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me- PRICES FOR PICTt&w 
 
 THE STEBBIN’S COLLECTION SOLE 
 
 MANY YEIL-t-NOWN LOVERS OS’ ART CROWD 
 CHICKERING HALL. 
 
 Gliiokering Hall was Oiled last night with 
 artists and those interested in art, at the sale of 
 the Stebbins coUection of paintings. The interest 
 Celt in the sale was indicated by the presence not 
 only of art-lovers of New-Yopk, but the Boston 
 Museum, the Corcoran Gallery of Washington, 
 and many wealthy buyers of Western cities' were 
 represented in the audience. C. P. Huntington 
 occupied a central seat, and Meissonier’s “ Tho 
 Game Lost." was reported to have been purchased 
 by him. William W. Astor secured 
 one of the Geromes, “ Moliere Break¬ 
 fasting with Louis XIV, n after spirited 
 bidding. The other Gerome, “ L’Eminence Grise,” 
 was obtained by W. B. Mason, of Boston, and 
 it was said that it is likely to go to the Boston 
 Museum. 
 
 Fortuny’s “Spanish Lady” was bid in by W. 
 
 A. Keeler. This, it was reported, will remain 
 in the city, and was bought for the Museum | 
 
 of Art. ! 
 
 The sale, as a whole’ it was said, is the larg- | 
 est that has been held in the city sines the sale ) 
 of the Stewart collection. Late last night it j 
 was estimated that it would aggregate over 
 $175,000, and probably close upon $200,000. 
 The following is a full catalogue of the sale, 
 the prices which the pictures brought and the 
 purchasers, so far as they were made known, 
 last night: 
 
 “Five Brittany Children,” Robert Wylie. S®50. _ 
 
 “Early Summer,” C. S- II. -He ^Loux, $o0Q * P ur 
 
 ^Mount Hood, Oregon,” Albert Bierstadt, N. A., $400 : 
 purchaser, M. Arnheim, 
 
 “Washerwomen o£ Brittany.” Emhe Louis Vernier. 
 
 S37 ^Wring the Pet.” Anton H. Dieffenbach. *475: 
 
 Durehaser, H. S. Wilson, _ , Tr o 
 
 “CuriosUy.” Charles Baugnet. $oio; purchaser H. b. 
 
 W1 “ 5 View ol Naples,” J O. De Montelant, $275. 
 
 “The Emir, Scenes In Algiers, Gustave R. O. Bou 
 longer, deceased. *975: purchaser, H. 8. Wilson. 
 
 “A Rainy Day. Place de la Concorde, Edouard Lean 
 
 ^^^xfnceHain" Weather," Jules Worms, $1,200; Jacob H. 
 
 BOl “ Confidences,” Joseph de Nittis. $825. 
 
 “The Wine Testers,” Adolphe Grison, $/75.. 
 “Hlde-and-Seek,” Luis Alvary, $000, 
 
 “Bull Fighters Awaiting their Turn, J. Villegas, 
 50,850 ; purchaser, William A. Keeler. _ . „ 
 
 "MicLmght Amusement in the Olden Time—'Venice, 
 Lucius Rossi, $425. 
 
 “Fortuny’s Studio,” Joaquin AgTassot, $6<o. 
 
 “Bohemian Cabin,” Jean Francois Portaels, $175. 
 
 “The Disputed Picture,” C. Cervi, $1,025, 
 
 “Socialism and Cholera,” ,E. J- H. _V ernet $275. 
 
 “true Seine near Poissy,” Martin RiCo, $l,62o. 
 “Country and City Rats — LafontaunYs table, Charles 
 Hermann Leon. . „ . _ 
 
 “The Sultan’s Escort/’ Albert Pasim. @1,750. 
 
 Artists’ Amusement During Carnival, Rome, F. L. 
 Loth, $1,250; purchaser, William A. d.aylor. _ 
 
 “Two Oracles,” Jules Emile Saintin, $550; purchaser, 
 
 ’ M ’“^he^TemptSion 1 o’l Plaint Anthony/' Charles Edouard 
 d ® ‘Pfu^HonoS’ 2 ^' the Foot,” Jean Richard Goubie, 
 * 3 ’“View in the White Mountains,” W. H. Beard, 
 N ‘"Serenade' in Rome,” Janies Bertrand, deceased, 
 
 L. Jacomin. 6950, 
 
 ^fe^uhery ^aWS^Bdouard Richter, $775; 
 purchaser, Marks Arnheim. ... 
 
 y “Arcadia,” Felix Ai-mand Heullant, $300. r 
 
 “Sunset In the Yosemite,” A. Bierstadt, N. A.., $l,o00. 
 ‘.Ancient, Armor,” J. L. O. Melssonier, $42o. 
 
 “Ready for the Market.” Marie Rosa Bonheur, $7-5. 
 “The Love Token,” jjl. P. Berne-Bellecour, $270. 
 “Street in Granada,” Ricardo Madrazo, *200. 
 
 “Chinese Shop,” Joseph de Nittis, deceased $250. 
 “Boating Party in th6 Bois de Boulogne, M. Rica, 
 $400; purchaser, Hermann Kchaus. 
 
 “After the Supper, One Must Pay,” L. A. Lejoir, $350. 
 “Washerwomen at Poissy.” Martin Rico, $460. 
 
 “A Concert,” Attilio CaVailiew Simonetti, $810. 
 
 “Scene ip the Franco-Prussian War," Jean Baptiste 
 Edouard Dotailie, $900; purchaser, Charles Pratt. 
 “Pifferari,” Mariano Fortuny, deceased. $52o. 
 “Captain ol tho Guard”—Louis XIII, J. E. L. Meis- 
 
 ^Nommndv Castle,” Constantine Troyon, deceased, 
 
 S “ d M°a r rke4 Scene in Hungary,” Professor August von 
 Pettenkoffen, $1,000. Edouard Bamacois deceased $2,475. 
 “Tho First-Born,” Jean G-eorges Vihert, $3,100, pui 
 
 0h Land?cane °“On 3 tho River Marne,” Charles Francois 
 Daubigny, deceased. $5,100; purchaser, ^Hermann feebau . 
 “Moorish House and Court, Granada. M. Rico, *3,27o. 
 
 of tho O&ilFDftifirn,” J, 0. Mcissonior, $3,000. _ 
 “Bevyinff Contributions,” E. Zamacois, deceased, $7,-00; 
 
 P StudTof Judith,” Emile Jean Horace 
 v el -net, deceased, $875; purchaser, M. B. Mason, of 
 
 B °“Winter in Wnllachia,” Adolf Schreyer, $2,700; pur- 
 
 ° to “ e MoUe™B^eakfastlng with Louis XIV at Versatile^ 
 Jean Been Gerome, $10,500; pTircnased, it is thought, Dy 
 
 WI “HauUng "by (lie Capstan—Yport, Normandie, Alphonse 
 Mhrie De Neuville, deceased, $2,000; purchaser, Jacob H. 
 
 Se ^‘Noi-mandy Cattle,” F, A. Bonheur, deceased, $2,400; 
 
 PU S‘Scene’ a“a Spfnilh Diligence Station/- J. G. Vlbert, 
 100 • nurchaser, M. H. Arnot, of Elmira. 
 
 “The -Game Lost,” J. B. E. Meissomer, $26,300, pnr- 
 
 L. E. M^—; $7,100; pur- 
 
 Ch “Queen Omtlfd™ 0 Clovis, First Christian King 
 of France, Instructing her Children in Arms, Laurenz 
 
 A1 “Hesitating R Between Love and Richey ” WiUlam 
 Adolphe Bouguereau, $4,600; purchaser, M. B. Mason, of 
 
 B °“jyfemlnenee Grice.” Jean Leon Gei'oirih, $13,700. ^ 
 
 “A Spanish Lady, M. Fortuny y Garbo, deed, $6,500, 
 
 P^pid’ Zd Psy^he’Mstatuary), A. S. Tadollni, dec’d, 
 
 $6< “Saty/ (statuary), Count George Prosper D’Epinay, 
 
 $23 ‘Bacchant(?’* (statuary). Count G. P. D’Epinay, $230. 
 
 —__<praiwno* sold. 
 
 YORK HERALD. 
 
 EIGHTY AVOFjffl, INCLUDING THREE SCULPT b RES, 
 VETCH $162,550 — riCTURES, BUYERS AND 
 
 PRICES. t "• ' 
 
 Melssonior’s “The Game Lost,’’ $20,300. 
 Gerorae’s “L’Eminence GriSe,” $13,700. 
 
 G’6rSme’a "Moliere Breakfasting with Louis 
 XIV.,“ $12,500. 
 
 These were the principal prices realized at the 
 sale In Chickering Hall last evening of the seventy 
 seven paintings, water colors and three sculptures, 
 forming the collection of Mr. James H. Stebbins. 
 
 The first picture was bought by Mr. C. P. Hunt¬ 
 ington, the second by Mr. M. B. Mason, of Boston, 
 and tho third for Mrs. William Waldorf Astor. 
 
 The total of the sale was $102,550, which may he 
 considered a good result. The hall was crowded, 
 and Auctioneer Kirby rattled the works off in fine 
 
 1 
 
 style, the bidding often being very spirited. 
 
 There was a long and hard tussle between Mr. 
 Huntington and Mr. M. H. Arnott, of Elmira, old 
 time antagonists oyer the large Vibert of the Seney 
 sale, about the possession of the principal Meis- 
 sonier sold last night. Mr. Huntington did not en¬ 
 ter the contest until the figure of $25,000 had been 
 reached. 
 
 Mr. Arnott immediately after gave $7,100 for the 
 diminutive little example the master called “Tho 
 Stirrup Cup.” 
 
 MEISSONHSB FLOS SELLS VEKT WELL. 
 
 It was a somewhat remarkable fact that there was 
 a spirited contest over Charles Meissonier’s “Story 
 of the Campaign.” which brought $3,600 from Mr. 
 AV. A. Keeler, Jr. Was there not a confusion of 
 father and son in the minds of some of the bidders. 
 
 For Vibert’s “At a Spanish Diligence Station" Mr. 
 Arnott gave $9,100, and Mr. D. W. Powers, of Roches¬ 
 ter, paid $7,200 for Zamagois ’"Levying Contribu¬ 
 tions.” Mr. Keeler secured Fortuny’s "A Spanish 
 Lady” at $6,500. 
 
 PICTURES, PniCES AND EUTEES. 
 
 The following is a list of the works in the order 
 sold and of the prices obtained, with the names of 
 the buyers in many cases:— 
 
 1— AVylie, “Five Brittany Children”. $850 
 
 2— La Tour, “Early Summer;” H. S. Wilson_ 600 
 
 3— Micliette, "Child in the Woods;” Mr. Arn¬ 
 
 heim. 175 
 
 4— Bierstadt, “Mount Hood, Oregon”. 400 
 
 6—Vernier, “Washerwomen of Brittany”. 375 
 
 6— Dieffenbach, “Shearing the Pet”.. 475 
 
 7— Banquiet, “Curiosity;” H. S. Wilson. 375 
 
 7—Montelant, “View of Naples”. 275 
 
 9—Boulanger, “The Emir—Scene in Algiers”.. 975 
 
 10— Garrido, “A Rainy Day, Place de la Con¬ 
 
 corde”.... 500 
 
 11— Michette, “Italian Children at a Fountain” 75 
 
 12— Worms, “Uncertain Weather;” Jacob H. 
 
 Schiff. 1,200 
 
 13— De Nittis, "Confidences”. 325 
 
 14— Grison, "The Wine Testers”... 775 
 
 15— Alvarez, “Hide and Seek;” D. W. Powers... 600 
 
 16— Villegas, “Bull Fighters Awaiting Their 
 
 Turn;” W. A. Keeler, Jr. 1,850 
 
 17— Rossi, “Midnight Amusement—Venice”_ 425 
 
 18— Agrassot, "Fortuny’s Studio”. 675 
 
 19— Portaels, “Bohemian Cabin”. 175 
 
 20— Cervi, “The Disputed Picture;” W. A. 
 
 Keeler, Jr. 1,025 
 
 21— Vcruet, “Socialism and Cholera;” N. G. 
 
 Pope.;. 275 
 
 22— Rico, “The Seine, near Poissy;” C. P. Hunt¬ 
 
 ington. 1,525 
 
 23— Hermann-Leon, “Country and City Rats;” 
 
 AV. A. Keeler. Jr. 430 
 
 24— Pasini, “The Sultan’s Escort”.1,750 
 
 25— Loth, “Artists’ Amusements;” W. A Taylor 1,260 
 
 26— Saintin, “The Two Oracles;” M. H. Arnott.. 550 
 
 27— Beaumont, "Temptation of St. Anthony”.. 1,250 
 
 28— Goubie, “The Honors of the Foot,” C. P. 
 
 Huntington. 3,060 
 
 29— Beard, W. H., “In the White Mountains”.. 625 
 
 30— Bertrand, "Serenade in Rome".1,025 
 
 31— Jacomin, "Faust and Mephistopheies;” J. 
 
 A. Chamberlain. 950 
 
 32— Richter, “Gallery of the Louvre,”. 775 
 
 33— Heullant, "Arcadia”. 300 
 
 34— Heullant, “Arcadia”. 300 
 
 35 — Bierstadt, “Sunset in the Yosemite”.1,550 
 
 36— Simonetti, “The Listener” (pen and ink)... 75 
 
 37— Simonetti, "The Letter” (pen and ink); 
 
 Hugh N. Camp. 65 
 
 38— Rossi, “ArabTambourinist” (pen and ink). 35 
 
 39— Rossi, “French Cavalier, Henri II." (pen 
 
 and ink). 70 
 
 40— Melssonier, “Ancient Armor” (wash draw- 
 
 41— Bonheur, Rosa, "Ready for the Market” 
 
 (crayon drawing); W. A. Keeler. 725 
 
 42— Decamps, “Hound” (sepia drawing). 125 
 
 43— Berne-Bellecour, “The Love Token” (water 
 
 44—Vannutelli, "Day Dreams, Campagna” 
 
 45—Madrazo, Ricardo, "Street in Granada” 
 
 (water color). 200 
 
 46_Ten Kate, “Dutoh Guard Room” (water 
 
 color); Edward Brandon. 175 
 
 47— Wissel, "Butterfly” (water color). 100 
 
 48— De Nittis, "Chinese Shop” (water color)- 250 
 
 49 — Rico, “Boating Party in the Bois” (water 
 
 color); H. Sohaus. 400 
 
 50 _Leloir, Louis, “After Supper One Must 
 
 Pay” (water color); R. G. Dun.. 350 
 
 51 _Madrazo, Ricardo,"View at Grenada" (water 
 
 color)... 135 
 
 52— Rioo, “Washerwomen at Poissy” (water 
 
 color). 460 
 
 53— Simonetti, “A Concert” (water color); L. A. 
 
 54_Detaille, “In the Franno-Prussian War" 
 
 (water color); Charles Pratt. 900 
 
 55_Fortuny, "Pifferari” (water color). 625 
 
 56 _Meissouier, "Captain of the Guard. Louis 
 
 XII.” (water oolor); C. P. Huutington_ 3,400 
 
 57 _ Troyon, “Normandy Cattle;” Knoedler 
 
 & Co. 3,060 
 
 58—Detaille, "Les Incroyables;” Charles W. 
 
 Sandford. 1,200 
 
 59 _ Pettenkoffen, "Market Soene in Hungary”. 1,600 
 
 60—Zamacois,"A Court Jester;” W. A. Keeler, Jr. 2,475 
 Cl _ Vibert, "The First Bom;” S. A. Coale, Jr.. 3,100 
 
 62— Daubigny, “On the River Marne;” H. 
 
 Schaus. 5,100 
 
 63— Rico, "Moorish House and Court, Gra¬ 
 
 nada;” C. P. Huntington.' 3,275 
 
 64— Melssonier, Charles, “Story of the Cam¬ 
 
 paign;” W. A Keeler, Jr. 3,600 
 
 66—Zamaeois. “Levying Contributions;” D. W. 
 
 Powers. 7,200 
 
 60—Vernet, "The Original Study of Judith;” 
 
 M. B. Mason . .. 875 
 
 67 _ Shreyer, “Winter in Wallachia”. 2,700 
 
 68 _ GSrOme, “Moliere Breakfasting with Louis 
 
 XIV,;” Mrs. AV. W. Astor.. .12,500 
 
 69— Do Neuville, "Hauling by the Capstan;” 
 
 Jacob H. Schiff. . 2,000 
 
 70— Bonheur, Auguste, "Normandy Cattle;” N. 
 
 G. Pope. 2,400 
 
 71— ATibert, "At a Spanish Diligence Station;” 
 
 M. H. Arnott. 9.100 
 
 72— Moissonier, "The Game Lost;” C. P. Hunt¬ 
 
 ington.26,300 
 
 73— Meissonier, “The Stirrup Cnp;” M. H. 
 
 Arnott. 7,100 I 
 
 74— Alma-Tadema, "Clothilda Introducing Her 
 
 Children in Auns;” R. G. Dun. 6,100 
 
 76— Bouguereau, "Hesitating Between Love 
 
 and Riches;’" W. Sutton. 4,600 : 
 
 7G—Gerome, “L’Eminence Grise;’’ M. B. 
 
 Mason.13,700 ' 
 
 77— Fortuny, “A Spanish Lady;” AAV A. Keeler, 
 
 ,, r.. 6,500 
 
 78— Tadolini, “Cupid and Psyche” (marble, 
 
 after Caudra); D. W. Powers. 600 
 
 79— D’Epinay “Satyr” (marble bust); A. Lan- 
 
 fear Norrie. 230 
 
 80— D’Epinay, "Bacchante” (marble bust); A. 
 
 Lanfear Norrie. 230 
 
 Total.$162,560 
 
 At the sale of the Stebbins collec¬ 
 tion at Chickering Hall, New York, 
 lastTuesday.thefollowing were among 
 the prices obtained: The seventy 
 pictures brought $159,995, and the 
 sculptures $1,000. The highest price, 
 $26,300, was given for Meissonier’s 
 “The Game Lost;” the next was for 
 Gerome’s “L’Eminence Grise,” $13,- 
 700, bought by M. B. Mason, of Bos¬ 
 ton, Gerome’s “Moliere Breakfasting 
 with Louis XIV.” brought $10,500 
 from W. W. Astor. Vibert’s “Spanish 
 Dilligence Station,” $9,100, and “The 
 Stirrup Cup,” by Melssonier, $7,100, 
 were bought by M. H. Arnott, Elmi¬ 
 ra, N. Y. Fortuny’s “Spanish Lady” 
 was sold for $6,500 to W. A. Huber; 
 Zamacois’ “Seizing Contributions,” 
 $7,200, to G. W. Powers, Rochester, 
 N. Y.; Troyon’s “Normandy Cattle,” 
 to Knoedler & Co., $3,050; Daubig¬ 
 ny’s “On the River Marne,” $3,000, to 
 H. Schaus; Meissonier’s “Story of 
 the Campaign,” $3,600, to W. A. Hu¬ 
 ber;” Schreyer’s “Winter in Walla¬ 
 chia,” $2,700; Meissonier’s (water col¬ 
 or) “Captain of the Guard,” $3,400, to 
 W. A. Huber; Goubie’s “The Honors 
 of the Foot,” $3,050; Vallep’s “Bull 
 Fighters Awaiting Th6ir Turn,” $2,- 
 850, to W. A. Huber; Worm’s “Uncer¬ 
 tain Weather,” $1,200 toJacob Schiff. 
 Rico’s “The Seine Near Poissy,” $1,- 
 525; Bougereau’s “Love and Riches,” 
 $4,000; D. Neuville’s “Hauling by the 
 Capstans,” $2,000, to Jacob H. Schiff; 
 F. A. Bonheur’s “Normandy Cattle,” 
 $2,400 to N. E. Pope; Alma Tade- 
 ma’s “Queen Clotilda,” $6,100; Rico’s 
 “Moorish House and Court,” $3,27,5 
 to W. A. Huber; Vibert’s “The First 
 I Born,” $3,100 to G. A. Cole, Jr., Zam- 
 acois’s “A Court Jester,” $2,475 to W. 
 A. Huber; Bierstadt’s “Sunset in Yo¬ 
 semite,” $1,500; Pasini’s “The Sul¬ 
 tan’s escort.” $1,750. 
 

CATALOGUE 
 
 OF 
 
 THE PRIVATE COLLECTION OF 
 
 PAINTINGS AND SCULPTURE 
 
 BELONGING TO 
 
 Mr. JAMES H. STEBBINS 
 
 NEW YORK 
 
 EDITION T)E LUXE 
 
 NEW YORK 
 
 AMERICAN ART ASSOCIATION, PUBLISHERS 
 
 1889 
 
Copyright, 1888, 
 
 By AMERICAN ART ASSOCIATION. 
 [All rights reserved. ] 
 
 Press of J. J. Little & Co., 
 Astor Place, New York. 
 
SPECIAL NOTICE 
 
 'T'HIS COLLECTION OF PAINTINGS WILL BE PLACED 
 1 ON PUBLIC EXHIBITION 
 
 At the American Art Galleries 
 
 NOS. 6 AND 8 EAST TWENTY-THIRD STREET 
 MADISON SQUARE, NEW YORK 
 
 BEGINNING THURSDAY, JANUARY THIRTY-FIRST, AND 
 CONTINUING, DAY AND EVENING (SUNDAYS EXCEPTED) 
 UNTIL, AND INCLUDING, THE DATE OF SALE, WHICH 
 WILL BE TUESDAY EVENING, FEBRUARY TWELFTH 
 1889, AND TAKE PLACE 
 
 At Chickering Hall 
 
 FIFTH AVENUE AND EIGHTEENTH STREET 
 BEGINNING PROMPTLY AT EIGHT O’CLOCK 
 
 AMERICAN ART ASSOCIATION, - - MANAGERS 
 
 THOMAS E. KIRBY, AUCTIONEER 
 1889 
 
EDITION T>E LUXE LIMITED TO Soo COPIES 
 
 Subscriber’s S\[o. AIL, 
 
ILLUSTRATIONS 
 
 (For list of Etchings see page 7.) 
 
 ZINC ETCHINGS 
 
 REPRODUCED BY W. KURTZ’ IMPROVED MEISENBACH METHOD 
 
 SUBJECT 
 
 ARTIST 
 
 PAGE 
 
 Five Brittany Children. 
 
 Mount Hood, Oregon. 
 
 Washerwomen of Brittany . 
 
 Shearing the Pet . 
 
 Curiosity. 
 
 a 
 
 The Emir—Scene in Algiers 
 A Rainy Day, Place de la Concorde 
 Uncertain Weather ..... 
 Confidences ....... 
 
 The Wine Testers. 
 
 Hide and Seek . 
 
 Bull-Fighters Awaiting Their Turn . 
 Midnight Amusement in the Olden Time 
 
 Fortuny’s Studio. 
 
 The Disputed Picture. 
 
