter his own house. It signifies less whether the knowledge of other arts be general or not; men may live without
buying pictures or statues. They must do mischief, and waste their money, if they do not know how to turn it to account.”
Good arguments, those; yet there is another even more conclusive, involving individual taste. Which of the three arts carries in itself more
of the elements distinguishing them all separately? I look at the Taj-Mahal; it is sculpture, vast and peerless. I look at the interior of the
Mosque of Omar; it is an effect of light in relation to form and material productive of unequaled coloring. I stand under the dome of Sancta
Sophia, and see how sculpture can be columnar, and in arrangement contain more than any statue-mathematics and geometry. I look at the
dome of our own capitol, white, towering in the sky; it is a perfection of outline and contour, as much so in fact as the divinest of the Venus',
and far more impressive. Yes, aside from Ruskin, and without calling on Angelo-sentimentally-Architecture is the greatest of the three Arts.
This leads to the other question, quite as interesting. Between Sculpture and Painting, which is now most worth engaging a life? Here,
too, there must be room for the exercise of taste. In most instances the difficulty is to get an expression. Suffer me to set an example.
Upon entering the building, I made way slowly--the jam was great, the air bad, and the heat oppressive-through the halls of statuary, and
failed not in observation. Two pieces left impressions-one, a nude female-figure, large as life; the other an essay in the line of portraiture; it
being a Dickens seated upon a high box pedestal, with a little Nell standing at his feet; he regarding the child with a pleased paternal air,
and she returning his look with timidity and shrinking wonder. These two were up to standard; but the others—and they were many—were
nearly all faulty in some particular. Those which might have claimed originality were grotesque; a few were indecent. Not that nudity implies
indecency; but that the idea of the piece must be high enough to save it from gross suggestions. Who, for example, reviewing Thorwaldsen's
Venus with the Apple, or Power's Greek Slave, is conscious of a brutish emotion?
When, after making the grand round of the halls, I took a seat outside, smoking and reflecting, there came to me a speech which Walter
Savage Landor, in his Pericles and Aspasia, puts in the mouth of Pericles:
“Sculpture has made a great advance in my time; painting still greater; for until the last forty years it was inelegant and rude. Sculpture
can go no farther; painting can; she may add scenery and climate to her form.”
And I said to myself, it is true, the Greeks finished sculpture. One can go no farther with it. As a pursuit it is void of hope. There can
be multiplication--nothing more. And I went not back into the statuary halls.
Thus, a subscribed partisan of Painting as the superlative art next to Architecture, it might go almost without saying that I passed most of
my days inspecting, and in some instances studying, the pictures. The opportunity of comparing national traits in design and style was rarely
good. The difference in detail and handling were not so apparent as in the subjects treated. The number of imitations of the Angelus were
both marked and amusing. It was also pleasant to observe the patriotism of the artists—how they made their beautiful art a handmaiden of
history—in other words, how a picture can be as preservative of a hero or a heroic deed as an epic. With respect to conclusions, enough that
Americans had reason to be proud of the merit conspicuous in the canvases of their countrymen. I assuredly was.
It may be thought I came out of the galleries satisfied and happy. Not so. The education there was in the exhibition manifested itself to
me more distinctly than ever. Why could it not be continued for the benefit of generations indefinitely? And, I thought-Europe has her
Vatican, her Louvre, her Neapolitan Museum, her Pitti Palace and her Dresden Collection, all old and indescribably rich. Why should not her
peoples be the advanced judges of the Fine Arts they are? Consider their opportunities for the formation of a taste and judgment refined and
absolute. When are our people to be similarly favored? When? And the question became an ejaculation which went with me. I fancied it a
sorrowful echo from "many a stately portico;" a hoot flung down at me by the statues I passed “ranged along the azure sky.”
It is characteristic, I suppose, once we decide a thing out of our reach to cast longings after the next best of the kind. Presently I was
wondering why a selection of the pictures in the building could not be made for general distribution. That at least was feasible. We are up in
photography, and all its kindred processes. The Kodak fiend—where is he not? And the demand for subjects, is it not an undying voice in the
land? And though 'tis true, most of us are yet groping in the shadows of the art, it is not less true that we have scholars and practitioners
long graduated in it, to whom the duty of selection might be safely entrusted.
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capable parties
preparing to perfect
a
selection of the Kind proposed:
ite
scheme being to choose hom the pictures
exhibition
a variety most certain to
commend itself to
wholesome American
Casłes
military subjects, marines, some
modern classics, a number of the best
n religious themes, together with good
many of the "story-telling" class the
whole to be executed in the latest and
most popular process, and issued
issued in du.
rable form. And happily persisting in
the project, the publishers will now issue
their portfolio volume under title of
"Famous paintings."
In the
way of recommendation, g
cannot imagine anythina better than the
circumstance that the committee charged with
making the selection was composed of
ur. Angelo Del Nero, stalian Commission.
of Fine Arts at the World's Columbien
Exposition, and my friends, Mr. Bradley,
arł manager
ager of staipeis Magazine, and
niee Carleton, the pocł.
Lew. Wallace.
1
o
des
OF
ARTIST
TITLE
PAGE
ARTIST
TITLE
PAGE
ALMA-TADEMA, LAURA
42
BRIDGMAN, FRANCIS ARTHUR
181
191
ALMA-TADEMA,
147
28
L.
.
38
BROOKE, RICHARD N.
BROWN, J. G.
41
24
94
.
.
52
Nothing Venture, Nothing Have
Battledore and Shuttlecock
A Reading from Homer
At the Shrine of Venus
Sappho
The Country Joiner
The Narrow Pass
A Shady Nook
The First Stop
Presentation of Richelieu to Henry IV.
In a Village at El Biar, Algeria
Fellahin and Child— The Bath
A Pastoral Visit
A Card Trick
On Dress Parade
The Young Surgeon
“ Give us a Light”
Pull for the Shore
Vanity
The Country's Hope
AMBERG, WILHELM
133
93
151
93
36
107
ANDREOTTI, F.
ASSMUS, ROBERT
AURELI, G.
109
144
182
BRUTT, F.
237
.
The Amateur Artist
206
BALLAVOINE, JULES FRED.
BARTHOLOMÉ, ALBERT
BECKER, CARL
153
183
130
.
II2
CAMPHAUSEN, W.
CARPENTIER, E.
СЕССНІ, А.
CHELMINSKI, JAN VON
CHIALIVA, LUIGI
Prince Bismarck and Napoleon III. at Sedan
Convalescence
A Story out of the Past
Afternoon in Hyde Park
Fine Weather
40
66
236
46
208
61
252
31
35
138
CHIERICI, GAETANO
COLLIN, R.
CURRAN, CHARLES C.
CUSACHS Y CUSACHS, JOSÉ
CZACHORSKI, W. von
A Shower
The Mask; or, Fun and Fright
End of Summer
Winter Morning in the Barnyard
Lancers on the March
A Question
I 27
166.
137
Hunting the Slipper
Apollo Belvedere
Othello
The Intended
Mount Corcoran (Southern Sierra, Nevada)
Afternoon in the Meadow
The Good Brother
Christmas Bells
Fishing for Shrimps at Scheveningen
Rain in the Parlor .
The Crash .
The Heir Presumptive
Brother and Sister
Hercules and Omphale
Combat in a Village,
“For of Such is the Kingdom of Heaven"
Arabian Lady Boating
128
'228
168
117
BERNE-BELLECOUR, E.
BIERSTADT, ALBERT
BISBING, HENRY S.
BLAAS, E. VON
BLASHFIELD, EDWIN H.
BLOMMERS, B. J.
BLUME-SIEBERT, L.
BOKELMANN, C. L.
BOUGHTON, GEORGE H.
BOUGUEREAU, W.
BOURCE, HENRI JACQUES
BOUTIGNY, ÉMILE
BRAMLEY, FRANK
BREDT, F. M.
0
103
22
DAHL, HANS
29
Boarding School on the Ice
The Attractive Power of Women .
51
.
90
104
A Child of Nature
217
201
Too Late
225
169
240
Toll Paid First
Pawnbroker's Shop
232
DA MOLIN, ORESTE
215
.
+
ARTIST
TITLE
PAGE
TITLE
PAGE
ARTIST
171
140
GROSCH, C.
GRÜTZNER, EDUARD
247
43
DE COURTEN, A.
DEFREGGER, FRANZ VON
DE HAAS, F. M. H.
DE HAAS, J. H. L.
DEIKER, C. F.
Farewell
The Cloister Kitchen .
An Amusing Story.
The Card Players
97
77
149
The Victor
Tyrolean Minstrels
Off the New England Coast
Donkeys on the Shore
“Look out! Here's Something Else !"
Pointer and Setter
In at the Death
The Flower Merchant
French Cuirassiers Bringing in Bavarian Pris-
229
16
44
57
62
224
200
135
DE SCHRYVER, L.
DETAILLE, ÉDOUARD
HAFFTEN, C. von
HANDLER, H.
HARPER, ST. JOHN
HART, JAMES M.
HEICHERT, O.
HENKE, A.
HENRY, E. L.
87
oners
60
15
69
The Dream
174
264
The Coast of Ireland and Dunraven Castle
Between Love and Duty .
Endymion
The Drove at the Ford .
“The Entrance of Thy Word Giveth Light
An Autumn Morning .
On the Tow Path
The County Fair
Charles the Hunter
My Mother-in-Law
The Revenge of the Flowers
Little Red Riding Hood
First Class
20
95
Attack on the Convoy
Episode of the War of Independence, 1808
Turkeys
Song of Spring
The Fish Commissioners
255
186
51
.
DUMONT, CÆSAR ALVAREZ
DURST, AUGUSTE
DEYROLLE, A.
DOLPH, J. H.
DOMINGUEZ, M.
82
105
156
218
HERMANN, CH.
HEYDEN, CH.
HEYGER, F.
HIDDEMANN, F.
202
.
o
A Venetian Terrace
152
176
66
81
177
HUNTEN, EMIL
EHRENBERG, C.
EHRLICH, FELIX
ERDMANN, OTTO
ESTERAN, E.
.
The Destinies
Praying
Trying to Steal a Kiss
Flying Artillery
Third Class
The 39th Fusileer Regiment of the Lower
Rhine at Gravelotte, Aug. 18, 1870
165
86
129
0
56
)
JORIS, P.
Afternoon in the Villa Pamphyli, Rome
207
FALAT, JÚLIUS
238
226
.
FARNY, H. F.
126
KAULBACH, HERMANN
KINDLER, ALBERT
KIRBERG, O.
KNAUS, LUDWIG
:
Return of the Emperor William from the Bear
Hunt :
A Mountain Trail
79
A Sioux Camp ; and Got Him!
139
The Mother's Delight
18
Bitter Medicine.
54
Washington and His Mother
196
Cattle in the Marshlands of the River Elbe 188
190
O
23
67
FERRAZZI, LUIGI
FLEISCHER, L.
FOURNIER, LOUIS ÉDOUARD
FRENZEL, OSCAR
Іоо
115
I 22
263
158
The Last Days of Mozart
The Fandango
The Interrupted Musician
Charity
The Village Witch .
A Bad Customer
In Great Distress
A Picnic Party
Valuable Instruction
The Artist and Her Model .
“As the Old, so the Young"
The Young Gamblers
Hailing the Ferryman
Church Collection
The Milk Boils Over
Stags Feeding
Early Morning
Boar Hunt and Winter Scene
In Her Own Garden
159
164
2 12
0
259
261
221
27
123
96
88
GALLEGOS, J.
A Procession
GASCH, L.
An Idyl
GAY, WALTER
Mass in Brittany
Charity
GENTZ, WILHELM
Crown Prince Frederick Entering Jerusalem
GENZMER, B.
The Black Man.
GIBSON, W. HAMILTON
Summer Afternoon
GILLI, A.
Congress for Emancipation from Masters .
GLISENTI, ANGELO
The Hunter's Story
GOLDMAN, O.
A Secret
GOLUMSKY, VASILY ANDRIEVITCH. Mushroom Gatherers Taking a Rest
Gow, ANDREW C.
After Waterloo
GRAEF, G.
For Love of Fatherland.
GROLLERON, PAUL
A Capture in 1793
KNIGHT, D. RIDGWAY
KNORR, G.
KRETZSCHMER, H.
KRÖNER, CHRISTIAN
198
238
75
106
30
141
25
KUZNEZOFF, NICOLAY
155
IOI
32
258
189
Blindman's Buff.
72
LAASNER, N.
LAURENTI, CESARE
The Manner Shows the Mind
194
ARTIST
TITLE
PAGE
ARTIST
TITLE
PAGE
203
PAPPERITZ, GUSTAV
160
222
70
99
230
55
59
LEFLER, F
LEIN WEBER, R.
LEISTEN, J
LELOIR, MAURICE
LESSING, H.
L'HERMITTE, L. A.
LIEBERMANN, MAX
LIECK, JOSEPH
LINDERUM, RICHARD
LOEWE, M.
LONZA, A.
9
163
256
Adrian Brouwer and His Models
Madonna
“ He that Seeketh Findeth "
The Potato Diggers' Dinner
The Toilet
The Good Samaritan
Leaving the Stable
The Bridge at Sunset .
Tired of Waiting
A Corner in the Market-place
209
PAUWELS, FERD.
PENA, M.
PEREZ, ALONZO
PLOCKHORST, B.
PLUMOT, ANDRÉ
POORE, HENRY R.
PÖTZELBERGER, R.
POYNTER, EDWARD JOHN
Birthday Greetings
An Arabian Song
A Concert Given by Richelieu
Opportunity Makes the Thief
The Sick Bed
The Friend of the Lowly
The Flax-Barn
The Styrian Girl.
The Cloister Virtuoso
A Scene from The Merry Wives of Windsor
In the Park
The Interrupted Performance
Fish-market in Cornwall
Trying to Make His Peace
After the Christening
Here's a Fine Business !
231
85
143
116
118
65
167
205
148
262
83
26
71
LOUDAN, M.
LUBEN, ADOLPH
76
.
154
161
50
195
245
257
RAUDNITZ, A.
RENOUF, ÉMILE
RETTIG, HEINRICH
RICHARDS, WILLIAM T.
ROEHER, F.
ROSENTHAL, TOBY
ROSSET-GRANGER
ROTH, A.
ROTTA, ANTONIO
ROTTA, SILVIO
ROUBAUD, F.
RUSSINOL, S.
The Faithful Guardian
The Helping Hand
Called to Her Calling
Old Ocean's Gray and Melancholy Waste
The Holy Night
The Alarmed Boarding School
Young Girl Chasing Butterflies
Pieta
Pussy's Temptation
The First Prayer
Riders of the Caucasus
A Bohemian
102
49
233
39
244
MAC EWEN, WALTER
MAKOWSKY, CONSTANTIN
MALCHIN, KARL
MARCHETTI, L.
MEYER VON BREMEN
47
.
.
III
199
.
.
2 I
173
146
.
45
78
.
219
MOLLICA, A.
MORADEI, A.
MOREAU, ADRIEN
241
The Ghost Story
The Toilet of the Bride
Winter Landscape .
The Winner of the Grand Prize .
Home Devotions
Blindman's Buff.
Rivals
Maternal Anticipations
The Bath.
In the Park.
Gil Blas
Watching and Waiting
A Heavy Load
The Tired Gleaners
The Trojan Horse .
Little Pepita
Charlotte Corday in Prison
SALMSON, HUGO
SANT, JAMES
SAVANI, A.
I 20
131
220
170
1
.
SCALBERT, J.
114
119
I 21
.
MORENO-CARBONERO, JOSÉ
MORGAN, FREDERICK
37
I 24
+
73
SCHRÖDER, A
II
80
.
48
C
MOTTE, HENRI
MÜCKE, Carl
MÜLLER, CHARLES LOUIS
33
187
178
84
74
.
204
At the Pasture Gate
Oliver Twist—“He Walks to London ”
A Child of the Fields
“He Loves Me, He Loves Me Not”.
A Shower
The Banks of the Marne
The Beginning of a Romance
Our Darling
Reminiscences
Children's Party
The Closing Hymn
Hypatia
Fatima
After the Example of the Gods .
Daughter of the Rajah
Embarrassment.
At the Masquerade
The Menagerie
Another Marguerite
The Boy Luther at the House of Madame
Cotta
The Procession of Death
The Senses (Taste, Sight)
213
216
C
NAUJOK, G.
NEAL, DAVID
NEUHAUS, Fritz
157
184
I 2
SCHWENINGER, C.
SCHWIERING, H.
SCHWILL, W. V.
SEIFERT, A.
SICHEL, N
SIEMIRADSKY,
HENRY
SINABALDI, PAUL
SMEDLEY, W. T.
SOHN, C.
SONDERLAND, FRANZ
SOROLLA, JOAQUIN
SPANGENBERG, G.
234
.
239
192
Saint Cecilia
Oliver Cromwell Visiting John Milton
Frederick William I. and the Salzburg Immi-
grants
In the Palm Garden at Spa
A Foretaste of Summer
A Corner of the Lake
Spring Blossoms
Fruit Seller—Venice
132
NICOLET, G.
NIGHTINGALE, L. C.
214
13
.
172
68
249
NONNENBRUCH, M.
Novo, STEFANO
150
246
179
253
18
108
A Wedding Tour
OUTIN, S.
SPERLING, H.
+
IN
PAGE
ARTIST
TITLE
PAGE
ARTIST
TITLE
SPERLING, H.
19
VAUTIER, BENJAMIN
227
210
The Senses (Hearing, Smelling, Feeling)
Rescued
Gipsy Boys on Horseback
A Spring Day in Venice
In Love.
254
260
STEFFECK, KARL
STEWART, JULES
STONE, MARCUS
I13
The City Cousin
A Friendly Call
The First Dancing Lesson
Russian Girl
Martyrs of the Beach
Memories
242
234
185
250
0
VENIG, KARL
VERHAS, JAN
VILLEGAS-BRIEVA, MANUEL
VINEA FRANCESCO
145
TAVERNIER, PAUL
The Introduction
58
Huntsman Blowing the Retreat from the
Water
98
The Fortune Teller
136
At Ischia
193
S
The Pursuit
IIO
91
248
TREIDLER, A.
TREGO, WILLIAM T.
TROOD, W. H.
TRUESDELL, SANGSTON
TRUPHÉME, AUGUSTE JOSEPH
Dinner
63
WARD, MRS. HENRIETTA
WEEKS, EDWIN LORD
WEISER, J.
WEISS, A.
125
17
Going to Pasture
Singing-Lesson in a Public School in Paris
197
142
162
The Ugly Duckling
The Last Voyage
The New Mamma
The Easter Vacation.
The New Model
An Act of Courage
Storming the Heights of Spicheren
Coming of the Guests
Starting for the Boar Hunt
Cross Country in Winter
No Thoroughfare
89
Who's That!
180
WEISZ, A.
WERNER, ANTON VON
WIERUSZ-KOWALSKI, A. VON
VAN DEN EYCKEN, CHARLES
VAN ELTEN, KRUSEMAN
VAUTIER, BENJAMIN
IO
34
14
53
64
92
Early Autumn
i
The Morning Bath.
Without the Artist's Permission
In the Barber Shop
Going to the Magistrate
“Playing at Cards'
251
134
WILLIAMS, J. HAYNES
223
175
2II
UCHERMANN, KARL
A Drama of the Woods
235
1)
li 82'
"AUTE
4. S.
뿍
​1
/

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.
By Special Permission of the Artist.
9

TORMING OF THE HEIGHTS OF SPICHEREN, by Anton von Werner.-This spirited battle-scene is from the brush of the German Court Painter, who is
also Director of the Academy of Fine Arts at Berlin. He devotes himself to historical and war subjects, commemorative of the achievements of his countrymen.
He
is noted for his exactness of details, both as to localities and as to equipments and other matters military, as is most essential in the Court Painter of a military nation. Though
at times theatrical, his paintings are often truly dramatic, and enjoy unquestioned popularity. The storming of the Spicheren Heights was an incident in the engagement near
Saarbrücken, in the early days of the Franco-German war of 1870. Here Napoleon III made the only serious demonstration he was able to make on the German side of the Rhine, and
it was here that the little Prince Imperial received his “ baptism of fire,” as his father called it. The driving of the French from the Heights of Spicheren was a great feat for the
Germans, who were inferior in numbers, but who charged up the steep and scantily-wooded hill and fell upon the intrenched enemy so gallantly as to force a retreat. A tower has been
erected on the Winterberg, a hill near Saarbrücken, to commemorate this victory.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
TO

A. SCHRÖDER.
THE BEGINNING OF A ROMANCE.
In this rich and pleasing German interior of the seventeenth century, we have a scene of sentimental as well as domestic interest. A youthful knight is reading to the fine old
burgher and his lovely daughter some tale of chivalry. But, though his audience consists of two, he seems oblivious of all but one; and as he narrates the moving tale, he looks
straight into those tender, eager eyes, that almost bid him, as Desdemona bade Othello, if he had a friend that loved her, I should teach him how to tell my story, and that would woo
her." For it is not unlikely that, like another Othello, he is reading a story of which he himself is the hero, and describes his own“ moving accidents by flood and field.” He evidently
knows the story well, for he goes right on, without glancing at the book, and with a telling gesture lays it plainly before the intently listening maid. The story must be a thrilling one,
for the old gentleman is spellbound, and does not appear to notice that, while his ears share the story, the glances of the narrator are none of them for him. Such is the human interest
in the scene, and the figures are admirably in character. Besides that, there is a grateful wealth of beauty in the elaborate painting of the costumes and drapery. The lace-work, the
rich damasked stuffs, the heavy satin robe of the little lady, the brilliant silk dress of the men, hardly need the colors of the original painting to mark their beauty, and certainly not
to indicate their character.
IT
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

SA
DAVID NEAL.
OLIVER CROMWELL VISITING JOHN MILTON.
DAVID NEAL has produced some of the most successful historical paintings of the day. His subjects have had an intrinsic importance that carried well enough the somewhat
theatrical vein in which they were rendered, and they are always striking and compel the attention. A visit of Oliver Cromwell to John Milton is a theme to inspire any artist, and,
indeed, another who in the early days did much to advance American art, Emanuel Leutze, lent his powers to a similar scene. Although the record of a personal intimacy between
the stern Puritan commander and the learned, cultured Puritan poet, is wanting, yet the inference from their close political relations warrants the conception of such a visit as is here
portrayed. Milton was Latin Secretary to Cromwell's Parliamentary Committee of Foreign Relations, and his pen was in constant requisition for the Protector's political controversies,
and to this service the poet sacrificed his eyesight and ended his days in total blindness. As Cromwell enters his secretary's house for conference or conversation, his ears catch the
sound, unwelcome to most Puritan ears, of organ music ; for Milton loved some things which this stern destroyer of “baubles” and other vanities despised, among them the “peal-
ng organ,” and the “ full-voiced choir,” which“ dissolve me into ecstasies and bring all Heaven before mine eyes.” The pensive, rapt devotion of the æsthetic Milton and the alert
disapproval of the pragmatical Protector are strongly contrasted.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
I2

應 ​A
A
FORETASTE OF SUMMER, by L. C. Nightingale.-Few scenes can well surpass this in loveliness and repose. The warm days of Spring have come with the
blossoms and fragrance. The young girl has emerged through the garden and the grove, out of the gate and down the steps into the idle boat lying motionless on the water.
She is dreaming her harmless day-dreams. Clad in cool white, bare-headed, but shaded from any wandering rays of the sun by a large Japanese parasol, and resting on pillows
with her head on her hand, she might be sketched for the “spirit of repose. Her eyes are downcast and her thoughts are far away. The swans in their snowy beauty are not
in the least disturbed by her presence. The thick furze and the masses of bloom which hang over the garden wall and dapple the tangled grove, cast a sort of halo over the whole.
It is a spot for dreams and fancies—such a one as a romantic girl would choose for her vision, and to breathe sighs for some absent sweetheart. The face in the picture is beautiful,
and looks as if it might belong to one capable of high ambitions. Whatever her thoughts, the maiden is indolent as the summer balm in which her dreams are floating.
13
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York

Vatt
HE MORNING BATH, by Benjamin Vautier.—The water is too cold! That is the sum of the sentiment and expression in this exquisite bit of comicality. It seems
that Annie, who has been through the ordeal and knows how it is herself, is rather enjoying the shock to Tod's nerves. He has gone into the tub with confidence, but his
alarmed nervous system has cried out, not only figuratively but literally. The expression on his face is at once inimitable and true to the life. He is a study not only to
Annie, engaged in the mysteries of stocking adjustment, but to all beholders whatsoever. Tod has been in the bath many times, being a well-bred urchin, but he has not
been accustomed to a temperature so near the freezing point. Nurse must have made some mistake this morning. But the case is not so bad as might be inferred from the
expression and manner of the bather. He is more scared than hurt. A difference of five or ten degrees would make all lovely, and the little curly-headed imp of humanity would
be splashing with delight. The bathroom is intermediate between poverty and wealth. The tub is not à la mode, but, like Mercutio's wound, “it is enough—it will suffice!
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York,
14

HE ENTRANCE OF THY WORD GIVETH LIGHT,” by O. Heichert.-The force of this celebrated picture is felt at a glance. Its ease and tranquil
simplicity recall the immortal Burns and his “Cotter's Saturday Night. The venerable mother is reading the Psalms to a wayward son in mid-life, to lead him away from
dissipation ? The artist has seized on Psalm CXIX, 130 : “The entrance of Thy words giveth light; it giveth understanding unto the simple," as showing the implicit faith in
the wonderful book, and so she is administering holy instruction and consolation as the chief necessity of her broken son. When Sir Walter Scott was dying, he asked his son-
in-law to read for him. “What shall I read,” Lockhart asked ?
“ There is but one book!” Sir Isaac Newton, in dying, laid his hand on the sacred oracles and sweetly
entered into the joy of his Lord. In the hour of his departure, Cowper laid aside his pensive task and pressed the New Testament to his bosom. It was a dark night in this poor
mother's heart, and she lit her lamp ; her cup was bitter, and she brought out her cup of manna—sweeter than the honeycomb. Her son listens as the music of heaven floats under
the lowly roof. She reads no absurd fable from the Koran ; no artistic poems like those of Milton. Its words whispered hope and peace to her wayward son. Its simplicity brought
solace to his soul and strength in his weakest hour. Truly the light is sweet, and brings to the lowliest cottage all the realities of a man's immortality in the blessings of salvation.
15

S2200
SAVANO
C. F. DEIKER.
“LOOK OUT! HERE'S SOMETHING ELSE!"
In this spirited painting we have a contrast to the old fable of the dog who dropped the piece of meat he held in his mouth in order to seize also its reflected image in the water-
giving rise to the saying, “ to give up the substance for the shadow." This fine pointer purposes to take all the chances there are, and keep what he has got, as well. While he is
bringing in the partridge his master has shot, up starts Master Bunny, right under his feet, with suddenness that would have made him whistle, if dogs could whistle, and he stops short,
as rigid in his tracks as though petrified, and "points" beautifully. If his master is as keen at his work as the dog is at his, Brer Rabbit will presently execute an elaborare summer-
sault when the gun goes off again, after that cartridge has been slipped into the breech-loader. That the artist has painted this picture out of doors no one can doubt. In no other
way could he have infused into it so much of the clear, crisp atmosphere of the moors, in which the figures all stand out with remarkable and delightful brilliancy. The representa-
tion of the dog is admirable, and shows a distinct type of what is most attractive in the canine character, by virtue of which the dog is not only man's most faithful servant, but is fitted
to be his companion as well.
By Permission of the Berlin Photographic Co.,
11 East Twenty-third Street, New York.
16

S Teresa
Ć
OING TO PASTURE, by Sangston Truesdell.-Why is it that a flock of sheep always forms so attractive a feature in a landscape ?—whether it consists of the
smutty little merinos on a Vermont hillside, the great noble horned fellows of the Scottish highlands, the shaggy Southdowns of fertile Kent, or the little balls of fat which
are to yield the mouton pré salé of the Parisian markets. Whatever be the attraction, Sangston Truesdell is not the first artist who has yielded to its fascination, nor the one
least able to paint its charm. He does not confine himself exclusively to the painting of sheep. Truesdell is equally excellent in the depicting of figure, landscape and
cattle ; but no matter how far he may stray, he always “returns to his moutons," and he is entirely right in so doing, for while a Van Marcke can rival him in the portrayal of the
sources of our butter and cheese, no one, perhaps, can paint quite so "sheepy" sheep as he. Going to pasture is an every-day scene in rural France, with this exception, it is not
the lot of every flock of sheep to be watched and tended by so charming a shepherdess as Truesdell has appointed to guard this particular one. She is so dainty as but to need a short
skirt of brocade, laced, tight-fitting bodice, jaunty cap and crook, with blue satin bow, to take her place with the masquerading - grande dames ” of the Trianon, or step into a canvas
of Watteau's. This picture is one of the principal attractions of the Corcoran Art Gallery, and is reproduced in this work by special permission.
17
Corcoran Art Gallery, Washington,
By Special Permission.

2
Wspaling
'HE MOTHER'S DELIGHT, AND THE SENSES, by Luigi Ferrazzi and H. Sperling.–The central panel of this picture, by Ferrazzi, represents one scene,
and the other two side panels the parts of another. The first is quite realistic, while the other two are allegorical. Recent artists have found a new theme in the delineation
of the natural senses. In the two side panels we have represented the faculties of taste and sight. In the first, taste is certainly in the most active manifestation. . The mother
and the four members of her family are all engaged in helping themselves to food and drink. As for the puppies, they have no thought at all except to help themselves to the
milk in their trough. The mother, while deeply engaged with her piece of meat, has a side-glance for her family. In the third panel, the sense of sight is strikingly illustrated in the
cat chase. The three dogs of different kinds have given chase to pussy, who has clambered up the tree, thus putting distance between herself and her pursuers. They can see but
touch her not. The central picture is well named “The Mother's Delight. The young and happy mother is tossing her first baby in her arms, and communing with the innocent in
the joyous manner which only the mother-heart has discovered.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
18

HSpilling
1994
H. Sperling
H.Sperla
HE SENSES, by H. Sperling.-This picture is also from Sperling's studio, and is a sequel to the last. Sperling has attempted, in the three panels constituting the work,
to represent the three remaining senses by showing the expression and manner of dogs under the dominion of the given faculty. In the first panel we have hearing illustrated.
The shepherd and the pug are drawn in such attitude as to exemplify the action of that sense in the dog countenance. These animals are waiting for the opening of a door.
The master is doubtless on the other side of the door; or the cook is there, perhaps, with the expected meal. Each of the animals has fixed himself in the attitude of attentive
listening. The study has no doubt been taken from nature. The same is true of the expression and manner of the dogs in the second panel, illustrating the sense of scent. The
pointers have scented the game, and, under their predominant instinct, have taken the well-known position indicating the place of the covey. In the third panel, the fifth sense,
denominated feeling, is illustrated. It is not precisely the sense of touch as the same exists in the human hand, but it is the general sense which gives to animals and men alike the idea
of position with respect to other material objects with which they are related. In two of the panels, beautiful landscapes open out on the vision, but in the first the view is bounded by
the room in which the dogs are confined.
19
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

N THE TOW-PATH, by E. L. Henry. It is noontide on the banks of a canal. The season is midsummer. A hot August sun brings out in dazzling brilliancy
every detail of the scene. From the bank on one side rises a thickly-wooded mountainous stretch, and the well-trodden tow-path on the opposite side is skirted by a ragged
growth of maples. Several log cottages, the homes of woodcutters and foresters, stand under the mountain-side close to the water's edge, and notwithstanding the simplicity
of these homes, there is a neatness about them, that speaks of comfort within, and the contentment of their dwellers. The canal-boat has just reached the point opposite
these cottages, but so accustomed have the inmates become to these monotonous trips that no window is raised, nor does a curious face appear at any of the doorways. Two mules,
a brown and a white one, drag their floating burden carelessly along. The long-eared toilers are somewhat inclined to laziness, and after the manner of their kind, move only in a
slow, majestic manner. They are now partaking of the last of the oats given them for dinner, their feed-baskets being still about their ears. To-day the canal-driver has sent his
little daughter along the path with the team. The girl, barefooted and browned by the sun, is absorbed in the study of a flower. The whole scene is one of pleasing pastoral beauty.
By Special Permission of the Artist.
20

2
Meyer von Boh
Berlin 1872
eniem
MEYER VON BREMEN.
HOME DEVOTIONS.
A TENDER and charming sentiment breathes from this touching scene of German peasant life. The invalid mother leans back in her chair, her eyes and thoughts turned above.
Her sweet face is saddened by thoughts suggested by her illness, but her faith remains constant, and the comforting words of the prayer fall upon attentive ears. Her boy with his
white tousled hair and serious face feels the responsibility of his office. Reading to him is none too easy a task, and while he realizes the significance of his office he is also manfully
facing the problems offered by hard words. The celebrated genre painter to whom we owe this picture has availed himself of the privilege, dear to artists, of modifying his name.
Christened Jean Georges Meyer, he has become known as Meyer von Bremen from the name of the city in which he was born in 1813. He was a pupil of the Düsseldorf Academy,
and at first essayed academic themes, historical and religious subjects, but presently turned to the actual life about him, and soon earned a high reputation in Europe and America.
He has been a prolific painter, and his oils and water-colors are counted by the hundred. Many of them are owned in this country, and few were more eagerly sought for when Düssel-
dorf art was paramount.
He is a member of the Berlin and other academies, and has also received the decorations of several Orders. He has obtained medals at Berlin, at our
Centennial Exhibition, and elsewhere, and few German artists can point to a more successful career, which has been due to his sympathetic rendering of every-day domestic life.
21
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street. New York.

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
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.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York,
22

LUDWIG KNAUS.
“CHARITY.”
The Bible word for “charity” is much broader and more expressive of the real sentiment than the almsgiving idea we usually associate with this much-abused term, and it is this
broader idea of "love" that the great German artist has expressed in this charming allegorical painting.
charming allegorical painting. The universal love which welcomes all who have need of what it has to
offer is the theme which he has given voice to in this speaking picture. And he has properly chosen as the type of this generous love the alma mater—the benign mother-who
nourishes and cherishes the little ones who run to her freely, knowing that in her they will find the refuge and sustenance they require. The generosity of a true charity, giving to
each according to his need, is well indicated here. One who hungers is fed ; one who is frightened is protected ; one who is sportive is humored in his playfulness; and one who is
old enough to sympathize and to share the mother-feeling, is suffered to lay her head on the mother-shoulder and enter into the better part—that of giving rather than receiving. In
sentiment, in conception, in execution, this is a painting that elevates the artist into the moralist and preacher. In point of execution there is a Grecian perfection in the fall of the
drapery that is worth a study.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
23

e
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.
By Special Permission of the Artist.
24

Do
A
SECRET, by Goldman.-This picture is a collection of antiques. One ancient crony has come in to have luncheon and beer with his old friend. They have drank and
joked until they are in the highest stage of hilarity known to octogenarians. Their conversation and confidence have risen with the stimulated tide of their old blood until
they have really forgotten themselves in the spell of ancient memories. At length they have begun the recital of things most intimate. Meanwhile, the old wife of one of
the garrulous ancients has come in as if to participate in the pleasures of the hour. But she is an intruder. The luncheon and the beer are not for her. Most certainly the
secret which is in the act of repetition is not for her. Doubtless she is offended. What right has this young husband of hers to keep anything from her confidence ? Has she not
for forty-six years been a true wife to him, and is she not now as much entitled as his old boon companion to know the hidden things of his boyhood? This she is saying and asking
with much force of expression. In her eyes is kindled the same fire of pique and jealousy that might have been seen there half a century ago, when this gray, wrinkled, and
white-bearded reminiscence was first making love to her, and she first mistrusted that the other girl might be preferred. She has interrupted the recital of the secret, and is going
to know for herself.
25
2
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

ÉMILE RENOUF.
THE HELPING HAND
CORCORAN GALLERY OF ART, WASHINGTON.
This canvas was painted by Émile Renouf, a French artist but little known until the production of this masterly effort in 1881, which established his reputation. The scene is laid in
Brittany, and in order to emphasize the incident, the artist has confined himself to depicting two occupants of the bow of a large fishing-smack, leaving the stern portion with whom-
ever it might contain to the imagination. The little child has no doubt begged with affectionate earnestness to accompany the old sailor, her grandfather, on this fishing trip. Placing
herself on the same seat with the old man, she essays to assist him with all the strength of her little arms, the earnestness and sincerity of the effort being shown in her face. He, with
pipe in mouth, is looking sideways at her, with a quizzical yet loving expression which seems to say: "You, dear child, in your innocence, imagine your efforts and the strength of your
arms are of great assistance, but the real aid you are rendering me is the love and devotion your little heart is always so freely offering in the pull down the river of life." The realistic
treatment of the costumes of the man and child, the boat, the net, the boat-hook, sails, and cordage, do not interfere with the interest in the group, while the expanse of vapory sky and
water harmonize with its subdued color.
By Permission of Boussod, Valedon & Co.,
202 Fifth Ave., New York City.
26

Ridgway Knight
H
AILING THE FERRYMAN, by Daniel Ridgway Knight.-This is a reproduction of one of Knight's most charming recent paintings. One might believe that
the landscape is sketched from the banks of his own Schuylkill or Wissa hickon on a mid-June evening. The whole view is a perfect quietude. Nature is everywhere at rest.
The waters are asleep. There is not a breath astir in leaf or grass ; not a ripple in wood or stream. There is not even a cricket-call or whirr of bird-wing anywhere. There
are three living figures. The country-women must cross to the other side. They are returning at evening with their baskets; but they live over yonder, beyond the dim
turn in the summer road. They know the ferryman well enough, and they would summon him to row them across. The elder does so by calling aloud with hand-a-mouth, and the
other with gesture to the distant boatman. Both the call and the gesture are natural to the last degree, and perfectly feminine in manner. The boatman has heard and comes
running down the road. The scene is complete and perfectly artistic. The figures of the women and their peasant dresses could hardly be improved. In a few minutes more the
sleeping waters will be broken with the dipping oar, and the idyl will be completed with the disappearance of three figures under the twilight of the summer dusk.
By Permission of Boussod, Valedon & Co.,
303 Fifth Ave., New York City.
27.

