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The art of the World 
 
 Grand (Columbian) Edition de Luxe 
 
 Limited to 500 copies 
 
 No. 
 

THE 
 OF THE 
 
 ART Q Q 
 WORLD 
 
 ILLUSTRATED IN THE PAINTINGS, STATUARY, AND 
 m ® ® ©ARCHITECTURE OF THE @ ® ® © 
 
 World's Columbian Exposition 
 
 * * WITH GOUPIL WATER-COLOR FACSIMILES * * 
 PHOTOGRAVURES, AND MANY SMALLER PLATES 
 
 TEXT BY 
 
 D. H. BURNHAM HALSEY C IVES 
 
 DIRECTOR OF WORKS CHIEF OF THE-DEPARTMENT OF FINE ARTS 
 
 MOSES P. HANDY 
 
 CHIEF OF THE DEPARTMENT OF PUBLICITY AND PROMOTION 
 
 AND 
 
 ROGER-BALLU 
 
 COMMISSIONER OF FINE ARTS FOR FRANCE 
 
 CHARLES YRIARTE HUMPHREY WARD 
 
 EDITOR OF THE FIGARO-SALON ART CRITIC OF THE LONDON TIMES 
 
 HUBERT VOS 
 
 ASSISTANT COMMISSIONER OF FINE ARTS FOR HOLLAND 
 
 ® ® ® ® NEW YORK ® ® ® # 
 D. APPLETON AND COMPANY 
 
Hh GARDEN PARTY. 
 
 J MACHARD. 
 
 (/wi ScA*>/) 
 
 ‘ Louis Machard, who was born at Sampans, Jura, 
 ; 22y 1839, has preserved few traces of his 
 £ nee in his art. His training under Bailie 
 
 « • .1 rid at the Ecole des Beaux Jr//, seemed to 
 
 innate predilection for the fanciful, grice- 
 ; - Jtiful; and soon after his triumph in win- 
 ■ grand Prix de Rome> in 1865, he established 
 a painter of mythological scenes and 
 . ’ .:'s His works, which have included a Nar- 
 
 P'vchc, and a Venus, and also a “Death of 
 t which is in the Besancon Museum, have gained 
 t 1. the emphatic recognition implied in a first-class 
 ncdal, uv, '^72, n , . i class medal given in 1878, a year which also 
 
 nought 'Minter tie .if ribbon of the Legion of Honor. 
 
 In th» t befo e , M. Machard has painted a beautiful type of the 
 
 nodern . di r ic • of the grande monde, ready for >n .•» tlu splen¬ 
 ic fci wlik ecuuonally in the environs of Paris reuve the 
 
 ncmorics 01 the days ol Marie Antoinette and the splendors of Versailles. His 
 Jure is »ir, but i ses - : charm and interest far beyo. > the identity 
 
 >' this ac mpii lied arti-r < utter. 
 
 f HE GRANDFATHER. 
 
 J. F. R.UKAKLLL 
 (French ScAmI.) 
 
 Alter making his <\et with studies of beggars and street-sweepers, and 
 r Parisian character*, u with various scenes from poor life, which gave the 
 ; a place among the “ N turalists,” and, indeed, made him alm<>r the chief 
 school, M. Rafiai nlarged his range of subjects without modifying 
 
 ■ •umei of execution, J :h this picture gives an admirable idea 
 
 Grandfath< ” : a small farmer or vine-grower in T.. outskirts of 
 
 ' , 1 ■ ding his nit t 'I by one hand and his pipe wdth the tfer, walks 
 
 '«gin "I ti e /v: '//c ue, or suburbs, along the Seine or M.»rne, which 
 • ’cd upon the p..i'm, swollen by a severe winter. 
 
 .AWioa rasisMtaorcow 
 
THE GARDEN PARTY. 
 
 J. L. MACHARD. 
 
 (French School.) 
 
 Jules Louis Machard, who was born at Sampans, Jura, 
 September 22, 1839, has preserved few traces of his 
 native province in his art. His training under Bailie 
 and Signol, and at the Ecole des Beaux Arts , seemed to 
 encourage an innate predilection for the fanciful, grace¬ 
 ful, and beautiful; and soon after his triumph in win¬ 
 ning the grand Prix de Rome., in 1865, he established 
 himself firmly as a painter of mythological scenes and 
 of portraits. His works, which have included a Nar¬ 
 cissus, a Psyche, and a Venus, and also a “Death of 
 Medusa,” which is in the Besancon Museum, have gained 
 for him the emphatic recognition implied in a first-class 
 medal, awarded in 1872, and a second-class medal given in 1878, a year which also 
 brought to the painter the red ribbon of the Legion of Honor. 
 
 In the picture before us, M. Machard has painted a beautiful type of the 
 modern Parisienne, a demoiselle of the grande monde , ready for one of the splen¬ 
 did fetes champetres which occasionally in the environs of Paris revive the 
 memories of the days of Marie Antoinette and the splendors of Versailles. His 
 picture is a portrait, but it possesses a charm and interest far beyond the identity 
 of this accomplished artist’s sitter. 
 
 J. L. MACHAKD. 
 
 THE GRANDFATHER. 
 
 J. F. RAFFAELLI. 
 
 (French School.) 
 
 After making his debut with studies of beggars and street-sweepers, and 
 similar Parisian characters, and with various scenes from poor life, which gave the 
 artist a place among the “ Naturalists,” and, indeed, made him almost the chief 
 of the school, M. Raffaelli has enlarged his range of subjects without modifying 
 his manner of execution, of which this picture gives an admirable idea. 
 