 Socialism and Cholera. 
 
 The Seine near Poissy . . . . . 
 
 Country and City Rats .... 
 
 The Sultan’s Escort . . . . . 
 
 Artists’ Amusements During Carnival, Rome 
 The Two Oracles ...... 
 
 The Temptation of Saint Anthony 
 The Honors of the Foot .... 
 
 View in the White Mountains 
 
 Robert Wylie ... 9 
 
 Albert Bierstadt 12 
 
 Emile Louis Vernier 13 
 
 Anton Heinrich Dieffenbach 14 
 Charles Baugniet . . 15 
 
 Gustave R. C. Boulanger . 17 
 
 E. L. Garrido . . 19 
 
 Jules Worms . . .21 
 
 Joseph de Nittis . . 23 
 
 Adolphe Grison . 24 
 
 Luis Alvarez . . 25 
 
 Jose Villegas . . .26 
 
 Lucius Rossi . 27 
 
 Joaquin Agrassot . .28 
 
 C. Cervi ... 30 
 
 Emile Jean Horace Vernet 32 
 Martin Rico . . -33 
 
 Charles Leon Hermann . 34 
 
 Alberto Pasini 35 
 
 F. E. Loth ... 36 
 
 Jules Emile Saintin . 38 
 
 C. Edouard de Beaumont 39 
 Jean Richard Goubie . 40 
 
 William H. Beard . 41 
 
6 
 
 ILLUSTRATIONS. 
 
 ZINC ETCHINGS—CONTINUED 
 
 SUBJECT 
 
 ARTIST 
 
 PAGE 
 
 Serenade in Rome. 
 
 James Bertrand 
 
 42 
 
 Faust and Mephistopheles 
 
 A. L. Jacomin 
 
 44 
 
 The Gallery of the Louvre 
 
 Edouard Richter 
 
 45 
 
 Arcadia (pair) . 
 
 Felix A. Heullant . 46, 47 
 
 Sunset in the Yosemite. 
 
 Albert Bierstadt 
 
 48 
 
 Ancient Armor . 
 
 J. L. E. Meissonier 
 
 53 
 
 Ready for the Market .... 
 
 Mile. Marie Rosa Bonheur 
 
 54 
 
 Hound . 
 
 
 56 
 
 The Love Token . 
 
 E. P. Berne-Bellecour 
 
 57 
 
 Day Dreams on the Campagna 
 
 C. S. Vannutelli 
 
 58 
 
 Dutch Guard-Room. 
 
 Herman F. Ten Kate 
 
 61 
 
 Chinese Shop. 
 
 Joseph de Nittis 
 
 6 3 
 
 Boating Party in the Bois de Boulogne . 
 
 Martin Rico 
 
 64 
 
 After the Supper, One Must Pay . 
 
 Louis Alexandre Leloir 
 
 65 
 
 Washerwomen at Poissy .... 
 
 Martin Rico 
 
 68 
 
 A Concert . 
 
 Attilio Cavaliere Simonetti 
 
 69 
 
 Canova’s Group, Cupid and Psyche 
 
 Adam Scipione Tadolini . 
 
 109 
 
ETCHINGS 
 
 EACH AND EVERY IMPRESSION APPROVED AND ENDORSED BY 
 
 THE ARTIST-ETCHER 
 
 PAINTER 
 
 SUBJECT 
 
 ETCHER 
 
 PAGE 
 
 W. A. Bouguereau 
 
 Hesitating Between Love and 
 Riches . 
 
 Frederick Dielman, Frontispiece 
 
 J. B. Edouard Detaille 
 
 Scene—Franco-Prussian War 
 
 S. J. Ferris . 
 
 70 
 
 Mariano Fortuny 
 
 PlFFERARI. 
 
 S. J. Ferris 
 
 • 71 
 
 J. L. E. Meissonier 
 
 Captain of the Guard, Louis XIII 
 
 C. Y. Turner 
 
 72 
 
 Constantine Troyon . 
 
 Normandy Cattle 
 
 R. Swain Gifford 
 
 • 74 
 
 J. B. Edouard Detaille 
 
 Les Incroyables—Forest of St. 
 Germain .... 
 
 Gerome Ferris 
 
 75 
 
 Prof. A. von Pettenkoffen 
 
 Market Scene in Hungary 
 
 Gerome Ferris . 
 
 • 77 
 
 Edouard Zamajo'is 
 
 A Court Jester 
 
 Wm. St. John Harper 
 
 78 
 
 Jean Georges Vibert . 
 
 The First-Born .... 
 
 F. Raubicheck . 
 
 • 79 
 
 C. F. Daubigny . 
 
 Landscape, on the River Marne 
 
 Thomas Moran 
 
 81 
 
 Martin Rico 
 
 Moorish House and Court, Gran¬ 
 ada . 
 
 Stephen Parrish 
 
 . 82 
 
 Jean Charles Meissonier 
 
 Story of the Campaign 
 
 S. J. Ferris . 
 
 • 83 
 
 Edouard ZamaijoVs 
 
 Levying Contributions 
 
 Gerome Ferris . 
 
 . 84 
 
 E. J. Horace Vernet 
 
 The Original Story of Judith 
 
 S. J. Ferris . 
 
 86 
 
 Adolf Schreyer 
 
 Winter in Wallachia . 
 
 Frederick Dielman 
 
 . 87 
 
 Jean Leon Gerome 
 
 MoLikRE Breakfasting with 
 
 Louis XIV. 
 
 G. Mercier 
 
 89 
 
 Alphonse Marie de Neuville 
 
 Hauling by the Capstan, Nor¬ 
 mandie . 
 
 Stephen Parrish 
 
 . 92 
 
 Franjois Auguste Bonheur . 
 
 Normandy Cattle . 
 
 R. Swain Gifford 
 
 94 
 
 Jean Georges Vibert . 
 
 Scene at a Spanish Diligence 
 Station .... 
 
 Wm. St. John Harper 
 
 • 95 
 
 Jean Louis Ernest Meissonier 
 
 The Game Lost 
 
 F. Raubicheck 
 
 97 
 
 Jean Louis Ernest Meissonier 
 
 The Stirrup Cup 
 
 C. Y. Turner 
 
 ■ 99 
 
 Laurenz Alma-Tadema 
 
 Queen Clotilda, Wife of Clovis, 
 Instructing Her Children in 
 Arms. 
 
 G. Mercier 
 
 100 
 
 Jean Leon Gerome 
 
 L’Eminence Grise . 
 
 Hamilton Hamilton 
 
 . 104 
 
 Mariano Fortuny 
 
 A Spanish Lady .... 
 
 F. W. Freer . 
 
 107 
 
ARTISTS REPRESENTED 
 
 
 no. 
 
 
 
 NO. 
 
 Agrassot, Joaquin .... 
 
 . 18 
 
 Leloir, Louis Alexandre 
 
 
 50 
 
 Alma-Tadema, Laurenz 
 
 74 
 
 Leon-Hermann, Charles 
 
 
 • 23 
 
 Alvarez, Luis .... 
 
 • 15 
 
 Loth, F. E. 
 
 
 25 
 
 Baugniet, Charles 
 
 7 
 
 Madrazo, Ricardo . 
 
 
 45, 5i 
 
 Beard, William H. 
 
 ■ 29 
 
 Meissonier, J. L. E. . 
 
 40, 56, 72, 73 
 
 Berne-Bellecour, E. P. 
 
 43 
 
 Meissonier, Jean Charles . 
 
 • 
 
 • 64 
 
 Bertrand, James .... 
 
 • 30 
 
 Michetti, F. P. . 
 
 
 3, 11 
 
 Bierstadt, Albert 
 
 • 4. 35 
 
 Montelant, J. O. de 
 
 
 . 8 
 
 Bonheur, Mlle. Marie Rosa 
 
 • 4i 
 
 Pasini, Alberto, 
 
 • 
 
 24 
 
 Bonheur, Franqois Auguste . 
 
 70 
 
 Pettenkoffen, Prof. A. von 
 
 . 
 
 • 59 
 
 Bouguereau, William Adolphe . 
 
 • 75 
 
 Portaels, Jean Francois 
 
 
 19 
 
 Boulanger, Gustave R. C. 
 
 9 
 
 Richter, £douard . 
 
 
 • 32 
 
 Cervi, C.. 
 
 20 
 
 Rico, Martin 
 
 22, 49, 
 
 52, 63 
 
 Daubigny, C. F. . . . . 
 
 62 
 
 Rossi, Lucius .... 
 
 17, 
 
 38, 39 
 
 Decamps, A. G. 
 
 . 42 
 
 Saintin, Jules Emile, 
 
 
 26 
 
 Detaille, J. B. Edouard, 
 
 54, 58 
 
 Scheyer, Adolf 
 
 
 . 67 
 
 Dieffenbach, Anton Heinrich 
 
 . 6 
 
 SlMONETTI, ATTILIO CAVALIERE 
 
 • 36,37,53 
 
 De Beaumont, C. Edouard 
 
 27 
 
 Tadolini, Adam Scipione 
 
 
 • 78 
 
 D’Epinay, Count Georges Prosper 
 
 79, 80 
 
 Ten Kate, Herman F. 
 
 
 46 
 
 De Neuville, Alphonse Marie 
 
 69 
 
 Troyon, Constantine . 
 
 
 • 57 
 
 De Nittis, Joseph .... 
 
 13, 48 
 
 Vannutelli, Cavaliere Scipione 
 
 44 
 
 Fortuny, Mariano . . . . 
 
 55 , 77 
 
 Vernet, E. J. Horace, 
 
 
 21, 66 
 
 Garrido, Edouardo L£on 
 
 10 
 
 Vernier, ISmile Louis 
 
 . 
 
 5 
 
 Ger6me, Jean Leon . . . . 
 
 68, 76 
 
 Vibert, Jean Georges . 
 
 . 
 
 61, 71 
 
 Goubie, Jean Richard . 
 
 . 28 
 
 Vill£gas, Jose 
 
 • 
 
 16 
 
 Grison, Adolphe . 
 
 14 
 
 Worms, Jules .... 
 
 . 
 
 . 12 
 
 Heullant, Felix Armand 
 
 33, 34 
 
 Wessel, O. ... 
 
 . 
 
 47 
 
 Jacomin, Alfred Louis 
 
 • 3i 
 
 Wylie, Robert, 
 
 
 1 
 
 La Tour, Claude S. H. de 
 
 2 
 
 ZamaqoIs, ISdouard . 
 
 . 
 
 60, 65 
 
VIGNETTES OF PROMINENT ARTISTS 
 
 ETCHED BY S. J. 
 
 FERRIS 
 
 AND GEROME FERRIS 
 
 
 
 PAGE 
 
 
 page 
 
 Alma-Tadema, Laurenz 
 
 IOO 
 
 GfiROME, Jean L£on 
 
 104 
 
 Alvarez, Luis. 
 
 • 25 
 
 Grison, Adolphe 
 
 . 24 
 
 Baugniet, Charles .... 
 
 15 
 
 Leloir, Louis Alexandre . 
 
 65 
 
 Berne-Bellecour, E. P. . 
 
 • 57 
 
 Madrazo, Ricardo . 
 
 • 59 
 
 Beard, Wm. H . 
 
 41 
 
 Meissonier, J. L. E. . 
 
 97 
 
 Bertrand, James .... 
 
 • 42 
 
 Montelant, J. O. de 
 
 . 16 
 
 Bonheur, Mlle. Rosa Marie 
 
 54 
 
 Pasini, Alberto .... 
 
 35 
 
 Bonheur, Francois Auguste . 
 
 • 94 
 
 Portaels, Jean Francois 
 
 . 29 
 
 Bouguereau, William Adolph • 
 
 102 
 
 Rico, Martin .... 
 
 33 
 
 Boulanger, Gustave R. C. 
 
 ■ 17 
 
 Saintin, Jules Emile 
 
 • 36 
 
 Daugbiny, C. F . 
 
 81 
 
 Schreyer, Adolf .... 
 
 87 
 
 Detaille, J. B. Edouard 
 
 • 75 
 
 Troyon, Constantine 
 
 74 
 
 Decamps, A. G. 
 
 56 
 
 Vernet, E. J. Horace . 
 
 86 
 
 D’Epinay, Count George Prosper . 
 
 . hi 
 
 Vibert, Jean Georges 
 
 • 95 
 
 De Beaumont, Charles Edouard 
 
 39 
 
 Worms, Jules . . . . 
 
 21 
 
 De Neuville, Alphonse Marie 
 
 • 9 2 
 
 Wylie, Robert .... 
 
 • 9 
 
 De Nittis, Joseph .... 
 
 63 
 
 ZAMAgoIs, Edouard 
 
 . 84 
 
 Fortuny, Mariano 
 
 . 107 
 
 
 
> 
 
WYLIE (Robert), .... . Deceased //f-<rv 
 
 Born in the Isle of Man , 1839. Died in Brittany , 1877. Brought to 
 America when a child. Pupil of the Pennsylvania Academy , Philadel- 
 phia, the directors of which sent him in 1863 to study in France. 
 Medal at Paris , 1872. 
 
 No. I 
 
 FIVE BRITTANY CHILDREN. 
 
 9 X io|. 
 
 To Robert Wylie is due the discovery and development of Brittany 
 as a mine of artistic material. He it was who first settled to study and 
 paint at Pont Aven, where, now that he is dead, has sprung up one of 
 the most extensive permanent art colonies in Europe. Brittany affords 
 material for the painter of figures, of cattle, of landscape, and of the sea. 
 Its picturesqueness is endless, and its variety of pictorial wealth inexhaustible. 
 The people in particular, preserving as they do the manners and costumes 
 of the past, and being but slightly modernized in spirit, furnish the artist 
 with abundant material. It was among them that Wylie found the 
 successes which made him famous. 
 
 The scene is the interior of some showman’s booth at a rural fair. 
 The five children, perfect types of French peasant life of the younger 
 generation, are watching some absorbing show. One little girl is seated 
 in rapt attention. A second has been disturbed by a teasing younger 
 child, and turns to rebuke it. Behind are two boys, one standing, serious 
 and thoughtful, with his whole interest engrossed in the performance. The 
 individualities of the children are strongly and accurately defined, and the 
 delineation of expression is an important detail. The coloring is rich and 
 subdued. 
 
 9 
 
J~crV' 
 
 LA TOUR (Claude Sebastian Hugard De), 
 
 Paris 
 
 i. f. 
 
 Born in Savoy , 1818 . Landscape painter. Pupil of Diday. Medals , 1844 , 
 1846 . 
 
 No. 2 
 
 EARLY SUMMER. 
 
 (EFFET D’ffTE.) 
 
 15 X 12 . 
 
 When the brow of June is crowned by the rose, 
 
 And the air is fair and faint with her breath. 
 
 Then the Earth hath rest from her long birth throes ; 
 
 The Earth hath rest and forgetteth her woes, 
 
 As she watcheth the cradle of Love and Death, 
 
 When the brow of June is crowned by the rose. 
 
 Emily Pfeiffer. 
 
 The foliage is fresh with the vivid greens that have been unscorched 
 by the sun, and the streamlet still holds the coolness of spring among its 
 ripples. Some cattle give life to the landscape, and a village lends interest 
 to the background. The delicate suggestion of this period of the year, 
 whose beauties are so subtly defined and so difficult to render, is conveyed 
 with a remarkably sympathetic and appreciative touch. 
 
 10 
 
MICHETTI (Francesco Paolo), 
 
 Naples 
 
 Born at Chieti, near Naples, 1852. Studied in Naples under Dalbono; 
 later in Paris. Medals at Rome, Turin, Flore?ice, and Parma. Cheva¬ 
 lier of the Order of the Crown of Italy. 
 
 
 No. 3 
 
 CHILD IN THE WOODS. 
 
 (ENFANT DANS LES BOIS.) 
 
 Si x 7. 
 
 A wood interior in the most verdurous season. The late afternoon 
 sunlight plays amid the foliage of the birch trees, filling the forest with 
 a warm, green, and luminous mistiness. A child, clad in blue, with a red 
 cap, gives the interest of life to the picture. 
 

 New York 
 
 ijl 4JMV 
 
 BIERSTADT (Albert), N. A., 
 
 Born in Diisseldorf , 1830. Brought to America at an early age. In 
 1853 he returned to Diisseldorf and entered the Academy there j after- 
 ward studied in Rome , Switzerland , and Germany. Elected Member 
 National Academy , i860 ; Chevalier of the Legion of Honor. 
 
 No. 4 
 
 MOUNT HOOD, OREGON. 
 
 1 3 x 19 - 
 
 Thirty miles beyond the Columbia River, winding its reddening way 
 into the sunset of the Pacific, the noble peak of the great mountain of 
 the Cascade Range pierces the burning sky of evening. 
 
 Mount Hood measures over eleven thousand feet in height, and presents 
 a magnificent spectacle viewed o\ er the fertile valleys of the Columbia and 
 the Willamette rivers. The range to which it belongs is of volcanic 
 origin, and there are Indian legends that Mount Hood itself has been 
 seen in eruption within the century. It is sufficiently quiescent now, 
 however. The vapors of mountain brooks still wreathe about it in the 
 cool air of dawn, but the fierce breath of subterranean fires is stilled. 
 Mount Hood was one of the last peaks on the Western Continent to be 
 explored by human feet. For many years its savage and dreary upper 
 slopes defied human courage and endurance. Its secret was finally wrested 
 from it, and quite recently some very interesting meteorological experi¬ 
 ments were made by a United States surveying party that scaled its 
 summit. 
 
 The date of Mr. Bierstadt’s picture is 1868. 
 
 12 
 

 : 
 
 
 
 
 
 
 
 > 
 

VERNIER (Emile Louis), .... Paris 
 
 Born at Lons-le-Saulnier , France. Pupil of Collette. Medals, 1869, 1870. 
 
 No. 5 
 
 WASHERWOMEN OF BRITTANY. 
 
 (BLANCHISSEUSES BRETONNES.) 
 
 16 x 28. 
 
 Rugged land of the granite and oak, 
 
 I depart with a sigh from thy shore, 
 
 And with kinsman’s affection a blessing invoke 
 On the maids and the men of Arvdr. 
 
 Samuel Ferguson. 
 
 The sea is a species of mother, albeit often a harsh and cruel one, 
 to the Breton poor. From her they draw their sustenance, the finny 
 harvest which constitutes their meagre earnings and provides them with 
 scanty and rude fare, their fuel and often their clothing, which the storm 
 sends ashore to them, as spoil of the wreck. While the men brave its 
 perils off shore, the women forage along the strand, gathering seaweed 
 and mussels, collecting the drift cast up by the waves, or among the pools 
 left in the channelled rocks by the receding tide, beating out their coarse 
 linens and cleansing their garments, which seem never too old or worn 
 out to be unfit for use. It is a life of perpetual privation and limitless 
 labor, which is fitly lived in the presence of the restless and melancholy 
 sea, under a sky which swells with fitful showers and bursts in the sudden 
 trumpetings of a capricious storm. 
 
 13 
 
DIEFFENBACH (Anton Heinrich), 
 
 Berlin 
 
 Born in Wiesbaden, 1831. Genre painter. Pupil in Diisseldorf of 
 Jorda 7 i. Lived for some years in Paris. 
 
 No. 6 
 
 SHEARING THE PET. 
 
 (LA TONTE DU CANICHE.) 
 
 18 x 23. 
 
 Hector is having his toilet made, while his more diminuLve friend, 
 Gogo, watches his comrade, perched upon the upturned tub, and resting 
 passive under the master’s shears, with uneasy surprise. And what a fine 
 type is this master, an old soldier rusting his peaceful years away in the 
 snug retirement of a porter’s lodge, caging pet cats instead of capturing 
 warlike prisoners, and cropping the coats of friendly poodles instead of the 
 ears of a foreign foeman ! The same strong hand that wrested the Cross 
 of the Legion, shining on his shabby breast, from the fury of battle, 
 touches with the firm gentleness of a kindly master the confiding pet that 
 comes under his control for artistic embellishment. It is an admirable 
 example of the old campaigner of the great Napoleonic era that the artist 
 paints. Of such men neither dogs nor their little mistresses need cherish 
 mistrust or fear. That honest face, bronzed in the cannon smoke and 
 the blaze of burning gunpowder, indexes a brave and truthful heart, that 
 has fairly won the peaceful corner, in which its master may puff his pipe 
 and see, in the softly curling smoke of his glowing bowl, visions of the 
 stormy past which has brought him its placid reward. In such episodes 
 as this, war makes to the human race some extenuation of its heroic 
 horrors and its dark despair. 
 
 The date of the picture is 1867. 
 
 14 
 



I 
 
 * 
 
 i; 
 
 i 
 
 •** 
 
 BAUGNIET (Charles), .Paris 
 
 Born in Brussels , 1814. Pupil of Paelinck atid of Willems. First became 
 known through lithography. Member of Ghent Acade?ny in 1836. Ap¬ 
 pointed designer to the King of Belgium, 1841. Order of Leopold , 1843. 
 Officer of the Same , 1872. Order of Isabel the Catholic of Spain. 
 Order of Branche-Ernstein of Saxony. Order of Christ of Portugal. 
 
 No. 7 
 
 CURIOSITY. 
 
 (LES INDISCRETES.) 
 
 26^ x 21. 
 
 Although the proverb assures us that the name of curiosity is woman, 
 the trait is, it is but fair to assume, not confined entirely to the sex. Key¬ 
 hole confidences are quite as dear to man. There is, however, a lack of dig¬ 
 nity about a male listener which impels the painter naturally to woman when 
 he desires to weave an allegory out of the act of eavesdropping. Woman is 
 always graceful and charming, even in such contingencies as M. Baugniet rep¬ 
 resents. There is a dainty elegance about the fair being in blue and white, 
 with her ear to the key-hole, and a lissom charm to her companion in pink and 
 white, who is standing and listening to her report, that one would seek in vain 
 in two members of the other sex engaged in the same surreptitious employ¬ 
 ment. We may imagine, from their expressions, moreover, that the subject of 
 discussion on the other side of the closed door is of paramount interest to one 
 of the twain. In such rich houses love and diplomacy go hand in hand, and 
 it may be a marriage settlement, or a proposal from an ardent lover to a parent 
 
 whose verdict is in doubt, that is screened by the jealous barrier. 
 
 15 
 
 
✓ 
 
 / 
 
 MONTELANT (J. O. De), 
 
 No. 8 
 
 VIEW OF NAPLES. 
 
 21 X 33. 
 
 Rome 
 
 Naples ! thou heart of men which ever pantest 
 Naked, beneath the lidless eye of heaven ! 
 
 Elysian city, which to calm enchantest 
 The mutinous air and sea ! 
 
 Percy Bysshe Shelley. 
 
