DUKE UNIVERSITY WOMAN’S COLLEGE LIBRARY Digitized by the Internet Archive in 2017 with funding from Duke University Libraries https://archive.org/details/artistsofninetee21wate MRS. CLEMENTS ART HANDBOOKS. A Handbook of Legendary and Mythological Art. 1 By Clara Erskine Clement. A new edition, revi.sed and enlarged. Fully illustrated, and with complete index. Crown 8 VO, $3.25 ; half calf, or morocco, $5.00 ; full morocco, or ti’ee calf, $7.00. A perfect storehouse of facts relative to symbolism in art, and the leg- ends, stories, and myths associated with them. The wonderful and touch- ing histories of the Christian saints and martyrs are told with a freshness and fullness which giv'e to the book an intrinsic value quite distinct from its ulterior design. — Christian Union. Painters, Sculptors, Architects, Engravers, and their Works. By Clara Erskine Clement. With illustra- tions and monograms. Fifth edition, revised. Crown 8vo, $3.25; half calf, or morocco, $5.00 ; tree calf, or full morocco, $7.00. Indispensable to every person interested in pictures and artists. It gives not only the biograph 3 ’ of artists, but lists of engra^dngs from their works, and by means of cross-references and copious indexes is a complete hand- book. It is liberally illustrated bj' representations of standard works of art, and the curious monograms of painters are given with the biographies. Artists of the Nineteenth Century and their Works. A Handbook containing 2,050 Biographical Sketches. By Clara Erskine Clement and Laurence Hutton. With indexes. 2 vols. crown 8vo, $5.00. These two volumes include biographical sketches of 2,050 artists, of all nations in which there exists sutBcient intellectual and aesthetic develop- ment to foster productive art. Of these artists the best attainable infor- mation is given, with an account of their works, the departments to which (hey belong, their characteristic sttdes, and the opinions entertained of them by competent critics. The Introduction comprises a concise but comprehensive account of the academies and schools of art of all countries, describing their various sy stems of studt' and instruction. HOUGHTON, OSGOOD & CO., Publishers, Boston. ARTISTS OF THE NINETEENTH CENTUEY AND THEIR WORKS. a i^auubooli CONTAINING TWO THOUSAND AND FIFTY BIOGRAPHICAL SKETCHES. ?Y CLARA ERSKINE CLEMENT AND LAURENCE HUTTON. VOL. II. BOSTON: HOUGHTON, OSGOOD AND COMPANY. QTte Eibcrciuc Press, Camiiriliffe. 1879 . -loz V/ SJl'? A V. COPTKIGHT, 1879. Br CLABA ERSKINE CLEMENT. All rights reserved. ELECTEOTYPED AND PRINTED AT THE UNTVERSITT PRESS, CAMBRIDGE. CONTENTS Page NAMES OF ARTISTS vii-lvi AUTHORITIES CONSULTED Ivii-lviii ARTISTS OF THE NINETEENTH CENTURY 1-373 INDEX TO AUTHORITIES QUOTED 1-8 INDEX OF PLACES 9-22 GENERAL INDEX 23-43 NAMES OF ARTISTS, ABBEY, EDWIN A Vol. I. Page 1 ABEL DE PUJOL, ALEXANDRE D “ “ 1 ABSOLON, JOHN “ “ 2 AOHARD, ALEXIS JEAN “ “ 2 ACHENBACH, ANDREAS “ “ 2 ACHENBACH, OSWALD “ “ 3 ACHTERMANN, GUILLAUME “ “ 3 ADAM, ALBRECHT “ “ 3 ADAM, JEAN VICTOR “ “ 3 ADAM, FRANZ “ “ 4 ADAM-SALOMON, ANTHONY S “ “ 4 ADAMS-ACTON, JOHN “ “ 4 ADAN, LOUIS Smile “ “ 4 AFINGER, BERNARD " “ 6 AGNENI, EUGfiNE “ “ 5 AGRASOT, JOAQUIN “ “ 5 AGRICOLA, FILIPPO “ “ 5 AHLBORN, AUGUST WILHELM JULIUS “ “ 5 AINMULLER, MAXIMILIAN EMMANUEL “ “ 6 AKERS, PAUL " " 6 AKERS, CHARLES “ “ 6 ALBANO, SALVATORE “ “ 7 ALBERT-LEFEUVRE, LOUIS S. M “ " 7 ALCOTT, MISS MAY “ “ 7 ALEXANDER, FRANCIS “ “ 8 ALEXANDER, MISS “ » 8 ALIGNY, CLAUDE F. T. CARUELLE D’ “ “ 8 ALLAN, SIR WILLIAM “ “ 9 ALLEN, JAMES BAYLIS “ “ 9 ALLINGHAM, HELEN PATERSON “ “ 9 ALLONGS, AUGUSTE “ “ 10 ALLSTON, WASHINGTON “ “ 10 ALMA-TADEMA, LAURENZ “ “ 11 ALMA-TADEMA, LAURA “ “ 12 NAMES OF ARTISTS. viii ALVAEEZ Y ESPINO, GONZALO Vol. I. Page 12 AMAURY-DUVAL, EUGfiNE E “ “ 12 AMBERG, WILHELM “ “ 13 AMERLING, FREDERIC “ “ 14 AMES, JOSEPH “ “ 14 ANASTASI, AUGUSTE “ “ 15 ANDERSON, ALEXANDER “ “ 15 ANDERSON, A. A “ “ 15 ANDR^, JULES “ “ 16 ANDREWS, JOSEPH " “ 16 ANDREWS, E. F “ “ 17 ANGELI, HEINRICH VON “ “ 17 ANKER, ALBERT “ “ 17 ANSDELL, RICHARD " “ 18 ANTHONY, MARK “ “ 18 ANTHONY, ANDREAV VARICK STOUT “ “ 19 ANTIGNA, JEAN-PIERRE-ALEXANDRE “ " 20 ANTIGNA, MME. llfiLfiNE-MARIE " “ 20 APPERT, EUGENE “ “ 20 APPIANI, ANDREA “ “ 20 APPLETON, THOMAS G “ “ 21 ARCHER, WYKEHAM “ “ 21 ARCHER, JAMES “ “ 21 ARGENTI, GIOSUE “ “ 22 ARIENTI, CARLO “ “ 22 ARMAND-DUMARESQ, C. E “ “ 22 ARMITAGE, EDWARD " “ 22 ARMSTEAD, HENRY HUGH “ “ 23 ARMSTRONG, THOMAS “ “ 24 ARMSTRONG, D. MAITLAND " “ 24 ARTARIA, MATHIAS “ “ 24 ARTZ, ADOLPH “ “ 24 AUBE, JEAN-PAUL “ “ 25 AUBERT, JEAN-ERNEST “ “ 25 AUDUBON, JOHN JAMES “ “ 25 AUGUR, HEZEKIAH “ “ 26 AYVASOWSKY, JOHN “ “ 26 AZEGLIO, MASSIMO D’ “ “ 27 BAADER, LOUIS MARIE “ “ 27 BACON, HENRY “ “ 27 BADIN, JULES “ “ 28 BAIL, JEAN-ANTOINE “ “ 28 NAMES OF ARTISTS. ix BAILLY, ANTOINE NICOLAS Vol. I. Page 28 BAILLY, JOSEPH A “ “ 28 BAILY, EDWARD H “ “ 29 BAKER. GEORGE A “ 29 BAKER, WILLIAM H “ “ 29 BAKER. MISS M. K “ “ 30 BAKKER-KOREF, ALEXANDRE-HUGO “ “ 30 BALL, THOMAS “ “ 30 BALLU, THfiODORE “ “ 31 BALTARD, VICTOR “ “ 31 BALZE, JEAN-ETIENNE-PAUL “ “ 31 BALZE, JEAN-ANTOINE-RAYMOND “ “ 31 BAMBERGER, FRITZ “ “ 32 BANDEL. ERNEST DE “ “ 32 BANNING, WILLIAM J “ “ 32 BANNISTER, E. M “ “ 32 BARABAS, NICOLAS “ “ 33 BARABINO, NICCOLO “ “ 33 BARATTA, FRANCOIS “ " 33 BARATTA, EUMENE “ “ 33 BARBEE, HERBERT “ “ 33 BARBEE, WILLIAM R “ “ 33 BARBETTI, ANGELO “ “ 33 BARBIER, NICOLAS-ALEX ANDRE “ “ 33 BARCAGLIA, DONATO “ “ 33 BARCLAY, J. M “ “ 34 BARKER, THOMAS JONES “ “ 34 BARLOW, THOMAS OLDHAM “ “ 34 BARON, HENRI-CHARLES-ANTOINE “ “ 34 BARRE, JEAN-AUGUSTE “ “ 35 BARRIAS, FELIX-^JOSEPH “ “ 35 BARRIAS, LOUIS ERNEST “ “ 35 BARRY, EDWARD M “ “ 36 BARTHOLDI, FREDERIC AUGUSTE “ “ 36 BARTHOLOAIEW, VALENTINE “ “ 36 BARTHOLOMEW, ANNE “ “ 36 BARTHOLOMEW, EDWARD S “ “ 36 BARTLETT, TRUMAN H " “ 37 BARTOLINI, LORENZO “ “ 37 BARYE, ANTOINE LOUIS “ “ 37 BARYE, ALFRED “ “ 38 BARZAGHI, FRANCESCO “ “ 38 BASTIANINI, GIOVANNI “ “ 39 X NAMES OF ARTISTS. BASTIEN-LEPAGB, JULES Vol. I. Page 40 BATES, DEWEY “ “ 40 BAUDRY, PAUL-JACQUES-AIMfi “ » 40 BAUGNIET, CHARLES “ " 41 BAUR, ALBERT “ “ 42 BAXTER. CHARLES “ “ 42 BAXTER, ELIJAH, JR “ “ 43 BAYARD, fiMILE “ “ 43 BEARD, JAMES H " “ 43 BEARD, WILLIAM H “ “ 43 BEARD, HARRY “ “ 44 BEAUME, JOSEPH “ “ 44 BEAUMONT, CHARLES-fiDOUARD DE “ “ 43 BEAUVERIE, CHARLES JOSEPH “ “ 43 BEAVIS, RICHARD “ “ 43 BECKER, JAKOB “ “ 43 BECKER, CARL “ “ 46 BECKER, LUDWIG HUGO “ “ 46 BECKER, GEORGES " “ 47 BECKMANN, KARL “ “ 47 BECKMANN, WILHELM H. R. A “ “ 47 BECKWITH, J. CARROLL “ “ 48 BEDFORD, J. B “ “ 48 BEGAS, KARL “ “ 48 BEGAS, OSKAR “ " 48 BEGAS, REINHOLD “ “ 48 BEGAS, ADELBERT-FRANZ-EUGEN “ “ 49 BEHNES, WILLIAM “ “ 49 BELL, ROBERT CHARLES “ " 49 BELL, JOHN “ “ 50 BELLANGE, JOSEPH-LOUTS-HIPPOLYTE “ “ 30 BELLANGER, CAMILLE-FELIX “ “ 50 BELLAY, PAUL-ALPHONSE “ “ 50 BELLEL, JEAN-JOSEPH “ “ 50 BELLOC, JEAN HILAIRE “ ’ “ 51 BELLOWS, ALBERT F “ “ 51 BELLUNI, GIUSEPPE " “ 52 BELLY. LEON-AUGUSTE-ADOLPHE “ “ 53 BENCZUR, JULIUS “ “ 53 BENDEMANN, EDUARD “ “ 53 BENDEMANN, RUDOLPH CHRISTIAN E “ “ 54 BENEDETTI, TOMMASO “ " 54 BENJAMIN. SAMUEL GREEN WHEELER “ “ 54 NAMES OF ARTISTS. BENOUVILLE, ACHTLLE-JEAN BENOUVILLE, FRANgOIS LEON BENSON, EUGENE BENVENUTI, LORENZO bbrchEre, NARCISSE BERGERET, DENIS-PIERRE BERGH, EDWARD BERGMANN, IGNACE BERNARDELLI, A BBRNE-BELLECOUR, fiTIENNE-PROSPER BERNHARDT, SARAH BERNIER, CAMILLE BERLIN, FRANQOIS-EDOUARD BERTRAND, JACQUES BESNARD, PAUL-ALBERT betsbllEre, PIERRE-EMILE BEVERLY, WILLIAM R BEWER, CLEMENT BEWICK, WILLIAM BEYLARD, LOUIS CHARLES BEZZUOLI, GIUSEPPE BIARD, FRANQOIS BIDA, ALEXANDRE BIEFVE, EDOUARD DE BIERCHER, MATHIEU BIERMANN, CHARLES fiDOUARD BIERSTADT, ALBERT BILDERS, J. W BILLET, PIERRE BILLINGS, HAMMATT BING, VALENTIN BIRCH, THOMAS BISI, GIUSEPPE BISI, LUIGI BIS PHAM, PIENRY C BISSCHOP, CHRISTOPHE BLAAS, KARL BLAAS, EUGEN BLACKMAN, WALTER BLANC, LOUIS AMMY BLANC, PAUL JOSEPH BLANCHARD, HENRI P. L. P BLANCHARD, AUGUSTE-THOIiIAS-MARIB Vol. I. Page 55 “ 55 “ 55 " 56 “ 57 “ 57 “ 57 “ 57 “ 57 “ 57 “ 58 “ 58 “ 58 “ 59 “ 59 “ 59 “ 59 “ 59 “ 69 “ 59 “ 60 “ 60 “ 60 " 60 “ 61 “ 61 “ 61 “ 63 “ 63 “ 63 “ 63 “ 63 “ 63 “ 63 “ 64 “ 64 “ 64 “ 64 “ 65 “ 65 “ 65 “ 65 “ 65 NAMES OF ARTISTS. xii BLANCHARD, fiDOUARD THEOPHILE A^ol. I. Page BLANCHARD, JULES BLASER, GUSTAV BLASHFIELD, EDWIN H BLAUVELT, CHARLES F BLEIBTREU, GEORG BLERY, EUGENE BLOCK, EUGENE FRANgOIS DE BLONDEL, JACOB D BLOOMER, H. REYNOLDS BOCKLIN, ARNOLD BODMER, KARL BOE, FRANCOIS DIDIER BOEHM, JOSEPH EDGAR BOENISCH, GUSTAV ADOLF BOESWILLWALD, EBIILE BOGLE, JAMES BOGOLIOOBOFF, ALEXIS BOIT, EDMLARD D BOLDINI, G BONHEUR, MARIE-ROSA BONHEUR, FRANgOIS-AUGUSTE BONHEUR, JULES ISIDORE BONHEUR, JULIETTE (MME. PEYROL) BONNASSIEUX, JEAN MARIE BONNAT, LEON-JOSEPII-FLORENTIN BONNEGRACE, CHARLES-ADOLPHE BONVIN, FRANgOIS-SAINT BOOTT, ELIZABETH BORJESEN, J BORSATO, GIUSEPPE BOSBOOM, JOHANNES BOSIO, ASTYANAX SCEVOLA •. BOTTINELLI, ANTONIO BOUCHER, ALFRED BOUGH, SAMUEL BOUGHTON, GEORGE H BOUGUEREAU, WILLIAM ADOLPHE BOULANGER, LOUIS BOULANGER, GUSTAVE-RODOLPHE-CLARENCE... BOURCE, HENRI BOURGEOIS, LfiON-PIERRE-URBAIN BOURRE, ANTOINE-FELIX 66 66 66 66 66 67 67 67 67 67 68 70 70 70 71 71 71 71 71 71 72 73 7-1 74 74 73 76 76 76 76 76 76 77 77 77 77 77 79 81 82 82 82 82 NAMES OF ARTISTS. xiii BOUTEL, L. M. DE. See MONVEL BOUTELLE, DE WITT C BOUVIER, ARTHUR BOVY, JEAN-PRANgOIS-ANTOINE BOXALL, SIR WILLIAM BOYCE, GEORGE P BOYS, THOMAS S BRACKETT, EDWIN E BRACKETT, WALTER M BRACQUEMOND, FELIX BRACQUEMOND, MME. MARIE BRADFORD, WILLIAM BRADLEY, JOHN HENRY BRADLEY, BASIL BRAEKELEER, FERDINAND DE BRANDARD, ROBERT BRANDON, E BRANDT, JOSEF BRANDT, CARL BRANWHITE, CHARLES BRASCASSAT, JACQUES RAYMOND BRENDEL, HEINRICH ALBERT BRETON, JULES ADOLPHE BRETON, EMILE ADELARD BREVOORT, JAMES RENAVICK BRICHER, ALBERT T BRIDEL, FREDERICK L BRIDGEMAN, FREDERICK A BRIDGES, MISS FIDELIA BRIDOUX, FRANQOIS-EUGfiNE-AUGUSTIN BRIERLY, OSAVALD W BRIGHT, HENRY BRILLOUIN, LOUIS-GEORGES BRION, GUSTAVE BRISSET, PIERRE-NICOLAS BRISTOL, EDMUND BRISTOL, JOHN BUNYAN BRODIE, WILLIAM BRODAA^OLP, LUDWIG GUSTAV EDUARD... BROMEIS, AUGUST BROMLEY, AVILLIAM BROMLEY, VALENTINE W BROOKS, THOMAS Vol. II. Vol. I. Page 125 Page 82 “ 83 “ 83 “ 83 “ 83 “ 84 “ 84 “ 84 “ 85 “ 86 “ 87 “ 87 “ 88 “ 88 “ 89 “ 89 “ 89 “ 89 " 89 “ 90 “ 90 “ 91 “ 92 “ 92 “ 93 “ 93 “ 94 “ 94 “ 95 “ 95 “ 96 “ 96 “ 96 “ 97 “ 97 “ 97 “ 98 “ 98 “ 98 “ 98 “ 99 “ 99 XIV NAMES OF ARTISTS. BROWN, HENRY KIRKE Vol, I. PQqC 99 BROWN, J. HENRY “ ° lOO BROAVN, FORD MADOX “ “ lOO BROAVN, J. G “ “ 101 BROWN,. HENRY B “ “ 101 BROWN, GEORGE L “ “ 102 BROWN, J. APPLETON “ “ 103 BROWN, MRS. AGNES “ “ 103 BROWN, CHARLES V “ “ 103 BROAVN, AYILLIAM BEATTIE “ “ 103 BROAVN, JOHN LEWIS “ “ 103 BROAVNE, MME. HENRIETTE “ “ 104 BROAVNE, HABLOT KNIGHT “ “ 105 BROWNELL, CHARLES D. W “ “ 105 BROAVNING, ROBERT BARRETT “ “ 105 BROAVNSCOMBE, JENNIE “ “ 105 BROZIK, VACSLAV “ “ 106 BRULOAV, ALEXANDRE “ “ 106 BRUNET-HOUARD, PIERRE AUGL'STE “ “ 106 BRUNNOW, LUDWIG “ “ 106 BRUSH, MRS. See CHAPLIN, MISS “ “ 130 BRUYCKER, FRANgOIS ANTOINE “ “ 106 BRYANT, HENRY “ “ 106 BIJNCE, AV. GEDNEY “ “ 107 BUONINSEGNA, MICHELE “ “ 107 BURCHETT, RICHARD “ “ 107 BURDICK, HORACE R “ “ 107 BURGER, ADOLF AUGUST FERDINAND “ “ 107 BURGESS, JOHN BAGNOLD “ “ 107 BURKEL, HENRI “ “ 107 BURLING, GILBERT “ “ 108 BURNE-JONES, EDAALYRD “ “ 108 BURNET, JOHN “ “ 109 BURR, JOHN " “ 110 BURR, ALEXANDER H “ " 110 BUSH, NORTON " “ 110 BUSS, ROBERT WHLLIAM “ “ 111 BUTIN, ULYSSE-LOUIS-AUGUSTE “ “ 111 BUTLER, GEORGE B., Jr “ “ 111 BUTLER, MRS. See TIIOAIPSON, E AW. II. Page 292 CABANEL, ALEXANDRE Vol. I. Page 111 CABANEL, PIERRE “ “ 112 NAMES OF ARTISTS. XV CABAT, NICOLAS-LOUIS Vol. I. Page 112 CABET, JEAN-BAPTISTE-PAUL “ “ 113 CAFFERTY, JAMES H “ “ 113 CAFFI, HIPPOLYTE “ 113 CAILLE, JOSEPH-MICHEL “ “ 114 CALAMATTA, LUIGI “ “ 114 CALAMATTA, MME. JOSEPHINE “ “ 114 CALAME, ALEXANDRE “ “ 114 CALANDRELLI, ALEXANDER “ “ 115 CALDERON, PHILIP H “ “ 113 CALVERLEY, CHARLES “ “ 116 CALVI, PIETRO “ “ 116 CAMBI, ULISSE “ “ 116 CAMBON, ARMAND “ “ 116 CAMBOS, JULES “ “ 116 CAMERON, HUGH “ “ 117 CAMMERANO, MICHELE “ “ 117 CAMPHAUSEN, GUILLAUME “ “ 117 CAMUCCINI, VINCENZO “ " 117 CANELLA, GIUSEPPE “ “ 117 CARAUD, JOSEPH “ “ 118 CARLIN, JOHN “ “ 118 CARON, ADOLPHE-ALEXANDRE-JOSEPH “ “ 118 CARONI, PROF. EMMANUELE “ “ 118 CARPEAUX, JEAN B.iPTISTE “ “ 119 CARPENTER, FRANCIS BICKNELL “ “ 120 CARPENTER, MARGARET “ “ 121 CARPENTER, MISS E. M “ “ 121 CARRIER, JOSEPH-AUGUSTE “ “ 121 CARRIER-BELLEUSE, ALBERT ERNEST “ “ 122 CARTER, D. M “ “ 122 CARTERON, EUGENE “ “ 122 CASILEAR, JOHN W “ “ 122 CASS, GEORGE N “ “ 123 CASS, MRS. GEORGE N “ “ 123 CASSAGNE, ARMAND THEOPHILE “ “ 123 CASSATT, MARY “ “ 123 CASSIE, JAMES “ “ 123 CASSIOLI, AMOS “ “ 124 CASTELLANO, MANUEL “ “ 124 CASTIGLIONE, GIUSEPPE “ “ 124 CASTRES, fiDOUARD “ “ 124 CATEL, FRANZ LOUIS “ “ 124 XVl NAMES OF ARTISTS. CATLIN, GEORGE Vol. I. Page CATTERMOLE, GEORGE “ CATTERMOLE, CHARLES “ CAVELIER, JULES PIERRE “ CAZES, ROMAIN “ CELEBRANO, FRANCESCO “ CERMAK, JAROSLAV “ CHABAL-DUSSURGEY, PIERRE-ADRIEN “ CHALMERS, G. PAUL “ CHALON, JOHN JAMES “ CHALON, ALFRED EDWARD “ CHAMPNEY, J. WELLS (“ Champ ”) “ CHAPLET, ERNEST “ CHAPLIN, CHARLES “ CHAPLIN, CHRISTINE (MRS. BRUSH) “ CHAPMAN, JOHN GADSBY “ CHAPU, HENRI-MICHEL-ANTOINE “ CHARDIN, PAUL-LOUIS-LEGER “ CHARNAY, ARMAND “ CHARRETIE, ANNA MARIA “ CHARTRAN, THEOBALD “ CHASE, JOHN “ CHASE, WILLIAM M “ CHASE, HENRY “ CHATROUSSE, fiMILE “ CHAUVEL, THEOPHILE “ CHAVET, J. VICTOR “ CHENAVARD, PAUL “ CHENEY, SETH “ CHENU, FLEURY “ CHEVALIER, N “ CHEVALIER. See GAVARNI " CHIERCI, GAETANO “ CHINTREUIL, ANTOINE “ CHRISTIE, ALEXANDER “ CHURCH, FREDERICK E “ CHURCH, F. S “ CIBOT, FRANgOIS-BARTHELEMY-MICHEL-fiDOUARD CLAES, CONSTANT “ CLARK, THOMAS “ CLARK, JOSEPH “ CLAUDE, JEAN-AIAXIME “ CLAYS, PIERRE-JEAN “ 125 125 126 126 126 126 127 127 127 127 128 128 129 129 130 131 131 132 132 132 132 132 133 133 133 134 134 134 135 135 135 284 135 136 136 136 138 138 138 138 138 139 139 NAMES OF ARTISTS. xvii CLfiSINGER, JBAN-BAPTISTE-AUGUSTE Vol, I. Page 140 CLIFFORD, E “ “ 140 CLINT, GEORGE “ “ 140 CLINT, ALFRED “• “ 141 CLODT-JURGENSBOURG, BARON PETER “ “ 141 COBB, CYRUS “ “ 141 COBB, DARIUS “ “ 141 COBBETT, EDWARD J “ " 142 CODEZO, THOMAS “ “ 142 COGHBTTI, FRANCESCO “ “ 143 COGNIET, LEON “ “ 143 COL, DAVID “ “ 143 COLE, THOMAS “ 143 COLE, GEORGE “ “ 144 COLE, VICAT " “ 143 COLE, J. FOXCROFT “ “ 145 COLEMAN, CHARLES C “ “ 146 COLIN, ALEXANDRE-MARIE “ “ 146 COLIN, PAUL “ “ 146 COLLINGWOOD, WILLIAM “ “ 146 COLLINS, CHARLES ALLSTON “ “ 14? COLLINSON, ROBERT “ “ 147 COLMAN, SAMUEL “ “ 147 COLYER, VINCENT “ " 148 COMAN, MISS CHARLOTTE B “ “ 149 COMERRE, LEON-FRANgOIS “ “ 149 COMPTE-CALIX, FRANgOIS CLAUDIUS “ “ 149 COMTE, PIERRE-CHARLES “ “ 150 CONCONI, MAUR “ “ 150 CONNELLY, PIERCE FRANCIS “ “ 150 CONSTANT, BENJAMIN “ “ 151 CONTI, TITO “ “ 153 COOKE, EDWARD WILLIAM “ “ 152 COOMANS, PIERRE-OLIVIER-JOSEPH “ “ 153 COOPER, ABRAHAM “ “ 153 COOPER, THOMAS S “ “ 154 COPE, CHARLES WEST “ “ 154 COPELAND, ALFRED BRYANT “ “ 153 CORBOULD, EDWARD H “ “ 155 CORDIER, HENRI-JOSEPH-CHARLES “ “ 156 CORDONNIER, ALPHONSE “ “ 156 CORMON, FERNAND “ “ 156 CORNELIUS, PETER VON “ “ 156 xviii NAMES OF ARTISTS. CORNU, SEBASTIAN-MELCHIOR Vol. I. Page 158 COROENNE, HENRI “ “ 158 COROT. JEAN-BAPTISTE-CAMILLE “ “ 158 CORTI, COSTANTINO “ “ 162 COSTA, PIETRO ; “ " 162 COSTOLI, ARISTODfiME » “ 162 COT, PIERRE-AUGUSTE “ “ 162 COUDER, LOUIS CHARLES AUGUSTE “ “ 163 COUDER, JEAN-BAPTISTE-AMEDEE " " 163 COUDER, ALEXANDRE-JEAN-REMY “ “ 163 COURBET, GUSTAVE “ “ 163 COURDOUAN, VINCENT-JOSEPH-FRANQOIS “ “ 163 COURTAT, LOUIS “ “ 165 COURTOIS, GUSTAVE “ “ 165 COUSINS, SAMUEL “ “ 165 COUTURE, THOMAS “ “ 166 COX, DAVID “ “ 167 COX, DAVID, Jr " “ 167 CRAIG, ISAAC EUGENE “ “ 167 CRAIG, WILLIAM “ “ 168 CRANCH, CHRISTOPHER P “ “ 168 CRANCH, JOHN “ “ 169 CRANCH, MISS CAROLINE A “ “ 169 CRANE, WALTER " “ 169 CRAUK, GUSTAVE-ADOLPHE-DESIRfi “ “ 170 CRAM-FORD, THOMAS “ “ 170 CRAAVFORD, AVILLIAM “ “ 171 CRESIVICK, THOMAS " “ 171 CRETIUS, CONSTANTINE JOHANN FRANZ “ “ 172 CROFTS, ERNEST “ “ 172 CROMEK, THOMAS HARTLEY “ “ 173 CROPSEY, JASPER F “ “ 173 CROSS, JOHN “ “ 174 CROWE, EYRE “ “ 174 CROWNINSHIELD, FREDERIC “ “ 175 CROM'QUILL. See FORRESTER “ “ 262 CRUIKSHANK, GEORGE “ “ 173 CUGNOT, LOUIS-LEON “ “ 176 CUMMINGS, THOMAS SEIR “ “ 177 CURNOCK, J. JACKSON “ “ 177 CURRIER, J. FRANK “ “ 177 CURTIS, CALVIN “ " 177 CURZON, PAUL ALFRED DE “ “ 177 NAMES OF ARTISTS. xix DABOUR, JOHN DAEGE, EDUARD DAEL, JAN FRANZ VAN DAGNAN, ISIDORE DAGNAN-BOUVERET, PASCAL-ADOLPHE-JEAN... DALOU, JULES DAMfi, ERNEST DAMERON, EMILE CHARLES DANA, WILLIAM P. W DANBY, FRANCIS DANBY, JAMES DANBY, THOMAS DANFORTH, M. I DANIEL, HENRI JOSEPH DANNAT, WILLIAM DANTAN, ANTOINE LAURENT DANTAN, JEAN-PIERRE DARGENT, YAN DARLEY, FELIX 0. C DARRAH, MRS. S. T DAUBAN, JULES-JOSEPH DAUBIGNY, CHARLES FRANQOIS DAUBIGNY, KARL PIERRE DAUZATS, ADRIEN DAVID D’ANGERS, PIERRE-JEAN DAVIOUD, GABRIEL-JEAN-ANTOINE DAVIS, HENRY W. B DEANE, WILLIAM WOOD DEAS, CHARLES DEBAY, JEAN-BAPTISTE-JOSEPH DEBAY, AUGUSTE HYACINTHS DECAISNE, HENRY DECAMPS, ALEXANDRE GABRIEL DE COCK, XAVIER DE COCK, CESAR DE CONINCK, PIERRE DECORCHEMONT, EMILE DEDREUX, ALFRED DEFAUX, ALEXANDRE DEFREGGER, FRANZ DEGEORGE, CHARLES-JEAN-MARIE DEGER, ERNEST DE HAAS, WILLIAM FREDERICK Vol. I. Page 178 “ “ 178 “ “ 178 « - “ 178 “ “ 179 " “ 179 “ “ 180 “ “ 180 “ “ 180 “ “ 181 “ “ 181 “ “ 181 “ “ 181 “ . “ 182 “ " 182 “ “ 182 “ “ 182 “ “ 183 “ “ 183 “ “ 184 “ “ 184 " “ 184 “ “ 185 “ “ 185 “ “ 186 “ “ 186 “ “ 186 “ “ 186 “ “ 187 “ “ 187 “ “ 187 “ “ 187 “ “ 188 “ “ 189 “ “ 189 “ “ 190 “ “ 190 “ “ 190 “ “ 190 “ “ 190 “ " 191 “ “ 191 “ “ 191 XX NAMES OF ARTISTS. DE HAAS, M. E. H Vol. I. Page 192 DE HAAS, J. H. L “ “ 193 DEHODENCQ, ALFRED “ “ 193 DEHODENCQ, EDMOND “ “ 193 DEJONGHE, JOHN BAPTIST “ “ 193 DE JONGHE, GUSTAVE “ “ 193 DE KAY, HELENA (MRS. R. WATSON GILDER)... “ “ 19-i DELABORDE, VISCOUNT HENRI “ “ 194 DELACROIX, FERDINAND-VICTOR-EUGENE “ “ 194 DELACROIX, HENRI EUGENE “ “ 196 DELAPLANCHE, EUGENE “ “ 196 DELAROCHE, HIPPOLYTE “ “ 197 DELAUNAY, JULES ELIE “ “ 198 DELOBBE, FRANQOIS-ALFRED “ “ 198 DELORT, CHARLES-EDOUARD “ “ 199 DEMI, EMILIO “ “ 199 DENGLER, FRANK “ “ 199 DENNEULIN, JULES “ " 199 DESCHAMPS, LOUIS “ “ 199 DESGOFFE, BLAISE-ALEXANDRE “ “ 199 DESGOFFE, ALEXANDRE “ “ 201 DESNOYERS, AUGUSTE-GASPARD-LOUIS-BOUCHER “ “ 201 DESPREZ, LOUIS “ “ 201 DETAILLE, JEAN-BAPTISTE-fiDOUARD " “ 201 DEVENTER, J. F. VAN “ “ 203 DEVERIA, EUG£NE-FRANgOIS-MARIE-JOSEPH... “ “ 203 DEVIGNE, PIERRE “ “ 203 DEVIGNE, PAUL “ “ 203 DEWING, T. W “ “ 203 DEXTER. HENRY “ “ 204 DIAZ DE LA PENA, NARCISSE-VIRGILE “ “ 204 DICKENS, KATE. See PERUGINI, MRS Vol. II. Page 173 DICKSEE, THOMAS F A^ol. I. Page 205 DICKSEE, FRANK “ “ 206 DIDAY, FRANQOIS “ “ 206 DIEBOLT, GEORGES “ “ 206 DIEFFENBACH, ANTON HEINRICH “ “ 206 DIELMAN, FREDERICK “ “ 207 DIEN, CLAUDE-M.\RIE-FRANgOIS “ “ 207 DIETZ, FEODOR “ “ 207 DIEZ, WILHELM “ “ 208 DILLENS, HENRI “ “ 208 DILLENS, ADOLPHE “ “ 208 NAMES OF ARTISTS. xxi DILLON, FRANK Vol. I. Page 208 DIX, CHARLES TEMPLE “ “ 209 DOBSON, WILLIAM C. T “ “ 209 DOCHARTY, JAMES “ 210 DOLPH, J. H “ “ 210 DOMINGO, J “ “ 210 DONALD, JOHN MILNE “ 211 DOO, GEORGE THOMAS “ “ 211 DOOLITTLE, EDWIN STAFFORD “ “ 211 DORE, PAUL GUSTAVE “ “ 212 DOUBLEMARD, AMEDEE DONATIEN “ “ 215 DOUGHTY, THOMAS “ “ 215 DOUGLAS, WILLIAM FETTES “ “ 215 DOUGLAS, EDWIN “ “ 216 DOYLE, RICHARD “ “ 216 DRAKE, FRIEDRICH JOHANN HEINRICH “ “ 217 DREBER, HEINRICH “ “ 217 DROZ, JULES-ANTOINE “ “ 217 DRUMMOND, JAMES " “ 218 DRURY, J. H “ “ 218 DUBAN, JACQUES-FELIX “ “ 218 DUBOIS, PAUL “ “ 218 DUBOIS, CHARLES E “ “ 219 DUBRAY, GABRIEL-VITAL “ “ 220 DUBRAY, CHARLOTTE GABRIELLE “ “ 220 DUBRAY, EUGENIE GIOVANNA “ “ 220 DUBUFE, CLAUDE-MARIE “ “ 220 DUBUFE, Edouard “ “ 220 DUBUFE, GUILLAUME “ “ 221 DUC, JOSEPH LOUIS “ “ 221 DUCKER, EUGENE “ “ 221 DU-COMMUNE-DU-LOCLE. See DANIEL “ “ 182 DUFFIELD, WILLIAM “ “ 222 DUFFIELD, MRS. WILLIAM “ “ 222 DUGG.YN, PETER PAUL “ “ 222 DUMAS, MICHEL “ “ 222 DU MAURIER, GEORGE B “ “ 222 DUMILATRE, ALPHONSE-JEAN “ “ 222 DUMONT, AUGUSTIN-ALEXANDRE “ “ 223 DUNCAN, EDWARD “ “ 223 DUNCAN, THOMAS “ “ 223 DUNCAN, WALTER “ “ 224 DUNCAN, ALLAN “ “ 224 XXll NAMES OF ARTISTS. DUNCAN, LAURENCE Vol. 1. Page 224 BUNKER LtiTZOW, KARL HINDRICK “ “ 224 DUPAIN, EDMOND-LOUIS “ “ 224 DUPRAY, LOUIS-HENRY “ " 224 DUPRfi, JULES “ “ 225 DUPRE, LEON VICTOR “ “ 225 DUPRE, GIOVANNI “ “ 225 DURAN, CAROLUS “ “ 226 DURAND, ASHER B “ “ 227 DURAND, LUDOVIC “ “ 227 DURAND, SIMON “ “ 227 DURAND-BRAGER, JEAN-BAPTISTE-HENRI “ “ 228 DURANT, SUSAN D “ “ 228 DURET, PRANCISQUE-JOSEPH “ " 228 DURHAM, JOSEPH “ “ 229 DUVAL-LE-CAMUS, PIERRE “ " 230 DUVAL-LE-CAMUS, JULES-ALEXANDRE “ “ 230 DUVENECK, FRANK “ “ 230 DUVERGER, THEOPHILE EMMANUEL “ “ 230 DYCE, ■WILLIAM “ “ 230 DYCKMANS, JOSEF LAURENS “ “ 231 DYER, CHARLES GIFFORD “ “ 231 EAKINS, THOMAS “ “ 232 EARLE, THOMAS “ “ 232 EASTLAKE, SIR CHARLES LOCK “ “ 232 EATON, JOSEPH O “ “ 233 EATON, M'YATT “ “ 233 EBERS, EMILE “ “ 233 ECHTERMEYER, KARL “ “ 234 ECKERSBERG, JOHN FREDERICK “ “ 234 EDMONDS, FRANCIS "SV “ “ 234 EDMONSTON, SAMUEL “ “ 235 EDWARDS, ED’WIN “ “ 235 EGG, AUGUSTUS L EGLY, 'WILLIAM EHNINGER, JOHN 5V EHRMANN, FRANCOIS EMILE EICIIENS, FREDERIC EDOUARD “ “ 237 EICHENS, PHILIPPE HERMANN “ “ 237 ELLIOTT, CHARLES LORING “ “ 238 ELMORE, ALFRED " “ 238 ELSHOLTZ, LUD'WIG “ “ 239 NAMES OF ARTISTS. xxiii ENDER, THOMAS Vol. I. Page 239 ENGRAND, GEORGES “ “ 239 ENHUBER, CARL VON “ “ 239 ENNEKING, JOHN J “ 239 fiPINAY, CAVALLIERE PROSPER D’ “ “ 240 ESCOSURA, LEON Y “ “ 240 ETEX, ANTOINE “ “ 241 ETTY, WILLIAM “ “ 241 EVANS, WILLIAM (or Eton) “ “ 242 EVANS, WILLIAM (of Bristol) “ “ 242 EVANS, SAMUEL T. G “ “ 242 EVANS, DE SCOTT “ “ 242 EWALD, ERNST DEODAT PAUL FERDINAND “ “ 243 EZEKIEL, MOSES JACOB “ “ 243 FAED, JOHN " “ 244 FAED, THOMAS “ “ 244 FAED. JAMES “ “ 245 FAGERLIN, F. J “ “ 245 FAHEY, JAMES “ “ 245 FAHEY, EDWARD H “ “ 246 FALCONER, JOHN M “ “ 246 FALGUIERE, JEAN-ALEXAND RE-JOSEPH “ “ 246 FANTACCHIOTTI, ODOARDO “ “ 247 FANTIN-LATOUR, HENRI “ “ 247 FARRER, HENRY “ “ 247 FARRER, THOMAS C “ “ 248 FARUFEINI, FEDERIGO “ “ 248 FASSETT, C. ADELE “ “ 248 FASSIN, ADOLPHE “ “ 249 FATTORI, CAVALIERE GIOVANNI “ “ 249 FEDI, PIO “ “ 249 FELSING, JACOB “ “ 250 FERON, FIRMIN-ELOI “ “ 250 FERRARI, LUIGI “ “ 250 FERRARI. E “ “ 251 FERRIER, JOSEPH-MARIE-AUGUSTIN-GABRIEL... “ “ 251 FESQUET, JULES “ “ 251 FEUERBACH, ANSELM “ “ 251 FEYEN-PERRIN, FRANgOIS NICOLAS AUGUSTIN “ “ 252 FICHEL, EUGENE BENJAMIN “ “ 252 FIEDLER, BERNHARD “ “ 252 FILDES, S. LUKE “ “ 253 xxiv NAMES OF ARTISTS. FILDES, MRS. LUKE Vol. I. Page 253 FINCH, FRANCIS OLIVER “ “ 253 FIRMIN-GIRARD. See GIRARD “ “ 299 FISCHER, AUGUST FERDINAND “ “ 253 FISHER, WILLIAM MARK “ “ 254 FISK, WILLIAM “ “ 254 FITCH, JOHN L “ “ 254 FLAGG, GEORGE W “ “ 255 FLAGG, JARED B “ “ 255 FLAHAUT, LfiON “ “ 255 FLAMENG, LEOPOLD “ “ 256 FLANDIN, EUGENE NAPOLEON “ “ 256 FLANDRIN, AUGUSTE “ “ 257 FLANDRIN, JEAN HIPPOLYTE “ " 257 FLANDRIN, JEAN PAUL “ “ 257 FLERS, CAMILLE “ “ 258 FLEURY, LEON “ “ 258 FLUGGEN, " “ 258 FOCOSI, ALESSANDRO “ “ 258 FOLEY, JOHN H “ “ 259 FOLEY, MARGARET E “ “ 259 FOLTZ, PHILIPPE “ “ 260 FONSECA, ANTOINE-MANOEL da “ “ 260 FONTANA, ROBERTO “ “ 260 FONVILLE, HORACE “ “ 260 FOOTE, MARY HALLOCK “ “ 261 FORBES, EDWIN “ “ 261 FORRESTER, ALFRED HENRY “ " 262 FORSTER, FRANCOIS “ " 262 FORTIN, CHARLES “ “ 262 FORTUNY, MARIANO “ " 263 FOSTER, BIRKET “ “ 265 FOWKE, FRANCIS “ “ 266 FOWLER, FRANK “ “ 266 FRACCAROLI, INNOCENZO “ “ 266 FRAIKIN, CHARLES AUGUSTE “ “ 267 FRANQAIS, FRANgOIS LOUIS “ “ 267 FRANCIS, JOHN “ “ 268 