LAWRENCE ALMA-TADEMA.
A READING FROM HOMER.
EXHIBITED AT THE WORLD S COLUMBIAN EXPOSITION.
A READING from Homer! How much that meant to the very early Greeks, to whom the Iliad and the Odyssey, the two narratives of the blind poet, were about all they had of litera-
ture, of history, of legend, or tradition. Handed down for centuries by word of mouth, these immortal poems were later reduced to writing, and whoever read them well was sure of
an interested audience. Although usually less successful with Greek than with Roman subjects, Alma-Tadema is regarded as having in this well-composed group produced one of his
great paintings. The beauty and intelligence of the pair of lovers alone would suffice for a subject for a picture that should contain nothing else; and the intent, almost fierce, inter-
est of the man clad in skins and lying prone before the reader, irresistibly compels our attention. But, after all, as is proper, it is the reader that is the most prominent figure in the
group. He has read the familiar lines so often that he can recite long passages without looking at the papyrus roll which lies in his lap. He has reached some intensely dramatic epi-
sode in the fortunes of Achilles, Ulysses, or Agamemnon, and throws himself with inspired ardor into the telling of it. His head crowned with bay shows him to have achieved honors
at the national festivals.
28
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

HA
0,12
HANS DAHL.
Hans-Dahl.
Duspel 1901
BOARDING SCHOOL ON THE ICE.
This scene belongs, as a matter of course, to a manner of life peculiar to northern Europe. It is sketched from the low-lands not far from the North Sea. These young Junos of the
boarding school have been loosed for a day from the rigors of discipline and set free on the ice. The low marsh is frozen solid. The girls are in the full frolic of a skating party.
But they wear no skates. They require no escorts or beaux to complete their enjoyment. These Dutch girls are full of life and enthusiasm. They are high-born, too, and as beauti-
ful as they are majestic in figure. In the distance to the right may be seen the outlines of the snow-covered city. It is from that, that the girls have issued for their day's outing.
One girl has fallen, but she will recover herself in an instant. The two figures nearest the foreground are exquisitely delineated in their long cloaks. They are as supple as willows
and as light-footed as gazelles. Their smiling faces show well the exhilaration of the exercise. In these young creatures the fires of life are burning high. The artist has chosen to
introduce an element of pathos into his picture. In the middle background is seen an old woman, bent with her sorrows, poor, and doubtless a widow. She has gathered from the
neighboring hill a load of sticks, and, putting them on her little sled, is trying to cross the snow to some distant shanty where her fire burns low, and where, perhaps, the faces of cnil-
dren pinched with want may be seen. The contrast is doubtless true to life, but the pathos of it is too great to be introduced in a scene otherwise full of merriment and pleasure.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
29

Si
A. GLISENTI.
THE HUNTER'S STORY.
OWNED BY THE METROPOLITAN MUSEUM OF ART.
The original painting from which this reproduction is taken, is a part of the art treasures of the Metropolitan Museum at New York. The scene depicted is that of a hunter who has
returned from his exploits in the mountains, and at the evening board is reciting the story of the chase. He has slain a fox. The dead animal may be seen at the right, on the knees of
the boy sitting on the table. He himself will presently be a hunter like his father, and will have his story to tell to a family group. These are all the members of one household. The
old father and mother are listening with rapt attention to the recital. The young wife is more pleased than any with the story; for the success of her husband is her own. As for the
hunter himself, he is in an ecstasy of acting. He is at the very crisis of the narrative. He had pursued the fox all morning, trying to get a shot ; finally, the animal turned the point
in the mountain below him, and bang ! the work was done. It is at this moment of supreme interest that the artist has caught the scene and depicted it. These people are Tyrolese,
or, perhaps, sub-Alpine Italians—a happy, free people, who live by flock and adventure. The interior of the room easily shows the blending of influences, partly mountainous, in their
origin, and partly derived from sunny Italy.
30
Metropolitan Museum of Art, New York.
By Special Permission.

a
What a
FTERNOON 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.
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.
By Permission of the Artist.
31

Guess
A
FTER WATERLOO, by Andrew C. Gow.-The scene here depicted is one of the most famous in the annals of modern times.
is one of the most famous in the annals of modern times. It is the wreck and rout of Waterloo.
Mont St. Jean and the hollow way of Ohain are behind them. Desolation and despair are before. This is the last column of the Old Guard. In the center, on his white horse,
is the man of destiny, child of the republic, smiter of kings and dynasties, going down the fatal way to irremediable eclipse and exile. Napoleon had planted himself near
where the stone lion now stands at Waterloo, with the determination of dying there, and thus making an end of all things together. The cry of “Sauve qui peut” (save himself who
can), rose everywhere around him. There can be little doubt that he preferred to die with the remnants of the Old Guard that had upheld his glory on more than a hundred battle-
fields. But his officers gathered around him and forced him on horseback and away with the melee of fugitives, blown into death and obscuration by the powers of banded Europe
behind them. The artist has seized this moment of leaving the field where Imperial France was buried, and has faithfully drawn or imagined the scene. The June sun has gone
down, and hopeless panic has supervened with the oncoming of night.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
32

UR DARLING, by A. Schröder.-The artist in this painting, “Our Darling,” has told a pretty story of tenderness and love, and expressed in an elaborate setting
a bit of domestic sentiment that most artists give only to humbler surroundings. The picture shows the richly decorated dining hall of a wealthy family. The time is
after dinner, and a young husband and wife are still sitting at the board on which rests only a stand of fruit. The costumes of both persons show the style of the last
century, and the richness of their dress suggests the idea of noble lineage. There is a beauty in the face of the young wife and a look of manliness in that of the husband.
Almost a pair of lovers again, and they had, perhaps, been telling the same old story in tones a shade more tender when a tiny foot-fall is heard, and a dainty tot of three years
comes timidly into the room and rests against her mother's knee. Just in this way the artist has grouped them. The baby girl makes a quaint appearance in her long brocaded
skirt of ample folds and the straight stiff bodice that comes high up in the neck. A mass of sunny curls tumble down on the child's shoulders and frames the delicate face. She
has spied the dish of fruit and stretches forth her tiny hand for an orange which the father playfully rolls to her across the table. It is at this moment that Mr. Schröder has put
life into the faces of his figures. The situation is very real, and one almost looks for the orange to fall into those baby fingers.
33
By Permission of the Berl.n Photographic Co.,
14 East Twenty-third Street, New York.

Son
Kulim Vanillones
KRUSEMAN VAN ELTEN.
EARLY AUTUMN.
Of the vaunted cosmopolitanism of New York there is no better illustration among the artists than the painter of this expressive landscape. Born in Alkmaar, Holland, in 1829,
Mr. Van Elten has painted in Switzerland and in the Catskills, in the meadows of Holland, and amid ruder scenery in Austria, on the edges of German forests, and beside English rural
lanes, in Austrian fields, and amid the scenes of French peasant life. He has studied in Haarlem, Amsterdam, and Brussels, and for nearly a generation has maintained a studio in
New York. Many of his pictures are in American private collections, while one, “ Early Morning in the Woods," belongs to the Queen of Holland, and others are owned by
amateurs of Haarlem and Amsterdam. In 1867 his “Summer Morning, Esopus Creek,” appeared at the National Academy, the first picture which he exhibited publicly in this
country. He was elected to the Academy and to the American Water Color Society, and his work in etching preceded the formation of the New York Etching Club in 1882. In
1860 his work in art gained a medal at Amsterdam, and again at Philadelphia in 1876. The simplicity, tranquil sentiment, and absence of apparent effort characteristic of Mr. Van
Elten's work, are happily illustrated in this autumnal scene. The season is yet young, for the leaves have not yet fallen from the trees, and the bushes are still clothed with foliage;
but the coarse grasses and reeds along the water's edge are bowed by loss of vitality at their roots and by the first breath of frost.
By Permission of the Artist.
34

HE MASK; or, FUN AND FRIGHT, by Gaetano Chierici.-The painting from which this reproduction is taken is one of the ornaments of the Corcoran Art
Gallery at Washington. The artist
, Gaetano Chierici, is a native of Reggio, Italy. He is a genre painter, especially noted for his ability in depicting humorous and pathetic
interior scenes and incidents, with children for the actors. Of this kind are his “Girl and Kitten,” “Bathing the Baby,” “Child's Grief,” etc. In the scene here depicted,
a little 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 in 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 young master, who has tumbled down with a scream and caught the nurse's dress, is hardly more extreme than that of the maid, who is stupefied with her terror. Just at
this stage, however, the goblin in the doorway discovers himself. He takes off his false face, and laughs at his victims. The wide-mouthed scare of the girl is just beginning to
give way to rage.
She grasps the ladle in the manner of fright. It were better for the juvenile ghost to vanish to his own place before she thoroughly recovers her nerves; else he
will suffer for his fun.
Corcoran Art Gallery, Washington.
35
By Special Permission.

A
SHADY NOOK, by F. Andreotti.-How often it happens that the sentiments expressed in the pages of some book bring to two people the realization of the existence of
a bond of sympathy between them, which in time grows into love. It may be a mere trifle of a thought, but it is the spark which kindles the flame. The artist must have had
this in mind when he painted this “Shady Nook," to which these lovers have found their way, under that mysterious guidance which always leads lovers to the most secluded
and beautiful spots. The beautiful young girl looks down into the face of her handsome lover, reclining on the seat beside her. His eyes are speaking to her of love while
his lips speak of the lines of the book he has been reading. The quiet solitude of the
The quiet solitude of the place, the murmur of faint breezes passing through the trees, and the fragrance of the flowers
which grow wild and untrained, all contribute to inspire a certain sense of loneliness which brings them closer together. Surely this lover will not have to press his suit, for the heart
which he seeks has been granted before he has asked it.
of the Berl n Photographic -third StreetBy Permission 36
14 East Twenty, New York.
Co.,

ATCHING AND WAITING, by Frederick Morgan.-We have in this picture an open and beautiful landscape. It is the after-days of harvest time. Nature
has brought forth an abundance of her golden treasures, and now she rests. There is a wide field where the shocks of wheat have stood thickly, and this is the day of the
gathering in. The wagon load of sheaves is in the distance, and still further away is the farmer's home. A single row of shocks remains to be gathered. There the
father and the mother are at their tasks, but they do not constitute the principal interest of the piece. They have brought their children with them in the morning, and
the little ones have been left with the lunch basket and the umbrella for a shelter in the tall grass and summer flowers. They have been set to watch and wait until the wheat shall
be hauled away to the barns and the gleaners shall return. Waiting is long to the child-heart, and so the little folks have grown weary. To them the hours have seemed to know
no end. They are both tired, and one has fallen asleep. The elder still waits and watches with finger a-lip and heavy eyes. She waits until papa and mamma shall come. She
has one arm over her sleeping sister and looks most wistfully at the work and the workers in the field. A half dozen white and silly geese have filled themselves to repletion with
the waste grain of the field and saunter idly in the mid-ground of the scene. Far away is the summer horizon and beyond that the land of dreams.
37
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

A
itha Brooke
PASTORAL VISIT, by Richard N. Brooke.--The original of this striking picture is in the Corcoran Art Gallery at Washington. The scene is typical of a large
section of African life in America. The negroes are profoundly religious in their later development as they were deeply superstitious in their original state. The African
mind, in 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-very black. “ Brother Eben,
says the old preacher, “them labor signs on your clothes and the growing olive plants at your knees are as pleasin' to the Good Master as if your trousers at the knees were worn
into holes with prayer." It is excellent theology the old man gives his flock, mixed with excellent practical religion. “Sister Mima," says he, “that milk of your'n looks moighty nice
and coolin' this warm day.” It is a dinner scene, in strictly African fashion. The artist has thrown the ubiquitous banjo into the foreground and put the seedy umbrella behind the
old parson's chair. They are humble folks, all these, but the ways and station of life are many, and the mightiest have as humble a destiny at the end as they of poorest estate.
Corcoran Art Gallery, Washington,
By Special Permission.
38

Decoce
100
0
HE TOILET OF THE BRIDE, by Makowsky.-On the threshold of a new life the girl bride is surrounded by friends of varying ages, swayed by various emotions.
The elders are most anxious for the present and busy themselves in making or inspecting the toilet. Some of the younger ones have their thoughts on the future, and one of
them reclines at the bride's feet, looking up into her face with an expression of solicitude that is gently met with a caress of the forehead and interlocking of hand and arm.
The bride realizes the solemnity of the occasion, and her face is serious but not anxious. She has no thought for the matters of dressing preparation that afford business for the
other women around her. Nor is she conscious of the admiring looks of those who are not immediately engaged in preparing her for the altar. There are figures in the picture which
suggest many stories. The scene is full of animation, and, aside from its character as a picture of Russian life, it is replete with elements of human feeling that knows neither time nor
clime. The picture is a study in the expression on the faces, and is not much less interesting in the presentation of the rich but quaint festival costume of the well-to-do in the great
Northern empire. There is a rare sparkling of gems in this famous painting, and a profusion of fine-textured fabrics that almost awes the sober imagination of our less luxuriant
occident.
39
By Permission of Braun, Clement & Co.,
257 Fifth Ave., New York.

Vio
A
STORY OUT OF THE PAST, by A. Cecchi. Very rarely has the remaining humor of old age been more strongly contrasted with the exuberant hilarity of girlhood
than in this picture. The old man, fat and contented, and dressed to the extreme of fashion, is telling the young ladies the story of some of his own adventures and
conquests in the days long gone. The narrative has run into an nusing episode. The octogenarian is living his past over again, and the girls have forgotten everything
except the interest of the story. They are amused and fascinated by a recital which may soon be real with each one. The older three unconsciously show the approximation of
the age of romance ; but the little lady is interested only, without knowing why. The scene is touched in every part with the profound sympathy between old age and youth.
With the one the past is everything, and with the others the future. All have met, however, on the common ground of the story which the old man is repeating for his
grandchildren and their friends. He remembers with all his heart the days when he was a gallant beau, and they remember the days near at hand when suitors will abound and
romance complete itself with engagement rings and flowers.
of the Berlin Photographic -third StreetBy Permission 40
14 East Twenty, New York.
Co.,

L-ALMATADEMA
a
T THE SHRINE OF VENUS, by Lorenz Alma-Tadema.-The painter of this beautiful picture is one of the leading artists of modern times. He is Danish by
birth, but essentially British in his reputation. His mind is saturated with the splendors of Greek and Roman art. He delights in depicting the life of the aristocracy of
the times of the Roman ascendancy. In this picture the artist has delineated three of the high-born and high-bred belles of the empire. They are reposing in the room
called the frigidarium, or cooling room, of one of the magnificent marble baths of Rome. These are beauties of the most splendid order. The artist has greatly varied
their character ; but all three are truly Roman-proud, serene, haughty, capable alike of loving and of killing. They are resting and reviving here from the soft pleasures of the
tepidarium, or warm bath, in which they have indulged. They have re-robed themselves, and are enjoying the reaction which comes to such creatures under the influences of the
bath. They are also dreaming of their lovers. One considers her face in the mirror, wondering how greatly he will praise it. Another stands by the marble wall, tall as a queen
and as haughty and dangerous. Through the open arch an assemblage of other such beauties can be seen in the outer apartment, awaiting their turn for the bath. The artist calls
this splendid bathing hall the “Shrine of Venus.
By Permission of the Berlin Photographic Co.,
3
41
14 East Twenty-third Street, New York.

aང་
VORM
$
LAURA ALMA-TADEMA,
NOTHING VENTURE, NOTHING HAVE.
The wife and art-pupil of her celebrated husband, Mrs. Alma-Tadema has her own individuality as a painter, which is distinctly recognized and highly esteemed by connoisseurs. A
love of historical facts characterizes her as well as her husband, and in the domestic life of Holland in the seventeenth century she has found a field for the exercise of her undoubted
genius as a painter. So successfully did she exploit this field that she was one of only three women artists who were invited to exhibit at the French International Exposition of 1878.
She is especially felicitous in her representations of children and of children's dress. Indeed, the perfect illusions of texture and textiles which proceed from her brush are only second-
ary in interest and importance to the truthful portrayal of character in her pretty scenes of domesticity. She endows inanimate things with a kind of vitality, and the fabrics seem almost
to rustle as the people who wear them move. Here is a picture for which, in its essential truth to nature, one need not go to Holland nor to the seventeenth century-though the
quaint costumes and characteristic Dutch interior lend their own interest to the scene. A little tot just learning to walk is tempted to a longer flight than she has yet taken alone, by
the apple held out to her by her older sister, at which she gazes with an eager longing that may induce her to make the perilous attempt to reach it.
perilous attempt to reach it. The tottering poise of the little
one, the tender solicitude of the mother, and the winning invitation of the sister, are well suggested.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
42

EDOUARD GRUTZNER.
THE CLOISTER KITCHEN.
EXHIBITED AT THE WORLD'S COLUMBIAN EXPOSITION.
The well-known painter of this characteristic piece has already been introduced to the reader in a previous description of the series. The work here reproduced was exhibited in the
German section of the fine arts at the World's Columbian Exposition. The cloister is not known in the New World, except in Spanish and Portuguese America. The word as used in
poetry and art is the term employed for the whole building enclosed by the walls of a monastery. The place is thus a part of that mystery with which both letters and art so much
concern themselves. Ecclesiastical life, the costumes, the attitudes, and the occupations of monks have always been favorite themes with painters. In England the larger monastic
establishments have sometimes more than one cloister. In many instances one gives access to the kitchen, and another to the domestic offices. In this picture two monks are
preparing a meal, and a third, under his broad-brimmed hat and monkish coat, with strangely carved walking stick, has dropped in to chat with his brothers and enjoy a bit of
recreation. The fat, good-natured chef, with sleeves rolled up and apron adjusted, rests for a little from his work of cleaning the fish, laughing and joking the while with the visitor.
The younger assistant, near the fireplace, seated on a bench, pares the large potato in silence, but his smile indicates his appreciation of all that is going on. His garments are
much patched, but, like most monks, he is happy and contented with his lot. The surroundings are all in keeping with the “ Cloister Kitchen.”
By Permission of the Berlin-Photographic Co.,
14 East Twenty-third Street, New York.
43

P
OINTER AND SETTER, by C. F. Deiker.-In sagacity and intelligence the dog is next to man in that department of nature which the old Suabian epic of Reynard
the Fox designates as the Kingdom of the Beasts.” Byron declared that his dog possessed all the virtues of man without his vices. In this picture the artist has delineated
two of our faithful companions in which, or more properly in whom, culture has reached the highest stage. In these evolution has done its perfect work. A certain instinct
has been whetted into preternatural activity and has dominated all the other faculties of the dog mind, becoming an unquenchable passion. Note well how the splendid pointer
is under the power of his prevailing instinct ; how his foot is lifted and motionless ; how his fine head is set in the direction of the game, and his tail projected as steadily and
truly as the sight-pole of a steamer. Rarely, if ever, has a dog been better drawn or painted. So also of the setter. In him the passion is more gentle but not less unerring. The
landscape is a wide heath, unbroken by trees, but varied in surface, covered with rough grasses and endless coverts—the native place of the partridge and grouse.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
44

Meyer von Bremen
Berta 1423
5
B
LIND MAN'S BUFF, by Meyer von Bremen.-So we all played once on a time—Blind Man's Buff was one of the games I loved best. Indeed I think I must
have been one of these boys in the picture, the fellow who “is seeing,” as we use to cry. That was about my build, and how I did love to go barefoot in the
summer-time, trousers tucked up to the knee, to race over the pasture and wade in the brook that came down from the moors. It is a good sixty years ago.
The
old pump has gone with the boys and girls, and the green valley among the moors is four thousand miles away. The life in this great city roars and rushes all about
me, but as I look at this transcript from the hand of the good artist, I am there as he was once, or he could not have painted the picture. I know one of those girls-
she was the miller's daughter. Her eyes were like sunny violets. I can hear her voice the best. She died years ago they say, but she still lives for me, and as I sit
here and think, dear Charles Lamb steals in and whispers, “Why should everything be mannish ? Is the world all grown up? Is childhood dead ? Is there not some child
heart left in us all to respond to our earliest enchantments?” Surely, surely, I answer; and when boys make me wonder whether I could ever be so heedless as they are or where
they got that yell--quaint old Master Fuller comes in and whispers, “ You are one of them.
“You are one of them. They are chips from the old block ! Wait on the Lord and believe in the boys!"
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
45

HE INTENDED, by E. Berne-Bellecour.-That this picture is French goes with the saying. The costumes and manners are those of the last quarter of the
eighteenth century. There was much of elegance and dignity in the powdered wigs and queues and satin waistcoats and side-arms and shoebuckles of this age of expiring
chivalry. It seemed to be the aim to preserve romance in the highest circles of society. This scene shows one of the customs of the times. The accepted beau might join the
family-group and aid his sweetheart in winding her ball of thread. It was his part to hold the hank on his hands. Sometimes he was able to do this gracefully; in other
instances, not so well. In this case there is a fair measure of success. The young woman is a queen of beauty and modesty. She conceals in her downcast eyes the pleasure which
she experiences in having her lover near. The father and mother are rehearsing certain memories of their own, and looking with smiles askance at the repetition of the little play in
which they were themselves, not so many years ago, the principal actors. The picture may also be considered allegorically ; for life has many times been likened to a thread. The
two lovers each hold a common thread ; they wind it and unwind it together.
Metropolitan Museum of Art, New York,
By Special Permission.
46

INTER LANDSCAPE, by Karl Malchin.-Malchin is famous as the painter of landscapes. He prefers winter scenes for his subjects. There are perhaps few places
in Europe more likely to furnish suitable studies for his genius than the Thuringian forest. This vast wood was originally one of the famous things in the natural features of
Germany. To the present time large areas of the forest remain in the native condition. Others are merely cut through and partly reclaimed by foresters who enter and
build therein their houses. A scene of this kind is delineated in the picture above. The woods have been invaded by man, but not conquered. The snow-covered house
is hardly discoverable through the trees, by the winter roadside. A company of hunters with their dogs have stopped at the rustic porch where the woman of the house is standing
and dispensing coffee or beer to the visitors. Though the scene suggests the deepest chill of winter, it is, nevertheless, warmed by human sympathies and the companionship of man
with man.
47
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

it 한
​lu
HE TROJAN HORSE, by Henri Motte.-The classical allusion is one of the most effective weapons employed by public speakers and writers. It presents an argument
in a word, and flashes before the mind all the circumstances connected with the character or incident mentioned. It assumes historical knowledge in the person addressed, and
reasons upon the theory that what has been, may be again. It not only pleases, but convinces. It not only ornaments, but strengthens discourse. Homer's Iliad and
Odyssey, and Virgil's Æneid, are the inexhaustible store-houses to whose rich treasures allusion has most frequently been made. Through all the ages the sirens' song has lured
the unwary on to dangerous shores; the voice of Cassandra has continued to warn in vain against coming ills ; Scylla and Charybdis still beset the course of the individual, the political
party and the nation; the Lotus-eaters have infested every race and inhabited every clime; the wrath of Achilles, “sulking in his tent,” has delayed many victories since his quarrel
with Agamemnon before the walls of Troy ; Circe has not ceased to turn men into beasts with her mysterious drug ; suitors for public favor have often sought, without success, to
bend the bow of Ulysses ; and many a Penelope has woven with as little progress as did the wife of the wanderer. The classics contain, perhaps, no more illustrious creation than the
Trojan Horse, which accomplished the destruction of the city. Often since that day have devices, as innocent looking as the famous horse, brought disaster to an unsuspecting people.
Often are selfish purposes and vicious principles concealed within some simple proposition for pretended public good.
By Permission of Boussod, Valedon & Co.,
303 Fifth Ave., New York City.
48

НЕ GHOST-STORY, by Walter
Walter MacEwen.-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
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 doli. 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.
49
By Special Permission of the Artist.

66
a
LD OCEAN'S GRAY AND MELANCHOLY WASTE, by William T. Richards.-This is another example of the fine work exhibited in the Department
of Fine Art at the World's Columbian Exposition. Only rarely does a painter reproduce a picture which is unrelieved by any touch of life. In this case we have indeed
gray and melancholy waste,” for this is the true world of waters. The sea spreads away into the infinite distance. Not even a gull or sea-mew laps the surge with his
Not even the outline of boat or ship is seen-nothing but illimitable sea and sky. The artist has happily chosen that particular mood of the ocean which expresses the
sentiment of the title. This is not the perfectly-smooth and glassy plain of the South Pacific as he lies reposing for weeks together unruffled, save by the slight resistance here and there
of tropical islands. Neither is it the stormy sea of the north-
" Where descends on the Atlantic
The gigantic storm wind of the equinox.”
Rather is this the medium mood of old ocean, ruffled but a little with the pressure of loving winds. By such scenes as this, the imagination of the greatest poets has been aroused.
By Special Permission of the Artist.
50

C. HERRMA 90-tfon
18
ROTHER AND SISTER, by W. Bouguereau; and CHARLES THE HUNTER, by Ch. Herrmann.-The first panel of this picture, the original of
which belongs to the Metropolitan Museum of Art, in New York City, represents a brother and sister ; the first hardly out of babyhood, and the second old enough to think and
to love. The boy is in charge of the girl. She has led him abroad into the woods, and, tired with rambling, has sat down on the edge of a rock, taking the curly-headed
urchin on her lap. We may suppose that they are in search of a brook, in whose clear water they may wade and splash at will. The loving sister holds him close, and gazes
steadily with her Madonna face, as if she saw in the distance the vision of things unspeakable. The filial tie is the master sentiment of the piece. The second panel is somewhat in
the manner of Van Dyke. It shows young Charles Stuart while he was still Prince Charles, before his father's fate had driven him into exile. By common consent he possesses as
goodly a person as royalty is often favored with. Here he is painted in his character as hunter. During his whole life he surrounded himself with dogs. Sir John Evelyn declares
that there was a multitude of them in his death chamber. We may note in the picture, not without pleasure, the glow of health and spirit which the Prince possessed, and, which in
after life, he succeeded with so much difficulty in quenching by his dissipations.
51
By Permission of Boussod, Valedon & Co.,
303 Fifth Ave., New York City.

O
G
VER
NU
3
J. G. BROWN.
ON DRESS PARADE,
What Bréton has done for the Brittany peasant, Howard Pyle for the Colonial dames and gentry, and A. B. Frost for the contemporary villager, J. G. Brown has done for the street
arab of New York-painted him as he is, and made him a picturesque factor in the world's art. Indeed, there is sometimes a telling realism in art, that is of itself picturesque, and the
more directly one paints exactly what he sees, the more certain he is to get a picture better worth looking at than if he obviously strained for effect. Yet a certain range of selection
must be granted to the realistic artist, and Mr. Brown has avoided the darker side of city street life, and has presented these interesting embryo citizens in their pleasanter aspects.
The New York boy has long been credited with a high quality of ready wit; he is, moreover, a very jolly youth, and it is his jollity that has attracted this artist. What boys, however
well provided with toys, bicycles, or even ponies, ever had a better time than this platoon of bootblacks and newsboys, with their improvised “ dress parade"? They are not particular
about uniform or equipments, and the discipline is not that of the United States Military Academy ; but “fun," to which a philosopher has said that every boy has an inalienable right,
reigns supreme. Sticks for swords, brooms for guns, and a blacking-box for a drum, will not stand in the way of fun, if only there is the spirit of fun at the bottom of it, and a real live
darkey to carry the target.
By Special Permission of the Artist.
52

@ @
OMING OF THE GUESTS, by A. Von Wierusz-Kowalski.- This is a far-reaching landscape, and is thoroughly French. The sketch has been made from some of
the open country of Provence or Languedoc. There is a wide expanse of earth and sky. It is a winter scene, but there is a suggestion of mildness about the winter which
removes it from the rigor of the North. Only a few flashes of sunshine are needed to change all this into verdure and fragrance. For the time the house roofs and a large
part of the landscape are covered with snow. Some guests are traveling by the highway across the country from one village to the next. They are going to enjoy the
Christmas festivities or some other holiday with their friends. Fine steeds have been harnessed and commodious equipages have been secured for the journey. The artist has caught
the travelers en route. The horses and carriages and drivers, with glimpses of the guests, are set against the background of snow. The picture may contain a poem or a romance,
according to the fancy of the writer. It is such by suggestion rather than by positive delineation. One of the travelers sits in the open carriage ; deep in the recesses of the other
there is the suggestion of a lady's face. The night may overtake them before the cavalcade reaches its destination, but there is not a hint of care or anxiety. The confident and well-
contented travelers know that with the open road and their gentle steeds they shall arrive in safety, and that warm welcome will meet them at the door.
By Permission of the Berlin Photographic Co.,
53
14 East Twenty-third Street, New York.

AN
7
В
ITTER MEDICINE, by Fleischer.-The scene here delineated is one familiar in some form in almost every home. The baby is sick and the medicine must be
administered. The young fellow at the right has just returned from the apothecary, bringing the nauseous drug. The potion has been fixed up and paterfamilias is in the
act of administering it. At this point, however, the usual insurrection has broken out with extreme violence. Mamma has tried her persuasion, and Jennie has coaxed the
baby until it was believed that he would take the spoonful without opposition. But the sight of it has kindled memory, and a sudden outbreak has made force necessary. The
father has constrained the insurgent into such position as to make the administration possible, but the uproar is great, and the scene amusing. The artist has done full justice to the
expression on the different faces. The baby's visage needs no interpretation. The father, severe and kind, is watching his opportunity. The moment the orifice is opened, down
will go the drug. The mother is kind and sympathetic. John is not wholly indifferent to the baby's struggles, and is considering the question how he would do it. Jennie appeals
to papa to be gentle with the little one. For her part, she would never compel the little one to do anything.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
54

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.
By Special Permission of the Artist,
55

kese
4
E Ceteran
"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
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.
By Special Permission of the Artist.
56

HE COAST OF IRELAND AND DUNRAVEN CASTLE, by Von Hafften.-Ireland is rich in magnificent scenery. Not only her inland regions, but her coasts
are abundant in the sublime aspects of nature. Perhaps no part of the shore of the Emerald Isle is more lavish in its suggestions of beauty and sublimity than is that section
which the artist has thrown into his picture. Here historical interest combines with the natural landscape and the tossing of the sea to produce one of the finest effects in the
repertoire of nature. To this magnificent scene the brush of Von Hafften has done a full measure of justice. It were, perhaps, too much to expect that art can transfer the
nobler aspects of cliff and sky, or the glorious warfare of the sea, to a voiceless and perishable canvas; but the imagination of the beholder assists the devices of art, and the pictured
scene rises to the mind as the counterpart of the beauty and warfare of the natural world. The scene here depicted is caught from one of the storm days on the Irish coast. It
suggests the mightiness of the ocean, the impotency of man, and the eternal resistance of the shore. The huge precipice that bears Dunraven Castle upon its immovable shoulders is
exposed to the ocean's rage. The sea hurtles against the rockbound coast. Neither does the one yield, nor the other cease its warfare. It is a contest in which the puniness of man
is strangely contrasted with the almightiness of the material world.
57
By Permission of the Berlin Photographic Co.,
4
14 East Twenty-third Street, New York

A
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
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.
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 good 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 age of the
Grand Monarch. This is the kind of introduction that is likely to bring consequences in the train, with the possible rearrangement of certain social details having respect to
the next generation.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
58

THE SICK BED.
H. LESSING.
EXHIBITED AT THE WORLD'S COLUMBIAN EXPOSITION,
How selfish we should all become if we never saw anything but the bright side of life, may be left for philosophizing moralists to determine. It was the kind of selfishness that
arises from ignorance of what hunger and poverty really are, that gave point and direction to the wild fury against the aristocrats during the French Revolution. In this age an
intelligent sympathy with distress has developed the brotherhood of man into a power for peace between the classes, and in helping the less fortunate to bear their burdens the well-
to-do have found an unlooked-for blessing for themselves. This sentiment, and a realization of the truth of Gibbon's saying, that
misery,” form the artists' justification for presenting scenes of distress and bringing to bear on our sympathies the quickening influence of realistic pictures of woe.
It is poverty
as well as sickness that is here presented. The extremely simple furniture of this room—the hard chair, the plain and narrow cot, the chest drawn up to do duty for a table for the
medicine and the Bible, and the suggestion in the slanting wall of a dormer window in an attic room, all tell of humble circumstances. We turn with relief to the sympathetic and
kindly bearing of the good physician, who holds the weak and lifeless hand of his charity patient, and reflects on the gravity of the case and on his duty as to telling this friendless
child how very ill she is. The truth of pathos in this painting justified its addition to the German examples exhibited at the World's Columbian Exposition.
59
Reproduced by Special Permission
of the Artist.

3090
90
EDOUARD DETAILLE.
FRENCH CUIRASSIERS BRINGING IN BAVARIAN PRISONERS.
CORCORAN ART GALLERY, WASHINGTON, D. C.
This picture in water colors is one of the gems of the Corcoran Gallery of Art at Washington, and was painted by Edouard Detaille in 1875. The artist was born in Paris in 1848, first
established his reputation in France as one of the most popular military painters of the day, by his “ Rest during Drill at St. Maur," and has since been the recipient of many medals
of honor for works exhibited in the Salon. He is known in the United States not only by this and other smaller works, but by his now famous “Le Regiment qui Passe,” also in the
Corcoran Gallery. This picture is a scene after a battle at Orleans, in which the French had the advantage. The national characteristics and dress of the officers and men, contrasted
with those of the prisoners, are most graphically depicted. The careless pose of the officers, one resting with folded arms upon the pommel of his saddle, the other in the lazy enjoy-
ment of a cigarette; the soldierly and watchful attitude of the troopers; with the stolid indifference of the captives, one of whom holds in affectionate grasp the huge china pipe, which
beloved companion has no doubt been his solace upon many a weary march or bivouac, are all admirably rendered. The chief trooper in the foreground was painted from a cuirassier
who with his horse stood for days as a model in the yard of the artist's studio.
60
Rv Permission of Boussod, Valedon & Co.,
303 Fifth Ave., New York City.

Q
OUNT CORCORAN (SOUTHERN SIERRA NEVADA), by Albert Bierstadt.-The first among American landscape painters to depict the rugged splendors
of our Western mountain lands, Albert Bierstadt, was in a double sense a pioneer. As a painter of towering peaks and cloud-capped eminences, this artist stands alone.
This superb work hangs in the Corcoran Art Gallery, in Washington, D. C. There is no object more impressive in all nature than a lofty mountain. Whether the traveler in
his search for the picturesque climbs to the summit of Mount Blanc or views from below the grand outlines of the Burnese Alps, the frowning altitudes of the Ivra, the
lowlier Adirondacks, or the peaceful Catskills, his eye beholds a combination of beauty and sublimity never presented in the level regions of the globe. Our country is rich in great
mountains. New York and New Hampshire abound in vast natural elevations ; Virginia, Tennessee and North Carolina are but little less distinguished. Mount Whitney in California
and Mount Tacoma in the State of Washington are of colossal height, single peaks soaring some 15,000 feet above sea level. It is not strange that mountains have always exercised a
powerful influence on the imagination. Glimpses amid the ever-changing conditions of the atmosphere-glotted with sunlight, crossed by soft cloud-shadows, enveloped in a genial
haze, anon bathed in purple twilight, or asleep beneath the moon's mild radiance, the multiple charms of a mighty mountain defy description.
Corcoran Art Gallery, Washington.
61
By Special Permission

Hugothändler
B
ETWEEN LOVE AND DUTY, by H. Handler.-The young man, Frank, has gone to sleep with his head on the shoulder of his sweetheart. It is an elegant place, a
sort of marble semi-circle in an out-door situation under the trees. The young man is an alleged student. He has of late been engaged in the preliminaries of French. The
gray aunt has come out to review him in the last few lessons. Gradually his answers have become indistinct and have finally ceased altogether. Hildah has not been studying
French, but has made some progress in the study of life. She has taken the first lesson, and has made a good record. She and Frank are friends. She has been listening to
his French, and has not resisted the gradual relaxation of his slender frame against her shoulder. She knows well enough that he is fast asleep; but she is in no mood to disturb him.
If she should look around to where the severe and scornful aunt is contemplating the scene, then her lover would be disturbed only to receive a scolding. The young man has become
oblivious of all earthly care. He is a youth of the period, as indicated by his style, and in particular by the cigar, which second nature still preserves against accident. The whole
group is fin de siecle, and the scene is provocative of mirth. The demure expression on the girl's face; the utter somnolency of the young man, and the mingled despair and contempt
of the teacher, are happily blended as warp and woof in the humorous conceit of the artist.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
62

D
INNER, by W. H. Trood. This artist is noted for his ability as a delineator of the more delicate forms of animal life. He has the genius to express the spirit of beasts
and birds—a gift not always possessed by artists who have essayed this style of work. The kittens and puppies are here at dinner, as are also the goslings, in the foreground.
The chicks are feeding on what things they can pick from the sand. In this work the cooped-up mother helps them as much as she can. The main interest is in the milk
basin, in the center of the picture, and with the fat and satisfied creatures that are helping themselves to the contents. The attitude and manner of the puppy-dogs and
kittens is delineated to perfection. The main charm is in the expression of the faces of these creatures as they lap the milk. The father and mother are near by, watching with
parental satisfaction and interest the table manners of their family. So also pussy, the matron, who sits in perfect complacency on the sill above. Not often has a cat been more
correctly and elegantly sketched than in this instance. The drawing is faultless. The artist has succeeded in transferring to Tabby all of the motherly solicitude of her kind-a
solicitude gentle enough in its undisturbed expression, but tempestuous when crossed with any trouble or danger to our kittens. Them we will defend with tooth and claw and all the
feline savagery of our nature.
63
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street. New York

hour
TARTING FOR THE BOAR HUNT, by Alfred Von Wierusz-Kowalski.-Taine remarks that of all hunts the man-hunt is the most noble and exciting After
the man-hunt the hunt of the wild boar may take precedence over all other forms of the chase. There are reasons for regarding it as superior to the bear-hunt, or even to the tiger-
hunt. It has in it the excitement and peril of both pursuit and battle. The chase itself is like the pursuit of the stag for swiftness and duration, and the battle at the end is as
bloody and dangerous as the final struggle with the bear or tiger. Among the Germans, since the earlier centuries of our era, boar hunting has been the sport in chief of the
strong nobility of that race. This sport has been refined into a savage art, lacking nothing in its details. In this picture the artist has shown a company of hunters in the act of
starting with their horses and wagons and dogs for the distant lair of the boar. Every creature in this scene, whether brute or human, knows well what is just before. The most
striking feature is the leashes of dogs here and there around the wagon. These are trained for the savage business of the day and are stoically indifferent to the results. The landscape
is done in Kowalski's well-known manner, showing a great reach of the country with bleak earth and cheerless sky. The artist's Slavic imagination is seen in every touch of the
picture, from the rough grasses in the foreground, the rude wagon and pole fence, to the houses scattered here and there along the horizon.
of the Berlin Photographic -third StreetBy Permission 64
14 East Twenty, New York.
Co.