 It is the Naples of Shelley, that M. de Montelant paints,—the Naples 
 drowsing in the shadow of Vesuvius, lapping its lazy feet in the warm wave¬ 
 lets of the sapphire sea. There is no hint of the long troubles of its vicissitu- 
 dinous history, of the savage romance of its existence of conquest and revolt, 
 of tyranny and oppression, in this easygoing city, basking in the summer sun 
 amid a nature that gives one a hint at the pleasures of Paradise. It has been 
 said that Naples, like some handsome woman, has a talent for not showing 
 her age. Yet it was in the shadow of Vesuvius that the Greeks set up their 
 colony of Parthenope and that Virgil was buried. It was here that even after 
 Rome conquered Greece, the Greek refinement and the Greek tongue con¬ 
 tinued to hold their own, and that, through all the black waste of the Gothic 
 and Byzantine wars, a singularly spirited and independent people preserved 
 their individuality and much of their independence. And even in these days 
 of his degeneracy the Neapolitan is one of the distinct and notable types of 
 Italy. 
 
 16 
 
 
 •* 
 

 

 BOULANGER (Gustave R. C.), . . Deceased 
 
 Born in Paris, April 25, 1824. Pupil of Jollivet and of Paul Delaroche. 
 Won the Prix de Rome in 1849. Medals, 1857, 1859, 1863, 1878. 
 Chevalier of the Legion of Honor, 1865. Member of the Institute of 
 France, 1882. Died, 1888. 
 
 No. 9 
 
 THE EMIR—SCENE IN ALGIERS. 
 
 (C’EST L’EMIR.) 
 
 25^- x i8|. 
 
 Poor, vagrant scions of the Prophet’s race, 
 
 Who beg an alms with all a giver’s grace. 
 
 Francois Coppee. 
 
 The only inheritance that the sons of Fatima, the daughter of 
 Mohammed, have received by their descent from the prophet, is the title emir 
 and the privilege of the green turban, which found such favor in the eyes of 
 the prophet himself. But they, thanks to these facts, still encounter a certain 
 honor entirely independent of the poverty into which most of the numerous 
 progeny that have grown out of the prophet’s grandchildren have fallen. 
 Thus, an emir of prophetic descent can count on being greeted, even as a wan¬ 
 dering mendicant, by an emir of the authoritative order on terms of equality. 
 The word 6mir signifies, in effect, an independent chieftain, as well as a 
 descendant of the prophet. In M. Boulanger’s picture we see an emir by 
 birth and an emir by the fact of his tribal authority meeting in an oasis in the 
 
 / ^ yj - 
 
 4 a 
 
 17 
 
THE EMIR—SCENE IN ALGIERS. 
 
 desert. In the person of the one we have an emblem of a deteriorated race, 
 living upon the traditions of its origin. In the other is embodied the fiery 
 and manly spirit of some family of warriors of the desert who owe their title 
 to their prowess alone. The contrast is well made. The haughty young 
 chieftain receives the humble descendant of the Commander of the Faithful 
 with a certain degree of disdain. Still he extends to him, for the sake of the 
 tradition he represents, the welcome of a peer, and the rude hospitality of his 
 scanty commissariat. 
 
 The recent death of Boulanger was sudden and almost tragic. He 
 was a man of large habit and a noble self-regard. One afternoon he stood 
 at his easel, busy with the sketch of an Arab woman carrying a richly 
 embroidered saddle. The next evening he and another painter went 
 together to a friend’s house to dinner. As they passed the house where 
 Eugene Scribe lived, they spoke of the death of that distinguished dramatist. 
 Scribe was riding in a carriage, and he died so suddenly that he could not lift 
 his hand to the check cord, which communicated with the coachman. 
 
 “ That man,” said Boulanger, “ had luck all through his life, but the thing 
 I envy him the most was his way of leaving the world, without knowing that 
 he was going.” 
 
 The dinner party was a pleasant one, Boulanger in particular being full 
 of anecdotes and souvenirs. When he left the table he began to hum a tune. 
 His friends left him at the door of his house, where he also had his studio. A 
 speaking-tube was within reach of his bed, placed there during an illness 
 which he had two years ago. The janitor of the house heard a feeble call, 
 and on placing his ear to this tube heard the artist, in tones so weak that he 
 could hardly make them out, say : “ Go for my doctor.” When the physician 
 came, he found Boulanger dead, still holding the end of the speaking-tube in 
 his hand. 
 
 The picture is dated 1871. 
 
 18 
 
Paris 
 
 GARRIDO (Edouardo Leon), . 
 
 Born at Madrid , 1854. Pupil of V. Palmaroli. 
 
 No. 10 
 
 A RAINY DAY, PLACE DE LA CONCORDE. 
 
 (UN JOUR DE PLUIE, PLACE DE LA CONCORDE.) 
 
 15 x 18. 
 
 The place of peace to-day ! ’tis easy said, 
 
 When every inch space of thy stones is red, 
 
 When all the rain that gracious Heaven brings, 
 
 Still cannot purge thee of the blood of kings ! 
 
 Robert Browning. 
 
 In 1747 Louis XV. accorded to the good citizens of Paris permission to 
 
 erect a statue to him, and they set it up in a square called the Place Louis XV. 
 
 In 1792, when the Republic had been set up, the Assembly decreed the 
 
 demolition of this monument, and had it replaced by a tawdry plaster figure, 
 
 colored gaudily, of Liberty. The title of the square was changed to the Place 
 
 de la Revolution , and the guillotine was set up on the spot where now stands 
 
 the Obelisk of Luxor. The elaborately sculptured base of the Louis XV. 
 
 statue, indeed, served also as the foundation for the scaffold on which Louis 
 
 XVI. and so many others of royal and commoner blood perished. In 1799 the 
 
 Reign of Terror being over, the title was changed to that of th & Place de la 
 
 Concorde, and since then the work of improvement has been carried on that 
 
 renders it with its Obelisk, its fountains, statues, columns, and esplanade, the 
 
 finest public square in Paris, if not, indeed, in the world. The Place de la 
 
 Concorde has on one hand the palace and garden of the Tuileries , and on the 
 
 * 
 
 other the long vista of the Avenue des Champs Elysdes, terminating in the 
 Arc de Triomphe in the Place de L'Etoile. In the other direction are the 
 Garde Meuble and the Madelahie, seen through the Rue Royale, and the 
 Palace Legislatif, beyond the Seine, and the Pont de la Concorde. Spacious, 
 brilliant, and ever alive with the animation of a great city, it invites the 
 painter’s attention by a constant succession of changing pictures, in fair 
 weather or foul. 
 
* 7^ MICHETTI (Francesco Paolo), . . . Naples 
 
 
 
 Born at Chieti, near Naples, 1852. Studied in Naples under Dalbono ; later 
 in Paris. Medals at Rome, Turin , Florence, and Parma. 
 
 No. 11 
 
 ITALIAN CHILDREN AT A FOUNTAIN. 
 
 (ENFANTS A LA FONTAINE.) 
 
 8 x 4J. 
 
 Children are drawing water at a crumbling well-side in the neglected 
 garden of an ancient palazzo. The stone wall of the garden and the ground 
 are dappled by the sunshine with flecks of gold. 
 
 Dated 1871. 
 
 20 
 

WORMS (Jules), .Paris 
 
 Born in Paris , 1832. Genre painter. Pupil of Lafosse. Medals: Paris , 
 1867, 1868, 1869, 1878 (. Exposition Universelle). Legion of Honor, 1876. 
 
 No. 12 
 
 UNCERTAIN WEATHER. 
 
 (TEMPS INCERTAIN.) 
 
 15 x 18. 
 
 And woman’s will—how says the ancient sage ? 
 
 So like the veering of the weather vane, 
 
 Created for man’s pleasure and his pain, 
 
 And quite above his blandishments or rage. 
 
 Lord Byron. 
 
 The weather and women, says an old Spanish saw, share the same fickle 
 temper. There is a double expression of perplexity on the face of the gentle¬ 
 man in the scarlet coat, with the white vest and gay breeches, who is putting 
 up his hand to make sure by the moisture on it that the rain has begun to fall, 
 that suggests his appreciation of this fact. The party have been breakfasting 
 al fresco , in a suburban garden, near some Spanish city, at a period early 
 in the century, as their dress betokens. The roof of the little hostelry is seen 
 above the verdure of the garden crowned with its splendid weathercock. An 
 old servant in livery opens an umbrella, while the two pretty girls, whom their 
 elderly escort has been entertaining, shrink poutingly within their flimsy sum¬ 
 mer finery, with the pleasure of the day spoiled by the anticipation of the 
 
 21 
 
 /? / -Z dHsD 
 
 c 
 
 / 
 
UNCERTAIN WEATHER. 
 
 drenching to come. It is probably in this moment that their escort experi¬ 
 ences a menace as serious as that of the weather itself. It promises him, who 
 is just at that age to appreciate a pretty girl’s reproaches, endless reproaches 
 for ruined ribbons and bedraggled furbelows. The types of the characters are 
 Spanish, and of the better class. The action of the figures is spirited and the 
 story is gayly told, with that pervading touch of natural humor, and that good- 
 humored vitality, which the artist is noted for analyzing and presenting so 
 skillfully. 
 
 22 
 
\ 
 
 \ 
 
 DE NITTIS (Joseph), . Deceased 
 
 Born at Barietta, Italy , 1846. Died at St. Germain, 1884. Studied 
 under Gerome and Meissonier. Medals, Paris, 1876, 1878; Legion 
 of Honor, 1878. 
 
 No. 13 
 
 CONFIDENCES. 
 
 13 X 9$. 
 
 It is a place for confidences, where the verdure whispers secrets to 
 the caressing zephyr, and the stream babbles them to the rustling sedges. 
 Upon this shaded bank, under the sky of radiant midsummer, one might 
 well lie at ease and murmur of forbidden things, and tales that could be 
 told to the safe ear of friendship alone. In this idyllic confessional, one 
 of the artist’s heroines, splendid as a huge butterfly in her robe of blue 
 and vermilion, rich with sumptuous broideries, extends herself in the luxu¬ 
 rious lassitude of unconstrained repose upon the perfumed greensward, 
 fanning herself lazily as she babbles her confidence to her companion, who 
 listens idly, propped upon her elbow, by her side. To the artist, “Con¬ 
 fidences ” has been the excuse for one of those daring and brilliant experi¬ 
 ments in color by which he won, during his phenomenally successful career, 
 such extended fame and favor. It is a triumph built upon the simplest 
 foundations, that of the primary tints. The key-note is struck in the 
 vivid red, yellow, and blue of the women’s robes, upon which combination 
 all the rest of the picture is a variation. 
 
 The picture bears the date 1863. 
 
 
 23 
 
GRISON (Adolphe), 
 
 Paris 
 
 Born at Bordeaux. Pupil of Lequieu. 
 
 No. 14 
 
 THE WINE TESTERS. 
 
 (LES DEGUSTATEURS.) 
 io x 8. 
 
 The church and the military have in all times been excellent friends. 
 In a snug corner of a monastery cellar, two examples of the comradeship 
 of the rosary and the sword, a monk and a man-at-arms, are making sympa¬ 
 thetic and leisurely investigations into the quality of the vintages that fill 
 the convent casks. The wine tasters are characteristic and well-contrasted 
 types. The soldier wears a somewhat critical expression, as is the privilege 
 of a man of the world who holds his own opinion in respect, while the 
 cellarer’s face reflects the contentment of one who knows, and is therefore 
 comfortably secure in the unimpeachable excellence of his wares. How¬ 
 ever their opinions may differ on the subject of the exact flavor of the 
 wine, we may be assured that they will not quarrel over it. The quality 
 of the fluid that brims the social glass is evidently too excellent to promote 
 dissension or permit it. 
 
 The picture is dated 1881 - 
 
r • - ^--.V 
 


t 
 
 ALVAREZ (Luis), 
 
 Rome 
 
 Z' £ 
 
 0~G 
 
 Born in Spain. Genre painter. Pupil of Madrazo the elder. 
 
 No. 15 
 
 HIDE AND SEEK. 
 
 
 (CACHE-CACHE.) 
 14 x 22. 
 
 Then in and out and round about 
 We turn and twist and glide, 
 
 And ever in the merry rout 
 We find a loved one’s side. 
 
 Lord Byron. 
 
 The game of hide and seek possesses a double utility. It is not only 
 an excellent time killer, but an admirable means of protracting a light 
 flirtation through the broken course of the game. The latter inducement 
 is quite likely to have some weight with M. Alvarez’s frolicsome players. 
 They are certainly rather of the flirtatious than the purely playful age. 
 They make, at any rate, an animated and colorful tableau, in the contem¬ 
 plation of which their sport may be shared without the fatigue of physical 
 exertion its actual performance involves. 
 
 25 
 
VILLEGAS (Jose), 
 
 Rome 
 
 Born in Seville. Pupil of Fortuny. Medals at Seville, Rome , Naples, 
 and Turin. 
 
 No. 16 
 
 BULL-FIGHTERS AWAITING THEIR TURN. 
 
 (AVANT LA COURSE DE TAUREAUX.) 
 
 H x 61 
 
 In the coulisse of the bull-ring a bull-fighter in blue, with a gorgeous 
 gold-embroidered cape and his crimson cloak draped over his arm, smokes 
 his cigarillo and watches the progress of the events in the arena, in which 
 he is to take a decisive part. At his feet is a banderilla. A plank fence, 
 with a rude bench, separates him from the vaulted space under the audi¬ 
 torium of the amphitheatre. Leaning on the fence from their places behind 
 it are another bull-fighter and two spectators, who, by their familiar atti¬ 
 tudes and expressions, are evidently friends of the actors who have the 
 proud license of an entry behind the scenes. The various Spanish types 
 are closely studied, and the fixed attention and suppressed excitement of 
 the watchers mirror to the imagination the unseen drama which is being 
 enacted before them. Overhead the feet of the spectators are thundering 
 on the planks of the amphitheatre. Behind them the bellowing of fresh 
 victims for the people’s holiday echoes through the gloomy vaults of the 
 cellarium. Through the dust and heat of the arena the movement and the 
 reek of battle come in fitful gusts. It is the moment of watchful repose 
 that precedes the storm. In the twinkling of another eye, one may expect 
 the picture to be empty, and the blue-jacket, mayhap, empurpled with 
 gore. 
 
 The date is 1871. 
 
 26 
 
— - - . 
 
 
♦ 
 
1 
 
 } 
 
 « 
 
 1 
 
 ROSSI (Lucius). Paris 
 
 Born at Rome. Pupil of the Academy of Rome. Medals at Rome , Turin, 
 and Naples. 
 
 No. 17 
 
 MIDNIGHT AMUSEMENT IN THE OLDEN TIME 
 
 —VENICE. 
 
 
 (GUET-APENS A VENISE.) 
 14^ x 1i£. 
 
 There’s a step on the Bridge of Sighs, 
 The step of a cavalier; 
 
 Some maiden trysts, and swift he hies 
 To kiss and fondle a lovely prize. 
 
 As he speeds, the moon shines clear. 
 
 There’s a sound on the Bridge of Sighs, 
 
 The sound of a struggle loud : 
 
 A dagger gleams, a shadow flies, 
 
 An inert form on the pavement lies. 
 
 The moon goes behind a cloud. 
 
 Francis S. Saltus. 
 
 The moon is out, in Mediaeval Venice, flooding the open tide with her 
 white splendor and burying the obscure passages of the little canals in a 
 gloom meet for tragedies. Among the shadows, what lurking shapes may 
 crouch, clutching the ready steel, the moment of action only can reveal. 
 There is a rasping on the balcony overhead, the clatter of the rope-ladder, 
 lowered to carry a secret wooer from the trysting place, a figure on the cord, 
 and then, in a moment, swift clashing of steel, fierce oaths, and the tumult 
 of a death struggle, punctuated with a woman’s shrieks and cries of agony. 
 And still Venice dozes or frolics on upon its ways of pleasure and of intrigue, 
 unconcerned. To her such midnight brawls are all too common to send a 
 thrill to her blood or an extra pulsation to her heart. 
 
 The date of the picture is 1870. 
 
 27 
 
Rome 
 
 AGRASSOT (Joaquin), 
 
 Born at Orihuela, Spain. Genre Painter. Pupil of the Academy San Carlos 
 of Valencia, and of Martinez. 
 
 No. 18 
 
 FORTUNY’S STUDIO. 
 
 (L’ATELIER DE FORTUNY.) 
 
 16 x ii. 
 
 It is a corner of the famous Roman atelier in which the great Spanish 
 painter heaped up the artistic prizes of his mania for curiosity collecting. 
 There is a trophy of arms and bric-a-brac on an antique stand, a gorgeous rug, 
 on which some sketches are scattered, porcelains and metal work, carvings in 
 wood and stone and ivory ; part of the gathering, in short, which has given 
 the studio of Fortuny an immortal place in the reminiscences of art, and which 
 two ladies are examining with properly curious interest. This souvenir of his 
 great colleague’s atelier was painted in 1871, when the talented young painter 
 formed one of the noteworthy Spanish colony engaged in the practice of 
 art in Rome. 
 
 Mr. Stephen J. Ferris, who was himself a pupil of Fortuny, writes of 
 this interesting work : “ I am told by one who saw it in Fortuny’s studio 
 that Fortuny worked on it until it was recognized as his work. It caused 
 quite a controversy in Rome until Fortuny explained. He was so obliging 
 to young artists as to sometimes paint for hours on their pictures, which 
 was, probably, the case in this instance.” 
 
 Agrassot was a close friend of Fortuny, and his portrait appears in the 
 great Spaniard’s picture, “ Le Faust de Gounod,” in which the composer is 
 represented playing on the piano his great score, with phantasms of Faust 
 
 and Marguerite , and of Mcphistopheles and Martha in the air. 
 
 2S 
 
 

! 
 
 ■* 
 
 i 
 
 
 
 PORTAELS (Jean Francois), . . . Brussels 
 
 Born in Vilvord, near Brussels, 1818. Pupil of Navez, and in Paris of Dela- 
 roche. Won the Prix de Rome, 1841. Travelled through Europe and the 
 East. Since 1878, Director Brussels Academy. Order of Leopold, 1851. 
 Medal, Paris, 1855. 
 
 No. 19 
 
 BOHEMIAN CABIN. 
 
 (INTERIEUR BOHEMIEN.) 
 
 10 x 14. 
 
 It is the fireside of a vagabond race but one remove from the nomads of 
 the Steppes. To such as these, home is a name unknown. Their substitute 
 for it is a simple shelter from the elements, where man and beast may huddle 
 together, and the scanty pot be kept warm over the scanty fire. The gypsy 
 traits of the race leave no room in it for the enervating comforts of civiliza¬ 
 tion or the immaterial pleasures of a high state of existence. Their wants are 
 those of nature alone. A rude meal, a sleep upon the floor of beaten earth, a 
 handful of fire-brands for warmth’s sake when the wind is chill—this is the 
 beginning and the end of the Bohemian’s mundane desires, and the supreme 
 ambition of his picturesque and purposeless existence of vagrant worthless¬ 
 ness and reckless inutility. 
 
 29 
 
 
 
'' /o*s- CERVI < c -)’ 
 
 Rome 
 
 Pupil of Louis Alvarez. 
 
 THE DISPUTED PICTURE. 
 
 No. 20 
 
 (EN QUfSTE DU NOM DE L’ARTISTE.) 
 
 20 X 17. 
 
 It is manifestly a very serious matter to decide whether this master-piece 
 is, in effect, a real master-piece, or but a base deception unworthy of consider¬ 
 ation or tolerance as part of a collection. There has been a dispute upon this 
 point between these two veteran experts, by which the younger man has evi¬ 
 dently been more diverted than edified. Now that the debate has reached a 
 deadlock, one contestant seeks authorities in his books of reference, while the 
 other studies the bone of contention lovingly set up on a carved chest before 
 him, and still expatiates upon its undoubted genuineness. It is a Descent 
 from the Cross—well, how many such have been painted ! But the frame is an 
 antique! That may be, but—and the fluttering of leaves goes on, conflicting 
 authorities are read and re-read, and the difference of opinion remains as far 
 from adjustment as ever. It is in such comedies as this that your true collect¬ 
 or’s life runs its course, disturbed by its tempests in a tea-pot, now and then, 
 only to settle into triumphant calm upon the acquisition of some prize whose 
 quality is quite beyond dispute. 
 
 The picture is dated 1871. 
 

 

 
 
 
 
 
 
 
 
 
 
 

Deceased 
 
 VERNET (Emile Jean Horace), 
 
 
 Born in the Louvre, Paris, June 30, 1789. Died in Paris, Jan. 17, 1863. 
 Son of Carle Vernet and grandson of Joseph Vernet. Pupil of his 
 father and of Vincent , and commenced an independent career as a painter 
 in 1809. First-class medal, 1812. Chevalier of the Legion of Honor, 
 1814. Officer, 1825, and Commander of the Order in 1842. Member of 
 the Lnstitute, 1826. Director of the French Academy at Rome, 1828. 
 French Representative at the Roman Court, 1830. Grand Medal of 
 Honor, 1855. 
 
 No. 21 
 
 SOCIALISM AND CHOLERA. 
 
 18 x 14^. 
 
 When the revolution of 1848 found Horace Vernet in the fullness of his 
 popularity and his fame as the great battle painter of France, the pride of the 
 army and the pet of the king, it dealt him a serious blow, and one from which 
 his spirit never fully recovered. He still continued at his labors, but the sun 
 of his destiny had entered upon its decline, and a newer state of things paved 
 the way for newer men. The revolution resulted in the abdication of Louis 
 Philippe in February, 1848, and the proclamation of a Republic. Four 
 months later came the Red Republican insurrection, which the provisional gov¬ 
 ernment put down only at the cost of much bloodshed. Then came the 
 Asiatic Cholera and Louis Napoleon to put an end to the Republic in its turn. 
 Vernet lived to paint some of the glories of the successor of his royal patron, 
 and he painted all his detestation and scorn of the socialistic creed which 
 helped to depose Louis Philippe and to place Napoleon III. on the throne, in 
 his picture of “ Socialism and Cholera.” 
 
 It is a scene of horror, under a sky of dread. Upon the guillotine a vic¬ 
 tim is bound to the fatal plank. Perched upon him as on a throne, Death 
 and the Plague hold rule over a great field of carnage. Corpses are everywhere 
 in heaps and winrows, losing themselves in the horror-haunted gloom. The 
 guillotine itself is built upon them. They are the fruits of socialism ; they 
 typify socialism itself, which, as the artist holds, can only end in destruction, 
 carnage, annihilation, and a restoration of the old and natural social order. 
 
 31 
 
SOCIALISM AND CHOLERA. 
 
 But greater than socialism, which can only destroy itself, is the pestilence 
 which can destroy the destroyer—the pestilence which has come with its twin 
 brother out of the Orient, and laid its poisoned clutch upon the West. Vernet 
 paints the Cholera as a gaunt and cadaverous simulacrum of humanity, out of 
 whose face, leaden with the livid pallor of infectious death, burn two eyes like, 
 lights deep set in caves. This creature is clad in yellow satin of oriental web 
 and cut. It plays a paean of destruction upon a flute formed of a human 
 thigh-bone, and a terrific scourge hangs at its girdle. And, as it pipes its 
 notes of menace and of triumph forth, its comrade, Death, squats on the mon¬ 
 ument to death beside it, and reads a journal of the day in which the ravages 
 of revolution and the ravages of the plague are recorded side by side. 
 