FRANgOIS, CHARLES-REMY-JULES ‘‘ “ 268 FRANgOIS, ALPHONSE “ “ 269 FRASER, CHARLES “ “ 269 FRASER, ALEXANDER (the Elder) “ “ 269 FRASER, ALEXANDER “ “ 269 NAMES OF ARTISTS. XXV FREEMAN, JAMES E Vol. I. Page 269 FREEMAN, MRS. JAMES E “ “ 270 FREEMAN, FLORENCE “ “ 270 FREESE, JOHANN OSKAR HERMANN “ , “ 270 FREMIET, EMMANUEL “ “ 271 FRENCH, DANIEL CHESTER “ “ 271 FRfiRE, PIERRE EDOUARD “ “ 271 FRERE, CHARLES THEODORE “ “ 272 FRERE, CHARLES-EDOUARD “ “ 273 FRERE, JEAN-JULES “ “ 273 FRESCHIERI, GIUSEPPE “ “ 273 FRIPP, GEORGE ARTHUR “ “ 273 FRIPP, ALFRED D “ “ 273 FRITH, WILLIAM POWELL “ “ 274 FROMENTIN, EUGENE “ “ 275 FROST, WILLIAM EDWARD “ “ 276 FRULLINI, PROF. CAV. LUIGI “ “ 276 FUHRICK, JOSEPH “ “ 277 FULLER, GEORGE “ “ 277 FULLER, R. H “ “ 277 FUNK, HEINRICH “ “ 278 FURNESS, WILLIAM H “ “ 278 GABRIEL, PAUL JOSEPH CONSTANTINE “ “ 278 GAIL, WILHELM “ “ 278 GALE, WILLIAM “ “ 278 GALLAIT, LOUIS “ “ 279 GARDNER, ELIZABETH JANE “ “ 280 GARNERAY, AMBROSE LOUIS “ “ 281 GARNIER, JEAN-LOUIS-CHARLES “ “ 281 GARTNER, JOHANN PHILIPP EDUARD “ “ 283 GASTENEAU, HENRY “ “ 283 GATTI, ANNIBALE “ “ 283 GAUCHEREL, LEON “ “ 283 GAUERMANN, FRIEDRICH “ “ 283 GAUTHIER, CHARLES “ “ 284 GAUTIER, ETIENNE “ " 284 GAVARNI, real name CHEVALLIER “ “ 284 GAVIN, ROBERT “ “ 286 GAY, W. ALLAN “ “ 286 GAY, EDWARD “ “ 286 GAY, WALTER “ “ 287 GEBHARDT, KARL FRANZ EDUARD VON “ “ 287 xxvi NAMES OF ARTISTS. GEBLER, ERIEDRICH OTTO Vol. 1. Page 287 GEDDENS, GEORGE “ 288 GEEES, JOSEPH “ “ 288 GEEFS, MME. FANNY “ “ 288 GEGERFELT, WILHELM DE “ “ 288 GEIST, AUGUST CHRISTIAN “ “ 288 GEMITO, VINCENJZO ' “ “ 289 GENDRON, AUGUSTE “ “ 289 GENELLI, JOHANN BONAVENTURA “ " 289 GENTZ, WILHELM KARL “ “ 289 GERARD, THEODORE “ “ 289 GERIMSKY, ALEXANDER “ “ 290 GEROmE, JEAN LEON “ " 290 GERRY, SAMUEL L “ “ 292 GERVEX, HENRI “ “ 292 GEYER, KARL LUDWIG OTTO “ “ 292 GIACOMOTTI, FELIX HENRI “ “ 292 GIBSON, JOHN “ “ 292 GIDE, THEOPHILE “ “ 293 GIERYMSKI, MAX “ “ 293 GIFFORD, SANDFORD R “ “ 294 GIFFORD, R. SWAIN “ “ 295 GIFFORD, FANNIE ELLIOT “ “ 296 GIGNOUX, REGIS “ “ 296 GIGOUX, JEAN FRANgOIS “ “ 296 GILBERT, SIR JOHN “ “ 297 GILDER, MRS. See DE KAY, H “ “ 194 GILES, JAMES “ “ 298 GILL, EDMUND “ “ 298 GIRARD, FIRMIN “ “ 299 GIRARDET, KARL “ “ 299 GIRARDET, EDOUARD-HENRI “ “ 299 GIRARDET, PAUL “ “ 300 GIRAUD, PIERRE-FRANgOIS-EUGfiNE “ “ 300 GIRAUD, SEBASTIEN-CHARLES “ “ 300 GIRAUD, VICTOR “ “ 300 GIROUX, ANDRE “ “ 300 GISBERT, ANTONIO “ “ 300 GLAIZE, AUGUSTE BARTIlfiLEMY " “ 301 GLAIZE, PIERRE-PAUL-LEON “ “ 301 GLASS, JAMES W^ “ “ 301 GLEYRE, CHARLES-GABRIEL “ “ 302 GODEBSKI, CYPRIEN “ “ 303 NAMES OF ARTISTS. xxvii GONZALVO, PEREZ PABLO Vol.I. Page 303 GOOD, THOMAS SWORD “ “ 303 GOODALL, EDWARD “ “ 303 GOODALL, FREDERICK “ . “ 304 GOODALL, WALTER “ “ 304 GOODALL, EDWARD A “ “ 304 GORDIGIANI, MICHELE “ . “ 305 GORDON, SIR JOHN WATSON “ “ 303 GOSLING, WILLIAM “ “ 303 GOSSE, NICOLAS-LOUIS-FRANgOIS “ “ 303 GOUBIE, JEAN-RICHARD “ “ 306 GOULD, THOMAS R “ " 306 GOULD, WALTER “ “ 307 GOUPIL, JULES “ “ 307 GOW, ANDREW C “ “ 307 GOWER, LORD RONALD LEVESON “ “ 308 GRAEB, KARL-GEORG-ANTON " “ 308 GRAEF, GUSTAV “ “ 308 GRAHAM, PETER “ “ 309 GRAHAM, WILLIAM “ “ 309 GRAHAM, THOMAS “ “ 309 GRAHAM-GILBERT, JOHN “ “ 310 GRANDSIRE, EUGENE “ “ 310 GRANT, SIR FRANCIS “ “ 310 GRANT, CLEMENT R “ “ 3II GRASS, PHILIPPE “ “ 312 GRAVES, ROBERT “ “ 312 GRAY, HENRY PETERS “ “ 312 GREATOREX, ELIZA “ “ 313 GREATOREX, KATE and ELEANOR “ “ 314 GREENOUGII, HORATIO “ “ 314 GREENOUGH, RICHARD S “ “ 314 GREUX, GUSTAVE-MARIE “ “ 314 GRIGOLETTI, MICHEL-ANGE “ “ 313 GRISWOLD, C. C “ “ 315 GROISEILLIEZ, MARCELLIN DE “ “ 315 GRONLAND, THEUDE “ “ 315 GROS, LUCIEN-ALPHONSE “ “ 315 GROSS, RICHARD “ “ 315 GROUX, CHARLES CORNELIUS AUGUSTE “ “ 316 GRUNDMANN, OTTO “ “ 316 GRUNER, GUILLAUME-HENRI-LOUIS “ “ 316 GRUNEWALD, GUSTAV “ “ 316 xxviii NAMES OF ARTISTS. GRUYfiRB, THEODORE-CHARLES Vol. T. Page 316 GUARNERIO, PIETRO “ “ 317 GUAY, GABRIEL “ “ 317 GUDE, HANS FREDERIC “ “ 317 GUDIN. JEAN-ANTOINE-THEODORE “ “ 317 GUERARD, EUGENE VON “ “ 318 GUFFENS, GODEFROID “ “ 318 GUILLAUME, JEAN-BAPTISTE-C.-E “ “ 318 GUILLEMET. JEAN-BAPTISTE-ANTOINE “ “ 319 GUILLEMIN, ALEXANDRE-MARIE “ “ 319 GUILLON, ADOLPHE IRENEE “ “ 319 GUNKEL, FRIEDRICH " “ 319 GUNTHER, OTTO EDMOND “ “ 320 GURLITT, LOUIS “ “ 320 GUSSOW, CARL “ “ 320 GUTHERS, CARL “ “ 320 GUY, SEYMOUR JOSEPH “ “ 321 GYSIS, NICOLAS “ “ 322 HAAG, CARL “ “ 322 HAANEN, REMI A. VAN “ “ 323 HADEN, FRANCIS SEYMOUR “ “ 323 HAGHE, LOUIS “ “ 323 HAHNEL, ERNST JULES “ “ 324 HALE, WILLIAM MATTHEW “ “ 324 HALE, SUSAN " “ 324 HALE, ELLEN DAY " “ 325 HALL, GEORGE HENRY “ “ 325 HALL. SYDNEY P “ “ 325 HALSALL, -WILLIAM FORMBY “ “ 326 HALSE, G “ “ 326 HALSEWELLE, KEELEY “ “ 326 HAMERTON, PHILIP G “ “ 327 HAMILTON, JAMES “ “ 327 HAMILTON, J. McLURE “ “ 327 HAMMAN, EDUARD-JEAN-CONRAD “ “ 328 HAMON, JEAN LOUIS “ “ 328 HANCKE. See -VHEGMANN Vol. 11. Page 350 HANOTEAU, HECTOR Vol. I. Page 329 HARDING, CHESTER “ “ 330 HARDING, JAMES D " “ 330 HARD-WICK, PHILIP “ “ 330 HARDY, FREDERICK DANIEL “ “ 331 NAMES OF ARTISTS. xxix HARGITT, EDWARD Vol. I. Page 331 HARNISCH, ALBERT E “ “ 331 HARPIGNIES, HENRI “ “ 332 HART, SOLOMON ALEXANDER “ . “ 332 HART, JOEL T “ “ 333 HART, WILLIAM “ “ 333 HART. JAMES M " “ 331 HARTLEY. J. S “ “ 335 HARTZER. KARL FERDINAND “ " 336 HARVEY. WILLIAM “ “ 336 HARVEY, SIR GEORGE “ “ 336 HASELTINE, WILLIAM STANLEY “ “ 337 HASELTINE, HENRY J “ “ 337 HASEiNCLEVER, F. P “ “ 337 HAUSMANN, FREDERIC KARL “ “ 338 HAYES. EDWIN “ “ 338 HAYEZ. FRANCISCO “ “ 338 HAYLLAR. JAMES “ “ 338 HAYS, WILLIAM J “ “ 339 HAYTER, SIR GEORGE " “ 339 HEADE, MARTIN J “ “ 340 HEALY, G. P. A “ “ 340 HEAPHY, THOMAS “ “ 341 HEBERT, ANTOINE-AUGUSTE-ERNEST “ “ 341 HEDOUIN, EDiMOND “ “ 342 HEILBUTH, FERDINAND “ “ 343 HEIM, FRANgOIS JOSEPH “ “ 343 HELFFT, JULIUS EDUARD WILHELM '< “ 343 HELLRATH, E “ « 344 HEMSLEY, WILLIAM “ “ 344 HENDERSON, JOSEPH “ “ 344 HENNEBERG, RUDOLF FRIEDRICH " “ 344 HENNER, JEAN-JACQUES “ “ 343 HENNESSY, WILLIAM J “ “ 343 HENRIQUEL-DUPONT, LOUIS PIERRE “ “ 346 HENRY, EDWARD L “ “ 343 HERBERT, JOHN ROGERS “ “ 347 HERBSTHOFFER, CHARLES “ “ 348 HERDMAN, ROBERT “ “ 343 HEREFORD, LAURA “ “ 343 BERING, GEORGE E “ “ 343 HERKOMER, HUBERT “ » 343 HERPIN, LEON “ “ 330 XXX NAMES OF ARTISTS. HERRING, JOHN FREDERICK Vol. I. Page 350 HERRING, JOHN FREDERICK, Jr “ 351 HERTEL, KARL CONRAD JULIUS “ “ 351 HESS, PETER VON “ " 351 HESS, HEINRICH MARIA “ “ 351 HESS, KARL “ “ 352 HESS, GEORG “ “ 352 HESSE, NICOLAS-AUGUSTE “ “ 352 HESSE, ALEXANDRE-JEAN-BAPTISTE " “ 353 HEYDEN, OTTO JOHANN HEINRICH “ “ 353 HEYDEN, AUGUST JACOB THEODOR VON “ " 353 HICKS, GEORGE E " “ 353 HICKS, THOMAS “ “ 354 HIDDEMANN, FRIEDRICH PETER " “ 354 HILDEBRANDT, FERDINAND THEODOR “ “ 354 HILDEBRANDT, EDUARD “ “ 355 HILL, DAVID OCTAVIUS “ “ 355 HILL, AMELIA R “ “ 356 HILL, THOMAS “ “ 356 HILLEMACHER, EUGfiNE-ERNEST “ “ 357 HILLIARD, MILLIAM HENRY “ " 357 HILLINGFORD, ROBERT ALEXANDER “ “ 357 HINCHLIFF, JOHN JAMES “ “ 358 HINCKLEY, THOAIAS HEWES “ “ 358 HINE, H. G “ " 358 HIOLLE, ERNEST EUGfiNE “ “ 359 HOCKERT, JEAN FREDERIC “ “ 359 HODGSON, JOHN E " “ 359 HOFF, KARL “ " 360 HOFFMANN, HEINRICH JOHANN M. F “ “ 360 HOGUET, CHARLES “ “ 360 HOLFLAND, THOMAS R “ “ 360 HOLE, WILLIAil “ “ 361 HOLL, FRANK “ “ 361 HOLLAND, JAAIES “ “ 361 HOMER, WINSLOW “ “ 362 HOOK, JAAIES CLARKE “ “ 363 HOPFGARTEN, AUGUST FERDINAND “ “ 364 HOPLEY, EDWARD W. J “ " 364 HOPPIN, AUGUSTUS “ “ 364 HOPPIN, THO-MAS B " “ 364 HORSCHELT, THEODOR “ “ 365 HORSLEY, JOHN C “ " 365 NAMES OF ARTISTS. xxxi HOSMER, HARRIET Vol. I. Page 366 HOSTEIN, EDOUARD-JEAN-MARIE “ “ 367 HOUGHTON, ARTHUR BOYD “ “ 368 HOUSTON, JOHN ADAM “ . “ 368 HOVENDEN, THOMAS “ “ 368 HOWLAND, ALFRED C “ “ 369 HOWS, JOHN A “ “ 369 HOXIE, MRS. See REAM, V Vol. II. Page 202 HUBBARD, RICHARD W Vol. I. Page 369 HUBNER, RUDOLF-JULES-BENNO “ “ 370 HtiBNER, KARL WILHELM “ “ 370 HUET, PAUL “ “ 371 HUGHES, BALL “ “ 371 HUGHES, ARTHUR “ “ 371 HUGUES, DOMINIQUE-JEAN-BAPTISTE “ “ 372 HULME, FREDERICK WILLIAM “ “ 372 HUMBERT, FERDINAND “ “ 372 HUNIN, ALOUIS-PIERRE-PAUL “ “ 372 HUNT, WILLIAM HENRY “ “ 372 HUNT, WILLIAM MORRIS “ “ 373 HUNT, WILLIAM HOLMAN “ “ 375 HUNT, RICHARD M “ “ 373 HUNT, ALFRED WILLIAM “ “ 376 HiiNTEN, EMIL JOHANN " “ 376 HUNTER, COLIN “ “ 377 HUNTINGTON, DANIEL “ “ 377 HURLSTONE, FREDERICK YEATES “ “ 378 HUTCHISON, JOHN “ “ 378 IMER, fiDOUARD “ “ 378 INDUNO, GIROLAMO “ “ 379 INGHAM, CHARLES C " 379 INGRES, JEAN-DOMINIQUE-AUGUSTIN “ “ 379 INJALBERT, JE.YN-ANTONIN “ " 382 INMAN, HENRY “ “ 382 INMAN, J. O’BRIEN “ “ 382 INNESS, GEORGE “ “ 382 INNESS, GEORGE, Jr “ “ 383 IRMER, KARL “ “ 383 IRVING, J. BEAUFAIN “ “ 384 ISABEY, EUGENE-LOUIS-GABRIEL “ “ 384 ISELIN, HENRI-FREDERIC " “ 384 ISRAELS, JOSEF “ “ 383 XXXll NAMES OF ARTISTS. ITTENBACH, FRANZ Vol. I. Page 385 IVES. C. B “ “ 385 JACKSON, JOHN ADAMS Vol. 11. Page I JACOB, JULIUS “ “ 3 JACOBS, JACQUES-ALBERT-MICHEL “ “ 3 JACOMIN, ALFRED-LOUIS “ “ 4 JACQUAND, CLAUDIUS “ “ 4 JACQUE, CHARLES EMILE “ “ 4 JACQUEMART. HENRI ALFRED “ “ 5 JACQUEMART, JULES FERDINAND “ “ 5 JACQUEMART, MLLE. NELIE " “ 6 JACQUESSON DE LA CHEVREUSE, LOUIS “ “ 6 JACQUET, JEAN GUSTAVE JADIN, LOUIS GODEFROY JADIN, EMMANUEL CHARLES JAEGER, GUSTAV JALABERT, CHARLES FRANQOIS “ “ 8 JANSSEN, PETER JOHANN THEODOR “ “ 8 JAPY, LOUIS AIMfi “ “ 9 JEANNIN, GEORGES “ “ 9 JEANRON, PHILIPPE-AUGUSTE “ “ 9 JENKINS, JOSEPH J “ “ 9 JENKS, MRS. PHCEBE “ “ 9 JERICHAU, A “ “ 10 JERICHAU-BAUMANN, MME. ELIZABETH " “ 10 JOBBfi-DUVAL, FELIX “ “ 10 JOHNSON, HORACE C “ “ 10 JOHNSON, DAVID “ “ 11 JOHNSON, EASTMAN “ “ 11 JOHNSON, EDWARD KILLINGWORTH “ “ 13 JOHNSON. FROST “ “ 13 JOHNSTON, ALEXANDER “ “ 14 JONES, GEORGE “ “ 15 JONES, OWEN “ " 15 JONES, ALFRED “ “ 15 JONES, H. BOLTON “ “ 16 JONGKIND, JOHAN BARTHOLD “ " 16 JOORAVLEF, F “ “ 17 JOPLING, JOSEPH M “ “ 17 JOPLING, MRS. LOUISE “ " 17 JORDAN, RUDOLF “ “ 17 JOUFFROY, FRANQOIS “ “ IS NAMES OF ARTISTS. xxxiii JOURDAN, ADOLPHE Vol. II. Page 18 JUNDT, GUSTAVE “ “ 18 KAEMMERER, FREDERIC HENRI “ . “ 18 KALCKREDTH, STANISLAUS, COUNT OF “ “ 19 KAUFMANN, THEODORE “ “ 19 KAULBACH, WILHELM VON “ “ 19 KAULBACH, HERMANN “ “ 20 KAULBACH. F. A “ “ 20 KEVIYS, EDWARD “ “ 21 KENSETT, J. F “ “ 21 KEY, JOHN R “ “ 22 KEYMEULEN, EMILE “ “ 22 KEYSER, NICAISE DE “ “ 22 KEYSER, E “ “ 23 KIERS, PETER “ “ 23 KING, CHARLES B “ “ 23 KIORBOE, CHARLES FREDERIC “ “ 23 KISS, AUGUSTUS “ “ 23 KLEIN, JOHANN ADAM “ “ 24 KLOEBER, AUGUST KARL FRIEDRICH VON “ “ 24 KNAUS, LUDWIG " “ 24 KNIGHT, JOHN PRESCOTT “ " 23 KNIGHT, DANIEL RIDGWAY “ “ 25 KNILLE, OTTO “ “ 23 KNOWLTON, HELEN M " “ 23 KNYFF, ALFRED DE “ “ 26 KOCH, JOSEPH ANTON “ “ 26 KOEKKOEK, BERNARD CORNELIUS “ “ 26 KOERNER, ERNST “ “ 26 KOHLER, CHRISTIAN “ “ 27 KOLLER, GUILLAUME “ “ 27 KOLLOCK, MARY “ “ 27 KORZOOCHIN, ALEXIS “ “ 27 KOTZEBUE, ALEXANDER VON “ “ 27 KRAUSE, WILHELM AUGUST LEOPOLD CHRISTIAN “ “ 28 KRONER, CHRISTIAN JOHANN “ “ 28 KRUGER, FRANZ ? “ “ 28 KRUGER, KARL MAX “ “ 28 KtiHLING, AVILHELM " “ 28 KUNTZ, GUSTAV ADOLF “ “ 29 KUNTZE, EDAVARD J. A “ “ 29 KURZBAUER, E “ “ 29 XXXIV NAMES OF ARTISTS. KUWASSEG, CARL-JOSEPH Vol. II. Page 29 KUYCK, LOUIS VAN “ “ 29 LACROIX, GASPARD JEAN “ “ 29 LA EARGE, JOHN “ “ 29 LAGUILLERMIE, AUGUST FREDERIC “ “ 30 LAGYE, VICTOR “ “ 31 LALANNE, MAXIMS “ “ 31 L’ALLEMANDE, FRITZ “ “ 32 LAMBDIN, GEORGE COCHRAN “ “ 32 LAMBERT, LOUIS EUGENE “ “ 32 LAMBINET, EMILE “ “ 3.3 LAMI, LOUIS EUGENE “ “ 33 LANCE, GEORGE “ “ 33 LANDELLE, CHARLES “ “ 34 L.YNDSEER, JOHN “ “ 34 LANDSEER, TIIOAIAS “ “ 35 LANDSEER, CHARLES “ “ 35 LANDSEER, SIR EDWIN “ “ 35 LANDSEER, GEORGE “ “ 37 LANE, B. J “ “ 37 LANG, LOUIS “ “ 38 LANGERFELDT, T. O “ “ 38 LANOUE, FELIX HIPPOLYTE “ “ 39 LANSIL, WALTER F “ “ 39 LANSYER, EMMANUEL " “ 39 LAOUST, ANDRfi-LOUIS-ADOLPHE “ “ 39 LAPIERRE, LOUIS fiMILE “ “ 39 LAPITO, LOUIS-AUGUSTE “ “ 40 LAPOSTOLET, CHARLES “ “ 40 LASCH, KARL JOHANN “ “ 40 LATHROP, FRANCIS “ “ 40 LATOUCHE, LOUIS “ “ 40 LAUDER, ROBERT SCOTT “ “ 40 LAUDER, JAMES E “ “ 41 LAUGEE, FRANCOIS DESIRE “ “ 41 LAUNITZ, ROBERT E “ “ 41 LAURENS, JEAN PAUL “ “ 42 LAUTERS, PAUL “ “ 43 LAWMAN, JASPER “ “ 43 LAAVRIE, ALEXANDER “ “ 43 LAAVSON, CECIL G “ “ 44 LAWSON, AVILFRID “ “ 44 NAMES OF ARTISTS. xxxv LAY, OLIVER INGRAHAM Vol. 11. Page 45 LAZERGES, JEAN RAYMOND HIPPOLYTE “ “ 45 LEADER, BENJAMIN WILLIAM “ “ 46 LE BLANT, JULIEN “ • “ 46 LECHESNE, AUGUSTE “ “ 46 LE CLEAR, THOMAS “ “ 46 LECOMTE DU NOUY, JULES JEAN ANTOINE ... “ “ 47 LECOMTE-VERNET, CHARLES-HIPPOLYTE-fiMILE “ “ 47 LEE, FREDERICK RICHARD “ “ 47 LEECH, JOHN “ “ 48 LEFEBVRE, CHARLES “ “ 49 LEFEBVRE, JULES JOSEPH “ “ 49 LEFUEL, HECTOR MARTIN “ “ 49 LEGROS, ALPHONSE “ “ 50 LEHARIVEL-DUROCHER, VICTOR EDMOND “ “ 51 LEHMANN, CHARLES ERNEST RODOLPHE HENRI “ “ 52 LEHMANN, RUDOLF “ “ 53 LEHOUX, PIERRE-ADRIEN-PASCAL “ “ 53 LEIBL, H. W “ “ 53 LEIGHTON, FREDERICK “ “ 54 LEITCH, W. L “ “ 55 LE JEUNE, HENRY “ “ 55 LB KEUX, HENRY “ " 55 LELAND, HENRY “ “ 56 LELBUX, ADOLPHE “ “ 56 LELEUX, ARMAND “ “ 57 LELOIR, JEAN BAPTISTE AUGUSTE “ “ 57 LELOIR, ALEXANDRE LOUIS “ “ 57 LELOIR, MAURICE “ “ 57 LEMAIRE, PHLLIPPE-HENRI “ “ 57 LEMAIRE, HECTOR “ “ 57 LEMATTE, JACQUES-FRANgOIS-FERNAND “ “ 58 LENBACH, FRANZ » “ 58 LENEPVEU, JULES-EUGENB “ “ 58 LEPIC, LUDOVIC-NAPOLfiON “ “ 59 LEQUESNE, EUGENE-LOUIS “ “ 59 LE ROUX, CHARLES-MARIE-GUILLAUME “ “ 59 LE ROUX, HECTOR , “ “ 59 LE ROUX, EUGENE ! “ " 60 LESLIE, CHARLES ROBERT “ “ 60 LESLIE, GEORGE D “ “ 61 LESLIE, ROBERT C “ “ 62 LESSING, CHARLES FREDERIC “ “ 62 XXXVl NAMES OF ARTISTS. LEU, AUGUST WILHELJ! Vol. II. Page LEUTZE, EMMANUEL LfiVY, EMILE levy, HENRI LEOPOLD LEWIS, JOHN FREDERICK LEWIS, FREDERICK C LEAVIS, EDMONIA LEYS, BARON JEAN AUGUSTE HENRI LIER, ADOLF LIMA, VICTOR MEIRELLES DE LINDENEHER, EDOUARD LINDENSCHMIT, AVILHELM LINDHOLAI, B LINNELL, JOHN LINNELL, JAAIES THOAIAS LINNELL, AVILLIAM LINTON, WILLIAAI LINTON, WILLIAM JAMES LINTON, MRS LINTON, JAMES D LIPARINI, LUDOVICO LIPPINCOTT, AVILLIAAI H LLOYD, THOMAS LOCKHART, W. E LOEFFTZ, LUDAVIG LOISON, PIERRE LOAIBARDINI, GAETANO LONG, EDAVIN LONGFELLOAA^ ERNEST W" LOOP, HENRY A , “ LOOP, MRS. HENRY A LOOSE, BASILE DE LOSSOAA^ ARNOLD HERMANN LOSSOW, FRIEDRICH LOUGH, JOHN GRAHAAI LOUVRIER DE LAJOLAIS, JACQUES-A.-G LOAAL AVILL H LUCAS, JOHN LUCCARDI, VINCENZO LUCY, CHARLES LUMINAIS, fiVARISTE-VITAL LUNDGREN, EGRON LUNT. See MRS. AVILLIAMS 6.3 63 64 65 65 66 66 67 68 68 68 69 69 69 70 70 70 71 71 72 72 72 72 73 73 73 73 73 74 75 75 76 76 76 76 76 76 77 7 1 1 1 78 78 354 NAMES OF ARTISTS. xxxvii LUPTON, THOMAS GOFF Vol. II. Page 78 LYNN, SAMUEL FERRIS “ “ 78 MACALLUM, HAMILTON “ ’ “ 79 MACBETH, NORMAN “ “ 79 MACBETH, R. W “ “ 79 MACBETH, JAMES “ “ 79 MAC CALLUM, ANDREW “ “ 80 MACCARI, CESARE “ “ 80 MAC CULLOCH, HORATIO “ “ 81 MAC DONALD, JAMES WILSON ALEXANDER ... “ “ 81 MAC DOWELL, PATRICK “ “ 83 MACDOWELL, SUSAN HANNAH “ “ 82 MAC LEAY, KENNETH “ “ 83 MACLISE, DANIEL “ “ 82 MAC NEE, SIR DANIEL “ “ 83 MACY, W. S “ “ 84 MADOU, JEAN BAPTISTE “ “ 84 MADRAZO, DON FREDERIC MADRAZO Y KUNT “ “ 85 MADRAZO, LOUIS “ “ 85 MADRAZO, RICARDO “ “ 85 MAGAUD, DOMINIQUE ANTOINE “ “ 85 MAGNI, PIETRO “ “ 85 MAGNUS, EDUARD “ “ 85 MAGRATH, WILLIAM “ “ 86 MAIGNAN, ALBERT “ “ 86 MAILLET, JACQUES LEONARD “ “ 86 MAINDRON, fiTIENNE-HIPPOLYTE “ “ 86 MAISIAT, JOANNY “ “ 87 MAKART, HANS “ “ 87 AIALCHIN, CARL WILHELM CHRISTIAN “ " 89 MANCINELLI, GIUSEPPE “ “ 89 MANCINI, ANTOINE “ “ 89 MANET, fiDOUARD “ “ 89 MANN, J. H. S “ “ 90 MANSON, GEORGE , “ “ 90 MARC, JEAN-AUGUSTE “ “ 90 MARCELLIN, JEAN-ESPRIT “ “ 90 MARCHAL, CHARLES FRANQOIS “ “ 91 MARCHESI, POMPEO “ “ 91 MARCHESI, SALVATORE " “ 91 MARECHAL, CHARLES-LAURENT “ “ 92 MARILHAT, PROSPER “ “ 92 xxxviii NAMES OF ARTISTS. MARIS, JACQUES Vol. 11. Page 93 MARIS, MATTHIAS “ “ 93 MARKS, HENRY STACY “ “ 93 MAROCHETTI, BARON CHARLES “ “ 94 MARSHALL, CHARLES “ “ 94 MARSHALL. WILLHVM C “ “ 93 MARSHALL, ROBERT ANGELO KITTERMASTER “ “ 96 MARSHALL, THOMAS W “ “ 96 MARSTRAND, WILLIAM NICOLAS “ “ 96 MARTIN, HOMER D “ “ 96 MARTINEAU, ROBERT B “ “ 97 MARTINET, ACHILLE-LOUIS “ “ 97 MARZAROLI, CRISTOFORO “ “ 97 MASINI, GIROLAMO “ “ 97 MASON, GEORGE H “ “ 97 MASSALOFF, NICOLAS “ “ 98 MATEJKO, JEAN ALOYSIUS “ “ 98 MATHIEU, LAMBERT JOSEPH “ “ 99 MATOUT, LOUIS “ “ 99 MATTESON, TOMPKINS H “ “ 99 MAURETA, GABRIEL “ “ 100 MAUVE, ANTON “ “ 100 MAX, GABRIEL “ “ 100 MAY, EDWARD HARRISON “ “ 100 MAYER, fiTIENNE-FRANQOIS-AUGUSTE “ “ 101 MAYER, KARL “ “ 101 MAYER, EDUARD “ “ 102 MAYER, FRANK B “ “ 102 MAYER, CONSTANT “ “ 102 MAYER, LIEZEN “ “ 103 MAYNARD, GEORGE W “ “ 103 McCORD, G. HERBERT “ “ lOJ McENTEE, JERVIS “ “ 104 M'DONALD, JOHN B “ “ 105 MEADE, LARKIN G “ “ 106 MEISSONIER, JEAN LOUIS ERNEST “ “ 106 MEISSONIER, JEAN CHARLES “ “ 109 MELBYE, ANTOINE “ 109 MfiLINGUE, LUCIEN “ “ 110 MENE, PIERRE-JULES “ “ 110 MENZEL, ADOLF-FREDERIC-ERDMANN “ “ 110 MERCADE, BENITO “ “ HI MERCIE, MARIUS-JEAN-ANTOINE “ “ 111 NAMES OF ARTISTS. xxxix MERLE, HUGUES Vol. II. Page 111 MERLE, GEORGES “ “ 112 MERSON, LUC-OLIVIER “ 112 MERYON, CHARLES “ . “ 112 MESDAG, HENDRIK-WILLEM “ “ 112 MEYER, ERNEST “ “ 113 MEYER, JEAN-LOUIS-HENRI " “ 113 MEYER, JEAN GEORGES (MEYER VON BREMEN) “ “ 113 MEYERHEIM, FREDERIC-EDUARD “ “ 113 MEYERHEIM, PAUL FRIEDRICH “ “ 114 MEYNIER, CHARLES “ “ 114 MEYNIER, JULES JOSEPH “ “ 114 BITCHEL, ERNEST-BARTHELEMY “ “ 114 MIGLIORETTI, PASCAL “ “ 114 MIGNOT, LOUIS R “ “ 114 MILLAIS, JOHN EVERETT “ “ 115 MILLER, ALFRED J “ “ 116 MILLER, CHARLES H “ “ 117 MILLET, JEAN-FRANgOIS “ “ 117 MILLET, AIMS , “ “ 120 MILLET, FRANCIS D “ “ 121 MILLS, CLARK “ “ 121 MILMORE, MARTIN “ “ 122 MINARDI, TOMMASO “ “ 122 MINOR, ROBERT C “ “ 123 MINTROP, THEODOR “ “ 123 M'K.YY, WILLIAM D “ “ 123 MOLTENI, GIUSEPPE “ “ 124 MONCHABLON, XAVIER ALPHONSE “ “ 124 MONTAGNY, ETIENNE “ “ 124 MONTALBA, CLARA “ “ 124 MONTEVERDE, GIULIO “ “ 124 MONVEL, LOUIS-MAURICE BOUTET DE “ “ 125 MOONEY, EDWARD “ “ 125 MOORE, GEORGE B “ “ 125 MOORE, ALBERT “ “ 125 MOORE, HENRY “ “ 126 MOORE, H. HUMPHREY “ “ 127 MORAN, EDWARD “ “ 127 MORAN, THOMAS “ “ 128 MORAN, PETER “ “ 129 MOREAU, MATHURIN “ “ 130 MOREAU, MATIIURIN-AUGUSTE “ “ 130 xl NAMES OF ARTISTS. MOREAU, ADRIEN Vol. 11. Page 130 MOREAU, GUSTAVE “ “ 130 MOREAU-VAUTHIER, AUGUSTIN JEAN “ “ 130 MORELLI, DOMENICO “ “ 130 MORGAN, WILLIAM “ “ 131 MORGAN, MATTHEW (“Matt”) “ “ 131 MORIN, ERANgOIS-GUSTAVE “ “ 132 MOROT, AIME-NICOLAS “ “ 132 MORRELL, IMOGENE ROBINSON “ “ 132 MORRIS, P. R “ “ 132 MORSE, SAMUEL F. B “ “ 133 MORSE, HENRY D “ “ 133 MORTEMART-BOISSE, ENGUERRAND BARON DE “ “ 133 MOSER, KARL ADALBERT “ “ 133 MOSS, ELLA A “ “ 134 MOUCHOT, LOUIS “ “ 134 MOULIN, HIPPOLYTE “ “ 134 MOUNT, SHEPARD “ “ 134 MOUNT, WILLIAM S “ “ 134 MOZIER, JOSEPH “ “ 135 M‘TAGGART, WILLIAM “ “ 133 MUCKE, HEINRICH KARL ANTON “ “ 135 MULLER, CHARLES-LOUIS “ “ 135 MULLER, CARL “ “ 136 MULLER, VICTOR “ “ 137 MULREADY, AVILLIAM “ “ 137 MULVANY, GEORGE F “ “ 138 MUNKACSY, MIHALY “ “ 138 MUNN, GEORGE F “ " 138 MUNRO, ALEXANDER “ “ 138 MUNZIG, G. C “ “ 139 MURRAY, ELIZABETH “ “ 139 MURRAY, DAVID “ “ 139 MUSIN, FRANgOIS “ “ 139 MUSSINI, CESARE “ “ 140 MUSSINI, LUIGI “ “ 140 MUTRIE, MARTHA D “ “ 140 MUTRIE, ANNIE F “ “ 140 M'WHIRTER, JOHN “ “ 140 NAFTEL, PAUL J “ “ 141 NAISH, JOHN GEORGE “ “ I4l NAKKEN, W. C “ “ 142 NAMES OF ARTISTS. xli NANTEUIL, CELESTIN Vol, 11. Page 142 NASH, JOSEPH “ “ 142 NAST, THOMAS “ “ 143 NAVEZ, FRANgOIS JOSEPH “• “ 143 NEAGLE, JOHN “ “ 144 NEAL, DAVID “ “ 144 NEFF, TIMOLEON CHARLES DE “ “ 145 NEHLIG, VICTOR “ “ 145 NEMOZ, JEAN-BAPTISTE-AUGUSTIN “ “ 146 NEUBER, FRITZ “ “ 146 NEUVILLE, ALPHONSE DE “ “ 146 NEWELL, HUGH “ “ 147 NEWMAN, HENRY R “ “ 147 NEWTON, SIR WILLIAM JOHN “ “ 148 NEWTON, MRS. CHARLES T “ “ 148 NEWTON, ALFRED P “ “ 148 NEVIN, BLANCHE “ “ 149 NICOL, ERSKINE “ “ 149 NICOLL, J. C “ “ 149 NIEMAN, EDMUND JOHN “ “ 150 NIEMEYER, JOHN H “ “ 150 NIERKER. See ALCOTT, MISS MAY Vol. I. Page 7 NITTIS, GIUSEPPE DE Vol. 11. Page 151 NOBAS, ROSBNDO “ “ 151 NOBLE, MATTHEW “ “ 151 NOEL, EDME-AN'L'ONY-PAUL “ “ 151 NORTON, WILLIAM E “ “ 153 OAKES, JOHN WRIGHT “ " 153 OAKEY, MARIA R “ " 152 O’CONNELL, MME. FREDERIC-EMILIE-A.-M “ “ 153 O’DONOVAN, WILLIAM R “ “ 153 OGILVIE, CLINTON “ “ 154 OLIVA, ALEXANDRE-JOSEPH “ “ 154 OLIVIB, LEON “ “ 154 O’NEIL, HENRY “ “ 154 O’NEIL, G. B “ “ 154 ORCHARDSON, WILLIAM Q, “ “ 155 ORDWAY, ALFRED “ “ 156 OSBORN, MISS E. M “ “ 156 OUDINE, EUGfiNE-ANDRE “ “ 156 OUDINOT, ACHILLE FRANgOIS “ “ 156 OULESS, WALTER WILLIAM “ “ 157 xlii NAMES OF ARTISTS. OUVRifi, PIERRE JUSTIN Vol. II. Page 157 OVERBECK, FRIEDRICH “ “ 157 PABST, CAMILLE ALFRED “ “ 159 PAGE, WILLIAM “ “ 159 PALIZZI, JOSEPH “ “ 160 PALMAROLI, VICENTE “ “ 160 PALMER, SAMUEL “ “ 161 PALMER, ERASTUS D “ “ 161 PALMER, IV ALTER L “ “ 162 PAMPALONI, LUIGI “ “ 162 PAPE, EDUARD FRIEDRICH “ “ 163 PARIS, CAMILLE “ “ 163 PARKER, JOHN A “ “ 163 PARKER, EDGAR “ " 163 PARMENTIER, LUISA VON “ “ 164 PARROT, PHILIPPE “ “ 164 PARSONS, CHARLES “ “ 164 PARTON, ARTHUR “ “ 164 PARTON, ERNEST “ “ 165 PASINI, ALBERTO “ " 165 PASSINI, LUDWIG “ “ 165 PATON, SIR NOEL “ “ 166 PATON, WALLER H “ “ 166 PATROIS, ISIDORE “ “ 167 PATTEN, GEORGE “ “ 167 PATTEN, ALFRED FOWLER “ “ 167 PAUWELS, WILLIAM F “ “ 167 PAZZI, ENRICO “ “ 168 PEALE, REMBRANDT " “ 168 PEALE, SARA M " “ 169 PEARCE, CHARLES SPRAGUE “ “ 169 PEDUZZI, REN.ATO “ “ 169 PEELE, JOHN T “ “ 169 PEIFFER, AUGUSTE-JOSEPH “ “ 170 PEINTE, HENRI “ “ 170 PELLEGRIN, LOUIS ANTOINE VICTOR “ “ 170 PELOUSE, LOUIS GERAIAIN “ “ 170 PENLEV, AARON EDWIN “ “ 170 PENNE, CHARLES OLIVIER DE “ “ 170 PENNETHORNE, SIR JAMES “ “ 171 PEREDA, RAIMONDO “ “ 171 PERIGAL, ARTHUR “ “ 171 NAMES OF ARTISTS. xliii PfiRIGNON, ALEXIS Vol. II. Page 171 PERKINS, CHARLES C “ “ 171 PERRAUD, JEAN JOSEPH “ “ 172 PERRAULT, LEON “ . “ 172 PERRET, AIME “ “ 173 PERRY, E. WOOD “ “ 173 PERRY, lONE “ “ 174 PERRY, JOHN D “ “ 174 PERUGINI, CHARLES EDWARD “ “ 175 PERUGINI, MRS. C. E. (KATE DICKENS) “ “ 175 PESENTI, DOMENICO “ “ 176 PETERS, ANNA “ “ 176 PETERSEN, JOHN E. C “ “ 176 PETRI, HEINRICH “ “ 176 PETTENKOFEN, AUGUSTE “ “ 176 PETTIE, JOHN “ “ 177 PEYROL. See BONHEUR, JULIETTE Vol. I. Page 74 PFUHL, JOHANNES Vol. II. Page 178 PHELPS, W. P “ “ 178 PHILIPPOTEAUX, FELIX-ExMMANUEL-HENRI ... “ “ 178 PHILLIP, JOHN “ “ 179 PICKERSGILL, HENRY W “ “ 179 PICKERSGILL, HENRY H «' “ 180 PICKERSGILL, FREDERICK R “ “ 180 PICKNELL, W. L “ “ iso PICOT, FRANgOIS-EDOUARD “ “ 180 PIETRASANTA, ANGELO “ “ 181 PILLE, HENRI « “ i8i PILOTY, CARL THEODOR VON “ “ 181 PILS, ISIDORE ALEXANDRE AUGUSTIN “ “ 183 PILE, VINCENZ « « 1S4 PINWELL, GEORGE JOHN “ “ is.j PLACE, HENRI “ “ i85 PLASSAN, ANTOINE £MILB “ “ 185 PLASSMAN, ERNEST •< “ 185 PLOCKHORST, BERNHARD “ “ 186 POINTELIN, AUGUSTE-EMM.4NUEL “ “ 186 POITTEVIN, EUGENE LE “ “ 186 POLL.YSTRINI, ENRICO “ “ 186 POOLE, PAUL FALCONER “ “ 186 PORCELLl, ANTONIO “ “ 187 PORTAELS, JEAN FRANgOIS “ “ 187 PORTER, BENJAMIN CURTIS “ “ 188 xliv NAMES OF ARTISTS. POTT, L. J Vol. II. Page 188 POWELL, WILLIAM H “ “ 189 POWERS, HIRAM “ “ 189 POWERS, PRESTON “ “ 190 POWERS, LONGWORTH “ “ 191 POYNTER, EDWARD J “ “ 191 POZZI, FRANCESCO “ “ 192 PR.4D1LLA, F “ “ 192 PRATIRE, EDMOND DE “ “ 192 PREAULT, ANTOINE-AUGUSTIN “ “ 192 PRELLER, FRIEDRICH JOHANN C. E “ “ 193 PREYER, JOHANN WILHELM “ “ 193 PRINCETEAU, RENE " “ 194 PRINSEP, VALENTINE C “ “ 194 PRIOU, LOUIS “ “ 194 PROBST, KARL “ “ 195 PROTAIS, PAUL ALEXANDRE “ “ 195 PROUT, SAMUEL “ “ 196 PUGIN, EDWARD W “ “ 196 PUVIS DE CHAVANNES, PIERRE “ “ 196 PYE, JOHN “ “ 197 PYNE, JAMES B “ “ 197 QUARNSTROM, CARL GUSTAV “ “ 197 QUARTLEY, ARTHUR “ “ 198 RAABE, JOSEPH “ “ 198 RADCLYFFE, EDWARD “ " 198 RADFORD, EDWARD “ “ 198 RAFFET, DENIS-AUGUSTE-MARIE “ “ 199 RAHL, CHARLES “ “ 200 RAJON, PAUL-ADOLPHE “ “ 200 RAMSAY, MILNE “ “ 200 RANKLEY, ALFRED “ “ 200 RANVIER, VICTOR JOSEPH “ “ 201 RAPIN, ALEXANDRE “ “ 201 RAVEN, J. S “ “ 201 READ, THOMAS BUCHANAN “ “ 201 REAM, VINNIE (MRS. HOXIE) “ “ 202 REDGRAVE, RICHARD “ “ 202 REED, HELEN “ “ 203 REGNAULT, ALEXANDRE-GEORGES-HENRI “ " 203 REID, GEORGE “ “ 204 NAMES OF ARTISTS. xlv REID, ARCHIBALD D Vol.II. Page 205 REINHART, BENJAMIN FRANKLIN “ “ 205 REINHART, CHARLES S “ “ 206 REINHERZ, CONRAD “ • “ 206 RETHEL, ALFRED “ “ 206 REUSCH, FRIEDRICH “ “ 207 REVIERB, BRITON “ “ 207 RHOMBERG, HANNO “ “ 207 RIBERA, CARLOS LOUIS “ “ 207 RICARD, GUSTAVE “ “ 207 RICHARDS, T. ADDISON “ “ 208 RICHARDS, WILLIAM T “ “ 209 RICHARDS, ORREN C “ “ 210 RICHARDSON, T. M “ “ 210 RICHET, LEON “ “ 210 RICHMOND, GEORGE “ “ 21 1 RICHOMME, JULES “ “ 211 RICHTER, ADRIEN-LOUIS “ “ 21 1 RICHTER, GUSTAV “ “ 21 1 RIEDEL, AUGUST “ “ 212 RIEFSTAHL, WILHELM LUDWIG FRIEDRICH ... “ “ 212 RIESENER, LOUIS-ANTOINE-LEON “ “ 212 RIMMER, WILLIAM “ “ 212 RINEHART, WILLIAM HENRY “ “ 213 RITCHIE, ALEXANDER H “ “ 213 RIVALTA, AUGUSTO “ “ 213 ROBBE, LOUIS-MARIE-DOiMINIQUE-ROMAIN “ “ 214 ROBBE, HENRI “ “ 214 ROBBINS, HORACE W “ “ 214 ROBER, ERNST " “ 214 ROBER, FRITZ “ “ 215 ROBERT, LEO PAUL “ “ 215 ROBERT-FLEURY, JOSEPH-NICOLAS “ “ 215 ROBERT-FLEURY, TONY “ “ 215 ROBERTS, DAVID “ “ 215 ROBERTS, EDWARD J “ “ 216 ROBERTS, THOMAS “ “ 217 ROBERTS, HOWARD “ “ 217 ROBIE, JEAN-BAPTISTE “ “ 217 ROBINSON, JOHN HENRY “ “ 217 ROBINSON, THOMAS “ “ 218 ROBINSON, I. See MORRELL Vol. I. Page 132 RODAKOWSKI, HENRI Vol.II. Page218 xlvi NAMES OF ARTISTS. ROGERS, RANDOLPH Vol. II. Page 218 ROGERS, JOHN “ “ 219 ROGERS, FRANK WHITING “ “ 220 ROLFE, H. L “ “ 220 ROLL, ALFRED-PHILIPPE “ “ 220 ROMANELLI, P “ “ 220 ROMBERG, ARTHUR GEORG “ “ 221 RONNER, MME. HENRIETTE “ “ 221 RONOT, CHARLES “ “ 221 ROQUEPLAN, JOSEPH-fiTIENNE-CAMILLE “ “ 221 ROSALES, EDOUARD " “ 221 ROSEN, GEORGE, COUNT VON “ “ 222 ROSENTHAL, TOBY E " “ 222 ROSIER, AMEDEE “ “ 222 ROSS, SIR WILLIAM “ ' " 222 ROSS, ROBERT THORBURN “ “ 223 ROSS, ALFRED “ “ 223 ROSSEELS, JACQUES “ “ 223 ROSSETTI, DANTE GABRIEL “ “ 223 ROSS ITER, THOMAS P “ “ 224 ROSSITER, CHARLES “ “ 224 ROSSITER, MRS. CHARLES “ “ 225 ROTH, CHRISTIAN “ *' 225 ROTHERMEL, PETER F “ “ 225 ROUSSEAU, PHILIPPE “ “ 226 ROUSSEAU, THEODORE “ " 226 ROWBOTHAM, THOMAS L “ “ 227 ROWSE, SAMUEL W “ “ 227 RUBIO, LOUIS “ “ 227 RUDDER, LOUIS-HENRI DE “ 228 RUSKIN, JOHN “ “ 228 SAIN, fiDOUARD-ALEXANDRE " “ 230 SAINT-G AUDENS, AUGUSTUS “ “ 230 SAINTIN, JULES fiMILE “ “ 231 SAINT-JEAN, SIMON “ “ 231 SALENTIN, HUBERT “ “ 231 S.A.LMSON, HUGO " " 231 SALTER, WILLIAM “ “ 231 SAND, MAURICE (DUDEVANT) “ “ 232 S.