 “ The Grandfather ” shows us a small farmer or vine-grower in the outskirts of 
 Paris, who, holding his little girl by one hand and his pipe with the other, walks 
 in the bare region of the Banlieue , or suburbs, along the Seine or Marne, which 
 has encroached upon the plains, swollen by a severe winter. 
 
Mr. Toa .pern is one 
 of the \ .- . r \ 
 
 can pain).: . t rk- 
 
 a foreign training, bur, 
 
MILLS NEAR ROTTERDAM. 
 
 W. ROELOFS. 
 
 (Dutch School.) 
 
 Born at Amsterdam in 1822, this artist began his studies 
 at Utrecht, and then returned to The Hague, where he re¬ 
 ceived lessons from H. Van de Sande Bakhuyzen. Estab¬ 
 lishing himself finally in his native country, he devoted 
 his art life to the portrayal of character, and followed the 
 national traditions. He has gained many marks of hon¬ 
 orable distinction. The scene which Mr. Roelofs has 
 painted is characteristic of the plains of Holland. On 
 the horizon one can make out the city of Rotterdam ; 
 the spire of St. Laurent dominates the red roofs and the 
 bluish houses below. In the marshy landscape some broad canals bordered with 
 reeds stretch away to the horizon, while on the right rises a group of windmills, 
 whose wings are relieved against the sky and reflected in the water. 
 
 MUSIC. 
 
 OTTO TOASPERN. 
 
 (American School.) 
 
 Mr. Toaspern is one 
 of the younger Ameri¬ 
 can painters of the day. 
 Like most of his con¬ 
 freres, he has enjoyed 
 a foreign training, but, 
 unlike the majority, he 
 ventures to deal with 
 the idyllic or fanciful 
 as well as the real. In 
 this clever conceit he 
 pictures a boy Apollo, 
 or a roguish Pan of 
 tender years, charm¬ 
 ing the suspicious peli¬ 
 cans despite themselves. 
 
 I 5 
 
Copyright, 1893, by G. Morbau dk Tours. 
 
 CARNOT AT THE BATTLE OF WATTIGNIES. 
 
 G. MOREAU DE TOURS. 
 
 (French School.) 
 
 Lazarus Carnot, the ancestor of the present President of the French Republic, 
 member of the Committee of Public Safety, was sent by the Convention in 1793 to 
 the Army of the North, commanded by Jourdan. The Austrians were gaining a 
 victory, when Carnot took command of the troops, led them against the enemy, and, 
 gun in hand and wearing the tricolored scarf, he urged them on and won the battle. 
 
i.r 
 
I-KOME. 
 
 > ' u k- • «•! dramatic contrasts which is shown 
 
 «r Gladiators saluting Ctcsar,” “The 
 
 r and “The Gray Cardinal,” Jean 
 
 < most famous of living French masters 
 
 Vleissonier, has painted this impressive 
 .'•< ; i in Egypt, like CEdipus seeking to 
 
 l Spli The time is the day after 
 the ■ in d'Ac , Face to face we sec the 
 
 emb the mystery of the ages, and the man 
 
 whose iKitir.i* overleaped all confines of space and 
 
 time. • f’n , who was born at Vesoul, May n, 1824, 
 
 ; the academic .1 Delaroche, and afterward of Gleyre; 
 
 manner has b need by the severity of the Academy, his 
 
 1 ten betrayed l( > ward the freedom of romanticism. A 
 ightsman, a stud o\ ; torv, a traveler, an indefatigable worker, the 
 of paintings m■>.: in' atelier in the last forty-five years have 
 
 the history of In. < .-.-d K .»mc, and the more brilliant phases of Ori 
 life. At the outset obtain the Prix de Rome, but his “Cock 
 
 won a third-class v . and since then he has gained one honor 
 
 another. Medals of ver a warded to him in 1867, I ^ 7 +> and 1878, 
 
 a modal for sti . year. He received the ribbon of the 
 
 x an of Hoi. • n - ! an it : 1 1S67, and commander in 1878. 
 
 was elected prole tf Ecole det Beaux Arts in 1863, and a member 
 
 He Institute in 1861 : iis mural paintings for the city of Paris, and hi 
 
 1 res 0 proved rsatility of his talents. 
 
 ASTER, w 1:1, fi.vttjA ii’W.) 
 
 r of “ \ ”—Mr. Walter Langley—belongs to the contemj rarv 
 
 >f»l of ng, and his favorite medium is water-colors He is 
 
 die In • Painters in Water-Colors. The scene of th; < tui 
 
 •vii- -i an English fishing village. The sky cast, 
 
 -gin:!. ^ is foundering within sight of home—bef»rc the 
 
 r, who stares despairingly seaward, whih cl 1, 
 i f horror, hides her face and weeps, deaf to ittempred 
 11 riurts at rescue. 
 
--—-———— - 
 
 /. L. 
 
CEDIPUS. 
 
 JEAN LEON GliRSME. 
 
 (French School.) 
 