 The sentiment of this terrific allegory is expressed with a magnificent 
 strength of execution, a caustic fearlessness of satire, and a fervid, however 
 grim, poetic feeling. The date is 1850. 
 
 It was, therefore, a creation as well as an inspiration of the time to which 
 it applied. 
 
 32 
 


RICO (Martin), 
 
 Paris and Venice 
 
 
 Born at Madrid. Pupil of Madrazo the elder; later studied in Paris 
 and Rome. Medals, Paris (Exposition Universelle), 1878. Chevalier 
 of the Legion of Honor, 1878. Order of Charles III. of Spain. 
 
 r 
 ftv 
 
 
 No. 22 
 
 THE SEINE NEAR POISSY, 
 
 (LA SEINE PRES DE POISSY.) 
 
 15 X 26|. 
 
 “ Fair is the Seine at Poissy, 
 
 With its islets crowned by trees, 
 
 Fringed by spires of lofty poplars 
 Trembling in the summer breeze.’’ 
 
 Bessie Rayner Parkes. 
 
 Poissy, the birth-place of that pious king who won the surname of Saint 
 Louis when he left his body on the African sands a prey to the pestilence 
 that put an end to the crusade he headed six centuries ago, is to-day a place 
 of memories and of pictures only. For the latter, it is much sought out by 
 the artists who make their camp in the forest of Fontainebleau. A portion of 
 the river bank at Poissy is given over to the washerwomen, whose wash¬ 
 houses line the shore, and whose washing-floats dot the water, and what with 
 the natural beauties of the scene and the quaint variations afforded by its 
 artificial adjuncts, it offers to the seeker after the picturesque a series of sub¬ 
 jects admirably calculated to command his attention, to awaken his admira¬ 
 tion, and arouse his industry with pencil or pen. 
 
 3 
 
 33 
 
HERMANN-LIiON (Charles), . . . Paris 
 
 Born at Havre , 1838. Genre painter. Pupil of Philippe Rousseau and 
 of Fromentin. Medals , 1873, 1879. 
 
 No. 23 
 
 COUNTRY AND CITY RATS—LAFONTAINE’S 
 
 FABLE. 
 
 (“ LE RAT DE VILLE ET LE RAT DES CHAMPS.”) 
 
 25 x 19$. 
 
 Among the immortal fables of the ingenious master Jean de Lafontaine, 
 that of the country and the city rats is one of the best told. It is a sly 
 and shrewd satire upon worldly ambition and its perils, and upon the 
 intangibility of worldly glory. The city rat boasts to his simple country 
 cousin of the luxury and splendor of the life he leads, and the country 
 rat, becoming envious, undertakes to forsake his safe and humbly comfortable 
 rural retreat to share in the magnificence that he describes. But the city 
 rat, in dilating upon the advantages of a metropolitan existence, has failed 
 to apprise his unsophisticated friend of its drawbacks, of the ferocious cat 
 with its deadly jaws, of traps set to mangle and maim, and the perils of 
 a servant’s cudgel or a chambermaid’s broom. When the country rat comes 
 to put the matter to a test, under the guidance of his experienced friend, 
 he discovers these things for himself, and wisely abandons pomp and luxury 
 to be gained at such price for the simpler and safer pleasure of the life his 
 
 worldly congener scorns. 
 
 34 
 
PASINI (Alberto), 
 
 Paris 
 
 Born at Busseto, Italy. Pupil of Ciceri. Medals, Paris , 1859, 1863, 1864. 
 Grand Medal of Honor (.Exposition Universelle), 1878. Chevalier 
 of the Legion of Honor, 1868. Officer of the Same, 1878. Medal at 
 Vienna Exposition, 1873. Knight of the Order of Saints Maurice and 
 Lazarus. Officer of the Orders of Turkey atid Persia. Honorary Pro¬ 
 fessor of the Academies of Parma and Turin. 
 
 No. 24 
 
 THE SULTAN’S ESCORT. 
 
 (L’ESCORTE DU SULTAN.) 
 
 22 x i8£. 
 
 “ But yester-eve, so motionless around, 
 
 So mute was this vast plain, that not a sound 
 But the far torrent, or the locust bird 
 Hunting among the thickets could be heard :— 
 
 Yet, hark ! what discords now, of every kind, 
 
 Shouts, laughs and screams are revelling in the wind. 
 
 The neigh of cavalry, the tinkling throngs 
 Of laden camels, and their drivers’ songs— 
 
 Ringing of arms, and flapping in the breeze 
 Of streamers from ten thousand canopies ;— 
 
 War music, bursting out from time to time, 
 
 With gong and tymbalons’ tremendous chime.” 
 
 Thomas Moore. 
 
 The cavalcade comes winding down through a pass in the hills whose 
 bare and sun-scorched summits cut the hot sky in jagged undulations. The 
 spearsmen ride in front, keeping a wary lookout against possible surprise. 
 Their leader grasps his pistol in readiness for any sudden emergency, and his 
 guardsmen are on the alert. With the way thus made secure, the body of the 
 escort follows, surrounding and defending the rear of the splendid palanquin 
 in which the pampered potentate lolls at his ease. All nature blazes with 
 sunshine and heat, and the rich verdure of the palm grove, set like a jewel in 
 the harsh wilderness, vies with the sumptuousness of the gayly caparisoned 
 procession and the gorgeous conveyance it protects in enhancing the oriental 
 splendor of the scene. 
 
 35 
 
S /£cTO- LOTH (F. E.).Rome 
 
 Born in Denmark. Pupil of the Royal Academy of Fine Arts. Removed to 
 Rome , ivhere he spent several years, after which he was called back to 
 Denmark and appointed Professor of the Royal Academy. 
 
 No. 25 
 
 ARTISTS’ AMUSEMENTS DURING CARNIVAL, 
 
 ROME. 
 
 (SOUPER D’ARTISTES PENDANT LE CARNAVAL.) 
 
 22 \ X 31. 
 
 “ Who can forget thy Carnival, Rome, thy Carnival flashing 
 Joy and life through thy solemn streets ? Ah, season when Pleasure 
 Day after day its kaleidoscope turned of bright robes and bright faces ; 
 
 Every one free as the wind, by fashion’s conventions untrammelled. 
 
 All borne away by the moment, and chasing the butterfly Pleasure 
 Till the stars faded and set in the cold gray light of the morning.” 
 
 Christopher Pearse Cranch. 
 
 Even the Romans themselves do no madder honor to the annual carnival 
 season than the strangers who form the famous Art Colony in the Eternal City. 
 The artists’ carnival has been made immortal in song and story. Those who 
 participate in it always continue to invest it with an individual picturesque¬ 
 ness of costume and characterization, and they surrender themselves to its 
 license with all the wild enthusiasm of the artistic nature. Mr. Cranch, him¬ 
 self an artist as well as a poet, indicates with a deft touch the amazing revel 
 of joyous animal spirits which his student days made him familiar with, and 
 which lends to the Roman festival one of its most interesting and distinctly 
 characteristic features. 
 
 It is evening of Carnival Day. In one of the studios the effervescent 
 
 gathering of genius has assembled to do honor to a feast. The wreck of a 
 
 banquet strews the table. Bottles whose mellow contents have aided the 
 
 light course of pleasure on its tripping path litter the floor. It is a strange 
 36 
 
 

 
 
ARTISTS’ AMUSEMENTS DURING CARNIVAL, ROME. 
 
 medley of costumes and of types. An Indian fiddles lustily ; a herald blows 
 discordant notes from a horn into the ears of a sailor; cavaliers and damsels in 
 the garb of contrasting epochs vossip and flirt and cast the notes of broken 
 song into the general uproar. All is life, gayety, the confusion of untram¬ 
 melled and unbridled good-humor, born of the maxim that is as old as pagan¬ 
 ism and as eternal as Christianity and civilization—“ dum vivimus vivamus ”— 
 while we live let us live, for to-morrow may hear our requiem sung. 
 
 The date of the picture is 1872. 
 
 37 
 
/ ' ffo- 
 
 SAINTIN (Jules Emile), .... Paris 
 
 Born in Lemc, France, 1829. Genre painter. Pupil of Drolling, Picot , 
 and Leboucher. Lived for several years in the United States. Medals, 
 Paris , 1866, 1870 • Munich, 1883. Chevalier of the Legion of Honor, 
 1877 - 
 
 No. 26 
 
 THE TWO ORACLES. 
 
 (LES DEUX AUGURES.) 
 
 29 x 19. 
 
 There can be no question as to which of the oracles that this buxom 
 abigail consults will be obeyed. 
 
 Between the advice of an insensate im-age and a living heart, the 
 latter may be relied upon to claim the victory. Perhaps the comely 
 soubrette, who has halted in the progress of her daily duty to address the 
 question that is uppermost in her mind to this grotesque example of the 
 art of Cathay, has an artful purpose behind her deference to it. It may, 
 in her opinion, be quite as well to have the support of one authority for 
 the decisions of another, and if the wish is parent to the thought, and one 
 oracle is agreeable enough to nod an affirmative to the lightest touch, the 
 verdict of the other can readily be interpreted to suit the circumstances. 
 The artist has touched his satire in with a light hand. He has also made 
 a pleasant picture of modest materials. The girl, in her gray house uni¬ 
 form trimmed with black and her chambermaid’s cap, nods merrily in 
 concert with the toy she interrogates. The accessories, like the animate 
 and inanimate actors in the scene, are rendered with an unostentatious, 
 but none the less faithful and capable hand. 
 
 The date of the picture is 1878. 
 
 38 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

BEAUMONT (Charles Edouard de), 
 
 Deceased 
 
 
 Born at Lannion, Fra?ice, 1821. Genre painter. Pupil of Boisselier. 
 Medals, 1870 and 1873. Chevalier of the Legion of Honor, 1877. 
 
 No. 27 
 
 THE TEMPTATION OF SAINT ANTHONY. 
 
 (LA TENTATION DE SAINT ANTOINE.) 
 
 2 3 i x 37 - 
 
 Possessing the value of a religious allegory, and presenting as well 
 unlimited possibilities for the exercise of a fantastic imagination, it is no 
 wonder that the story of St. Anthony’s ordeal of faith has been a favorite 
 subject with painters since painting began to be a part of the progress of 
 civilization. The story has been depicted in every possible phase, from 
 the wonderful diabolism of Callot’s great etching down to the gross pruri¬ 
 encies of the modern realists, seeking an excuse for a coarse sensation 
 in an appeal to the vicious with a perversion of a pure theme. To M. de 
 Beaumont, an artist with a singularly acute invention and clear mind, the 
 “Temptation” has provided the inspiration for one of his most striking 
 works. 
 
 The tempted saint is on his knees at the rude altar of his penitential 
 cavern, his head buried in his arms and his hands clutched in prayer. 
 Carnal temptation besets him in the shape of a radiantly beautiful woman, 
 whose nude form, radiating a brilliant and unearthly illumination, hovers 
 over the altar she seeks to stain. He is surrounded by gibbering and 
 tormenting demons, in fantastically hideous forms, in which one finds the 
 animal, the reptile and the human characteristics grotesquely combined. 
 
 Through the opening of the cavern, whose vaulted roof and stony walls 
 lose themselves in a vague somberness peopled with malignant shadows, 
 a few rays of daylight steal in, only to lose themselves amid the gloom. 
 The picture is lighted from the gleaming form of the demoniacal enchant¬ 
 ress, a weird and supernatural light full of the livid glow of diabolic 
 fires. There is no date. 
 
 39 
 
GOUBIE (Jean Richard), 
 
 Paris 
 
 Born in Paris , 1842. Genre and animal painter. Pupil of Gero?ne. 
 Medal , Paris, 1874. 
 
 No. 28 
 
 THE HONORS OF THE FOOT. 
 
 (LES HONNEURS DU PIED.) 
 
 29 x 42^. 
 
 “ A southerly wind and a cloudy sky 
 Proclaim it a hunting morning. ” 
 
 Old Song. 
 
 The spoils of victory fall to the conqueror. The decree, moreover, 
 is just, according to human law. In the huntsman’s case, his reward is 
 the quarry, and the rules of the chase have attached to it several curious 
 and interesting practices. One, well known to fox hunters and those who 
 are familiar with descriptions of the sport, is the honors of the brush, which 
 are extended to the lady who rides in first at the death. This custom is 
 duplicated in stag hunting by the honors of the foot, a custom which is, 
 moreover, observed in all countries where the chase is pursued as a sport. 
 
 In this case, the scene is in France. The hunt has ended in an aban¬ 
 doned quarry, late in the afternoon. The dogs have been whipped off and 
 are gathered about the fallen stag on the left, while the horns of the 
 dclaireurs behind them proclaim the victory. The sportsmen who have been 
 in at the death are halted from the extreme right to the centre of the composi¬ 
 tion, motionless in their saddles, while the chief piqueur presents to a lady 
 the trophy that falls to her as having been at the head of the hunt when the 
 death stroke was given. The landscape is bare and lifeless. The sky is cold, 
 with clouds heavy with chill showers, across a rift in which the late sun 
 sends a gleam of light without warmth in it. 
 
 The date of the picture is 1872. 
 
 40 
 
-sr; 
 



 BEARD (William H.), N. A., . . . New York ^ 
 
 Born in Buffalo, 1814. Elected National Academician, 1871. 
 
 No. 29 
 
 VIEW IN THE WHITE MOUNTAINS. 
 
 35i x z8|. 
 
 “ Coward,—of heroic size, 
 
 In whose lazy muscle lies 
 Strength we fear and yet despise; 
 
 Savage—whose relentless tusks 
 Are content with acorn husks ; 
 
 Robber,—whose exploits ne’er soared 
 O’er the bee’s or squirrel’s hoard. 
 
 Here, in solitude and shade, 
 
 Shambling, shuffling plantigrade, 
 
 Be thy courses undismayed. 
 
 Eat and drink and have thy fill, 
 
 Yet remain an outlaw still ! ” 
 
 Francis Bret Harte. 
 
 Bruin, foraging for his morning-meal, is prowling up a savage glen, pick¬ 
 ing his clumsy way along the tumbling course of a mountain brook. The 
 forest exhibits the wild traits of primeval nature in all their unrestrained 
 picturesqueness, the last of the great wilderness that remains to New England. 
 Nature’s strength and decay are seen side by side in vivid contrast. Towering 
 stems reach to the arch of verdure which they support, and fallen trees 
 entangle with the thickets. In the fastnesses of the forest reigns a mysterious 
 gloom, full of the vague movement of leaves and boughs. Through an open¬ 
 ing in the forest as the glen rises the sunlight forces its way in sparse shafts. 
 Amid such surroundings Bruin should find abundant prey, safe from the 
 armed intrusion of the hunter, whose feet have probably not yet profaned 
 these wilds, into which the intrepidity of the artist has preceded him. 
 
 The date is 1863. 
 
 41 
 
Deceased 
 
 0 " BERTRAND (James), 
 
 Born at Lyons , 1825. Pupil of PMn and of Orsel. Later studied in Rome. 
 Medals , Paris , 1861, 1863, 1869. Chevalier of the Legion of Honor , 
 1876. Medal 1878 (. Exposition Universelle). 
 
 No. 30 
 
 SERENADE IN ROME. 
 
 (SERENADE A ROME.) 
 
 24 x 45. 
 
 “ With passion replete, 
 
 Yet tender and sweet, 
 
 Some soft serenade 
 Swells out from the shade, 
 
 While o’er the lagoon 
 
 A silvery voice. 
 
 Will some maid rejoice, 
 
 Who whispers, ‘ My love 
 Climb quickly above,’ 
 the opal moon.” 
 
 Francis S. Saltus. 
 
 shines 
 
 The Roman night has fallen close and dark with the star-bespangled 
 
 blackness of a moonless summer time. The mystery of the indefinite hours 
 
 is upon the Roman ruins and among the Roman highways. It is an hour 
 
 of silence, of idleness and repose. But the lover, who is never idle in the 
 
 cause he loves, picks at his mandolin under his sweetheart’s window, and, we 
 
 may assume, chants her praises to no unwilling ears, for her lattice is up and 
 
 the light of her lamp gleams behind the jealously bowed blind, and the steps 
 
 that lead up to her doorway are a silent invitation to feet that have travelled 
 
 them before. At the feet of the ardent wooer, as if to offer to his subdued 
 42 
 

SERENADE IN ROME. 
 
 excitement and interest the contrast of stolidity and animal content, a herds¬ 
 man of the campagna is stretched in the road, with his dog on the watch 
 beside him. Along the wall of some palace garden that closes the road in, 
 a couple of guitarists touch their instruments in gentle accompaniment to 
 the singer’s voice, while several idlers listen, absorbed in the romance of the 
 moment and held spellbound by its melody. The deserted street loses itself 
 in shadows. In the old palace garden the nightingale is hushed. The hour 
 belongs to lovers and to love, and the field is all their own. 
 
 The picture is dated 1868 , in which year the artist was in Rome finding 
 
 his best inspiration amid its picturesque present and its romantic past. 
 
 43 
 
JACOMIN (Alfred Louis), 
 
 AjAV 
 
 Born in Paris, 1843. Medal, 1876. 
 
 No. 31 
 
 Paris 
 
 FAUST AND MEPHISTOPHELES. 
 
 39 x 3 2 - 
 
 “ Faust: Reluctantly must 1 at length 
 
 Speak the spell of greatest strength. 
 
 “ Mephistopkeles [coming forward] : Why all this uproar ? 
 
 Is there anything 
 
 In my poor power to serve you ? 
 
 Most learned master, 
 
 Your humble servant.” 
 
 Goethe. 
 
 The temptation of Faust , as Jacomin paints it, has a peculiar interest in 
 being a close delineation of the scene of that great allegory as Gounod 
 placed it on the stage in Paris, in operatic form, in 1869, at the Grand Opera 
 House. At that time the great baritone Faure impersonated the demoniac 
 spirit of the opera with remarkable spirit and success. M. Jacomin has made 
 a close study of this famous singer in his principal figure. Mephistopheles, in 
 the conventional costume of flame color and black, stands in argument with 
 the gray scholar who has summoned him to be his familiar. Faust is seated 
 attired in his doctor’s robes. The scene, crowded with books and philosophi¬ 
 cal and chemical implements, displays the picturesqueness and eccentricity of 
 a philosopher’s study. The Faust, like the Mephistopheles, is a portrait of 
 the singer who impersonated the part, and the scene, while closely following 
 the setting of the stage, is yet without any suggestion of the artificiality of 
 arrangement that characterizes theatrical tableaux. 
 
 The date of the picture is 1869. 
 
 44 
 
Paris 
 
 RICHTER (Edouard),. 
 
 Born in Paris. Pupil of Hubert and Bonnat . 
 
 No. 32 
 
 THE GALLERY OF THE LOUVRE. 
 
 (LA GALERIE DU LOUVRE.) 
 
 39 x 32—1862. 
 
 The Louvre, a palace of kings converted into a palace of art, dates its 
 origin back into the remoter past of French history. The name appears in 
 the chronicles for the first time in 1204, when Philip Augustus completely 
 reconstructed on its present site a still more ancient edifice in order to make 
 of it a royal residence. Francis I. was, however, the founder of the Louvre 
 as we know it. Successive monarchs added to it, until under Napoleon III. 
 the ancient Louvre became part of an enormous irregular quadrangle of 
 palaces, the other extremity of which was formed by the Tuileries, which was 
 commenced by Catherine de Medici in 1564. With the Seine on one hand, 
 the splendid Rue de Rivoli on the other, and facing over its gardens upon the 
 Place du Louvre , the palace remains to-day one of the most beautifully placed 
 and charmingly surrounded public buildings of Paris. The Louvre as an art 
 museum owes its origin to the French Revolution. It was by a decree of 
 the Convention of 1793 that the collections of the various royal palaces of 
 Paris were gathered in the Louvre, and with the additions that have since 
 been made to them, they constitute the greatest art collection in the world. 
 The picture shows the entrance from one of the galleries to another, with the 
 uniformed guardian at the door, and a couple of female visitors inspecting the 
 pictures. Outside the wide and lofty windows are seen the trees of the 
 palace garden, or more properly speaking, park. 
 
 The picture is dated 1869. 
 
 45 
 
' j e~o - HEULLANT (Felix Armand), . . . Paris 
 
 Born in Paris, 1834. Genre Painter. Pupil of Picot, of Giraud, and of 
 Cabanel. 
 
 No. 33 
 
 ARCADIA. 
 
 (“ ARCADIE.”) 
 
 21 x 36^. 
 
 " Beside the stream and in the alder shade, 
 
 Love sat with us one dreamy afternoon, 
 
 When nightingales and roses made up June, 
 
 And saw the red light and the amber fade 
 Under the canopy the willows made, 
 
 And watched the rising of the hollow moon, 
 
 And listened to the waters’ gentle tune, 
 
 And was as silent as she was, sweet maid, 
 
 Beside the stream.” 
 
 Edmund Gosse. 
 
 In Arcadia it is always summer, and summer sings the cradle song of 
 love. It is the ideal period of the year as Arcady is the ideal spot of all the 
 wide, wide world. The pellucid river mirrors a sky of opal and of pearl. 
 The alders on its marge send their reflections down into the rippleless flood 
 without a shiver. The grasses faint with the scent of the flowers, and the 
 breeze of balm lulls to dreams of more than mortal beauty that enhance 
 rather than disturb repose. There is nothing real about “Arcadia,” more’s 
 the pity, but its poetic and its pictured semblance. Since we cannot grasp 
 the reality we may wisely accept the counterfeit, and be content that it, at 
 least, is ours. 
 
 46 
 
HEULLANT (Felix Armand), . 
 
 Paris 
 
 No. 34 
 
 ARCADIA. 
 
 (“ ARCADIE.”) 
 
 (companion to no. 33.) 
 
 “ With pipe and flute the rustic Pan 
 Of old made music sweet for man ; 
 
 And wonder hushed the warbling bird, 
 
 And closer drew the calm-eyed herd,— 
 
 The rolling river slower ran. 
 
 “ Ah ! would, ah ! would, a little span, 
 
 Some air of Arcady could fan 
 
 This age of ours, too seldom stirred 
 With pipe and flute.” 
 
 Austin Dobson. 
 
 The poets and the painters have made of the Arcadia of the Peloponnesus 
 an earthly Paradise which their imagination has exhausted itself to glorify. 
 It is with them the sublimation of all mundane nature, the perfection of pas¬ 
 toral days, in one long dream of poetic idleness and idyllic ease. They have 
 endowed it with an atmosphere of its own where storms never darken, and 
 blasts never chill; a climate of its own where rude winds never blow, and 
 made it, in short, a country in which nature to be seen is to be worshipped in 
 the persons of her tutelary deities, Pan and Diana. It is typically the land 
 of peace, innocence and patriarchal manners, and whether it is presented to 
 us with the pen of the poet or the brush of the artist, can never lose its 
 gentle and soothing charm. 
 