\NDERSON, CHARLES ‘WESLEY “ “ 232 S.ANDYS, FREDERICK K “ " 232 SANGSTER, SAMUEL “ “ 233 names of artists. xlvii SANGUINETTI, ERANCESCO Vol. II. Page 233 SANSON, JUSTIN-CHRYSOSTOME “ “ 233 SANT, JAMES “ “ 233 SANTARELLI, EMILIO “ . “ 234 SARGENT, JOHN S “ “ 234 SARROCCHI, TITO “ “ 234 SARTAIN, JOHN “ “ 235 SARTAIN, WILLIAM “ “ 235 SARTAIN, EMILY " “ 236 SATTERLEB, WALTER “ “ 236 SAUX, DE. See BROWNE, MME. H Vol. I. Page 104 SCARAMUZZA, FRANCESCO Vol. II. Page 237 SCHADOW, FRIEDRICH WILHELM “ “ 237 SCHAMPHELEER, EDMOND DE “ “ 237 SCHAES, PROF. FERDINAND “ “ 237 SCHEFFER, ARY “ “ 237 SCHELFHOUT, ANDREW “ “ 239 SCHENCK, AUGUST-FREDERIC-ALBRECHT “ “ 239 SCHENDEL, PETRUS VAN " “ 240 SCHETKY, JOHN CHRISTIAN “ “ 241 SCHIEVELBEIN, FRIEDRICH ANTON HERMANN “ “ 241 SCHILLING, JOHANNES “ “ 241 SCHINKEL, KARL FRIEDRICH “ “ 241 SCHIRMER, GUILLAUME “ " 242 SCHLEICH, EDUARD “ “ 242 SCHLESINGER, HENRI GUILLAUME “ “ 242 SCHLOESSER, KARL “ “ 242 SCHMID, MATTIAS “ “ 242 SCHMIDT, MAX “ “ 243 SCHNORR VON CAROLSFELD, JULIUS VEIT HANS “ “ 243 SCHCENEWBRK, ALEXANDRE “ “ 243 SC HOLTZ, JULIUS “ “ 243 SCHORN, CHARLES “ “ 243 SCHRADER, JULES “ " 244 SCHREYER, ADOLPHE “ “ 244 SCHRCEDTER, ADOLF “ “ 245 SCHULZ, MORITZ “ “ 245 SCHUTZENBERGBR, LOUIS-FREDERIC “ “ 246 SCHWARZ, ALBERT “ “ 246 SCHWEINITZ, RUDOLF “ “ 246 SCHWIND, MORITZ LUDWIG (RITTER VON) “ “ 246 SCIFONI, ANATOLIO “ “ 247 SCOTT, SIR GEORGE GILBERT “ “ 247 xlviii NAMES OF ARTISTS. SCOTT, JULIAN Vol. 11. Page SEEL, AUOLE SEGfi, ALEXANDRE SEIFPERT, KARL FRIEDRICH SEISSER, MARTIN B SELL, CHRISTIAN SELLIER, CHARLES AUGUSTE SELLSTEDT, LARS GUSTAF SEMPER, GOTTFRIED SETTEGAST, JOSEF SHALDERS, GEORGE SHAPLEIGH, F. H SHATTUCK, AARON D SHAW, RICHARD NORMAN SHAW, ANNIE C SHIRLAW, WALTER SHUMWAY, HENRY C SHURTLEFF, R. M SIEGERT, AUGUST SIEMIRADSKY, HENRI SIGNOL, DMILE SILVA, FRANCIS A SIMART, PIERRE CHARLES SIMLER, FRIEDRICH KARL JOSEF SIMMONS, WILLIAM HENRY SUMMONS, FRANKLIN SIMONETTI, CAVALIERE ATTILIO SIMONSEN, NIELS SIMPSON, WILLIAM SINDING, OTTO SKILL, F. JOHN SKOVGAARD, PETER CHRISTIAN SLINGINEYER, ERNEST SMALL, WILLIAM SMART, JOHN SMILLIE, JAMES SMILLIE, JAMES D SMILLIE, GEORGE H SMIRKE, SIR ROBERT SMIRKE, SYDNEY SMITH, COLVIN SMITH, T. L SMITH, GEORGE :247 248 248 248 248 248 249 249 249 250 250 250 250 251 251 251 252 252 253 253 253 253 254 255 255 255 256 256 256 256 256 256 257 257 257 258 258 259 259 260 260 260 261 NAMES OF ARTISTS. xlix SMITH, A. CARY Vol. II. Page 261 SMITH, F. HOPKINSON “ “ 261 SMITH, FRANK HILL “ “ 262 SMITH, WILLIAM RUSSELL “ . “ 263 SOHN, KARL FERDINAND “ “ 263 SOLOMON, ABRAHAM “ “ 263 SONNTAG, WILLIAM LOUIS “ “ 263 SORENSEN, C. F “ “ 264 SOUMY, JOSEPH-PAUL-MARIUS “ “ 264 SPANGENBERG, GUSTAV ADOLF “ “ 264 SPARTALI, MARIE (MRS. W. J. STILLMAN) “ " 263 SPENCER, FREDERICK R “ “ 266 SPBRTINI, GIOVANNI “ “ 266 SPREAD, HENRY F “ “ 266 SPRING, EDWARD A “ “ 266 SPROSSE, CARL “ “ 267 STACQUET, N “ “ 267 STAIGG, RICHARD M “ “ 267 STALLAERT, JOSEPH “ “ 268 STANFIELD, CLARKSON “ “ 268 STANFIELD, GEORGE C “ “ 268 STANHOPE R. SPENCER “ “ 269 STEBBINS, EMMA “ “ 269 STEELL, SIR JOHN “ “ 269 STEELL, GOURLAY “ “ 270 STEFFECK, KARL CONSTANTIN HEINRICH “ “ 270 STEINBRUCK, EDUARD “ “ 270 STEINHEIL, LOUIS-CHARLES-AUGUSTE “ “ 270 STEINLE, EDUARD “ “ 271 STEPHENS, EDWARD B “ “ 271 STEVENS, JOHN “ » 271 STEVENS, ALFRED {Brit.) “ “ 171 STEVENS, JOSEPH “ “ 272 STEVENS, ALFRED {Belgian) “ “ 273 STEVER, GUSTAV CURT “ “ 273 STOCKS, LUMB “ “ 274 STONE, PRANK “ “ 274 STONE, HORATIO “ “ 274 STONE, WILLIAM OLIVER “ “ 274 STONE, MARCUS “ “ 275 STONE, J. M “ “ 275 STORELLI, FELIX-MARIE-FERDINAND “ “ 276 STOREY, GEORGE ADOLPHUS " “ 276 1 NAMES OF ARTISTS. STORY, WILLIAM W Vol. 11. Page 277 STORY, GEORGE H “ “ 277 STRAZZA, GIOVANNI “ “ 278 STREET, GEORGE EDAIUND “ “ 278 STROEBEL, J. A. B “ “ 278 STROOBANT, FRANCOIS “ “ 278 STURAI, FRIEDRICH LUDWIG CHRISTIAN “ “ 278 SULLY, THOMAS “ “ 279 SUNOL, GERONIMO “ “ 279 SUSSMANN, HELLBORN LOUIS “ “ 279 SUYDAM, JAMES A “ “ 279 SWERTCHKOW, NICOLAS “ “ 280 SYLVESTRE, JOSEPH-NOEL “ “ 2S0 TADOLINI, ADAM SCIPIONE “ “ 280 TADOLINI, SIGNORA “ “ 2S1 TAIT, ARTHUR F “ “ 281 TAIT, JOHN R “ “ 281 TANTARDINI, ANTONIO “ “ 282 TARDIEU, PIERRE-ALE.YANDRE “ “ 282 TATKELEFF, VOGISNY “ “ 283 TAYLER, FREDERICK “ “ 284 TAYLER, NORMAN “ “ 284 TENERANI, PIETRO “ “ 284 TEN KATE, HERMANN FREDERIC KARL “ 284 TENNANT, JOHN “ “ 28.5 TENNIEL, JOHN “ “ 285 TERRY, LUTHER “ “ 285 TESCHENDORFF, EMIL “ “ 285 THACKERAY, WILLIAM M “ “ 285 THAYER, ABBOTT H “ “ 286 THEED, WILLIAAI “ “ 287 THIRION, EUGfiNE-ROMAIN “ “ 287 THOAI, JAMES CRAWFORD “ “ 287 THOMAS, JOFIN EVAN “ “ 288 THOMAS, WILLIAM CAVE “ “ 288 THOMAS, GABRIEL-JULES “ “ 288 THOMAS, GEORGE H “ 289 THOMPSON, CEPHAS G “ “ 289 THOMPSON, JEROME “ “ 290 THOMPSON, LAUNT " “ 291 THOMPSON, A. AVORDSWORTH “ “ 291 THOAIPSON, ELIZABETH (AIRS. BUTLER) “ “ 292 NAMES OF ARTISTS. li THOMPSON, ALBERT Vol. II. Page 293 THORBURN, ROBERT “ “ 293 THORNDIKE, G. QUINCY “ “ 294 THORNYCROFT, MARY “ . “ 294 THORNYCROFT, THOMAS “ “ 295 THORNYCROFT, HAMO “ “ 295 THORNYCROFT, HELEN “ “ 295 THORNYCROFT, THERESA “ “ 295 TIDEMAND, ADOLPHE “ “ 295 TIDEY, ARTHUR “ “ 295 TIDEY, HENRY “ “ 296 TIECK, CHRISTIAN FREDERIC “ “ 296 TIFFANY, LOUIS C “ “ 296 TILTON, JOHN ROLLIN “ “ 297 TIMB.\L, LOUIS CHARLES “ “ 298 TISSOT, JAMES “ “ 298 TITE, SIR WILLIAM “ “ 299 TOLLES, SOPHIE MAPES “ “ 299 TOMPKINS, CLEMENTINA M. G “ “ 299 TO PHAM, FRANCIS WILLIAM “ “ 300 TOPHAM, FRANCIS W. W “ “ 300 TORELLI, LOT " “ 300 TOUDOUZE, fiDOUARD “ “ 300 TOULMOUCHE, AUGUSTE “ “ 300 TOURNEMINE, CHARLES EMILE VACHER DE... “ “ 301 TRAUTMANN, KARL FRIEDRICH “ “ 301 TRIGT, H. A. VAN “ “ 301 TRIQUETI, HENRI DE “ “ 301 TROTTER, NEWBOLD 11 “ “ 301 TROYON, CONSTANT “ “ 301 TRUBNER, WILHELM “ “ 303 TRUMBULL, GURDON “ “ 303 TRYON, BENJAMIN F “ “ 303 T’SCHAGGENY, CHARLES PHILOGflNE “ “ 303 T’SCHAGGENY, EDMOND “ “ 304 TUCKERMAN, S. S “ “ 304 TURCAN, JEAN “ “ 304 TURNER, JOSEPH M. W “ “ 304 TURNER, WILLIAM GREEN “ “ 307 TWACHTMAN, J. H “ “ 307 ULIVI, PIETRO “ “ 307 ULMANN, BENJAMIN “ “ 307 lii NAMES OF ARTISTS. UNGER, WILHELM Vol. II. Page 307 USSI, COMMANDER STEFANO “ “ 308 UWINS, THOMAS “ “ 308 VAINI, PIETRO “ “ 308 VALERIO, THEODORE “ “ 309 VALLANCE, 'VV. F “ “ 309 VALLES, LORENZO “ “ 309 VAN ELTEN, KRUSEMAN “ “ 309 VAN HOVE, VICTOR “ “ 310 VAN LERIUS, JOSEPH HENRI FRANQOIS “ “ 310 VAN LUPPEN, G. J. A “ “ 311 VAN MARCKE, EMILE “ “ 311 VANNUTBLLI, CAVALIERE SCIPIONE “ “ 311 VARLEY, JOHN “ “ 311 VARLEY, CORNELIUS “ “ 311 VARLEY,v M-ILLIAM FLEETWOOD “ “ 311 VARNI, SANTO “ “ 312 VASSELOT, ANATOLE MARQUET DE “ “ 312 VAUDREMER, JOSEPH-AUGUSTE-fiMILE “ “ 312 VAUREAL, HENRI DE “ “ 312 VAUTIER, BENJAMIN “ “ 313 VEDDER, ELIHU “ “ 313 VEIT, PHILIP “ “ 314 VELA, VINCENZO “ “ 314 VELY, ANATOLE “ “ 314 VERA, ALEJO “ “ 315 VERBOECKHOVEN, EUGENE JOSEPH “ “ 315 VERBOECKHOVEN, CHARLES-LOUIS “ “ 315 VERHAS, JAN “ “ 315 VERHEYDEN, ISIDOR “ “ 315 VERLAT, CHARLES “ 315 VERNET, EMILE-JEAN-HORACE “ “ 316 VERNON, THOMAS “ “ 320 VERON, ALEXANDRE RENE “ “ 320 VERTUNNI, ACHILLE “ “ 320 VERVEER, SAMUEL LEONIDAS “ “ 321 VETTER. JEAN HEGESIPPE “ “ 321 VEYRASSAT, JULES JACQUES “ “ 322 VIBERT, JEHAN GEORGES “ “ 322 VINCK, FRANZ “ “ 325 VINTON, FREDERICK PORTER “ “ 325 VIOLLET-LE-DUC, filTENNE ADOLPHE “ “ 326 NAMES OF ARTISTS. liii VIRY, PAUL Vol. II. Page 326 VOGEL VON VOGELSTEIN, KARL CHRISTIAN ... “ “ 326 VOILLEMOT, ANDRE-CHARLES “ “ 326 VOLK, LEONARD W “ ' “ 326 VOLK, DOUGLAS “ “ 327 VOLLON, ANTOINE “ “ 327 VOLTZ, FRIEDRICH JOHANN “ “ 328 VON SEVERDONCK, J “ “ 328 VOSS, MARIA “ “ 328 VRIENDT, JULIAN DE “ “ 328 VRIENDT, ALBRECHT DE “ “ 328 WACH, KARL WILHELM “ “ 328 WAGNER, FERDINAND “ “ 329 WAGNER, ALEXANDER “ “ 329 WALDO, SAMUEL “ “ 329 WALDORP, ANTOINE “ “ 330 WALKER, FREDERICK “ " 330 WALLACE, WILLIAM “ “ 330 WALLER, FRANK “ “ 331 WALTER, THOMAS N “ " 331 WALTON, ELIJAH “ “ 331 WARPERS, EGIDE-CHARLES-GUSTAVE, BARON... “ “ 331 WARD, EDWARD M “ “ 332 WARD, HENRIETTA " “ 333 WARD, JOHN Q. A “ “ 334 WARD, EDGAR M “ “ 334 WARNER, OLIN L “ “ 335 WARREN, HENRY “ “ 335 WARREN, EDMOND G “ “ 335 WASSON, GEORGE S “ “ 335 WATERHOUSE, ALFRED ‘‘ “ 336 WATERMAN, MARCUS “ “ 336 WATSON, JOHN D “ “ 336 WATSON, THOMAS H “ “ 336 WATT, JAMES HENRY “ “ 337 WATTER, JOSEF “ “ 337 WATTS, GEORGE F “ “ 337 WAUTERS, CHARLES AUGUSTIN “ " 338 WAUTERS, Emile Charles “ “ 338 WAY, A. J. H “ “ 338 WEBER, AUGUST “ “ 339 WEBER, P.XUL “ “ 339 liv NAMES OF ARTISTS. WEBER, OTTO Vol. II. Page 339 WEBSTER, THOMAS “ “ 340 WEEKS, HENRY “ “ 340 WEEKS, E. L “ “ 341 WEGENER, JOHANN FRIEDRICH WILHELM “ " 341 WEIR, ROBERT W “ “ 342 WEIR, JOHN F “ “ 342 WEIR, JULIAN ALDEN “ “ 343 AVELLS, HENRY T “ “ 343 WELLS, JOHANNA MARY “ “ .344 WENCKER, JOSEPH “ “ 344 WERNER, ANTON VON “ “ 344 AVEST, PETER B “ “ 344 AVESTMACOTT, RICHARD “ “ 345 AVHARTON, P. F “ 345 AVHISTLER, JAMES ABBOTT M'NEILL “ “ 345 WHITE, JOHN BLAKE “ “ 34? WHITE, EDAVIN “ “ 348 AVHITEHOUSE, JAMES “ “ 349 AVHITTREDGE, AVORTHINGTON “ “ 349 WICIBIANN, LUDWIG-AYILHELAI “ “ 350 WICHMANN, OTTO GOTTFRIED “ “ 350 AVIEDER, WILHELM “ “ 350 WIEGMANN, MARIE ELISABETH {nee HANCKE) “ “ 350 AVIGHT, MOSES “ “ 351 WIGHT, PETER B “ “ 351 AVILES, LEAIUEL M “ “ 351 AVILKIE, SIR DAVID “ “ 352 AVILLEAIS, FLORENT “ “ 352 AVILLENICH, MICHEL “ “ 353 AVILLIAMS, PENRY “ “ 353 WILLIAJIS, ISAAC L " " 353 AVILLIAMS, FREDERICK D “ ‘‘ 353 WILLIAMS, MRS. FREDERICK D. {nee LENT) " “ 354 WILLIAMSON, DANIEL ALE.KANDER “ “ 354 AVILLIAMSON, JOHN “ “ 3.54 AVILLIS, HENRY BRITTAN “ “ 354 AVILLAIORE, JAMES T “ “ 355 WILLMORE, A “ “ 355 WILMARTH, LEMUEL E “ “ 355 WILMS, PETER JOSEF “ “ 356 AVINNE, LIE V IN DE “ “ 356 WINTER, L. DE “ “ 356 NAMES OF ARTISTS. Iv WINTEK, PHARAON-ABDON-LfiON DE Vol. II. Page 356 WINTERHALTER, FRANgOIS XAVIER “ “ 356 WINTZ, GUILLAUME “ “ 357 WISLICENUS, HERMANN “ . “ 357 WITHERINGTON, WILLIAM FREDERICK “ “ 358 WITTIG, HERMANN FRIEDRICH “ “ 358 WITTIG, FRIEDRICH AUGUST “ “ 358 WOLF, EMIL “ “ 358 WOOD, JOHN “ “ 359 WOOD, GEORGE B., Je “ “ 359 WOOD, MARSHALL “ “ 359 WOOD, THOMAS W “ “ 359 WOODINGTON, WILLIAM F “ “ 360 WOOLNER, THOMAS “ “ 361 WORMS, JULES “ “ 361 WORTH, THOMAS “ “ 361 WRIGHT, RUFUS “ “ 362 WRIGHT, F. E “ “ 363 WYANT, A. H “ “ 363 WYATT, SIR MATTHEW DIGBY “ “ 363 WYBURD, FRANCIS JOHN “ “ 364 WYLIE, ROBERT “ “ 364 WYLLIE, W. L “ “ 364 WYNFIELD, DAVID W “ “ 365 XYLANDER, W “ “ 365 YARZ, EDMOND “ “ 365 YEAMES, WILLIAM FREDERICK “ “ 366 YELLAND, R. D “ “ 366 YEWELL, GEORGE H “ “ 367 YON, EDMOND-CHARLES “ “ 367 YOUNG, JAMES HARVEY “ “ 367 YOUNG, HARVEY “ “ 368 YVON, ADOLPHE “ “ 368 ZACHARIE, PHILIPPE-ERNEST “ “ 368 ZAMACOiS, EDOUARD “ “ 368 ZETTERSTROM, MME. M “ “ 370 ZEZZOS, ALESSANDRO “ “ 370 ZIEM, FELIX “ “ 370 ZIER, fiDOUARD “ “ 372 ZIMMERMANN, ALBRECHT “ “ 372 Ivi NAMES OF ARTISTS. ZOCCHI, EMILIO Vol. II. Page 372 ZUBER, JEAN-HENRI {Alsatian) “ “ 372 ZUBER-BUHLER, FRITZ “ “ 372 ZUCCOLI, LUIGI “ “ 372 ZtiGEL, HEINRICH JOHANN “ “ 372 ZULIANI, JEAN “ “ 372 ZUMBUSCH, CASPAR " “ 372 ZWIRNER, ERNEST-FREDERIC “ “ 373 AUTHORITIES CONSULTED. American Engravers and their Works. Benjamin’s Contemporary Art in Europe. English Artists of the Present Day. English Painters of the Present Day. Great American Sculptors. Hamerton’s Thoughts about Art. Hamerton’s Painting in France. Hamerton’s Contemporary French Painters. Hamerton’s Etching and Etchers. Jarves’ Art Idea. Jarves’ Art Thoughts. Men of the Time. Mrs. Tytler’s Modern Painters. Ottley’s Living and Recent Painters. Smith’s Art Education. . Tuckerman’s Book of the Artists. Wornum’s Epochs of Painting. Appletons’ Art Journal. London Art Journal. The Portfolio. Magazine of Art. Palgrave’s Essays on Art. Redgrave’s Century of Painters. Ruskin’s Academy Notes. Ruskin’s Modern Painters. Taine’s Notes on England. Atlantic Monthly. London Athenajum. Atkinson’s Northern Capitals of Europe. Nichols’ Art Education. Weir’s Official Report of the American Centennial Exhi- bition. Iviii AUTHORITIES CONSULTED. Keport of the United States Commissioners at Vienna. Mario Froth’s Voyage ah Pays des Peintres. Chesnead’s Chefs d’Ecole. L’Illustration. Gazette des Beaux-Arts. L’Art. Galerie Contemporaine, Litt^raire, Artistique. Revue des Deux Mondes. Cherbuliez’ Litt^rature et Art. Charles Blanc’s Les Artistes de mon Temps. Claretie’s Artistes Contemporains. T. Gautier’s Salon de 1861. E. About’s Salon de 1864. Roma Artistica. Die KUnstler allep. Zeiten und Volker, von Professor Fr. Muller. Ansichten uber die Beldenden Kunste von einem Deutschen K iiNSTLEP. IN Rom. Die Deutsche Kunst in unserem Jahrhundert, von Dr. Hagen. Die KtiNiGLiCHE Kunstakademie in Dusseldorf, von "Wiegmann. Zeitschrift fur Bildende Kunst. Gegenwart. Bryan, Vapereau, Bitard, Nagler, Larousse, and m-vatt other Dictionaries and Encyclopa;dias. ARTISTS OF THE NINETEENTH CENTURY. Jackson, John Adams. {Am.) Bom in Bath, Me., 1825. Pupil, when quite young, of D. C. Johnston of Boston. After a careful study of linear and geometrical drawing, he gave some time to working in crayons, and later made some successful portraits in this manner. At Paris he studied anatomical drawing from life in the famous school of M. Suisse. In 1851 Jackson executed some fine portrait busts. That of W ebster was made from medals and portraits furnished by his fam- ily. At Florence, in 1853, he modeled portrait busts of Miss Ade- laide Phillips, T. Buchanan Read, etc. In 1854, in Paris, he modeled his bust of Judge Mason, United States Ambassador to France, and during the same year in Boston he made the bust of Wendell Phillips, now in the Boston Athenseuni ; that of George S. Hillard, for the New York Historical Society ; and that of Rev. Dr. Lyman Beecher, now owned by Rev. H. W. Beecher. In 1858 Jackson removed to New York, and there modeled ideal subjects as well as those from life, in- cluding his bust of T. Buchanan Read, for the Union League Club of Philadelphia. In 1860 he received a commission from the “ Kane Monument Association ” for a statue of the arctic voyager, to be made in bronze ; his model was unanimously accepted by the committee, and the sculptor went to Florence to attend to the making of the figure. Since that time Florence has been his home. In 1862 Jackson mod- eled his group of “ Eve and the Dead Abel,” which (in marble) belongs to Mr. W. G. Morehead of Philadelphia. This work has been much praised by English and Italian art critics. Charles J. Heinans made a careful analysis of it, and Dr. Arrowsmith, an English surgeon, wrote an essay on it, giving the connection in it of anatomy and physiology, and “ showing how the artist had in this group expressed the very subtle truths of organization and pathology.” Following this work, the artist made a statue of “ Autumn,” for Mr. Tirrell of Weymouth ; “ Cupid stringing his Bow,” for Mr. Watson of New York ; “ Titania and Nick Bottom,” a small group in bronze, for Mr. Thomas Williams of London ; “ Cupid on a Swan ” (marble), for Mr. H. Clarke of Bel- mont ; the “ Culprit Fay,” for Mr. S. D. Warren of Boston, of which several copies have been made for England and the United States ; a bust called “ Peace,” for Mr. Whidden of Philadelphia, and another VOL. II. 1 A 2 ARTISTS OF THE NINETEENTH CENTURY. called “ Dawn,” for Mr. Theron Shaw of Boston. The last has been often repeated. Jackson has made many portrait busts (havim^ finished one hundred) and medallions. Among the latter is one called the “ Morning-Glory,” which has been fourteen times reproduced in marble. In 1867 Jackson visited New York, and modeled for the “ Croton Water-Board ” a group of figures, and several sin-de figures, to be cast in bronze and placed on the southern gate-house of the Eeservoir at Central Park. The design was approved and the contract signed for the work. These statues have not yet been cast, but an engraving of the central group appears on the bonds issued by the Board. In 1869 the artist modeled his statue of the “ Beading Girl,” belonging to Mr. Aaron Healy of Brooklyn. In the Berlin “ Zeitung” Dr. Hans Semper published an article upon this work, which he highly praised. At Vienna, in 1873, was seen the “ Musi- dora,” belonging to Mr. Clarke of New York, of which Mr. Gordon McKay of Cambridge has a fine copy, one third reduced in size. This statue was exhibited for a few clays in New York, and was as much admired as it had been in Florence before it left the artist’s studio. In 1874 the Soldiers’ Monument at Lcmn was erected. In this kir. Jackson represented the city as a woman with one hand resting on a shield, while with the other hand she bestowed the laurel wreath ; the shield bearing the city’s coat of arms. Below this figure are two others, “Justice” and “War,” the latter at rest with arms reversed. The monument is of granite, and the figures of bronze. In 1875 was modeled a “Hylas”; and following that, “ II Pastorello,” W'hich is a group in marble, representing an Abruzzi peasant-boy with his goat. It has been sold to Mr. Ne^dns of New York. It is very spirited, full of grace as well as life. It has a peculiar interest, since it faithfully represents the artistic Abruzzi costume, which is rapidly disappearing, and is much regretted by all lovers of the pictu- resque. Of the “ Abel and Eve ” the Boston Transcript said, — “ The more we study this group the more we find in it to admire. The fine conception is fully carried out in the details. The composition is admirable, viewed from any direc- tion, — a rare accomplishment in a work of this kind. Eve rests on one knee, and on the other she siipports the inanimate form of Abel, which she is supposed to have just discovered. Her left hand is under his drooping head, while in her right hangs his life- less wrist Her head is bent towards his wdth a gaze in which curiosity, uncertainty, and anxiety are mingled. The form of Eve is an exquisite piece of modeling. It is full of action, and yet pervaded with grace. The back is especially fine. It would seem as if the very marble itself felt the coming revelation, which is to prostrate the desolate heart of the first mother. The head is also an exquisite piece of chiseling, and we would call particular attention to the hair and the ivy (a happy suggestion of woman’s first at- tempt to adorn herself) which binds it ; the mastery of which sculptors know to be a difficult task. We have rarely seen hail- so faithfully .and beautifully done. The form of Abel is very bold in its conception. It is dead beyond any hope of recovery ; and yet, through the magic of the sculptor’s art, it excites only tender and pleasing emotions. The hand of the boy, and that of Eve which holds it, are worthy the most critical study of both the artist and anatomist. They form a group in tliemselves. The droop- ing left arm of Abel is equally successful. The anatomy of the entire group is per- ARTISTS OF THE NINETEENTH CENTURY. 8 feet ; we have lieard professional anatomists speak on tliis point in terms of the highest admiration.” Mr, Jackson is now engaged in modeling another group of “ Eve and Ahel/^ in which the form is so changed that it is the same only in name. He intends to make it bis cajpo d! opera. It has already been much praised by critics and connoisseurs who have seen the model. “ Mf-. J. a. Jackson’s Musidora. — Several years ago a group in statuary, ‘ Eve and Abel/ by Mr. J. A. Jackson, was exhibited in this city, and was much admired. It made a real impression. The critics of the day were enthusiastic over it. The artist com- pleted it in Florence, where he had lived some years, and where he now resides. After the Vienna Exposition he sent to this country a life-sized statue, ‘ Musidora, which had been exhibited there. For a short time it was shown in New York, and was sold, but not before its superior merits had made for it many friends among the artists and lovers of art. Some timeafter, Mr. Jackson reproduced this work in marble, two thirds life-size, and this work is now owned by Mr. McKay of Cambridge, who certainly is to be congratulated upon the possession of it. The story of Musidora and her lover Damon, told in the ‘Summer* of Thomson's ‘Seasons,* gave Mr. Jackson the suggestion. He has taken the moment when Musidora, standing in the lilies by the pool, nude, ready for the bath, is startled by the noise of her retreating lover, who, half angry with her, una- ware of her approach, had been musing in a pet under the hazels near by. She leans forward, listening in the attitude of surprise, with left hand and arm uplifted, and the right suiiporting the drapery. The weight of the body is thrown to tlie left. The figure is that of a lovely young girl, beautiful in face and form, and graceful in action. The conception is a most fortunate one, and in the embodiment of it the artist has made a gratifying success. He has given the figure a pose which is full of natural grace and charming in its suggested action. The symmetry of a beautiful form is well displayed under conditions where it is easy to offend, and where a hand that was not guided by refinement or was wanting in that confidence in modeling which is the result of conscien- tious study of anatomy, would liave failed. It is altogether a work of great merit, and as a credit to American art ought to be better known. ” — J. B. Millet, in Boston Daily Advertiser, October 28, 1878. Jacob, Julius. (Gcr.) Born at Berlin, 1811. Medals at Paris, Lyons, and Rouen. Member of many artistic societies. Studied under Wach at the Diisseldorf Academy, and later in Paris under Delaroche. He traveled extensively in Europe, and visited Asia and Africa. From all these journeys he brought back twelve hundred sketches of landscapes, and more than three hundred heads, copied from famous pictures. Among his works are a “ Scene from the Life of Saint-Louis,” “Artist Life,” etc. In 1844 he went to England and remained eleven years, — his portraits were much admired, and he made a fortune by them. He afterwards traveled in the South of Europe, and went to Vienna, where he made likenesses of many eminent persons, Metternich, Sohwarzenberg, Lichtenstein, etc. He worked with great rapidity, and finished twenty-six portraits in a single year. In 1866, on account of the war, he returned to Berlin. In the National Gallery of Berlin is a study of men’s heads by Jacob. At Berlin, in 1876, be exhibited “ Steinfeld von Sorrent ” and “ Aus der Mark.” Jacobs, Jacques- Albert- Michel. {Belgian.) Born at Antwerp, 4 ARTISTS OF THE NINETEENTH CENTURY. 