Poetze berge
IRED OF WAITING, by R. Pötzelberger-Reclining wearily upon a rustic garden-bench, the sweet-faced daughter of a prosperous English squire waits with a patience
born of deep devotion for the coming of her lover. The day is waning rapidly, and already the shadows of a late summer's night have crept across the distant moorland. A
filmy curtain of mist has fallen upon the landscape, and the dew of evening hangs heavily upon the trees and unkempt lawn. Since early afternoon the young woman has
waited the approach of a manly figure more dear to her vision than gold to the greedy eyes of a money-mad miser. A favorite trysting place this stiff-backed bench, made
dear to memory by many whispered words of love. What amorous dialogues could be repeated by this leaf-strewn seat. Ah, there is little danger from this source, for the smooth
old planks of the favored bench will divulge no secrets, nor will its white sides ever cackle into speech. But why does the maiden's lover linger on the road ? Surely he will come, but
how slowly the hours drag themselves along. When the familiar form swings into view, the scattered posies will be hastily gathered into a bouquet, the folds of the simple gown will
be swiftly smoothed away and the girl's expression of weariness will give place to a look of rapture. Words of explanation and regret will be given in exchange for words of forgiveness
and joy.
65
By Permission of the Berlin Photographic Co..
14 East Twenty-third Street, New York.

mag ke bhich
a a
FTERNOON IN HYDE PARK, by Jan V. Chelminski.-Among all the places on the earth which, in the present age, compete for the first rank in the exhibition
of human life in its most élite forms, Hyde Park, London, is one of the favorites. The Bois de Boulogne, at Paris, is another claiming precedence. In the present picture,
the artist has attempted the delineation of a scene in Hyde Park, such as is witnessed there on pleasant afternoons. This is the great driving and riding boulevard, where the
wealthy and the great go forth in equipage or on horseback, to take the air and sun and salute their fellow votaries of fashion and high life. No finer horses, no nobler
specimens of physical manhood, no women more beautiful may be seen anywhere else among the nations than in this great thoroughfare. Hundreds of thousands of such go forth in
elegant riding-habits, and vie with each other as to skill in driving and horsemanship. Here the fairest of the fair may be seen, and, let us hope, the bravest of the brave. . English
character is here displayed in full force, marked with all of its strong traits and peculiarities. To ride in this assemblage is one of the acmes of human ambition, for to do so is to be
fashionable, and to be fashionable is to be admired and followed. The picture, viewed with care, becomes its own interpreter. It exhibits at once a stretch of scenery, and a variety
and multiplicity of human character quite unexampled in the fashionable public ways of the world.
66
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Strøet. New York.

8. Brous,
Sear
HE VILLAGE WITCH, by Ludwig Knaus.-One of the most deplorable superstitions with which the human mind has been afflicted is that of witchcraft. The sorrow-
ful consequences which have flowed from such belief can hardly be estimated or imagined. One of the circumstances which have added to the grief of this superstition has
been that woman has been almost invariably believed to be the one possessed. The picture represents the remaining results of the ancient delusion. And old and (we may admit)
unlovely woman is coming home from the village with her basket and cane. She has in this neighborhood a bad reputation. They say she is possessed of familiar spirits. She
is, therefore, an object of dread and detestation. This might not matter if the delusion did not extend to the children. A group of urchins just let out from school are playing and
loitering on the road when the old woman comes in sight. One rascal has laid down his slate and books and taken a stone, after the manner of his ancestors, to kill the witch.
Another gamin is having his spite in satirical actions. One little girl is pointing derisively at the old woman, and most of them are crying out. The artist has well delineated the
effects of this treatment on the cross-grained old lady. She would beat the children with her stick if she could get at them. One point of merit in the picture is the landscape.
Although it is summer-time a certain gloom has been thrown into the painting as the background of the baleful superstition which he would represent.
By Permission of the Berlin Photographic Co.,
67
14 East Twenty-third Street, New York.

3
al
NOTHER 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 drania, 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.
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.
By Special Permission on the Artist.
68

A. HENKE.
AN AUTUMN MORNING.
The painter of the original of this picture is a German artist of considerable reputation in both his own country and America. His work has been drawn largely from the domain
of nature. He finds delight in drawing misty and obscure landscapes in which much is left to the fancy and imagination. His method also includes in several pieces the introduction
of flowering shrubs into the foreground, much in the manner of George H. Boughton's work. This picture embraces some of the features referred to. The “ Autumn Morning" is
suggested by the landscape, the atmosphere, the horizon, and the sky. It is also accentuated by the stalwart stag and doe which the artist has introduced, and which, indeed, give
its principal character to the work. The stag, though not done in the startling and heroic manner of Sir Edwin Landseer, is nevertheless drawn with a strong hand, and with full
regard to nature. The same is true in the delineation of the doe. One of the strong features of the picture is the fine outline of the stag's antlers against the misty sky. He is
six years old, as indicated by his prongs. These are sharpened and hardened at this very season for the battle which he is expected to wage with others like himself for the favor
of the females of his herd. The autumnal haze hangs over the landscape and shadows the distant hill. The doe, for her part, satisfied with the protection of her lord, seeks her
breakfast in the flowery grasses, and nips the herbage with tender, downcast eye.
69

AN
N ARABIAN SONG, by R. Leinweber.-This picture is wholly Semitic and Oriental. It is so in the landscape and in the figures and manners of the subjects. They
who have been in Arabia, or they who have heard an Arabian woman sing, will be pleased with the portraiture, will recognize its truthfulness, and catch the spirit of the East.
Here we have the stone bench in an open space under the trees. The party are all sitting. In the distance is the low white dome of the mosque or tomb peculiar to the
Mohammedan countries. Still further on is one of those singularly
Still further on is one of those singularly shaped burial-towers, while in the nearer distance are cypress trees and tropical shrubs and bushes. Soft rugs
are spread for the maidens to rest upon. None are so prone to indolent luxury as these Eastern nabobs and their families. Inaction and repose are in the very atmosphere. The
four girls may be daughters of the old Sheik, or they may be his playthings. All have suspended their playing to listen to the song of the singer. The old man in his imposing Eastern
garb has forgotten his cigarette, absorbed in the song of the beautiful maiden. The pleased expression of the face of the pretty girl with the white drapery over her head, as
well as her lustrous dark eyes, attract the attention. All of the positions and postures are full of easy grace.
Back of the curious stone bench is seen the ever-present water-jug.
Not at one glance will all of the beauties of this exquisite painting be discovered.
By Permission of the Berlin Photographic Com
14 East Twenty-third Street, New Yor 3.
70

SUMATINIS
EILUNOSCATE
3
CNTI
PS
ISH-MARKET IN CORNWALL, by Mouat Loudan.-(Special permission of artist.) Paintings differ greatly with respect to the number of figures and the extent
of elaboration which they display. Some have only a single figure, and that done with little regard to details. Others, like battle-pieces, introduce vast numbers of characters,
and in some instances, descend to the minutest details. The picture here presented is of the latter character. It delineates or suggests as many as thirty-two human beings
and a multitude of fishes. To each of these the artist has given a share of close attention. Some of these have been thrown into the heavy shadow of the background,
but all have been carefully studied. The scene has evidently been sketched from life.
The scene has evidently been sketched from life. In no part of the world may the fish-market be better drawn than from the fact as it is
witnessed in the coast-towns of Cornwall. The fisheries of this region are among the most extensive known. The artist has here seized the moment when the barter in fishes is
at its height. The examination and sale of the product is going on with eagerness. Some are weighing, some are considering ; all are here on business. The market-master stands
at the left with his memorandum and pencil to record the transactions and supervise and regulate the business of the place. The original was exhibited in the English section of
the World's Columbian Exposition.
By Special Permission of the Artist.
71

LINDMAN'S BUFF, by N. Laasner. These city folk have gone to the grove for the day, and are seeking to amuse themselves with the game of blindman's buff. This
game is almost as old as the traditions of mankind. It has been repeated in one form or another from the earliest ages of civilization. It is a game adapted alike to
childhood and maturity. There are few sports in which adults can so easily become children again as in this. There is an abandon about it, the charm of which appeals to
all ages and conditions. In this picture the aristocratic old lady on the wooden seat, with her husband by her side, watches the game through her lorgnettes with a pleased
interest, remembering her own girlhood. Could she and the dignified papa be induced to try the sport once more? The younger crowd are all deep in the game. .
The attitude and
manner of the handsome young man in the blindfold are characteristic to a degree. Every eye is on him. The beautiful girls are full of merriment and wholly absorbed in the sport.
Even the young dandy with the eyeglass and middle-part in his hair smiles and swings his partner's hand in true school-boy fashion. Observe how the blinded man raises his head,
reminding us of the halcyon days when we tried to peep under the bandage. One can almost feel again the uncertain sensation which comes of blackness and groping. The great
trees furnish a charming background for this living poem, which will, no doubt, be repeated as long as the heart retains its love of cheerful and innocent sports.
By Permission of the Berlin Photograpner Co.
14 East Twenty-third Street, New Yiro
72

A
HEAVY LOAD, by Fred. Morgan.—There is not an apple half so sweet among all in the basket as the bright-faced child
who sits among them. Probably the sturdy little fellow holding one of the handles had that idea when he started with the pretty
maiden who holds the other handle to carry the basket, with its fruit and its living freight, from the orchard to the farmhouse. The
frolic has lost interest for him. He still bears his share of the burden, but protests his weariness. His companion would urge
him on, and the wee passenger seems desirous of prolonging the ride. The boy is wasting time and strength in argument. The outcome of
the discussion is problematical, but it looks as though this lively little girl will drag her companion along. She does not see the look of
protest on the boy's face. Full of spirit, balancing herself with her left hand, she has her right foot planted firmly for an advance. How
long can the boy hold back ? Perhaps the end of it all will be that the living burden will be sprawling among the grass with apples scattered
around her. Then all three will pick them up, the boy will feel ashamed of himself, and the little one will finish her ride after all. Those
apples are going to the farmhouse, and the child is going with them if the bright-faced girl bearing half the load has her way.
By Permission of the Berlin Photographic Co.,
73
14 Last Twenty-third Street, New York.
5

CORCORAN ART GALLERY.
CHARLES LOUIS MULLER.
CHARLOTTE CORDAY IN PRISON.
CHARLOTTE CORDAY, born July 28, 1768, was intellectual, vehement, enthusiastic, a republican in feeling, and entertained the most exalted
ideas of the duties of patriotism. Her lover having been assassinated, she vowed revenge, deciding that Marat—who, after sending many
to the scaffold, had said 200,000 more heads must be lopped off in order to secure the success of the Revolution should be the one to suffer at
her hands. After much difficulty, and under pretense of giving him the names of certain Girondists, she succeeded in gaining an audience,
which was acceded her while he was in his bath, where, while he was engaged in making note of these names, she plunged a knife to the hilt in
his heart. She was immediately arrested, transferred to the nearest prison, tried the following morning, July 17, 1793, when she was sentenced
to death, and guillotined the evening of the same day. Her remarkable beauty and her lofty bearing on her way to the guillotine, sent a thrill
even through the hearts of her executioners. The pale but noble-looking face looking through the bars, is a touching picture of mournfulness.
There is no sign of remorse, no regret, except perhaps over the seeming necessity of the act she has committed.
Corcoran Art Gallery, Washington.
By Special Permission.
74

SA
yoner
TAGS FEEDING, by Christian Kröner.—In this picture Kröner has drawn an Eden-like landscape, stretching away from a
foreground of wild flowers to a horizon of dreamy hills. The living interest of the scene is the three deer, sleek and timid, lithe and
keenly alert, nipping the flowery herbage. This is their native place. The nature of the gentle, fleet creatures is depicted to the
life. The dread of wild beast and of still more dangerous man, has awakened all the senses of the stag and his two roes, and
brought them to a state of nervous tension which in any moment may be converted into the swiftest flight. The head is thrown up, as if
to catch the faintest note of danger, and the big, gazelle-like eyes are wide and luminous. The light, uplifted foot pauses while the stag
listens to real or imaginary sounds afar. The bodies of the animals and their attitude are drawn with the skill of a Landseer. The
wildwood, flower-decked and verdant, harmonizes perfectly with the timidity and beauty of the gentle creatures that give thereto its charm
and interest.
75
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York,

DE
m
Doc
Hemich jetta
อ
ALLED TO HER CALLING, by Heinrich Rettig.-This picture represents a phase of woman's life which is peculiar to our
own century. Becoming the equal of man, she aspires to do many things, particularly those things which are artistic and beautiful.
Underlying it all, however, are those undisturbed womanly instincts which in the long run will express themselves and dominate all
the rest. This young artist has been busy with her easel. She has been in her studio making a great picture. A voice came from
the parlor, and she has hastened out, easel and all, to see what the disturbance is. We think she knew the cause of it before leaving the
studio. The effect is a little too fine to have been accidental. At all events, her lover was awaiting her, and he has suddenly called her
to her own calling—that is, he has called her away from the calling of the brush to the calling of love. The artist means that this is the
supreme vocation of womanhood, and that all the rest is merely incidental and subordinate thereto. If she paint, well and good, provided
she do not forget or neglect the supreme thing. These ideas are the inspiration of this beautiful picture. The young lover has easily
triumphed over the artistic infatuation of the girl, and she is quite ready to abandon the studio forever and to be recalled to her calling.
76
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

Swingers
A
N AMUSING STORY, by Edüard Grützner.-The human face is never so attractive as when lit up by pleasant emotions.
Laughter belongs alone to the human family, and is the sweetest music ever heard in the grand concert of life. The picture before
us is charming in conception, and, to a thoughtful mind, very suggestive. These three priests, shut in from the outer world as it
goes roaring by, alone in their plain room, consecrated and set apart to religious devotion, still show by their genial faces that
human nature never entirely leaves the human heart. It is pleasant to see that austerity and gloom have given way, for the time being at
least, to a choice morsel of fun. In fact, the religion of love can never be in a bad humor. “Peace on earth and good-will towards men ”
were never promoted by embittered spirits and scowling faces. One other suggestion occurs in looking at this little group. They are
soldiers of the cross, enlisted for life, and though they are now listening to "an amusing story," as other soldiers have so often done on the
eve of battle, yet they may in the next hour have an order to take up their march to distant lands, to fever-laden jungles, plague-stricken
cities, and to certain death. They will go without a murmur or a moment's delay. They owe their obedience to a church discipline more
powerful, more exacting, and more enduring than the mightiest armies of the earth ever knew. The history of the world is full of heroic
deeds performed by such as these.
77
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

IVALS, by A. Mollica.- Professor Mollica has not totally abandoned reproducing on canvas the incidents of contemporaneous
human life. In this picture he makes the chord of jealousy, that tormenting sensation so peculiar to southern people, vibrate with
intensity of feeling. We may suppose that the enterprising Nimrod of the picture has neglected his wife to engage in an
objectionable flirtation with some fair maiden, who is temporarily an inmate of the house. The slighted one, with determined
countenance, has placed herself in a position to hear conversation never intended for her. The surroundings for this dramatic scene are well
chosen by the artist. It is the bare kitchen of a farm-house in southern Italy. Such Italian kitchens are used during a portion of the day
for cooking the meals, and for serving the same. In the evening, after the bells of the Angelus have been heard, the same kitchen may be
used as a parlor, where the members of the household and their neighbors gather to engage in gossip and light conversation. Let us hope that
the scene, so skillfully depicted by one of the greatest of modern Italian painters, does not end in a domestic tragedy-not unusual in sunny
Italy. The original of the above engraving was exhibited at the World's Columbian Exposition.
78
By Permission of the Artist.

A
MOUNTAIN TRAIL, by H. F. Farny.—(By special permission of the artist.) The original of this fine picture was exhibited in
the Department of Fine Arts of the United States at the World's Columbian Exposition. Farny has become famous for his ability to
delineate the rugged and majestic scenery of the Great West. He who has not traveled in the Rockies and the Sierra Nevadas
can hardly understand the aspects of nature in those wild and sublime regions. The figures that give life to this scene are some of
the native Indians. They have had the touch of civilization, but retain the instincts of barbarism. The artist has succeeded in giving the
sense of great elevation to these regions. Here is the fine thin air, and in the upper left-hand opening, the shining sky. The rocks and
mountain side are depicted with absolute fidelity. We seem to be, in this scene, near the upper summits of the vast snow-clad heights that
divide the east from the west of our country. None but the aborigines could have discovered such a mountain trail as this, or used it in
their passage from place to place in the solitudes. These men may be Utes, or Cheyennes, or Arrapahoes-silent and courageous men, brave
after their manner, but wholly out of sympathy with the sentiments and ambitions of the race that has supplanted them in the New World.
By Special Permission of the Artist.
79

~HE TIRED GLEANERS, by Fred. Morgan.-The scene here represented is as old as the early civilization of mankind.
References to gleaning in the harvest fields are found in the poems and traditions of the oldest races. The house-people of ancient
Arya, who founded the civilized life in the Valley of the Indus before the hymns of the Veda were sung, had their fields of wheat and
barley, which were reaped and gleaned in the manner here depicted. The Semitic races also, of Mesopotamia, and Palestine, and
Arabia, had their harvest fields, and the idyl of the gleaner was repeated in song and sacred story. The artist has, in this picture, drawn a
wide expanse of wheat-field from which the grain has been reaped and borne away. But the sickle and the scythe always leave behind a
portion of wasted grain. This the people of the common lot follow and gather for themselves. It is one of the touching traits of human
nature that the usage of free gleaning has always been conceded by the owners of the harvest fields. The chief interest in this picture centers
in the two little girls standing in the foreground, and showing, by face and attitude, every sign of childish weariness. The smaller girl is
almost gone from her excursion in the field. The older sister holds her about the neck, and supports her on the way
home. Each has a
little bunch of wheat-heads gathered from the stubble.
80
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

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THE DESTINIES, by C. Ehrenberg.--According to the conception of this artist, three destinies prevail over human life--the
Present, the Past, and the Future. The idea is analogous to that of the old Greeks who invented the fiction of the Three Fates:
Clotho, Lachesis, and Atropos—one holding the distaff, the second drawing the thread of life, and the third cutting it with the shears
of death. The German concept has departed by much from the original, and yet preserves its outlines. Here the Present,
impersonated in the central figure, rises sublimely over the Past and the Future. She sees the things that are, and rejoices in her con-
quest over them.
The spirit of the Past, represented by the old woman crouching at the left, sees only the things gone. She has carved
on each of the three sticks thrown down a score of rings to typify as many years. The fourth score is almost completed on the stick in
her hand. On the right the spirit of Prophecy looks into the future. She sees afar the forms of things to be. She is carving her prophetic
visions in Runes on the tablets. On the head of the Present rise the outspread wings of victory. Her face flashes with triumph. Her
flood of auburn hair falls around her even to her feet; she holds aloft the symbol of reward and glory-the crown of laurel.
81
By Permission of the Berl n Photographic Co.,
14 East Twenty-third Street, New York.

G.
M
Y MOTHER-IN-LAW, by Ch. Heyden.-There is a silent eloquence in every countenance, and here are two faces that speak.
The rakish son-in-law tells you plainly that he is held in good esteem by his wife's mother. But he is not fooling her so much as he
thinks. She understands him. She is evidently, to his merits very kind, to his faults a little blind. His look is no more knowing
than hers. He acknowledges cajolery, and she acknowledges submission to it. Her expression suggests the story of a good old
minister, who said of his son-in-law :-“Of course we all know he isn't a saint, but then he is a very charming sinner !” And there is
something in her face that would warn the young man, if he could see it, that he cannot go too far. There is decision in those lips that are
compressed even in a smile. Her smiling face has capabilities of sternness in it.
So has the face of the man. Should the two countenances
now looking out at you so good-naturedly, face each other in set determination, that of the aged woman would be the stronger. The change
would be more marked in the man's face, and the mastery which he now exercises, or thinks he exercises, by cajolery, would disappear before the
mastery of character. The picture makes one wish to see the unseen character in the comedy. There is a young wife whose feelings in their
manifestation might bring these two faces out in other lights.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York,
82

M
HE FAITHFUL GUARDIAN, by A. Raudnitz.-We have here a modern picture, bringing us near to current life and
sentiment. It is a mid-summer scene in the free grove of a country place. A beautiful young woman has gone forth for her June
ramble. She sits on a stone bench and muses on what she has been reading from her summer book. Her drapery is cool and elegant.
Her dream is undisturbed by any creature, and her thoughts are far away. Is she alone ? So far as human companionship is
concerned, she has none. Nevertheless, the faithful guardian is at her feet. She has forgotten him for the moment, but he has not forgotten
her. He is in that half-sleep peculiar to his kind. He may lie thus long, breathing quietly, without other motion of his strong muscles, but
his eye is not quite closed. He is asleep with a mental reservation. If the guard should pass and demand the countersign, Nero would
be on duty in an instant. Sentimental men, under the influence of affection and love, many times aver that they will give their lives for the
beings of their choice. Sometimes, fortunately for humanity, such sayings are true. Nero never says anything, but he will do it all the
He has not for years been in other frame of mind than to die for his mistress. If he have not a soul and immortality, he ought to have.
same.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
83

confringe :
&
ITTLE PEPETA, by Carl Mücke.-This is one of the quaintest pieces of art in the whole series here presented to the
public. Character sketching can hardly go further than in the drawing and details of these two figures. The old man sits half
drowsing, half dreaming in his easy-chair playing the accordion. One might think that the instrument has as much to do with the
automatic movement of his fingers, as his fingers have to do with the instrument. Alongside of the chair, the old accordion-player
has thrown down his baggage. Here is where the old man lives. The clock is at his back; the dishes are there in the cupboard. But,
greater than clock and dishes, is little Pepeta, granddaughter of the octogenarian, who has come into his apartment, and is essaying to
dance to his music. Through his squinting eyes, he looks at the little apparition, and his music gets a new inspiration. Pepeta is dancing,
but it is not one of those fancy dances, which come with so much difficulty by what is called high art. Pepeta is not an artist; neither
is she artful; and yet, she has all the artless art of little girlhood. The position of her figure, her look at the old man, and the holding
of her skirts are inimitable. In drawing the little creature, the artist has surpassed himself.
24
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

Bosuph
Liechte
2826
HE STYRIAN GIRL, by Joseph Lieck.–Of all the themes of art, the face of woman has been the one preferred by painters.
In every age since the first rude drawings were made by man, to the present day, the artist has recurred to the features of girlhood
and womanhood as the highest expression of the beautiful. In this picture the painter has partly hidden and partly revealed his
subject. The large and beautiful eyes, the delicate nose and smiling mouth are shown, but the contour of the head and figure in
general are concealed by the draperies. This style is a part of the national costume of the Styrians. Over and around the head and neck
is thrown a sort of plaid shawl, through the folds of which the features peep out in a manner almost Mohammedan. The face of this
beautiful girl is typical of the Styrian race. It is half Austrian and half Slavic in character. We do not doubt that this portrait has been
sketched from life. If he had not produced another picture besides this, it would have been sufficient to establish his fame. The
reproduction, as well as the original, is exquisite. It shows the timidity, the suppressed joy, the naïveté and coquettishness of girlhood to
perfection.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Streeta New York.
85

PRYING TO STEAL A KISS, by Otto Erdmann.-The painting from which this reproduction is taken, shows our artist in his
best mood. The subject is one which he delights to treat-namely, the caprices of love. Erdmann nearly always introduces into his
pieces some whimsicality. Many of his best pictures, such as “ The Secret Message," "He Loves Me, He Loves Me Not,” “ The
Rejected Suitor,” etc., are in this vein. Here the elegant perfumed fop, out of high life, is willing to avail himself of the pretty face of
the rather dainty waiting-maid. He may not well make love to her in the open fashion, so he falls to stratagem. He will take what he can,
and plants himself against the door. The pretty maid must go out that way, and both of her hands are occupied with the dish. Is she
ignorant of his purpose ? She seems to be, but a profounder look will show that she is not. She will lure him on that way to the gate of
heaven, and then shut it in his face. The study is full of suggestions. The dandy is dressed to kiil; and as for the maid, her costume, for
one of her station, is not to be despised. The furnishings of the room, in the Louis XVth style, are highly elegant. The main interest turns
on the adventure. The question is, will he succeed in taking the coveted kiss ? Many have ventured and some-have won.
86
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

JAMES M. HART.
THE DROVE AT THE FORD.
CORCORAN ART GALLERY, WASHINGTON.
This painting bears evidence in every feature of the master hand which produced it. The reproduction here presented has been pronounced
by competent critics one of the finest examples of photo-engraving in existence. The scene is sketched from an English woodland pasture.
Perhaps it is one of the forests of Durham.
Here are the heavy overhanging trees, famous in Britain since the days of Cæsar. Here is the
deep shade and here the placid water. Through the rift of the forest the luminous air is fired with one of those flashes of sunshine which
contend with the fogs and heavy mists that roll up their violet flanks into perpetual nimbus and thundercloud. But the picture is chiefly
famous for the drove of well-bred and perfectly developed cattle and sheep.
perfectly developed cattle and sheep. In the foreground comes the bull with uplifted head and
bellowing that makes the forest ring. The cows of the herd have gentler mien, and are less boldly relieved from the shadows. In the
distance may be seen the suggestions rather than the forms of the herdsmen. The sheep are in full wool. The ram is here, as ever, the
leader with his solemn visage, heavy coat, and down-curling horns that might be used for trumpets before some modern Jericho. The
drove, impelled partly by thirst and partly by the urgency of the herdsmen, rushes down from the sedgy pasture land to the cool waters
of the sylvan stream. The foremost animals already splash the margin with their heavy feet.
curcoran Art Gallery, Washington.
Ry Special Permission
87

رموز
2
W. HAMILTON GIBSON.
SUMMER AFTERNOON.
UNDOUBTEDLY one of the most poetic of American artists and illustrators, Mr. Gibson reveals in his work his close communion with
nature in her most hidden ways. While he possesses an extraordinary aptitude for conveying the larger effects of landscape to his canvas,
his intimate knowledge of the little secrets of out-door life enables him to intensify the realism of his pictures by the introduction of little
touches that are beyond the ken of most artists; and, indeed, there are botanists and entomologists who could learn much from this
persistent student, who has followed nature into her inmost recesses. Perhaps it is this extent of knowledge that gives to his work that
finished quality by which it is immediately recognizable as his; perhaps it is some peculiarity of technical handling. But no one familiar
with his style ever could mistake a Gibson for the work of any other artist. He is especially felicitous in the depiction of a peaceful nook
such as we have here—a sunlit patch in a limpid stream, bubbling and gurgling its way through a New England summer meadow, bestowing
as it passes its cool refreshment upon the overhanging trees and bankside flowers.
By Special Fermission of Estes & Lauriąt, Boșton.
88

4. Welsz
AN
N ACT OF COURAGE, by A. Weisz.-Midsummer is here. Driven from the heated city, a dainty little maid has come with mamma to the seashore. From their
camp chairs they have watched the sailboats lazily gliding past and have listened to the gentle murmur of the waves. But inland sights prove far more interesting. They see
a little country lass, and a childish heart gives an envious throb. How happy she must be! She wears no shoes, no sleeves, and has her hair pinned in a cool little knot. But,
better than all, she has a pet calf—a real, live calf, with a silky coat, bright eyes and neat little hoofs. How far superior to all the toys she has ever seen! Quickly she runs,
and, through the mysterious tie which binds all children, they are friends at once. With youthful curiosity she longs to touch the beautiful creature, but fear restrains her. “Wait til
I set my basket down and I will hold it for you,” says the proud little owner. Then, summoning her courage, with one hand she clings to her mother's skirts, and with the other
strokes the glossy side of the pet. Truly,
Truly, “an act of courage. Thus does the painter, rising above the babel of tongues, present his story in a universal language-a book of a
single page.
By Permission of the Berlin Photographic Co.,
6
89
14 East Twenty-third Street, New York

Hans-Dahl,
Dosen
HANS DAHL.
THE ATTRACTIVE POWER OF WOMEN.
The artist manifests a perfectly justifiable delight in his graceful picture, by the pretty play on words in the title he has chosen. In the muscular arms of those three merry maids,
in their firmly braced postures, and in their sunny glow of health, “woman's power" is most convincingly expressed. There is no need to resort to the mythological tales of the Sirens'
seductive song, or to the legends of the Lorelei, or to the story of the mermaid who lured the luckless fisherman to his doom-for power of that kind seems pale and shadowy in
comparison with the robust strength of the blithe and buxom maidens of the Rhine. On the banks of that romance-laden stream thrives a race of hardy, vigorous women who ripen
there like the grapes in a radiant deluge of sunshine. This playful trio breathes of the sunshine of summer ; the forms and faces are bathed in it; the flaxen hair is a-gleam with its
rays. But the situation in this picture cannot be explained on the ground of physical strength alone. One shrewdly suspects that, if he would, the lad could slip the rope by a dexter-
ous duck of the head, and, at the expense of wetting his foot in the water where his wooden shoe is already afloat, free himself from his predicament. It is evident that one of those
three has a power over him which resides not in her arms alone, and that he is a not unwilling captive in his hempen bonds. Which of the three it is we are left to guess ; but the
laughing girl in the cool shadow over there—she knows !
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York
90

WASCO
HE UGLY DUCKLING, by Mrs. Henrietta Ward.-Hans Christian Andersen's charming story of “The Ugly Duckling" is typical of unappreciated merit in youth.
Perhaps it was Mrs. Ward's interest in child-life, a line of genre painting in which she is especially accomplished, that impelled her to choose this subject for her incursion into
the realm of animal painting. She has given it no fanciful interpretation, but presents a rather literal rendering of the little family of ducks, into which the unattractive little
swan has strayed, through the accident of a misplaced egg. The swan did its best to grow up as good a duckling as any of them ; but no amount of exemplary behavior on its
part could redeem its ugliness in the eyes of the rest of the family, and the ugly duckling it remained, suffering the taunts and other ill-natured manifestations of those who were ducks
to the manner born, until at last, abused beyond endurance, it went off to grow up alone where its ungainly appearance would offend nobody. Unconsciously it developed the
swan-beauty that was its destiny, and when it returned in all its queenly splendor of form and plumage, it received homage from those who before had scorned it.
These downy,
plump little creatures are having great, good times on the sedgy bank, and Mother Duck is too absorbed in her little brood, to observe the toothsome frog that peeps over her back in
security. The original was exhibited in the English section, World's Columbian Exposition.
By Special Permission of the Artist.
91

0
WARAN
ol
ರು
ITHOUT THE ARTIST'S PERMISSION, by Benjamin Vautier.-The painter of this picture is one of the great artists of popular life. In early life he
studied the peasant classes in the Black Forest, and in the Berne Highlands. The painting from which the present work is taken represents two peasant girls engaged
in touching up the work of an artist during his absence. They have stolen into his studio in a spirit of mischief which gleams from every feature, and are ornamenting
the half-finished portrait on the easel. One of the girls has discovered that a moustache is wanting to complete the picture. She has taken a brush, and is in the act
of art, putting as well as she may, her concept of amendment into the portrait. The other girl enters into the spirit of the performance. Both are thinking how great a joke it
will be on the artist. The younger girl holds her finger to her lip as if a little timorous and doubtful whether this business is wholly right. The studio is typical, and is admirably
drawn. There is a camp-stool which the artist carries with him when he goes out to sketch, also the table, the oils, the box of paints, etc. The walls are covered with unframed
canvases out of which portraits begin to peer here and there. The humor of the girl's work consists largely in this—that she has invented a moustache for the solemn-visaged
monk, whose expression of piety she has resolved to amend with a touch of foppishness on the upper lip.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
92

DIS
THB
JG Broo
“GIVE US A LIGHT.”
THE YOUNG SURGEON.
J. G. BROWN.
The youthful New Yorker of the streets, with whom in great variety of character Mr. Brown has peopled his canvases, is always a good republican-democrat. He knows no classes
in society, rich or poor, big or little, white or black, bond or free; all the “fellers” he knows in his busy little world are judged on their merits. And if he finds a dog as faithful in
friendship and loyalty as a boy, he thinks just as much of that dog as he would of any boy: The dog, with a discernment of character far surpassing any human endowment in that
direction, knows also who are his friends; and when his foot is run over, or a hard-hearted truckman hurts him with his heavy whip-lash for playfully barking at the huge and stolid
dray-horses, he knows where to come for surgery and consolation. That boy would rather go to bed, or, at least, to sleep-he may not have any bed-supperless than that that dog
should go hungry. Then the social amenities of the young street Arab's life are quite as freely exchanged with the black newsboy as with the white. To be sure, one cannot approve
of these boys smoking cigarettes ; but they don't stop to ask whether we do or not. They are here for the purpose of showing us that in the under crust of our city society there are
no respecters of persons.
The African news-vender appropriately sells “ Horace Greeley's paper," though it is quite likely he never heard of the man who did so much to render it
possible for him to work for himself, instead of growing up in slavery as some white master's “ Jim Crow.
By Special Permission of the Artist.
93

годуць
Kolon
in
FAATOR
VRA
APOLLONOS
SONIDOS
L. ALMA-TADEMA.
SAPPHO.
We have here a masterly realization of “the isles of Greece, where burning Sappho loved and sung," so apostrophized by Byron. The Lesbian poetess Sappho is listening to the music
of lute and song, on the marble-set terrace of the island she loved. She is seated at her reading desk, on which lies the ribbon-bound wreath, the crown of poets. By her side stands
her daughter, less fair than the mother; and behind, on the tiers of the marble exedra, or open-air lounging seat, are some of her pupils in the art of poesy. But the chief interest in
the group is not in Sappho, nor in her maidens, but in the singer absorbed in his song. This is Alcæus, himself one of the great lyric poets of Greece, who later suffered for his hatred
of tyrants, which led him into politics and feuds. He has come to secure the support of Sappho in his political schemes—for she was a power in Greece—and also to tell her of his
love, for he was deeply enamoured of his fellow minstrel. And here we see the lover rather than the politician, as he sings to her and her little court some of her burning songs and
some of his own, such as caused the Roman Horace to adopt him as his literary model. The scene is of a kind that Alma-Tadema loves to paint in his realistic presentation of the
Greeks and Romans, the two nations that are the source of all our culture, and the embodiment to us of art and beauty.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
94

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
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 fête 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
The old man,
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.
sitting with outstretched hand, on the wagon, might well be taken for the twelfth president of the United States.
By Special Permission of the Artist.
95

AR
Sex
SA
BAO
2
5
Benemere
HE BLACK MAN, by B. Genzmer.-Children are frightened with bugaboos. Their vivid imaginations are distressed beyond measure with spectral things. In this
picture it is difficult to say from what source the shadow on the plank wall has fallen. It may be one of the mere caprices of light and shade. The Spectre of the Brocken
has never been satisfactorily explained. Perhaps the artist has drawn the “Black Man more like the shadow of a human being because the frightened boy sees it so. The
attitude and manner of the children are highly characteristic. They have wandered off into some enclosure, and the twilight has come before young master was aware.
Suddenly he realizes in his truancy that it is time to be away. As for the little brother, he has totally collapsed with the apparition of the shadow. He is scared completely out of
himself, and has just enough of potential rationality left to scream and claw. As for Harry, he is badly frightened, but there is in him a residue of courage and resistance. He clings
to the wall, but at the same time braces himself. He has been playing soldier. Note his scabbard and belt, and his tin sword lying on the ground. Before the shadow appeared he
supposed himself to be capable of fighting anything, but his courage has suffered a severe shock. Nevertheless, if he be pressed and have no opportunity to run away, he will fight.
There is humor in the picture, and many suggestions of child-character. The vagrancy of the day has been suddenly cut short, and the alarmed conscience of the little fellow is
reinforcing the “Black Man” with his ghost-like shadow on the wall.
of the Berlin Photographic -third StreetBy Permission 96
14 East Twenty, New York
Co.,

F. M. H. DE HAAS
OFF THE NEW ENGLAND COAST.
THERE is a breezy freshness and vigor in good marine painting that take the spectator at once into the open air. He feels the strong, damp wind on his face, and is conscious of
illimitable space dominated by the powerful agencies of nature. The name of De Haas is inseparably associated with marine painting in this country, for most of the American
painters of the sea have derived their inspiration from this native of Holland, who has been an American for more than a third of a century. In his old home he was highly honored
before he came to us, having been by appointment artist to the Dutch Navy and court painter to the Queen of Holland. During his American residence he has produced some noted
historical works, of which his picture of Admiral Farragut is the most famous. But his name is more particularly associated with scenes such as that shown above. A long, rocky
promontory plunging into the sea ; the wind-lashed waves rushing, racing, pounding, crawling upon it ; the spray flying from the crests of the waves, and the careening boats in
the distance all telling of the strong breeze that is blowing. The picture is replete with life and snap and vigor. This does not come from the human element in it, for
there is only a suggestion of men's figures in the nearest boat; but it comes from the carefully-studied, truthfully-rendered effects of nature, unmistakable even on such a
patch of rock and sea as we have here.
97
By Permission of Braun, Clement & Co.,
18 Rue Louis-le-Grand, Paris.