 47 
 
BIERSTADT (Albert), N. A., 
 
 New York 
 
 Born in Diisseldorf, 1830. Brought to America at an early age. In 
 1853 he returned to Diisseldorf, and entered the Academy there ; after¬ 
 ward he studied in Rome, Switzerland', and Germany. Elected a Mem¬ 
 ber of the National Academy, i860, and later was decorated Chevalier 
 of the Legion of Honor, France. In 1867 he was sent to Europe upon 
 a Government comtnission, to make studies for a painting of the “ Discovery 
 of the North River oy Hendrik Hudson." Several of his paintings are 
 owned by the United States Government. 
 
 No. 35 
 
 SUNSET IN THE YOSEMITE. 
 
 36 X 52. 
 
 “ Environed by a mountain wall, 
 
 So fierce, so terrible, and tall, 
 
 It never yet had been defiled 
 By track or trail, save by the wild, 
 
 Free children of the wildest wood ; 
 
 Where stars and tempests have a home 
 And clouds are curled in mad unrest, 
 
 And whirled and swirled by crag and crest." 
 
 Joaquin Miller. 
 
 In the golden and crimson splendor of the departing day the great valley 
 is sinking to rest under a coverlet of cloud. The incredible magnificence of 
 the western sunset bathes the towering cliffs and the stream that winds its 
 way between them in a glory of color that only the most daring pencil may 
 essay to reproduce. It is as if the auriferous treasures of the earth were 
 fused into the sky in one superb triumph of pigmentary perfection. The 
 forest, darkening with the shades of evening into mysterious and solemn 
 somberness, catches here and there a glint of the last rays of the sinking 
 luminary. The waterfalls, tumbling in spray from the dizzy heights, flash 
 with its level beams like cataracts of jewels, and it turns the ripples of the 
 river into ropes of gold, that will presently lose themselves in the vapors of 
 evening that have drifted in from the distant sea. 
 
 The picture was painted in 1868. 
 
 48 
 
SIMONETTI (Attilio Cavaliere), 
 
 Naples 
 
 Born in Rome. Genre painter. Pupil of Fortuny. Professor in Naples. 
 
 No. 36 
 
 THE LISTENER, 
 
 (LA CURIEUSE.) 
 
 PEN-DRAWING. 
 
 12 X 8J. 
 
 A pen sketch for a picture of a graceful and pretty young woman who 
 is listening at a door in a rich interior. Drawn freely and boldly, but with 
 much delicate suggestiveness and spirit, and a great deal of expression. 
 
 Is dated 1871. 
 
/ / J * SIMONETTI (Attilio Cavaliere), 
 
 Naples 
 
 
 / 
 
 Born in Rome. Genre Painter. Pupil of Fortuny. Professor in Naples. 
 
 No. 37 
 
 THE LETTER. 
 
 (“LA LETTRE.”) 
 
 PEN-DRAWING. 
 
 12 X 8^. 
 
 In the snug corner of a richly stocked library, a gentleman in the costume 
 of the latter portion of the last century, with cocked hat and embroidered 
 coat, is perusing a letter. He has a cane under his arm, and his attitude is 
 one of interested attention. Behind him is a carved table. This is a spirited 
 and careful pen-drawing of one of the artist’s best-known single-figure pictures. 
 
 Is dated 1871. 
 
 50 
 
ROSSI (Lucius),. Paris 
 
 Born in Rome. Pupil of the Academy of Roitie. Medals at Rome, Turin, 
 and Naples. 
 
 No. 38 
 
 v 
 
 AN ARAB TAMBOURINIST. 
 
 ni x 7. 
 
 A pen-drawing, closely studied from nature, of an Arab squatting against 
 a wall beating on a tambourine. His figure suggests a rhythmic movement in 
 time to his playing, and his eyes are directed forward, as if watching the 
 dancers for whom he beats time. 
 
 The drawing is dated 1871, and is a fragmentary study for a well-known 
 picture by the artist. 
 
 51 
 
t'! O ■ ROSSI (Lucius),.Paris 
 
 TfrUw/ No - 39 
 
 FRENCH CAVALIER—TIME OF HENRY III. 
 
 11-3- x 6. 
 
 A pen-drawing of a richly costumed cavalier of the era of Henry III. 
 of France. The figure is spirited and life-like, standing in a proud attitude 
 as if of expectancy. It is a drawing from a picture by the artist, and is 
 dated 1871. 
 
 52 
 

 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 

 
 MEISSONIER (Jean Louis Ernest), . . Paris 
 
 Born at Lyons. Pupil in Paris of Leon Cogniet. Medals, Paris 1840, 1841, 
 1843, 1848 ; Grand Medal of Honor, 1855 (Exposition Universelle). 
 Grand Medal of Honor (Exposition Universelle ), 1867. Grand Medal 
 of Honor (Exposition Universelle ), 1878. Chevalier of the Legion of 
 Honor, 1846. Officer of the Same, 1856. Commander of the Same, 
 1867. Grand Officer of the Same, 1878. Member of the Institute of 
 France, 1861. Honorary Member Royal Academy, London. The 
 paintings by this artist have commanded higher prices than those of any 
 living painter. His famous picture entitled “ 1807,” in the Stewart 
 Collection , was sold for $66,000, its purchaser afterward presenting it 
 to the Metropolitan Museum. 
 
 No. 40 
 
 ANCIENT ARMOR. 
 
 9i x 6. 
 
 i. ft. dUrt 
 
 An exquisitely accurate study in black and white of a trophy of armor. 
 The minute attention given by the artist to detail, and his almost photo¬ 
 graphic closeness of observation and fidelity of repetition are admirably 
 illustrated in it. Not a single feature of the original is neglected, and no 
 
 minutest point of the effect of light upon the metal left in doubt. 
 
 53 
 
t BONHEUR (Marie Rosa) .Paris 
 
 / 
 
 Born at Bordeaux, March 22, 1822. Pupil of her father, Raymond B, 
 Bonheur. Began by copying in the Louvre j afterward made studies and 
 sketches near Paris. Her first two pictures, exhibited at Bordeaux, 1841, 
 attracted much attention, and were followed by others which established her 
 world-wide fame. During the Franco-Prussian IVar, her studio and 
 residence were respected by special order of the Crown Prince of Prussia. 
 Since 1849 she has been director of the Paris Free School of Design for 
 Young Girls, which she founded. Elected member of A ntwerp Institute 
 in 1868. Medals, 1845, 1848, 1865, 1867 (Exposition Universelle). 
 Cross of the Legion of Honor, 1865. Cross of the Order of Leopold , 
 1880. Commander's Cross of the Royal Order of Isabella the Catholic, 
 1880. Conceded to be the greatest female painter the world has pro¬ 
 duced. Her celebrated “Horse Fair," in the Stewart Collection, was sold 
 for $53,000, and now hangs in the Metropolitan Museum. 
 
 No. 41 
 
 READY FOR THE MARKET. 
 
 (CHEVAUX A VENDRE.) 
 
 11 x 18. 
 
 A black crayon drawing of half a dozen stout Normandy horses, which 
 have been gathered in from the fields for the horse market. Their tails 
 are clubbed, and they have the sleek semblance of beasts well fed for sale. 
 On one of them is a saddle, but the rider who has charge of the string 
 
 is evidently bibbing in the wine-shop whose palm-branch shows from the 
 54 
 
READY FOR THE MARKET. 
 
 angle of the house beyond the tree to which his charges are haltered. 
 While he makes friends over his cups, the horses make acquaintances out 
 of doors, and prick their ears at the whinny of some brother of their 
 race that greets them from his stall. The drawing is full of spirit, and 
 the character of the animals in their various subtleties of individuality is 
 admirably realized. 
 
 It is dated 1869. 
 
 55 
 
 \ 
 
f /ds-. 
 
 DECAMPS (Alexandre-Gabriel), 
 
 Deceased 
 
 Born in Paris , 1803. Pupil of Abel de Pujol. Medals, Paris, 1831-1834. 
 Chevalier of the Legion of Honor, 1839. Officer of the Same, 1851. 
 Died\ i860. 
 
 No, 42 
 
 HOUND. 
 
 8 ^ x 9T 
 
 A study from life of a sitting hound, one of a species of dogs the 
 artist was especially fond of studying, in consequence of his personal 
 love of the chase, which resulted in his breaking his neck by a fall from 
 his horse while hunting in the Forest of Fontainebleau. 
 
 The drawing is executed in sepia. 
 
 56 
 

 
 
 
 
 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
 
 
 . * 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
BERNE-BELLECOUR (Etienne Prosper), 
 
 Paris r 7 & 
 
 Born at Boulogne-sur-Mer. Pupil of Picot and of F. Barrias. Medals , 
 Paris , 1869, 1872, 1878 {at Salon and Exposition Universelle). Cheva¬ 
 lier of the Legion of Honor, 1878. 
 
 No. 43 
 
 THE LOVE TOKEN. 
 
 (L’ARBRE CONFITANT.) 
 
 14^- x 10. 
 
 " I carved her name upon a tree, 
 
 Ah me ! 
 
 My Chloe’s name upon a tree 
 
 I carved in letters fair to see ; 
 
 Now Chloe has forsaken me, 
 
 Woe’s me ! ” 
 
 Old English Ballad. 
 
 To the friendly confidence of the forest, youth and passion confess the 
 secret of their love. How many similar symbols has the hand of adoration 
 carved upon Nature’s face! And how often has the fickle god laughed at 
 these enduring emblems of courtship and flirtations that have ended in 
 naught, but left these notes of their progress to mock their futility! Perhaps 
 this lover’s fate may be happier than that of the hero of the old ballad. 
 His present, at any rate, is happy enough. 
 
 The picture is executed in water colors, and is dated 1869. 
 
 57 
 
 
X 
 
 &AS 
 
 VANNUTELLI (Cavaliere Scipione), . . Rome 
 
 Born in Rome. Genre painter. Studied in Vienna under Wurzinger, 
 afterward in Paris under Heilbuth. Medal , Paris , 1864. 
 
 No. 44 
 
 DAY DREAMS ON THE CAMPAGNA. 
 
 (R.&VES DE JEUNESSE.) 
 
 15 x io£—1871. 
 
 “ Beautiful dreams, that haunt the younger earth, 
 
 In poet’s pencil or in minstrel’s song, 
 
 Like sighs or rainbows, dying in their birth. 
 
 Perceived a moment, and remembered long ! ” 
 
 Thomas Kibble Hervey. 
 
 The youthful dreamer is stretched on his back upon a pleasant plain. 
 He has laid his book by, and is watching the swallows skimming their airy 
 flight overhead and the clouds making their voyages of mystery across the 
 zenith. In the distance Rome, from which, no doubt, the young pursuer 
 of waking phantoms is a whole world away, is seen. 
 
 The picture is executed in water colors, and is dated 1871. 
 
 58 
 

 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
-V 
 
 MADRAZO (Ricardo), .Paris '* cho 
 
 Son of Federico and brother of Raimundo de Madrazo. Has acquired 
 reputation as a painter in water colors. 
 
 No. 45 
 
 STREET IN GRANADA. 
 
 18 x n—187 1. 
 
 The streets of Granada, like those of all towns of Moorish construction, 
 are very narrow and winding. The private buildings are, with few excep¬ 
 tions, of the simplest architecture, without any external ornament. In the 
 town itself there is scarcely an old house that does not show some signs of 
 Moorish construction. Some of the Moorish buildings are still completely" 
 preserved. Others are built about and absorbed by the newer Iberian 
 structures, till only fragments of them show in the masonry, that has literally 
 swallowed them up. The houses are all built about an inner court or patio, 
 which is reached through a door opening from the street, and a little dark 
 ante-court called the zaguan. In the patio, which is paved with stone, a 
 fountain plays, and oleanders bloom in tubs and huge jars of clay baked as 
 hard as stone. Balconies and galleries surround the patio, and the doors 
 of the living and other rooms open upon them. Creeping vines clamber 
 everywhere, and under the dead silence of the glowing sky the tinkle of 
 falling waters and the hum of drowsy insects alone disturb the perpetual 
 quiet of the decaying town. On their street fronts the houses exhibit 
 only black doorways and white walls, that blaze in the sun, broken here 
 
 59 
 
STREET IN GRANADA. 
 
 and there by grated windows. Many of the winding streets end abruptly 
 at some house door, while others, twisting in and out along the irregularities 
 of the hillsides, end at the very street where they began. A donkey dozing 
 in the shade, a donkey driver asleep on his face on the ground, a vegetable 
 seller drowsing over her wares, which none come to buy, alone give life 
 to a scene in which the memory of the most romantic period of Spanish 
 history lingers, ghostlike, in the very air. 
 
 The picture is executed in water colors. 
 
 60 
 
TEN KATE (Herman Frederick), . The Hague 
 
 Born at The Hague, 1822. Genre Painter. Studied in Amsterdam with 
 Cornelius Kruseman; later in Paris. Member of the Academy of 
 Rotterdam. 
 
 No. 46 
 
 DUTCH GUARD-ROOM. 
 
 iof x i6£. 
 
 In an ancient barrack-room, a company of troopers are listening to the 
 story of some recent event of the wars which a comrade is recounting with 
 animation and evident dramatic effect. The costumes are of that period 
 when the Netherlands made their splendid struggle against the cruel and 
 tyrannical authority of Spain, and the interest with which the story teller is 
 followed would suggest that he is dealing with some episode of unusual 
 importance in the great campaigns for national deliverance. The group 
 includes all varieties of characters, from the young soldier, rich in ambitions 
 and enthusiasms, to the veteran, “ bearded like the pard,” for whom battles 
 hold neither secrets nor terrors. The martial quality of the figures is char¬ 
 acteristic of the period. A noble deep fire-place and a large window give 
 variety and dignity to the background, and the Dutch standard is furled in a 
 corner, ready to be clutched at the first summons to battle and borne to the 
 fray by willing hands. 
 
 The picture is a water color, to which medium Mr. Ten Kate is chiefly 
 devoted. 
 
 61 
 
WISSEL (O.). 
 
 Pupil of Fortuny. 
 
 No. 47 
 
 BUTTERFLY. 
 
 (PAPILLON.) 
 
 WATER COLOR. 
 
 23 x 15. 
 
 Seville 
 
 The spirit of the butterfly hovers amid the ruins of an ancient garden. 
 It is typified by an ethereal female form perched on a broken tree and listen¬ 
 ing to the sad murmur of a ruined fountain. Nature, healing the scars of 
 time with a compassionate hand, has lavished her wealth of bloom and blos¬ 
 som on the wasted splendors of the past. A tender and poetic atmosphere 
 envelopes the allegory in a dreamy haze. 
 
 The date is 1870. 
 
 62 
 
DE NITTIS (Joseph), . . . Deceased 
 
 Born at Barietta, Italy, 1846. Died at St. Germain, 1884. Studied under 
 Gerome and Meissonier. In the Salon of 1872 he gained great success by 
 his “ Road fro7n Naples to Brindisi," and his “ La Place des Pyramides ,” 
 exhibited , later served to strengthen his reputation. Medals, Paris, 1876, 
 1878. Legion of Honor, 1878. 
 
 No. 48 
 
 CHINESE SHOP. 
 
 (BAZAR CHINOIS.) 
 
 14I x 10+. 
 
 The fair sex indulges in the exercise of one of its pet prerogatives even 
 in far Cathay. Wherever the commercial interests of man have set the shop 
 up, woman finds time to dally among its enchanted stores of frippery and 
 finery. The Chinese shop presents marked differences to that of the newer 
 nations of the West. Its stock is of an unusual character, the most salient 
 features of it being a number of large and showy paper lanterns suspended 
 from the beams overhead. In place of the glitter and brightness of the 
 European magasin, a rich gloom prevails, against which the vivid colors of 
 the robes of the two shoppers, who are reading a notice pasted on a screen, 
 show with brilliant relief. 
 
 The picture is executed in water colors, with daring freedom and force, 
 and is dated 1870. 
 
 63 
 
 
 
RICO (Martin), .... Paris and Venice 
 
 Born at Madrid. Pupil of Madrazo the Elder; then studied in Paris 
 and Rome. Medal, Paris (Exposition Universelle ), 1878; Legion of 
 Honor, 1878 ; Order of Charles III. of Spain. 
 
 No. 49 
 
 BOATING PARTY IN THE BOIS DE BOULOGNE. 
 
 (SUR LE LAC, BOIS DE BOULOGNE.) 
 
 (water color.) 
 
 14+ X 10^. 
 
 “ ’Twas an afternoon in the Bois, and the sun shone golden and fair, 
 
 And the poplars scarcely stirred in the balmy summer air, 
 
 As we drifted under the willows, amid the lilies and sedges, 
 
 And smiled at the gossipy ducks, that quacked at the lake’s green edges.” 
 
 Alfred Trumble. 
 
 The upper and lower lakes in the Bois de Boulogne, which are little 
 more than ponds, by the way, are a little treasury of pictures. They are 
 divided by the Carrefour des Cascades, which connects the drive from the 
 Porte de Passy with the Chemin de Ceinture, and of the two, the Lac 
 Inferieur, with its two islets connected by a rustic bridge, and its charm¬ 
 ing rural chalet, is by far the more picturesque. It is on this delightful 
 
 little body of water that one may go boating, and linger under bosky 
 
 embankments, or fish for minnows with rod and line to an audience of 
 wondering ducks and swans. It is a peculiarity of the scenery of the Bois 
 de Boulogne that everything about it is in proportion, so that even the 
 restricted area of nature and the narrow dimensions of the lakes look 
 larger than they are, thanks to the symmetrical fitness of all their details. 
 Under a brilliant summer sky, flecked with white cloudlets over its placid 
 blue, one may idle on the bank or in a boat upon the lake, as far away 
 
 from the world as if all Paris were not riding by behind a broken girdle 
 
 of bushes. Such sylvan idyls as M. Rico has painted in his charming water 
 color, are endlessly repeated in the variations of the twin lakes in the 
 Bois. 
 
 64 
 
I 
 
 



 LELOIR (Louis Alexandre), . . . Deceased 
 
 Born at Paris. Pupil of his father, J. B. A. Leloir. Medals, Paris, 
 1864, 1868, 1870, 1878 (Exposition Universelle) j Legion of Honor, 
 1876. 
 
 
 
 
 
 No. 50 
 
 AFTER THE SUPPER, ONE MUST PAY. 
 
 (APRES LE SOUPER.) 
 
 10 x 14J. 
 
 It is an old saying, and an eternally true one, that there is no pleasure 
 in life without its compensating pain. The elderly cavalier in the violet 
 coat, that might do credit to a courtier’s shoulders, has feasted and made 
 merry. That the cabinet particulier has witnessed a savory repast, the 
 remnants of it on the table show. The wines have been of the right 
 bouquet, and the cordials of the proper flavor. Moreover, pleasant com¬ 
 pany, and pretty withal, has added zest to the banquet. Good digestion 
 has, no doubt, waited upon appetite until the confounded waiter brought 
 in the bill. He is an incarnation of the reveller’s fate, this unmoved vassal 
 of the table, who leans placidly against the wall, while the perplexed guest, 
 whose hospitality has outrun the discretion of his purse, ponders over the 
 items he has consumed, and dips into his pocket for the wherewithal to 
 pay for them. It is easy to see, by his expression, that in spite of his 
 gay attire, his exchequer is not in the most superabundantly plethoric 
 
 state. Perhaps it is just as well that his fair companion should make her 
 
 65 
 
AFTER THE SUPPER, ONE MUST PAY. 
 
 exit before an explanation is arrived at. There are occasions when two 
 parties to a discussion are better than three, and this is likely to be one 
 of them, unless all the signs are astray. Moreover, it is a page of the 
 history of human nature that is as frequently turned to-day as in the time 
 when the Bourbon court was yet making merry on the brink of the vol¬ 
 cano. M. Leloir’s figures wear the costumes of the past. The comedy 
 they are acting out is eternal. 
 
 The date of the picture is 1870. 
 
 66 
 
i 
 
 MAD RAZO (Ricardo), 
 
 Son of Federico and brother of Raimundo de Madrazo. 
 reputation as a painter in water colors. 
 
 No. 51 
 
 Paris 
 
 Has acquired 
 
 Pl.pf. 
 
 VIEW AT GRENADA. 
 
 l6 X 21. 
 
 " And there the Alhambra still recalls 
 Aladdin’s palace of delight ; 
 
 Allah il Allah ! through its halls 
 Whispers the fountain as it falls, 
 
 The Darro darts beneath its walls, 
 
 The hills with snow are white.” 
 
 Henry Wadsworth Longfellow. 
 
 The Genii and the gold-bearing Darro spring from two narrow, rocky 
 valleys on the eastern declivity of the Sierra Nevada, and join at the foot 
 of the Cerro de Santa Elena to send their united waters down the channel 
 of the Genii, to mingle with the Guadalquivir. In the valley of the 
 Darro, on both its banks, and on the eastern and southern sides of the 
 Cerro de Santa Elena, reaching down into the plain where the Darro and 
 Genii unite, lies the most ancient city of Grenada. The high back of the 
 Cerro is crowned by the strong fortress of the Alhambra. That part of the 
 city that rises on the right bank of the Darro is called the Albaycin, and 
 forms in some degree, like the Alhambra, a town by itself. On the decliv¬ 
 ities of the Alhambra and the Albaycin the houses and streets rise one 
 above another, like terraces, mixed with luxuriant gardens. The imme¬ 
 diately surrounding country exceeds, if possible, the other parts of the 
 Vega in fertility and luxuriant vegetation. The narrower parts of the 
 valleys of the Darro and Genii, and the small side valleys are covered 
 with thick groves of pomegranate trees, and a girdle of gardens spreads 
 itself all around the city. Overhead is a sky of deep sapphire, spotted 
 with fleecy clouds, and the horizon is walled in by the snowy summits of 
 the rocky Sierras. 
 
 Printed in water colors, and is dated 1871. 
 
 67 
 

 
 '' RICO (Martin), 
 
 Paris and Venice 
 
 Bor7i at Madrid. Pupil of Madrazo the elder j later studied in Paris and 
 Rome. Medals , Paris (.Exposition Universelle), 1878 ; Chevalier of the 
 Legion of Honor, 1878 ; Cross of the Order of Charles III. of Spain. 
 
 No. 52 
 
 WASHERWOMEN AT POISSY. 
 
 (BLANCHISSEUSES A POISSY.) 
 
 14 X 20 f 
 
 “ The nightingales were singing, 
 
 At Poissy on the Seine, 
 
 As I leant above the river, 
 
 Flooded high with summer rain. 
 