1812. Officer of the Order of Leopold. Member of the Royal Academy of Belgium. Pupil of F. de Braekeleer. Traveled in the East. Paints landscapes and marines. At the National Gallery, Berlin, is his “ Grecian Archipelago.” Jacomin, Alfred-Louis. {Fr.) Born at Paris. Pupil of his father. Medal at Philadelphia, where he exhibited “ Bilboquet and his Companion ” and “ An Armorer of the Seventeenth Century.” At Paris, in 1877, was “ A Baptism ” ; in 1878, “ The Magic Mirror.” Jacquand, Claudius. {Fr.) Born at Lyons, 1805. Chevalier of the Legion of Honor and of the Order of Leopold. Pupil of the Academy of Lyons and of Fleury-Richard. His motives are hLstor- ical. A number of his works have been bought by the Ci'vil List; His “Amende Honorable, — Scene in a Convent” (1853) is in the Luxembourg. His portraits are numerous and excellent. The “ Tak- ing of Jerusalem” is at Versailles. Among his other works are, “ Bonaparte at Nice,” “ The Last Interview of Charles 1. and his Children,” “ The Ransom of a Sicilian Family captured by a Morocco Pirate,” “The Death of Joseph,” “Christopher Columbus about to die requests his Son to bury with him the Chains which he had worn,” etc. His picture of “ William the Silent ” was exhibited in Boston by Williams & Everett in the winter of 1878. Jacque, Charles Emile. {Fr.) Born at Paris, 1813. Chevalier of the Legion of Honor. When seventeen years old he studied with a geographical engraver, but a little later enlisted as a soldier and re- mained seven years in the army. He then resumed his engraving, and worked two years in England as a draughtsman on wood. He may be characterized as a rustic artist. His knowledge of sheep and poul- try (of which last he is a fancier and breeder) is simply perfect, and he has been called “ le Raphael des Pourceaux ” from his exact acquaintance with pigs. He has been much in Burgundy, and his pictures of life there are marvelous in their minute representation, not only of the larger objects, but of details ; of the utensils, implements, and all the picturesque peculiarities of that charming country. One cannot always praise the color of this painter, and for this reason many connoisseurs rank his etchings higher than his paintings. A catalogue of Jacque’s engravings, numbering four hundred and twenty, was made by il. Guiffrey. Many stories are told of his buying an old shepherd dog for a model, of his giving a new wheelbarrow for a broken, weather-stained one, etc., to the astonishment of the peasantry at Barbizon, where he built a little house and a big studio, and could, in that country, indulge his love for all that the word “ rustic ” can sug- gest. His earlier pictures, like his etchings, were small ; but he has painted larger ones ; of which “ A Landscape with a Flock of Sheep ” (1861) is at the Luxembourg. He has sent nothing to the Salons since 1870; then he exhibited “ The Border of a Wood with Ani- mals ” and “ The Interior of a Sheepfold.” Jacque has made many ARTISTS OF THE NINETEENTH CENTURY. 5 designs for book illustrations, and by contributions to “ Charivari ” lias shown himself a good caricaturist. Some of his etchings form delightful series, and are much prized by collectors. The proofs of several of his prints are exceedingly rare. At a Paris sale in 1872 “A Girl Knitting ” sold for £ 164. Several excellent works by this artist, showing the manner of his different periods, are in the Walters Gal- lery at Baltimore. “ If the pittorcsque did not exist in the French language, one w'ould have to in- vent it for the works of Charles Jacque ; and what is the picturesque, if not the senti- ment of life in its most familiar form ? When a painter shows me a idow in the fields, a pail near a well, a pot in a kitchen, a lantern in a garret, I ought to understand that these are common objects, frequently used, and not brand-new things just out of a shop. Of course the form would be the same, but the expression would be different ; and the expression conveys the charm of a rustic scene by giving us the illusion of reality. Why have Charles Jacque’s works such a powerful charm ? It is because they always show us things or persons such as they are in nature : because he studies them in the course of their usual life and avocations ; and because this sincerity carries us without effort to the scene that he chooses to represent. Who knows better than he how to paint or draw hens perched on a cart, ducks dabbling in a pond, sheep in search of grass, children rambling about the fields instead of going to school, a servant washing clothes, a plow under a shed? His inns, his farms and i)Oultry j’ards, his village streets, his skirts of forest ; his old walls, full of crevices, of stains of damp or crumbling plaster; his barns, with cobwebs hanging from their ceilings, charm us precisely because the painter has not recourse to any tricks, but merely tells us, in his plastic language, the things that he saw, observed, and studied in the country.” — Ken^: Menard, The Portfolio, Septem- ber, 1875. “ But it is necessary, injustice, to say that the pictures of Charles Jacque represent him quite unfairly, and that his knowledge of nature and fine artistic sensibility are both neutralized on canvas by his congenital incapacity to see color. His greens are as crude as the worst English greens, and crude, if possible, in a more hopeless way ; for English crudity in very many cases is nothing but a vain attempt to render natural biilliance, resulting from an extreme sensitiveness uncontrolled by science ; whereas the crudity of Charles Jacque is not due to sensitiveness at all, but to mere blindness. His ordinar}^ gamut of color — one cannot call it a harmony — is limited to these raw greens, and a set of grays equally raw, passing into lead-color of the most unpleasant hue. Wlien the greens are absent, as they are from some pictures, they are replaced by dirty browns, not less crude in reality, though the crudity of browns is not so generally recognized as that of greens. But when Charles Jacque is free from the embarrassment of color, as in his etchings, or the lithographs and photograi>hs from his pictures, he is often one of the most charming of French artists.’* — P. G. Hamerton, Contemporary French Painters. Jacquemart, Henri Alfred. {Fr.) Bom at Paris, 1824. Cheva- lier of the Legion of Honor. Pupil of Paul Delaroche. This sculp- tor executed the two Griffons of the Fontaine du Saint Michel. He directed the restoration of the Fontaine de la Victoire, and has done other public works at Paris. At the Salon of 1877 he exhibited “A Camel-Driver of Asia Minor” (group in plaster) and a “Young Wood-Gatherer.” His portrait busts and statues are numerous ; among them are several equestrian statues. Many of his subjects represent animal life. Jacquemart, Jules Ferdinand. {Fr.) Born at Paris, 1837. 6 ARTISTS OF THE NINETEENTH CENTURY. Chevalier of the Legion of Honor, and of the Order of Francis Joseph. Son of Albert Jacquemart, a man of letters. Some of the best etchings of the son were executed for the illustration of the works of the father. This artist is inimitable as an engraver of stiU-life ; as a reproducer of pictures he is not remarkable. His chefs-d’auvre are the illustrations of the “ History of Porcelain,” by his father, and those for “ The Gems and Jewels of the Crown.” Jacquemart is one of the Committee of Fine Arts of International Expositions. “ I never knew the glory and beauty of noble old work in the precious stones and metals, till Jules Jacquemart taught me. The joyaux of the Louvre were familiar to me, but a veil hung between me and their true splendor ; and it was only when Jacquemart had etched them one by one that I learned to know them truly.” — P. G. Hamerton, Etching and Etchers. Jacquemart, Mile. Ndlie. (Fr.) Born at Paris. Three medals at Paris, 1868, ’69, and ’70. Portrait-painter. This artist early showed her talent, has been very successful in her profession, and has the power to make warm friends of her subjects and patrons. At the Salon of 1877 she exhibited a portrait of General d’Aurelle de Pala- dines, and one of the Viscount Henry G. ; in 1876 those of Gen- eral de Palikao and of Count de Chambrun ; in 1875, portraits of two gentlemen and one lady ; in 1874, three portraits ; in 1873, por- traits of M. Dufaure and of the Marquise A. de C. ; in 1872, M. Thiers, President of the Eepublic ; in 1870, Marshal Canrobert and a lady. “ One feels that this artist does not take her inspiration alone from the sittings of her subjects, but that she finds the best part of her work in her knowledge of character, and from her close study of the pcrsonelle of those whom she portrays.** — Paul d’ Arrest, Zeitschrift fiir bildende Kunst, 1875. Jacquesson de la Chevreuse, Louis. {Fr.\ Born in Toulouse, France, 1840. His family belonged to the ancient French nobility, and their estate in St. Domingo was confiscated by Napoleon I. The young Louis consequently was of necessity educated for an indepen- dent career. Having strong musical and artistic tastes, he entered the Conservatory of Toulouse, and carried away the first prize of that institution at the age of fourteen. Later he was sent to Paris to study painting, and entered the studio of Flandrin. Subsequently he be- came one of the favorite pupils of Ingres. At this time the master was too old to teach in his studio, but gave to Jacquesson the entree into his private chamber, where frequently in his bed Ingres poured into the willing ears of his fortunate pupil the principles and thoughts of his long life and great experience. In consequence of these advan- tages, Jacquesson is said to have been imbued more deeply with the grand ideas of Ingres than any other artist in France. In 1865 he competed for the grand prix de Rome, although quite unprepared for the task. Jacquesson at this time was but twenty-five, and heretofore students of thirty had been admitted to this competition, but a new rule i'orced him to enter then or never. In addition to this he w.os dis- ARTISTS OF THE NINETEENTH CENTURY. 7 abled by illness, and his picture was not finished in time, although, it won the second prize and was purchased by the government for 2,000 francs. Soon after this he opened a studio in Paris for the reception of pupils, of which one of his students writes : “ The serious work required, and lofty principles inculcated, have stood in the way of its becoming the resort of the average rapin. It is not a popular studio, one to which the masses flock.” A number of Americans have been among his pupils. He has so devoted himself to his classes that his own work has seriously suffered, although he has painted a number of fine portraits. Jacquet, Jean Gustave. (Fr.) Born at Paris, 1846. Medals in 1868 and ’75. Pupil of Bouguereau. He made his debut at the Salon of 1865 with two pictures, “ Modesty ” and “ Sadness.” His picture of “The Call to Arms” (1867) attracted much attention. Edmond About said : “ Behold an artist, unknown to-day, who will be cele- brated to-morrow.” His “ Sortie de Lansquenets” of 1868 was bought by the State, and is at the chateau of Blois. Jacquet has traveled in Italy, Germany, and England. His pictures are in demand and bring good prices. He is fond of all the objects which collectors love, and his atelier is rich in tapestry, stuffs, arms, drai^eries, etc. He took part in the battle of Malmaison, where he saw Cuvelier killed and Leroux grievously wounded. His drawing is spirited, his color pleas- ing, and the general effect in his pictures is bright and charming. Among his works are, “La pauvrette” (1877), the “ Peasant- Woman” (1876), “ Reverie,” “ Halt of Lansquenets,” “A Vidette ” (1875), etc. He paints many portraits. His “ Going to the Races ” belongs to Mr. Hawk of New York. At the Paris Salon of 1878 he exhibited “Jeanne dArc praying for France.” Jadin, Louis Godefroy. (Fr.) Born at Paris, 1805. Chevalier of the Legion of Honor. Pupil of Hersent and Abel de Pujol. He has done some decorative paintings, among which are eight panels of subjects from the chase in the dining-room of the Ministry of State, and a ceiling at the palace of the Luxembourg, representing “ Aurora.” Many of his pictures are of hunts and animals. Jadin, Emmanuel Charles. (Fr.) Born at Paris. Pupil of his father and of Cabanel. He received a medal at Philadelphia, where he exhibited “ The Sheik Salah dead in his Tent.” At the Salon of 1877 he exhibited the “Resurrection of Lazarus”; in 1878, “ The Return from the Cemetery, Venice.” Jaeger, Gustav. (Ger.) Born at Leipsic (1808- 1871). Director of the Academy at Leipsic. Pupil of the Academy at Dresden, and of Schnorr von Carolsfeld. Many of his most important works were frescos ; among these the decoration of a salon at the chateau of the Grand Duke of Weimar. Cartoons of these pictures are in the Mu- seum of Leipsic, where are also two paintings of religious subjects. At Munich he executed one of the frescos of the Grand Hall of the Nie- 8 ARTISTS OF THE NINETEENTH CENTURY. belungen. Among his oil-paintings may be mentioned, “ The Death of Moses,” bought by the Society of Arts of Saxony, and “ The En- tombment of Christ.” Vapereau says ; — “ He enjoyed the reputation of a master of German painting ; he is praised for gran- deur of style, clearness of composition, nobleness, expression, boldness of touch, and, with correct drawing, the sentiment of light and color.” Jalabert, Charles Francois. (TV.) Bom at Ximes, 1819. Officer of the Legion of Honor. Pupil of Paul Delaroche. Passed some time in Italy. Has painted portraits, genre and religious subjects. His “Virgil, Horace, and Varius at the House of Maecenas ” (1847) is at the Luxembourg. In 1873 he exhibited at the Salon two portraits of ladies; in 1872, a portrait and “ The Awakening”; in 1870, two portraits. Among his earlier works are, “ Christ on the Mount of Olives,” “ St. Luke,” “ The Annunciation,” “ Xymphs listening to Orpheus,” “Romeo and Juliet,” etc. At the JValters Gallery, Balti- more, is his “Orpheus,” of which the Sunday Bulletin, Februarj- 12, 1876. says ; — “A most delicately wrought and poetic composition. The grace and beauty of the nymphs, and the soft and dreamy tone that is preserved, betray a ijeculiarly happy con- ception and a pretty idea well sustained and fully developed. The picture is in Imnnnny with Orpheus’ music, which is sensuous, dreamy, and reposeful, and with nothing too real about it.” Also in the same gallery is a scriptural subject, “ Suffer little Chil- dren to come unto Me,” and another picture of a child. “ The practical work of such a painter as Jalabert depends greatly on the use of the razor. First, the dead-color is laid of about equal thickness throughout, and then scraped down with a very sharp razor till it presents a perfectly smooth and even surface everywhere. On this surface, slightly oiled, the artist proceeds to work, this time in thinner color, and after successive scrapings and repaintings the picture arrives, finally, at a sort of finish remarkable for an extreme equality of surface, which has always a certain chann for tlie popular mind. And the popular mind is right to some extent, for, although roughness of loading would not signify in the least if the picture were always to be seen by a light equally diffused over the whole of its area, it is true, nevertheless, that since pictures are always seen by alight either coming from above or from one side, many of the rough projections of paint will catch lights and project shadows of their own quite independently of the light and shade of the picture, and often altogether destruc- tive to it. Horace Vemet said, and truly, that light resides in the quality of the tone and not in the thickness of the pigment : and the love for smoothness of surface which marks Jalabert and some othei-s is perfectly compatible with artistic power, both in color and chiaroscuro, whilst it is more than ‘ compatible ’ with drawing, being posi- tively favorable to form. Of Jalabert’s works I like his portraits best, and the single figures which resemble portraits, and are, in fact, portraits of models, more or less ide.al- ized.” — P. G. Hajierton, Painting in France. Janssen, Peter Johann Theodor. (_Ger.') Born at Diisseldorf, 1844. Studied at the Diisseldorf Academy, and adopted the manner of E. Bendemann. Visited IMunicb, Dresden, and Holland. Painted, at the Hotel de Ville in Crefeld, a series of scenes from early German history, and at Bremen, in the Exchange, a picture of “ The Com- mencement of Colonization in the Baltic Piwinces.” He also painted many smaller pictures, historical subjects and portraits. Recently ARTISTS OF THE NINETEENTH CENTURY. 9 he has undertaken a series of works in the Hotel de Ville at Erfurt. In the National Gallery at Berlin he has also painted some decorative works. Japy, Louis Aimd. {Fr.) Born at Berne (Doubs). • Pupil of Frangais. Medals in 1870 and ’73. A painter of landscapes. At the Corcoran Gallery, Washington, are “ A Spring Landscape ” and “Twilight,” painted in 1873. At the Salon of 1878 he exhibited “ Spring in the Valley of the Somme ” and “ In the Wood in April.” Jeannin, Georges. (Fr.) Born at Paris. Pupil of Vincelet. Medal of the third class in 1878, when he exhibited “A Barrow of Flowers” and “A Basket of Flowers” ; in 1877, “After the Rain” and “In the Flowers”; in 1876, “The Flower Shop” and “A Quantity of Flowers.” Jeanron, Philippe-Auguste. (Fr.) Born at Boulogne-sur-Mer, 1809. Member of the Institute of France and Officer of the Legion of Honor. A writer and painter. His pictures are scenes from ever}^- day life. “ The Little Patriots,” the first which he exhibited, was purchased by the Luxembourg, and is now at Caen. “ The Flight ” and “The Repose in Egypt” were bought by the Duke de Luynes. “ The Abandoned Port of Ambleteuse ” is at the Luxembourg. Jean- ron has made many estimable portraits ; also some engravings with the dry point. In 1848 he was appointed Director of the Louvre and the National Museums. In this position he rendered important services to the world in his classification and arrangement of the art treasures in the Louvre, in the opening of the Egyptian Museum, and many other admirable additions to the conveniences for seeing the little world of wonders and beauties gathered there. Since 1860 he has been the Director of the Museum of Marseilles. Jenkins, Joseph J. (Brit.) Born in London, 1811. He studied under his father, an engraver in London, and began his professional life by designing illustrations for books and magazines. In 1842 he became a member of the New Society of Painters in Water-Colors, resigning, however, in 1845. In 1846 he went to the Continent, spending some time in study and sketching. In 1849 he was elected an Associate of the Old Water-Color Society, full member in 1850, was Secretary for many years, and is at present a Trustee and regular contributor to its exhibitions. Among the better known of his works are, “ Going with the Stream,” “ Going against the Stream,” “ Hopes and Fears,” “Happy Times,” “On the Thames at Mill End,” “Both Sides of the Channel,” “ In Sight of Home,” “ A Creek on the Blyth,” “At Caen, Normandy,” “A Nook on the Thames,” “Mist on the Hillside,” and others, many of which have been engraved. His “ En Route ” was at the Philadelphia Centennial Exhibition of 1876. Jenks, Mrs. Phoebe. (Am.) Born in Portsmouth, N. H., 1849. Studied art under B. C. Porter and D. T. Kendrick in Boston, spending 1 * 10 ARTISTS OF THE NINETEENTH CENTURY. her professional life so far in that city. She paints landscapes, fig^ures, and portraits, and has exhibited frequently of late years in the Boston Art Club and New York Academy of Design. Among her works are, a two-thirds portrait of a lady (owned by Mrs. Alvin Adams of Watertown), portrait of a child (in the possession of W. H. Humphrey, Boston), “ Mamma’s Comb” (belonging to Robert M. Mason, Boston), “ The First Attempt ” and “ Making Dolly's D’ess ” (to Oliver Ames), “Priscilla the Spinner” (to S. L. French), and “ Industry ” (to Oliver Ditson). Her “ Patience ’’ was at the National Academy in 1878. Jerichau, A. {Dane.) Born, 1818. After studying awhile at home, this sculptor went to Rome, where he had for a master his countryman Thorwaldsen. His principal works are, “ The Marriage of Alexander and Roxana,” a bas-relief for a frieze of the Royal castle at Copenhagen, a colossal group of “ Hercules and Hebe,” “ Pe- nelope ” (a chef-d’ceuvre of this artist), “ A Hunter devoured by a Lioness,” an “ Ascension ” (which took the grand prize given by the Princess Albert of Prussia, whose property the statue became), “ The Creation of Eve,” “Adam and Eve after the Fall,” “A Sleeping Woman,” “ The Panther-Hunter,” and the monuments to Oersted and Andersen at Copenhagen, which are much admired. This sculptor is classical in his correctness and purity of form. Jerichau-Baumann, Mme. EUzabeth. (Dane.) Born at Copen- hagen about 1825. Pupil of the Academy at Diisseldorf. This painter has been with her husband for a long time in Rome. Her pictures are of genre subjects. In 1861 she had an honorable mention at Paris. Her “Reading of the Bible” was a commission from Na- poleon III. Mme. Jerichau painted a portrait of the Princess of Wales in her Aved ding-dress, for the Princess Christian. Among her works are, “ The Joys of a Mother,” “ A Danish Sailor drying his Nets,” “The Wounded Soldier,” “A Young Girl praying for her Sick Mother,” etc. At Berlin, in 1876, she exhibited “A Scene on the Nile,” “ A Portrait of a Sultana,” and “ Egyptian Water-Carriers.” Jobbd-Duval, Fdlix. (Fr.) Bom at Carhai.x, 1821. Chevalier of the Legion of Honor. Pupil of Paul Delaroche. Made his debut at the Salon of 1841. In 1875 he exhibited three portraits ; in 1874, the same number; in 1873, “The Mysteries of Bacchus ’’and car- toons of frescos in the Palace of Justice at Bordeaux and in the church of Saint-Ger\-ais at Paris ; in 1872, “ Wishes ” and “ Bouquet of Roses.” Among his works are, “ The Descent from Calvary,” some frescos in the church of Saint-Severin at Paris, and others in the Monastery of the Visitation at Troyes, etc. At the Salon of 1878 he exhibited “ The Sea.” Johnson, Horace C. (Am.) Born at Oxford, Ct, 1820. Began his art studies under Professor Morse in the city of New York, and during the years 1856, ’57, and ’58 was a pupil of William Page in ARTISTS OF THE NINETEENTH CENTURY. 