 JEAN LfiON GfiR6ME, 
 
 With the love of dramatic contrasts which is shown 
 in pictures like “ The Gladiators saluting Ca;sar,” “ The 
 Duel alter the Ball,” and “ The Gray Cardinal,” Jean 
 Leon Gerome, the most famous of living French masters 
 since the death of Meissonier, has painted this impressive 
 picture of Napoleon in Egypt, like (Edipus seeking to 
 solve the riddle of the Sphinx. The time is the day after 
 the battle of St. Jean d’Acre. Face to face we see the 
 embodiment of the mystery of the ages, and the man 
 whose ambition overleaped all confines of space and 
 time. Gerome, who was born at Vesoul, May u, 1824, 
 was a pupil of the academic master, Paul Delaroche, and afterward of Gleyre; 
 but although his manner has been influenced by the severity of the Academy, his 
 themes have often betrayed a leaning toward the freedom of romanticism. A 
 masterly draughtsman, a student of history, a traveler, an indefatigable worker, the 
 long series of paintings coming from his atelier in the last forty-five years have 
 illustrated the history of France and Rome, and the more brilliant phases of Ori¬ 
 ental life. At the outset he failed to obtain the Prix de Rome, but his “Cock- 
 Fight” won a third-class medal in 184.7, an d since then he has gained one honor 
 after another. Medals of honor were awarded to him in 1867, 1874., and 1878, 
 with a medal for sculpture in the latter year. He received the ribbon of the 
 Legion of Honor in 1855, was made an officer in 1867, and commander in 1878. 
 He was elected a professor in the Ecole des Beaux Arts in 1863, and a member 
 of the Institute in 1865. His mural paintings for the city of Paris, and his 
 sculptures, have proved the versatility of his talents. 
 
 A DISASTER. W. LANGLEY. (English School.) 
 
 The painter of “A Disaster”—Mr. Walter Langley—belongs to the contemporary 
 English school of genre painting, and his favorite medium is water-colors. He is 
 a member of the Institute of Painters in Water-Colors. The scene of this picture 
 is the beach beneath the quay of an English fishing village. The sky is overcast, 
 a storm is raging, and a boat is foundering within sight of home—before the 
 very eyes of the wife and mother, who stares despairingly seaward, while her child, 
 overcome by half-comprehended horror, hides her face and weeps, deaf to attempted 
 consolation and the feverish efforts at rescue. 
 
WALTER. LANG-U 
 
 
 WALTER LANGLEY. 
 
 A DISASTER. 
 
FALLING LEAVES. 
 
 MADAME MADELEINE LEMAIRE. 
 
 (French School.) 
 
 Madame Lemaire first made a 
 reputation as a water-color artist and 
 flower-painter; then, without abandon¬ 
 ing the class of work which made her 
 popular in France, she took up genre 
 painting and illustrating; indeed, she 
 has attempted decorative work with 
 success. This artist — a woman of 
 various social accomplishments — was 
 born at Sainte-Rossoline, in the De¬ 
 partment of the Var. She, next to 
 Madame Rosa Bonheur, whose name 
 is famous throughout the world, is one 
 of the leading female artists of the 
 
 Head of Raphael. Fine Arts Building. 
 
 French school. 
 
 The artist here shows us, under the title of “ Falling Leaves,” the grace¬ 
 ful figure of a young woman dressed in the fashion of the day and holding a 
 parasol, walking under the horse-chestnuts on the upper terraces of the gardens of 
 Saint-Cloud. The venerable trees are shedding their yellow leaves one by one, and 
 the breeze drives them eddying about her feet; the ground is strewn with them. 
 The park is deserted.; the last rays of the sinking sun touch the broad leaves, 
 and fling splashes of gold on the branches and trunks of the old giants. The 
 young lady pauses with a melancholy glance at the ruins and the glowing horizon 
 where the sun is about to set; and her mourning dress contrasts with the last 
 smile of dying Nature. 
 
 Pediment. Machinery Hall. 
 
Copyright, 1893, by F. M. Boggs. 
 
 BROOKLYN BRIDGE. F. M. BOGGS. (American School.) 
 
 Mr. F. M. Boggs is an American by birth, but he has chosen to reside of late 
 years almost entirely in Europe. He has found subjects on the Continent and in 
 England, and also in America. Several of his pictures are owned by Continental 
 art galleries, and others are in American collections. This superb view of the 
 great bridge is from the crowded wharves on the New York side looking toward 
 Brooklyn. 
 
w--mwy_ '• tKooti csnsia ov. save we^aav 
 
 
 OS THK HEATH. 
 
 . -.re of a Dull '• . ■ 
 
 ■ l gnarled brunches which r low tret 
 
 ill IK . BED. 
 
 (^» HI Stlttf) 
 
 Mr. Curran is ranked 
 i mg the younger 
 American painters, but 
 e eight years have 
 v ed since his pictures 
 bi m to attract ama¬ 
 teurs. Mis quick per¬ 
 ception an I adaptabil¬ 
 ity, and his command 
 f technique, hive en- 
 •!ed him to ■ a at both 
 ‘‘ ionable and rustic 
 i ( and portraiture 
 n a constantly m- 
 
 His pictures are 
 M tarlv at the vxhi- 
 o the Society 
 
 
 
 
 
WOOD CARTS ON THE HEATH. 
 
 THE IRIS BED. 
 
 C. C. CURRAN. 
 
 (American School.) 
 
 Mr. Curran is ranked 
 among the younger 
 American painters, but 
 some eight years have 
 passed since his pictures 
 began to attract ama¬ 
 teurs. His quick per¬ 
 ception and adaptabil¬ 
 ity, and his command 
 of technique, have en¬ 
 abled him to treat both 
 fashionable and rustic 
 genre and portraiture 
 with a constantly in¬ 
 creasing measure of suc¬ 
 cess. His pictures are 
 seen yearly at the exhi¬ 
 bitions of the Society 
 of American Artists and 
 the Academy of Design. 
 
 Born at Zaandam, and occupying himself with the 
 study of art at an early age, Anton Mauve soon gained 
 recognition in Holland, and in 1876 his picture “ Hauling 
 up the Fishing-Boat,” which secured a medal at our Cen¬ 
 tennial Exhibition, introduced him to a wide circle of 
 American admirers. Since that time the artist has received 
 many marks of honor. His pictures are usually character¬ 
 ized by a harmonious blending of soft grays, browns, and 
 yellows. In this characteristic picture of Holland the squat 
 figure of a Dutch peasant is seen traversing the sand dunes beside a cart laden with 
 the gnarled branches which have been gathered among the low trees on the heath. 
 