 Dear is that royal river, 
 
 With ceaseless, noiseless flow, 
 
 Past the gray towers of Paris 
 
 From the woods of Fontainebleau ! " 
 
 Bessie Rayner Parkes. 
 
 The Seine flows its placid course, under a summer sky full of light and 
 flecked with fleecy, white cloudlets. A tender atmosphere suffuses the land¬ 
 scape with clear, pure blues and delicate gray greens, soft as the breath of the 
 midsummer breeze that scarcely ruffles the surface of the water. On both 
 banks of the stream women are busy washing their linen, beating it upon the 
 stones and gossiping as they work. Some men in a passing boat shout a 
 jovial salutation, to which one of the blanchisseuses responds merrily. Among 
 the stones of a grassy islet in the river a boy is fishing, too intent upon his 
 sport to give even the attention of childish curiosity to what is going on 
 around him. A boat is drawn in on the strand near by. In the distance, 
 over the farther bank of the river, the houses of the town are seen. The 
 gayety and animation of a perfect, sunshiny day are expressed in nature, and 
 reflected in the humanity which gives life to the scene. 
 
 The picture is a water color. 
 
 68 
 
 

SIMONETTI (Attilio, Cavaliere), . . Naples f ^ 
 
 Born in Rome. Genre Painter. Pupil of Fortuny. Professor in Naples. 
 
 {. A. 
 
 No. 53 
 
 A CONCERT. 
 
 WATER COLOR. 
 
 22 X l6£. 1869. 
 
 “ I pant for the music which is divine, 
 
 My heart in its thirst is a dying flower ; 
 
 Pour forth the sound like enchanted wine, 
 
 Loosen the notes in a silver shower.” 
 
 Percy Bysshe Shelley. 
 
 One can imagine the melody which these musicians of the chamber are 
 discoursing to be an agreeable one. Their countenances wear an expression 
 of satisfaction that no discords could call up. It is a trio of aristocratic 
 amateurs, of which each member is engrossed in his share of the concerted 
 task with the absorption of the true artist. The performer on the flute has 
 laid his coat by, and is inspiring his tuneful reed in his shirt-sleeves. The 
 ’cellist looks beyond the walls of the chamber into a space full of musical 
 dreams. The ecstatic eyes of the violinist lose sight of the notes as he draws 
 them under his bow with a loving hand. Music should be happily at home 
 amid such surroundings. The rich cabinet, with its glass doors reflecting the 
 sumptuous apartment, the screen on which a mandolin is suspended, the 
 table, with its crystal pitcher and glass, combine to form a scene of luxury in 
 which the actors in the episode are at home, and in which the strains they 
 concert should echo with a richness and a volume befitting their confining 
 walls. 
 
 This water color is dated 1869. 
 
 69 
 
Paris 
 
 DETAILLE (Jean Baptiste Edouard), . 
 
 Born at Paris, 1848. Favorite pupil of Meissonier. Medals, Paris, 1869, 
 1870, 1872. Chevalier of the Legion of Honor, 1873 ; Officer of the 
 Same, 1881. Grand Medal of Honor, 1888. 
 
 No. 54 
 
 SCENE IN THE FRANCO-PRUSSIAN WAR. 
 
 (Episode de la guerre franco-allemande.) 
 
 8f x ii£. 
 
 The German artillery attack is decimating the French line of battle from 
 a distant hill. A squadron of French cuirassiers is making a charge, closing 
 up as they ride, the gaps torn in their ranks by shot and shell. The dead strew 
 the ground, which is littered also with cast-off knapsacks and similar para¬ 
 phernalia that the soldier discards on going into battle. Under the terrible 
 fire men melt away like snow at the flame of a furnace, and a commanding 
 general, galloping down the line, orders the regiment of lancers in the fore¬ 
 ground back out of their wanton exposure to destruction. The commander 
 of the regiment salutes, with a respectful sword and a reluctant face. The 
 men, from their position of enforced inactivity, watch the raging of the fight 
 with eyes of discontent. Over all the smoke of combat and the clouds of hot 
 dust beaten up by feet in the mad hurry of destruction sully the smiling sky, 
 and are rent asunder here and there by the bursting of a shell. In such a 
 scene, it is no wonder that the soldier’s blood stirs, and his heart beats angrily 
 against its prisoning bars. With the challenge to the combat roaring itself at 
 him, and the wild fascination of the fight tempting him, he sits helpless, raging 
 within himself at the discipline which has fettered his hands and laid his 
 martial usefulness by the heels. The expression upon the faces of M. D^taille’s 
 lancers are indices to the martial regrets that they suffer. In each one reads 
 the contest between submission to the iron laws of command and the stirring 
 madness of battle. 
 
 The date of the picture is 1871, and it is painted in water colors, with 
 
 great minuteness and accuracy of detail. 
 
 70 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
FORTUNY (Mariano), 
 
 Deceased 
 
 
 Born in Reus, Catalonia, June n, 1839. Pupil of the Barcelona Academy, 
 Chevalier of the Order of Charles III., Prize of Rome from Spain, 
 1858. Died in Rome, November 21, 1874. Diploma to the Memory 
 of Deceased Artists (Exposition Universelle), 1878. 
 
 No. 55 
 
 PIFFERARI. 
 
 19 X 9$. 
 
 “ The champaign with its endless fleece 
 Of feathery grasses everywhere ! 
 
 Silence and passion, joy and peace. 
 
 And everlasting wash of air,— 
 
 Rome’s ghost since her decease.” 
 
 Robert Browning. 
 
 He sits under a wall, among the ruins which chronicle his country’s great¬ 
 ness and decline. The Roman sunlight warms him, while it soothes his senses 
 as he blows his spirit into the rude and simple instrument of his race. He is 
 resting from a journey, as his staff leaning against the wall denotes, and as he 
 sends the notes of his pipe wheezing out upon the air, his eye dwells listlessly 
 upon the lean flocks grazing amid the decay of an empire. His uniform is that 
 of his class ; a vest of red wool, blue breeches, and a loose shirt of coarse 
 cotton stuff whose white sleeves show through his sleeveless coat. Simple his 
 wants and few, he has achieved the crown of his ambition, idling by the way- 
 side, and silencing with the drone of his bagpipe the sleepy murmur of the 
 cicadas and the dull buzzing of the wandering bee. 
 
 The picture is a water color, of Fortuny’s later Roman period. Is dated 
 1868, 
 
 71 
 
 

 MEISSONIER (Jean Louis Ernest), . . Paris 
 
 >! 
 
 Born at Lyons, 1813. He went to Paris when quite young, and was, for a 
 time, a pupil of Ldon Cogniet. First exhibited at the Salon in 1836. His 
 picture “A Dream ” (1855) was purchased by Napoleon III. and presented 
 to the late Prince Albert, of England. Medals, Paris, 1840, 1841, 1843, 
 1848. Grand Medal of Honor, 1855 (. Exposition Universelle). One of 
 the eight Grand Medals of Honor (.Exposition Universelle ), 1867 ; Grand 
 Medal of Honor (Exposition Universelle'), 1878 ; Chevalier of the Legion 
 of Honor, 1846; Officer of the Same, 1856 ; Commander of the Same, 
 1867 ; Grand Officer of the Same, 1878. Member of the Institute of 
 France, 1861. Honorary Member of the Royal Academy, London. 
 
 No. 56 
 
 CAPTAIN OF THE GUARD—LOUIS XIII. 
 
 PORTRAIT OF THE ARTIST. 
 
 10 x 7. 
 
 He stands in the gateway of the guard-house, surveying the passing of the 
 town with martial disdain. There is a suggestion of insolence in his attitude, 
 erect, with one foot slightly advanced, and his right hand resting on his hip 
 and flipping a riding whip as if impatient of so childish a toy. His soldierly 
 face, tanned by the sun of long campaigns and the smoke of battles, is haughty 
 but good-humored. His gray moustaches bristle gallantly, and the twist to his 
 imperial denotes that he has just twirled it, perhaps at some passing damsel, 
 whose comeliness has caught his fancy. Resting his left wrist on the hilt of 
 his long sword, he holds in his left hand, by its fingers, a glove with which he 
 beats time against the handle of his trusty blade. Over his gray coat lined 
 with pink a polished breastplate flashes in the sun. The blue plume in his 
 hat cocks itself audaciously. His legs are encased in claret velvet breeches 
 and high boots of Spanish leather. Whether it be to ride to a duel or a 
 trysting place, to a court reception or a field of battle, here is one who is 
 equally ready for the task, whatever it may be. 
 
 The reign of Louis XIII. was preeminently that in France during which 
 
 the gentleman adventurer flourished. The kingdom was filled with soldiers of 
 72 
 

 
CAPTAIN OF THE GUARD—LOUIS XIII. 
 
 fortune. The wars and the court intrigues held boundless possibilities for the 
 intrepid scions of decayed and impoverished families, and France was never 
 richer in gallant soldiers than then. Alexandre Dumas, in the greatest of his 
 romances, “ The Three Musketeers,” draws the character of these cadets of 
 fortune admirably in his famous hero D’Artagnan. It is a soldier of the 
 D’Artagnan stripe that M. Meissonier paints in his “ Captain of the Guard,” 
 a cavalier for whom life is full of delights, and of gallant adventures, who 
 carries a splendid presence with a stride of pride, and loves the material pleas¬ 
 ures of existence with no cold heart; but above all, a soldier to the backbone, 
 who values his uniform and his honor above his life, and who will go forth 
 from the banqueting-board to the battle-field as gayly as the lover hastens to 
 the rendezvous where he is to meet a welcome of warm lips and white arms. 
 
 The picture is dated 1870, and is painted in water colors. 
 
 73 
 
d 3 o 
 
 %. Xi. x 
 
 TROYON (Constantine), .... Deceased 
 
 Born at Sivres, 1810. His parents wished him. to be a painter of porcelain, 
 but after a tii 7 ie spent in the manufactory at S'evres, he studied under 
 Rivereux, and became a painter of landscapes and animals. Medals, 
 Paris , 1838, 1840, 1846, 1848, 1855. Chevalier of the Legion of Honor, 
 1849. Member of the Amsterdam Academy. Died, 1865. Diploma to 
 the Memory of Deceased Artists (.Exposition Universelle), 1878. 
 
 No. 57 
 
 NORMANDY CATTLE. 
 
 6 \ x 12^. 
 
 “ I’ve two great bullocks in my stall, 
 
 Two great white bullocks mixed with roan, 
 
 Ponderous the plough is that they haul, 
 
 Massive the yoke their necks placed on.” 
 
 Pierre Dupont. 
 
 The foreground is occupied by a red bull with a white frontlet, a close 
 
 study of cattle character of the breed this great master loved to paint, which 
 
 is looking out of the picture as if its attention had been suddenly aroused. 
 
 A dun cow of the true Norman breed stands behind it in a quiet attitude. 
 
 There is another cow under a tree, and a herdsman’s shaggy dog—that famous 
 
 dog that Troyon always clung to—completes the composition. 
 
 The landscape is simple, and the sky threatens a storm. The coloring is 
 
 low in tone, rich and powerful. 
 
 74 
 
V 
 
/ / 
 
 DETAILLE (Jean Baptiste Edouard), . . Paris 
 
 Born at Paris, 1848. Favorite pupil of Meissonier. Exhibited at Salon, in 
 1868, his “ Halt of Infantry," which received much praise, and in 1869 
 the “ Rest During Drill at Camp St. MaurMedals, Paris, 1869, 
 1870, 1872. Chevalier of the Legion of Honor, 1873 ; Officer of the 
 Same, 1881 ; Grand Medal of Honor, 1888. 
 
 ^ / 
 
 
 
 No. 58 
 
 LES INCROYABLES—FOREST OF ST. GERMAIN. 
 
 9^ x 
 
 The incroyable was one of the most curious products of the great French 
 Revolution. He was the antithesis of the revolutionist, the sans-culotte who 
 gave too much attention to death to spare time for dress. The maddest 
 extravagance of dandyism was indulged in by the incroyable, who won his 
 familiar nickname by the incredible exaggeration of his costumes and customs. 
 He literally, as his title would imply, carried his worship of the wild vagaries 
 of foolish fashion past all belief. His appearance was a sort of protest against 
 the brutal abandonment of all the gentler practices of life that characterized 
 the reaction against aristocratic and polite existence which came with the 
 commencement of the revolution, and he lasted as a public character till the 
 great Napoleonic wars left no place in France for anyone but soldiers. M. 
 D£taille shows him in all his glory, a perfect epitome of colors, as gay as a 
 butterfly, swaggering down the great promenade of the Palace Park of St. 
 Germain, with his long stick in his hand. 
 
 The date is 1871. 
 
 75 
 
PETTENKOFFEN (Prof. August von), 
 
 Vienna 
 
 Born in Vienna , 1821. Genre painter of great local reputation, Member of the 
 Royal Academies of Vienna and Munich. Knighted in 1876. 
 
 “ Courtesy to an artist who is very much of a stranger demands that some space should 
 be given to the distinguished Austrian, August Pettenkoffen. Pettenkoffen was born in 
 Vienna in 1823, and at the Academy of Art in that city first served his apprenticeship to 
 painting. The German-Austrian school was a school moving ponderously down to a hopeless 
 decadence, in those days before the arising of Matejko, Munkacsy, Makart and Pettenkoffen 
 himself. Happily the young student, though imprisoned in an almost monastic retirement from 
 art-movements, heard the report of a little band of seekers and searchers—Troyon, Rousseau, 
 Meissonier, in Paris, and Leys and Stevens and Willems, in Belgium—who were courageous 
 enough to ask Nature for her secret face to face. This gospel of glad tidings was his earthly 
 salvation. But, in the mean time arrived his turn at the national conscription, and the young 
 man, drafted into the troops of Francis Joseph, fulfilled his duties like an honest soldier, and 
 was promoted with remarkable rapidity to the grade of captain. The profession of arms, 
 however, was unable to keep possession of a spirit that had tasted of artistic delights. The 
 young man had viewed his military routine with the eye of a painter ; it remained for him to 
 drill his artistic faculties with the severity of a captain. 
 
 “ Resuming the practice of art, he determined to devote himself to his profession from the 
 military point of view, feeling that no one else could recount so well the field-scenes which 
 had passed before his eyes. The event has justified him, and delivered to the world a mass 
 of incidents of the Austrian army and its wild Hungarian contingent such as would have 
 been lost to posterity without his aid. The young artist was now ready to carry out a project 
 which had tempted him in his salad-days at the Vienna Academy, and repair to France for a 
 more exquisite culture in the things which belonged to his peace. Only at Paris, in the 
 epoch of 1850, could be found a group of seekers and teachers capable of satisfying an earnest 
 seeker after verity. He finished a few portraits at Vienna—portraits of his relations and 
 neighbors, as much to please the originals as to get his pencil-hand in practice again—and 
 departed for the French capital, carrying with him two canvases traced over with the sketches 
 of two pictures, ‘ The Spy,’ and ‘ Marauders Dividing Booty,’ the last of which found when 
 finished, a resting place in the collection of Sir Richard Wallace. 
 
 “ A minutely invented, careful and toilsome series of exquisite studies, representing 
 scenes of army-life in the troops he had just quitted, or village groups from Bohemia and 
 Hungary, have occupied his time incessantly. He has learned from the contemplation of 
 the Wouvermans and Van de Veldes how much can be imparted in a small panel finished 
 in the grand manner, and his ambition has restricted itself to the discerning treatment 
 of reality.” 
 
 76 
 
 The Art Treasures of America. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
MARKET SCENE IN HUNGARY. 
 
 No. 59 
 
 MARKET SCENE IN HUNGARY. 
 
 (MARCHE HONGROIS.) 
 
 7 x 9. 
 
 “ * * * Hark the noise ! 
 
 The laugh and shout of village boys. 
 
 The sound of cymbals cleaves the air ; 
 
 The gypsy-player tarries there.” 
 
 Alexander Petofi. 
 
 An open-air market in a Hungarian village. In the foreground are groups 
 of men and women seated and standing around the base of a stone boundary- 
 post. The middle distance is filled with market wagons and chaffering sellers 
 and buyers, horses, cattle and idling figures. Beyond the crowd one sees a 
 well sweep and the roofs of the village. The scene is very animated, and the 
 colors in the women’s costumes lend it a certain gayety. The types of 
 character are varied, picturesque, and full of interest, and the suggestion of 
 barbaric movement and color is admirably conveyed, while the Magyar char¬ 
 acteristics of the scene and the actors in it are thoroughly preserved and 
 depicted. So closely is the detail of the scene followed, that even the vege¬ 
 tables and other objects exposed for sale will be recognized by native Hun¬ 
 garians as of local origin. 
 
 Dated 1853. 
 
 77 
 
Deceased. 
 
 ZAMACOIS (Edouard), 
 
 Born in Bilboa in 1842. Died at Madrid , 1871. Genre painter. Pupil 
 of Balaco, then of Madrid Academy under Federico de Madrazo, and 
 in Paris of Meissonier. Treated seventeenth-century subjects with great 
 success. Medals, Paris, 1867. Munich, 1870. Diploma to the Memory 
 of Deceased Artists (Exposition Universelle), Paris, 1878. 
 
 No. 60 
 
 A COURT JESTER. 
 
 (LE FOU DU ROI.) 
 
 6x5. 
 
 “ The jester shook his hood and bells and leaped upon a chair ; 
 
 The pages laughed ; the women screamed and tossed their scented hair ; 
 
 The falcon whistled ; stag-hounds bayed ; the lap-dog barked without ; 
 
 The scullion dropped the pitcher brown; the cook railed at the lout; 
 
 The steward, counting out his gold, let pouch and money fall; 
 
 And why ? Because the jester rose to say grace in the hall.” 
 
 Walter Thornbury. 
 
 The court jester was the censor of a corrupt age. Zamagois was, 
 after his fashion, the court jester of his art in our own time. His muse 
 was always merry, but with a strong strain of scorn and satire in it. It 
 was the art of a deep-thinking and sincere reformer that he practiced, and 
 he has left us pictures that will be immortal for their shrewd and bitter 
 sarcasm and true, however sardonic, commentary upon human nature. The 
 jester was a favorite subject with him. In this instance he represents him 
 attired entirely in scarlet, seated on a couch covered with yellow brocade in 
 a palatial interior. He is picking at a mandolin, and his face wears a sardonic 
 expression. A richly-colored rug is at his feet. Through a large window the 
 trees of a park are seen. The coloring is vivid and daring in arrangement, 
 and brilliant in result. 
 
 The date of the picture is 1868. 
 
 78 
 


 
 
 
 
 
 
 
 
 
 
 
 
 
VIBERT (Jean Georges), 
 
 Paris f if s 
 
 Born in Paris, 1840. Pupil of /’Ecole des Beaux-Arts, and of Barrias, 
 Paris. Medals, Paris, 1864, 1867, 1868, 1878 (.Exposition Universelle). 
 Chevalier of the Legion of Honor, 1870. 
 
 No. 61 
 
 THE FIRST-BORN. 
 
 (LE PREMIER NE.) 
 
 15 X 18. 
 
 The divinest instinct that is implanted in the human breast is that which 
 hedges childhood about with the self-sacrificing safeguards of maternity and 
 paternity. The noblest deeds of heroism and self-sacrifice recorded of the 
 human race are those of the father and the mother given to the child. The 
 one attribute of serious humanity at which the most hardened cynic dares 
 not scoff, is that of parental love. Even the most indurated and calloused 
 mocker at the true sentiments of his race cannot forget that he was once 
 a child, and that some one toiled and suffered for his sake, as others are and 
 will be toiling and suffering for their little ones until the globe whirls into 
 fathomless space and the heavens open as a scroll. And of all the love 
 and tenderness that falls to childhood, the greatest and the warmest part 
 belongs, beyond a doubt, to the first-born. 
 
 It is in the commencement of a family that the romance of domes¬ 
 ticity begins. The first baby is the emblem and the seal of love, whether it 
 rest in the hovel or a palace. It is in the latter setting that M. Vibert pre¬ 
 sents his “ First-Born ” to us. In a splendid French interior, of the period of 
 Louis XV., a young mother and father are watching at the side of the tiny 
 pledge of their affection. The babe lies on a couch covered with a sump¬ 
 tuous green and flowered brocade. The father, in a gay suit of the Court 
 
 cut, is seated on the right, intently contemplating the child. The 
 
 79 
 
THE FIRST-BORN. 
 
 mother has dropped her knitting and arisen, on the left, as 
 pate some want of the little one, and one can almost hear her 
 old Gallic lullaby: 
 
 “ Do—do l’enfant dor— 
 
 L’enfant dormira tantot; 
 La Vierge benitd 
 Endormd—moi cet enfant 
 Jusqu’a quand il sera grand 
 II dira ; papa—mama.” 
 
 The picture is dated 1872. 
 
 80 
 
 if to antici- 
 crowing the 
 
y 
 
 DAUBIGNY (Charles Francois), . . Deceased r ^r/v 
 
 Born at Paris, 1817. Pupil of his father and Paul Delaroche, and for three 
 years studied in Italy. Medals , 1848, 1853, 1855, 1857, 1859, 1869. 
 Chevalier of the Legion of Honor , 1859. Officer of the Same , 1874. 
 Died , 1878. Diploma to the Memory of Deceased Artists (Exposition 
 Universelle ), 1878. 
 
 No. 62 
 
 LANDSCAPE—ON THE RIVER MARNE. 
 
 (PAYSAGE—RIVIERE MARNE.) 
 
 14 x 25^. 
 
 " The art of this illustrious master consists in choosing well a bit of country and painting 
 it as it is, inclosing in its frame all the simple and name poetry which it contains. No effect 
 of studied light, no artificial and complicated composition, nothing which allures the eyes, 
 surprises the mind and crushes the littleness of man.” 
 
 Edmond About, “ Salon de 1864.’’ 
 
 The river bank rises from the calm stream in a gentle slope, well grassed 
 and crested with sturdily verdured thickets. The line of shore carries 
 itself away in a picturesque undulation, sufficiently relieved by clumps of 
 foliage without having its simplicity of surface disturbed. A sky of tender 
 grays and pearls accentuates the simple but rich color of the landscape. It 
 is nature, embellished by no liberties with the rules of composition, yet com¬ 
 posing itself into a picture whose modest force has a dignity no studied com¬ 
 position could possess. 
 
 The picture is dated 1863. 
 
 81 
 
 
 
 I 
 

 RICO (Martin).. Venice 
 
 Born at Madrid. Pupil of Madrazo the elder j then studied in Paris 
 and Rome. Medal , Paris (Exposition Universelle), 1878 ; Chevalier 
 of the Legion of Honor , 1878 ; Chevalier of the Order of Charles 
 III. of Spain. 
 
 No. 63 
 
 MOORISH HOUSE AND COURT—GRANADA. 
 
 (MAISON MAURESQUE—GRENADE.) 
 