2
SA
H
UNTSMAN BLOWING THE RETREAT FROM THE WATER, by Paul Tavernier.-Original exhibited in French section World's Columbian
Exposition. The painter of this picture is a Parisian by birth; a pupil of Cabanel, and Guillaumet. In nearly all of his pictures, such as the “ Stag Hunt,
" 66 The Chase,
the “Stag at Bay,” the “ False Start," etc., he fixes his attention on the development of animal form and action. In the painting from which this elegant reproduction is
taken, he has seized a particular crisis in the stag hunt. The stag, hard pressed, has, after his manner, taken to water, striving thus to elude his pursuers. The hounds and
the huntsmen, following hard after, have come to the edge of the still forest lake, and the dogs have plunged in, in pursuit. Some are already far out from the shore. The surface
of the otherwise still lake is broken into white by their splashings. The principal figure is the huntsman, who, in full uniform, mounted on his magnificent white-and-dappled
horse, seizes the situation at a glance, and with his French horn a-lip sounds the retreat from the water. This is the moment in which the predominate instinct of the hounds is
suddenly arrested by the call of the master. The landscape has probably been sketched from the woods of Normandy. The scene presents another of those striking aspects in
which men, surfeited with civilization, return for relief to half barbaric sports.
By Special Permission of the Artist.
98

V
A
CONCERT GIVEN BY RICHELIEU, by J. Leisten.-Richelieu was the prince of diplomatists. True it is that in his age diplomacy was still an intrigue.
It had begun in the Middle Ages with the principle that the representative of the other state was the greatest of liars, and that the representative of your own state should
out-lie him. Richelieu may be said to have reigned throughout Europe. As he grew old, he would fain amuse himself. He had his court where beauty and wit
and genius, each supreme in its kind, were gathered. Fashion and wealth were also there. They who would seek the favor of the great minister flattered his tastes
and his desires. Nothing was wanting to his happiness—but happiness. All manner of pleasures and social intoxications were poured at his feet. Leisten has here depicted
him in the evening of his days, surrounded with social glory. It is perhaps the highest pride of such a man that beauty does obeisance to him. This is a concert in Richelieu's own
apartments. The mountain has come to Mohammed. The cantatrice is in the act of singing to the master of Europe. A great artist is at the instrument. Other artists are in the
chorus. Beautiful women stand at his left hand. Great ecclesiastics are there. He has been placed in a luxurious chair, with a cushion for his proud feet. Though it is so near the
sun-down of life, the smile of triumph still lights his visage. Note well the expression of his eyes and his whole manner as he listens, with what soul remains in him, to the song of
the beautiful singer.
By Permission of the Berlin Photographic Co.,
99
14 East Twenty-third Street. New York.

POGO
a
BAD CUSTOMER, by Ludwig Knaus.-An interesting book might be produced on the humorous in art. The painters as well as the novelists have caught this
quality of things and transferred it freely to the canvas. This picture is nothing if not humorous. Here is a rude village market, with its quarter of beef hung up and
sundry roasts and steaks cut into form for customers and laid in the opening which serves for a window and a bench. The market woman is on duty, and her boy, an
incipient butcher, is in the full panoply of knife and steel. But in a moment of inattention, the unexpected catastrophe has come. Fido, of unknown origin and date, has
slipped into the establishment and helped himself to a portion which has been laid aside for homo. This is a clear violation of the rights of property. The disgust and anger of
the old market woman are kindled not a little, and as for the junior butcher, his passion is raised to the pitch of imminent war. We might say, literally, that it is war to the knife!
With Fido, possession is nine points of the game, but discretion indicates flight. If he escapes, well and good; but if he do not, there will certainly be an end of all canine enterprise
so far as he is concerned. In that event it can hardly be doubted that the stolen roast will go back to its place in the stall, and that the customer will be none the wiser. The whole
scene is done to perfection, and the humor is sufficiently extravagant.
By Permission of the Berlin Photographic Co.,
100
14 East Twenty-third Street, New York.

IMAGA
M
USHROOM GATHERERS TAKING A REST, by Vasily Andrievitch Golumsky.-At the edge of a woodland a family of Russian peasants have lain
down for a brief respite from their work of mushroom gathering. It is high noon, and they have toiled incessantly in search of the luscious little vegetable since early
morning. A A picturesque spot, indeed, have they chosen for the purpose. Through myriad leaves the sun's rays filter down, splashing the garments of the peasants with
blots and flecks of pure gold, making their rags more radiant than if they were bedecked with precious metals. Ah, if sunlight was real, tangible gold, how rich these poor
plodders of the forest would be! The business of mushroom gathering is a thriving one in certain parts of the Russian provinces, and it is no unusual thing to encounter whole
families engaged in picking mushrooms in the sparsely grown places of the woods. The young girl, whose animated expression and backward gesture of the hand makes her the
point of interest in the picture, has just returned from a part of the forest unvisited by the others. She bears the tidings of a spot where there is a wonderful abundance of tender
mushrooms, which by sheer good fortune she has just discovered. The fullness of her basket bears out her statement, and even her apron is dragging with its load of the desired
plant. The picture is aglow with sunlight, and was one of the prime art attractions in the Russian section of the World's Fair.
By Special Permission of the Artist.
IOI

OD
3
U
OUNG GIRL CHASING BUTTERFLIES, by Rosset-Granger.-For the very rich there are few novel pleasures in life. Few enjoyments savor of genuine
pleasure for him who can have all things for the mere asking There is such a thing as the burden of wealth, and the women folks of a millionaire's household are under its
depressing influences no less than are the male members, upon whom fall the care of the family riches. Born to such circumstances is the young woman of the picture, the
original of which caused much comment when it hung in the French section of the Fine Arts Exhibit at the World's Fair. Wearied of all pastimes purchasable with gold, this
daughter of a modern Midas has taken to the free and gentle sport of chasing butterflies. She has perhaps become interested in the life of the insect world, and to her the
wonders of the creatures lowest in the scale of life have been recently revealed. Be this as it may, she has found an occupation new and pleasing, with just enough excitement to bring
the flush of health to her cheeks and arouse her mind to thoughts above the commonplace. The chasing of butterflies by a graceful woman is significant enough in a symbolical way.
We all have had a turn with the frail net of fate, and many were the winged fancies after which we sought so vigorously but so often in vain. The greatly desired things of life
frequently take wings and flit from our reach just at the moment when we are most certain of their possession.
Sot
By Special Permission of the Artist.
IO2

"
HE CRASH, by Bokelmann.-The painter of this picture was born near Bremen, in 1844. His career as an artist has been conspicuous. His pictures are familiar in
several of the best galleries of Europe. The subject of this painting is taken from those financial disturbances which so greatly afflict the civilized nations. There has been
a panic, and fortunes have vanished like the mist. Business has become stagnant at first, and then prostrate. Finally the banks have tottered and fallen. No hardship
comes like that of the failure of the people's bank—the Volk’s Bank of the picture. Here is a great savings institution in which the earnings and profits of hundreds and
thousands of people have been put away against the day of trouble. The crash has come. The bank has suspended payment. The doors have been closed and barred. The throngs
of depositors turn away from their lost fortunes. Some are in tears; some are angry. Women faint under the stroke of their grief. The scene is unfortunately familiar in the cities
of our own country as well as in the crowded marts of Europe.
103
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

H
ERCULES AND OMPHALE, by Henri Jacques Bource.-Bravo, young Hercules! Love delights to serve, and your service, to judge by your expression, is
the reverse of an unwilling one. Even the sailor's coinfort—his pipe, --while the soothing weed is yet burning, you have laid aside. What need of that just now? It will
keep for foul nights on the North Sea when your Omphale will be a memory. And you have other need for your mouth to-day; for, while your hands are tied, it is easy to
see that your tongue is free. To judge by the arrested motion of Omphale's hands, the skein you hold will take long to wind, and why not? The simple household cares
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 gotten through with in a few minutes. But caution,
young Hercules.
Never did the Lydian Queen forge a stronger chain for her slave than your Omphale will make for you out of those threads of yarn ; but you follow your
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, such a picture as this fills an important place,
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 the rest of studio jargon, and yet,
whenever, as at Chicago lately, we find a throng around a picture, that picture is a painted story of some human joy, or sorrow, some instinct or some passion of the human heart.
of the Berlin Photographic -third StreetBy Permission 104
14 East Twenty, New York,
Co.,

stay tuned
A Deyrolle
Š
ONG OF SPRING, by A. Deyrolle.-The living part of this picture harmonizes perfectly with the inanimate landscape. The natural spring is painted with as much
fidelity as is the allegory. The season has brought forth its wealth of flowers. Blossoms are everywhere. The earth rejoices in her new mantle of grasses and flowers. The
big tree, holding out his arms in benediction as if saying, grace, mercy, and peace," has been converted into one great bouquet by the sweet air and warm sunshine of May.
Under his branches the four children, standing in the road with their hands full of flowers, are singing some pleasing song of the season. Perhaps it is “ June, lovely June,
now beautify the ground.” The little singers have given themselves up to the spell of the day, and their carol is as the song of the birds. The boy, not less inspired than the little
girls, has surrendered himself with the enthusiasm of his age to the joyousness of the May morning. He swings his bough of blossoms and holds his sister by the hand. The little
one at the other side of the choir sings modestly, with her two bouquets, her mass of white hair, and her wooden shoes too large for the tiny feet. The other two, also, are in the
heyday of girlish glee. It is said that old age is a second childhood, but it is not like the first; that comes but once. This picture was exhibited at the Salon of 1893.
105
By Permission of Braun, Clement & Co.,
18 Rue Louis-le-Grand, Paris.
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kor
CH. KRÖNER.
EARLY MORNING.
It is a curious fact, that in regions where the deer are much hunted they never venture forth from cover by daylight, but feed altogether at night. When “the glow-worm shows the
matin to be near” they are off again for their forest lair, and are hidden deep in its leafy depths before the first streaks of dawn begin to lace the eastern sky. We may therefore con-
clude that these white-tailed bucks in the picture are unfamiliar with the crack of the rifle, and that the timidity with which they glance fearfully about while the does still linger in the
borders of the thicket, is due only to the natural caution of their race. The wild boars are of a more stolid sort, and have no apprehensions whatsoever ; they seem to have been root-
ing on the snowy ground even before the sky turned gray and the stars went out. It would be a rare treat if we could only see what these bucks and their mild-eyed companions will
It is said that in these forests, where no hunters come, the early morning hour is the time not only for feeding, but also for merry-making. There is a story of a famous
naturalist who had his bed so built at the window of his woodland cabin that he could watch the gambols of the unsuspecting deer at dawn. From some such vantage ground, perhaps,
the artist saw the scene he pictures here.
106
be at next.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

CAN
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P
ULL FOR THE SHORE, by J. G. Brown.-The artist who painted this picture is a member of the Academy of Design. The original painting was exhibited in
the United States section, Fine Art Department, at the World's Columbian Exposition. The scene is that of a company of boatmen pulling for the shore. They have
been abroad coasting for a considerable distance and are now returning to the beach not far away. The object of the artist has been to delineate these strong men as they
lean upon the oars, pulling heavily for the landing. They are typical American boatmen. The summer season is now turning to autumn, but the rowers are in their shirt
sleeves, and pay no heed to the coming chill. They have little need, indeed, for the fires of life within burn high with food and exercise. There is in the company considerable
variation in age, expression and attitude ; but all of the eight belong to a single class—they are men of the coast—'longshoremen, as they are called, in the phrase of the day. The
artist has succeeded admirably in his drawing of the light boat, strong and well-handled, under the pressure of the oar and waves. He has also succeeded in his mingling of sea and
sky. The horizon, where the one ends and the other begins, is barely discoverable, but may yet be traced, thus giving the sense of distance. Each man has a home not far away,
where the supper waits the return of the father, and the evening sports are ready to conclude the excitements and dangers of the day.
By Special Permission of the Artist.
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WEDDING TOUR, by Outin.-A fort, with its dull stone walls and fierce artillery, does not suggest pleasant thoughts. Hostility, destruction, death, seem always lurking
near ; but, as the vine and flowers may cover and beautify an unsightly ruin, so does the presence of youth and love soften and brighten even these forbidding surroundings.
The guard, with obliging dullness, is blind to all sights save the approaching vessel ; deaf to all sounds, save the faint echo of her whistle. With the quick eye of a seaman he
notes her course, her speed, and learnedly explains whence she came and whither bound. Even the cannon, with open mouth, is gazing toward the sea. Meanwhile the interest
of the youth and maiden flags. The field-glass is lowered, and in each other's eyes they see a fairy vision of another voyage which they may make together. It is among young
people, drawn together by congenial tastes and common interests—too artless to be mercenary, too inexperienced to be suspicious—that one finds ideal affection ; and that affection
laughs at guards as well as the proverbial locksmith. But “all's fair in love and war,” and doubly fair when both combine as here, where love is set in the sombre frame of war's grim
implements.
By Permission of the Berlin Photographic Co.,
108
14 East Twenty-third Street, New York.

RT/
Xsmus
HE FIRST STOP, by Robert Assmus.-In this picture the artist has shown a German highway leading through the forest where a country inn has been built as a station
for travelers. The scene represents the arrival of a company at the tavern, and their entertainment by the wayside. The horses that have borne them hither are heavy,
well-kept steeds, gentle, and capable of enduring fatigue. The travelers are refreshing themselves with pipes and beer. They are soldiers, as indicated by their trappings and
But they are off on leave, and are ready to enjoy themselves at this forest hostelry. The drawing of the picture is remarkably good. The perspective of the road shows
perfectly, and the light falls easily through the opening in the dense woods upon the humble tavern and on the royal arms and guests in the highway. The scene is strongly Teutonic
in its spirit. The costume of the principal figures appear to belong to the close of the seventeenth century, though the trappings of the horses would indicate a more recent date.
is the summer season, and there is a suggestion of the mountain resort in the trees and atmosphere.
arms.
It
By Permission of the Berlin Photographic Co.,
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14 East Twenty-third Street, New York.

sin
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
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
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.
By Special Permission of the Artist.
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Clara Cetis et
°HE FIRST PRAYER, by Silvio Rotta.-To the mother belongs the holy task of first turning the thoughts of children to prayer. Nor can the world furnish
devotion more heart-felt than that which rises from infant lips. The artist beautifully portrays this truth in the scene before us. The home is rude and bare. A bunch of
modest daisies alone tell us of a love for the beautiful. The day of busy play is done. The ball is dropped, the garments laid aside, and with chubby hands raised with
painstaking exactness, the little one kneels. Awe and reverence are written in the earnest face and up-turned eye. And though the surroundings are poor and the shrine
an humble one, the petition is none the less fervent and acceptable. Years may bring change of life and scene ; the old home be far away; the mother gone and few memories of
childhood remain. But among the lasting impressions, more distinct perhaps than any, is the vision of a patient mother and the evening prayer. Early training does not always
lead to a noble life ; for often the stubborn will overpowers the timid monitor and takes for itself a wholly different path. But, however sullied with sin, however hardened to all
outside influences for good one may become, memory does not desert her post. For years she may seem to sleep, but when a fitting time arrives, she wakes again and with
faithful persistence brings back the early lesson. History holds many a life reclaimed by the persuasive recollections of the first prayer.
By Permission of the Berlin Photographic Co.,
III
14 East Twenty-third Street, New York.

2
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POLLO BELVEDERE, by Carl Becker.—This picture represents Pope Julius II., Raphael, Michael Angelo, Vittoria Colonna and Bramante viewing the exhumed statue
of Apollo Belvedere. Among paintings, those treating of historical subjects cannot fail to please, for they come to us with a two-fold interest. While delighting the eye with
beauty of color and grace of outline, they call from out the past faces and scenes which the world should not forget. The occasion presented by the artist must have been a
memorable one to Pope Julius II., always the liberal patron of art. Outside the portico the guard keeps back the curious gazers who are not fortunate enough to be among
the invited guests. Within, gathered about the Pope, are those most noted in painting and sculpture ; and, for once, His Eminence is not the centre of attraction.
All eyes are
turned toward the wondrous man of stone. From his long-forgotten grave at Antium, he has at last arisen and boldly stands a messenger from another age. Called into being from
the insensate block of stone by a hand long since returned to dust, he proclaims the skill of one whose work has outlived his name. He tells of days of manly strength, bravery and
beauty. How gladly would they know all of his past; but the marble lips are mute. He guards, as if with religious care, the secret of his creation. A problem was he to them four
hundred years ago and a problem is he to-day. Oblivious to all discussion, indifferent alike to criticism and to praise, he speaks from age to age of the genius of his time.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
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v
IPSY BOYS ON HORSEBACK, by Karl Steffeck.-This picture reveals the German brush. The spirit of it is Teuto-Slavonic. Steffeck is a native of Berlin. His
subjects and landscapes nearly all show a strong personality and a touch of his ethnic descent. In this picture he has taken as his subjects the progeny of another race. The
Gipsies are the Ishmaelites of the whole world. How they live and survive is one of the marvels of modern times. Whence they came is the puzzle of history. They are the
vagabonds-in-chief of modern civilization. Horses are always a conspicuous feature of the Gipsy camp. In what manner these are obtained, by their alleged owners, may not
be inquired too diligently. It is not improbable that the four steeds in this picture are in the act of changing owners without the usual formalities of law. The countenances and style
of the beasts, as well as the looks of the riders, indicate most clearly some irregularity in the manner by which the creatures were taken and mounted. The three Gipsy boys are a
study in natural history. They are thoroughly nondescript in character. The first is a brigand par excellence. He has one virtue—courage. The qualities of the second boy are
somewhat obscured by the concealment of his face, and by his position under the tree. The third has equal audacity with the first ; but he adds a genius and character which might
have been developed, under culture, into an artist or a philosopher. How they ride!
II3
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street. New York.

J. SCALBERT.
“ HE LOVES ME, HE LOVES ME NOT.”
This is a rustic scene in which the modest meadow marguerite figures and plays an important part. The strong young lover rests his head on his hand. His admiring black eyes
are fixed on his sweetheart as she tells her fortune in that manner, old as the daisy itself, of “ He loves me, he loves me not. " Her eyes are downcast, and she seems intent on the
task of plucking away each separate petal. Hat and parasol are thrown aside, and the happy twain have abandoned themselves to indolent repose. It is a secluded spot in the
field, and behind them is the old stone fence overgrown with grasses and moss. The white flowers, with their great yellow hearts and slender stalks, grow in profusion all around. One
bold blossom appears to stand up straight by the side of the girl, as if eager to hear the termination of her monologue. The supple figure of the young man stretched at ease on the
rug, is a work of art. The picture represents a summer scene, and both the figures are clad in light garments, tennis shoes and be-ribboned slippers. The profile of the young
woman's face is charming, and the attitude of both, as they rest in the shade, the personification of grace and contentment. These are the halcyon days of their youth. Perhaps
it would be well could the whole of life be as careless and free from sorrow.
By Permission of Braun, Clement & Co.,
18 Rue Louis-le-Grand, Paris.
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ex
float
YN GREAT DISTRESS, by Knaüs.-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
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
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. Knaüs, 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.
115
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

HE BRIDGE AT SUNSET, by Henry R. Poore.-This is an American picture by an American artist. The subjects of many of his pictures have been drawn from
the natural wealth of his own country, though many other subjects have been chosen by him from foreign lands and peoples. The scene here delineated is that of a bridge
crossing the stream near a populous city. The throngs of people are passing and re-passing at the close of day. The lumbering cart, the covered wagon, the glittering
equipage, the horse-back riders, crowds of common people, and idle sight-seers make up the mélange, which the artist has thrown together in his picture. The bridge is near
the wharf, and the spars of foreign ships may be seen at the left. Huge and spectral telegraph poles, with their cross-bars and long wires tingling with the center messages of
commerce, and the small notes of social greeting, are seen in the middle perspective. Farther on, but clearly outlined against the evening sky, is a great dome. The scene may
well have been sketched for Philadelphia from one of the bridges of the Schuylkill. In the immediate foreground are the white dray-horse and his driver, a vagrant dog, a tall
lamppost, and the suggestion of dust and summer heat. This picture was one of the attractions in the United States Section at the World's Columbian Exposition.
By Special Permission of the Artist.
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A
A
QUESTION, by Von Czachorski.-This picture is a good example of the highest style of Polish paintings. The artist exhibits his nationality in every line. Richness of
draperies and ornamentation is a characteristic of such art. The scene depicted is that of mock palmistry. The beautiful girl at the end of the table is tracing lines in her lover's
hand, and is apparently deeply absorbed in finding for him the answer to what he wishes to know. Her companion, looking over her shoulder, watches the progress towards
a solution, and makes suggestions when there is a puzzling point. As for the handsome lover, he watches not his hand, and if we mistake not, he does not hear with clearness
the ambiguous and tormenting nothings which the girl is telling him. He fixes his gaze on her. She is his question-book, which he is more disposed to study than any palm, even his
The difference in the ability of the man and the woman to act a part—of the one to reveal and of the other to conceal the current of thought that is floating within-is happily
illustrated in this picture. The lover has given himself wholly away, as anyone may see, while the sweetheart appears to be wholly absorbed in the mysteries of the art which she is
practicing over an outstretched palm-a palm which she, no doubt, intends to accept-by and by. But she will torment him for a while and then make him happy.
own.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
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lo
RICHARD LINDERUM.
THE CLOISTER VIRTUOSO.
PERHAPS no kind of art work carries the thought of the observer more swiftly and certainly to the Middle Ages than does a picture such as this. Every element in it binds the present
to the past. The monastic life appeared in the earlier centuries of our era, perhaps in the Thebaïs. It was a form of religious existence that sprang up in many parts of the world under
conditions virtually identical. The history of the various monkish orders has many features in common, though the orders themselves were greatly diversified. Here we have a scene
from the cloister, in which five of the brothers are deeply interested in the fute playing of the sixth. He is the virtuoso. It should be remembered that the monks have in some periods
surpassed almost every other class of people in intelligence and attainments. Much of the rising literature, and a little of the reviving art, of the mediæval epoch sprang from such
groups as the one here represented. We may not omit to observe the strength and variety displayed in the countenances of these men. It was in the brain of such that the forces of
the ancient orthodoxy struggled with the healthful breezes of the new science that at length began to blow and scattered the blossoms of truth and hope among the nations.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
IIS

Mull
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 Èxposition. 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
a caparisoned steed. The story of Gil Blas 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 mediæval 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 Blas and his companions must be understood. The
story here depicted is one of those medieval 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 Blas and his co-adventurers in the act of bringing a coach and six to pause.
119
By Special Permission of the Artist.

Boss
LIVER TWIST—“HE WALKS TO LONDON," by James Sant, R. A,-Perhaps the story of human wrongs has scarcely ever been more graphically or
pathetically told than in the picture which Charles Dickens presents to us of poor little Oliver Twist in his boyhood. The story is familiar to everyone, and few can read it
without emotion. Born in a workhouse, and subject to cruelty and neglect, all that was good and generous would have been chilled out of his young heart “if nature or
inheritance had not implanted a good, sturdy spirit in Oliver's breast.” At length, driven by the cruel treatment of his master, and the still more cruel taunts of his fellow-
apprentices, this “work’us” lad of nine years of age runs away to escape from his tormentors, and undertakes to walk to London. Suffering and fatigue nearly wore out his childish
body, and an unutterable sense of loneliness distressed his heart as he lay down to sleep beside a hay-stack or under the shelter of some hedge; but still he did not lose courage.
Early on the seventh morning, after leaving his native place, he was approaching the little town of Barnet, and it is probable that Mr. Sant selected one of the commons to the north
of that historical village as the scene of his picture. He has represented the little traveler, worn and foot-sore, limping along the rough and stony road in the gray of early morning.
The air is damp and chill. The figure of the boy is thin and wasted, and the face expressive of hunger and pain. But the brave spirit still holds sway over the enfeebled body. The
head is raised and there is still hope—which is to be fulfilled in that young heart. This picture was exhibited at the World's Columbian Exposition in the English section.
By Special Permission of the Artist.
I20

A SHOWER.
J. SCALBERT.
We can tell from
It is rather difficult to be very sorry for these young people, even if their afternoon on the river does seem to be spoiled by the rain. For, in spite of all the annoyance resulting from
this interruption, they are off by themselves, and may even find excuse in this unexpected shower for prolonging their outing beyond the time set for their return.
the light in the distant sky that the shower is likely to be over soon; and, obviously, they expect it to end shortly, too, for they are scanning the heavens for the break in the clouds
. An idyllic scene is painted for us here. The vague suggestion of a rarely beautiful wooded stream is exceedingly attractive. The young, girlish, and decidedly pretty
maiden is fair and sweet to look upon ; and the tall and slender youth has a manly look about him that prevents our being too envious of his good fortune, for he seems to deserve it.
The boat is of a type not common in this country, though it is quite the usual sort in use for pleasure rowing in France. It has been run among the sedges to wait till the storm
passes ; and if the rain lasts long, there must be many a sheltered spot under the trees of one of these picturesque promontories, where the row on the river may be turned into an
improvised picnic on shore. It will only prolong their tête-à-tête, for in any case they have to make their way home again, over the waters of this most romantic stream.
By Permission of Braun, Clement & Co.,
8
I 21
257 Fifth Ave., New York.

u Knaus.
1990
A
PICNIC PARTY, by Ludwig Knaus.-This is a scene of midsummer, full of joyous life. The trees are darkly laden with their dense foliage, and flowers are blooming
everywhere. The people at the big house are having a picnic out of doors. Friends have been invited, and luncheon is served on the shady lawn. One sweet and thoughtful
little maiden has left the table and her parents to take a basket of the good things to the poor little gamins from the village across the stream. These have come to the
outskirts of the picnic to watch and wish. The ragged children of the poor are eager for a share in the viands of the rich. One little creature, with her finger in her mouth in true
baby fashion, is shy. The larger boy, too, is bashful, and stands a little way off with bare feet and elbow out and hands-a-pocket, hoping, but afraid to venture. He casts longing
side glances at the little girl's basket. The baby on the ground tumbles over and cries after the manner of all children whatsoever. The scene is almost double. The little charity
idyl in the foreground almost carries the interest of the beholder away from the principal feature—that is, the picnic under the trees. To the right, and in the background, some
happy little girls are swinging. All parts of this fine picture show the characteristic abilities of the artist, who is a German by birth, but a favorite in the United States.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
I 22

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@
HURCH 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
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
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.
By Permission of the Berlin Photographic Co.,
123
14 East Twenty-third Street, New York.

HE BANKS OF THE MARNE, by J. Scalbert.-This picture combines life and landscape in beautiful proportions. The scene is from midsummer. A gay and happy
throng have gathered on the banks of the river and have spread a table under the trees. The harper is present to enliven the scene with music. The boat has just received a
company of young people and is putting off from the shore. The ground is as smooth as the floor of a dancing hall, and without doubt there will presently be dancing there.
The happy usages and manners of the French are seen in every costume, every attitude, every grace. The gaiety is quite unmeasured. One company has crossed to the other
side of the stream and is seeking pleasure among the trees of the border. The two dogs have found perfect content, the one in the dish and the other in his repose. In the distance,
under the trees, are seen the outlines of houses nestling among the foliage and bathed in the summer air. The oarsmen are stripped for their duty. One of these, with the body of an
athlete, sits in the foreground ready to embark with his sweetheart for a boating excursion as soon as the outgoing company have returned. The fellow leaning against the tree has
had his full share of wine and has become rather reckless in his protestation. The tambourine girl and the little fiddler are doing their part for the enlivenment of the company, and
have attracted to themselves considerable attention. The foliage in every part is touched with the warmth and radiance of summer.
By Permission of Braun Clement & Co.,
257 Fifth Ave., New York.
I 24

3
ARRA
DISCR
J. WEISER.
THE NEW MAMMA.
The funny man of the newspapers has made such havoc with the reputation of the stepmother, that it is well for an occasional defender of her to come forward, as the painter of this
picture has done. The wedding breakfast is nearing its close. At the table there are the bride and groom, the middle-aged “best man” of the groom, the friends of the new
bride, and the good priest who has made them one. The door is opened, and the little motherless daughter of the groom comes in to greet her new mamma. Much depends on the
meeting of these two important members of the new family about to be set up, and there is augury of happy days to come in the friendship that is immediately established between
them. There is much curious interest on the part of the wedding guests as to how these two will take to one another. The father watches the meeting with solicitous anxiety; the
best man pauses in his toast to the happiness of the pair to see if the newcomer is likely to jeopardize it; the bride's friends note with satisfaction what a dainty little lady it is that will
call her mother; and the old priest smiles a benediction on the new family relations to which he has lent his ecclesiastical benediction. The little one sees in the gracious lady in bride's
attire one that she can love and obey most willingly, and the new mother finds her mother-heart going out already to this sweet and interesting child.
125
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

ninal
*HE FANDANGO, by Albert Kindler.-The scene here is in the open court of a Spanish villa. The beautiful and graceful Spaniard is doing the fandango for the
swarthy nabobs of her race. One of the latter is evidently of Moorish extraction. There is a clatter of tambourines and the twanging of the banjo. A rich oriental rug is
spread for the dainty feet. All are absorbed in the scene. Two of the neighboring duennas look enviously through the opening between the pillars on the right. Even the
cat is an interested spectator. The dancer is in filmy costume, which accentuates the rhythm of her movements, and dimly outlines her form. The beautiful neck and arms
are bared and ornamented. A profusion of flowers are in the jetty hair. Delight is in the face of the younger spectators. Approval enlivens the countenance of the chief nabob,
and admiration sits on his, who may be her lover, over by the marble pillar. The strolling players in their tattered garb accompany and lead the movements of the splendid
ncreature who is the center of the composition. The scene is tropical and oriental. Albert Kindler
Albert Kindler was a Swiss artist who died in the Tyrol in 1876. His first fame was won
have 859. Some of his principal pieces are “ The Bridal Procession on the Rhine," “ Poaching, Opening of the Dance," etc. The particular elegance of the “ Fandango” is
Byrace, beauty and passion of the dancer, which have rarely been more beautifully portrayed.
of the Berlin Photographic -third StreetPermission , New York.
East TwentyCo.,
I 26

R. COLLIN.
END OF SUMMER.
EXHIBITED AT THE WORLD'S COLUMBIAN EXPOSITION.
This fine allegorical picture is from a painting which was represented by a large etching exhibited in the French section of Fine Arts at the World's Columbian Exposition. It is
another of the many attempts made by artists to convey, by means of color and design, the sentiment and fact of the seasons. The method is generally to select some landscape,
and sketch it under favoring conditions at the season depicted. Into this, however, certain living features are put, and they are made, by a treatment to which they are subjected, to
contribute to the subject of the painting. It may be said that such living figures are partly subordinated to the landscape, and in part subordinate that to themselves. Thus the
old man, gray and snow-covered, set in a winter scene, typifies the season, and at the same time his surroundings heighten the effects of his age and the suggestions of his early going
forth. In this picture, Collin has drawn a summer landscape full of beauty. But the ideal summer is represented by the five women in the costumes of the season. One in particular,
in the foreground, stands for summer. Her costume is scant and mostly classical, revealing her beautiful figure.
I 27
· By Permission of Braun, Clement & Co.,
257 Fifth Ave., New York.

Slimmen
F
ISHING FOR SHRIMPS AT SCHEVENINGEN, by B. J. Blommers.-Typical of the Dutch School of painting, rugged in style and straightforward in subject,
this picture was a marked attraction in the Holland section of the art display at the World's Fair. It is a joyous scene that the artist has given us. To combine profitable
employment with pleasure has always been the great desideratum of man-and boy. Under a pearly sky and before a sleeping sea veiled by a silvery mist, the hardy scion
of a Dutch fisherman trolls with a heavy basket for the elusive shrimp, which inhabits the shallow depths. It is great sport for the young shrimp seeker, and his amusement
is shared by his plump, good-natured sister, and a younger brother, who from his perch upon the sister's back watches intently for the capture of the strange crustaceous prizes.
The scene is a familiar one on the Holland coast. The children of fishermen in any country naturally take to the sea for their diversions. Old ocean is a good playmate for these
youngsters. The waves are in a measure beneficient too, for out of the sea comes their livelihood, as well as their pleasures. They know well enough that this strong, giant
companion and benefactor is not to be tampered with. They may not place too much confidence in those restless, far-reaching arms, for this same smiling sea has crushed the life
from many of their relatives and neighbors, and cast their corpses on the beach.
By Special Permission of the Artist.
I 28

Cu Hiati, 1986
GE
HE 39th FUSILEER REGIMENT OF THE LOWER RHINE AT GRAVELOTTE, AUGUST 18, 1870, by Emil Hunten.-The pomp of war as
seen in parades and ceremonials, and the glory of war as beheld in national and personal triumphs, are very different matters from the horrors of war as seen by those present
on the battle-field, of which a great German artist has given us a thrillingly truthful view in this painting. The attack on this point has been so severe as to drive back the
artillerymen from their guns, and the 39th Fusileers have been ordered up to hold it against the advancing column. They are making the abandoned pieces serve as well as
they can for shelter. The destructive work of the enemy's batteries is indicated by the shattered piece in the left foreground, and that the attack is still hot is shown by the number
of dead and wounded Fusileers. The officer can give no attention to them, however, while the foe is before him. The moment is a critical one, and the officer in command is calling
up reinforcements. The Germans won the day at Gravelotte, which was one of a series of engagements during August, 1870, in the Franco-German war, which drove Napoleon III.
back upon Marshal MacMahon's camp at Chalons, and shut up Bazaine in the fortress of Metz. The painter of this scene visited the principal battle-fields of this famous war, to
secure accuracy in his work.
I 29
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

R
A
@
ONVALESCENCE, by E. Carpentier.-All languages abound in maxims and proverbs concerning the value of health, and all alike agree that health is not valued
until sickness comes. To one full of life and vigor, entire sympathy with the afflicted is impossible. He understands neither the physical conditions nor the mental
tension of the invalid. But one who is no stranger to pain, sees in the sufferer an object of anxious solicitude and has for the convalescent a wealth of kindly
congratulation. Days pass with leaden feet when one awaits returning strength. The wasted hands and trembling limbs refuse to do the bidding of the restless mind
and naught remains but to bide the lazy lapse of time. In the scene before us, the invalid is once more in her chair, but is no longer pale and listless. She smiles, and, for the
moment, forgets her weariness. The glad assurance has come to her that, though separated from her associates, she is still remembered. Before her stands a happy group of
friends who bring with their offering of flowers the more welcome gift of hearty good-will
. The mother, to whose constant care the recovery is due, looks from the door in pleased
surprise. A charming scene of peasant life is this; one which speaks of the world of cheer a kindly act may bring. This painting was exhibited in the Belgian section at the
World's Columbian Exposition.
By Special Permission of the Artist.
130

ADRIEN.
MOREAU,
HE BATH, by Adrien Moreau.-The original of this beautiful picture was exhibited in the French Section of Fine Arts at the World's Columbian Exhibition. It
shows the margin of a lake in summer, and five young people gathered there in the freedom and happiness of youth. Two of them are boys, and three, girls. One has
passed the line of womanhood ; one is a maiden of thirteen, and the other a lassie of nine. The boys have determined on a bath, and the girls also are going to wade as
far as safety and modesty will permit. The boys have greater freedom. As brothers they strip themselves to small bathing suits and plunge in. Little lassie, for her
part, is afraid.
She sits in boots and apron, holding her bunch of daisies and watching the sport. The country here is a highland. The sketch may have been made from the
region of the Vosges. The landscape opens far and wide. It is midsummer. The waters of the lake lie still and warm. The figures of the graceful young people are
beautifully outlined against the shore and water. The foreground of the picture, with its abundance of wild flowers and tall grasses, reminds the beholder of the paintings of
George M. Boughton. Quietude is the prevailing sentiment of the work. They have strolled some miles from home. In the broad landscape, there is only a faint suggestion of
human abodes seen here and there along the distant horizon. Modesty, grace and innocence are the prevailing qualities which the artist has given to the young bathers.
IZI
By Permission of Braun Clement & Co.,
257 Fifth Ave., New York.

19
'N THE PALM GARDEN AT SPA, by Nicolet.-Spa is one of the most famous watering-places and fashionable resorts in Europe. Its fame is international. Thither
resort the elite people of many countries. Strangers from the Orient may be seen there in juxtaposition with the aristocracy of the Western Kingdoms and Republics. The
place is essentially German ; but the associations which have accumulated around it, make it not only European, but universal in reputation and attractions. Perhaps the
prevailing feature of the great resort is its fashionableness. In this picture, Nicolet introduces us to the famous Palm Garden, in which is assembled a group of visitors of
several nationalities. The setting of the scene is one of extreme elegance. The immense palms spread their branches high and wide through the apartment, interrupting and
diffusing the light. Some of the guests are met for pleasure and admiration. The two elderly men converse as aged dilettante may do in the after October of life. On the right two
visitors-man and woman—have just entered with the air of those who inspect a conservatory of human and other plants. One of the most striking features is that of a turbaned
and gowned Islamite, bearing on his arm a lady in elegant attire, who to all seeming and against all fitness, human and divine, looks as though she might be his bride. The scene as
a whole, introduces us to one of the most elegant and at the same time cosmopolitan aspects of modern society.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
132

HE COUNTRY JOINER, by Wilhelm Amberg.-This might well be an American picture. The scene is familiar to all country people of our States. The
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
requisite for the house and the family was admirable in its kind. The backwoodsman could make chairs, and shoes, and ropes and harness, and nearly all the other
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 late 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.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
133

Bottes
PN THE BARBER SHOP, by Benjamin Vautier.-The picture here represented may be defined as a scene from the middle ages of barbarity. The art of shaving, a3
here delineated, is in the rudest stage of development. The men of the Age of Bronze, if we may judge by the razors which they left behind them, could outshave such artists
as he who stands for the center of this picture. No other man was ever more conscious of the greatness of his profession. He may be said to reign. His razor is a scepter and
his barber-shop a throne-room. One of the distinguished subjects of the fine art here practiced has been finished à la mode, and has risen to adjust himself before the glass.
He seems to be, by far, the most stylish of the assemblage. Judging from his back and apparel, we should suppose him to be the autocrat of fashion in the neighborhood. The artist
is in the act of smoothing down the face of another of his subjects, and several others, in various stages of waiting, are seated on the bench at the left. One ancient citizen is just
coming through the door, and is taunted, by the joker of the company, with the fact that many are before him. The characters of these shorn and unshorn specimens of an
uncultured humanity, are well developed by the artist, and are really wide apart in feature and mental traits. They are, in a word, just such an assemblage as a frontier community
half-rustic and half-village in type, is able to send on Saturday afternoons into an old-fashioned barber-shop.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street. New York.
134

M
31
ENDYMION.
ST. JOHN HARPER.
A BRILLIANT American artist has here idealized a scene in the poem bearing the same name, by that most sensitive of English poets, John Keats. Only a poet of such exquisite sensi-
bility as Keats possessed could have so thoroughly entered into the tenderly illusive qualities of the legend of the youth beloved of Selene (the moon), on whom great Zeus cast the
spell of sleep, and with it the gift of never-ending youth. The scene chosen by the artist is the entrance of a band of nymphs into the " mighty forest” which
upon the sides of
Latmos was outspread.” Preceded by children, and followed by Endymion's fellow-shepherds, the nymphs came to where “full in the middle of this pleasantness there stood a marble
altar, with a tress of flowers budded newly.” At their approach the children's ears were “sated with a faint breath of music," and then “there glimmered light, fair faces, and a rush
of garments white, plainer and plainer showing, till at last into the widest alley they all passed, making directly for the woodland altar.
Leading the way, young damsels
danced along, bearing the burden of a shepherd's song, each having a white wicker, overbrimmed with April's tender younglings.” Endymion,“ without a forest peer," speaks to
them, and is overcome with the sleep imposed on him by the deity, which he cannot shake off. The realization by the artist of this lovely picture, diaphanous in its delicacy and full of
grace and movement, is at once one of the most difficult and one of the most successful achievements of the artistic fancy.
135
By Permission of Estes & Lauriat, Boston.