11 Rome. His professional life has been spent in Italy and in his native State, many of his portraits being in the possession of Connecticut fami- lies. He is at present a resident of Waterbury. His “ Roman Peas- ant on the Campagna” belongs to Mr. C. N. Wayland of N’ew York ; “ Grape-Gatherers of Gensano,” to Mr. D’Aubigny of New York ; and his portrait of Dr. Samuel Elton and “ The Roman Mother ” are in the possession of Mrs. John P. Elton of Waterbury, Ct. Johnson, David, N. A. (Am.) Born in New York, 1827. At the commencement of his career he received a few lessons from J. F. Cropsey, but has been a close student of Nature, looking upon her as bis teacher and master. His professional life has been spent in New York. He has never been abroad. In 1859 Mr. Johnson was one of the founders of the Artists’ Fund Societ 3 % He was elected an Associate of the National Academy in 1860, and Academician in 1862. In 1867 he exhibited “Echo Lake”; in 1869, “ On the Wallkill River ” ; in 1870, “ New Berlin, N. Y. ” ; in 1871, “ View at Barry- town, N. Y. ” ; in 1874, “View at Dresden, Lake George” (belonging to Cortland Palmer) ; in 1876, “ Near Noroton, Ct.”;in 1877, “Green- wood Lake ” ; in 1878, “ Morning at the Harbor Islands, Lake George.” His “ Lake George ” belongs to Mrs. William H. King, N. Y. ; his “ Hudson River,” to Mrs. William H. Gerrard ; his “ Mount Lafay- ette,” to John J. Cisco ; his “ October on the Erie Railway,” to E. A. Munson, Utica ; his “ Spring at Mount Vernon,” to Bryan Smith of Brookljm. His “ Housatonic River,” exhibited at the Paris Salon in 1877, belongs to L. A. Lanthier, N. Y. To the Centennial Exhibition of 1876 he sent “ Scenery on the Housatonic” (belonging to Mrs. J. Bullard), “ Old Man of the Moun- tain ” (belonging to Richard Taft), and “ A Brook Study, Orange County, N. Y.,” receiving one of the first awards. Johnson, Dastman N. A. (Am.) Born in Maine. As a young man he began the practice of his profession by the execution of por- traits in black and white, showing considerable skill, and meeting with some success in that branch of the art. Going abi'oad, he studied for two years in Diisseldorf, for the first time painting in oil. He subsequently studied in Italy, Paris, Holland, and at The Hague, where he remained four years, and executed his first important works, “ Card-Players,” “ Savoyard Boy,” and others. Returning to Amer- ica, he opened a studio in New York, and was made a member of the National Academy in 1860, painting those original sketches and pic- tures of American domestic and negro life in which he so decidedly excels. Among the earlier of these works (many of which have been chromoed, lithographed, and engraved) are his “ Girls by the Stove,” “Boys at the Ragged School,” “Post-Boy,” “Sunday Morning,” “ Hard Cider,” “ Washington’s Kitchen, Mt. Vernon,” “ Old Kentucky Home,” “Crossing a Stream,” “ Chimney-Sweep” (belonging to T. R. 12 ARTISTS OF THE NINETEENTH CENTURY. Butler), “ The Drummer-Boy,” and others illustrative of the life of the American soldier during the Civil War. He sent to the National Academy, in 1869, “The Art-Lover”; in 1871, “The Old Stage- Coach” ; in 1873, “The Woodland Bath,” “Catching the Bee,” and “The Sulky Boy” ; in 1874, “The Tea-Party,” “Bo-Peep,” and “A Prisoner of State”; in 1875, “ Milton dictating to his Daughter,” “The Toilet,” and “The Peddler”; in 1876, “The Husking-Bee ” and “The New Bonnet”; in 1877, “Dropping Off” (belonging to E. H. Stoddard) and “ The Tramp ” ; in 1878, portraits of Dr. Patten of Union College, Chief Justice Daly, and “Children playing in a Barn.” At the Mechanics’ Fair, Boston, 1878, was exhibited “The Lullaby” (belonging to Mr. E. D. Maynard). His “New England Boy at Breakfast,” “Chimney-Corner,” and “Wandering Fiddler” were in the Johnston Collection, the last selling for $ 2,375. His “ Old Kentucky Home ” (belonging to E. L. Stuart) was in the Paris E.xposition of 1867, and the American Centennial Exhibition of 1876. His “Old Stage-Coach” is the property of George Whitney; “Sabbath Morning,” of E. L. Stuart; “Bo-Peep,” of H. Eichmond. “ Tender Passion ” is in the Walters Collection in Baltimore. His “ Corn-Husking” and “What the Sea says” were at the Paris Exposition of 1878. His “ Mother and Child” belongs to Abner Mellen, Jr., of New York. Among Eastman J ohuson’s portraits is one of A. B. Stone. “ In his delineation of the negro Eastman Johnson has achieved a peculiar fame. One may find in his best pictures of this class a better insight into the normal character of that unfortunate race than ethnological discussion often yields ‘ The Old Kentucky Horae ’ is not only a masterly work of art, full of truth, nature, local signifi- cance, and character, but it illustrates a phase of American life which the late war and its consequences will either uproot or essentially modify ; and therefore this picture is as valuable as a memorial as it is interesting as an art study.” — TccKERiiAff’s Hook of the Artists. “ In genre Mr. Eastman Johnson contributed the ‘ Prisoner of State,’ ‘Tlie Old Ken- tucky Home,' ‘Sunday Morning,’ and ‘The Old Stage-Coach,’ which are all representa- tive of the acknowledged excellence of his style. Mr. Johnson’s subjects are derived fresh from nature, and are generally illustrative of characteristic traits of American life and customs. Tliey are carefully studied, and always expressive of genuine feeling. They are not altogether free from uncertainty of form and touch and monotony of tone, but no one has more decided individuality and independence in choice and treatment of subject than this artist. His pictures bear the unmistakable stamp of originality. We are never reminded in them of the influence of schools or foreign methods : they rest upon their own merits, and the only comparisons they suggest are those afforded by the truths of nature. ‘ The Old Kentucky Home ’ is the picture that firat gave him his reputation, which every succeeding work has sustained and inere.ased. ‘ The Old Stage- Coach ’ displays greater maturity of method and breadth of treatment, but in accurate delineation of character ‘ The Old Kentucky Home ’ is hardly surpassed. The impres- sion made by Mr. Johnson’s pictures is a genuine one. We instinctively feel that the artist himself was impressed, and sought to express something that touched his sympa- thies forcibly. This is their interest and power, and criticism starts from this source rather than from the mere pictorial elemeirts of technical merit that usually, in artists of less character, first engage the attention.” — Pbof. Weir’s Official Report of the Ameri- can Centennial Exhibition o/lSTG. ARTISTS OF THE NINETEENTH CENTURY. 13 Johnson, Edward Killingworth. (Brit.) Born at Stratford-le- Bovv, near London, 1825. He displayed a marked talent for art at an early age, but lias never studied under any masters. For some yeai-s, however, be copied at the Langham Life School, and has drawn a great deal upon wood. He began painting as a profession about 1863. In 1866 he was elected an Associate of the Society of Painters in Water- Colors, and a full member in 1876. He resided in London until 1871, when he removed to a small ancestral property in North Essex, wliere his studio still is (1878). Among his more important works are, “ The Anxious Mother” (Water-Color Exhibition in 1876, engraved in 1878 and purchased by Birket Foster), “The Reader” (exhibited in Lon- don, 1874, Birmingham, 1875, and owned by John Jaffray of the latter city), “ A Golden Swarm ” (1877), “ The Rival Florists ” (exhibited in New York in 1873, and belonging to G. B. Warren, Jr., of Troy, N. Y.), “A Peep into the Letter- Bag,” and “ Going to Bed” (1878). He sent “A Study” to the Philadelpliia Exhibition of 1876, and “The Anxious Mother” to the Paris Exposition of 1878. “We can certainly characterize ‘ The Rival Florists’ as one of the most remarkable pictures of its kind ever brought to this country.’’ — New York Times, February 16, 1S73. “ Killingwortli Johnson’s ‘Intruders’ [New York Water-Color Exhibition, 1876] has been received witli expressions of the highest praise. Tlie picture is open to criticism Iierhaps, owing to the absence of positive shadows, but its aim is so high and its motive so elnarming that it commands admiration in spite of any mere defect.” — Art Journal, March, 1876. “ Mr. E. K. Johnson sends only one contribution to this exhibition, but in that he seems to have determined to concentrate all tlie beautiful color and delicacy and brill- iancy cliaracteristic of his work. ‘ A Golden Swarm ’ takes us into a garden wliicli is simply a blaze of flowers and sunliglit. Of course tlie women are beautiful women, for Mr. Johnson does not admit the halt and the lame and tlie blind into these eartlily para- dises of his Tlie action of the female figure in the center of the picture is ex- tremely graceful, and the child beside her is charming in attitude and expression.” — London Daily News, May 19, 1877. Johnson, Frost. (Am.) Born in New York, 1835. After copy- ing for a short time in Milwaukee be studied for two years under Professor Cummings in the Antique and Life Schools of the Academy of Design, in his native city. He went to Europe in 1859, entering the Art Academy of Diisseldorf, and remaining until 1861, when he became a student of the Academy of St. Luke in Antwerp. In 1863 he went to Paris, drawing in I’Ecole des Beaux- Arts, and from 1865 to ’69 he was a pupil of Edward Frere at Ecouen. He spent some, time in the practice of his profession in London, and is at present a resident of New York. Among Frost Johnson’s earlier pictures may be noted, “Grandmother’s Spectacles” (belonging to Mr. Morrill of Boston), “The First Whiff,” “Cauglit at It,” “The Broken Bot- tle,” and “ The Arithmetic Lesson ” (owned in Milwaukee, Wis.). His “Les ponimes” and a “Study of an Interior” were at the Paris Salon of 1869, and at the National Academy, New York, some years later. His “Roasted Chestnuts” belongs to S. D. Warren of Bos- 14 ARTISTS OF THE NINETEENTH CENTURY. ton; “Good Night” and a portrait, to G. TV. Hollis of the same city. Alvah Hall of New York owns “ La petite flaneuse.” ilenzo Hiefendorf of New Tork owns “Last and Best,” which was painted for the Arcadian Club. “ The Bouquet,” portrait of Lad}’ Helena Blackwood, is in the collection of her father, Earl Dufferin. His “ Neglected Les.son,” “ Does your Mother know you 're out ? ” “ Love Me, Love Me Not,” “ Stitch in Time,” and others, have been exhib- ited in New York, Brooklyn, Buffalo, and other cities. To the Phila- delphia Centennial Exhibition of 1876 he contributed “ Good Night ” and “ A Thirsty Party.” “ Frost Johnson is profitably occupied with several pieces of still-life which are prin- cipally remarkable for their rich and subtle contrasts of color The artist’s studies in heads, mostly taken abroad, are unique. They are simply studies of coloration from Nature, and unite individuality of color with strength of effect.” — New York Herald, December 12, 1872. “Mr. Frost Johnson has recently completed a cabinet picture, the central and only figure of which is if portrait of the daughter of the Earl of Dufferin, remarkable not only for artistic treatment, but for the thorough mastery with which conventional laws in re- gard to color have been controlled and subordinated to the final and most admirable effect.” — Baltimore American, October 13, 1877. “ Mr. Frost Johnson has just completed a picture which has attracted the attention of connoisseurs, and is of peculiar interest, not only for the admirable finish of the work, but for a certain departure from the recognized conventions of art. The picture is a small one, only cabinet size, and was painted as a portrait of the young daughter of the Earl of Dufferin, but the arrangement of color, the distribution of accessories, and the effect obtained from light through a draperied window is so thoroughly fine, and in some respects original, as to justify the high approval expressed from the most authoritative sources.” — A’ew York Graphic, October 1C, 1877. Johnston, Alexander. (Brit.) Bom in Scotland, 1815. Pupil of the Trustees Academy of Edinburgh, and later of the schools of the Royal Academy. Began to exhibit, about 1835, portraits and his- torical figure pictures. Among his earlier works are, “ The Mother’s Grave,” in 1839 ; “ The Gentle Shepherd,” in 1840 ; “ The Cove- nanter’s Marriage,” in 1842 ; “ Prince Charley and Flora Macdonald,” in 1847 ; “ The Trial of Archbishop Laud,” in 1849 ; “ Tyndal trans- lating the Bible,” in 1854 ; “John Buuyan in Bedford Jail,” in 1861 ; and “ The Land o’ the Leal,” in 1863. His “ Press-Gang ” was in the International Exhibition of 1862, and his “Last Sacrament of Lord Russell in the Tower,” painted in 1845 (belonging to the Vernon Col- lection), is now in the National Gallery of London. In 1868 he sent to the Royal Academy, “The Billet-Doux” ; in 1370, “ Juliet” ; in 1871, “Isaac TVatts and his Mother”; in 1873, “The Turning- Point” ; in 1874, “Tired” ; in 1875, “Ought I to do it?” ; in 1876, “ Bonnie Lesley ” and “ The Kettledrum-Quadrille ” ; in 1877, “ A Waif” ; in 1878, “Preparing for Conquest.” His “Turning-Point” was at the Paris Exposition of 1878. “ The figure here [‘ II Penseroso/ by Alexander Johnston. R. A., 1870] is of a nun. of stately and dignified form, ■who lias walked forth in the evening twilight and stands fixed ARTISTS OF THE NINETEENTH CENTURY. 15 in contemplation of the heavens. The conception is fine, and the expression of the face, though somewhat severe, is appropriate to tlie sentiment The license taken by tlie artist in the landscape affects in no degree the excellence of the composition as an ex- ample throughout of good and sound painting and of poetic feeling.” — Art Journal, May, 1S73. Jones, George, R. A. {Brit.) (1786- 1869.) Son of a well- known mezzotint engraver. He entered the Royal Academy in 1801, hut he joined the army under Wellington on the breaking out of the Peninsular War, and did not practice art until its close in 1815, when he painted street-scenes of English and Continental cities for some years ; finally turning his attention to war subjects, in which he was very successful. Among the many works of this description, painted during his long career, may be mentioned, “Waterloo,” “Lucknow,” “ Alma,” and “ Balaklava.” He painted also many pictures in water- colors, and pictures of an historical character in oil, the more impor- tant being “ The Coronation of George IV.,” “ The Passage of the Reform-Bill,” and “ The Opening of the New London Bridge.” His “ Fiery Furnace,” “ Lady Godiva,” and two battle-pieces are in the National Gallery, London. He was made an Associate of the Royal Academy in 1822, and Academician in 1824, Librarian of 1834, and Keeper in 1850. He received from the British Institute, in 1820, a premium of £ 200 for his “ Waterloo.” Several of his pictures have been engraved. Jones, Owen. {Brit.) Born in Wales (1809 - 1874). Spent some years in the office of a well-known London architect, and later visited the Continent and the East. He was one of the superintending archi- tects of the Crystal Palace at Sydenham, erected in 1851, devoting himself particularly to its decoration, and in 1873 he received a medal for designs furnished for the Exposition buildings at Vienna. He was well known as a writer on subjects connected with his profession, pub- lishing, in 1836, his “Alhambra,” containing over a hundred valuable plates ; in 1842, Views on the Nile” ; in 1856, a “ Grammar of Or- nament,” and several handbooks to the various courts of the Crystal Palace, etc. He was architect of St. James’ Hall, Piccadilly, probably his most important work. Jones, Alfred. {Am.) Born in Liverpool, 1819. Came to Amer- ica very early in life. He received the first prize at the National Academy of Design in New York, in 1839, for a drawing from Thor- waldsen’s Mercury. “ The Proposal,” after Durand, and “ The Farm- ePs Nooning,” after W. S. Mount, first called attention to him, and his work was sought for the illustrated publications of the day. In 1846 he went to Europe. Fie there studied in life schools, devoted himself to his profession, and was elected a member of the National Academy, New York, in 1851. He sometimes paints in oil and water- colors. He is one of the foremost American engravers. His plate of the “ Image-Breaker,” after Leutze, is one of his best. Among his plates are Adoniram Judson (half length, sitting), after Chester Hard- 16 ARTISTS OF THE NINETEENTH CENTURY. ing ; WilUam Cullen Bryant (head and full bust), after A. B. Durand ; “ The Capture of Major Andih,” after Durand ; “ Sparking/’ after Edmonds ; “ The New Scholar,” after Edmonds ; “ Mexican News,” after R. C. Woodville ; and several portraits. Jones, H. Bolton. (Am.) Born in Baltimore, receiving his art education and spending tlie greater part of his professional life in his native city. In 1877 he made a sketching-tour in Brittany and Spain, sending the results of his labors to Baltimore, where several of his pic- tures were exhibited in 1878. . He has been a regular contributor to the National Academy since 1874, where he sent “ Summer on the Blue Ridge,” followed in other seasons by “ September Afternoon,” “ Hunter’s Camp, Maryland,” “ Old Fort Ticonderoga,” “ At the Edge of the Moor,” “ The Parable of the Sower,” “ After the Shower,” “ Spring in Brittany,” and “ Taking Geese to Market.” “ The Ferry Inn” was at the Centennial Exhibition of 1876; “Return of the Cows, Brittany,” at the Paris Exposition of 1878 ; and to the Paris Salon of the same year he sent “ A Heath in Bloom, Brittany.” Jongkind, Johan Barthold. (Dutch.) Born at Latrop, about 1822. He left Holland at an early age, and studied marine-paintuig under Isabey at Paris. He made his debut at the Salon of 1845, and received in 1852 a medal of the third class. Perhaps this artist is more interesting as an etcher than as a painter. Charles Baudelaire, in “ L’Art Romantique,” calls him a “ charming and candid artist,” and speaks of his etchings as “abbreviations of his painting” and sketches, which amateurs who are accustomed to find the soul of an artist in his most rapid scrawls (grihouillages) will know how to read. “ The piiri)Ose of his art as an etcher may he explained in a few words. All landseafw- painters make memoranda of impressions, which must of necessity be done veiy rapidly if they are to be worth anj'thing. because the effects in nature change so fast that they cannot be sketched at all by a slow hand. Jongkind has so far trusted to the intelli- gence of the public (or of the small cultivated public to which he addresses himself) as to make memoranda of impressions directly upon copper, and print them. This is the whole exjilanation of his work as an etcher. But now comes the person living outside of art, who, when he sees one of these etchings, feels first puzzled and then offended, and thinks that both artist and laudatory critic must be making fun of him. ‘ Could not any child of ten yeais old do as rvell? ’ The true answer to this question (it is not an imaginary question) is, that, rude as this sketching looks, and imperfect in many respects as it really is, the qualities which belong to it are never .attained in art without the combination of talent approaching to genius, and study of a very observant and earnest kind, quite beyond any possible experience of infancy. The right way to esti- mate work of this nature is to look upon it as the artist’s manner of noting down an impression in all its freshness. Jongkind succeeds in doing this, either by an uncon- sciousness which is itself a great gift, or else by an effort of will strong enough to set himself entirely above the criticism of ignorance. There is something approaching to sublimity in the courage which was needed to send plates of this description to the jnunter. .\11 landscape-painters have made memoranda of this class, though they rarely make them quite so well, but Jongkind is the first who has h.ad the courage to publish them. It seems like the rashness which tenqits Providence to set these things before the French houTgeois or the English Philistine, for the only public they are fit for is a public of true amateurs or artists ; but whoever can really read them is in a fair way for ARTISTS OF THE NINETEENTH CENTURY. 