 13 x 2 3 - 
 
 At the doorway where the harem once passed out to its promenade 
 of the garden, some humble Dolores sits spinning. At the window, through 
 which the Pasha may have watched his favorite feeding her goldfish in 
 the fountain, in the days before the last Abencerrage fled beyond the 
 plain, an humble artificer chatters at his work with a village gossip, her 
 baby in her arms. In the cool gloom of the deteriorated palace, the bang¬ 
 ing of a loom is echoing, like a lingering menace of the warlike clamor 
 which awoke Granada from her dream of eternal peace, and swept her 
 glory away like the phantasm of a dream. The walls are stained with 
 mould; the dainty tracery of the artist’s chisel is crumbling and melting 
 away under stress of wind and weather; grass is springing over the broken 
 pavement, laid for the promenade of princes and worn by the feet of con¬ 
 quering churls; and the fountain has wept its last tears for the degrada¬ 
 tion of the fallen house, and gone sluggishly to sleep in its decaying basin. 
 Such is all the Granada of to-day, the corpse of a dead civilization that 
 has become one of the romances of history, dessicated by the sun that 
 
 gilded its splendor and that mocks its ruin. 
 
 82 
 
 

 mm 
 

 
 MEISSONIER (Jean Charles), . . . Paris 
 
 Born in Paris. Pupil of his father , J. L. E. Meissonier , like whom he 
 paints Eighteenth Century scenes i?i the style of the old Dutch Masters. 
 Medal , 1866. 
 
 No. 64 
 
 
 0~C> 
 
 STORY OF THE CAMPAIGN. 
 
 (REMINISCENCES DE GUERRE.) 
 
 1 7i x 14. 
 
 “ Like an old soldier, telling of the wars, 
 
 Buying his bed and supper with the tale, 
 
 And coining comfort from his unhealed scars.” 
 
 Sir Walter Scott. 
 
 A vagrant man-at-arms, tramping from one mercenary service to 
 another, has applied for food and shelter at a chateau by the way. The 
 master of the house accords him hospitality, and takes as compensation 
 for it his guest’s gossip from the wars. The campaigner sits upon a 
 settle by the kitchen fire, a dish in his lap, a knife in his hand, a wine-jar 
 on the seat beside him, and his long sword within ready reach. He revels 
 in the rude comforts of an ample meal, seasoned by the talk that pleases 
 him best. His host, standing with his back to the fire, puffs a pipe while 
 he listens and looks on. The chat of his guest awakens in him memories 
 of his own stirring adventures by flood and field. He lives again with the 
 speaker the campaign from which he has come. For one night, at least, 
 the old vagabond free lance will enjoy the repose accorded to an honored 
 guest. 
 
 The period of the picture is the Seventeenth Century, and it is dated 
 1871. 
 
 83 
 
ZAMACOIS (Edouard), .... Deceased 
 
 Born at Bilboa, Spain, 1843. Pupil of Meissonier. Made his ddbut at the 
 Salon of 1863. Medal, Paris, 1867. Died, 1871. Diploma to the 
 Memory of Deceased Artists (Exposition Universelle), 1878, 
 
 No. 65 
 
 LEVYING CONTRIBUTIONS. 
 
 (CONTRIBUTIONS INDIRECTES.) 
 
 12 x 15. 
 
 Painted in 1866, and exhibited at the Salon in the Spring of 1867, “ Con¬ 
 tributions Indirectes ” attracted to the artist the attention of all Paris. It 
 was the first of the series of satires upon monkish life which the gifted young 
 pupil of Meissonier took up. The wit of the painter flashed in it with the 
 keenness of a steel blade, and within twenty-four hours it had become the topic 
 of the hour. 
 
 In the court-yard of a superb chateau of the middle of the Seventeenth 
 Century, a mendicant friar, having halted on his regular round of levying con¬ 
 tributions upon the neighborhood, receives entertainment for himself at the 
 hands of several roguish hosts. He sits upon a bench, sipping at a cup of 
 chocolate, while his entertainers exchange their badinage with him, and at his 
 expense. An elderly cavalier with a swagger of authority about him, stands 
 at his right, resting one hand upon his long cane. He is richly and gayly 
 
 dressed. There is a smile of mockery on his face, and that he speaks scoff- 
 84 
 

LEVYING CONTRIBUTIONS. 
 
 ingly, his attitude and expression alike clearly testify. Seated on the bench, 
 a young lady, in a sumptuous toilette of blue satin and lace, stirs a posset in a 
 glass, and jests with the friar. Behind him a young cavalier is about to pull 
 the cowl from his head. The monk endures the entire proceeding with stolid 
 philosophy. He is sufficiently satisfied with receiving his taxes, direct and 
 indirect, to submit to furnishing some diversion to those he taxes. The end 
 justifies the means, and humility is practiced for profit. The composition 
 has all the qualities which made Zamagoi's famous. The picturesque and 
 the grotesque combine in it, the individualizations of the characters are 
 full of force and humor, and the witty idea is realized with cutting brill¬ 
 iancy. The spirit of Molibre breathes in the brush of his artistic successor, 
 who in our own century repeated with his brush the triumphs won by the 
 creator of Tartuffe with his pen. 
 
 85 
 

 VERNET (Emile Jean Horace), 
 
 Deceased 
 
 Born in the Louvre, Paris, June 30, 1789. Died in Paris , January 17, 
 1863. Son of Charles Vernet and grandson of Joseph Vernet. Pupil 
 his father and of Vincent, and commenced an independent career 
 as a painter in 1809. First-Class Medal, 1812. Chevalier of the 
 Legion of Honor, 1814. Officer of the Same, 1825 ; Commander of 
 the Same, 1842. Member of the Lnstitute, 1826. Director of the 
 French Acadeniy at Rome, 1828. French Representative at the Roman 
 Court, 1830. Grand Medal of Honor, 1855. 
 
 No. 66 
 
 THE ORIGINAL STUDY OF JUDITH. 
 
 2 3i * 21. 
 
 Vernet’s “Judith” was one of the pictures produced by him during his 
 residence in Rome, as director of the French Academy in the Immortal City. 
 He was appointed to this post in 1828, and held it until 1835. The date of 
 his original study for the “ Judith” is 1830. It is evidently a portrait of some 
 choice model in whom the painter found an inspiration for his scriptural 
 heroine. The type is Italian, of that order in which is perpetuated some of 
 the barbarically patrician pride and haughty beauty of an Italy that has long 
 since vanished into history. She is a big, strong woman, this Roman model, 
 with her luxuriant hair, black and glossy as a raven’s wing, her great eyes, the 
 orbs of “ox-eyed Juno,” with their regularly pencilled brows, her set and 
 cruel lip, and her flesh of ivory, full and firm with healthy blood and brawn. 
 The artist departed very slightly from this original when he subsequently 
 
 introduced her into his picture. 
 
 86 
 

SCHREYER (Adolf). Paris jroa. 
 
 Born in Frankfort, 1828. Pupil of Stddel Institute, Frankfort; studied the 
 horse anatomically in the riding school; later, in Stuttgart, Munich and 
 Diisseldorf. Travelled extensively in the East and throughout Europe. 
 Member of Antwerp and Rotterdam Academies. Medals, Brussels, 1863 ; 
 Paris, 1864, 1865, 1867 ; Munich, 1876 ; Chevalier of the Order of 
 Leopold\ 1866 ; Court Painter to the Grand Duke of Mecklenburg, 1862. 
 
 No. 67 
 
 WINTER IN WALLACHIA. 
 
 (HIVER EN VALACHIE.) 
 
 18 x 29. 
 
 "No product here the barren hills afford 
 But man and steel,—the soldier and his sword ; 
 
 No vernal blooms these torpid rocks array, 
 
 But winter, lingering, chills the lap of May.” 
 
 Oliver Goldsmith. 
 
 The snows are on the Danubian Principalities, and what pass for highways 
 across the vast expanses of swamp and grazing land are deep with mire. The 
 team dragging the ponderous freight wagon through this dreary waste have 
 all that they can do to keep the wheels from being held fast by the fingers of 
 the greedy earth till the frost makes them effectually prisoners. The team¬ 
 sters lash the straining brutes with furious blows, the strained joints crack, the 
 
 harness creaks ominously, the wagon racks and complains as it struggles 
 
 87 
 
WINTER IN WALLACHIA. 
 
 against the tension put upon it, and to add to the excitement and confusion 
 of the scene, the overcast sky is full of the promise of a coming snowstorm, to 
 encounter which is to invite the menace of a death of frost, amid the waste 
 places of the abandoned plain. It is one of those occasions when no moment 
 is to be lost, and no exertion spared, for the fading of the last gleam of cheer¬ 
 less and warmthless light from the desolate landscape may be the last moment 
 of his life to reveal to the belated wanderer the light of day. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 / 
 
 
 
 
 
 
 

GEROME (Jean Leon),. Paris ✓ 
 
 Born at Vesoul , France, 1824. Went to Paris 1841, and entered the studio 
 of Paul Delaroche, at the same time following the course at VEcole 
 des Beaux-Arts. In 1844 he accompanied Delaroche to Italy. He 
 made his debut at the Salon in 1847 with “ Un Combat de Coqs." In 
 1 853 and 185 6 ' he traveled in Egypt and Turkey, studying closely the 
 history and customs of those countries. Medals, Paris, 1847, 1848, 1855 
 (.Exposition Universelle) ; Member of the Institute, 1865 ; Medal of 
 Honor (Exposition Universelle), 1867 ; Medal of Honor, 1874; Medal 
 for Sculpture, and one of the eight Grand Medals of Honor ( Exposi¬ 
 tion Universelle ), 1878; Chevalier of the Legion of Honor, 1855; Officer 
 1867 ; Commander of the Same, 1878 ; Chevalier of the Order of the 
 Red Eagle, Member of the Royal Academy, London j Professor at 
 I’JEcole des Beaux-Arts. 
 
 No. 68 
 
 MOLIERE BREAKFASTING WITH LOUIS XIV. 
 
 AT VERSAILLES. 
 
 (MOLIERE ET LOUIS XIV.) 
 i6| x 29L 
 
 Jean Baptiste Poquelin, with the self-selected professional name of Moli¬ 
 ere, with which he baptized himself when he took to the stage, and under 
 which he is immortal, was the son of an upholsterer of Paris, who was later 
 in life a valet-de-chambre to the king. Moliere was born in Paris, on January 
 15, 1622. There are absolutely no reliable data about his early life, save 
 that at the age of fourteen he was sent to the College de Clermont, a 
 Jesuit Seminary in his native city, and that after leaving college he attended 
 the lectures of Gassendi. He undertook a translation of Lucretius, which 
 is now utterly lost, excepting for a single passage in the fourth scene of 
 Act II. of his “Misanthrope;” commenced to study law about 1641, and 
 in 1645 turned actor, and went for a dozen years roving about the country 
 with a band of strolling players. 
 
 It was during this period of his career that he took to play-writing. 
 His first play, “ L’Etourdi,” was presented in Lyons in 1653. Finally, 
 
 89 
 
 | 
 
 I 
 
MOLIERE BREAKFASTING WITH LOUIS XIV. AT VERSAILLES. 
 
 drifting back to Paris, he encountered the Prince de Conti, who had been 
 a school-fellow with him at Clermont, and through the Prince’s power 
 obtained permission to act before the king. Louis was so pleased by the 
 performance, and the Prince de Conti supported his old college comrade 
 so manfully, that Molibre was given permission to establish himself and 
 his troupe in Paris. Now began to appear his superb series of comedies, 
 which found their splendid crown in “ Tartuffe,” in 1669. Four years later, 
 on February 17th, 1673, while acting in “ Le Malade Imaginaire,” which he 
 had but just written, Molibre was taken with a hemorrhage, and died at 
 ten o’clock that night. His life had been a light and merry one in spirit. 
 His fearless satire had offended the Church. By some it is even hinted 
 that he had early in life become a priest and broken his vows. At any 
 rate, he died in a state of excommunication ; and the Church, which had 
 refused him the final rites of religion when he implored them in his last 
 gasp, refused him also Christian burial. The king’s absolute command 
 alone secured for the greatest comic dramatist that ever lived burial in 
 consecrated ground, and then only a private interment, performed by a 
 party of a hundred friends with lighted torches and without a priest. His 
 body now lies in cemetery of Pere Lachaise, where it was removed in 1817. 
 
 That Louis XIV. received Molibre with much personal favor is 
 undoubted. The story of the breakfast represented by M. Gbrome, is told 
 by Mme. Campan in her “ Memoirs.” According to it, it came to the 
 king’s ears that certain officers of his household had refused to dine with 
 Molibre at the house of his majesty’s purveyor-in-chief. A day or two 
 later, Molibre happening to be at Versailles, where the court was, with his 
 troupe, called to make a morning service to the king. Through an ante¬ 
 chamber crowded with the courtiers who had disdained him, Louis, who 
 was just from the hands of his valet, had the comedian introduced into 
 his presence. He was breakfasting lightly on the luncheon that had been 
 prepared for him, as was the custom, should he have wished to eat at 
 night, and commanding Molibre to sit opposite him, served him with a 
 wing of his own fowl, and ordered the courtiers to be admitted, to whom 
 he said : 
 
 90 
 
MOLIERE BREAKFASTING WITH LOUIS XIV. AT VERSAILLES. 
 
 “You see me, gentlemen, in the act of eating with Molihre, whom the 
 people of my house do not find good enough company for them.” 
 
 M. Gerome represents the king in the centre of the composition, 
 seated at a table covered with a sumptuous cloth, and turning with an 
 expression of mockery to the bowing courtiers, gathered on the left of 
 the picture and behind him, to whom he is speaking. In the foreground, 
 to the extreme left, the Coadjutor Archbishop de Retz, with his beretta 
 crushed in his nervous hand, holds himself haughtily erect, convulsed with 
 futile rage and apprehension at the suggested peril to the Church. Oppo¬ 
 site the king, Moliere sits at the right, listening with a face full of satire 
 and satisfaction at the humiliation of his arrogant enemies. Servants are 
 bringing in dishes behind the comedian. The scene is laid in one of the 
 smaller state apartments at Versailles, an interior ornate in the architec¬ 
 ture and decoration of the period, with a canopied throne seat at the 
 back. 
 
 The date of the painting is 1862. 
 
 91 
 
/ctZ DE NEUVILLE (Alphonse Marie), . Deceased 
 
 Born at Saint Omer, France, 1836. A member of a wealthy family, his parents 
 intended him for an official career, but he was only willing to join the army 
 and entered the school at Lorient. Here his astonishing skill in drawhig 
 70 as remarked. In order to make peace with his family, he went to Paris 
 and entered the law-school, but he spent more time at the military sch^l 
 and in the Champs-de-Mars, sketching and becoming familiar with all the 
 details of a soldier's life. He returned home, declaring he would be a 
 painter or nothing. His friends endeavored to discourage his determina¬ 
 tion, and the artists upon whom he called in Paris advised him to go back 
 home. Delacroix, however, became his friend, and with him De Neuville 
 spent many hours. He studied also with Picot. De Neuville's first pict¬ 
 ures were not particularly remarkable, but the Franco-Prussian war gave 
 him inspiration and subjects almost without limit, and since that time the 
 artist has produced some of the greatest battle-pictures of any time. 
 Medals, Paris, 1859, 1861. Chevalier of the Legion of Honor, 1873. 
 Officer of the Same, 1881. Died, 1885. 
 
 No. 69 
 
 HAULING BY THE CAPSTAN—YPORT, 
 
 NORMANDIE. 
 
 (HALAGE DU CABESTAN.) 
 
 22 x 38. 
 
 The sky is sullen and the sea pelts the shingle with angry blows of its 
 
 uneasy waves. In air and ocean the storm is brooding, nursing its wrath with 
 
 blackening brows. The tempest is held within check only by its own wanton 
 92 
 
 

HAULING BY THE CAPSTAN—YPORT, NORMANDIE. 
 
 and capricious will, and those who are on the waters do wisely in fleeing 
 before the peril that is soon to come. One fishing boat has gained the 
 strand, and her hawser has been carried up to the huge capstan by which 
 she may be dragged out of reach of the breakers. Manhood and youth, old 
 age and childhood, bend to their labor at the capstan bars, while on the beach 
 below strong hands steady the boat and keep her on an upright keel as she 
 makes her toilsome progress to a safe resting-place. The capstan creaks and 
 groans ; the heavy keel of the boat grinds the shingle into fragments, and the 
 driving wind, whistling in the rigging, shakes and sways the beached craft as 
 if in fury at being robbed of its prey. In contrast with the wild spirit of 
 nature and the furious energy of the rude toilers of the sea, face to face with 
 their worst foe, and struggling to baffle him, the artist shows, in himself and 
 his wife, types of the refined and sheltered life of the town, luxurious idlers 
 who come to look with curiosity on this episode from lives of ceaseless trouble 
 and perennial toil, and to find in its tragic earnestness the subject for a 
 painted sermon for the eyes of luxury and ease. 
 
 93 
 
£/ r 
 
 BONHEUR (Francois Auguste), . . Deceased 
 
 Born in Bordeaux, 1824. Died, 1884. Brother of Rosa Bonheur and pupil 
 of their father, Raymond Bonheur, a meritorious artist, who died in 1853. 
 Auguste achieved reputatio?i as a landscape and animal painter. Medals, 
 1852, 1857, 1859, 1861, 1863. Chevalier of the Legion of Honor, 1867. 
 
 No. 70 
 
 NORMANDY CATTLE. 
 
 (BESTIAUX NORMAND.) 
 
 2 3 i x 32 . 
 
 It is a landscape of large lines and simple dignity, mellowing in the mid¬ 
 summer midday. Under a sky aglow with light basks a champaign broken 
 with clumps of verdure and gentle elevations, in which the rich color of the 
 ripening year is refined by the harmony of a nature all in tune. In a pool in 
 the foreground, a red cow is drinking. Behind her, and also in the water, is a 
 black cow, while on the right a dun and white cow is calling, with her head up. 
 To the right in the second plane, a peasant woman is driving two cows to 
 water along the bank. On the left, over the crown of a road which ascends 
 a low hillock from the pool, is seen the figure of a mounted man. A few 
 stunted but richly verdured trees break the not unpleasing monotony of the 
 
 landscape. The picture is not dated. 
 
 94 
 

 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 f 
 
 
 
 
VI BERT (Jean Georges). Paris 
 
 Born in Paris, 1840. Pupil of l'JEcole des Beaux-Arts, and of Barrias, 
 Paris. Medals, Paris, 1864, 1867, 1868, 1878 (.Exposition Universelle). 
 Chevalier of the Legion of Honor, 1870. 
 
 
 No. 71 
 
 SCENE AT A SPANISH DILIGENCE STATION. 
 
 (UNE COUR DE DILIGENCE EN ESPANGE.) 
 
 27 x 36. 
 
 The diligence office is almost as complete an epitome of Spanish life and 
 character to-day as it was at the opening of the century. The world’s progress 
 has, it is true, invaded the Iberian peninsula astride of the iron horse, but 
 railway communication is by no means universal, and even where it does 
 exist, as a line of connection between the more important points, the ancient 
 stages are frequently kept up. The Spaniard has not outgrown the national 
 predilection for travelling through life by easy stages. Neither has he lost his 
 love of gossip, and of the interchange of badinage by the way—that merry 
 weakness of the idle tongue that has found in “ Figaro ” a type of all his race. 
 Modern Spain is still the Spain of Beaumarchais. The characters of “ The 
 Barber of Seville ” still lounge in its sunny streets and go a-journeying as of 
 old, and from among them M. Vibert has found material for his picture. 
 
 In a court-yard at Seville, the passengers are awaiting the departure of 
 the stagecoach. In the foreground to the right, a black-robed priest with the 
 
 long box containing some ecclesiastical vestment on his knees, is seated 
 
 95 
 
SCENE AT A SPANISH DILIGENCE STATION. 
 
 against the wall, reading in his breviary. His ascetic face wears a particularly 
 severe expression, caused, no doubt, by an active flirtation between his neigh¬ 
 bors. They occupy the middle of the picture, in a group of three, whose 
 centre is a coquettish Spanish beauty gayly attired in yellow silk and white 
 lace. She has on her left a Spanish bull-fighter, in a bright blue suit, with a 
 scarlet serape cast over his shoulder, and on her right another admirer more 
 soberly clad. Their conversation is animated, and accompanied with spirited 
 gestures and cigarette smoke. In the background other figures are gathered 
 about a booth, and a muleteer lies among his trappings on the ground. The 
 diligence, as yet unhorsed, shows in the rear of the court over the heads 
 of its waiting passengers. 
 
 The picture bears the date 1869. 
 
 96 
 

 
 
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MEISSONIER (Jean Louis Ernest), . . Paris 
 
 Born at Lyons, 1813. He went to Paris when quite young, and was, for 
 a time, a pupil of Leon Cogniet. First exhibited at the Salon Si 1836. 
 His picture, “A Brawl" (1855), was purchased by Napoleon IIP. and 
 presented to the late Prince Albert, of England. Medals, Paris, 1840, 
 1841, 1843, 1848. Grand Medal of Honor, 1855 (.Exposition Uni- 
 verselle). One of the eight Grand Medals of Honor (.Exposition 
 Universelle), 1867 ; Grand Medal of Honor (.Exposition Universelle), 
 1878. Chevalier of the Legion of Honor, 1846 ; Officer of the Same, 
 1856 ; Commander of the Same, 1867 ; Grand Officer of the Same, 
 1878. Member of the Lnstitute of France, 1861. Honorary Member 
 of the Royal Academy, London. 
 
 No. 72 
 
 THE GAME LOST. 
 
 * ' * , l* > . * 4 - 
 
 (PARTIE PERDU.) 
 
 13^ x io.J. 
 
 > ' « * *t 
 
 The gamester, in one guise or another, has always been a favorite 
 
 t ■ ■ • . 
 
 subject with the greatest of modern French masters at the easel. 
 
 His first public impression as a painter was made in 1836, with a pict- 
 ure of chess players. Then he turned to the gamblers at dice with equal 
 success. The card players next engaged his attention, and through them 
 some of his greatest triumphs have been won. He has painted them at 
 
 • ' v *■ ■ } # r ■< 
 
 their game, in repose ; after their game, in the action of a furious brawl ; 
 
 and again dying from the results of a quarrel over a disputed stake. The 
 
 97 
 
THE GAME LOST. 
 
 best of his card players are the old campaigners of the robust period of 
 Louis XIII., whom he paints at play in the barrack-room, squandering in 
 the idleness of peace the spoils of war. It is notable that in his treatments 
 of these subjects he not only accurately depicts the dress and surroundings 
 of the time, but gives in his types of character an amazing reflex of the 
 human traits and characteristics of the day he deals with. There is none 
 of the quality of the lay figure in his heroes, and none of the suggestion 
 of a modern model tricked out in an antique masquerade. 
 