EX
HE FORTUNE TELLER, by F. Vinea.-With nearly the same story to tell to every handsome young cavalier who chooses to cross her palm with silver, it would be
strange if the old hag could not make it impinge on actuality now and then. She has hit upon some facts this time. Of course, it is a love story ! The other cavalier
knows all about it, and so does the maiden who has just filled the glass and pauses, flagon in hand, to listen to the jargon and exchange knowing glances with the young
lover's friend. There is affected indifference in the manner of the man whose fortune is being told. It is easy to imagine what the old woman is saying—“You are in love.
She is young, beautiful, of high degree. She loves you, but there are obstacles. There is an old man-her father, perhaps, or an uncle—who does not favor your suit. And there
is a dark young man who is your rival. Beware of him ! But do not fear that he can win her. You have her heart ; you shall have her hand. There may be doubt.
be danger. But be true to her, and she will always be true to you. And there is the old man listening to the strange revelation of what he has long been suspecting. There, too, is
the dark-visaged rival, who thinks that now he has learned why his suit is so unwelcome. What might the companion picture be? There will be a maid under espionage, a lover
wondering whether his sweetheart is constant, and a meeting, perhaps, where two young men, who have hitherto fought side by side, will face each other in mortal combat.
There may
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
136

EDWIN H. BLASHFIELD.
CHRISTMAS BELLS.
EXHIBITED AT THE WORLD'S COLUMBIAN EXPOSITION.
The style of art represented in this picture is doubtless on the ebb. By and by it will pass away and be recalled only as an artistic device of
the past. This style of painting, however, taking its rise in mediæval Italy, one time held the world spell-bound with its glories. But the
allegory in this instance is less mythological than is usual in such pieces. Indeed the poetry of it half redeems it from the improbability of
human beings supported on wings. There is a mixture here of idealism and myth with realism and solid fact. The “ Christmas Bell” swings
on high, as it may well do in tower or belfry, but the ringers are painted in the manner of angels. As such we may praise the spirit with which
the work is executed. The winged creatures have swung the great bell to one side, and the clangor of the clapper has waked the echoes
through miles of joyous atmosphere. Another element of realism is that of the doves. These have been frightened from the belfry, and fly
abroad, turning their heads towards their disturbed cote in the tower. The expression on the faces of the angelic ringers is highly spirited.
Most joyously they ring the “ Christmas Bells," announcing “Peace on earth, good will to men.
137
By Permission of Braun, Clement & Co.,
257 Fifth Ave., New York.
9

** Plaas
-НЕ GOOD BROTHER, by Eugen Von Blaas.-(By special permission of the artist.) The original of this picture was
part of the Austrian display at the World's Columbian Exposition. The boy and girl seem to belong to the upper Danubian
countries. The scene is a little idyl of brotherly and sisterly devotion. There is in both the figures an odd mixture of refinement
and mendicancy. The well-combed hair and clean neck of the little girl betoken the mother's care, and the boy's fine hands and
shapely feet show him to be well born ; but the tattered garments might belong to the children of the streets. Indeed, the wreck of
human apparel can hardly proceed further than this and yet retain the semblance of garments. They are absorbed in one thing only, and
that is the peeling of the orange. The little fellow is employing all his modicum of skill in delivering the edible from the inedible rind
of the fruit. Perhaps the juicy pulp will be divided between them, so that both juvenile stomachs may rejoice in that music which
Whitcomb Riley, says : “Both the sperit and the stomac understands. The little sister has lost entirely one of her stockings, thus
revealing still more completely the delicate limbs and pudgy feet of childhood.
Published by Special Permission of the Artist.
138

13
HT TARVY
SIOUX CAMP; and GOT HIM! by Henry F. Farny.-Admiration for Mr. Farny's work, as shown in these examples
from the United States Exhibit at the World's Fair, may not stop with any one feature of it; for figures, animals and landscape,
alike, are excellent. Artists who paint Indians in the studio often miss qualities and facts that Mr. Farny finds when he studies
them on the plains, and to those who know the red-man, even his discriminations between Indians of different tribes are accurate
and just. The same element of truthfulness is shown in his depiction of the two landscapes here given-one a peaceful oasis, hill-begirt,
in the prairie country; and the other a correct view of the sandy, rocky foothills, where there is almost no vegetation. These scenes show
us peace and war. There is quiet dignity in the dusky chief, surrounded by his horses and his squaws, while the ponies grazing by the
water, and the tepees pleasantly nestled under the distant trees, lend interest to the picture. The other scene is a painful one, as real pictures
of real war always must be, though, doubtless, the heavy-visaged rascal has deserved his fate over and over again. Even to the action of
the figures in the distance, this painting is thoroughly true to nature.
139
Published by Special Permission of the Artist.

(Gesch
1888 Dussett
1
AREWELL, by C. Grosch.-The moment of farewell has been taken by many artists as the subject of paintings. In this picture
a young and beautiful woman has parted from her lover, who, we think, has gone to sea. Possibly his boat has just passed from
sight. He has left with his sweetheart a wealth of flowers which she is taking with her in her departure. But her face is turned
to the sea. It is in this attitude that the artist has caught her as the inspiration of his brush. The picture is beautiful to the
point of fascination. The figure of the young woman is queenly, majestic, and her features are full of spirit and fidelity. While there
are no active manifestations of grief, there is, nevertheless, written in every feature the soul of longing and of devoted love. The firm
closing of the lips is indicative of resolution that must carry her through long days of waiting ere his return. The fixed look of the
eyes also betokens an earnestness and settled faith within which it would require much to shake. This is the kind of woman who
endures; and there is mingled with all this gentleness and beauty a spirit of fire and hope that would brave all trial and disaster-
brave everything except the infidelity of the one beloved.
By Permission of the Berlin Photographic Co..
140
14 East Twenty-third Street, New York.

OAR HUNT AND WINTER SCENE, by Christian Kröner.-Kröener is noted as a painter of animal life, particularly in its
untamed aspects. He likes ferocity and strong action. He is the Landseer of the German woods. The scene here depicted displays
his
power in two forms of development; first, in the delineation of a winter landscape, and secondly, in the drawing of the tremendous
and dangerous beasts in the foreground. As for the landscape, it represents a German forest in the dead of winter. Snow is everywhere.
Even the bare limbs of the great trees are weighted down under the burden of it. In this landscape three huge wild boars, in act of flight, are
set as against a background. The picture is harmonious. The solitude of the frozen and snow-covered forest accords perfectly with the
shaggy, gnarled and terrible beasts which constitute its life. The boars have been started from their lair; the hunters are not in sight, but the
chase is on, and presently there will be fighting and blood and death. The pursuit and capture of such animals has been the favorite sport of
the German race since the days when Wittekend warred with Charlemagne on the Weser. It was the boar's head held high and borne in in
triumph that preceded the slain warrior on his arrival at Valhalla to sit down at the feast with the heroes and immortals of his race.
By Permission of the Berlin Photographic Co.
14 East Twenty-third Street, New York.
141

A
'HE EASTER VACATION, by A. Weiss.—This exquisite picture shows an episode of Easter. The work is dainty and
romantic in every part. Perhaps the scenery is somewhat warmer than may be witnessed in our clime at the season represented ;
but the idyl is not more deeply touched with the prevailing sentiment. The handsome young man, just emerging from his boyhood,
is home for a brief season from college. There is an Easter party under the trees, and a young maiden of like age has come with
the company.
Flowers are everywhere—young flowers, the first gifts of spring. The twain are walking together along the
smooth road, carrying a blossoming branch, which the young man has broken for the girl. Nothing can be more exquisitely modest than
the expression of her downcast face as she receives, well pleased, the very first attentions ever paid her by a sweetheart. The young
fellow is gallant and chivalrous. We may well be pleased with his manly and sincere manner. The couple are a proper subject for the
envy of the rather cold and wholly mercenary world, in which they are about to begin a long and toilsome journey. Fortunately, they
know it not, and it were wicked to remind them of the difference between the ideals and the realities of life.
By Permission of the Berlin Photographic Co.,
142
14 East Twenty-third Street, New York.

EAVING THE STABLE, by André Plumot.-It is early morning at one of those quaint, old Belgian farms, so artistic in
aspect and so unusual in its arrangement. There is a mellow light over the whole landscape, and the sun has not yet burst forth in its
effulgence. The trees and shrubbery of the scene are in their tenderest greenness—that soft and silver verdancy so pleasing to the eye.
Vegetation is luxuriant, but not heavy. The air is laden with a mild sweetness, and the feathery foliage of the near-by tree accentuates
the delicacy of the subject. From the dark interior of the stone stable a herd of goats is driven forth for the day's pasturage. Down the
pathway toward the spectator come the shaggy flock. Just emerging from the stable door is a wise old goat, whose humped back and quiet
mien bespeak a long experience on the farm. In the middle distance trots a frisky kid, upon whom the fresh air of the morning and the
feeling of freedom have an intoxicating effect. Calling to the lively young goat is a buxom maid, the farmer's daughter, upon whom devolves
the care of the horned herd. The unruly kid is her particular pet, and upon him is lavished all the fondness of his mistress's nature. The
young woman is a typical Belgian of the rural districts. A charming episode of homely life is this picture. The original painting was a part of
the Belgium Section at the World's Fair fine arts display.
143
Publishea by Special Permission of the Artist.

m
CYN
J.G.Brouw NA
J. G. BROWN.
VANITY.
HERE is a little exchange of courtesies in humble life, which shows that the desire for social amenities and for personal adornment is
not entirely obliterated by the necessity of wearing plain clothes, and blacking boots for a living. It gives us a higher respect for this
little bootblack to know that he appreciates the aesthetic value of a boutonnière. Doubtless this young man in knickerbockers is a
good friend to these little flower girls. He protects them from less courteous boys, helps them out in bad weather, steers his own
“customers” in their direction, and very likely gives their father, who raises the posies, a Sunday “shine.' He is a fine little fellow,
and we would trust his face for a good deal. If, with all the hardships of his street life, he cultivates the gentlemanly instincts which
unquestionably he has, he will be worthy to grow up to manhood in the companionship of these friendly little girls, and perhaps an
East Side romance will be the result. We owe a debt of gratitude to Mr. Brown for putting on canvas all the pleasant things he sees
in the life of these enterprising young hopefuls of the city streets; for these will grow up to be the men and women of the next gener-
ation, and we like to know that the “great undercurrents” of society are flowing in safe and promising channels.
Published by Special Permission of the Artist.
144

om
DEDE
EMORIES, by Manuel Villegas-Briera.-An interesting picture from the Spanish section of the Art Exhibit at the World's
Columbian Exposition. A youthful nun, who has been led, by her devotion to a life of religious seclusion, to renounce the world
and all its vanities, sits at eventide in the garden of the convent, taking a brief respite from her pious duties. Surrounded by the
glorious beauty of the rich and fragrant flowers, she has breathed in the soft summer-air with a fresh sense of its freedom; she
has, perhaps, looked beyond the garden, where, in the distance she has seen the spires of her native village ; and, without intending any
infidelity to her vows of renunciation, she has unconsciously dwelt on the memories of the free and happy past, when she, like others,
enjoyed the harmless pleasures of life among her companions. If it did not make her just a little pensive to recall these days, there would
have been little merit in her having sacrificed them to the holy life to which she has devoted herself. The vesper-bell, in the convent tower,
is already summoning her away from her memories, and her duties will soon absorb her once more, while the precepts and encouragement
of her Superior will reconcile her again to the life which promises a brighter crown in the life eternal.
Published by Special Permission of the Artist.
145

a
BOHEMIAN, by S. Russinol.-The type of character presented in this picture is modern. At least, if such character existed in
antiquity, the evidence of it has not been transmitted in literature or art. The Bohemian is a product of the nineteenth century
society. The type is sufficiently well established, and yet is difficult to define. The Bohemian is a man of the peopled solitude. His
being is bounded by personal purposes and personal will. He is in society without being of it. Bohemian life manifests itself in
several ways.
He is not a man without a profession or without resources, else he might be a tramp. The literary type, shows him in
abandonment among his books, and the artistic type, shows him abandoned to his studio or his quarters. The present Bohemian is taking life
out of doors. It is winter, and he has sat down on a bench by what was in summer a fruit-stand in the street. The place is desolate enough,
and the Bohemian is in a brown study about himself and the environment. It is a lonesome place in the outskirts of the city. The trees are
stripped, and the ground is covered with snow. The artist has succeeded in depicting the solitary life of his subject with admirable fidelity to
the facts. This wanderer has few connections with any human interest, and perhaps there is not one member of his own race to whom he is
bound by any strong or lasting tie.
146
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

B
ATTLEDORE AND SHUTTLECOCK, by Laura Alma-Tadema.-Few women artists paint interior settings to
their figures and still fewer attempt to deal with a subject where lively action is to be represented. In Mrs. Tadema's picture
here reproduced the artist has accomplished both of these unusual things with skill and insight. There is a novelty of subject
that first awakens surprise and then admiration. The room is essentially English as are also the faces of the young contestants.
The interior is the play-hall of an English home, and probably that of the artist, and is used for the most part as a nursery parlor. Two
young women, lovely in simple gowns of white, bedecked with ribbons and aflush with the mild excitement of the contest are pitting
their skill against each other. The moment of the picture is an interesting one. What is most striking in the pose of the girl
who is " batting is the slow movement of her figure as suggested by the artist. Anyone who has watched an English girl play
Battledore and Shuttlecock will understand the quiet method here portrayed. In the picture the girl in the foreground has taken
one step forward and awaits the falling of the shuttlecock. The younger girl stands with bat behind her shoulders watching with quiet
interest the play of her opponent.
147
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

\r
N THE PARK, by Lonza.-Love that was coveted has been bestowed upon another. That appears to be the story told here.
Those two people walking up the path so lovingly are carrying happiness away from one of the persons in the nearer group. She whose
face is averted from us as she gazes after the receding figures, has dreamed that the heart of the gallant, now so engrossed in another
than herself, was at her own feet. Hers had been yielded to him, and now she is rudely awakened from her love dream to find that she
has given her heart to one who had none to give in return. The fop, kneeling behind her to gather a posy, is unconscious of the tragedy
which Cupid has wrought, but the quick eyes of the two women just beyond have fathomed the depths of the abyss into which their fair
companion's hopes have fallen. One of them is saying to herself,
One of them is saying to herself, “ Just as I supposed!” The other has a more sympathetic look, not
unmingled with surprise. It may be that after all it is only a flirtation which has caused such an intense interest as the pose of the central
figure makes manifest. It is possible that the love that was coveted has not been wholly lost, but that there is a little conspiracy going on
to make a loving heart betray itself. But this is cruel joking.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
148

ardhur
HE
CARD PLAYERS, by Edüard Grützner.-The trio here represented are deeply absorbed in their game. Character is
strongly depicted on the face of each. The slender and peculiar genius who sits at the end of the table is sniffing cold comfort out
of his doubtful hand. The two fat men, as may well become their constitution, are jolly over the situation. They sit confidently in
a sort of defenso-offensive attitude, as much as to say, “Let him play anything ; we are ready. The night is well advanced. The
quiet of the place is undisturbed. The ancient furniture of the room stands solemnly in its place. Against such background the figures of
the players are clearly defined. A single mug of beer, sitting within reach of one of the fat men, hints at the conviviality that has prevailed.
The two characters at the left are already aged, but they are rubicund and well supplied with spirits and blood. The attenuated member is
of less happy constitution. The artist, in sketching him, has a happy conceit of the caprice of the human countenance and form. For the
moment there is a crisis. The play has suspended, itself awaiting the issue of the thin man's hand. It were possible that out of his
combinations he may still make a play that will bring back some measure of seriousness to the faces of his competitors.
149
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

"
PRING BLOSSOMS, by M. Nonnenbruch.-The artist of keen sympathy with nature never tires of catching and depicting
her analogies. True art is nearly always a poem in its expression. It is a thing of sentiment, of thought, of suggestion. What it
suggests is generally more than what it delineates. The hidden meaning of the picture is of greater interest and value than the
visible features of the scene. In this picture the artist has delineated spring blossoms, but he has put the blossoms into the hand of
a Spring Blossom, more beautiful than they and as innocent. She belongs to the same scene with the flowers. Her costume is as airy as
theirs. Her smiles and her tears have the same sweetness and pathos as the smile and crystal dews of the blossoms. The figure of
the young girl is finely drawn against the background of dark foliage. The trees, with their thick branches, make a perfect relief for the
shapely figure of her who represents Spring Blossoms. Around her the meadow is thick with grasses and flowers. She walks on them as
over an exquisite carpet which yields its blossoms as she goes. The artist has shown in her manner and expression that, while she places
each flower in the cluster, her thoughts go from them to other beautiful things which she has dreamed, and which she may well hope will
become realities in her life.
150
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

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HE NARROW PASS, by Amberg.-The scene represented in this picture is a kind of Thermopylae. It is not so
dangerous as the old pass where the Spartans stood against the Persians, but it is a place where hearts may be broken or
captured. There is a narrow way leading from the park out into the open place, and through this beauty must pass on the
The artist represents two girls in the middle of the defile making their way through danger to safety. It seems that
they have been waylaid on either hand, not exactly by enemies, but by admirers who are sufficiently ardent. The girls are trying to
appear unconscious of the risk to which they have exposed themselves. One of the admirers is young and uniformed to the extreme
of the style en militaire. The other is by no means so stylish, and is rather too advanced in years to give himself away in so notorious
a fashion. Both have been smitten with the beauty of the girls, and are anxious to receive some recognition of their attentions. The
disinterested observer may discover, in the countenances and manner of the two pretty rustics, a disposition to accept the patent
flattery of their would-be beaux. The artist has made a pretty conceit into a fine picture, not devoid of sentiment and touches
of humor.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York
151

3
ITTLE RED RIDING HOOD, by F. Hiddemann.-Possibly the legend of Little Red Riding Hood is the most widely
diffused of any existing in the English language. Notwithstanding its improbability, not to say absurdity, it exists everywhere and
is accepted as the climax of child-tragedy in half the world. The story has been done into all forms of art. It has been repeated
to the little folks and memorized by them until it has become a part of the common tradition of our race. In this picture the
touching but improbable myth is represented to perfection. Hiddemann has drawn the little girl with the utmost truth to the fiction. Her
childish innocence and simplicity are expressed in every line of her face and figure. In like manner the artist has given perfect character
to the wolf. The beast has a smiling visage, but it is easy to see under his fat skull and in his malevolent eyes, the plot and purpose of his
villainy. Both the figures are set perfectly in the forest landscape. Everything is quiet and solitary. His lying visage and the innocent
child-face are looking, the one into the other. Note the sweet innocence of the one expressed in every lineament, from her sweet child-
eyes to the toes softly pressing the ground. Contrast these with the claws of the wolf, and the tension of his iron muscles.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
152

JULES FREDERICK BALLAVOINE.
THE AMATEUR ARTIST.
We have in this charming picture a refined young lady, of high social accomplishments, painting for pleasure. She rests with the canvas before
her to hear the opinions of two friends as they survey and criticise her work. The young artist is only an amateur, and many faults and
errors are no doubt easily discovered. These are pointed out by the friends, as well as the merit of the picture. The lady in black, standing
with open fan and white hand resting lightly on the back of the cane chair, is herself a beautiful study in “ black and white. She regards
the picture as if from a distance, and from the expression of her handsome features one might judge that she would be a considerate critic
with the faults of the work under consideration. The other of the three, whose fingers point to the canvas and lightly touch it, is on the most
intimate terms with the young artist, and with one arm caresses as she criticises. Ballavoine is a native of Paris. He is a genre painter, whose
fame has been wholly won in the last two decades. He is a pupil of Pils, and won his first medal in 1880. Besides the present piece, his
principal works are, “Interrupted Seance," “ Surprise," “ Little Bohemienne.
“Little Bohemienne.” The style of art presented in this picture is a result of the
strong social spirit of our age, which tends strongly to make all people-women as well as men-artists in intent if not in fact,
153
By Permission of Braun. Clement & Co.,
257 Fifth Ave., New York.
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His is
RYING TO MAKE HIS PEACE, by A. Luben.-This is a picture of unhappiness in one of its acutest forms. Behind the
scene here delineated lies a long history extending into youth and the happy days of courtship. That this home is not what it should
be is clearly indicated by the surroundings. There is a mark of desolation on every wall. The artist has succeeded in transferring
the sorrow of these sufferers to every crack and crevise. The dog is a full participant in the grief of his master and mistress. They
are man and wife, but have been estranged. The fault is clearly his. He is an easy-going spirit who has no thrift or energy.
not the crime of unfaithfulness, but of neglect. Instead of devoting himself industriously to work and enterprise, he has gone off, like Rip
Van Winkle, to hunt in the hills. This has been his daily vocation. Indeed, he has hunted until his gun is falling to pieces, and his dog
dying of starvation. As for himself he has kept up spirit by means of his pipe and cheerful indolence. At last, however, he has come back
to a neglected home. His sincerity of reform cannot be doubted. The hearts of all will be with him in his suit for forgiveness. Mark well
the exquisite touch of sentiment expressed in the bunch of wild flowers which he has brought her, and which has fallen unheeded from her
lap. The woman will forgive him, but she has no hope.
154
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

N HER OWN GARDEN, by Nicolay Kuznezoff.-The scene here depicted is sketched from what we should call a bee
orchard. The place is not so much a garden, in our sense of the word, as it is a summer or out-door
is a summer or out-door apairy. In Russia, the care of the
bees devolves almost wholly on the women. They take direct management of the colonies, and acquire great skill in the business, The
season of flowers is very brief, and bee-life during this epoch is busy in the extreme. The picture shows an old bee-woman in her own
garden, attended by her assistants, and perhaps a visitor. There is perhaps no relation which the human mind sustains to irrational creatures
more interesting and more curious than that of bee-keeping. This old woman is an expert in the business. She has distributed her colonies
through the grounds so as to give the best advantage to the honey gatherers, and free opportunity for her own care. Her face and figure and
costume have all national characteristics in them. Well advanced in years, she is not yet decrepit. The young girl at her right, with the
basket on her head, has a beautiful face; and the one on the left, if not beautiful, is at any rate thoroughly Russian. Nature at this season
has brought a profusion of blossoms.
155
By Special Permission of the Artist.

J. H. DOLPH.
THE FISH COMMISSIONERS.
This is another picture by the American artist Dolph. The artist has made for himself an enviable reputation as a delineator of the senti-
ments and manners of household pets. In this case he has combined a humor with the art proper of his piece. In the centre stands the great
globe with its goldfish swimming in the transparent water. Such a spectacle reacts strongly on the instincts of the kittens. These, however,
the painter has delineated, not under the natural dominion of their appetites, but as connoisseurs and judges. They are commissioners
appointed to consider the merits of the fishery exhibit. Such committees usually consist of three members. It is their duty to look learnedly
at the specimens submitted for their consideration, and to speak of the merits and demerits of the exhibit, and to make up an award accord-
ingly. This the commissioners are now doing. The pussy sitting at front view is no doubt the chairman. She and the other two members
of the committee are looking intently into the globe and watching the movements of the fish. No doubt when notes are compared there will
be found to be a general concurrence of views respecting the merits of the display. The human, or half human, intelligence which the artist
has given to the kittens combines well with the manner which is peculiar to them in their native character.
By Special Permission of the Artist.
156

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VOC
YATIMA, by N. Sichel.-Woman in every country approaches the ideal of what she should be existing in the minds of the male
portion of the society of which she forms a part. In Christian lands she strives to please not only by her physical beauty but through
the higher beauties of the mind and heart as well. In the Orient it is through the charm of her person alone that she endeavors to
win the admiration of men. Every effort is made to preserve the freshness and charm of her youthful beauty, and every artifice of
the toilet is employed to enhance it. In Fatima the artist has presented a most perfect type of an odalisque. She possesses that beauty which
has ever been a subject for the poet's lines and the painter's brush. Her dark hair falls in profusion about her shoulders, her eyebrows are
delicately pencilled, and her large, dreamy eyes are shaded by long, dark lashes. The parted lips, curved like Cupid's bow, give a glimpse of
the pearly teeth between, and a faint smile as of conscious power plays about the corners of her mouth; and as she draws aside a veil, as if to
display her many charms, she recalls to the beholder the lines of Tennyson: “A queen with swarthy cheeks and bold, black eyes, brow bound
with burning gold.
157
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

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N IDYL, by Luis Gasch.-(Used by special permission of the artist.) This reproduction is another example of fine work from an
original in the Spanish Exhibit at the World's Columbian Exposition. It would be impossible to produce a picture more thoroughly
and completely Spanish than this. The idyl—as most idyls are—is that of courtship and love. The serenader has been abroad in the
summer evening, and has found, with infallible instinct, the window of his lady-love. Here he has twanged and sung his sentimental
ditty, burdened with romance, in the hours of twilight. Her ears, also acquainted with like sentiment, have heard the music under her
window. The artist has done a delicate thing in training up, outside the wall, the flowering vine which reaches almost to those that bloom in
the window itself, in such manner that love sung below may be said to reach up almost to answer and fruition. In this case, there has been a
complete response. The lady, somewhat against the strict etiquette of the duenna, has descended the stairway, and stands revealed outside,
while the lover, now no longer requiring the voice of his guitar, appeals with upturned face to the object of his adoration. At this moment
the artist has caught the scene and transferred it to canvas.
By Special Permission of the Artist.
158

Bir
ALUABLE INSTRUCTION, by Ludwig Knaüs.-The Israelite is in everything. He has been everywhere and involved in
all enterprises for many centuries. Perhaps the strangest thing about his career is the complete transformation of his enterprise from
the old aspect to the new. He began as the least commercial, and has ended as the most commercial among mankind. The Hebrew
of antiquity avoided the seacoast, he secluded himself and cultivated only a necessary and strictly limited internal trade. His
descendant in modern times seeks the mart by an infallible instinct, and surpasses all men in his passion for trade. Wherever any form of
trade is possible, there he lives and flourishes. This picture represents one of the well-known aspects of his commercial life. He is here a
clothing merchant. His place of business is a cellar. He is a dealer in second-hand commodities, a heap of which occupies a large part of
his store-house. He is a man of means, and smokes an Arabian pipe with intense satisfaction. But the real thought in the picture is the
instruction which the Jew merchant is giving to the boy, whereby the latter is indoctrinated in the methods of Hebrew trade. Great is the
spirit with which the old trader imparts, and still greater the enthusiasm with which the scion receives the lesson, drinking it up as water,
159
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

A a
DRIAN BROUWER AND HIS MODELS, by Gustav Papperitz.-In this picture we have an artist's notion of an artist.
It were hard to say at what time in the past the use of models was introduced. Certain it is that the Greek artists availed themselves
of living forms as a guide to the imagination in drawing. The sense of this picture is the interest which the two rustic models find in
the drawings of themselves. The man's look is that of sheer curiosity and wonder; but the woman looks at herself with all critical
pride and a troop of secondary reflections half hidden in the folds of consciousness. The artist smokes his pipe and is satisfied. For him it
suffices that he has made adequate drawings of his subjects; but the woman perceives, under her peasant’s garb, that she is beautiful, and the
notion of it has sent her thoughts afar from her rude surroundings. Meanwhile, the fowl lying on the floor goes unpicked, and the cabbage on
the other side unchopped. In fact, the whole process of life in this abode has suddenly stopped in the interest of art and admiration. The
ambition which the model may feel to be transferred by the immemorial prerogative of beauty to the imperishable canvas, and be thus
transmitted to after times, is without doubt a more worthy passion than is usually conceded by the over-severe and often cynical judgment.
160
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

A
FTER THE CHRISTENING, by Adolf Lüben.-Here we have a little party of happy people leaving the church
where baby has just been christened. The scene is Slavic in its character and settings. In front walks the Russian father,
unconsciously filling his pipe and consciously proud of his child. As for the young mother, she bears the little one tenderly
on a pillow in her arms. They are only peasants, humble people ; yet what a world of gentle love is in the face of the young
wife and mother. Back of the parents are a few friends and relatives belonging to the same class. One is intent on readjusting the
bow on her hat, while her companion looks on approvingly. An elderly dame watches the scene from the gateway. On the rocks
just outside of the stone walls of the chapel sits the ubiquitous boy, with his dog by his side. He is a happy lad, in careless attitude
and feather stuck in the ragged felt which covers his head. The little one is the embodiment of sweetness as it lies covered with soft
white lace. The angels might well be not far away. The boy wonders if he was ever so little as that. The artist is a native of
St. Petersburg, and is mostly known for his humorous paintings; but in this picture he has substituted pathos and love for humor.
161
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

-HE NEW MODEL, by A. Weiss.-In this picture the artist has introduced a scene from art. The smaller idea is set like a
cameo in the larger. The two young artists have gone abroad in the summer morning to make sketches. The country is rough
here and picturesque, though unadorned with trees. The artist in white has her drawing materials and is doing a piece “from
nature. The nature in this case has been brought by the two girls to be used as a model, and she is taking her first lesson in pose.
It is really a beautiful conceit to draw the little one, who has suddenly become conscious that she is to stand for her picture, in this attitude
of childish constraint. If she were not told to do it, she would stand more naturally than any professional model of Florence, but being
told, the charming creature has lost herself in the effort. The two ladies are trying hard to entice her, with sympathy and interesting
sayings, into a look and posture of childish ease. But the little one has fallen under the dominion of an idea—most tyranical things—and
has put out her round arms as awkwardly as though she were a boy. Her inclination toward her tormentors, and the look of fixedness,
which she is giving them in her trial, are almost pathetic ; but the artists are greatly amused.
162
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

Art
***
PHE TOILET, by Alonzo Perez.-This picture introduces us to a manner of life quite prevalent in the middle and after part of
the eighteenth century. The evolution of dress is one of the most important concomitant circumstances of civilization. Costume
has varied its form and materials with every age and race, conforming to the spirit of the given people and the prevailing society. In
France, beginning with the age of the grand monarch, elegance of dress and manner became prevalent to a degree never hitherto known.
In the time of Louis XV., and extending to the age of the Revolution, dress and manners prevailed over everything. This picture by Perez
introduces us to the dressing-room of one of the gay and refined members of the French aristocracy. He has been a beau for more than
forty years without intermission. He has cultivated the art of adorning himself, until the grace of it has become grotesque in the
sight of reason. The artist has here caught him in the act. He is preparing himself for the forthcoming reception and for an added
conquest. The passion of frivolity and insincere love-making is so strong upon him that he is obliged to pause in his toilet and flirt with the
waiting-maid. He is a type greatly prevalent of the age to which he belonged, but now, happily, almost extinct.
163
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

HE ARTIST AND HER MODEL, by Ludwig Knaus.-The sense of this beautiful picture is, first of all, that the model
standing ever before the woman soul, is love. Here we have an aspiring young artist in her studio. Of her skill and genius there
may be as little doubt as of her beauty. She is still in girlhood. Her canvass is before her, and her fine face is lighted with the
concept of the picture which she is painting. She fixes her rapt attention on the canvass, and the touch of her pencil is delicate and
airy. There is a material as well as a spiritual sense in this work. The girl is painting a Cupid, and has taken one of nature's natural cupids
for her model. She has tricked him out with bow and quiver, and wings, after the style of all cupids whatsoever. As for Master thus
mythologized, he is doing his part to perfection. He gazes at the artist much as the original Cupid looked at his mother, Venus. But above
all this little play there is the spiritual sense in the scene. The young woman is painting Love, and in so doing is transferring her own soul
to the canvass. Love is her dream, not yet realized, but already an imminent possibility.
164
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

holics
P
RAYING, by Felix Ehrlich.-Since the earliest ages of art, painters and sculptors have sought to express in color and form
the sentiment of prayer. How many upturned faces and clasped hands may be seen in the galleries of the world. The fate of
life has been so sorrowful, that the spirit of the sufferers have been ever crying out to the supernal power for help. This
sentiment, perhaps, is most beautiful in the young ; they who have really least need to pray, pray most easily, and in truest faith.
Rarely has the attitude and expression of prayer been better portrayed than in the face and manner of this beautiful girl. Her life has
not yet been sufficiently obscured to close her eyes and bend down her head in her petition. So she looks up, and utters her plea with
hands gently clasped at her breast, and open lips, breathing such thoughts as rise in her young spirit for utterance. The picture, considered
as a portrait, is admirable ; but the quality of the portraiture is unnoticed under the spell of the prayer. The artist has happily caught the
difference between the sentiment which expresses itself in the faces of children calling for their parents, and the profounder murmur of
the soul appealing to the power on high.
165
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

may
INTER MORNING IN THE BARNYARD, by Charles
by Charles C. Curran.-The painting from which this reproduction
is taken, was exhibited in the department of Fine Arts of the United States at the World's Columbian Exposition. The scene
belongs to our own country, and to the North temperate parts. This have been drawn from northern Ohio or Michigan. It is
the dead of winter. Through the night, there has been a heavy fall of snow. This is the first morning after the world has received
its drapery of white. The great haystacks are covered thick. On such an occasion, it is the first duty of the farmer and his family to “break
the snow.
This is a toilsome task, alike for man and beast. He who has seen, will not forget the timidity of the domestic fowls in exposing
themselves on the first day after a snow-fall. In this case, the example of the girl tempting the chickens with her basin of corn, has done
much to call them forth from their roost. The farmer is busy in uncovering the hay for the cow that stands a-shiver, with her head partly
through the fence. Beyond, in the distance, may be seen the farm-house ; still further, that leaden sky, which Whittier has so graphically
described in the opening verses of his “Snow-Bound.
166
By Special Permission of the Artist.