A BARRICADE IN 1830. 
 

THE TRAITOR. 
 
 JOHN PETTIE, R.A. 
 
 (English School .) 
 
 JOHN PETTIE, R 
 
 The distinguished artist who painted the dramatic sub¬ 
 jects, “The Traitor” and “The Duke of Monmouth and 
 James II,” was born in 1839, at East Linton, near Hadding¬ 
 ton, and died on the last day of February of 1893. He 
 first applied himself to illustration, and practiced “black and 
 white” with ability; and, having obtained a genuine success 
 with his picture, “The Time and Place,” exhibited at the 
 Royal Academy, he abandoned the crayon for historical and 
 portrait painting. In 1866 he was elected an Associate of 
 the Royal Academy, and seven years later he was named Academician. 
 
 Ten personages, warriors and nobles, and a bishop, are assembled, at the 
 time of the religious wars in Scotland, in the hall of a Gothic donjon-keep. 
 They are sentencing the traitor who has given up the secret of their conspiracy; 
 he is lying on the floor, where he has been dragged, bound hand and foot. They 
 all surround him; one reviles him, another mocks him, a third urges him to con¬ 
 fess; a chieftain in armor, with a strong and massive head, seems to be recom¬ 
 mending calmness to all. The bishop, standing in front of the table, invokes his 
 conscience, and pronounces judgment like an austere judge. Near the chieftain, 
 who is seated, a personage of mark, standing, looks on, stern and impassible, 
 while judgment is being pronounced. A violent scene seems to have preceded 
 the council; the traitor’s sword has been torn from him, and his garments and 
 the thongs used to bind him lie scattered over the floor. 
 
 THE DUKE OF MONMOUTH AND JAMES II. 
 
 JOHN PETTIE, R. A. 
 
 James, Duke of Monmouth, the natural son of Charles II, King of England, 
 banished to Holland for having conspired against the Duke of York, on the ac¬ 
 cession of the latter to his father’s throne, under the title of James II, returns 
 from exile to take up arms against him. Defeated at Sedgmoor by Lord Churchill, 
 he is dragged to London, bound hand and foot. King James is alone facing his 
 defeated enemy, who is at his feet suing for pardon. The king remained inflexible 
 and caused him to be beheaded (July 15? 1686). This picture is published by 
 special permission of Messrs. Thomas Agnew 8c Sons, of London and Manchester, 
 the owners of the copyright. 
 
 7 
 
THE DUKE OF MONMOUTH AND JAMES II. 
 
AT ANCHOR. 
 
 H. W. MESDAG. 
 {Dutch School.) 
 
 Mesdag’s specialty is marine painting. Born at 
 Groningen, in 1831, he studied under Alma Tadema, 
 a Dutch artist, now naturalized in England and 
 established in London. Mesdag has remained faith¬ 
 ful to Holland; he has painted The Hague, but he 
 has always attended the French Exhibitions, and his 
 genius is highly esteemed in France. An officer of 
 the Legion of Honor and of the Order of Leopold of 
 " ” Belgium, and Commander of St. Michael of Bavaria, 
 
 this artist has been represented in a great number of Exhibitions in both hemi- 
 spheres. 
 
 Several large fishing-boats, returned from their cruise, have entered the port 
 of Scheveningen, their harbor, where, ranged in a line, they have cast anchor. 
 On their sails, still spread, are to be read the first three letters of the village to 
 which they belong, and their respective numbers. In the offing appear one after 
 another the boats of the flotilla that had remained behind; they approach with 
 all sails set. One of them, which has just entered, is taking its place, and the 
 painter makes us assist at the manoeuvre. We see its bow fastened to that of 
 another boat, which serves it as a point of support, while some sailors standing 
 up to their waists in water are endeavoring to get it into line. A hundred yards 
 off other sailors are aiding in the work, facilitating it by slackening or tightening 
 the rope. The operation takes place in fine weather; the sea is calm; the sky is 
 flecked by a few light clouds. 
 
 BATHING. 
 
 A. MOREAU. 
 
 (.French School .) 
 
 A flowery bank, clear, inviting water, a family of children disporting them¬ 
 selves like water-nymphs—nothing could be more simple and delightful than this 
 picture of the innocent joys of child life out of doors. It is an admirable ex¬ 
 ample of the work of M. Moreau, pupil of Pils, and genre painter, born at Troyes 
 (Aube), April 18, 1843, a constant exhibitor at the Salon , and the painter of 
 several pictures which are owned by American collectors. 
 
PORTRAITS. 
 
 .■ v K r ■ 
 
 
 
 pot 
 
 his sabot 
 
 youjjj' 
 
 
 team oi • 
 
 rdson, a painter of genre scenes, 
 .1 ^35, and has been a member of 
 the '% • \ of London since 1878. The pictures 
 
 the annual exhibitions always attract 
 : • * m H cess has also received in France the sanc- 
 ’*■ • •- ctval Expositions of 1878 and 1889. 
 