 In “The Game Lost” he presents to us four figures, in a corner of 
 a barrack-room. Of these, two are players, and two spectators. The 
 players sit face to face, astride of a bench, which serves them for a table 
 as well. Both are old soldiers, who have grown gray in battle and adven¬ 
 ture, and are in full uniform. They are evidently beguiling the time 
 before they go on duty with a bout at the pasteboards. One, bare¬ 
 headed and serious, sits straight up, conning his hand and selecting the 
 card to play, while a younger comrade, seated beside him, looks over his 
 cards and utters a hint as to the selection he may make. The other player, 
 who wears his hat and the sash of an officer of the day, evidently secure 
 in the possession of a strong hand, has his mind made up as to his course. 
 He does not look at his cards, but watches his opponent, leaning slightly 
 forward, with one hand on his hip, ready to draw his winning card when 
 the other’s play is made. On a stool beside him lies a clay pipe, which 
 he has laid aside in the excitement of the game. The fourth figure is 
 that of another old soldier, in a steel cuirass and without his hat, who 
 leans, standing, against the wall behind the officer, with a pipe in his 
 hand, blowing a cloud as he surveys the game. The light enters from 
 an unseen window, and the background gains variety from a plank parti¬ 
 tion over which a mantle has been thrown. In all the details the facts 
 of the scene are accurately observed. The two players, who are presently 
 to go on duty, are booted and spurred. The two who are off duty are 
 bareheaded, and wear their uniforms carelessly. One can almost tell the 
 hour of day from the light that enters at the window. 
 
 “The Game Lost” is dated 1863. 
 
 9 s 
 
MEISSONIER (Jean Louis Ernest), 
 
 Paris 
 
 Born at Lyons, 1813. He went to Paris when quite young, and was, for 
 a time, a pupil of Leon Cogniet. First exhibited at the Salon in 1836. 
 His picture, “A Brawl ” (1855) was purchased by Napoleon LIL. and 
 presented to the late Prince Albert, of England. Medals, Paris, 1840, 
 1841, 1843, 1848. Grand Medal of Honor, 1855 (Exposition Uni- 
 verselle). One of the eight Grand Medals of Honor (.Exposition 
 Universelle), 1867 ; Grand Medal of Honor (.Exposition Universelle), 
 1878. Chevalier of the Legion of Honor, 1846 ; Officer of the Same, 
 1856 ; Commander of the Same, 1867 ; Grand Officer of the Same, 1878. 
 Member of the Lnstitute of France, 1861. Honorary Member of the 
 Royal Academy, London. 
 
 lit. iW 
 
 No. 73 
 
 THE STIRRUP CUP. 
 
 (COUP DE L’ETRIER.) 
 
 3? x 4f. 1866. 
 
 It is a white, hot, midsummer day. On one of the dusty highways of 
 the South of France the air is ablaze with heat as from a furnace. The 
 traveller, pushing forward on his journey, has halted for his breakfast at an 
 humble wayside inn, and having refreshed and rested himself, has remounted 
 to resume the road, and is being served in the saddle with a parting draught 
 of wine by his host. The traveller is in a pink silk coat of the style of 
 the last century, and is mounted on a white horse. His back is towards 
 the spectator, and the horse is seen foreshortened. The innkeeper stands at 
 the horse’s head, facing forward, and holds a wine jug in his hand and a glass 
 on a tray. He is a sturdy figure, in his shirt, with the sleeves rolled up and 
 blue woolen stockings encasing his stout legs, firmly planted on the ground. 
 The figures are relieved against the wall of the inn, which is in bright sun¬ 
 light. In spite of the miniature dimensions of the panel, every detail is 
 rendered with the most exquisitely scrupulous exactitude—the buttons on 
 the traveller’s coat, the harness of his horse, the glint of light on the glass. 
 At the same time the picture has the brilliancy and vigor of the largest and 
 most dashingly executed work. 
 
 99 
 

 if fa / tHF, ALMA-TADEMA (Laurenz), R. A., . . London 
 
 Born at Dronryp, West Friesland , Holland , 1836. First studied in the 
 Gymnasium of Leeuwarden, where he devoted much of his time to the 
 study of Grceco-Roman and Egyptian antiquities. Entered the Academy 
 at Antwerp in 1852, and subsequently studied under Baron Leys. In 
 1870 fixed his residence in London. Medals , Paris , 1864—1867 ( Expo¬ 
 sition Universelle) j 1878 (.Exposition Universelle). Grand Gold Medal, 
 Berlin, 1874. Chevalier of the Legion of Honor, 1873 ; Officer of 
 the Same, 1878. Cross of the Order of Merit, Berlin, 1881. Knight 
 of the Order of Leopold; Cross of the Order of the Dutch Lion; 
 Knight of the Order of St. Michael of Bavaria j of the Gold Lion of 
 the House of Nassau; Cross of the Order of the Royal Crown of 
 Prussia. Member of the Royal Academy of Amsterdam j of the Royal 
 Acadetny of Munich; of the Royal Academy of Berlinj and of the 
 Royal Academy of London. Member of the English Society of Painters 
 in Water Colors. Honorary Professor of the Royal Institute of Fine 
 Arts, Naples, and Corresponding Member of the Acadetny of the Fine 
 Arts, France. 
 
 No. 74 
 
 QUEEN CLOTILDA, WIFE OF CLOVIS, FIRST 
 CHRISTIAN KING OF FRANCE, INSTRUCTING 
 HER CHILDREN IN ARMS. 
 
 25I x 35 f 
 
 Clotilda, wife of the great Clovis, the first Christian king of France, 
 was the daughter of the King of Burgundy. Her mother and father had 
 been assassinated by her uncle, who had caused the latter to be stabbed 
 
 IOO 
 

 
 
 
 
 
 
 
 
 f 
 
 
 
 
QUEEN CLOTILDA INSTRUCTING HER CHILDREN IN ARMS. 
 
 and the former to be drowned with a heavy stone about her neck. Their 
 daughter brooded upon revenge, until the death of the great king, her 
 husband, left the care and education of her sons entirely in her hands, 
 when she bade them think with bitter hate of the foul wrong that her 
 uncle had done her and avenge the death of her father and mother. The 
 education which she addressed herself to giving them was calculated to 
 this end. 
 
 They are shown in the picture practicing with the axe at a target of 
 planks in the open court-yard of the palace, which is built in the Roman 
 style. The elder, a handsome child with flaxen locks, stands posed in the 
 foreground a little to the left, balancing in his upraised hand the hatchet 
 he is about to launch at its mark. His brother, a still younger child, 
 stands farther retired, between him and the target, watching him and 
 clutching with childish eagerness the axe which he is next to cast. The 
 third child, little more than a baby, clings to the knee of his mother, who, 
 seated on her throne in the centre of the composition, with the solemn 
 symbol of Christianity drawn in large lines on the walls behind her, gazes 
 with pride and infinite sadness in her haughty and determined face at her 
 gallant boys, qualifying themselves for the work of a bloody retaliation. 
 At the extreme left of the foreground an old warrior, the instructor of 
 the warlike little princes, leans with one arm upon his ponderous shield 
 and watches with grave satisfaction the exhibition of his pupil’s prowess. 
 The queen’s women are grouped behind her; on her left hand is a group 
 of ecclesiastics, and the other side of the composition is filled in with 
 royal guards and court dignitaries. 
 
 This remarkable painting is the work to which the artist owes his 
 first success. It was painted previously to his settlement in London, was 
 exhibited in Antwerp in 1861, purchased by the Antwerp Society for the 
 Encouragement of the Fine Arts, from whose hands it passed into the 
 collection of the King of the Belgians, and at the dispersion of His 
 Majesty’s collection, was brought to the United States. 
 
 IOI 
 
BOUGUEREAU (William Adolphe), 
 
 Paris 
 
 / // 6 
 
 Born in La Rochelle, 1825. When quite young, after passing through the 
 College at Rons, where he showed an aptitude for drawing, Bouguereau 
 was placed in a business house in Bordeaux. While there he attended, 
 two hours a day, the drawing-school of M. Alaux. Treated contempt¬ 
 uously by his fellow-students on account of his unaristocratic business 
 connections, Bouguereau nevertheless took the first prize at the end of 
 the year, the award causing such excitement in the school that a riot 
 was the consequence. Bouguereau resolved thenceforth to turn his atten¬ 
 tion to art, and after he had earned sufficietit money by paitiiing portraits 
 at Saintonge, where his uncle was a priest, he went to Paris and 
 entered the studio of Picot, and later /’Ecole des Beaux-Arts, where his 
 progress was rapid. The gained the Prix de Rome in 1850, and then 
 studied in Ro?ne. Medals, Paris, 1855 (Exposition Universelle), 1857, 
 1867 (Exposition Universelle). Chevalier of the Legion of Honor, 
 
 1859. Member of the Lnstitute of France, 1876. Officer of the 
 Legion of Honor, 1876. Medal of Honor (.Exposition Universelle), 
 1878. Knight of the Order of Leopold, 1881. Grand Medal of 
 ILonor, Paris, 1885. Medal of Honor, Antwerp, 1885. 
 
 No. 75 
 
 HESITATING BETWEEN LOVE AND RICHES. 
 
 (ENTRE L’AMOUR ET LA RICHESSE.) 
 
 42 x 35. 
 
 " I have no store 
 Of gryphon-guarded gold ; 
 
 Now as before, 
 
 Bare is the shepherd’s fold. 
 
 102 
 
HESITATING BETWEEN LOVE AND RICHES. 
 
 Rubies nor pearls 
 Have I to gem thy throat; 
 
 Yet woodland girls 
 Have loved the shepherd’s note.” 
 
 It is some such song as that of Oscar Wilde’s amorous shepherd that 
 love pours into the ear of youth, while loveless age essays to silence its 
 charms with the tempting clink of gold and the tinkle of glistening gems. 
 And between the troubadour who offers the treasure of his heart and 
 the graybeard who proffers the treasures of his coffers, the maiden sits 
 in doubt. But while she questions, without a glance at the sordid bait 
 that senility holds forth to her, her ears are open to the plea of the poet’s 
 song. Even when eyes are blind the heart has open eyes, and there can 
 be little question of what her choice will be. 
 
 The figure of the prize for which youth and age contend with such 
 unequal weapons occupies the centre of the composition in a pensive 
 attitude. On her left, the youthful gallant chants his passion in her ear, 
 between touches upon his mandolin. On her right the aged suitor tempts 
 her with a jewel casket. The costumes are of the later fourteenth or 
 early fifteenth century, sumptuous in material and rich in color. The 
 maiden’s face is pure in outline, its youth chastened by gravity. Her 
 dress of pink stuff, with white at the arms and throat, accentuates by its 
 simplicity the richness of its surroundings, and gives meaning to the 
 allegory. The figures are shown at three-quarter length. The date is 
 1869. 
 
 IO3 
 
fh- fC' 
 
 SiSy\ 
 
 (fjr /%f*7phv 
 
 GEROME (Jean L£on),. Paris 
 
 Born at Vesoul, France, 1824. Went to Paris in 1841, and entered the studio of 
 Paul Delaroche, at the same time following the course at l ’ Ecole des Beaux- 
 Arts. In 1844 he accompanied Delaroche to Italy. He made his debut at 
 the Salon of 1847. In 1853 and 1856 he travelled in Egypt arid Turkey, 
 studying closely the history and customs of those countries. Medals, Paris, 
 1847, 1848, 1855 (Exposition Universelle). Member of the Institute, 
 1865. Medal of Honor (.Exposition Universelle), 1867. Medal of 
 Honor, 1874. Medal for Sculpture and one of the eight Grand Medals 
 of Honor (.Exposition Universelle), 1878. Chevalier of the Legion of 
 Honor, 1855 ; Officer of the Same, 1867 ; Commander of the Same, 
 1878 ; Chevalier of the Order of the Red Eagle. Member of the Royal 
 Academy, London. Professor in l’Ecole des Beaux-Arts. 
 
 No. 76 
 
 L’EMINENCE GRISE. 
 
 2 9 \ x 39- 
 
 There were two kings in France when Louis XIII. was young, and neither 
 wore the crown. These unanointed monarchs were Armand Jean du Plessis, 
 Cardinal Due de Richelieu, and his strong right arm and brother brain, 
 Francois Leclerc du Tremblay, otherwise Father Joseph of the Order of Capu¬ 
 chins. While Richelieu ruled France and swayed the destinies of Europe in 
 the midst of the most magnificent ecclesiastical and worldly state, his ascetic 
 confidant and prime minister passed through the great pages of history stern 
 
 and severe as a spectre, conquering his victories with sandalled feet on the 
 104 
 

l’eminence grise. 
 
 steps of thrones, and with his rude friar’s vestment carrying amid the gayety 
 of frivolous courts the menace of an iron power. 
 
 Francois Leclerc du Tremblay was born of a good family in Paris in 1571. 
 He received the amplest education of the time, and entered the army as a 
 gentleman volunteer, serving in the campaigns as Baron de Mafic6. His 
 spirit was sober, and his temperament melancholy. Given to dreams of duty 
 at variance with the light manners of the camp in a gallant age, he withdrew 
 from the army, and entered the Order of Capuchins in 1599. He had become 
 distinguished as a mission priest of fiery enthusiasm and enormous energy 
 when Richelieu rose to power at court in 1614. His labors in the organiza¬ 
 tion of missions to India and America brought him in contact with the 
 Secretary of War and Foreign Affairs. Richelieu, with an eagle eye for men 
 of his own intellectual stamp, recognized in this severe devotee also a states¬ 
 man of broad views and comprehensive knowledge, and a diplomat of a 
 shrewdness and ability second only to his own. To appreciate a man, with 
 Richelieu, was to advance him. Father Joseph was set to the difficult task of 
 healing the breach between Louis XIII. and his mother, in 1620. He suc¬ 
 ceeded. The Queen was restored to her position at court and Richelieu’s 
 influence laid on a solid foundation. In two years more the Secretary of War 
 was made Cardinal, and in two more Minister of State. Father Joseph 
 became his secretary and coadjutor. He was henceforth associated with 
 Richelieu’s greatest triumphs of statesmanship. It was Friar Joseph who 
 secured from Rome the dispensation for the marriage of Henrietta of France 
 to James I. of England in 1624, who brought about the dismissal of Wallen¬ 
 stein by Ferdinand II., who signed the peace of Ratisbonne in 1629, and 
 who, as much as Richelieu himself, shaped the foreign policy which bred dis¬ 
 cord over all Europe to make France the stronger. Father Joseph died in 
 1638, after the Pope had granted him a Cardinal’s hat but before he had time 
 to wear it. 
 
 This is the homely and barefooted friar who in M. G6rome’s picture is 
 descending the grand staircase of the Cardinal’s palace, reading his breviary 
 while the courtiers go cringing up on the other side. They bend servilely 
 while his eye is on them, and turn upon him glances of hatred, scorn and fear, 
 
 105 
 
l’eminence grise. 
 
 when they have passed, while some high ecclesiastic, going up to seek an 
 audience with the friend and colleague of this brooding priest and statesman, 
 looks back at him with eyes of envy mingled with contempt. The pomp of 
 the red Cardinal blazons itself in the splendid tapestry upon the staircase, 
 where his arms glow and flash in crimson and gold. The might of the gray 
 Cardinal is written in every line of his straight figure, from whose harsh vest¬ 
 ment adulation and hatred alike recoil as from a suit of mail. 
 
 “ L’Eminence Grise” was painted in 1874. 
 
 106 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

FORTUNY Y CARBO (Mariano), . . Deceased 
 
 Born at Reus, in Catalonia, 1838. Died in Rome, 1874. Pupil of Palau, of 
 Lorenzalez and of the Barcelona Academy, where he won the Prix de 
 Rome in 1856. At Rome, which thenceforth became his residence, he 
 studied Raphael and made sketches of Roman life. In 1859 he was sent 
 to Morocco by the Government to paint the incidents of General Prim's 
 campaign. In 1866 he went to Paris, and then to Madrid, where he 
 remained three years studying the works of Velasquez, Ribera and Goya. 
 His original style, correct drawing and fine color gained for him a great 
 reputation, and the sale of the contents of his studio after his death brought 
 800,000 francs. 
 
 No. 77 
 
 A SPANISH L, AD Y 
 
 (UNE DAME ESPAGNOLE.) 
 
 53 x 39 - 
 
 “ Carmen est maigre,—un trait de bistre 
 Ceme son oeil de gitana, 
 
 Ses cheveux sont d’un noir sinistre 
 Sa peau, le diable la tanna.” 
 
 Theophile Gautier. 
 
 A portrait of a beautiful Spanish woman of the higher rank and the pure 
 
 Castilian type, painted in an erect position at three-quarter length and on 
 
 the scale of life. The lady is looking forward with an expression of some 
 
 gravity. She is dressed in a modern costume of rich black silk, with white 
 
 107 
 
A SPANISH LADY. 
 
 lace at the wrists and a white linen collar. The dress is confined at the front 
 with coral buttons, and the left hand, on whose forefinger is a ring, is slightly 
 lifting the skirt with a movement replete with quiet grace. The right hand 
 toys with the antique and oddly designed gold chain of a lorgnon. The back¬ 
 ground is an indefinite gray green, strong but luminous, against which the 
 black silk, shot with steely lights, is solidly relieved. 
 
 The story of this picture is in its way a romance; one of those romances, 
 indeed, of which one hears much more in the history of art than one 
 encounters in its actuality. Perhaps it is best told in the words of the 
 late Mr. Edward Strahan in his “The Art Treasuries of America,” from which 
 the following is taken: 
 
 “ The specimen of Fortuny is an important and a charming one. During his culminating, 
 his wonderful years at Rome, the Spanish painter consented, as a caprice and experiment, to 
 resume for one time the life-size scale of painting, a method he had not employed since his 
 studies for the “ Battle of Tetuan.” The result is before us, a large portrait of the handsome 
 wife of a Secretary of the Spanish Embassy at Rome. Fit for the proud portrait gallery of 
 the Silvas, so elegantly recapitulated in “ Hernani,” this supreme chef d'wuvre is separated, 
 perhaps forever, from the records of a family race to take its position as a work of pure art, 
 and enjoy a lease of artistic life apart from the life of a haughty Castilian house. It will go 
 down to posterity anonymous and famous, like some great Reynolds or Tintoretto. “ The 
 Lady with the Pince-Nez ” will be its all-sufficient designation, as we mention the Titian of 
 the Glove, or the Rembrandt with a Toque ; for the family name, which has been mentioned 
 to me, it is eminently unsuitable to publish under the circumstances.” 
 
 It is of this same master-piece that Arsene Houssaye wrote in a letter : 
 
 “The same evening I saw, at the residence of your compatriot Mr. Stebbins, the only 
 woman’s portrait ever painted by Fortuny. It is the wife of a Spanish Secretary of Embassy 
 at Rome. She is beautiful, but the painting is far more beautiful than she. Fortuny was 
 Velasquez come to earth again. To think that this great genius, who held the secret of 
 light in his hand, has been cast back into eternal night because the Roman fever passed by 
 his studio ! When will another Velasquez be born ? ” 
 
 The date of this picture is 1862. 
 
 108 
 

SCULPTURE. 
 
 TADOLINI (Adam Scipione), . . . Deceased 
 
 Born at Bologna, 1789. Pupil of Canova, Professor of the Academy of 
 Bologna. Among the works of this sculptor are “ Venus and Love; " 
 the “ Rape of Ganymede,” for Prince Ester hazy j the Tomb of Cardinal 
 Laute, for the city of Bologna j statue of “ St. Francis de Sales,” for St. 
 Peter s, at Rome, and a colossal “ St. Michael,” for the late Mr. Gardner 
 Brewer, of Boston. Died, 1870. 
 
 No. 78 
 
 CUPID AND PSYCHE. 
 
 $ 
 
 (CANOVA’S GROUP.) 
 
 EXECUTED BY CHEVALIER SCIPIONE TADOLINI, FROM THE ORIGINAL MODEL WHICH HE INHERITED FROM 
 
 CANOVA. 
 
 f 
 
 J'Mipecj 
 
 Canova won his first success as a sculptor by his devotion to the severe 
 style of the antique. He was at his best, however, in works like his “ Cupid 
 and Psyche,” in which he mitigated the gravity of his ideal with a certain 
 softness and grace of his own. This beautiful group was produced soon after 
 he had completed his monument to Pope Clement XIV., and holds its 
 place to this day at the head of his lighter imaginative works, showing as it 
 does his delicate and masterly treatment of the marble and his poetry of 
 sentiment at their best. Canova, who died in 1822, left, among other dis¬ 
 tinguished pupils, Professor Adam Scipione Tadolini, who became himself a 
 sculptor of the highest merit. Professor Tadolini executed in the dimensions 
 
 of the original a reproduction of his master’s “ Cupid and Psyche.” The 
 
 109 
 
CUPID AND PSYCHE. 
 
 amorous god is shown swooping down upon the lovelorn maiden with a 
 graceful sinuousness of motion to his winged figure, while she greets him 
 throwing herself backward into his arms with the motion of one just aroused 
 from sleep. The figures are in the dimensions of the life and perfect in their 
 repetition of the original. The character of the female figure is refined and 
 tender, as befits the bride of the love god in whom the Greeks embodied the 
 soul or spirit of mortality, while the Cupid has the refinement and youthful 
 beauty belonging to the son of Jupiter and Venus, who, 
 
 < ( 
 
 Uncontrolled through heaven extends his sway, 
 And gods and goddesses by turns obey.” 
 
D’EPINAY (Count George Prosper), . . Paris 
 
 Born in the Island of Mauritius , Africa. Pupil of Dautan. Legion of 
 Honor , 1878. Hors Concours. Friend and companion of Fortuny. 
 
 No. 79 
 
 SATYR. 
 
 t 4 /i 
 * v (J . 
 
 " Satyrs of the woodland sort, 
 
 Their ears pricked up, their noses short, 
 
 With asses’ hoofs, great goggle eyes, 
 
 And double chins of monstrous size.” 
 
 Yalden. 
 
 /h 
 
 Yalden draws a more exaggerated picture of the attendants of Silenus 
 than the sculptor presents to us. But the sculptor is right in refining the 
 follower of the Bacchanalian demi-god as he does. His type remains as 
 characteristic, while it becomes more pleasing, and his “ Satyr ” is made a 
 worthy companion to his spirited representation of the handmaiden of 
 Bacchus himself, the merry Bacchante. 
 
 hi 
 
 0/ 
 
 (l /t 
 
D’EPINAY (Count George Prosper), . . Paris 
 
 No. 80 
 
 BACCHANTE. 
 
 “ Jolly Bacchus, god of pleasure, 
 
 Charmed the world with drink and dances.” 
 
 Thomas Parnell. 
 
 It is one of the priestesses of this merry deity whom the English poet 
 
 sings that the sculptor breathes life into in the plastic image which his hands 
 
 built up. He presents us with a worthy incarnation of the supporters of the 
 
 gay god’s shrine—a priestess whose vocation it is to promote her tutelary 
 
 deity’s pleasures, and whose religion consists in sharing with him in the 
 
 gayeties with which he charms the world. 
 
 112 
 
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