A
CORNER IN THE MARKET-PLACE, by Edward John Poynter.-The theme of this picture is wholly classical. The
Greek market was one of the centers of Greek life. The market of Athens, instead of being thrust away in a corner and converted
by its uses into a place offensive to the sense and taste of man, was made most elegant in all particulars. The market was of marble.
The citizens—men and women-came there in fine apparel. They entered a place of sunshine, and of fruits and flowers heaped up
on every hand. The scene depicted in Poynter's painting is a nook in the market-place. A woman and a girl are there with flowers and
fruits to sell. The woman, we think, is the mother of the new comer. He holds a flower and looks mirthfully into the face of the girl, who
responds with smiles and pleasure. This comer in the market-place may well be Cupid himself. Indeed, we believe that to have been the
thought of the painter. Love has stolen into this place of fruits and flowers, and if the woman be not the mother of the child, then the ideality
is clear ; that is, love has come and smiles in her face. Round about, everything is marble, cut in elegant manner. The figures are drawn
from classical models, and the raiment is of that simple yet elegant form in which the beautiful women of Hellas so much delighted.
167
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

121
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AIN IN THE PARLOR, by L. Blume-Siebert.-Children on pleasure bent never count the cost, and the zest of pleasurable
mischief is seldom abated by thought of what damage may be done, or what disagreeable consequences ensue. The little ones live only
for the moment that is passing, and even though they find that the rose of enjoyment is associated with the sting of punishment, the
scent of pleasure remains when the sting of the thorn is scarcely remembered. Here is a picture of self-sought discomfort in the midst
of luxury, and the faces of the two children betray no anticipation of the thunderstorm which will probably follow their make-believe rainstorm.
The boy, who is personating Jupiter Pluvius, has a most satisfied smirk on his countenance, while the little girl feels perfectly secure under the
shelter of the umbrella. She looks like a laughing nymph in a dripping grotto. Her pathway in life is evidently a bright one, and stormy
weather, even in semblance, adds variety to her existence. The picture is a reversal of actualities; there is nothing more apparent than the
sunshine amid the shower. It gleams on her face and is tangled in her golden tresses. It seems inevitable that when the mischief is discovered,
the missing clouds will gather on the parental brow and the tears will rain from the eyes that are now laughing.
168
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

COR OF SUCH IS THE KINGDOM OF HEAVEN,” by Frank Bramley.-Nothing is more pathetic than the funeral of a little child, and though there is
a tendency among the painters of the present day to paint what is strong and vigorous, there are not a few, even among the younger men, like the artist who sent this picture
to the World's Columbian Exposition, who know that the popular heart is reached best by just such tender touches of sentiment as this. Death never seems so cruel as when it
strikes the very young, and the little white casket, the garlands on it, and the white-robed children chanting their little processional hymn, are the natural protests of humanity
against the cruelty. Older persons bear the little burden, the broken-hearted mourners follow the child on its last journey, and one little companion of the dead child carries the wreath
which will briefly bloom and then wither on the little mound of new earth-symbol of sweetness and decay. Tender-hearted bystanders from the village by the sea, and from among
the 'longshoremen and lighthouse hands, bow their respect and sympathy as the humble procession moves past. It is grief among the lowly that we see depicted here, as the plain
dresses and the faces of the group indicate.
II
By Special Permission of the Artist.
169

De
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‘N THE PARK, by Adrien Moreau. It is a pleasant thing to look in upon the life of the well-to-do and leisurely, even if it is only on the stage, or in a painted picture.
But these sixteenth-century gentlemen must not be blamed for their idle moments, or for making the most of them ; for they had serious work at other times, a good deal of
fighting to do, and many sacrifices to make for the honor and glory of their country, which looked to the nobles and the gentry for leadership and gallant example. The
vigorous youth, who is whispering soft words into his fair one's ear, causing her to reflect well as she looks pensively off upon the water—a good sign for him, as are her hands
dropped listlessly in her lap—has brief time to press his suit, and he is employing it well. The others have good-naturedly withdrawn, not to interrupt his opportunity, and are
gossiping together about matters which they do not confide to the other gallant who looks after the boat, since they do not include him in their conversation. This fine old chateau,
nobly placed and picturesquely surrounded, will doubtless soon resound with the merry-makings of the betrothal and wedding guests, and one more tender romance will have come to
a happy fruition.
By Permission of Braun, Clement & Co.,
257 Fifth Ave., New York.
170

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HE VICTOR, by A. De Courten.—The painters of the Gallic race are more than half Roman in their spirit. They take naturally to classical subjects. There is much in
the modern French artist which allies him in his sympathies with the great products of the Greeks and Latins. The scene here depicted is one familiar to all. It has furnished
the theme of some of the finest art productions of ancient and modern times. The victor from the Græco-Roman chariot race has come around triumphant to the exit from the
arena of his glory, and is passing the marble stand where the Queen of Beauty has risen to give him the wreath of victory. This event was the supreme moment in the life of
the Greek or Roman youth. The possibility of winning a prize in the national games kindled ambitions that were as all-devouring and insatiable as those that sprang from the
triumphs of war or statesmanship. In this scene the proud young charioteer is honored beyond estimate by his victory and his crown of laurel. All classes are in delight. He drives
into the presence of the Queen of Beauty to the music of flutes. Old men shout and applaud. Women smile, and children fling flowers under the horses of the victor. The marble
archway is before him, and the golden sunshine bathes the scene in his day of greatest triumph.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
171

FRANZ SONDERLAND.
THE MENAGERIE.
This young man has been to the circus and has heard "Mr. Merryman ” descant on the virtues and habits of the various wild denizens of the jungle. So, for the entertainment of
his sisters and their little doll family, he purposes to duplicate the show, so far as his stock, live and stuffed, will afford the material. His toys have furnished a part of the necessary
outfit, and a very essential part; for without a lion and an elephant no menagerie would be complete. Papa's stuffed heron from on top of the bookcase makes a striking addition to
the collection, while a china mouse illustrates the diminutive in nature. The snake department is on the floor. For live specimens the young showman relies on his own pet terrier
and the family cats. The kitten under his arm of necessity behaves well enough; but at a critical juncture the tabby who has been entrusted to a place on the table deserts her post,
and we see her tail disappearing over the edge of the table. The little audience are entranced with the show, for which they have deserted their games, and the shuttle-cocks lie
neglected on the floor. It does not appear just what part the bogey-man from the Punch and Judy show plays here ; but very likely he is doing duty as the colored brother in the
family circle."
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
172

TRA
R.
IDERS OF THE CAUCASUS, by F. Roubaud.-The landscape presented here is wide and mountainous. It is true to nature as she reveals herself in the region from
which the picture takes it name. The country here is the geographical origin of the West division of the Indo-European races. It was from this locality that the principal
historic migrations were begun by which Europe and the Western hemisphere have been peopled and civilized. The country is now inhabited by Armenians, Georgians and
Kurds—the residue of the ancient stock from which the peoples of the West are descended. The Armenians, under the influence of education and the city life, have become
a people not unprogressive; but the Kurds and Georgians have shown less promise of the civilized life. The wild men whom the artist has here so well drawn against the background
of mountain and sky, are semi-brigands who are forth on adventure without the curb of society behind them. They are of the Kurd-Armenian type, and their costume and arms are
in keeping with their historical character. It is in this part of the world that the habits of the oriental countries, such as the costume and personal bearing, give place to the dress
and manners of the West. The figures of the three horsemen are finely drawn upon the rough, high landscape ; and the snowy range of mountain crests beyond gives picturesqueness
and beauty to the whole.
173
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York,

EDOUARD DETAILLE.
THE DREAM.
OWNED BY THE FRENCH GOVERNMENT.
battle on.
This picture is allegorical. The idea is to delineate the vision of a soldier seen in his slumbers. First, there is a mixture of the real and ideal. Here on the open plain the army
has not indeed encamped, but merely stacked arms and thrown itself down to rest. No tents are seen, for the season is generous, and protection is sufficiently afforded by the
blouses and army blankets of the soldiers. The arms are stacked in the military manner, making a long line towards the horizon. All is still.
All is still
. Mists have arisen from the land-
scape and are forming clouds. Here the allegory begins. The soldier dreams. His vision is thrown in weird relief upon the violet curtains of the clouds. There he sees the
He himself is mingled with the charging host. He sees the flags flung up on every hand; he hears the shouts of the assaulting columns as they sweep on to victory.
There is the careering of shadowy horses; the outlines of officers ; the uproar and confusion of the conflict. It is in this form that, according to tradition, spectral warriors, relics
of the Persian and Greek armies, gather at night in the cloud-land over the field of Marathon, shouting to the battle, brandishing their spears, clashing their shields. This vision is
one which is destined ultimately to pass not only from the slumbers, but from the waking dreams as well, of all mankind, giving place to the vision of hope and the apocalypse of
universal peace.
By Permission of Braun, Clement & Co.,
257 Fifth Ave., New York.
174

Route
OING TO THE MAGISTRATE, by Benjamin Vautier.-Vautier has handled a prolific brush. Few artists of the present age have a more extensive array of
well-known pictures.
He is a Swiss by birth, a German by education, and an adherent of the Düsseldorf school. The picture here presented is another aspect of the old, old
story.
The scene may be said to be near the close of the Third Act. The courting is over and the wedding day has come. All the preliminary and intermediary romance
has been enacted, and now the peasant youngsters, neat but rustic, are on their way with father and mother and sister, to the office of the magistrate. That official will soon
settle the business for them for life. On the bench some extemporary visitors are sitting, and a middle-aged functionary, pipe in hand, is in the act of ushering in the bridal party.
The scene is essentially Swiss and ultimately German. To the historical eye it recalls a large section of the social history of the Teutonic race from the days when it was first known
to Tacitus and the Roman armies.
Here in a civilized form is illustrated that fidelity of man to woman, and of her to him, unto the bond of love, for which the classical writers were
wont to praise the old Teutonic barbarians. How strictly national is the scene; how thoroughly rustic and natural it is. It is withal a pleasing day for papa and mamma, who bring
up the rear with smiling faces in this small cavalcade of present and prospective happiness.
175
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

1 1
LTOIC
FIRST CLASS.
F. HIDDEMANN.
The European railway coach differs greatly in its arrangements from the American. There the compartments are graded very much as Continental society is graded. There is an
aristocracy of travel which is assigned to the coaches designated as first class, and the compartments of these are furnished with a degree of elegance unsurpassed. In these coaches
may be seen the élite of many races, as they journey across the continent. This picture and the following are companion pieces, the first representing a scene in a first-class
coach, and the other the corresponding scene in a third-class compartment. The first picture shows three people of the highest tone, and all three thoroughly haughty. Señor, the
Spaniard, gorgeously dressed as to his waistcoat, living long on the fat of the land, seeing much and enjoying all he sees, has reclined upon the soft-backed cushion of his seat, and
gone into the land of utter somnolence. His Turkish travelling cap conceals a head that is probably bald from excess. His sleep is profound. He has fallen over against an
aristocratic fraulein who looks askance and down at the unconscious offender with mingled disgust and contempt. The old lady, gray and complacent, adjusts her eye-glasses and
studies the scene as a connoisseur in social incidents. There is not wanting much to convert the scene into one of great humor, and the humor of it would be heightened by the
high style of the participants; but all dramatic possibilities are lost on the obese, sound slumberer, whom, could we suspect the dead, we might incline to think engaged in a little play
in order to touch with his fat face the fair shoulder of his companion.
of the Berlin Photographic -third StreetBy Permission , New York.
14 East TwentyCo.,
176

THIRD CLASS.
F. HIDDEMANN.
This picture, like the companion piece, is thoroughly German-this in despite of the fact that one of the principal actors is a negro. The interior of the third-class coach, as will be
noted, is strongly contrasted with the corresponding part of the first-class compartment, but not more strongly than are the occupants of the two sections. These travellers are of the
earth, earthy. None the less, Africa has risen to great dignity, as will be seen by his uniform and high-born airs. He is the servant of the sleeping Spaniard depicted in the preceding
picture. He feels his importance in an indescribable measure. He rests his proud and protecting arm on the valise of his master, and thinks himself the custodian of a money vault,
which no doubt he is. He is smoking à la mode and considering his own superiority and that of his race to the fair-faced plebeians of Europe. The other two occupants are well
down to the level of mendicancy. Their jealousy of the negro on account of his fat estate is ill concealed. The elder man has not been able, even with his ill-bred pipe, to satisfy
the demands of his malice and his moral indignation. The young vagabond is simply angered with a glance at the well-fed and superb negro. The latter, indeed, is the centre of
much consideration in this coach. They of the neighboring compartment are looking over the back of the seat and viewing his complacency with mingled interest and wonder.
Meanwhile, the train flies on, bearing to distant cities the striking contrasts of its first and third class coaches.
177
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

94
H. Schwiering. De
© อ
HILDREN'S PARTY, by H. Schwiering.-The little folks are always imitative of the greater. Master begins his career by trying to be as big and as full of bluster
as papa, and little miss must find out and repeat all of the motherly work and cares and pleasures. It is in this way that the new life of the household reënacts in mimic play
the doings of the older household that is soon to pass away. Bryant has declared that on the steps of tottering age,
“ Youth presses-ever gay and beautiful youth.”
In this picture we have the children at a party festival in the summer-house of a goodly mansion. The little faces have gathered, not from one family only, but from several families,
and have dressed themselves—with the aid of nurses—à la mode for the occasion. The scene is at once rustic and elegant. The little girls have finished the feast and turned to
social pleasures, gossip, and play. Master, however, is still deep in the unquenchable pleasures of his cup. The little lady in the foreground is tricking up Frisk with some of her
own ribbons and gewgaws. Much happiness and content are depicted in the faces and manners of the children. The substantial nurse is well pleased with the occasion. The
picture is full of life and joy and beauty, giving promise of days to come when greater parties shall be given on more important occasions.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
178

制​,新​主张​;
ION
G. SPANGENBERG.
THE BOY LUTHER AT THE HOUSE OF MADAME COTTA.
MARTIN LUTHER, the great apostle of the Reformation, began life under very hard conditions. Born in humble circumstances, he had a little schooling at the free institutions of his
native Eisenach. But at the age of fourteen he found himself dependent on his own exertions to live while he pursued the studies by which, with a strong monastic tendency, he hoped
to fit himself for the service of the Church. To do this he became a choir singer, and, as was the custom with poor students in his day, he used to sing once or twice a week before the
houses of his wealthy townsmen, to gain the pence that were necessary for his daily bread. The hardship of his life pressed so heavily on him, that he despondently contemplated the
abandonment of his studies and his career, when Providence opened the heart of Mme. Ursula Cotta, the wife of a wealthy burgher before whose house he used at times to sing. She
had been pleased with the boy's face and manner, and had observed his earnestness in the church services. So she brought him into her own house and gave him there an asylum, and
for four years enabled him to pursue his studies without a care for the necessaries of life. She introduced him to social ways that had been unknown to him, and was instrumental in
modifying some of his monkish ideas that would have interfered with his future usefulness. He was forever and outspokenly grateful to her, and for her sake grateful to her sex,
which could produce such an angel of goodness.
By Permission of the Berlin Photographic Co.,
179
14 East Twenty-third Street, New York.

HO'S THAT! by Charles Van Den Eycken.-We never weary of the changes that are rung on the theme of the inborn antagonism between cats and dogs—the very
name of which has become proverbial of barking, biting, spitting and running. Small dogs, especially, like small boys, feel all their spirit of fun and mischief aroused by the
sight of a cat; and, however their elders and betters may disapprove, they cannot help laughing at the occasional encounters. The fun is not all on doggy's side, however;
there is a native dignity about pussy that stands her in very good stead until it is time to run. And Tags and Tatters will be very careful when they chase her not to catch
up too close to her ; for they know as well as she, that her natural armament for offense and defense is superior to theirs. We all know what is going to happen here. For a second or
two, pussy will continue to swell up and arch her back, while the dogs are held in astonishment at the suddenness of the apparition ; then Tags will growl softly, and the agitated Tatters
will excitedly bark. Pussy will hold her ground, apparently undismayed, though really almost frightened to death, until there is the slightest motion towards her, when she will be off
down the corridor, with the two little rascals at her heels. But she knows the ins and outs of the house better than they, and the fun of chasing her is all the satisfaction they will get.
The original was exhibited in the Belgium section of Fine Arts, World's Columbian Exposition.
By Special Permission of the Artist.
180

'N A VILLAGE AT EL BIAR, ALGERIA, by Francis Arthur Bridgman.-This is a reproduction from the Fine Art Department of the United States at
the World's Columbian Exposition. The painter of the picture is a native of Alabama, but his artistic life has been mostly passed in Paris and Northern Africa. Many of his
special studies have been made in the latter country, particularly in Algeria and Egypt. He seems to have imbibed the spirit of North-African civilization, and his delineations
of character from the countries of his choice are as true as any literary description. He is best known perhaps by his “Donkey Boy of Cairo," which has been reproduced in
In the present picture he has introduced three or four types of character. North-Africa is peculiar for its inter-mixture of races. Here the ancient Hamites, moving
westward from Egypt, have been affected by ethnic influences from many quarters of the globe. The woman sitting in the foreground of the picture, as well as her companion
opposite, are both strongly infected with European blood. The old creature between them is almost negro in descent. The baby is a true Berber, with a suggestion of the Oriental
in his physiognomy. The girl at the left is more like the Copts of Egypt. The scene itself is much like that of the Nile Valley. Here is still water and a background of cactus-palm.
Through the opening may be seen a mass of tropical foliage-lotus below and date palm overhead.
many forms.
181
By Special Permission of the Artist.

G. AURELI.
PRESENTATION OF RICHELIEU TO HENRY IV.
EXHIBITED AT THE WORLD'S COLUMBIAN EXPOSITION.
The scene delineated is from one of the most famous epochs in modern history. It introduces one of the greatest of the French kings in full state surrounded by his court. Henry of
Navarre, after a picturesque career full of vicissitude and peril, rose to the ascendant, took the capital from his enemies and established a dynasty, the spectral fragments of which
may still be seen in the horizon of France. The incident here depicted occurred in the last years of his reign. It represents the introduction of Armand Jean Duplessis Duc De
Richelieu to the king and his courtiers assembled to receive him. The presentation is made by the Cardinal de Lorraine, Minister of State. It is the apparition into public life of one
of the most conspicuous personages of the modern era. The artist has caught the spirit of the man, not yet twenty-five years of age, as he stands proudly erect with upturned face and
gleaming eyes, in the presence of royalty. There before him sits the king whose white plume was the oriflamme at Ivry. There at his right is the proud Maria de Medici, daughter
of a race of princes. Behind her, unseen to mortal eye, are the shadows of Gabrielle d'Estrées and Margaret of Valois. In this haughty assemblage are nobles and ladies whose
lineage reaches far back through the romantic splendors of the Middle Ages. The man here introduced has in him the fires of genius and the ambitions of one inspired. In a few
years from this day he will become the prince of diplomatists, and will make the greatest kings and queens of Christendom the figures of his chessboard. He will be the power
behind a half-score of thrones, and will thus dominate Europe from the Bosphorus to Finistère, and from the Mediterranean to the Baltic.
182
By Special Permission of the Artist.

OT
10
H
UNTING THE SLIPPER, by Albert
SLIPPER, by Albert Bartholomé.-It is recess hour at the convent. A glance at the picture tells us that the location is Paris, and that that
distinct type of childhood—the French girl-student—is represented in all the joyousness and roguery of a game of “Hunting the Slipper.” The game is an interesting one,
and requires skill that is almost trickery. Twelve of the girls have seated themselves in a circle on the ground and grasp firmly, with both hands, a rope which is held in
front of them. This is done by way of fair play and also as a means to confuse the “hunter" who stands on the circle, eager-eyed and alert. The slipper must be passed
from one to the other in the ring, and done so quickly that the hunter is unable to detect the pass. If, however, she discovers the slipper in the hands of one of the players or guesses
that such a one is hiding it, then the girl with the slipper must give it up and take the “hunter's" place in the ring. The game represented by Bartholomé is a lively one. The
girl whose turn it is to hunt the slipper stands in the circle confused and irresolute, much to the merriment of the others. The “hunter” appeals with a flower to one of her
companions for assistance, and receives in return only a roguish look. Another young deceiver points confidently to a companion as the possessor of the slipper and the girl half
encourages the deception with a pretentious guilty look. All are enjoying the situation, and laughing heartily. The original was exhibited in the French section of Fine Arts,
World's Columbian Exposition.
Published by Special Permission of the Artist,
183

HENRY SIEMIRADSKY.
AFTER THE EXAMPLE OF THE GODS.
The ancient idea of many deities, each presiding over some special interest, heavenly or mundane, was capable of infinite extension and varied application ; and the semi-human char-
acter of many of these deities, and the innumerable legends concerning them, gave to men a supernal example for nearly every circumstance of life. These two fair young Grecians
have steered their swan-necked boat away from the temple on the farther side of the stream, where the vestal fire is burning, preferring rather to express their love under the shrine
of Cupid and Psyche. Profiting by the winsome example of these deities of the affections, and strewing flowers as an offering to the immortal lovers carved from the marble, they
exchange the chaste salutations of pure and undying devotion. Old Pan, whose image in bronze lurks beyond, the god of music, dance, and song, and of herdsmen and huntsmen,
who has a pretty predilection for the nymphs of the forest, does not receive the homage of the tender pair. Their sweet young love is too choice and sacred for his coarse bene-
diction. The scene is laid in an ideal representation of the lovely groves sacred to the mythological gods. In the imagination of the ancients, these retreats were peopled with the
dryads of the trees and the naiads of the streams; and at times chaste Diana and her maiden votaries would stop at such a place, pausing in the wild chase after the flying deer, to
refresh their heated bodies in the waters of the sacred stream.
of the Berlin Photographic Co.-third Street, New YorkBy Permission .
14 East Twenty,
184

1
MARCUS SO
IN LOVE.
MARCUS STONE.
THERE has been no popular success in art at all comparable with that which has attended the tenderly romantic productions of Marcus Stone. It is not all due to his selection of sub-
jects, for his themes are those of other artists; nor alone to his excellent drawing and skilful painting, for others besides himself have these qualities. But he puts a soul behind the
persons who figure in his love scenes. We are sympathetically aware of a swelling heart within this young man who "sighs, and looks unutterable things ;” and we can read expect-
ancy and a fluttering consciousness in the face of this maiden who drops her modest eyes and pretends to be so very deeply engaged with her needle-work. She need not try to seem
so unconcerned-she knows how he is looking at her, and what those looks signify: Were she really unconscious of it, she would at least show some pleasure in the flowers he has
brought her, which now lie disregarded by her side. But there is no concealment in his demeanor. His direct and woe-begone gaze relieves us of the necessity of looking for evi-
dences so trivial as his ignoring the portfolio of pictures she has brought out for his entertainment. As to whether he is a hopeless, yet still hoping, swain who has already spoken, or
is gaining courage to speak the as yet unuttered words which his bearing is rendering almost superfluous, we may take our choice. But his plight is only too obvious. Even little
Cupid on the pedestal knows that: he is unstringing his bow, for his shaft has struck home.
185
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
12

UU
These may
URKEYS, by Auguste Durst.-(Exhibited in the French section at the World's Columbian Exposition, and reproduced by special permission of the artist) This is a French picture
by a French artist, but it might have been American. The scene is a farm-house, and the act that of feeding the turkeys. The mistress of the flock has come forth with her
basin of grain, and given the call which the turkeys know so well. They have assembled according to appetite and habit. Some come flying in their haste, others look up as if
to say,
Bye-and-bye.” Some note the summons as if they would reflect about it for awhile. may be regarded as the finest of all the birds. They are by no means
so great in stature as the ostrich or the extinct dinornis of Madagascar, largest of winged creatures, but they have graceful form and feather, as well as manner, not wanting in pleasing
characteristics, The turkey in our own country has competed with the eagle for the rank of the national bird. But for the fact that violence and ravening rather than peace and
complacency are still the order of the world, the turkey might have appeared as the emblem on our standard. This flock shows among other things how far the law of domestication
may extend in bringing down the winged denizens of our primeval forest to associate with mankind in the narrow enclosure of home and field. These birds, all unwitting, yield
themselves to the training and desires of their masters, and are fatted in perfect content for the festivities of Thanksgiving Day and Christmas.
By Special Permission of the Artist.
186

SA
R
But there
EMINISCENCES, by C. Schweninger.-Once more, but only in imagination, the young soldier is amid the scenes where he “sought the bubble reputation, even at the
cannon's mouth.” Perhaps, on the field of battle, visions of the fair face now before him nerved him to deeds of valor, just as now the interest it betrays, brings memories to
him of the stirring adventures through which he has passed. He has eyes for that sweet face alone, and his story is for her whose love and pride are speaking it.
are other listeners. Even the dog seems to feel the spirit of the tale. One of the listeners, an elder sister, perhaps, of the chief auditor, watches the soldier's face with a
calmer interest than that of the young woman.
The motive of the picture is found in the countenance of the two other figures. There is a matron on whom the years sit lightly, and
a man who knows youth no longer. They too are interested in the recital, and their looks speak admiration. But the while they listen, they are living partially in the past wherein
the matron listened to just such narratives, and the staid man who stands behind was the one whose story of dangers braved and grand deeds performed made her forget the agony
of suspense that was hers while he was off to the wars. And he, erect and soldierly, sees with an inner sight that which the young man describes, for his experience was just the same.
187
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

+
@
ATTLE IN THE MARSHLANDS OF THE RIVER ELBE, by Oscar Frenzel.-There is much originality displayed in this picture. The landscape
departs, in several peculiarities, from the conventional outline and manner. It is marshland, with an abundance of rich grass and a profusion of wild flowers. A rambling
stream, small but welcome, winds along to the foreground. The farmhouse, though unseen, is not far away. On the left is the fence, and in this direction lies the home.
It is the milking-hour, and the woman in the right-center is at her task. More striking still is the originality of the drawing in the matter of the cattle. These are thrown, in
every case, into characteristic attitudes. One of them is licking her side ; another is using a foot grotesquely to remedy some trouble about the eye. The other animals are drawn
in characteristic attitudes. The sky has the luminous quality of mid-summer. Here and there, as far as the eye can reach across the open champaign, stand clusters of wild flowers.
Very rarely has a cattle scene been done more acceptably than this. The artist has taken his own method, and thrown into the picture the force and peculiarities of his national
genius. The cows are of the Holstein breed, and have evidently been drawn from life.
By Special Permission oj the Artist.
188

a
CAPTURE IN 1793, by Paul Grolleron. (From French Section, World's Columbian Exposition.)— The scene here delineated may have been taken from Hugo's
“Ninety-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 Republic
To such a creature
The nations were startled at the apparition. The Republic must save itself by war and devastation.
planted itself in Paris, and put on garments of fire.
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
Such devastation of life,
qualm of conscience. In the province of La Vendée the Royalists rose in favor of the Monarchy. Upon these the fiery Republic let loose the dogs of war.
such butcheries and burnings 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
The killers are
Here the democratic brigands have caught a royalist on his own estate and are binding him to a tree for execution.
through a wide range of beautiful country.
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.
189
By Special Permission of the Artist.

li
7
A
HE INTERRUPTED MUSICIAN, by Kirberg.-Not only the musician but everybody else is interrupted when the kitten climbs upon the accordion player's back.
The gossips had been exchanging verbal notes to the accompaniment of the music, and the good old mother was just about to draw the boiling water into the teapot. The old
man with the pipe in his hand knows how the kitten got upon the musician's back, and he pauses in his smoke to watch the results. There is an air of anxiety about the
maternal tabby cat. Her venturesome offspring monopolizes her attention, though another member of the family appears to be seeking recognition. There is an expression of
amused wonder on the face of the musician as he looks around over his shoulder at the little climber, which gazes down upon the accordion as if inquiring how it can make so much
and so many varied sounds. The old man wonders how the kitten will get out of it. He would like to see it get down without help, but the musician will fondle it and place it on
the floor; the women will interrupt the caresses of the mother cat and fondle it in turn ; and then, while the cats go off to a corner to enjoy the saucer of milk that the motherly
old woman sets before them, the musician will resume his playing, the gossips will renew their discussion of the neighbors, the old man will finish his smoke, and the tea will be served.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
190

I
TELLAHIN AND CHILD-THE BATH, by F. A. Bridgman.- This reproduction is from an original which was exhibited in the United States section, Depart-
ment of Fine Arts at the World's Columbian Exposition. In it the artist, Bridgman, has made a profound study of a figure which can be seen in only one country of the world-
Egypt. The Fellahs constitute the lowest class of the modern Egyptians. They are a degraded race, and yet they have preserved something of the physical characteristics
and much of the restful expression of their remote ancestors. The Fellahin is the wife of a Fellah. This is she, and a child in the bath. Islam exacts cleanliness. The Koran
insists on many bathings of the person, and the inodern Mohammedans, whatever may be said of their other virtues or the lack thereof, obey the Koranic injunction. This bathing scene
differs little or not at all in its main features from what may be witnessed in every civilized country. The manner of the thing is common to all. The body and features of the child
are such as might belong to the curly-headed urchin in Europe or America. But the Fellah, with her long eyelashes and retreating brow, and sphinx-like mouth and neckchains and
bracelets, with background of black hair-she is of Egypt, and Egypt only.
191

W. T. SMEDLEY.
EMBARRASSMENT.
EXHIBITED AT THE WORLD'S COLUMBIAN EXPOSITION.
Two sportive girls, American to the heart, have caught an inexperienced beau between them, and are giving him all the mingled emotions of ecstasy and fear. These beauties are well
up in their parts; they understand each other completely, and are amused from head to foot. She with the daisies on her breast is the one on whom the swain has fixed his affections.
To her he would fain say and do the sweetest of things. She has made a little game with her friend, however, to torment the bashful beau out of his senses. It is difficult to discover
what she will do with him by and by. Perhaps nothing. The other girl would make the fellow believe that he is supreme in her own esteem and hopes. She is pressing her cause with
face and hands and knees. She tries to draw his attention with her well enacted caresses; but he turns the other way. Where a silly young man's treasure is, there his heart is also.
The principal humor of the scene is in the bashful and constrained attitude of the beau, and his ill-fitting clothes. In this respect the picture is almost a caricature; still, the exaggera-
tion is not beyond the limits of the real. Note the position of the fellow's hands, and his hard attempt to put himself in an easy and gallant position. In this respect, the preposterous
in art can hardly go further. Meanwhile ma mère sews steadily in the distant room at the right, and pussy, always on the alert when the sweet things of life are done or promised, comes
lightly peeping through the door.
Reproduced by Special Permission of the owner,
Thomas B. Clark, Esq., New York.
192

y
Tridle
u
AT ISCHIA.
A, TRAIDLER.
HERE are light-hearted gayety and unalloyed mirthfulness and joy. And where should we find these in all the broad earth, if not at Ischia-sunny, smiling, fruitful, heaven-kissed
Ischia? This little island, lying between the Bay of Naples and that of Gaeta, is one of the most favored spots on the habitable globe. Its exquisite climate, lovely situation, and
dreamland scenery allure visitors throughout the twelve months of the year. Those who seek a summer resort find perfect summer here ; and those who look for balmy skies at any
season will surely find them at Ischia. Is it health that is sought for? Antiquity even knew the salubrity of this favored isle. Its rocks yield healing waters from hidden springs; no
fruits are so succulent, no wines are so deliciously flavored, as those that spring from this enchanted soil, which teems with richness and fertility. Laughter is the natural expression
of the happiness of a people so blessed in their surroundings. Mirthfulness is their normal condition, and sorrow but an incident. Carelessly accepting the gifts that have been poured
upon them, they know no other atmosphere than that of radiant joy and perfect contentment with life, which is to them a "
perpetual afternoon.
So it is no mere episode of island
life that is here portrayed—this little company of natives, basking in the genial glow of a sunshine that is never too warm, and listening to the light-hearted fun of their entertainer-
it is truly typical of the happy, harmless life that is characteristic of Ischia.
193
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

0
***FREE*
-HE MANNER SHOWS THE MIND, by Cesare Laurenti.-This picture tells a sorrowful story. What it is we can only conjecture. The heart has its mysteries
and its griefs. It is the strange destiny of human life that it is shadowed in every part with sorrow and death. The interest of the picture centers in the woman who bows her
fine head on her hands over the bench. She is communing with herself and her grief. This appears to be a chamber where the death-watch is kept. To the left candles are
dimly burning as if to illumine the last night of the earthly scene. This may be a young wife bereft, or the grief may be of some other kind. The old woman has been trying
ineffectually to console her. But her counsel and sympathies have not sufficed. She has been telling her beads also as a source of consolation, but the forms of prayer have not
reached the soul of the sorrowing. The isolation of this bowed heart is the central thought in the piece. The woman does not confess herself, or reveal the source of her sorrow to
any. The two who stand in the rear of the picture look on with curious half-sympathy, more concerned to know what the grief is than to assuage it. It is a peculiarity of such
situations that they at length solve themselves. Time and change are able to accomplish what no fictitious aid can do. With lapse of days and change of scene this bowed spirit will
arise to live again, but for the present hour she is immersed in a grief that knows no alleviation.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
194

A. Lüben,
H
'ERE'S A FINE BUSINESS, by A. Luben.-This catastrophe is half-ludicrous and half-pathetic. It is pitiful to see the rustic old paterfamilias thrown down in such
a heap under the Christmas tree. He has upset himself and pulled over the trees with him. Long time he and elderly mamma have been devising this tree, and it is now
Christmas eve.
The little folks, of perhaps more than one generation, are snugly hid away. Everything is in full expectation about the humble home. The old man has
been busy all the evening hanging on the presents. The work was nearly done ; the pine boughs, from the lowest to the highest top, were covered with humble gifts to be
exchanged on the morrow. Only a few additional articles remained to be put in place and the candles to be lighted, before the household should be awakened to see what work Santa
Claus had accomplished. The old gentleman stands unsteadily on his stool, and that strange piece of furniture gives down on one side. He makes a clutch at the tree, and here we
are on the floor in a universal wreck! We believe that the venerable old fellow says nothing, though he clutches his elbow which has been injured by the fall. He has had many
bruises in his life, and the way now is not long before him. He has not yet recovered from the shock sufficiently to think in what way he will restore the Christmas tree. He sits
just where he has fallen with the ruins of the presents around him, and with his ancient wife looking on in bewilderment. If we laugh at the catastrophe, we inay also shed a tear of
sympathy for the old man's fall. There are not many more Christmas-eves for him on this side of the narrow exit.
195
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

Louis Edouard Fournier
LOUIS EDOUARD FOURNIER.
WASHINGTON AND HIS MOTHER.
EXHIBITED AT THE WORLD'S COLUMBIAN EXPOSITION,
RARELY has a great man and a man of action been so profoundly influenced by a mother as was George Washington. It was his mother who formed his character and directed his
education ; and it was her wise counsel that decided him against the naval career by which he was tempted after a brief service in the expedition against Carthagena, under Admiral
Vernon, after whom Mount Vernon was named ; and his filial devotion to her throughout his glorious career is one of the tenderest legends of American history. When the Revolu-
tionary war broke out, Washington made a new and safer home for his mother at Fredericksburg ; there she spent the remainder of her days, and there he parted with her for the last
time, when, in 1789, he assumed the Presidency of the United States. This parting has been a favorite subject for American artists, and now we have it depicted by a Frenchman-
for, since the brother-like friendship between Washington and Lafayette, the Father of his Country has been a hero in France as well as in America. This representation of the scene
differs from that usually given, in its being shown out-of-doors, where the surroundings of the humble Virginia homestead lend a fresh interest to the familiar subject. The manly
tenderness of the devoted son, and the feebleness and dignity of the aged mother, are admirably portrayed.
By Permission of Braun, Clement & Co.,
257 Fifth Ave., New York
196

Uw
AVG.TRYPHEME
He has pro-
S
INGING-LESSON IN A PUBLIC SCHOOL IN PARIS, by Auguste Joseph Truphème.-The painter of this picture is a native of Aix.
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 sniffe at the end of the desk. Possibly he is the original
l'enfant prodigue.
197
By Special Permission of the Artist.

แus
Q
HE MILK BOILS OVER, by H. Kretzschmer.-This picture represents a comedy of the kitchen. An accident has occurred which has introduced universal
distraction. The central idea of the piece is to show the sudden confusion of all from the unforeseen thing which has just occurred. Everything in this kitchen was going
admirably, with full progress toward dinner, until grandma fell asleep over her task. She had attended to the preliminaries of the meal and sat down to prepare the fowl.
The old mind in the old body, however, yielded to sudden drowsiness. Two of the little girls were helping with the kitchen work; one cared for the baby, and the other
engaged with a bowl of water in which she was washing the vegetables. Meanwhile, the milk in the vessel on the range boils, and all of a sudden pours over in a torrent of foam.
This is the catastrophe. The little lady spills her basin of water on the cat. Master is frightened and runs to the unconscious grandma. The girl with the baby starts to fly.
Everything is in confusion and the kitchen is filling with smoke and the odor of burning milk. But the placid old lady, oblivious to all things whatsoever, sits in her chair, peaceful
in countenance and totally relaxed from all care. Presently, however, things will come to such a pass that the old lady will wake up from her nap, and then her long experience in
setting things to rights will be suddenly evoked in the restoration of order.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
198

gareness
HE WINNER OF THE GRAND PRIZE, by Marchetti.-This scene is truly Parisian. The race for the grand prize is on, and Paris has sent forth her beauty and
gallantry to witness it. The artist has taken his stand a third of a mile from the race course in a balcony overlooking the esplanade where the thousands are gathered.
The race itself is thus thrown into the background. The idea of the painter has been to depict the enthusiasm and beauty of the multitude. The moment selected is that of
the close of the race. The winner of the prize has shown himself ahead, with such near approach to the goal as makes certain the result. At this moment the shouts of the
throng and the blossoming of handkerchiefs betoken the culmination of the interest. Many of the fashionable folk, however, are here merely for pleasure and fashion. The
French ladies, those exquisite butterflies of an over-refined society, dipping after the manner of their kind into all the exquisite blossoms of civilization and extracting therefrom
such modicum of ambrosia as their cups may hold, are here in their glory. It is the heyday of fashionable delight and dissipation.
be in his elegant stall, fine as the marble stable of Nero's horse whom he had elected to the consulship; the scene here delineated will have cleared itself, and the gay crowds will be
dispersed in interesting groups of two, said to be the “normal number” in Paris, on opposite sides of the dainty tables in the French cafés.
199
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

DINERS 250
INS
LOUIS DE CHRYVER
1803
Scury
L. DE SCHRYVER.
THE FLOWER MERCHANT.
In the time of flowers the streets of Paris are like a garden. The scene here is in the centre of life and bustle. The time is early—not too soon for roses nor too late for lilies. Into
the midst of the teeming traffic this modest peasant girl has trundled her little hand-cart bearing the freshness of the garden or the greenhouse. Her watering-pot hangs ready to add
the sparkle of dewy drops of water to the handfuls of flowers as she disposes of them, and she is cutting down to convenient proportions the over-generous length of stem she has
pro-
vided for her customers. Her calling would be indeed a pleasant one, if all her patrons were as charming as these two delicious girls from the Parisian world of fashion, which pro-
duces the most bewitching creations of modern life-young, fair, graceful, self-reliant, yet modest as the violet. They are preparing themselves with flowery greetings for the friends
they expect to meet at the great railway terminus which lies not far from this spot in Paris. About them moves the varied life of the famous cosmopolitan city.
for a moment, interested in the uniformed recruit on the footpath, who is searching the depths of his nearly empty pockets in the hope of finding there the “two francs, fifty centimes
We look past them
with which, according to the sign above him, he may purchase a “ diner.
.”
1
Copyright 1894, by Berlin Photographic Co.,
14 East Twenty-Third St. N. Y.
200
Reproduced by Special Permission.