 •L and elegant interior, the baby, the hope 
 the home, lying on some cushions on a sofa, 
 it ol his sleep. The young mother 
 first smile ; dressed in black, her hair loose 
 1. with the child, holding out to him a 
 ■yi ; he stretches out his hands, all his little 
 » <. igi rncss, and the mother, who delights in 
 
 imple title “Portraits," the artist tells us 
 ■ Nature; that it is not a. vulgar model who 
 i« l?3s here delicately revealed to us a scene in his 
 - - re will one day take a place among his family 
 
 1 i- >. 1 fonsa.v (/■«** . .-.s 1 
 
 v.nd is returning from the fields, his stick on his shoulder, 
 At the threshold of his house, which is shaded by a vine, 
 ► tnt in her lap, greets him with a smile. The house dog 
 the chickens peek bout at his feet undisturbed, and the 
 has biought front the field stand waiting. 
 
 It m * 
 an exp 
 find a 
 '■ligno 
 
 
 M ■! jULVEl. SriW i 
 
 . d-m.rratton ot the spirit of international comity which 
 Oij. ago should foster, that a French painter should 
 German literature. M. jolyet has painted Goethe’s 
 figure whose woes have wrung the hearts of the 
 He has painted her with the light of reason fading, 
 h woods alone and friendless, and he has treated 
 ■4 power which justify his excellent rank among the 
 Minch genre painters of the day. 
 
PORTRAITS. 
 
 W. Q. ORCHARDSON. 
 
 (English School .) 
 
 William Quiller Orchardson, a painter of genre scenes, 
 was born in Edinburgh, in 1835, and has been a member of 
 the Royal Academy of London since 1878. The pictures 
 which he sends to the annual exhibitions always attract 
 attention. His success has also received in France the sanc¬ 
 tion of the Universal Expositions of 1878 and 1889. 
 
 In a simple and elegant interior, the baby, the hope 
 and joy of the home, lying on some cushions on a sofa, 
 has just awakened out of his sleep. The young mother 
 has been watching and waiting for his first smile ; dressed in black, her hair loose 
 in the unrestraint of home, she is playing with the child, holding out to him a 
 Japanese fan, which he tries to seize ; he stretches out his hands, all his little 
 body is in motion, his eyes express eagerness, and the mother, who delights in 
 this play, prolongs it. 
 
 In giving this charming scene the simple title “ Portraits,” the artist tells us 
 that it is a work copied direct from Nature; that it is not a vulgar model who 
 has posed for him. Perhaps he has here delicately revealed to us a scene in his 
 own life, and this domestic picture will one day take a place among his family 
 portraits. _ 
 
 NOON. E. DEBAT-PONSAN. (French School.) 
 
 It is noon • the husband is returning from the fields, his stick on his shoulder, 
 his sabots in his hand. At the threshold of his house, which is shaded by a vine, 
 his young wife, her infant in her lap, greets him with a smile. The house-dog 
 welcomes him joyfully, the chickens peck about at his feet undisturbed, and the 
 team of oxen which he has brought from the field stand waiting. 
 
 MIGNON. PH. JOLYET. (French School.) 
 
 It might be taken as an illustration of the spirit of international comity which 
 an exposition like that at Chicago should foster, that a French painter should 
 find a sympathetic theme in German literature. M. Jolyet has painted Goethe’s 
 Mignon, the pathetic, lovelorn figure whose woes have wrung the hearts of the 
 readers of “Wilhelm Meister.” He has painted her with the light of reason fading, 
 after her rejection, wandering in the woods alone and friendless, and he has treated 
 his subject with a sympathy and power which justify his excellent rank among the 
 exhibitors at the Salon and the French genre painters of the day. 
 

i i mailin'y 
 

 
 >« ;*• r -• « , H 4 
 
 
 
 
 
 
 
 
HAYMAKERS. 
 
 L. A. LHERMITTE. 
 
 (French School.) 
 
 Born at Mont-Saint-Pere (Aisne), about 1840, the painter 
 of the “Haymakers” has devoted himself to the glorifica¬ 
 tion of the life of the fields ; and it may be said that his 
 work, take it all in all, forms a perfect illustration of a 
 poem of the soil. His execution is crisper than that of 
 the famous Millet, the painter of the “ Angelus,” and it is 
 different in other ways; the spirit of the work is in some 
 respects the same. M. Lhermitte holds a very honorable 
 place in French art. He has been a Chevalier of the Le¬ 
 gion of Honor since 1884, and he gained the highest honors in 1889. Several of 
 his pictures of rural life are in American collections. 
 
 It is the time of haymaking. A whole family of haymakers are gathered in a 
 field a little way from the farm, whose buildings may be seen on the horizon. 
 The aged father fixes his scythe, hammer in hand, sitting on the ground ; his son 
 and his daughter-in-law who help in the work rest beside him, and their child 
 who accompanies them, her sunbonnet on her head for protection against the sun, 
 is anxious to take part also. Fork and rake in hand, she goes to spread the grass 
 that they have mowed. It is one of those peaceful scenes which belong to every 
 country, but the artist has chosen for the setting of his picture the country of 
 Aisne, where he was born. 
 
 M. Lhermitte during many years has employed, for the reproduction of land¬ 
 scape and rustic scenes, the medium of pastel, which is usually used for the render¬ 
 ing of the human figure. His work of this kind is much sought for, but in the 
 present instance he has executed his picture in oils. 
 
 PAOLO AND FRANCESCA. G. F. WATTS, R. A. (English School.) 
 
 Mr. G. F. Watts, who was born in London in 1818, is a 
 most distinguished painter and also a sculptor, and a member 
 of the Royal Academy. The subject of this picture is the 
 familiar episode from Dante’s Divine Comedy (Inferno, Canto 
 V). The poet, escorted by Virgil, sees the two distracted souls 
 of Paolo and Francesca clinging together and coming forth 
 from the swarm of those who are swept past on the wind. 
 