17 ■being able to read all painting that sets itself bonestlj' to the rendering of the mutual impression in its unity.” — Hamerton, Etching and Etchers. Some of the best of these etchings are, “ The Town of Maaslins, Holland” (1862), “ Entrance to the Port of Honfleur ” (1863), “Sortie du Port de Honfleur ” (1864), and “ View of the Scheldt at Antwerp, — Setting- Sun ” (1869). Jongkind has exhibited many pictures of Dutch scenery ; several of them are ■views in and about Dordrecht. Jooravlef, F. (Russian.) Of St. Petersbm-g. At Philadelphia he exhibited a picture of “ The Dinner after the Funeral,” for which he received a medal. The same work was at the Paris Exposition in 1878, together with “The Blessing of the Betrothed.” Jopling, Joseph M. (Brit.) Born in London, 1831. Studying in no schools and under no masters, he has spent his professional life in his native city, with the exception of three winters devoted to work and observation in Rome. He was elected an Associate of the New Society of Painters in Water-Colors in 1859, resigning in 1876. He received a silver medal at the Crystal Palace in 1876, and a medal at the International Exhibition at Philadelphia the same year. Among his works may be mentioned, “The Tea-Rose,” “The Fair Florist,” “ Autumn,” “ Joan of Arc at her Trial,” “ Baiting the Line,” etc. To Philadelphia, in 1876, he sent “Flossy” (belonging to the Right Hon. Cooper Temple), “Winter,” and “ In the Conservatory.” At the Grosvenor Gallery in 1878 was a portrait of M. Rouzaud in armor of the sixteenth centur}^ and several fruit and flower pieces. Jopling, Mrs. Louise. (Brit.) Wife of Joseph M. Jopling. She was born in Manchester, in 1843, and learned to draw for the first time in 1867. She studied in Paris under Charles Chaplin and Alfred Stevens, exhibiting frequently for some years at the Royal Academy, the Dudley and Grosvenor Galleries, and elsewhere in England. Among her more important works are, “Five-o’clock Tea,” at the Royal Academy in 1874 (purchased by the Me.ssrs. Agnew), “ The Modern Cinderella,” “It might have been,” etc. Her “Five Sisters of York ” was at the Philadelphia Exhibition of 1876 ; “ The Modern Cinderella,” at the Paris Exhibition of 1878. “ ‘The Five-o’clock Tea ’ is tlie largest and most important design we have seen from Mrs. Jopling’s hand, and in the disposition of the various figures and the management of color, it certainly exliibits very remarkable technical gifts. Especially do we notice in this lady’s work a correct understanding of the laws of tone, very rare to find in the works of English painters, giving the artist power to bring different tints, even if they are not harmonious, into right relations one with another. ” — Art Journal, July, 1S74. Jordan, Rudolf. (Ger.) Born at Berlin, 1810. Member of the Academies of Berlin, Dresden, and Amsterdam, and Knight of several Orders. Medal at Philadelphia. Pupil of the Academy of Berlin and of Wach. He at first painted religious .subjects, but is most ad- mired in (jenre pictures. At the National Gallery, Berlin, are, “ The Offer of Marriage in Heligoland,” “ Death of a Pilot,” “A Scene in Normandy,” “An Old Man’s Home in Holland,” and “ The Widow’s B 18 ARTISTS OF THE NINETEENTH CENTURY. Consolation” ; the last is in the National Gallery, Berlin, and ■was sent to the Paris Exposition in 1878. The “ Offer of Marriage ” is the first work which gave him reputation. Jordan is also a -writer on art, and is much interested in its history. At Berlin in 1876 he exhibited “The Boats have all returned ; One alone is wanting.” Jouffroy, Francois. (Er.) Born at Dijon, 1806. Member of the Institute. Officer of the Legion of Honor. Grand friz de Rome in 1832. Professor of Sculpture at I’Lcole des Beaux-Arts. Hi.s “ Ingenuousness; or, a Young Girl telling her First Secret to Venus ” is at the Luxembourg. Jouffroy has executed various busts for private persons, and a “ Benitier ” for the church of Saint-Germain-l’Auxer- rois, Paris, from the design of Mme. Lamartine. He was charged with the decoration of the ne-w church of Saint-Augustiu, and has done many other decorative works for public ecbfices. Jourdan, Adolphe. (Fr.) Born at Nimes. Medals in 1864, '66, and ’69. Pupil of Jalabert. At the Salon of 1877 he e.xhibited “A Breakfast at Saint-Honorat” ; in 1876, “The Good-By” and “The Three Friend.s.” At the Johnston sale, New York, 1876, “A Young Italian Mother” (39 by 31) sold for $ 2,300. At the Salon of 1878 be exhibited a portrait and “ The Banks of the Garden.” Jundt, Gustave. (Fr.) Born at Strasbourg, 1830. Medals in 1868 and ’73, and at Philadelphia, 1876. Pupil of Guerin, and (at Paris) of Drolling and Biennourry. He traveled somewhat, and ma^le bis debut at the Paris Salon in 1856 with the “Fete of the Village.” Since then he has sent works to nearly every Salon, among which may be named, “ Near a Fountain,” “ Alpine Strawberries,” “ May- flowers,” “ Cutting Hair at the Fair of La Tour in Auvergne ” (sent to Philadelphia), “ It Rains ! — Swiss Oberland,” “ The Pence of St. Anne,” “ Sunday Morning,” “ The Time of the Wedding,” etc. This artist also makes many caricatures and illustrations for publi- cations, such as “ L’Histoire de la Poupee,” “ Le Poltron,” “ Polichi- nelle,” etc. “ He draws, as one walks, without seeming thought, and he paints, as one talks, always improvising. Only tliere are some men who have a good appearance in walking, while they scarcely think of it, and those wlio talk with wit and humor without making any pretensions. It is precisely in this manner that Jundt paints. His pic- tures have some pipiant improvisations in which malice overflows ; gawky awkward- ness takes under Ids lively and anim.ated touch an air of amusing good-nature. .... As a painter he may be reproached with certain defeats, but he possesses one very rare quality, he has incontestable originality. Jundt is one of the few who might dispense with sign.atures on his pictures. ” — RENi: Mkkard, L'Art en Alsace-Lorraine. Kaemmerer, Frederic Henri. (Dutch.) Born at the Hague. Medal at Paris in 1874. Pupil of Gerdme. At the Salon of 1877 he exhibited “A Party at Cricket” ; in 1875, “A Winter Day in Holland” ; in 1874, “The Beach at Scheveningen,” now in the Cor- coran Gallery at Washington. At the Latham sale, New York, 1878, “ Autumn, — Terrace of the Tuileries, 1790 ” (24 by 16) sold ARTISTS OF THE NINETEENTH CENTURY. 19 for $ 1,125. Knoedler & Co. exhibited, in 1878, bis “ Going to Churcb in tbe Olden Time.” At tbe Salon of 1878 be exhibited “A Baptism.” Kalckreuth, Stanislaus, Count of. (Pole.) Born at -Kozmin, 1821. Professor and member of the Academy of Berlin, and member of the Academies of Amsterdam and Rotterdam. Medals at Berlin, Vienna, and Bordeaux. Studied in Berlin and Polnisch-Lissa. After several years of military life he studied under Krause and Schirmer. His progress attracted the attention of the King, who gave him commissions. In 1860 an art school was established at Weimar by the Grand Duke of Saxony, and Kalckreuth became its conductor. During student travels which he made he visited Switzerland and Spain, saw a large part of Germany, and spent some time in Vienna. In 1876 he gave iip his office at Weimar and set- tled in Kreuznach. His representation of Alpine scenery is espe- cially happy, and remarkable for the effects of light and shade. At the National Gallery, Berlin, are his “ Lake of Gaube in the Upper Pyrenees” and “Canagai Valley in the Eastern Pyrenees.” At Ber- lin, in 1876, he exhibited the “ Lake of Thun.” At the Paris Expo- sition of 1878 was seen his “ Mont Blanc” (belonging to the Emperor of Germany). Kaufmann, Theodor. (Ger.-Am.) Born in Hanover, 1814. Studied art in Hamburg and at Munich, where he was a pupil of Hess. He practiced his profession for a few years in Europe, settling in America in 1850. Among the better known of his pictures painted in this country are, “ On to Liberty,” “ A Railway Train at- tacked by Indians,” and “ General Sherman near the Watchfire.” In 1871 he published a work entitled “The American Painting- Book.” He resided in Boston for some years. Kaulbach, Wilhelm von. (Ger.) Born at Arolsen (1805 - 1874). Officer of the Legion of Honor. Correspondent of the Institute. He received many decorations, and was member of several academies. At the age of seventeen he was placed in the Academy of Diisseldorf, then under the direction of Cornelius. When twenty-one he went to Munich. Six allegorical frescos in the arcade of the Hofgarten were among his earliest works there. Before he was twenty-five he exe- cuted “ Apollo and the Muses,” in the Odeon, and the celebrated design called “ The Mad-House.” He next painted sixteen illustrations of the story of “ Cupid and Psyche,” on the walls of the palace of the Duke klaximilian ; then, together with tie painter Schnorr and the sculptor Schwanthaler, he worked at the decoration of the new pal- ace of King Ludwig. He com]3leted his design for the “ Battle of the Huns” in 1837 ; it was a chef-d’ceuvre. About the same time he completed the cartoon of the “ Destruction of Jerusalem,” the paint- ing from which was not made until eight years later, when King Ludwig purchased it. In 1846 his designs illustrative of “ Reynard 20 ARTISTS OF THE NINETEENTH CENTURY. the Fox ” appeared. He also illustrated the Gospels and the Shaks- pere gallery. Kaulhach devoted many years to the great decorative paintings of the “ Treppenhaus ” of the new Museum at Berlin. His subjects here were, “ The Tower of Babel,” “ Destruction of Jerusa- lem,” and “ Battle of the Huns ” (reproduced), colossal figures of Moses, Solon, History, Legend, etc., and “ The Reformation,” besides friezes which were designed as borders for the principal works. In 1867 he sent to Paris his “ Epoch of the Reformation,” a cartoon of which, belonging to Mr. Durfee of Fall River, was for some time in the Boston Athenaeum. For this painting he received a medal of honor. Vapereau says : “ It united all his qualities of composition, drawing, and color.” In the National Gallery at Berlin are his car- toons of “ The Death of the Marquis Posa,” and one of a scene from the “ Mary Stuart ” of Schiller. Mr. Probasco of Cincinnati has a beautiful work by Kaulbach called “ Mutterliebe ” (“ Mother-Love ”). It was painted for Mr. Probasco, and he claims that it is the only original painting by Kaulbach in America. It represents a mother with her four children. She is seated beneath a tree in the midst of a pleasing landscape. In her right arm she holds one child, whose face is hidden on her breast ; with her left hand she supports another tiny one, who stands upon her knee and presses his hps to hers in a playful baby embrace. Two larger children, one upon the ground and another climbing up behind and resting on the mother’s shoulder, complete the group, which is well balanced and graceful. “I have extolled Kaulbach in no stinted terms, yet 1 know that his mortality is be- trayed through his robes of state. His limits are confessed when he rushes towards the illimitable : his finality is felt when, in boldest flight, he steals fire from heaven. Kaul- bach has many virtues, but moderation is not of their company. Kevertheless, let me, in fine, recapituliite the claims which Kaulbach lays upon the remembrance of posterity. His subjects, his styles, and his materials, which are many, are alike worthy of note. His themes, we have seen, are wide in range and lofty in aspiration. History in epochs which are landmarks in the world’s civilization ; philosophy that teaches through exam- ple : poetry as manifested in the creations of Shakspere and Goethe ; life in its light and shade, in the climax of its joy and the depths of its sorrow, — such are the subjects which, in their diversity and import, measure the genius and circumscribe the labors of Kaulbach. In style, too, as in subject, this painter displays the same versatility ; by turns he is grave and gay. Like dramatists and actors of first quality, he is great at once in comedy .and in tragedy : his impersonations, in short, are close upon the models of Phidias and Raphael, of Diirer and Hogarth. The name of Kaulb,ach will also be identified with the most successful efforts to free art from the tyranny of the Church, to ennoble secular subjects by lofty thought and elevated treatment, and to raise the prac- tice of monumental painting to an equality with the sister arts of sculpture and archi- tecture. Such are the serrtces which Kaulbach has conferred upon his age and coun- tiy." J. Beavington Atkinsox, London Art Journal, December, 1S65. Kaulbach, Hermann. (Ger.) Son of the preceding, and a pupil of Piloty. He is an historical p.ainter who merits attention. Kaulbach, F. A. (Ger.) This painter is a distant relative of the late William von Kaulbach, and is one of the rising artists of Munich. Some of his pictures are very pleasing, and show a genuine feeling for AETISTS OF THE NINETEENTH CENTURY. 21 ideal art. At the Exposition of 1878 he exhibited “Reverie,” “ Por- trait of a Young Gii'l,” “ Young Woman with her Son,” and a “ Head of a Woman.” Kemys, Edward. {Am.') Born in Savannah, Ga. He lived for some time in New York. By profession a sculptor, he has devoted himself particularly to the modeling of the more prominent wild animals of the far West of America ; a collection of groups in plaster by him, which were exhibited in London in 1877, attracted much at- tention. His “ Coyote and Raven,” “ Playing ’Possum,” and “ Pan- ther and Deer” were at the Exhibition at Philadelphia in 1876; “Fight between Buffaloes and Wolves,” at the Paris Salon of 1878. “In anatomical knowledge Kemys appears to ns little, if at all, behind liis predecessor [Barye], and if he be Barye’s inferior in audacity and splendor of conception, he partly comjiensates for this by a subtle perception of delicate shades of character, and a line discrimination of animal individuality, in which Barye’s works are comparatively de- ficient.” — London Spectator, December, 1877. Kensett, J. F., N. A. (Am.) Born in Cheshire, Ct. (1818 - 1873). As a youth he studied bank-note engraving, and practiced art in his leisure hours. He finally went to England, where he worked for some time, sending to the Royal Academy, in 1850, “A View of Windsor Castle,” which was highly praised by the London art critics. He re- mained in Europe seven years, spending two years in Rome, making excursions to Naples, Switzerland, the Rhine, and the Italian lakes, and sending home many cleverly executed paintings and sketche.s, some of which, exhibited in the Art Union Gallery, New York, estab- lished his reputation in America as a landscape-painter of no common merit. His views of American scenery have become justly popular. Among them are, “ Sunset on the Coast,” “ Sunset in the Adirondacks,” “Lake George,” “Scenes on the Genesee River,” “Noon on the Sea- Shore ” (engraved by S. V. Hunt), “ Beverly Coast,” “ Bash Bish,” “From the Meadows at Cold Spring,” “ Narragansett,” “Lake Cone- sus” (belonging to Robert Hoe), “ Mount Washington,” “ Keene Flats,” “Bass Rock, Neu’port,” etc. His “Morning off the Coast of Mas- sachusetts ” (belonging to Shepherd Gandy), “ Newjiort Harbor ” (to R. M. Olyphant), “ Glimpse of the White Moiintains ” (to R. S. Stuart), were in the Paris Exposition of 1867. His “View near Northampton ” (property of R. S. Stuart), “ Lake George ” (the prop- erty of M. K. Jessup), and his “ New Hampshire Scenery ” (now in the Century Club), were at the Philadelphia Exhibition of 1876. At the Johnston sale, in 1876, his “Afternoon on the Connecticut Shore” sold for $ 1,500, and his “ Secluded Brook ” (belonging origi- nally to A. M. Cozzens) brought $ 600. His “ White Mountains ” (at the Wright sale, some years before) was sold for $ 1,300. His “ October Afternoon, Lake George,” exhibited in Paris in 1867, and at the Sanitary Fair, New York, in 1864, at the sale of the Olyphant pictures in 1877, found a purchaser at $6,300. His “White Moun- 22 ARTISTS OF THE NINETEENTH CENTURY. tains ” was sent to the Paris Exposition of 1878. Kensett was made a member of the National Academy in 1849. “ Kensett is the Bryant of our painters ; a little sad and monotonous, but sweet, ar- tistic, and unaffected. In his later pictures there is a phantom-like lightness and cold- ness of touch and tint which gives them asnmewhat unreal aspect, but they take all the more hold on the fancy for their lyrical quaUties. ” — Jarves, Art Idea. “ Kensett’s best picdures exhibit a rare purity of feeling, an accuracy and delicacy, and especially a harmonious treatment, perfectly adapted to the subject .... If we desired to carry abroad genuine memorials of native scenery, to keep alive its impressions in a foreign land, we should select half a dozen of Kensett’s landscapes. Other artists may have produced single pictures of more genius, may be in certain instances supe- rior, but on tlie whole, for average success, Kensett’s pictures are, we do not say the most brilliant, effective, or original, but often the most satisfactory." — Tcckermax’s Book of the Artists. Key, John R. (Am.) Native of Baltimore. He studied art in Munich and Paris, painting in Boston for some years, and exhibiting there, in 1877, about one hundred of his pictures, including “ Marble- head Beach,” “ Ochre Point, Newport,” “ Morning Stroll,” and a view of “ The Golden Gate, San Francisco,” for which he received a medal at the Philadelphia Exhibition of 1876. His “Cloudy Morning, Mount Lafayette ” was at the National Academy, New York, in 1878. He has been very successful in his works in black and white. “Mr. Key’s charcoal drawings are among the best eversho^vn in Boston ; they are firm and masterly in drawing, strong in effect, and graceful in composition. Mr. Key ha.s a fascinating skill in this kind of work, in which he approaches nearer to .Mlongii than any other American artist Tlie collection of his pictures is highly attractive for the true artistic feeling in all the works on exhibition.” — Boston Saturday Gazette, 1S77. Keymeulen, Emile. {Belgian.) Of Brussels. Medal at Philadel- phia, where he exhibited “ Landscape in Provence ” and “ After the Hurricane.” Keyser, Nicaise de. {Belgian.) Born at Santoliet, 1813. Presi- dent of the Academy of Antwerp, and Chief Director of the Mu.seum of that city. Corresponding member of the Institute of France, and Officer of the Legion of Honor. Chevalier of the Order of Leopold, and that of the Lion of the Netherlands. Medal at Philadelphia. Pupil of the Antwerp Academy under the direction of Van Bree. In 1834 he exhibited “ A Crucifi.xion,” which had been painted for a Roman Catholic church in Manchester, England ; it attracted con- siderable attention. He went soon after to France and England, and returned through Holland. In 1836 his picture of “The Battle of the Golden Spurs in 1302 ” was exhibited at Brussels, and won the great gold medal ; this work is now in the Museum of Courtrai. In 1839 he exhibited the “ Battle of lYoeringen,” which took a gold medal in Paris. De Keyser then visited Italy and Germany. The “ Battle of Nieuport” and that of “ Seneffe ” were painted for William II. of Holland. Among his other works are, “ Yandyck setting out for Italy,” “ Mending in the Hospital at Bruges,” “ Christ and his Dis- ciples,” “ The Last Moments of Weber,” etc. His portraits of royal ARTISTS OF THE NINETEENTH CENTURY. 23 and distinguished persons are numerous. The courts of Belgium, Sweden, Bavaria, and Wurtemherg have conferred decorations upon him, as well as that of France. (The list of honors given in this article is taken from the London Art Journal, of January, 1866.) At the Wolfe sale in New York in 1864, “ The Love-Test, — Italian Gleaners ” sold for ^ 3,100, and “Milton and his Daughters ” for $ 2,400. At the Berlin National Gallery are his “ Giaour” and “ Death of Marie de’ Medici.” Mr. Probasco of Cincinnati has his “Francis I. at Fontainebleau,” painted in 1869. Keyset, B. (Am.) Born in Baltimore, 1850. He received his art education in the Royal Art Academy of Munich, under Professor Widmann, and in the Royal Art Academy of Berlin under Professor Albert Wolff. He went to Munich in 1872, remaining until the autumn of 1876. In Berlin he received “the Michael Beerche Prize” for a life-sized figure, called “ Psyche.” This prize entitles the suc- cessful competitor to one year’s study in Rome at government expeiise. Among his most successful works are the “ Psyche,” and “ The Toy- ing Page ” (in bronze), belonging to Dr. O’Donavan of Baltimore, ibr which he gained the silver medal of the Munich Academy. EZiers, Peter. {Dutch.) Born at Graeneveld, 1807. Member of the Academy of Amsterdam. Pupil of Douwe de Hoop. A genre painter. He was specially noted for his effects of light. Among his subjects are, “A Woman going out of her House at Evening ” (effect of lanterns), “Woman reading the Bible,” “Woman writing a Let- ter,” “ Interior of a Dutch House,” etc. King, Charles B. (Am.) (1786-1862.) Studied with Leslie and Allston in London, living and painting portraits in that city for some years. Finally settled in Washington, D. C., where he died. During his long career many of the celebrities of all countries who visited the capital were among his sitters. His portraits were prized for their accuracy rather than their delicacy of finish. Kiorboe, Charles Frederic. (Swede.) Born at Stockholm (1815 -1876). Chevalier of the Legion of Honor. Pupil of Henner. In 1874 he exhibited at the Paris Salon, “A Fox surprised by Hunters” and “A Buck coming out of a Wood” ; in 1870, “The Breakfast of the Foxes” ; in 1869, “Hunting Ducks.” At a London sale in 1874 his “ Inundation ” sold for 260 guineas. Kiss, Augustus. (Prussian.) Born at Pless (1802- 1865). Member of the Berlin Academy, where he was also Professor. Studied at the same Academy under Ranch. In 1839 he exhibited the model of his famous group of “ The Amazon struggling with a Panther.” This was cast in bronze by means of public subscriptions, which were even taken in the churches, so great was the enthusiasm it excited. It was placed in the Berlin Museum in 1845. A plaster cast of it took the first prize at London in 1851, and was purchased by an American. Among his works are, “The Fox-Hunt” (Berlin Museum), “St. 24 ARTISTS OF THE NINETEENTH CENTURY. Michael and the Dragon,” statues of Frederick the Great and Fred- erick William III., “ St. George,” etc. At the time of his death a group called “Faith, Hope, and Charity” was unfinished; this was completed by Blaser, and, with a bust of Kiss, was presented bj* his widow to the Berlin Museum. Klein, Johann Adam. {Ger.) Bom at Nuremberg (1792-1875). This artist first studied etching and engraving. He spent some time at the Academy of Vienna, and commenced oil-painting in 1815. Soon after this he went to Rome. He gave his efforts to reproducing the peculiar costumes and habits of different peoples. He had trav- eled in Northern countries, and his industry and diligent observation made him skillful in his peculiar work. At the National Gallery, Berlin, are his “Hungarian Wagoners” and “The Wallachian Freight-Wagon ” ; also, “An Animal-Tamer before a Tyrolese Inn.” Klein’s engravings are numerous and highly esteemed. Kloeber, August Karl Friedrich von. (Ger.) Bom at Breslau (1793-1864). Professor and member of the Berlin Academy. Pu- pil of Berlin Academy. During the war of 1813 Kloeber was a sol- dier, and afterwards spent nearly four years at Vienna. He affected the manner of Rubens and Correggio. His portraits of Beethoven, Grillparzen, etc., are well spoken of. His first large picture was that of the “Virgin Mary with Jesus and St. John.” At the theater of Breslau he painted a frieze and other decorative works. In 1821 he went to Italy, and spent seven years in Rome. Kloeber executed va- rious decorative paintings in the palaces and public buildings of Ber- lin. Several of his pictures are in the National Gallery, Berlin, — “ Education of Bacchus,” “ Cupid and Psyche,” etc. Kuaus, Ludwig. (Ger.) Born at Wiesbaden, 1829. Member of the Academies of Berlin, Vienna, Munich, Amsterdam, Antwerp, and Christiana. Officer of the Legion of Honor. Knight of the Order of Merit. Various medals at Paris, Berlin, Weimar, etc. Pupil of Jacobi and the Academy of Diisseldorf, under Sohn and Schadow. He separated himself from their influence, and was allied with Le.s- sing, Leutze, and Webber. From 1853 he lived eight years in Paris, but settled at Diisseldorf in 1866. Among his worki! are, “ The Prom- enade” (1855), at the Luxembourg, “ Peasants reprimanded by their Priest,” “ A Woman playing with Two Cats,” “ The, Wife of a Shoe- Tnaker, her Child, and an Apprentice contemplating a Mouse in a Trap,” “ The Invalid,” “ A Woman gathering Flowers,” etc. At the Johnston sale. New York, 1876, “The Old Beau,” from the Wolfe sale in 1863 (24 by 19), sold for $ 3,000. In 1874, at Christie’s in London, “ Thieves at a Fair ” sold for 565 guineas. At the Forbes sale, London, 1874, “The Sisters” sold for 1,250 guineas. At the Sedelmeyer sale in Vienna, 1873, “Maternal Kindness” brought .£1,440. His “ Children’s Festival ” is at the National Gallery, Berlin. At the Latham sale. New York, 1878, “ My Little Brother ” (IS by 14) ARTISTS OF THE NINETEENTH CENTURY. 