@
OMBAT IN A VILLAGE, by Emile Boutigny.-Perhaps no other part of human action is so difficult to portray as battle. Yet battle-scenes are among the
commonest of all subjects chosen by artists for their works. The difficulty is that painting requires a design, and battle has none. In the beginning of modern painting,
battle-scenes were drawn ideally. Long lines of well-uniformed men were set in engagement as if it were a tourney. The thing painted was wholly unlike the reality. The
reality is simply havoc. Battle is a melee. It is not order, but confusion. It is death and blood, carnage, smoke, turmoil, dust, fire and uproar, mingled in the indescribable.
Literature as well as art has essayed in vain to depict it. Here we have battle in a village. The loose outlying wings of the armies have here flown together. The conflict is in the
Shade tree and fountain have become barricades. Each soldier here makes war for himself. It is virtually man to man. Peace has fled.
very streets.
Save the combatants, no living
thing is seen. Though this is only a skirmish, death and ruin are its concomitants. In the foreground one brave fellow lies dead clutching his bugle. Another bugler, full of duty,
kneels by a tree and sounds the call. When the blast of battle passes, the mark of ball and sabre-cut will be seen on the walls and shrubbery of the wrecked village. The original
was exhibited in the French section of Fine Art Department of the World's Columbian Exposition.
By Special Permission of the Artist.
201
13

O
F. HEYGER.
THE REVENGE OF THE FLOWERS.
In the folk-lore of many peoples there are superstitions attributing personality to flowers. Strange to say, instead of partaking of the beauty, the fragrance, the delicacy of the
blossoms, these superstitions have a gloomy, even a deathly, cast. Most of them are associated with the odor of the flowers. There are
There are “death-scented” flowers. The gilliflower
has been said to have a grave-like smell; the gorse, the hawthorn, and many others are connected in the popular mind with the charnel-house. Joining to these thoughts the idea of
life in the flowering plant, which even when cut continues to develop, and the well-founded notion that it is not wise to keep plants in a sleeping-room, the transition is easy to
the superstition that the plague-laden blossoms will wreak vengeance on the person who has torn them from the stem. Such a fancy obtains in Germany, whose poets have given it
permanent form in the legend of the young girl who, lying down to sleep surrounded by the many-hued plunder of the garden, is overcome by the influence of the air surcharged with
their baneful odor, and passes from the slumber of perfect health into the endless sleep of death. The garlands that were woven for her bridal become the funereal decorations of
her bier. Her distaff still bears the flax she was spinning, emblem of an industrious, fruitful life. The flowers seem to lean towards her in triumph, only they and the sunshine sug-
gesting life within the little chamber where she lies dead, a victim to their revenge.
By Permission of the Berlin Photographic Co.,
Ti East Twenty-third Street, New York.
202

V
BIRTHDAY GREETINGS.
F. LEFLER.
HERR LEFLER proves his possession of a full share of the sympathy with child-life which is characteristic of so many German genre painters. Their pictures, as a rule, are more
homely, more domestic, than the paintings of their French brethren. There is a certain relationship to the aim of English painters, although the latter's art is more literary, and
there is a closer insistence upon the complete “story.” In the charming picture before us the artist has idealized a motive which has been treated with unrelieved boldness. We
might have had a conventional birthday party in an interior of Philistine ugliness. On the contrary, he has chosen a natural background, which seems to share the festal spirit of
the day, and against this he has placed the queen of the fête, daintily attired in a shepherdess costume which is like a reminiscence of Watteau. Her sweet, half-proud, half-shy
ernbarrassment contrasts finely with the eager gallantry of the little knight, also masquerading in old-time costume, who bows before her charms as he offers his bunch of flowers.
A merry elf in the background waves her greeting, while on either side we are recalled to the modern days by the suits of the two boys-one a roguish onlooker, the other a tiny
would-be swain who envies the assurance of the small courtier in the foreground. It is a pretty scene of youth, beauty, and innocence ; of flowers and sunshine, and good wishes
for the future.
in Botogra . ic Co.,
203

64
HE CLOSING HYMN, by William V. Schwill.-This is a reproduction, by special permission of the artist, from a celebrated painting exhibited at the World's
Columbian Exposition. The artist is an American, but most of his work has been produced from European sketches. The picture was painted in Munich. The subject is out
of the last quarter of the eighteenth century.
It represents the last hymn sung in a Bavarian chapel at the close of religious services, and this virtually tells the whole story
of the picture. The sketch has been made with extreme care and fidelity. The style of the high benches against the wall at the left may be noted with interest; also the
dress and wigs of the serious worshipers occupying them. In the front row, we have only women. These are mostly girls in the first blush of womanhood. They are strongly
Germanic in the type of countenance and in the serious manner in which they enter into the services. Though the Germans are capable of great hilarity, they are also a race of
most serious moods. At the right, we have the preacher, dimly seen, with his open book and two bouquets of flowers, outlined against the dark background. All are intent upon
ir devotions. In the center, at the rear, the choir may be seen through the crossbars that separate that body from the people below. The place has an aspect of gloom, well
* the sentiment of religion as it was delivered to people by the clergy a hundred years ago.
*rmission of the Artist.
204

a
SCENE FROM THE MERRY WIVES OF WINDSOR, by Loewe.-Perhaps in no other play did the imagination of Shakespeare run riot more freely
than in the Merry Wives of Windsor. The piece from the beginning to the end is the climax of absurdity and grotesqueness. At the same time the humor is relieved in
many parts with flashes of beautiful sentiment. Many of the personæ have become synonymous with certain types of human character. The play has transfused itself
into literature and exists in the fancy of all well-informed people. The scene here delineated is the third, of the third act. It is a room in Mr. Ford's house. The plot
of Mrs. Ford and Mrs. Page to play upon Falstaff here ripens to perfection. They have wheedled the old sinner into every form of folly. Taking advantage of his absurdity and
insincere love-making, they have led him a merry chase, drawing him on into ridiculous situations. This at last culminates in their plot to put the monster into a big clothes-basket
and to cover him with a mass of dirty linen. This, they persuade him is necessary in order to conceal hi from the supposed coming of Ford, husband of Mrs. Ford, who is to
appear in the character of the injured husband and do terrible things on Sir John. The old coward consents to be hidden in the clothes basket. Mrs. Page says, “Look! here is
a basket : If he be of any reasonable stature, he may creep in here, and throw foul linen upon him. Send him by your two men to Datchet Mead.”
205
By Permission of the Berlin Photographic Co.,
14.East Twenty-third Street, New York.

CAMPHAUSEN.
PRINCE BISMARCK AND NAPOLEON III. AT SEDAN.
The fall of Sedan, in September, 1870, marked the close of the few but terrible weeks of fighting between the armies in the field of Napoleon III. and the invading forces led by
King William I. of Prussia. The contest about Sedan soon revealed to the French emperor that before the Germans he was powerless, and in the early morning of September 2d he
set forth, accompanied by Reille, Castelnau, and Vaubert, of his generals, to seek the Prussian king, and make terms for a surrender. Wasted by disease, he could not mount a horse, and
made the journey in his carriage. Word of his approach was brought to Prince Bismarck, who rose and dressed hastily, and rode off to receive the emperor, whom he met on the road,
and accompanied to the little village of Donchery. Here they were joined by Von Moltke, the Prussian chief, and here the unhappy, deceived, and beaten emperor yielded to the hard
terms of the unconditional surrender as prisoners of war of his entire command. To Bismarck, whose diplomacy had forced the issues of the war, it was a proud opportunity thus to
accompany Napoleon to his discomfiture. The German prince says that on this occasion he showed to the emperor the same deference that he would have shown him in the latter's
palace at St. Cloud. Some part of the “revenge
Some part of the “revenge” which France wants from Germany is thought to have been secured by the war pictures of the French military artists; but in this
imperishable record of the triumph of the grim Chancellor, the emphasis of final victory has been expressed with telling effect.
206
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

SAN
a
FTERNOON IN THE VILLA PMPHYLI, ROME, by P. Joris.-This picture happily blends the recent and antique. It is a scene of to-day, mingled in its
Now, as in the days
surroundings and settings with classical antiquity. For more than two thousand years, the atmosphere and sunshine of Italy have remained the same.
The rivers and the hills are the same. Much of man's work still possesses the similitude of the
of the great Romans, the Italian landscape spreads out like enchantment.
The love
classical ages.
As for the people, they are greatly changed; but in some respects, the modern Italians have preserved the tastes and passions of their ancestors.
The dispositions manifest themselves
of splendor, which so strongly emphasized the character of the old Romans, survives in their descendants ; so, also the love of ease and luxury.
open
air. This is one of the retreats—a part of
in architectural elegance, and artistic decorations. Here in the splendid villa a company of guests are gathered to a banquet in the
The main interest, however, is in the elite assemblage.
the so-called Roman garden. Here, flowers abound. Here, white-winged doves dip down, and sit on the marble pavement.
and the feast. As of old, these modern Romans deny themselves nothing. The original was exhibited in the Italian section of the World's Columbian Exposition.
207
By Special Permission of the Artist,

0938
1
YINE WEATHER, by Luigi Chialiva.-From the Corcoran Art Gallery in Washington is “ Fine Weather," a picture that is considered the masterpiece of the
artist, Luigi Chialiva. The scene is a big daisy field, and two little girls and a flock of turkeys. To the right and in the distance is an old farm-house, with its wealth of
surrounding shade and its complement of stable, kennel and barn. It is the month of May and the day is cloudless. The atmosphere seems filled with gold dust. It is a
morning made for children and flowers. Two little girls, aged ten and eight years—youthful turkey-tenders—have come into the field to mind their feathered charges and
enjoy the companionship of the daisies. The fowls are moving slowly through the grass and blossoms, clucking, pluming themselves and spreading their tails in satisfactory
pride. They are plump and glossy and seem to be aware of their fine appearance. There is caste among them also, which is apparent by the proud attitude taken by those birds
more finely feathered than the rest. The girls have gathered their hands full of daisies, intending to crown themselves in true May-day style. The older girl has bound together
a rude garland of blossoms and grass, and is twining it among the dark curls of the younger maiden. The little one stands with head bent forward, and a proud, happy look on her
childish face. Both faces are lovely. The children are dressed in coarse skirts and pinafores, and stand ankle deep, bareheaded and careless, among the snowy May blossoms.
By Permission of Boussod, Valedon & Co.,
303 Fifth Ave., New York City.
208

THE FRIEND OF THE LOWLY.
L. A. L'HERMITTE.
From the significant declaration in Luke's Gospel that Christ“was known to them (the disciples) in the breaking of bread,” our artist has apparently his theme. As Christ breaks
bread and blesses it in this humble abode, the rude men who sit at table with him seem to be startled into a recognition of his true character and mission. Perhaps they had thought
of him heretofore as a being to be worshipped at a distance, in church or cathedral ; or as one who was to be looked at wholly with respect to the future state, but who did not come
near to men as a friend and helper in the struggles and sorrows of this present life. If such was their view, then Christ must have been grievously misrepresented to them. When
he was upon the earth, he was much with the poor and needy, and “the common people heard him gladly." What he then said to all he still says to us, “I am the bread of life.”
L. A. L'Hermitte, the painter of the above striking picture, is a realist of very earnest spirit, as well as technical strength. His works have a notable ethical import. He was born
in Mont-Saint-Père, 1844.
209
By Permission of Boussod, Valedon & Co.,
303 Fifth Ave., New York City.

Amon
H. SPERLING.
RESCUED.
This is a study of character-not necessarily animal character, for the young hound and the young terrier might as well have been graceless scamps of boys, alive with the sporting in-
stinct, which is quite a human quality ; and the dignified old master some protecting dame or member of the Humane Society. The cat need not be metamorphosed, for Pussy is the
game of boys as well as of dogs, and, indeed, cf anything that loves to chase a good runner, a skilful dodger, and altogether a difficult quarry. Pussy seldom gets so hard pressed as
she evidently has been here. She is usually quick at finding havens where she is safe, unless the course is too open, as it must have been for her to seek sanctuary between the paws
of this kindly monster. At another time her back would have arched high at his approach ; but in this case she had only a choice of evils before her. Yet she was enough of a char-
acter-reader to know that this great fellow's dignity would assert itself in the presence of these flippant triflers of his race, and that she might safely seek his protection under cover of
his habitual tendency to rebuke their reckless and wanton puppyishness. There is something delicious in their baffled rage at the consciousness of their impotence, and something
superb in his calm and stately acceptance of the responsibility of power in the presence of weakness-delightfully forgetful as he is of the fact that he was once young and sportive
himself, and hunted many a feline in his day.
Copyright 1893, by Berlin Photographic Co.,
14 East Twenty-Third St.. N. Y.
210
Reproduced by Special Permission.

90
31
w
« PLAYING AT CARDS."
BENJAMIN VAUTIER.
In this picturesque scene of rustic merriment the story is easily read. Something more than a winning hand rests upon the choice of the buxom peasant girl who is about to draw a
card from the hand held out by the swain, who is perhaps assuming his appearance of perfect composure to mask a feeling of concern. Two other couples, whose love-making
is in progress, watch the outcome with lively interest. A sister of the heroine, who has arrived at years of consciousness, takes the situation seriously ; while a younger, still a child,
sees in the whole affair simply a chance for merriment. Meantime, the old father looks on benignly. The scene may be laid in the German Tyrol, where the weather proves the value
of thick walls and high-tiled stoves. Of the many honors which Benjamin Vautier has received in the sixty-four years since his birth at Morges, we need cite only his membership in
the Academies of Berlin, Munich, Antwerp, and Amsterdam, and the medals awarded him at Berlin and Paris, and the presence of his pictures in the National Gallery at Berlin, and
in museums like those of Bâle and Cologne. Many American collections, like that of the late W. T. Walters of Baltimore, have had examples of his ability in interpreting the pleas-
ures and sorrows of every-day peasant life in various parts of Germany.
2II
Cobyright 1813, by Berlin Photographic Co.,
14 East Twenty-Third St. N. Y.
Reproduced by Special Permission.

WALTER GAY.
MASS IN BRITTANY.
EXHIBITED AT THE WORLD'S COLUMBIAN EXPOSITION.
This is another example of the art work exhibited in the department of Fine Arts for the United States at the World's Fair. The subject
depicted, however, is foreign in character and personality. This is a scene from the Mass as it is celebrated in the cathedrals of Brittany.
Here are some ten people engaged in prayer. Most of them are in the regalia of their respective orders and ranks. All show the features of
the race to which they belong. These Bretons are a division of the great Celtic peoples which were once so universally distributed though-
out Central and Western Europe. At the present time the race in question has been condensed into the Atlantic peninsulas by the heavy
force and pounding of the Teutonic pestle pressing them farther and farther, until they are almost extinct. One of these peninsulas is Brit-
tany, another is Cornwall. The insular parts are Scotland and Ireland. The old Celtic type is as well preserved in the Bretons as in any
other. The figure of the old man at the right may for example be taken as a perfect example of the Breton, and in a larger sense of the old
Celt who once held an empire covering the greater part of Europe. These are countenances and figures which are nearly extinct from the
worid. Perhaps another century will find the type so much obliterated by ethical and historical conditions as to be no longer recognizable,
save by a curious ethnology,
By Special Permission of the Artist.
2 1 2

YYPATIA, by A. Seifert.-Hypatia was the daughter of the Egyptian mathematician, Theon, and was born in the year 370,
A.D. Her career was most extraordinary. She was educated first in Alexandria, and afterwards in Athens. It was in the latter
city that she learned the rudiments of Greek philosophy, in its pure form, as expounded by Plato. Such was the breadth and
profundity of her genius that she became proficient not only as a student, but as a teacher of the sublime principles which she had
accepted as the basis of all truth. Returning to her own country, she became the expositor of the new learning and its recognized evangel.
Throngs of the most brilliant of her countrymen flocked to her lectures. St. Cyril, bishop of Alexandria, was alarmed for his own
supremacy and for the faith he represented. The Alexandrians were divided into two factions, of which St. Cyril headed one and Hypatia
the other. The feud ended in violence. In the year 415, Hypatia's carriage was waylaid by a mob, and the beautiful creature was dragged
forth and slain. Her body was torn literally limb from limb, and the fragments were burned in a heap. The artist has here delineated
Hypatia sitting in repose-in contemplative mood-against the background of an Egyptian landscape and a horizon of cloudless sky.
213
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

30
A
T THE MASQUERADE, by C. Sohn.-Masks and masquerading were invented in the earliest ages. It may not be denied
that there is something peculiarly pleasurable in the sense of being concealed in public—in seeing and being seen without recognition
of others. Hence the masquerade. This beautiful lady is in the dressing-room, where she has prepared herself for her appearance
at the ball. She has completed her paraphernalia, and the disguise is perfected, all except the visage, which she will put on just
before going forth. This last article--that is, the mask of the face-lies on the desk under the table. She chooses to leave it there until
the moment of her appearance outside the curtain. She is in a high state of nervous expectancy. Will her own disguise seem elegant ?
Will other disguises surpass her own ? Will her costume be praised and admired ? Will any of her friends succeed in recognizing her
in this garb ! In particular, will he be able, as he has so often declared himself to be, to recognize her in any garb whatsoever ? She will
gladly deceive him if she can—but not wholly and finally. By some slight touch or other sign she will let him know before the dance is
done that it is indeed she; for at heart she is anxious that no mistakes shall be made in this delicate particular.
By Permission of the Berlin Photographic Co.,
214
14 East Twenty-third Street, New York.

e
GA
MONTI DI
625
C
cio
P ၁
AWNBROKER'S SHOP, by Oreste Da Molin.-When Favretto, the lamented founder of the Venetian school, departed
this life, his fame and genius survived him, and strongly inspired the best of his artist fellows. Da Molin is now generally known
as being the creditable successor to that great artist. His vivid and yet harmonious manner of coloring equals in many instances
the rich palette of the glorious master. The pathetic scene of these women, of all ages, crowding at the characteristic doorway of
the Venetian “Monte de Pieta” (Pawnshop); the expression of the various faces; those brilliant touches of color, which bring out so
effectively the poor remains of once gay attire, testify to his indisputable talent. Anyone familiar with dear old Venice and her popular types
can see some of them gathered in this wonderful canvas. The old gondolier has gathered his last rags and carries them with an uncertain
step. The familiar cicerone, who for years has shown to foreign visitors the splendors of the Church of St. Marco, bends his infirm body on
a cane and needs the help of his grandchild to reach the home-threshold, after pawning his old-fashioned watch to secure some temporary
comfort. The original was exhibited in the Italian section of the Fine Art Department of the World's Columbian Exposition.
by Special Permission of the Artist,
215

3
G. NAUJOK.
SAINT CECILIA.
All the world of art has laid its tributes on the shrine of Saint Cecilia, patroness of music and musicians the world over. The popularity
of this most delicate and ästhetic of all the saintly characters is universal. Half the musical societies of Europe are named after her. Poets
have sung her praises, the great Dryden at their head; sculptors have carved her image to adorn her sanctuaries; and since the days of
Domenichino, painters have found in their conceptions of the protectress of harmony and its devotees their highest ideal of virgin sweetness
and elevation. The artist who produced the painting which is here engraved, owes to it a vogue that extends not only throughout Europe,
but reaches to the remotest bounds of the American continent, and a reputation that formerly was limited to his native Königsberg, has now
become world-wide. While in large measure this is due to his happy choice of subject, it is also to be accounted for by the extraordinary
merit of his composition. The pleasing contrasts of light and shade; the illumination proceeding from the flower-laden cherubs, who typify
the legend of Cecilia's harmonious communion with heaven; her sweet serenity and strength of expression; the graceful pose of the fingers,
one hand resting lightly on the keys, and the other raised in surprised recognition of the heavenly host-each contributes to the appre-
ciation of a most happy combination of reality and idealism.
216
Copyright 1893, by Berlin Photographic Co.,
14 East Twenty-Third St., N. Y.
Reproduced by Special Permission

Cup223
vi
M
HANS DAHL.
renown.
A CHILD OF NATURE.
Far from his studio in the great art-city, the painter has seated himself before his easel, on the borders of a limpid stream, in the pellucid
waters of which are reflected the huge outlines of the giant mountains that stand guard over the peaceful scene. He has chosen a subject
to his mind, and alone with Nature in her grandest, and yet most gentle, forms, he has set himself to compose a picture that will add to his
Suddenly, upon his reverent, studious mood, there breaks a ripple of merry laughter; and, glancing up, he beholds a vision of frank
and rustic beauty that, pausing not in her gleeful run along the mountain foot-hills, greets him, as she passes, with a smile in which welcome
and amused embarrassment are strangely blended. He follows her with his eye until she is out of sight, and when he turns back to his
canvas, his solemn inspiration has vanished, his lofty mood brought down to earth by this momentary glimpse of a bare-footed, lightly-clad
maid of the mountain. How surely the artist has drawn the running figure—the knee bent forward far enough to catch the sunlight from
almost directly behind, the little bare foot upraised, the pail swinging backward from one arm, while the other is lifted to catch together the
wayward garment lest it reveal too much-the only suggestion of self-consciousness in this thoroughly genuine child of nature.
217
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
14

a
VENETIAN TERRACE, by M. Dominguez.-This is a reproduction from a fine original painting exhibited in the
Spanish section of Fine Arts at the World's Columbian Exposition. In it the painter demonstrates his right to be ranked with the
great contemporary artists. The figures in the picture are sketched with a perfection which lacks nothing. Note well the perfect
ease of every one of the persons represented. The scene is sketched from one of the many terraces of the “City of the Sea,
looking out to the lagoon, but in this case revealing little or nothing of the city itself. It has not been the artist's purpose to display the
architectural monuments, the canals and gondolas of Venice in the usual conventional way. The prow of a single gondola is seen at
the right. The characters introduced into the picture are not wholly Venetian. The refined beau is French in every lineament-
thoroughly cosmopolitan, completely gallant, quite irresistible in conquest. In this instance he has found a match. She also may be
French, but her Italian residence has given her a more tropical perfection. The old gentleman reading the paper is a wealthy
Englishman, and the two ladies opposite are his daughter and her cousin.
218
By Permission of the Artäst.

HUGO SALMSON.
AT THE PASTURE GATE.
This exquisite picture of mountain life impresses us with the ability of the artist, Salmson, to produce a great effect with few details. Here
is only an upland pasture stretching off to the horizon, with not even a tree to break the grassy distance. A rude gate rests on stones and
boulders, yet the effect of this simple landscape is powerful. It expresses peace—calm strength “on the heights” above the wrangling and
confusion of the world. The setting sun lights up the faces of the waiting group of children, and throws a brightness on the opposite sky.
Some critics object to the introduction of figures into landscape, saying that they take away from the restfulness of nature; but this group by
the pasture gate only illustrates and carries out the scheme of the landscape. These children of the mountain solitudes break in no way
on the majestic stillness of the effect. The older girl, with dreamily downcast eyes, waits for the coming of father, or perchance a lover,
while the child in her arms plays with a handful of cherries plucked from the orchard of the lower mountain slope. The older boy counts
his treasures one by one with satisfied air. The bare-footed girl, leaning against the gate with unconscious grace and dignity, has her eyes
fixed on the sunset sky, with the questioning look of childhood in her pure, peaceful face.
219
By Permission of Braun, Clement & Co.,
257 Fifth Ave., New York.

A
CHILD OF THE FIELDS, by A. Savani.-When we see a figure-painting like this, we feel sure there is nothing more
picturesque than one of these dark-skinned, black-eyed, barefooted Italian peasant girls. They have the artless graces of childhood ;
but with them they show a certain progress towards early maturity, which is not diminished by their being brought, in the years of their
tender youth, face to face with the hardships of life. And so there is a kind of womanliness about them, even before they cease to be
children. We have here a delicious combination of maturity and childishness, in this sweet little figure, which we may enjoy for its
picturesqueness, until the sadness of it all is forced upon us. This child should be playing with other children ; yet here she is at work in the
field, gathering stalks of Indian corn for cattle-fodder, and bending her tender body backwards under the load. Her more convenient burdens
she will learn to carry on her head, and when she emigrates to America we shall see her trudging through the streets, stunted in growth by her
toilful life, but square-shouldered and erect. We are accustomed to think of Indian corn as essentially an American product—and it is a
native of the Western Hemisphere; but, under the name of “maize," it is extensively cultivated in many parts of Europe.
By Permission of the Artist.
220

A
ES
HARITY, by Walter Gay.-(By special permission of the artist.) The painting from which this reproduction is taken was a part of
our national exhibit at the World's Columbian Exposition. The picture, however, was sketched originally from a domestic scene in
Brittany. Two beggars, an old woman and her grandchild, have come into a peasant's home, seeking for charity. The people who
live here are by no means well-to-do. Nevertheless, the call of the stranger has not met with rebuff. The woman, here as every-
where, is first to hear the cry and to meet it with her sympathy. She has arisen from her chair and is cutting the loaf of bread to divide
it with the strangers. The husband remains at his repast, but his face is lifted, and he willingly joins in the charity bestowed by his
wife. The artist has caught the scene at a crisis when all of the figures are displayed to good advantage. The two wanderers are in the
attitude of appeal; and the wife is busy with her benevolent thoughts over the loaf. The figure of the little girl calls most strongly for
pity. Her face is wan; her thin limbs may be seen under her dress; around her shoulders the shawl, though old and faded, shows the
grandmother's care and love, faithful even to death. Why beggary is in the world is a problem for philosophers.
By Permission of the Artist.
221

go
G. PAPPERITZ.
*)*}382"}
MADONNA.
LIKE Defregger and von Uhde in Germany, like and yet unlike Dagnan-Bouveret and Beraud in France, and Thayer in America, our artist
has painted a modern mother and child. Looking back over the history of the Madonna in art, from the limited formalism of the Catacombs
and the conventionalism of the Byzantine school, the sweet sincerity of the Van Eycks and the glorious fulness of the “Golden Age," we
may easily find reasons to deplore the want of the unquestioning belief and reverence which guided the artists of these different ages. But
the modern artist may be none the less reverent, even though he dwells less on the mystic character of his subject. It is not divinity which
he portrays, perhaps, but the qualities of humanity which raise it nearly to the divine. Take the picture before us. We recognize a model
and a human child ennobled by the artist's touch; but in the face and gesture of the mother we read a world of love and tenderness, and in
the half fearful, half courageous eyes of the little one we see typified the very spirit of a childhood to which the great world is opening for
the first time. There are suggestions of the old masters in the pose and the arrangement of drapery on the right; but the picture is not to be
taken as an interpretation of the supernatural, but rather as a typification of the sweetest emotion of the human heart—the mother-love.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
222

J. HAYNES WILLIAMS.
NO THOROUGHFARE.
HERE is a complication. We cannot tell which of these girls it is, but one of them has troubled the peace of mind of this young man, and he
has betaken himself to the fields for a long walk while he thinks the matter over. What ecstasies he has felt, and how he has discoursed to
himself, we may imagine. Suddenly he comes upon a stile, where his farther progress is stopped by the presence of ladies, and on closer
inspection he discovers them to be the very object of his thoughts and her dearest friend. These confidantes also have had some matter on
their minds for the discussion of which they needed some retired spot. They have reached a point in the conversation where an interval of
silence seems to be most fitting, and they gaze down the path, thinking-and of what ? Doubtless of him ; for it is of him they have been
talking. They do not see him approach. He is upon them without their knowing he is there.
He is upon them without their knowing he is there. The little romance has already proceeded far
enough for him to suspect with reasonable accuracy that they have been talking of him, and that his encountering them at this moment is
most embarrassing. It is “No Thoroughfare" indeed !
indeed! Can he turn about and retreat before they observe him ? How unfortunate should
he not succeed ! Let us hope that all will turn out well. We cannot help him. We must leave him to his fate.
Copyright 1894, by Photographische Gesellschaft.
By permission of Berlin Photographic Co., New York.
223

DEIKER.
IN AT THE DEATH.
THE chase is ended.
The noble quarry has been run to the death. The huntsman blows upon the horn the triumphant signal, pregnant with meaning to his less fortunate fellows
who have lagged behind. A keen disappointment to one of them, at least, for another moment would have brought him also in at the victorious termination of the hunt.
The dogs
share in the victory of their masters, and while one of them stands panting to greet the late comers, another is begging for the reward of a word of commendation or an approving
pat on the head.
The splendid stag lies stretched upon the long, coarse grass of the mountain-top, to which he has led the hunters in their eager chase. There is something
melancholy in the spectacle of so fine a fellow brought to earth; and yet he is only fulfilling his highest destiny. Soon he will be food for hungry men, the famished lords of crea-
tion; and already he has given a zest to their appetites by leading them a chase for which they will remember and honor him as long as stories of the hunt go their perennial rounds
among the wearers of the green. It is not unlikely that, as the story of this particular chase gathers new details from year to year, the proportions and prowess of this very stag
will become augmented, limited only by the size of his antlers, which will be preserved and remain a permanent witness to the exact truth.
By Permission of the Berlin Photographic Co.,
14 East Twenty.third Street, New York.
224

BY
V
Hone Dahl
TOO LATE.
HANS DAHL.
The work-a-day world is not all toil and trouble, but has its merriments and its joys for those who know how to find them. Possibly the youth who has failed to catch the last boat
across the lake with his burden of hay, has some difficulty in seeing just where the fun comes in. But before we waste any sympathy on him we must reflect that, in all probability,
exact justice is being meted out in this little affair. Hans and Gretchen doubtless have their own reasons for being entirely willing to have the boat to themselves, though they
would hardly have carried the joke so far as to leave the surly fellow in such a plight, had he not provoked their resentment by some clownish behavior in the hay-field during the
day. These peasants have their little social affairs as well as others. Apart from the humor of the situation, there is much to enjoy in this delicious painting. It is a pleasant corner of
the lake from which this long boat is gliding out towards the setting sun under the long, sweeping strokes of the vigorously plied oars. Midway between the discomfited and the
victorious youth, the figure of the girl, artless in pose, and wholly given over to the enjoyment of the practical joke, is most agreeable to contemplate Presently, as the boat gains
headway, she will sink down upon the hay, and turn her back for good on the hapless victim, leaving him alone with his bitter reflections, bothered in his work and beaten in love.
225
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

HERMANN KAULBACH.
THE LAST DAYS OF MOZART.
An episode in the life of a great German composer, represented by the brush of one of a talented family of German painters, chronicles, in one effort, German supremacy in two cepart-
ments of art. The death of Mozart, near the end of the last century, was felt as a national grief, so conspicuous was he as a representative composer, and so popular personally through-
out his all too short life. At that time he filled the post of imperial composer to the Emperor of Austria, and had but recently given proof of his loyalty by refusing the position of
kapellmeister to the King of Prussia at nearly six times the salary. During the year that preceded his demise, he had received a mysterious commission to compose a requiem for an
unknown patron, who accompanied his order with a liberal payment in advance. He began the task under a superstitious dread lest the messenger had been sent from the other world
to warn him of his own approaching death. When the final summons came the requiem was still unfinished, and it troubled him to leave his work incomplete. The afternoon before
he died, he called for his requiem, and while sorrowing friends played and sang it from the manuscript, he joined with feeble voice in the alto part. At length, just after they had
begun to sing the “ Lacrimosa,” suddenly overcome with the realization of the fact that the requiem never could be finished by him, he burst into tears, and the music ceased. “ Did I
not tell you," he said to his friend and pupil Süssmayr, who afterwards completed the requiem on the lines laid down by Mozart on his death-bed,“ that I was writing my own requiem ?”
By Permission of the Berlin Photographic Co.,
226
14 East Twenty-third Street, New York.

(17)
THE CITY COUSIN.
B. VAUTIER.
HOWEVER the city-bred man may excel his country relations in easy intercourse with his fellow men, the country small boy has an advantage over the city small boy by virtue of
his less restricted bringing up.
The children of the city and country branches of a family are here brought together for the first time. The honest-hearted little countryman very
frankly makes friendly advances. In his simple, ingenuous life there have been no experiences that would prompt him to do otherwise. But the little city boy has lived in terror of
all strange faces, especially of strange boys, and he has had reason to “fear the Greeks, even when they bring gifts." He shrinks back to the protection of his mother's knee, and
appears socially at a great disadvantage with his straightforward country cousin, in spite of his good clothes and his well-shod feet. Possibly he is not accustomed to see respectable
boys going barefoot and without coats. Approached in the city by such a boy, he would expect to get a “licking” and lose all his marbles and other valuables, such as are
treasured in that omnium gatherum-a boy's pocket. But he will soon get over that when he learns what a good heart shines through those honest black eyes, and he will soon be
begging his mother to let him, too, run barefoot and have all the good times his new-found cousins can give him. The members of the family gathered 'round are very much
interested in this effort to establish friendly relations, and look to see the apple of peace accepted.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
227

sorelos
ays
ANCERS ON THE MARCH, by José Cusachs y Cusachs.-The Spanish have caught the realism of the French military painters, and in this picture of “Lancers
on the March we have the actual thing. There is something very truthful in the peasant cast of feature, indicating accurately the class from which European troopers are
recruited. The “bunchy” effect of the uniforms and accoutrements, prepared for heavy marching order, is another touch which will be recognized as true by all who know
that troops on the march have little of the trimness of troops on parade, and that heavy overcoats and folded blankets do not lie very snugly. The open order of the march
and the easy position of the lances, are characteristic of a squadron en route. The horses are well drawn, and exhibit an interesting variety of both mien and action-note, for
example, the steady plodding of the leader, and the glaring eye of the galloping horse that rapidly bears an officer to the head of the column ; and there is effective contrast of color
between the black horses of the advance guard and the white ones of the main body. There is a characteristic touch of Spain itself in the group of low-lying houses over the hill.
Several of Cusachs's military subjects were sent to the World's Columbian Exposition, this among them.
By Special Permission of the Artist.
228

ONKEYS ON THE SHORE, by J. H. L. de Haas.-This scene is from Holland. Yonder, in the distance, is what the old Lowlanders of the Middle Ages called
the “ ferocious ocean. Now, however, the North Sea has been tamed by the genius of man, and dyke and ship and garden-land may be seen by the observer as he turns
his face around the horizon. The interest of the picture, however, is not in the landscape, but rather in the living creatures that occupy it. Three philosophical donkeys,
Their huge
harnessed for their tasks, but for the present driverless, stand contemplatively in the foreground. They have the peculiar manners and expressions of their kind.
ears stand out listlessly, and a look of satisfaction pervades each face. This may well be, for the beasts have been fed and groomed with care. Their owner believes that the donkey is
worth his hire. This fact seems to be known to the animals, and they have cultivated an air of dignity and independence somewhat above the average of their species. Indeed, not-
withstanding the rustic harness and covering, they do not lack much of rising to the rank of aristocracy. These animals have been left for the nonce by their master here on the sea-
shore, and he has gone his way knowing that the contemplative mood of his donkeys will keep them from straying. With these beasts self-possession is a primary principle and rest has
become second nature. The original was exhibited in the Holland section, Fine Art Department, World's Columbian Exposition.
229
By Permission of the Artist.

7460
FERD. PAUWELS.
HE THAT SEEKETH, FINDETH.
That the popular idea of a battle-field represents only one side of it, and that the least dreadful one, is well known to every soldier. The exciting work of actual conflict is brief,
and less trying than the weary hours of waiting that precede it, or than the grim silence that follows, broken only by the cries of the wounded and dying. During the battle the sol-
dier is sustained by the presence of comrades, the inspiration of the charge, and the keen activity of every faculty, physical and mental. But when the night falls, and the wounded
hero is alone with his thoughts, weakened in body, and with tired nerves unstrung, his mind turns to the solemn concerns of life and of death. If at such a time he has his faith to
fall back on, and his spirit may seek communion with a spiritual leader, the sordid considerations of a cruel and selfish world are displaced, and the unhappy lot of the wounded and
deserted man is lightened by the consciousness of a radiant Presence that stands ever ready to answer the cry of the soul. This eternal lesson has been taught by the painter of this
peaceful midnight scene on the field so lately given over to carnage. The suffering soldier is roused from the lethargy of despair to behold the shining vision of a glorified though
thorn-crowned Saviour.
In the extremity of the man has come the opportunity of the waiting Redeemer, and the soldier's look of pitiable surprise is the welcome He receives.
Copyright 1894, by Photographische Gesellschaft.
By permission of Berlin Photographic Co., New York.
230

Here
HE FLAX-BARN, by Max Liebermann.- The best flax in the world, almost, is grown in Holland, and it is the most carefully and intelligently prepared for
spinning. It is said, that in the flax-growing country, there are literally no paupers, since the whole population find employment at spinning flax in the winter.
is a busy scene, that shows the extensive preparations for thus employing large numbers. The interior of the flax-barn is completely filled with rows of spinning-wheels
and spinners.
The wheels are turned by the hands of small boys and girls, instead of the foot-treadle, leaving the experienced spinners free to give their whole
attention to the flax itself. The artist has made the most of the quaint costumes, of which the oddly-turned caps and the wooden sabots with their sharp, upturned toes,
especially catch our attention ; and the strong side light, glinting along the lines of taut-pulled flax, and falling on the bunches of raw material which the women hold
before their bodies. The varied positions of the workers--the spinners intently watching the strands on which they ply their deft fingers, and the wheel-turners as they
bend to their task, are well and suggestively drawn. The painting was loaned by the National Gallery at Berlin to the World's Columbian Exposition.
By Permission of the Artist.
231

EM BREITE
A
He
She gazes
RABIAN LADY BOATING, by Bredt.-The artist Bredt here presents us with a charming type of an Arabian lady, which is undoubtedly an idealized portrait of the
highest type, in which every detail, from the luxuriant, raven-black hair, to the filmy drapery that veils the shapely arms, is rendered with a delicately sensitive hand.
shows her to us in profile, with a tender background, her fair face rather pensive in its expression, and her downcast eyes softened by the tenderness of dreams.
into the river, whose water mocks the sky with flashes of opal and of pearl. The African servitors sit behind with complacent ease, while the Arab boatman steadies his oar
to let the little maid gather the lotus flower for which she is reaching. In the drapery which trails over the side of the boat, the artist has carried the painting of texture and coloring
to a high degree of perfection. The landscape is veiled in a transparent vapor and the mystery of the hour is in the air, and spreads through the picture a sentiment of complete
repose and security from the rude disturbance of worldly brawls, embodying an idealization of " Araby the blest.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
232

PIETA.
A. ROTH.
This title is given in art to representations of the Virgin Mother, the Holy Women, or the angels in attendance on the body of the crucified Christ. In this example the emphasis is
laid on the figure of the sorrowing Mary and the consoling company of ministering angels. The Virgin sits with the crown of thorns, emblem of the divine humanity of the Saviour,
in her lap. In the effort to accept the consolation that is offered to her, she raises her eyes up from the body of her Son to dwell on the heavenly kingdom, whither He goes to reign
forever. The agony of mortal maternity and the elevation befitting the Mother of God are blended in her pathetic, yet inspired, expression. The mission of the angels is indicated
in their several attitudes. One with rapt, seraphic look turns her eyes towards the celestial vision. Bowed in tearful sympathy behind the Virgin's chair, another suffers with the
mother bereaved of her son, finding companionship in the sorrowing commiseration of a third, who stands apart ; while to a fourth is assigned the better part of directing the thoughts
of the mother to the ascending Lord, her hand raised in token of the Easter message, “He is risen”--the one message calculated to bring compensation to the stricken Mary, and
one that has gladdened Christendom for nearly twenty centuries, extracting the sting from death, and giving promise of that immortality which is the hope of the nations.
233
Copyright 1894, by Photographische Gesellschaft.
15
By permission of Berlin Photographic Co., New York.