 Dante calls them, and they tell the tale of their sin and death; 
 then they vanish into the gloom, and “ will not be parted.” 
 

yu 
 
M lAVY.'e. (\V>V 
 
 
A CAPTURE ( 1793). 
 
A CAPTURE (1793). 
 
 P. GROLI.ERON. 
 
 (French School .) 
 
 The subject of M. Grolleron’s picture is a dramatic scene 
 in La Vendee at the time of the royalist insurrection, after 
 the proclamation of the first republic in France. Nobles 
 and peasants were united in their loyalty to their king, and 
 the revolt which began in 1793, under the leadership of 
 Rochejaquclein, StofHet, and Charette, broke out again and 
 again, until the commander of the last Vendean army was 
 killed in the course of the “Hundred Days,” in June, 1815. 
 
 An officer from the army of the republic, sent by the 
 Committee of Public Safety, has been surprised and captured, 
 while reconnoitering, by a Vendean outpost. They are binding him to a tree with 
 scant ceremony, probably to meet his death, for it was a war of fierce passions, 
 as. one may read in the brutality of the captors and the frenzied gesture of the 
 Vendean soldier standing beside the little fire. The bare, lonely landscape is 
 characteristic of much of the country of La Vendee. 
 
 M. Grolleron, who was educated in France and exhibits constantly at the Salon , 
 is a painter of military genre as well as historical subjects, and some of his smaller 
 pictures are in American collections. He has painted many scenes in the Franco- 
 Prussian War, which have gained a popular success. He was born at Seignelay 
 (Yonne). He obtained a medal at the Universal Exposition of 1889. 
 
 P. GROLLERON. 
 
 THE FISHING PARTY. 
 
 M. LE LIEPVRE. 
 
 (French School.) 
 
 M. Le Liepvre, like M. Moreati, is one of the eclectic painters who select 
 and combine their themes from genre , the idyllic, the rural, and landscape. Here 
 his graceful figures are of too much interest to be dismissed as mere color notes 
 in an outdoor composition. His peaceful and beautiful landscape, glowing with 
 color and sunlight, would leave a sense of emptiness were it not for the two 
 dainty figures whose impromptu fete champetre is shared by the reader—an un¬ 
 bidden but appreciative observer of French country life in 
 
 summer 
 
atfiw 
 

FOR OF SUCH IS THE KINGDOM OF HEAVEN. 
 
 FRANK BRAMLEY. 
 
 (English School) 
 
 As simple as the life just ended is this funeral proces¬ 
 sion of a child in an English fishing village. No hired 
 hands take part in the last services. Little children, sing 
 the requiem before the coffin, which is borne by young 
 girls in spotless white, who are followed by the father and 
 the weeping mother. Other children, with the grizzled 
 fishermen and sailors of the village, stand respectfully at one 
 side. Below and beyond the quay stretches the sea, its 
 smooth surface divided by the dark lines of the breakwater 
 and lighthouse. 
 
 Mr. Brandey was born in Lincolnshire, but he studied art in France and Bel¬ 
 gium under M. Verlat, a distinguished painter of animals, who has lived in both 
 countries. He gained his first honors at the Exposition of the Palais des Champs 
 Ely sees , in 1892, with the picture which is reproduced here. 
 
 PORTRAIT OF MY FATHER. 
 
 R. COLLIN. 
 
 (French School.) 
 
 M. Collin’s admirable example of portraiture is valuable on account of its per¬ 
 fect simplicity and truthfulness. There is no attempt at picturesque disguise, or 
 affectation of any kind. The sensible, matter-of-fact, kindly gentleman whom the 
 artist represents is painted exactly as he may be seen in actual life; and the fine 
 talent of the painter is shown in the sympathetic interpretation of character, the 
 perfect naturalism of his treatment, and also in the effective drawing and firm 
 modeling of head and body. The artist’s task was one done con amore, and the 
 result, as in the case of Bastien-Lepage’s portrait of his grandfather, is a sympa¬ 
 thetic and truthful reproduction of not merely a type, but also an actual man, 
 which will possess a permanent interest. 
 
 M. Collin is a native of Paris, and he was educated in the atelier of the late 
 Alexandre Cabanel. A painter of portraits and of the figure, he has usually pre¬ 
 ferred the idyllic and graceful in his choice of themes, and his pictures have in¬ 
 cluded “ Slumber,” “ Venetian Girl,” “ Daphnis and Chloe,” “ The Dance,” and 
 “Summer Idyl.” In 1873 M. Collin received a third-class medal, and in 1884 he 
 was made a member of the Legion of Honor. 
 
DONKEYS ON THE SHORE, PICARDY. 
 
 H. L. DE HAAS. 
 
 (Dutch School.) 
 
 This artist, born in Holland, takes his subjects from 
 the downs and shores of Holland and the coasts of 
 Belgium and of the north of France. He united the 
 qualities of a skillful animal painter with those of a 
 landscape painter, and in the picture, “Donkeys on the 
 Shore, Picardy,” he renders the expression and the ana¬ 
 tomical structure of the asses with scrupulous exactness, 
 but without making this careful execution of the animals 
 so apparent as to mar the general effect of the landscape. 
 An honorary professor of the Academy of Fine Arts of Bavaria, De Haas has 
 exhausted the series of rewards decreed to artists. He is a dignitary of the 
 orders of his own country, and of those of Bavaria, Holland, Austria, and Spain, 
 and a member of five academies. 
 