25 sold for $ 2,200, and “After the Bath ” (8| by 6|), for $ 2,350. His “Priest and Poacher” belongs to Mr. T. B. Butler of New York. Knight, John Prescott, R. A. {Brit.) Born, 1803. He was the son of Edward Knight, a well-known actor, and began life in a mer- chant’s office in London. Displaying a decided taste for art, he studied under Henry Sass, and later under George Clint, entering the schools of the Royal Academy in 1823. His first pictures were at the British Institute in 1827 or ’28. He turned his attention to portrait-painting, in which branch of art he has been very success- ful. He was made an Associate of the Royal Academy in 1836, Academician in 1844. He was Professor of Perspective for many years, and Secretary of the Royal Academy from 1847 to ’73, when he resigned with a life pension from the trustees. Among the many portraits of distinguished men painted by Mr. Knight may be men- tioned those of the Duke of Cambridge (in Christ’s Hospital), F. C. Burnand, Henry L. Holland, the Governor of the Bank of England, Edouard Frere, Arthur Grote, and Sir Titus Salt. Knight, Daniel Ridgway. (Am.) Born at Philadelphia. In 1872 he went abroad, studying for some years in Paris at I’lilcole des Beaux- Arts and under Gleyre. He was in the studio of Meissonier in 1876. To the Paris Salon, in 1873, he sent “ The Fugitives ” ; in 1875, “ Washerwomen ” ; in 1876, “ Repast during the Harvest.” He has exhibited frequently at the National Academy, New York, con- tributing, in 1870, “The Veteran” (belonging to Asa Whitney) ; in 1871, “ Othello in the House of Brabantio ” ; in 1873, “ The Anti- quary,” “ The Old Beau,” and “ Dividing the Profits ” ; in 1874, “Strolling in the Garden”; in 1876, “ Washerwomen ” ; in 1877, “Market-Place at Poissy” and “Harvest Scene” (belonging to A. J. Drexel) ; in 1878, “ Pot au Feu.” "In ‘The French Washerwomen,’ by D. B. Knight, the figures are drawn with re- markable spirit, and in their delineation much grace of form is shown. It is without that artificial feeling which belongs to work where the conventional model is called into requisition.” — Art Journal, May, 1876. Knille, Otto. (Ger.) Born at Osnabriick, 1832. Medal at Berlin. An instructor there, with title of Professor. Pupil at Diisseldorf under K. Solin, Th. Hildebrandt, and W. von Schadow. Also studied under Couture at Paris. He spent some time in Munich and Italy, and settled in Berlin in 1865. Some of his decorative paintings (the subjects taken from the Thuringian Myths) are in tlie Castle of Marienburg near Nordstemmen. Others are over the stairway of the University Library at Berlin. In the National Gallery at Berlin is his “ Tannhauser and Venus.” At Berlin, in 1876, he exhibited “ Athens, — Plato with his Pupils,” a portion of a frieze for the Library of the University of Berlin. This was also seen at the Paris Exposition of 1878. Knowlton, Helen M. (Am.) Born at Worcester, Mass. She VOL. II. 2 26 ARTISTS OF THE NINETEENTH CENTURY. has spent her professional life in Boston, where she has classes in painting. She was a pupil of William M. Hunt, and that artist’s well-known “ Talks about Art ” are the result of notes taken by Miss Knowlton during his lessons. She sketches in charcoal, and paints landscapes and portraits in oil, exhibiting at the Boston Art Club, National Academy, and elsewhere. Knyff, Alfred de. (Belgian.) Bom at Brussels. Chevalier of the Legion of Honor. Landscape-painter. His pictures represent all kinds of scenery, and he passes easily and gracefully from the beach to the forest, from the banks of the Meuse to the mountains of Scot- land. At Paris in April, 1876, several of his pictures were sold. “ Setting Sun in the Campine ” brought 4,000 francs ; “ Moonlight,” 2,600 francs ; etc. Among his subjects are, “ The Scottish Heather,” “ The Evening,” “ Forest of Fontainebleau,” “ Villiers-sur-Mer.” At the Paris Salon of 1877 he exhibited “The Forest of Stolen in the Campine, Belgium” and “The Prairies of Lagrange” ; in 1876, “The Garden of A. Stevens,” “ The Mouth of the Meuse,” and “ A Marsh in the Campine in Spring.” Koch, Joseph Anton. (Ger.) Born at Obergiebeln am Bach (1768 - 1839). The works of this landscape-painter are seen in va- rious German galleries. At the LIuseum at Leipsic are three of his pictures, and in the National Gallery, Berlin, is “ A View of the Convent of Civitella, in the Sabine Mountains.” Koekkoek, Bernard Cornelius. (Dutch.) Born at Middlebourg (1803-1862). Chevalier of the Order of the Lion (Netherlands), and of the Order of Leopold (Belgium). Idedals at Paris, Amster- dam, and the Hague. Pupil of Schelfhout and Tan Os. The land- scapes of this painter are much esteemed. He established a Drawing Academy at Cleves. In 1850 he published at Amsterdam a book of his “ Souvenirs and Communications ” (“ Erinnerungen und Mitthei- lungen eiiies Landschaftmalers ”). At the Johnston sale. New York, 1876, his “ Scenery on the Upper Rhine ” (32 by 42) sold for $ 2,800. It was from the Wolfe sale in 1863. A “ Winter Scene in Holland,” also from the Wolfe sale (20 by 26), sold for $ 1,550. At a sale in London in 1876, “A Forest Scene” sold for .£283. At the Strous- berg sale, Paris, 1874, “Interior of a Mood” sold for £1,084. At the Latham sale. New York, 1878, “Landscape with Cattle” (26 by 33) sold for $ 1,600. In the National Gallery, Berlin, are two of his landscapes, and two others are in the Leipsic Museum. Koekkoek was also a member of the Academies of Rotterdam and St. Petersburg, and of the Society of Arts, London. His “Castle on the Rhine” and “ Landscape in Winter” belong to Mr. T. R. Butler of New T ork. Koerner, Ernst. (Ger.) Of Berlin. Pupil of Eschke and btef- feck. Medal at Philadelphia, where he exhibited “ Mahmoudieh Canal near Alexandria.” This was “ commended for distinguished excel- lence.” At the Paris Salon of 1878 he exhibited “The Mahmoudieh Canal, Egypt ” and “Under the Palm-Trees.” ARTISTS OF THE NINETEENTH CENTURY. 27 Kohler, Christian. {Ger.) Bom in Werben (1809 - 1861). Pro- fessor at Diisseldorf. Studied at Berlin Academy and at Diisseldorf. In 1860 he went to Montpellier for his health, but received no benefit. In the Berlin National Gallery is his “ Semiramis.” Koller, Guillaume. (Ams.) Born at Vienna, 1829. Followed the course at the Academy of Fine Arts in Vienna, and then studied at Diisseldorf from 1851 to ’55. “ The Emigrants,” “ The Asylum,” and “ Scene from the Peasants’ War, 1524 ” were painted while he was at Diisseldorf, and found their way into the best collections in Vienna. Next Koller resided three years in Antwerp. He first exhibited in that city “ The Clandestine Marriage of the Archduke Ferdinand with Philippine Welser at the Chateau de Meran, in the T 3 Tot ” ; it was purchased bj" Mr. Nieuwenhnys. Koller draws his inspirations from the literature and history of Germany, and as he spends much time on his works they are not numerous ; among them are, “ The Christening of Martin Luther,” purchased by M. Drasche of Vienna ; “ The First Interview of Marguerite and Faust,” purchased by the Chevalier de Knyff of Antwerp ; “ Albert Diirer receiving a Message from the Archduchess of Parma,” purchased by the late Prince Albert of England ; “The Coal- Market” ; “Philippine Welser demanding Pardon for her Husband from his Father, the Emperor Ferdinand ” ; “ The Departure for the War ” ; “ Almsgiving ” ; etc. In manner of treatment he has grafted upon the comparatively dry style of the Ger- man school, acquired in Diisseldorf, the richer and more realistic style of the modern Belgian. His coloring is always good, but he does not strive to produce an impression by this quality so much as by a faithful rendering of his subject. In this his sympa- thies are more with Leys and his disciples than they are with Gallait, Wappers, and De Keyser. In his choice of subjects he aims high, but certainly not beyond his powers. And as he is still in the early prime of life, a long and prosperous career may be his future, which shall yield more abundant and riper fruit than any he has yet produced.” — James Dafforne, London Art Jouriud, January, 1867. Kollock, Mary. (Am.) Born in Norfolk, Va., 1840. Studied art in Philadelphia for three years under Robert Wylie, in the Penn- sylvania Academy of Fine Arts. Later she took lessons in landscape from J. B. Bristol and A. H. Wyant. The greater part of her profes- sional life has been spent in the city of New York, contributing to the National Academy of Design scenes from the Adirondack regions and Lake George. In 1877 she sent “ Morning in the Mountains ” and “On the Road to Mt. Marcy ” ; in 1878, “A November Day” and “ An Evening Walk.” Her “ Midsummer in the Mountains ” was at Philadelphia in 1876. Korzoochin, Alexis. (Russian.) Of St. Petersburg. At Philadel- phia he exhibited pictures of “A Sunday Tea-Party” and “A Scene in the Wood,” and received a medal. Kotzebue, Alexander von. (Russian.) Medal at Paris in 1867. Medal at St. Petersburg. This artist was a soldier iii his youth, and understands what he paints. His “ Passage of the Devil’s Bridge 28 ARTISTS OF THE NINETEENTH CENTURY. by the Eussian Army in 1799” is a well-kno^vn picture. He has Eved for some time in Munich, and has traveled hi various countries of Europe. His pictures in the galleries of Russia are much liked. At St. Petersburg, in 1870, he exhibited “ The Battle at Lessnoje ” and “ The Surrender of Riga in 1710.” Krause, Wilhelm August Leopold Christian. (Ger.) Bom at Dessau (1803- 1864). Member of the Academy, and Royal Professor at Berlin. Founder of the School of Marine Painting at Berlin. Studied at Berlin and Dresden. He was very poor, and did many things to earn money ; among others, he sang in a theater in Berlin. In 1828, never having seen the sea, he painted his first marine picture. He showed great talent in this sfiecialty. In 1830 and ’31 he traveled in Northern Europe. At the National Gallery, BerUn, are, “ A Storm at Sea,” “ View on the Coast of Pomerania,” and “ Scottish Coast Scene in a Storm.” Kroner, Christian Johann. {Ger.) Bom at Einteln, in Hesse, 1838. Medal at Berlin in 1876. Pupil of nature, and an artist who, by earnest study, brought himself to a reputable standing in land- scape-painting. Many of his pictures are of wild, mountainous scenes. At Diisseldorf he came under the influence of L. H. Becker, who en- couraged him to i^ersevere in his art. His pictures are well consid- ered. He has traveled considerably, and visited various parts of Ger- many, the North Sea, Paris, etc. He has made wood-engra\dngs and etchings. Some of these represent animals as well as landscapes. At the National Gallery, Berlin, is an “Autumn Landscape, with Deer.” Kruger, Franz. {Ger.) Born at Radegast (1797 - 1857). Court painter. Professor and member of the Berlin Academy. Without masters, he became a good portrait-painter, and established himself at Berlin. In 1844 he was invited to visit Russia by the Emperor, and remained there six years. He was called “ Pferde-Kruger ” from his good painting of horses. He painted many equestrian portraits ; and his parade scenes and other military pictures are excellent. At the National Gallery of Berlin are his “Departure for the Hunt” and “ Return from the Himt,” “Emperor Nicholas of Russia,” and a “Dead Rabbit.” Kruger, Karl Max. {Ger.) Born at Liibbenau, 1834. Studied at Munich Academy, and under Ott and R. Zimmermann ; also at the Art School of Weimar. Traveled in Germany and in Northern Italy. Since 1870 he has lived in Dresden. At the National Gallery at Berlin is a view of “A Forest on the Spree.” At Berlin, in 1876, he e.xhibited “ A Hunting-Lodge in the Neighborhood of Liibbenan.” Kuhling, Wilhelm. {Ger.) Born at Berlin, 1823. Studied at the Berlin Academj'', and traveled in Switzerland, France, and Italy. At first he was very successful in portraits. Later, he has painted landscapes, many of which are taken from Tapper Bavarian scenery. At the National Gallery, Berlin, is his “ Group of Cattle.” At Berlin, in 1876, he exhibited four cattle-pictures. ARTISTS OF THE NINETEENTH CENTURY. 29 Kuntz, Gustav Adolf. {Ger.) Born at Wildenfels, 1843, Medal at Philadelphia. Pupil of Schilling at Dresden. In 1869 he went to Italy for two years, and there executed a life-size marble statue of the prophet Daniel for the mausoleum of the late Prince Consort at Frogmore. He then visited Weimar, England, France, Holland, and Belgium, and studied painting. In 1877 he settled in Rome. At the National Berlin Gallery is his “ Italian Pilgrim." He sent to Phila- delphia “ The Nun’s Revery.” Kuntze, Edward J. A., N. A. (Ger.-Am.) Born in Pomerania (1826-1870). Settled in America in 1844, devoting himself to the practice of his art with some success. He was elected an Associate of the National Academy in 1869, a year before his death. Among his works may be mentioned, statuettes of Shakspere and Lincoln ; a statue of “ Psyche ’’ ; bust of “ Mirth," in marble ; “ Merlin and Vivien," in bas-relief ; and many medallion portraits and busts. Kurzbauer, E. {Austrian.) Born at Vienna, 1846. Pupil of Piloty. We have not been able to obtain a sketch of this artist’s life, but he is well considered, and sent to the Paris Exposition of 1878 “The Fugitives’’ (belonging to the Emperor of Austria) and “La maison mortuaire” (belonging to M. Eggers of Vienna). Kuwasseg, Carl-Joseph. {Austrian.) Born at Trieste. Natural- ized Frenchman. Died, 1876. Medals at Paris in 1845, '61, and ’63. He commenced life as a carpenter, but, abandoning this occu- pation, he went to Vienna, and lived by making water-color drawings. He traveled in South America, and went to Paris in 1830, and there soon earned a good reputation as a landscape-painter. Of late years he has principally exhibited Swiss and French views. Kuyck, Louis Van. (Belgian.) Born at Antwerp (1821 - 1874). Gold medal at Brussels. Pupil at the Antwerp Academy under Van Bree, and of Baron Wappers. The familiar scenes which he first painted are almost unknown. His first “ Interior of a Stable ’’ is in the Museum at Munich ; it is by subjects of this class that he has earned his high European reputation. The names of his different pic- tures are so much alike that a list is quite useless. They are rural Flemish scenes, most frequently stable interiors, with horses, dogs, poultry, pigeons, etc. Lacroix, Gaspard Jean. (Fr.) Born at Turin (1820-1878). His parents were French, and his professional life was spent in France. He received a medal of the third class in 1842, and medals of the second class in 1843 and ’48. He was a pupil of Corot, and proved to be one of his most worthy followers. To the Salon in 1878 he sent a land- scape ; in 1877, “Aux Glaises, pres de Palaiseau”; in 1876, “At Pa- laiseau ’’ ; in 1873, two views in the park of the Gigoux, both belonging to M. Bonnel. One of his landscapes was at the Exposition of 1878. La Farge, John, N. A. (Am.) Figure, flower, and landscape painter, drawing also on wood. He has occupied a studio in New 30 ARTISTS OF THE NINETEENTH CENTURY. York for some years. He was elected a member of the National Academy in 1869. Is a member of the American Water-Color So- ciety and of the Society of American Artists. Among his works, in oil, are, “ View over Newport,” “ Sleeping Beauty,” “ A Gray Day,” “ A Snowy Day,” “ A Seaside Study ” (belonging to J. F. Kensett), “ A Hillside Study,” “ From the Story of Cupid and Psyche,” “ New England Pasture-Land,” “ A Bather,” and others, exhibited at the National Academy in different seasons. To the first Exhibition of the Society of American Artists, in 1878, he sent “ Autumn Sunset,” “ Wild Boses,” and “ Hollyhocks.” “ Bishop Berkeley’s Rock, New- port,” “ Wreath of Flowers,” etc., were at the Philadelphia Exhi- bition of 1876. To Paris, in 1878, he sent “ Paradise Valley, New- port.” He executed the frescos in Trinity Church, Bo.ston. Miss Alice Hooper owns La Farge’s “New England Pasture-Land,” one of his finest works. At Boston, in November, 1878, he exhibited and successfully sold a large number of his pictures. La Farge goes to art with earnest devotion, and an ambition for its higliest walks, bringing to the American school depth of feeling, subtlety of perception, and a magnifi- cent tone of coloring, united to a fervent imagination, which bestows upon the humblest object a portion of his inmost life His landscapes are gems of imaginative, sugges- tive, and delicate, vital treatment, not pantheistic in sentiment, although the soul of na- ture breathes in them.” — Jarves, Art Idea. “Mr. La Farge sent five pictures, two of figures and thi'ee of flowers. The latter are works of peculiar excellence for their purity and chann of color, — flowers forming but tlie theme for a most delicate and refined harmony that addresses the eye mth occult power. Mr. La Fargo is learned in his art, working for profound and subtle results, and no one is more sensitive to the value of mystery in tone and color, and of the emission of luminous light through these qualities. His picture of ‘ St. Paul at Athens * is stamped with great sincerity of aim, and bears unmistakable evidence of power and thought. His works, however, for the most pait give an impression of incompleteness, or suggest a deficiency of form, and the drawing, as of the hands of this picture of St. Paul, is often defective. But these shortcomings are more than co!ni>ensated by the superior aim which characterizes his work, and renders it highly intellectual, spiritual, and poetical in feeling.” — Prof. Weir’s Official Report of the American Centennial Exhibition o/1876. “All Mr. La Fai'ge’s pictures are apt to have that element commonly called 'sugges- tivencss,’ — that sense of progressive fluency, rather than of either loose trenmlousness or fixed stability, which once led a clever critic to remark of them that it was always the next picture Mr. La Farge would paint that was the masterpiece. But his sketches — or the pictures he catalogues " sketches ’ — have it eminently, and in them it is espe- cially pleasing. Somehow one learns in time that even in his sketches there is no lack of completeness of motive, and that if it does not seem completely expressed, that may not be so much the fault of the painter as of the obser\'er, if the latter has been accus- tomed to the stock notion that completeness of expression means a hunting of the mo- tive to Its fastnesses.” — New York ]Vorld, November 3, 1S7S. Laguillermie, August Fr^d^ric. (Fr.) Born at Paris. Prix de Rome, 1866. Pupil of Flameng and Bonguereau. He has also studied in Madrid, Rome, and Athens. His drawings from the frescos of Michael Angelo in the Sistine Chapel and from the Temple of Erechtheus at Athens are important. He has made some powerful plates after the works of Velasq^uez. More recently Laguillermie has ARTISTS OF THE NINETEENTH CENTURY- 31 sent some pictures to the Salons. In 1876 he exhibited a “ Portrait of Mme. B.” and two etchings, “ Kuth and Boaz ” and “ The Death of Jacob,” both after Bida ; in 1875, two portraits (in oil), three water- color sketches for portraits, and an etching of a portrait after Ter- burg ; in 1874, picture of a “Young Breton Girl winnowing Buck- wheat on the Seashore” and an etching, “ Fantasy,” after Fromen- tin ; in 1873, “ A Spinner” and a portrait (in oil), and an etching of “The Surrender of the City of Breda,” by Velasquez ; etc. At the London Academy, 1878, he exhibited an etching after “The Prisoner,” by Gerome. “ The serious and prolonged studies of this artist have resulted in a kind of etching perfectly .adapted to the interpretation of such a master as Velasquez, who dwelt in an ar- tistic region elevated very far above the small prettinesses of merely technical mechanical engravers. Few things in the history of the fine arts are more hopeful and encouraging than the emancipation of engraving, and its nearer approach to thoroughly artistic painting, which have been effected by Flameng and his pupils Rajon and Laguillermie. ’’ — P. G. Hamerton, The Portfolio, April, 1873. Lagye, Victor. {Belgian.) Of Antwerp. Pupil of Leys. His subjects are taken principally from the fourteenth and fifteenth cen- turies. “ The Antiquaries ” is remarkable for its finish of detail. Another of his pictures represents a “ Mother putting her Child in the Cradle,” and gives a peep at the family life of the olden times in Belgium. It was done for the city of Ghent. He received a medal at Philadelphia, where he exhibited “ The Sculptor, — Close of the Fifteenth Century.” To the Paris Exposition of 1878 he contributed, “The Gypsies,” “The Sculptor,” “The Magician,” and “ The Cross- bowman.” Lalanne, Maxime. (Fr.) Born at Bordeaux, 1827. Member of the Academies of Bordeaux and Brussels. Medals at the Expositions of Vienna and Philadelphia. Chevalier of the Ijegion of Honor, of the Order of Christ of Portugal, and of that of St. Gregory the Great. Pupil of M. J. Gigoux. Painter and engraver, and of later years esyjecially devoted to etching. He has published a “Traite de la Gravure a I’Eauforte,” and has illustrated it himself in a charming manner. His oil-pictures are landscapes. Among his etchings are, “ Rue des Marmousets, Old Paris,” “ View of Bordeaux,” “ Demoli- tion for lengthening the Boulevard St. Germain,” “ Demolition for lengthening the Rue des Ecoles,” “ View from the Bridge of Saint- Michel,’' “ View from the Bridge de la Concorde,” “ Chez Victor Hugo,” — twelve small etchings of the house of Victor Hugo, re- markable for minute delicacy. At the Salon of 1877 he exhibited “ View in the Port of Quimper,” “ Bank of a River,” and “ In the Fields of Cenon, Gironde”; in 1876, “The Chickens,” after Ribot, “ The Pool of Ville d’Avray,” after Corot, and “ Marcoussis,” after Corot. '* No OTift ever etched so gracefully as Maxime Lalanne. The merit of gracefulness is what chiefly distinguishes him ; there have been etchers of greater power, of more 32 ARTISTS OF THE NINETEENTH CENTURY. striking originality, trnt there has never been an etcher equal to him in a certain deli- cate elegance, from the earliest times till now. He is also essentially a (rue etcher ; he knows the use of the free line and boldly emidoys it on due occasion. So far his work is very right, but it has the fault of too much system.” — P. G. Hameeton, Etching and Etchers. L’Allemande, Fritz. (Ger.) Born at Hanau (1812- 1866). An excellent painter of military subjects. He never painted a picture until he had visited the scene of the battle. The Emperor Francis Joseph commissioned him to decorate the reception-room of the chateau of Schbnbrunn. After that work, which proved his talent to be good, he was constantly employed upon important commissions. His “ Episode in the Combat of Komorn ” (seen at London in 1862) attracted attention and admiration. Lambdin, George Cochran, N. A. (Am.) Born in Pittsburg, Pa., 1830, but has lived since childhood in Philadelphia, with the exception of two years, 1868 to ’70, spent in New York He studied under his father, a portrait-painter of some repute. In 1855 he went to Europe, spending two years on the Continent, chiefly in Munich and Paris. In 1858 he sent to the National Academj', New York, a picture called “ Our Sweetest Songs are those which tell of Saddest Thoughts,” his first exhibited work. The original study of this i.s now in the Suydam Collection of the National Academy. Two years later he exhibited “ The Dead Wife,” which was selected by the Committee to go to the Paris E.xposition of 1867. This was followed by “Twilight Reverie,” “Ask Me No More,” and kindred works, of a sentimental cast illustrative of young maidenhood. For some years afterwards he devoted himself exclusively to portraits of children, of which “ The Little Knitter ” (belonging to Mr. Adams of Boston) is among the best. During his New York residence, in 1868, he was elected a member of the National Academy. After a short visit to Europe, chiefly for the benefit of his health, in 1870, he settled at Germantown, near Philadelphia, cultivating in his garden fine roses and flowers, to the painting of which he has since turned his attention with marked success. Lambert, Louis Eugene. (Fr.) Born at Paris. Chevalier of the Legion of Honor. Pupil of Delacroix. At the Salon of 1877 he ex- hibited “Portrait of Lido” and “During the Mass” ; in 1876, “En famille ” and “ Pepito, Toe, d’Artagnan,” belonging to the Baroness Nathaniel de Rothschild; in 1875, “Jack, Sam, Shot,” “The En- emy,” and “ L’Envoi ” ; in 1874, “ Installation Provisoire ” and “ The Hour of the Repast.” This artist excels in painting small animals, such as kittens, cats, etc. At the Salon of 1878 he exhibited “The Cats of the Cardinal” and “ Fallen Greatness.” “The cats of M. Louis Eugene Lambert are as usual the most attractive and charac- teristic reproductions of animal life to be found at the Salon. One of his contributions this year is probably destined to as widespread a popularity as was obtained by his ‘ Envoi en Provence,’ that basketful of recalcitrant kittens that won such a success a ARTISTS OF THE NINETEENTH CENTURY. 