-GA
6
D
AUGHTER OF THE RAJAH, by Paul Sinabaldi, and RUSSIAN GIRL, by Karl Venig.-In this picture we have presented the very extremes
of the Aryan races. The daughter of the Rajah is a conspicuous type of the oldest, as the Russian girl is of the youngest development of the Indo-European
family of mankind. The race of Brahm in the Valley of the Indus had already an ornate mythology and efflorescent literature as much as twenty-two centuries
before the Christian era, while the Slavic race, represented by this Russian girl, emerged into the civilized life only in the later Middle Ages. It thus happens that
though these two pictures show the form and features and costumes of kindred-although they are, so to speak, cousins by birth—they are separated in race development by
a span of fully 3,000 years. Apart from this historical interest, the two pictures possess remarkable individual merits. The daughter of the Rajah is in the bridal dress of the
East. She stands for the highest type of native civilization known to Asia. The Russian girl also displays the striking peculiarities of her race and country.
There is one
sense in which urbanity and affable manners have developed with the progress of the races westward. In the same sense haughtiness and reserve have remained in the East. But
so far as the forms of observance and intershow of life are concerned, the case is reversed. The Orient is haughty and formal, while the Occident smiles and strives to please.
By Permission of the Artist.
234

A
DRAMA OF THE WOODS, by Karl Uchermann.-The painting from which this reproduction was taken was in the Norwegian Department of Fine Art at the
World's Columbian Exposition. The scene belongs to the wilds of Norway. It is mid-winter, and the desolation is complete. The ferocity of the wolves has been whetted
by starvation until their natural cowardice is overcome by appetite. Under their flat and grisly skulls dwells the dragon of cruelty. They raven across the snow plains driven
by instinct in pursuit of flesh and blood. This gang of savage creatures has fallen in the trail of a Norwegian caribou, and has followed him until his strong limbs are
exhausted. They have seized him with their fangs, and brought him down. He has struggled with them in the snow, but at last, with mouth flung wide, and despairing bleatings,
and rolling eye, has given up to death. His relentless enemies have triumphed. Two of them are already at the feast. The other two, with diabolical snarl look down on the prey.
They mount upon the dead monarch of the plain, and anticipate the pleasures of bloody gluttony. The remaining savage scavenger comes prowling through the snowdrift in the
distance. There will be enough for him also. The artist has done full justice to this dreadful tragedy, enacted by savage beasts upon a creature nobler than themselves.
By Permission of the Artist,
235

XA
CARL BECKER.
OTHELLO.
The fruits of Carl Becker's long and careful study of Venetian subjects are preserved in this depiction of Shakespeare's Moor recounting to Desdemona and her stately old father
his “ moving accidents by flood and field.” The elements of picturesqueness and beauty are almost superabundant here—the rich Venetian interior, with its outlook upon a charac-
teristic view; the gorgeous costumes of ancient Venice; the many contrasts, as between the dusky warrior and the fair creatures of another race, between youth and age, between
sturdy manhood and gentle girlhood ; the skilful grouping; and, above all, the directness of the story told in the picture, which fitly claims the first place in the interest of the
beholder. Such an Othello, under the spell of the tears, the sighs, and the still more open hints of such a Desdemona, might well defend himself before the “most potent, grave, and
reverend seigniors" of the Venetian senate, against the charge of having carried her off unencouraged. “She loved me for the dangers I had passed, and I loved her that she did pity
them. This is the only witchcraft I have used.” The story is eloquently told in the picture, descriptive of the narrative of the Moor as he speaks of "hair-breadth 'scapes i' the
imminent deadly breach.” One may dwell with delight on this episode, so richly set forth, and almost forget the tragedy that followed it in the immortal drama of passion and jealousy.
236
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

THE COUNTRY'S HOPE.
F. BRUTT.
This picture is wholly and thoroughly
German. It shows the respect which even old age and rank are bestowing on some young prince, led abroad for his outing by the nurse, and
followed by a guard and protector. The young fellow has been drawing his hobby-horse along in the usual manner ; but that insensate effigy has fallen over in the road.
There is,
however, too much ceremony hereabouts to permit of any notice of the incident. The scene may have been sketched from one of the walks of Heidelberg or Weimar. The two
well-dressed and polite old men may be professors out of the university, or probably one is a professor and the other a regent. They are old in service, but their minds are still
vigorous, and their manners above reproach. This includes loyalty to the little prince. In America the “country's hope is every well-born child of whatever rank and station,
but in the graded society of Europe, deference is given according to blood and kinship. Note well the bearing of the guard, who, in his long cloak and silk hat and armful of
Let us all "hope" that when this scion of a noble race reaches manhood he will not disgrace royalty by
wraps, walks respectfully en militaire behind “ The Country's Hope.
indulging in the various forms of dissipation so common among princes and kings in all ages.
By Permission of the Berlin Photographic Co.,
237
14 East Twenty-third Street, New York.

CONGRESS
EMANGIPATION
FROM
MASTERS
och
*
امان از
@
ONGRESS FOR EMANCIPATION FROM MASTERS, by A. Gilli, and RETURN OF THE EMPEROR WILLIAM FROM THE BEAR HUNT,
by Julius Falat.-This picture consists of two panels on different subjects and by different hands. In the first we have a remarkable conceit by Gilli, expressed in a
congress of dogs considering the best methods of emancipation. The dogkind has become restless under the restrictions and limitations placed upon the species by the master
race of man. This restlessness has grown into a social movement, leading at length to a convention of chief spirits in the interest of reform. The idea is that dogs in their
several kinds have been oppressed and wronged, and the question now is how to abolish the evil, and institute a new order of peace and righteousness. This question the dogs are
debating In the center of the conclave the master's hat, cane, and gloves, symbols of his despotism, are lying on the dias. The wish is that these emblems of tyranny shall be
removed, but the fear of the master rests upon all his serfs, and they hesitate. In the second panel the artist has drawn a winter landscape, with sledges and hunters returning from
the bear chase. The sleigh of Emperor William is the third in the procession. All are wrapped in furs. The horses are harnessed after the manner of Teutonic and Slavic countries.
Notwithstanding the desolation of winter, there is evidence of hilarity and good cheer among these strong men returning from the haunts of the bear.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
238

cuhaus
FREDERICK WILLIAM I. AND THE SALZBURG IMMIGRANTS.
FRITZ NEUHAUS.
ALTHOUGH he was a severe parent (he once condemned his son to death), and a man of marked eccentricity, the father of Frederick the Great was honest, just, and fond of his people.
The province of Prussian Lithuania was devastated and almost depopulated by a pestilence early in the eighteenth century, three hundred thousand persons dying of disease and
famine. A few years later the king, Frederick William I., personally undertook the rehabilitation of the district. He made sanitary laws, rebuilt in every direction, sparing neither
effort, expense, promises, nor recompenses, to secure the success of the great work which he planned and superintended himself. To restore the population, he encourged immigra-
tion, and thus brought in thousands of families from every country in Europe. Among these were thirty, thousand people from Salzburg, a district in Austria, of whom seventeen
thousand came at one time. The country was soon repopulated, trade began to flourish, and in this fertile region abundance reigned more than ever-a province being thus restored
to happiness and prosperity by the king's own doing. The painting represents the old king, on one of his Prussian tours of inspection, greeting the Salzburgers as they trudge on foot
into his domains. Frederick the Great tells of his father's happiness, on a later journey on which the son accompanied him, when he looked over into the restored Lithuania, and saw
the wastes again blossoming under their “steady, pious husbandries, making all things green and fruitful.”
239
By Permission of the Berlin Photographic Co.,
3
14 East Twenty-third Street, New York.

HANS DAHL.
Vans Dahl
TOLL PAID FIRST!
HERE is the always fresh idyl of Strephon and Chloe, and yet, when we look again, there are three Chloes, and the lucky swain has stationed himself at a point of vantage where he
can command the pass, an amorous Leonidas, whose Thermopylæ yields at a kiss. For once a lover's diffusiveness is pardoned. One charming peasant girl has paid her toll and
passed. A second yields with a blush and smile, another in the distance stands in a boat which has brought the new-mown hay across the lake, and for the moment feels herself neglected
-a Dido left behind-but, more fortunate than Dido, her frowns may soon be changed to smiles. The glowing summer landscape is in keeping with this scene of youth and happiness.
It is the poetry of rustic life which the artist has depicted, and his glamour vests the more rugged facts of peasant life. In Norway, where, despite our visions of a land of ice, the summers
are hot, the sky vivid, and the atmosphere brilliant, the farmer's season is short. The grass is cut with a sickle wherever it grows, and often carried in a boat from some remote spot
to the farm itself, and transported by the armful, as we see it here. In parts of Germany, also, the boat, and not the cart, is the vehicle most relied upon, and thus rural life gains in
picturesqueness, if not in convenience. For the painter, at least, the costumes of the peasant girls and their naïve harvesting offer more engaging effects that the clattering mowing
machine and perspiring farm hands of American rural life. It is worth while, before we leave this charming scene, to note its fine atmospheric quality and the pervasiveness of the sun-
light.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
240

Q
ATERNAL ANTICIPATIONS, by A. Moradei.-Here is an artist who is at the head of that sentimental Italian school, so full of simplicity and charm, which, like
an echo of the great old masters, seems to reflect the nobility of their aspirations. Signor Moradei possesses all the most desirable technical qualities that an artist requires,
and he always finds inspiration in the simple life of his country-fellows, born in that noble region, Romagna-where everyone cares only for his love and for his own creed-
liberty. This happy young couple of honest laborers expect that a cherub will soon appear among them and be the cherished tie of their affection and the blessing of their
modest home. The man, for once in his life, has been out shopping, and with tender solicitude lays before the future mother the tiny garments that will soon protect the newcomer.
The woman, deeply touched by the delicate thought, with her beautiful eyes wandering, anticipates the joys of maternity and thinks, with an emotion till now unknown, that soon
the inarticulate accents of a new voice will resound within the rough walls of the happy household—the dainty features of a little creature, fresh like a rosebud and full of dimples,
will add new life to the quiet of the home, and add, if possible, another share to the great love that already unites the two devoted hearts.
The original was exhibited in the Italian
section of Fine Arts at the World's Columbian Exposition.
241
By Permission of the Artist.

es
JULES STEWART.
A SPRING DAY IN VENICE.
This picture differs materially from nearly all the delineations which we have seen of Venice and the Venetian life. The perspective is different. The city is thrown into the dis-
tance, across the lagoon. The softness of the climate, the perfection of beauty on every hand, the luxurious surroundings, the profusion of flowers and exhaling leaves, have suffused
the spirits of the visitors from the colder climes of the North, and transformed them into Venetians for the day. The picture draws within itself a large area of the city and the
lagoon. Across the water may be seen three or four of the most celebrated spires in the world. Just above the lady's fan, in the distance, rises the dome of the celebrated church
of St. Mark. There stand those winged horses which are said to have been brought from Alexandria ; also the famous winged lions, to which, in the language of Byron, many a
subject land has been wont to look
“Where Venice sits in state throned on her hundred isles.”
Here, when nearly all the rest of Europe was shrouded in barbarism, the light of learning, of architecture, of painting and sculpture was seen as a faint glow in the horizon of dark-
The beauty of the picture and its artistic excellence in design and execution cannot be doubted.
ness.
By Permission of Braun, Clement & Co.,
257 Fifth Ave., New York.
242

@
ROWN PRINCE FREDERICK ENTERING JERUSALEM, by Wilhelm Gentz.-Travelers in the Orient find it convenient, if not necessary, to change their
garb and manner of traveling according to the condition of the country. The desert has its own methods. The dominant forms of society demand compliance with the
existing order. The turban, the tent, the camel, all follow naturally in the wake of the desert and the Bedouin. This picture represents an incident of the travels of the
Crown Prince of the German Empire in the Holy Land. He, with a company of generals, statesmen and friends, visited Palestine and the City of David. The cavalcade is
just coming to the city. The round domes of mosques are seen here and there, and in one or two places stately minarets shoot up against the still horizon. The Crown Prince rides
on his camel at the head of the company.
Two Arab guides run before and reveal by their manner, their knowledge that they have an important mission with this company. The
chief interest centers in the Prince himself. His Teutonic form and visage, representing one of the highest types in the civilization of the nineteenth century, is strangely set against
the background of a country and race belonging to the past. On those hills beyond, Richard Plantaganet once whirled his battle axe. Between the mosques historical spectres
are gliding. There Nechos' daughter comes in state to be wedded to Solomon, and still further on, the men of Joshua may be seen attacking the walled town of the Jebusites.
243
By Permission of the Berl n Photographic Co.,
14 East Twenty-third Street, New York.

P
USSY'S TEMPTATION, by Antonio Rotta.-In this picture Rotta has introduced several interesting elements of composition
The children have a mouse
in the trap and are tempting pussy with the prize. Each of the urchins is given up body and soul to the little play. The girl is exquisitely done, from her frowzled
head to her bare feet. The principal interest centers in the temptation proper. In this the artist had to show the effect of the game on the contented and well-kept
pussy She has not for two or three years been dependent upon her own resources, having all the time plenty of the best. She has enjoyed the comforts of life until
she has become fat and contemplative. With this, the old feline instinct has been modified into a sort of somnolent memory. The hereditary passion still exists, but is greatly
weakened by the civilizing conditions which has played upon pussy, changing her views of life, and at the same time dulling her claws So the temptation, though very present,
is not strong. She does not bound at the mouse-cage with glittering eyes and velvety paws with sharp thorns thrust out, but must be lifted up and tormented with the smell of
the little edible in the cage. The children do not exactly see why it is that pussy is so indifferent. To older people, however, her state of mind is sufficiently apparent.
Satiety has its drawbacks. Pussy's indifference is a study.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
244

THE HOLY NIGHT.
F. ROEHER.
The first Christmas anniversary was celebrated in no stately cathedral, but under the open canopy of a southern sky; with no decorations but the glories of nature ; with no congrega-
tion but the Holy Family and the angels. But it was hallowed by the very presence of the Divine Child, sanctified by the serene, unspeakable joy of the Virgin Mother, and the choir
was of the cherubic host itself. Such a theme has inspired many a painter since the best days of Italian art, and it has inspired the painter of this picture with a spirit of devotion and
consecration worthy of his art. The sweetly radiant expression of the mother; the divine, yet truly infantile, bearing of the child ; and the joyous, cloud-borne chorus of cherubim-all
have been combined into a picture replete with the atmosphere of holy celebration. Apart, and wondering, sits Joseph, contemplating the beautiful though mysterious scene with the
feeling of awe befitting one who, while he does not yet realize what it is that has been intrusted to his keeping, is nevertheless conscious that it is something more than ordinarily falls
to the lot of a human father. The sweetness, the dignity, and the precocious wisdom that characterized the early years of the Divine Child lent a radiant felicity to the celebrations
of the recurring fêtes of the family, of which we are privileged in this simple and charming picture to see the conception of a truly devotional artistic spirit.
245
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

1199
Vorezia 1893
T
RUIT-SELLER-VENICE, by Stefano Novo.-This artist knows right well where to look for a picturesque subject. Nothing could be plainer and more humble than
the exterior of this little stucco shop. But, decorated with the hues and high-heaped baskets full of fruits of every sort, and set off with the ripe southern beauty of the fair
fruit merchant herself, it becomes a veritable exhibition of nature's fairest products. The various shapes which nature gives to the harvest of vine and tree, and the fine,
firm colors with which the sun paints them in their maturity, afford to the artist an attractive study, and to the connoisseur a treat for the color-loving eye. All the well-
known fruits of southern Europe are here—oranges, lemons, melons, the large, juicy cherries for which the country is famous ; pomegranates, mulberries, and countless others of
which we know neither the sight nor the name, and, perhaps, are not educated to enjoy the taste. This full-bloomed beauty at the door-side is awaiting a customer, who will surely
stop to pass a word or two with her, whether he wants any fruit or not, and then, if she is as clever as she looks, she will send him away laden with some of her wares, and will turn
a profit into the little shop of which she is the fair divinity. This painting was one of Italy's contributions to the World's Columbian Exposition.
By Permission of the Artist,
246

B
FRANZ DEFREGGER.
TYROLEAN MINSTRELS.
The close and intimate knowledge of Tyrolese peasant types displayed throughout Defregger's attractive series of paintings illustrating this subject, was obtained by the artist during
the years of his youth, when he was his father's shepherd boy. But even then, the artistic instinct was strong within him, and sought expression in such ways as his facilities afforded.
He modelled in dough or clay his friends and his sheep, and even cut very presentable landscapes out of paper with a pair of scissors. A tendency which, untaught, manifested itself
so strongly, and with such evidences of real insight and skill as he then displayed, indicated the natural-born artist; and, appreciating this, a good friend took him into his studio and
gave him instruction by which he profited so weli that he became eminent as a painter, and came to the head of an important institution of art. Picture-lovers are impressed first of
all by the concrete simplicity of his compositions, which consist merely of natural figures naturally grouped and engaged in their normal occupations, without a suggestion of trickiness
in painting or striving for effect. Into a pleasant home of the Tyrol a party of strolling minstrels have wandered-father and two children-and with their mountain songs and char-
acteristic” yodel” they entertain the gathered family. This is the simplest possible subject, and yet it is made into such a picture as one would gladly have near him constantly, where
he could unceasingly enjoy it.
247
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

ter
.
RA
VAA
THE LAST VOYAGE, by Edwin Lord Weeks.-A number of American artists have established reputations as painters of oriental subjects, which they have treated
in a manner distinctively their own, and have won triumphs in a field peculiarly affected by European artists. High among these Ainericans stands the painter of this picture,
which occupied an honored place in the United States Exhibit at the World's Columbian Exposition. It represents two fakirs, or ascetic begging monks of India, whose
pilgrimage to the holy city of Benares has been interrupted by the sickness unto death of one of them. The inhabitants of India ascribe a peculiar sanctity to the waters of the
river Ganges, and the other fakir has hurried his companion to this river, in order that he may breathe his last on its sacred banks, and that his sins may be expiated by contact with
the holy stream. Others who have died are still floating on the water, though the tender mercies of the river do not extend to preserving them from the carrion birds; while still others
are being cremated on funeral-pyres, and their ashes will be buried or flung upon the waters. The city in the background is a fanciful typification of holy India, showing its temples,
pagodas, and religious customs. The vast amount of incident which the artist has put into his picture, without detracting from the interest in the principal group, is a masterly feat in
comprehensive composition.
By Permission of the Artist.
248

TTTT
A CORNER OF THE LAKE.
L. C. NIGHTINGALE.
It is the purpose of some pictures to tell a story; of some, to please the eye with a purely decorative harmony of color; and of others, to portray a mood. The subject here engraved
is of the latter class ; it conveys the idea of delicious, languorous serenity.
us, languorous serenity. The autumn foliage of the trees is disturbed by no breeze; the comely pair of maidens in the boat,
doubtless have been enjoying the gentle exercise of “punting,” but in the haven of the retired corner of the pretty lake to which they have come, there is no longer any suggestion
of the slightest activity. Their attitudes are those of restful repose, so profound that the coming of their companion who hails them from the shore does not in the least arouse
them. She, at least, has been doing something, as her fruit-filled basket hanging on her arm indicates. But the deepest interest they are likely to take in that is to be found in the
probability that they will regale themselves with some of the fruit, without interrupting their dolce far niente. The artist has conveyed the suggestion of undisturbable idleness so
completely that no other thought is possible. In doing it, he has brought us to a charming spot, and he has peopled it so attractively that we are quite willing to remain here, con-
templative, like the lovely girls he has placed here for us to look at, and, like them, unwilling to have our occupation interrupted. We may imagine, if we will, a pretty country house
beyond the fence that borders on the lake; but until the charmers rouse themselves and go away, we will stay here too.
16
249
Copyright 1894, by Photographische Gesellschaft.
By permission of Berlin Photographic Co., New York.

Jan Vanhar
Q
ARTYRS OF THE BEACH, by Jans Verhas. (Belgian Section of World's Columbian Exposition.)—The martyrs are the donkeys. Here, on this wide reach of
sea-shore, thrift has established the donkey rack. Here the little jockeys have been put in charge, and here visitors come—the great folks and others—to hire the patient
animals for a canter over the sand. No tree is seen here—no shadow save that cast by the patient beasts. There is a long shore, and at the right a suggestion of hills;
over that the sky, and in the left background the illimitable sea. A company of riders, at the right, are returning from their sport. Here at the rack four donkeys stand
hitched, waiting for their turn. Jack, who lies on the ground—and who, we hope, never lies otherwise—is making good use of his time, by reading a story. It may be “ Crusoe.” He
is profoundly absorbed in the incident, but he is a little disgusted with the conduct of the story. The donkey faces are highly characteristic. Sleepiness, patience, philosophical
indifference and mental reservation of the rights of insurrection and treachery are all suggested in the features of these typical beasts.
250
By Special Permission of the Artist.

a
CROSS COUNTRY IN WINTER, by Alfred von Wierusz-Kowalski.-We need not be told that this fine and dramatic picture is by a Slavic artist. One
must needs have seen and felt this landscape before he paint it. Such things come not out of books, but out of sight and touch and experience. Winter travel in
Russia and Poland often bring such episodes as that which Kowalski has here so powerfully drawn. In these countries winter settles down with a rigor and terror unknown
in Western Europe and America. Already in the last days of September vast areas of treeless plain are covered with a sheet of snow. Here a great expanse of frozen
champaign, overarched with the leaden and merciless sky, is traversed with a sledge and its travelers. They, with their four powerful horses, are journeying swiftly across the
illimitable field of snow The episode is that of an attack by wolves. They are half famished, and therefore desperate. They plunge madly at the horses and the sledge. Their
A battle is on—battle of man and beast. The participants are relentless nature, savage ferocity, and human intelligence whetted
red mouths, white-fanged, are agape for blood.
to sharpness and blood-spilling by the exigencies of the struggle. The picture in some of its features may remind the beholder of that which represents Napoleon 1., driven in a
sledge across Poland on his way back to Paris after the horrors of the Kremlin and the Beresina.
251
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

A
SHOWER, by Luigi Chialiva.-On the crest of a grassy hill which slopes gently away to the dim horizon, two young girls and a flock of sheep are huddled together
during a passing rainstorm. The children are snugly ensconced beneath a big umbrella, and are lavishing caresses upon a milk-white lamb—the pet of the flock. The sheep
have gathered closely together, their woolly backs adrip with rain, and are waiting with that patient gaze peculiar to their kind, until the clouds have emptied their aqueous
contents. The two little girls are quite unmindful of the drizzle and dampness. They are well protected by their umbrella from both rain and wind. The youthful
shepherdesses are too much engrossed in their pleasant task of fondling the most recent addition to the flock to give much thought to the weather. The usual melancholy expression
of the sheep is in admirable keeping with the moist dreariness of the landscape. To the left and winding through the distant center of the scene is a broad stream,
opalescent and
opaque under the pearl-gray sky. There is a feeling of brightness in the picture, despite the temporary gloom thrown over it in consequence of the shower. Through all the
atmospheric depression so finely rendered by the artist one cannot help but feel that behind the milky mist the sun is brightly shining, and in a short time the scene will be a sparkling
and a joyous one. The original of this picture is in the Corcoran Art Gallery at Washington.
By Permission of Boussod, Valedon & Co.,
303 Fifth Ave., New York City.
252

THE PROCESSION OF DEATH.
SPANGENBERG.
This gruesome subject is a rather picturesque realization of the thought that“ man that is born of woman is of few days," and that all, high or low, rich or poor, “await alike the
inevitable hour." Grim Death, with fantastic mien and dreadful smile, conducts the universal procession to the grave. His followers include the young and the old, the decrepit
beggar and the mounted banneret knight, the burgher's child and the half-naked gamin of the street, the hard-featured debauchee and the sweet girl still wearing the white robes of
her first communion. They follow on in all moods-joy at release from the burdens of life, dogged resignation, and heart-breaking despair. While Death takes many that do not
want to go, and others that can ill be spared, he leaves unsummoned others that fain would join his solemn procession. The wayside beggar, wearied with years and privations,
wearing the weeds that commemorate her separation from those gone before, whom she longs to meet again, begs unavailingly to be numbered with the throng of those who have
taken up their way towards what seems to her the only possible happiness. And, full of the desire to seek“ the bubble Reputation even in the cannon's mouth,” the handsome young
soldier grasps his loved one's hand, willing even to break her heart in parting rather than withdraw his steps from the paths of glory that "lead but to the grave."
253
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

B. VAUTIER.
A FRIENDLY CALL.
Our artist, who for many years has been one of the most popular of German genre painters, owes his success not only to the exactness of his execution, but also to the completely
sympathetic character of his work. His characters are full of a vivid human interest, and his types are always clearly differentiated. As some one has said, with him the wine-merchant
of the Rhine differs from the Bavarian beer-merchant and the Spiesburger of Westphalia. Each type reappears in his pictures with its own characteristics, and it is this faculty of
clear individualization that distinguishes Vautier from many of his contemporaries. Like Meyer von Bremen he has had in the past a considerable popularity among American collec-
tors, although in a lesser degree. The interior which he shows in the picture before us is that of a humble peasant's cottage, devoid of ornament, and on that account affording a more
effective background for the comely, wholesome figures before the plain stone and plaster fireplace. The stone floor, the massive home-made table, and the dresser with its pewter
plates and jugs, all have a severe sincerity which reminds us of the axioms of Eastlake, although they represent merely a short cut to utility, with little thought of beauty. Yet they
are in better taste than an array of pretentious make-believe ornaments. While the caller is gossiping over her tea, after the fashion of callers the world over, the round-faced boy
has gratified his half-fearful curiosity by discovering the contents of the basket, and hen and boy wear an expression of mutual surprise.
Copyright 1894, by Photographische Gesellschaft.
By permission of Berlin Photographic Co., New York,
254

Bean
22
&
PISODE OF THE WAR OF INDEPENDENCE, 1808, by. Caesar Alvarez Dumont.-The fine painting from which this reproduction is taken was
exhibited in the Spanish section of Fine Arts at the World's Columbian Exposition. The scene relates to the struggle of Spain to recover her independence from the
domination of Napoleon Bonaparte.
That remarkable warrior had overrun the Spanish peninsula and set up, instead of the native rulers, his own brother and other
adherents of his dynasty. The action was a part of that gigantic scheme by which the Latin races of the continent were to be united within a common empire under the
leadership of France, but the Napoleonic regime sat unsteadily in its place. No sooner did the magician withdraw himself, than the native spirit of the Spaniards rose against the
The scene here depicted may have occurred in Madrid, or
usurpers. Insurrections broke out in the Spanish cities, and one French army after another was sent against them.
This has been seized and barricaded by the insurgents, and the guns of the enemy are thundering
Ciudad Real, or Saragossa. The place is the yard and vestibule of a church.
against it. Here men and women are falling and dying for the independence of their country. One fair creature lies dead before the very crucifix. Others in the vestibule are fatally
The artist has succeeded in giving the verisimilitude of battle to this struggle of the people for their liberty.
shot. The place is full of smoke and terror and heroic death.
255
By Special Permission of the Artist.

1
B. PLOCKHORST.
THE GOOD SAMARITAN.
The parable of The Good Samaritan is probably better understood in the nineteenth century than it was by those to whom it was originally told.
originally told. For, while it can hardly be
said that the modern man has yet reached the complete fulfilment of the injunction to love his neighbor as himself
, he does understand what the disciples did not—who is his
neighbor, and in what ways the universal brotherhood may be manifested. It comes now with none of the shock that it must have brought to those who first listened to the
parable, to hear that the despised Samaritan had fulfilled the divine bidding, where the priest and the Levite, passing on the other side of the way, had failed. Doubtless
the priest and the Levite have persisted to the present day, as well as the Samaritan. So it is well to have the parable kept before the present generation; and the artist who
has made this careful study of Oriental character and costume, has not only achieved an artistic accomplishment, but has preached a little sermon as well. In this subject the
plight of the man who fell among thieves, and the benevolence of the Samaritan, are the points of emphasis ; and certainly the artist has realized that, and has skilfully indicated
these salient features in the story told on his canvas. He has fulfilled the obligation of the modern painter, who is held to a strict account, not only to set forth a story in his
work, but also to demonstrate his capacity to truly indicate the physical facts and adhere to the “unities” of costume and surrounding scene.
Copyright 1894, by Photographische Gesellschaft.
By permission of Berlin Photographic Co., New York.
256

*HE ALARMED BOARDING-SCHOOL, by Toby E. Rosenthal.—This picture might have almost been named THE CATASTROPHE. The members of the
boarding-school here represented have become alarmed by night. Strange and ominous sounds were heard outside of the cellar door. The denizens of the place, headed by
the terrified matron, have armed themselves and gone in sheer desperation to investigate the noise at the cellar-way. Doubtless the robbers are there. But it is necessary to
open and investigate. It seems that numberless articles, the débris of the establishment, have been piled in the cellar-way outside, and that certain cats have been performing
their nightly orgy on the wreck. The serving-girl has been delegated to open the door. A fearful apparition has been expected, but as the shutter is unclosed there is a tumble of
ruins outside including several cats.
That is all. It seems that of the whole group only one little girl to the left has as yet realized the humor of the situation. She has seen it and
broken out into laughter. All the rest are still intent on facing a ghost or finding a burglar. Terror is written on their faces. The defiance which the matron has attempted to
assume is transparently fictitious. The only really defiant thing in this underground and otherwise feminine army is the poodle who, with the discernment and courage of his race,
faces the enemy undaunted.
257
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

G. GRAEF.
FOR LOVE OF FATHERLAND.
The revival of interest in Napoleonic literature of late lends a special value just now to this representation of a phase of the patriotic zeal that characterized the German people
during the “war for freedom," during the years 1813-1815. After Napoleon's disastrous campaign in Russia, the occasion was offered for the great states of Euro to com-
bine to loosen the grip which the all-conquering man of war had obtained. Germany, Russia, and Austria were allied for the common effort, and every lover of the Fatherland
was called upon to sustain the cause of liberty at the cost of every sacrifice that could be made. Family silver, jewels, heirlooms, and objects of beauty and value were
poured upon the tables of the government agents. In this picture are shown some of the typical sacrifices of these patriotic people. The aged bring the rings they have worn for a
lifetime in token of their early bridal. The widow brings her little treasures, all she has left after a life of hardship. The old soldier has nothing to offer but the spurs he won in
youth, the sword and the pistol with which he won them. The young bride, after hesitating to part with her wedding-ring, consents to give it, but her soldier-husband must take it
from her finger himself. Even the serving-maid eagerly offers her little trinkets. And the fair young girl, who has not even a ring, lays upon the table the long golden tresses which
were her chief beauty, and her beauty her greatest outward possession.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
258
2
5

LE
S THE OLD, SO THE YOUNG,” by Ludwig Knaüs.-It has been said that men are but children of a larger growth. Here is a charming scene of festivity
which shows how much of truth the thought contains. The occasion is that of a fête or family reunion, and a repast has been prepared for young and old in the open air,
under the trees. In the distance are the tables at which the older people are enjoying a bountiful dinner, and near them is a band of musicians who have taken their places
in the shadow of the trees. In the foreground are the tables set apart for the children. The feast is nearly completed, and that exhilaration, which always comes from
dining in the open air, from the music and the wine, has captured both the little ones and their elders. It will be seen that the enjoyment of the children is the counterpart of that
of their parents, save that they with their youthful spirits enter into it with greater zest. Their mirth and their manners as well are but a slight exaggeration of those of their fathers
and mothers near by. It was a happy thought of the artist to make the similarity more apparent by representing them in the costumes of a period when the fashions for young and
old were alike.
259
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

OV
HE FIRST DANCING LESSON, by Benjamin Vautier.-" The First Dancing Lesson" was painted by Vautier in 1868, and exhibited in the National Gallery at
Berlin. Benjamin Vautier was born at Morges, on Lake Geneva, in 1829. He studied in Geneva till 1850, when he went to the Dusseldorf Academy, and soon became one
of the successful genre painters of the time. He made a study of the peasant-life of the Black Forest and the Berne Highlands. Six years afterwards, attracted by Knaus,
Vautier went to Paris, and it was not long before he attained a position by the side of Knaus as one of the great painters of popular life. He was also a masterly illustrator,
and was a member of all the principal academies of Germany and Holland. Perhaps the most brilliant success he ever achieved was displayed at the Historical Exhibition of Munich.
In the “ First Dancing Lesson” is shown an incident in the peasant-life where Vautier found most of the material for his pictures of this character. One can fully appreciate the
embarrassment of the little maids, taking their first dancing steps before the village beaux, who are intently watching their progress. Note the maiden at the end of the line, as she
sheepishly bends her head before the reprimand of the dancing-master, who indicates with his fiddle-bow the command for “heels together, toes out.
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.
260

mit
HE YOUNG GAMBLERS, by Ludwig Knaus.-Two young rascals, of strictly democratic antecedents, escape from duty, and, hiding by an old wall back of the
house, try their skill at cards. They are beginners, but will be experts by and by. They have an old log for a bench. Already the game has captured every faculty.
The ragamuffins are in it as deep as their souls. The busy mother has committed the baby to one of them, and he holds it on his lap with no consciousness that he has it.
His clutch is wholly automatic. Not even the child's grimaces and contortions disturb him. His attention is fixed on the face of his puzzled and doubting adversary. He
has him on the hip. The sober gamin does not know what to lead. He has dropped his ace of clubs. The contrast in the expression of the two faces, and the complete
absorption of both in the game are beyond description. As for the baby, he is not in the game at all
. The little creature is suffering the horrors of neglect and constraint. The
surroundings are in keeping. The water-jug and boots are utterly forgotten. The central idea of the picture is the intense interest of the players in the fascinating game which
they have just learned. Knaus is famous for painting the common lot in such aspects as this. He is a native of Weisbaden, and belongs to the Düsseldorf school of painters.
He is regarded as the foremost genre artist in Germany. His works are popular with Americans, by whom many of his leading pictures have been purchased. .
261
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

HE INTERRUPTED PERFORMANCE, by A. Lonza.-In this picture we have a scene in the rough extemporized shanty constituting the anteroom of a circus.
One of the acrobats has been injured in the ring, and is being carried out through the entrance to be revived by such means as his associate players are able to supply. The
fellow is badly hurt, and lies in a swoon. The other players are gathered round. The two clowns have forgotten their clownishness in the work of ministering to their
wounded companion. Alarm and anxiety are on the faces of all. Each is saying to himself, “This might have been I.” The woman of the group shows by her face the
intense interest which she feels in the wounded man. Mademoiselle, the rider, has come through the opening, mounted, to inquire about the injury done to her friend. She is in all
the dress and undress of the ring, bedizened and laced about after the style of her kind; but she has become wholly human and wholly woman in the presence of this hurt to a fellow
creature. The anxiety and sympathy of her face may well redeem her from the life that she is leading and enroll her with the good. The artist has caught the whole group in the
moment of unconsciousness, in the presence of a probably fatal accident. These are only a group of circus people, but the man-heart and the woman-heart have asserted themselves
in it all and triumphed over sham and paint and mask and tinsel.
By Permission of the Berlin Photographic Co..
.
14 East Twenty-third Street, New York.
262

a
PROCESSION, by J. Gallegos.-Venice is one of the most unique and interesting cities of the world. Its history goes back with much continuity even to the classical
ages.
The scene, which the artist has here drawn with so much elegance, is that of an official procession passing across one of the bridges over a sea-channel between two
islands. It is an occasion of state. The banners and emblems of the city have been brought forth and are borne aloft before and around the canopy over the principal
dignitary. Public officers and ecclesiastics make up the greater part of the procession, which is relieved by the presence of two or three Venetian girls. There is much
stateliness and official pomp manifested in the manner of the standard-bearers, and these human vanities are strangely relieved by the fluttering pigeons that circle around the ensigns
or alight on the bridge. It is mid-summer. The water is perfectly smooth. The people, in their boats, have come forth to see the procession, and are lying upon the water.
Beyond these may be seen the marble walls of Venice. The air is balmy. Nature seems to have joined in the ceremony of men. It is a scene that may not be witnessed elsewhere
than on the bridges of the luxurious city that sits “throned on her hundred isles.
263
By Permission of the Berlin Photographic Co.,
14 East Twenty-third Street, New York.

EDOUARD DETAILLE.
ATTACK ON THE CONVOY.
ROMANCES may paint war in alluring colors, but the actual carnage of the battlefield presents a different picture. Here is a vision of the real thing. A force of infantry, having in
custody a train of wagons and ambulances, containing, respectively, munitions of war and sick and wounded soldiers, are attacked by a command of cavalry. Evidently the horsemen
are Germans, and the convoy upon which they are charging are French. The latter have formed a good line of defence just within the timber that crosses the road. The trees and
the barricade of wagons will evidently aid them in withstanding the onset of the horses. Meanwhile they are using their chassepots with deadly effect. Alas, bravery is no charm
against bullets ! Look at the fallen rider and the horse on the left ! And see that empty saddle! Yes, this is war. How different the romance and the reality. Edouard Detaille, the
artist, was born at Paris, 1848. He studied under Meissonier. He has received numerous medals, and the decoration of the Legion of Honor. Many of his best productions are owned
in the United States. One of his most remarkable military pictures, entitled “French Cuirassiers Bringing in Bavarian Prisoners," is the property of the Corcoran Gallery, at Washington,
D. C. His first great painting, and the one which established his reputation, is “Rest During Drill at Camp St. Maur.”
By Permission of Boussod, Valedon & Co.,
303 Fifth Ave., New York City.
264
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