 On a shore at low tide, a relay of asses destined to haul the boats up on 
 the beach, with their collars and traces hanging to the ground, await motionless 
 the hour of work. A few scattered whin bushes are the only vegetation that 
 grows on this arid shore; in the center of the picture, on the beach, three boats 
 await the rising of the tide to float them again; and a little farther on, to the 
 left, a small flotilla of fishing-boats has been drawn up on the shore. The line 
 of the coast almost blends with that of the sea, a few clouds cross the clear sky, 
 and a flight of sea-gulls passes over the waves. 
 
 HUNTSMAN SOUNDING “LEAVING THE WATER.” 
 
 P. TAVERNIER. 
 
 (French School.) 
 
 This is one of the episodes characteristic of hunting as it is practiced in 
 France. The scene is taken from the forest ol Fontainebleau, where the artist 
 has a studio and paints from Nature. The huntsman and one of the hunters, 
 who have most closely followed the pack, have run the stag home, forcing him to 
 throw himself into the lake. The animal has gained upon the dogs which 
 have pursued him, and is emerging dripping from the water, to disappear 
 among the brushwood. The huntsman winds his horn, and the hunters, warned 
 by this fanfare, which informs them of the animal’s movements, go to cut off his 
 
 retreat. 
 
HUNTSMAN SOUNDING “LEAVING THE WATER.” 
 



 
 r i in 1856, in Paris, where, 
 
 was enabled to become a 
 v . iemic painters Lefebvre and 
 
 the classic school, he gained 
 .. fit -4 ., - ->f twenty-three, and his first 
 
 , tm .. forcible study of the nude, 
 
 • : r d as a romanticist, and pro- 
 
 • . * ■ V' tw-n before he gained the prize 
 <>ib v 1 .. the jury awarded him a 
 
 MP | : ^ f, -cn the artist has achieved 
 
 • t •.ib»..Med the gold medal at the Universal 
 : in ih.. One can not say that 
 
 - ■ * * • -T, .r portrait painter, inasmuch 
 
 [ { {!• u shows his skill in fashionable 
 
 hi f kly pallor of a sunset in an overcast skv, the 
 m 1 in.; ted — the more so for the contrast of life and 
 • Njmit. rhe members of the fashionable world of Paris 
 to c . :eon-Shooting Club in the Boh de Boulogne', 
 the nor« kating club. There are few men; the painter 
 
 us won 1 • '-.aters, active, wrapped in rich furs, who glide 
 
 • it’s hands. A brave child comes forward alone on the icc. 
 'icr, who has not lost her relish for tie sports of childhood, is pushed 
 edge by her son, whom one recognizes as a stranger by his otter-skin 
 voung girls, protected against rhe ctld, look on at the scene, and 
 . - 'mg on their » take part. 
 
 1 IIH CAI.VA: « IQUEBIKCF ^ M'terije. {/torn* jv^i 
 
 is the daughter and the pupil 
 great genius. 
 
 Trouville and Villerville a 
 
 . id animal painter 01 
 < i ,! ninate thi 
 
 < foot rv. bareheaded, and wearing 
 
 i n from i and the rain, alone **i! this 
 
 , •. . , 1 foot of the cn , w iilc his sheep, pressing close to 
 
 g m;[ -v ured itii sea-salt. 
 
 ■ 
 
 
 
 
A SKATING PARTY. 
 
 LUCIEN DOUCET. 
 
 (French School.) 
 
 Lucien Doucet was born in 1856, in Paris, where, 
 among other advantages, he was enabled to become a 
 pupil of the distinguished academic painters Lefebvre and 
 Boulanger. A student of the classic school, he gained 
 the Prix de Rome at the age of twenty-three, and his first 
 picture, his Envoi de Rome, a forcible study of the nude, 
 caused him to be ranked as a romanticist, and pro¬ 
 voked some criticism. Even before he gained the prize 
 he had exhibited at Paris, and the jury awarded him a 
 medal on his debut. Since then the artist has achieved 
 one success after another, and finally he obtained the gold medal at the Universal 
 Exposition, and earned the Legion of Honor in 1891. One can not say that 
 M. Doucet is a genre painter, or historical painter, or portrait painter, inasmuch 
 as he has won laurels in all these fields. Here he shows his skill in fashionable 
 genre , not for the first time. 
 
 In spite of the cold and the sickly pallor of a sunset in an overcast sky, the 
 scene before us is joyous and animated—the more so for the contrast of life and 
 beauty with the gloom of Nature. The members of the fashionable world of Paris 
 have betaken themselves to the Pigeon-Shooting Club in the Bois de Boulogne , 
 which has become for the nonce the skating club. There are few men ; the painter 
 has preferred to show us women as skaters, active, wrapped in rich furs, who glide 
 by holding each other’s hands. A brave child comes forward alone on the ice. 
 A prudent mother, who has not lost her relish for the sports of childhood, is pushed 
 in her little sledge by her son, whom one recognizes as a stranger bv his otter-skin 
 cap. Some young girls, protected against the cold, look on at the scene, and 
 others are putting on their skates to take part. 
 
 THE CALVARY AT CRIQUEBCEUF. G. DIETERLE. (French School .) 
 
 This artist, who was born at Sevres, near Paris, is the daughter and the pupil 
 of Van Marcke, a landscape and animal painter of great genius. 
 
 On the bare cliffs which dominate the shores of Trouville and Villerville a 
 shepherd has stopped his flock at the foot of a calvary. Bareheaded, and wearing 
 the rough coat which protects him from the cold and the rain, alone on this 
 desert plateau, he prays at the foot of the cross, while his sheep, pressing close to 
 another, browse the scanty grass impregnated with sea-salt. 
 
 one 
 

 THE CALVARY AT CRIQUEBCEUF. 
 
THE REPUBLIC. 
 
 Colossal Statue at the East End of the Grand Basin. 
 D. C. French, Sculptor. 
 
 THE WORLD'S COLUMBIAN EXPOSITION 
 
 THE PLAN OF THE BUILDERS 
 
 By D. H. BURNHAM, Esq., Director of Works 
 
 HEN Chicago’s people entered into the contest for the World’s 
 Fair, the cause for their action was undoubtedly that of 
 civic pride. The general idea as to the character, scope, 
 and extent of the Exposition was vague and uncertain, and 
 no one having authority could give thought to the subject 
 other than that of securing the prize, until after the action 
 of Congress, in April, 1890, designating Chicago as the 
 site of the World’s Fair. Although some of us had been in consultation with 
 various committees on matters connected with the site, it was only in August, 
 1890, that the directory of the World’s Columbian Exposition selected Messrs. 
 
F. L. Olmsted and Company as Consulting Landscape Architects • Messrs. Burnham 
 and Root, Consulting Architects • and Mr. A. Gottlieb, Consulting Engineer. 
 
 After careful examination of the several locations available, Jackson Park was 
 recommended by Messrs. Olmsted and Company, and this site, together with the 
 Lake Front Park, down town, was duly chosen; the latter was, however, subse¬ 
 quently given up, and the efforts of the Exposition Company confined to Jackson 
 Park and the Midway Plaisance, which immediately connects it with Washington 
 Park. The National Commission duly accepted the action of the Chicago organi¬ 
 zation, and about the end of November, 1890, both 
 of these main bodies of the Exposition adopted a 
 general plan, roughly and hastily drawn on brown 
 paper to the scale of one hundred feet to the inch, 
 as the basis for the final plan of the grounds. 
 
 It then became necessary to 
 commence the formation of an ' ,.. m 
 
 organization for carrying out the 
 work. I was made Chief of Con¬ 
 struction, and 
 
 Mr. Root, my 
 partner, Consult¬ 
 
 ing Architect. My 
 confreres in the work 
 ^ were placed under 
 my authority as their 
 chief, and I was em¬ 
 powered to select the architects who 
 would design the buildings. Those 
 selected met in Chicago in a body on January 10, 
 In the course of this week my partner died. 
 Up to the time of this architectural meeting no 
 plan other than the brown-paper one mentioned had 
 been considered. In a short address delivered at the 
 gathering of these gentlemen, the Chief of Con¬ 
 struction stated substantially that the material prog¬ 
 ress and commercial supremacy of the country seemed conceded, but, though the 
 city of Chicago was one of the greatest centers of power in finance, commerce, 
 and manufactures, our cultivation in higher and more refined interests, and es¬ 
 pecially regarding the line arts, was denied ; that there existed, however, a strong 
 and growing appreciation of these interests, and that this feeling would not be 
 satisfied with merely the extent and abundance of the Exposition, but that the 
 designers would be strongly supported by the people in an endeavor to attain a 
 superior result in the fine arts themselves ; and that the Chief of Construction 
 would therefore use all his power to remove this stigma placed upon our country, 
 
 THE BEGINNINGS. 
 m Park, J„„< am! July, ,Sgi. 
 
i 
 
and especially upon the West. The 
 meeting was a memorable one, on ac¬ 
 count of the fellowship manifested then 
 and maintained to the present time. 
 Incessant effort has been made to foster 
 the spirit of self-forgetfulness among 
 the designers of the Fair; this applies 
 equally to the architects, painters, sculp¬ 
 tors, and engineers. 
 
 It has been the direct purpose to bring about 
 a state of affairs in which each man should con¬ 
 stantly have about him the encouragement which 
 can only come from a full knowledge of the 
 sympathy and support of all his fellows. Any step toward self-aggrandizement has 
 
 IV 
 

 13 OJ " 
 
 : Cwv,: 
 
 GENERAL INDEX. 
 
 midway Vlaisancs. 
 ' . 
 
 BUILDINGS AND GROUNDS OF 
 
 THE WORLD'S 
 COLUMBIAN EXPOSITION 
 
 AT JACKSON PARK, 
 
 THE MIDWAY PLAISANCE, 
 CHICAGO. 
 
 
 FOREIGN 
 
 MS 
 
been avoided, and I believe that the greatest pride in each individual is in the 
 perfection of the work as a whole. Under such conditions, any one who is familiar 
 with the real quality of the American mind can easily see that the artistic success 
 of the grounds and buildings of the World’s Columbian Exposition was assured from 
 the beginning; and I can not see how it will ever again be possible to doubt the 
 taste and good judgment of the artists and engineers of our country in any great 
 work, provided that the men shall be employed strictly on account of their dem¬ 
 onstrated superiority and fitness for the work, and that under all conditions they 
 shall be placed in a position which will bring to each confidence in the fellow¬ 
 ship and unselfishness of his associates. The unusual conditions existing here which 
 have mainly secured the results may be summed up as follows : 
 
 We were placed in control of six hundred acres of ground, with ample means 
 to carry out our plans. The public and their officers had no preconceived ideas 
 and prejudices, unless their confidence in our ability could be so regarded. We 
 were left free to carry out and be responsible for the work. We met as brothers, 
 or as comrades would upon the battlefield, realizing that as a body we must win, 
 and that the highest glory of each must come from the success of our united 
 work, and not from any particular portion of it. If we have done well, it has 
 been because we created ideal conditions at the beginning, and have unfalteringly 
 maintained them throughout the work. 
 
 THE GENIUS OF THE LOCOMOTIVE GROUP. 
 From the Transportation Building. 
 

 
 
 
 
 
 
 
 
 
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