33 few yeara ago. This year M. Lambert takes an historic flight, and, remembering the fact that Cardinal Richelieu was passionately fond of eats, he paints for our delectation the pets of the great statesman His other contribution is felicitously named ‘ Fallen Greatness. ’ A tiger skin is spread upon the floor, and a sober mother eat and her family have taken possession of this relic of the king of the forest. The languid dig- nity of the mother cat, with her glossy fur, pink nose, and reposeful attitude, is well contrasted with the irrepressible vivacity of her offspring." — Art Journal, August, 1878. Lambinet, Emile. (Fr.) Born at Versailles (1810-1878). Chev- alier of the Legion of Honor. Pupil of Drolling. Made his debut at the Salon of 1833. “A Landscape” (1855) is at the Luxembourg. His views are those of his own country, such as, “The Seine at Bougeval,” “ Norman Meadows,” “Coasts of Normandy,” “The Val- ley of Arques,” etc. At the Salon of 1877 he exhibited “ The Village of Qiiineville ” ; in 1876, “ Summer ” and “ Le Bas-Prunay.” Mrs. H. E. Maynard of Boston has three landscapes by this artist in her collection. Two of his works were exhibited at the Salon of 1878. “ Lambinet is a man of less power, but in his limited choice of lowland scenery nat- ural and simple, having a refined taste and defined execution, suggesting details by em- phasis of brush rather than by accurate finish. He fills his pictures with clear, bright light, rivaling Nature’s tones as fully as pigments may. But it is a hazardous process, and no way so satisfactory as the lower tone of Corot, whose treatment of light is un- equaled. Those who follow Lambinet in this respect would do well to recall Leonardo’s maxim in regard to pure white, ‘ Use it as if it were a gem.’ Lambinet’s landsciipe, although ever repeating himself, is fresh and fragrant, like a bouquet of flowers. ’’ — Jarves, Art Thoughts. Lami, Louis Eugfene. {Fr.) Born at Paris, 1800. Chevalier of the Legion of Honor, 1837, officer since 1862. Pupil of Gros, Horace Vernet, and I’l^cole des Beaux- Arts. He has engraved on stone, made lithographs, and painted in water-colors and in oils. “ A Supper in the Salle de Spectacle at Versailles ” and “An Interior of a Church ” (water-colors) are at the Luxembourg. He has given much time to water-colors, and seems most fond of that mode of representation. But he has also painted five or more battle-pieces, in oils, for the Gal- lery at Versailles, and has a facility of execution in whatever he undertakes. Lance, George. (Brit.) '(1802-1864.) Pupil of Haydon and of the School of the Royal Academy. Lance was a very successful painter of still-life, his works being in the possession of many noble families of England. He executed a few historical and figure pieces, but was famous for his fruits and flowers. Among the former may be mentioned, “ The Coquette,” “ The Lady in Waiting,” and “ Melanc- thon’s First Misgiving of the Church of Rome.” In 1860 he exhib- ited at the Royal Academy, “Full Ripe”; in 1861, “A Sunny Bank ” ; and in 1862, “ A Gleam of Sunshine.” Three of his pictures (in the Vernon Collection) are in the National Gallery, London,— “ A Basket of Fruit,” painted in 1834 ; “ Red Cap,” exhibited at the British Institution in 1847 ; and “ Fruit ” (a pineapple, grapes, melon, etc.), painted in 1848. 2 * 34 ARTISTS OF THE NINETEENTH CENTURY. " Lanoe was occasionally Warned for exaggeration of color, but his delineation was delicate and his grouping agreeable.” — Mrs. Tytler’s Modern Painters. Landelle, Charles. (Fr.) Bora at Laval, 1821. Chevalier of the Legion of Honor. Medal at Philadelphia. Pupil of Delaroche. Historical and religious painter ; has also executed many portraits. “The Presentation of the Virgin” (1859) is at the Luxembourg. His mural paintings are “Law,” “Justice,” and “Right,” in the Palace of the Council of State (destroyed in 1871), six decorative panels for a salon in the Palace Elysee, some works at the Hotel de Ville (also destroyed), and the chapel of Saint-Joseph at Saint- Sulpice. Among his portraits are those of Alfred de Musset, the Countess Fitz-James, Mine. Achille Fould, Stackelberg, Admiral Baudin, Princess of Broglie, and many others. At the Salon of 1877 he exhibited “Salmacis”; in 1875, “The Death of St. Joseph” ; in 1874, “A Reverie of Sixteen Years” ; in 1873, “A Young Serbian Gypsy” and “The Samaritan Woman”; in 1872, “ L’Almee ” ; etc. At the Johnston sale. New York, 1876, “The Egyptian Girl” (17 by 11) sold for $ 780 ; “ The Greek Girl ” (18 by 14), for $800. At the Salon of 1878 he exhibited a portrait of the Marquis de Saint-M. as an Arab Sheik, and “ Ismenis, a Nymph of Diana.” *‘Tlus distinguished painter has a commonplace facility, which he dispenses in a per- petual repetition of himself. He is consecrated for the rest of his days to what is called character figures, young gypsies, Egyptian women, Moorish women, Ethiopian women. As he knows how to mix the right dose, and in verj^ decent proportions, of the romantic and picturesque with gravity and classic correctness, he never fails to plea.se the public, although he becomes weaker, thinner, and more faded day by day.” — Ernest Duvergier de Hauranne, Rcviie des Deux Mondes, June, 1871. ” If, carried away by the sympathy which the artist inspires, one said that the deco- ration of the chapel of Saint-Joseph was a work of the first order, he might be accused of thoughtless entliusiasm : but lie would be unjust not to see in it one of those works which hold an equilibrium between disparagement and eulogj’. 31. Landelle, whom the public of the Salons knows so well, has wished to make himself appreciated on a larger scene. Without being presumptuous he had the right to make the attenij^t, as he has now the right to repeat it The charming painter of Fellahs and Moors quitted, one fine day, the gallery, already long, of his Oriental beauties. He has elevated his art by ascending the steps of the church. Only an exigency could demand of him to leave forever the voluptuous seraglio that he has created and peopled : but, now that he has penetrated the temple, he owes it to himself to return there to work and to })urify his j)rofane talent. His name, it is true, would not be more celebrated, but it would be more enduring.” — Roger Ballu, Gazette des Beaux-Aris^ February, 1S78. Landseer, John, A. R. A. {Brit.) Celebrated engraver. Father of Edwin, Charles, and Thomas Landseer. Bom in Lincoln (1761- 1852). Engraved vignettes for ilacklin’s Bible published in 1793, for Bowyer’s History of England, views in the Isle of Wight after Turner, South of Scotland after James Moore, and a series of engravings of animals after Gilpin, Rubens, Rembrandt, Suyder, etc. In 1807 he was elected an Associate Engraver of the Royal Academy, and exhib- ited there as late as 1851 several sketches of Druidical temples on the ARTISTS OF THE NINETEENTH CENTURY. 35 Channel Isles. In 1806 he delivered a course of lectures on “Engrav- ing ” before the Eoyal Institution, and in 1823 a course on “ Engraved Hieroglyphics.” He was the author of a book entitled “ Sabasan Kesearches,” published in 1823, and of a valuable “ Catalogue of the Earliest Pictures in the National Gallery,” published in 1834. Landseer, Thomas, A. E. A., his son and pupil, is a well-known English engraver of the present day. Elected Associate of the Eoyal Academy in 1868. Among his plates are Eosa Bonheur’s “ Denizens of the Porest,” and (after Edwin Landseer) “ Doubtful Crumbs,” “The Sanctuary,” “The Challenge,” “Browsing,” “Peace,” “The Baptismal Font,” and the portrait of the Queen. He has also con- tributed to the Eoyal Academy many original drawings in crayon, and (in oil) “ A Deluge of Eain,” “ The Goat without a Beard,” “ Lion- Hunting,” “ Cattle,” etc. “ That Thomas Landseer the engraver was hut an Associate hy condescension, sat only at a side-table at state dinners of the Eoyal Academy, not cheek hy jowl with artists [painters] like his brother Edwin and the already forgotten Charles, — this did not deprive him of his faculty as an artist or his right to he recognized as one. The two great Land- seers were John Landseer the father, only a ‘line engraver,’ and Tiionias Landseer tlie son, a mere engraver also.” — W. J. Linton, in Scribner’s Monthly, June, 1878. Landseer, Charles, E. A. {Brit.) Son of John Landseer, and elder brother of Edwin, born 1799. He was a pupil of his father and of Haydon, entering the Eoyal Academy at the age of sixteen. His picture was exhibited in 1828. He was elected an Associate of the Eoyal Academy in 1837, and Academician in 1845. In 1851 he received the appointment of Keeper, a position he held until 1873. While he has never equaled in popularity his younger brother, as an historical painter he has been successful. Among his earlier works, four are in the National Gallery, “ The Sacking of Basing House ” (E. A., 1836), “The Pillaging of a Jew’s House” (E. A., 1839), “ Clarissa Harlowe in the Sponging-House ” (Society of British Artists, 1833), and “Bloodhounds and Pups” (Brit. Ins., 1839). He is still a regidar contributor to the exhibitions of the Eoyal Academy. In 1860 he sent “ Trust ” ; in 1861, “ Births, Marriages, and Deaths” ; in 1865, “ Savage discovering his Parentage ” ; in 1867, “ Cromwell at the House of Sir Walter Stewart in 1651 in 1868, “ Eustic Gallantry ” ; in 1870, “ Surrender of Arundel Castle in 1643”; in 1871, “Waj'- farers” ; in 1872, “ The Hamlet of St. Martin-in-the-Fields ” ; in 1875, “ Dick ” ; in 1876, “ A Langum Fishwoman, Tenby ” ; in 1877, “ Pa- mela concealing her Correspondence between the Tiles.” Landseer, Sir Edwin, E. A. (Brit.) Born in London (1802 - 1873). Youngest son of John Landseer, a distinguished engraver, from whom his children inherited their decided artistic talent. Ed- win received his first lessons in drawing from his father, and at a very early age displayed great abilities as a sketcher and that love of the brute creation which has been displayed in his works. At the South 36 ARTISTS OF TEE NINETEENTH CENTURY. Kensington Museum are shown some of these wonderfully clever drawings, executed by him when a child of from five to ten years. In 1816 he entered the Royal Academy, contributing at the same time, when only fourteen years of age, pictures to several of the public gaUer- ies throughout the country. He subsequently studied under Haydon. His “Dogs Fighting” (engraved by his father) was painted in 1818, and “ The Dogs of St. Gothard discovering a Traveler in the Snow ” (also engraved by the elder Landseer) was painted in 1820. From that time his success was established, and his popularity as an artist unequaled, until the day of his death, by that of any artist in Eng- land of the nineteenth century. In 1826 he was elected Associate of the Royal Academy, and Academician in 1831. He made his first trip to the Highlands of Scotland in 1826, and there acquired that bolder and freer style which distinguishes his maturer works, and there also first evinced his fondness for deer as subjects. Soon after this he painted “ Night,” “ Morning,” “ The Sanctuary,” “ Children of the Mist,” “The Return from Deer-Stalking” (1827), “The Illicit Whisky-Still” (1829), “Sir Walter Scott and his Dogs” (1833), “Peace” and “War” (1846), “The Dialogue at Water- loo” (1850), “ Rough and Ready ” (1857), and “The Maid and the Magpie” (1858). He was knighted in 1850. In 1855 at the Paris Exposition he received one of the two large gold medals awarded to Englishmen. The list of his works is very large, and many of them have been engraved. Fourteen of his pictures are in the National Gallery in London, including the “ Alexander and Diogenes,” “ Peace ” and “War,” “Dignity and Independence” (painted in 1839), “The Sleeping Bloodhound,” “ Low Life ” and “ High Life,” “ Highland Music,” “ Shoeing the Bay Mare,” and “ The Dialogue at W aterloo,” representing the Duke of Wellington explaining to the Marchioness of Douro, his daughter-in-law, the incidents of the great fight years after it had occurred. This is considered one of the best of the few figure-pieces he has painted. In the Sheepshanks Collection of South Kensington are sixteen of his works, — “ Dog and the Shadow,” “ Suspense,” “ The Old Shepherd’s Chief Mourner,” “ Comical Dogs,” “ A Highland Breakfast,” “ The Drove’s Departure,” and others. In 1864 he e.xhibited at the Royal National Academy, “ Piper and Pair of Nut-Crackers ” (sold for 1,000 guineas) and “ Windsor Park ” ; in 1865, “ Prosperity,” “ Adversity,” and “ The Connoisseurs ” ; in 1866, “ Lady Godiva’s Prayer,” “ The Chase,” and “ Odds and Ends” ; in 1867, “Her Majesty at Osborne” and “Wild Cattle of ChiUing- ham” ; in 1868, “Rent Day in the Wilderness” ; in 1869, “Study of a Lion” and “ The Swannery invaded by Eagles ” ; in 1870, “ Queen Victoria meeting the Prince Consort on his Return from Deer-Stalk- ing ” and “ The Doctor’s Visit to Poor Relations at the Zoological Gardens” ; in 1872, “The Baptismal Font” and “The Lion and the Lamb” ; in 1873, “Tracker” and a “Sketch of the Queen,” which ARTISTS OF THE NINETEENTH CENTURY. 37 was never finished. His pictures have brought very large prices : “ Oxen at the Tank,” a small pen-and-ink sketch, was sold after his death for 300 guineas ; “ Man proposes and God disposes ” brought 2,500 guineas in 1864. A very large and complete exhibition of Landseer’s etchings and sketches was held in London in 1875. He designed the sculptured lions at the base of Nelson’s Monument, Tra- falgar Scpiare, unveiled in 1867, but was not as successful in sculpture as in painting. “Take, for instance, one of the most perfect poems or pictures (I use the words as synonymous) which modern times have seen, ‘ The Old Shephei’d’s Chief Mourner. ’ Here the exquisite execution of the glossy and crisp hair of the dog, the bright, sharp touch- ing of the green bough beside it, the clear painting of the wood of the coffin, .are lan- guage, — language clear and expressive in the highest degree It ranks as liigh art, and stamps its author, not as the neat imitator of the texture of a skin or the fold of a drapery, but as the man of mind.” — Rusk in’s Modern Painters. “ One of Stanfield's landscapes or of Landseer's hunting-pieces is worth all the mystic daubs of .all the Germans.” — Macaulay’s Life and Letters, Vol. II. Chap. XIV. “ Landseer has great merit not only as a painter of deer and dogs and horses, but as an artist most skillful in his delineation of hum.an figures, and of original genius in the representation of vast subjects in small isolated series of individualized parts conceived and wrought out with such powers of comprehension and concentration tliat in a single episode of ‘ Peace ’ and ‘ W.ar,’ all of the blessings of the former, .all of the horrors of the latter, are conveyed to the mind of the person who looks on these masterpieces. There is in Landseer’s compositions an exquisite delicacy of organization, an acute sense of per- ception of all that is harmonious in nature or art, a nervous susceptibility of all im- pressions, pleasing or poetical, such as it would be difficult to find in other artists.” — Memoirs of the Countess of Blessington. “ Landseer has been distinguished for his masterly handling of his art and the singular exiiertness with which he has been able to paint. His pictures have been largely en- graved, and have commanded a large sale Hardly a house which contains an engraving at .all is without one of a picture of Landseer.” — Mrs. Tytler’s Modern Painters. “As monumental sculptures these Lions of Landseer’s in Trafalgar Square have been a mistake throughout : badly planned, badly modeled, .and badly cast.” — Saturday Review, 1807. “The noble Lions at the foot of Nelson’s Column were added by Sir Edwin Landseer in 1867. Only one of them avas modeled : a slight variation in the treatment adapted the others to their pedestals. Their chief grandeur lies in their mighty simplicity.” — Hare’s Walks in Lomion, 1878. Landseer, George. (Brit.) Son of Thomas Landseer. He died in 1878. A portrait-painter of some merit. He also exhibited land- scapes from time to time. Lane, B. J., A. R. A. (Brit.) (1800-1872.) A grand-nephew of Gainsborough. He was articled in 1818 to Heath, the well-known line- engraver, but soon turned his attention to lithography, in which branch of his profession he was wonderfully successful, practicing it for many years, and reproducing many works of Landseer, Leslie, Lawrence, Gainsborough, and other artists. In 1827 he was made an Associate of the Royal Academy, and in 1837 he was appointed Lithographer to the Queen. He devoted himself particularly to engraving on copper 38 ARTISTS OF THE NINETEENTH CENTURY. (luring the last years of his life, and was for some time superintendent of the etching class at the South Kensington iluseum. Lang, Louis, N. A. (Ger.-Am.) Born in Wiirtemberg, 1814. Son of an historical painter. He early showed a taste for art, and between the age of si.\teen and twenty executed several hundred pastel por- traits of the people among whom he lived. In 1834 he went to Paris for the purpose of study ; spent some time at Stuttgart, and sailed for America in 1838, living in Philadelphia several years. He then re- turned to Europe, passing five or six years in Venice, Piome, Florence, and Paris. In 1852 he was made a member of the National Acad- emy of New York, making that city his home. He visits Europe fre- cpiently, and is at present (1878) in Florence. He is a member of the Artists’ Fund Society of New York, contributing to its sale in 1878, “Chasing Butterflies,” “Fresh Cherries,” and “Neapolitan Fisher Family.” Lang sent to the National Academy, New York, in 1869, “ The Stolen Child ” and “ Asleep in Prayer in 1870, “ Fresh Flow- ers ” and “An Old Mill at Greenwich, Ct.”; in 1871, “Little Gra- ziosa among the Butterflies,” “ Blind Nydia,” and “ Jephthah’s Daugh- ter.” He sent to the American Centennial E.xhibition of 1876 his “ Landing of the Market-Boat at Capri.” His “ Mary Stuart distrib- uting Gifts ” and the “ Maid of Saragossa ” are in the gallery of Robert L. Stuart. “ Lang indulges in brilliant colors, and has executed several large and glowing pictures of our popular holidays : he is fond of delineating female and infantile beauty with gay dresses and flowers, and has adventured somewhat in historic art. ” — Tuckekman’s Book of the Artists. “In Lang’s studio in Rome are, ‘A Bivouac of Circassian Slaves,’ ‘Marj-, Queen of Scots,’ ‘Cleopatra,’ ‘ Preziosa, or the Stolen Child,’ and ‘Cinderella.’ .... The color of ‘ Cinderella ’ is very rich and admirably managed, as well as the contrast between the haughty, conquest-anticipating sisters, and the gentle, beautiful one who serves them.’’ — Art Journal, September, 1S75. Langerfeldt, T. O. {Ger.-Am.) Born in Buckeburg, Principality of Schaumburg-Lippe, Germany, 1841. Studied as an architect at the Polytechnical School of Hanover, and became a landscape-painter upon his removal to England, where he spent five years. He settled in Boston in 1868, and has since resided in that city, making a trip to Germany and the Netherlands in 1874. Some of Langerfeldt’s ar- chitectural drawings in water-color are in the possession of the Super- intending Architect at the Treasury, lYashington, D. C., and many of his views of New England scenery, exhibited at Boston and New York, are in the private galleries of those cities. There was an e.x- hibition of his works in the gallery of the Boston Art Club in the winter of 1874, upon his return from Europe. For one of his archi- tectural water-color drawings he was awarded a prize at the Centennial Exhibition of 1876. “ Mr. Langerfeldt’s style is refresliing in its freedom and unconventionality. His col- oring is bright, harmonious, and agreeable ; and his manner combines aerial delicacy of ARTISTS OF THE NINETEENTH CENTURY. 39 tone with a manly strength The collection is remarkable for its architectural features, great towers with queer turrets, gables, and picturesque excrescences breaking out in unexpected places ; noble cathedrals, curious street scenes, pictui'esque roadside shrines, and pretty cottages. There are some admirable landscapes and wood interiors.'* ^ Boston Herald, November, 1874. “ We particularly noticed a pair of Langerfeldt*s water-colors, which were full of nature’s spirit. The forest piece struck us as being very happy in its effect of luminosity. Mr. Langerfeldt goes to nature as his master, and while he may not master nature, as no aidist can, he masters important features. He secures an out-door effect, which is seen in all liis works.'’ — Boston Transcript, January 19, 1876. Lanoue, Felix Hippolyte. (-PV.) Born at Versailles (1812-1872). Chevalier of the Legion of Honor. Pupil of V. Berlin and Horace Vernet. Landscape-painter. His “ View of a Forest of Pines ” is at the Luxembourg. Some of his works are at Versailles, at the church of Saint-Etiemie-du-Moiit, and in various public places. Lansil, Walter F. {Am.) Born in Bangor, Me., 1846. He studied art in his native city under J. P. Hardy, but has spent the greater part of his professional life in Boston. He was elected a member of the Bangor Art Association in 1876, of the Boston Art Club in 1877. He makes marine views a specialty. Among his most important pictures are, “ Crossing the Georgfes’ ” (belonging to the Boston Marine Insurance Company), “Abandoned,” “Sunset, Boston Harbor,” “ Fishermen in a Calm,” etc. “Walter F. Lan.sil’s last important painting is still on his easel, awaiting the final touches. It is a view of Charlestown and that portion of the harbor which is embraced in a view from the southeast. The sun is setting in a glowing sky that is varied by fleecy clouds, tinged with crimson and gold A shimmering light that is thrown by the sun upon the water is rendered with great success, and the masts of the shipping on the i)iers, in the middle distance, rising suggestively from the sun-bathed mists, add much to the poetry of the scene.’’ — Boston Daily Evening Traveller, May 2, 1878. Lansyer, Emmanuel. {Fr.) Born at File Bouin (Vendee), 1835. Medals, 1865, ’69, and ’73. Pupil of Courbet and Harpignies. Painter of marines and landscapes. Many of his motives are from Brittany. He has also painted, in the grand vestibule of the Palace of the Legion of Honor, a large picture called “ View of the Palace of the Legion of Plonor, taken from the Quai d’Orsay.” At the Luxembourg is his “ Landscape, — the Chateau of Pierrefonds ” (1869). At the Salon of 1878 he exhibited “ Flowering Fields, near Douarnenez ” and a “ Vue de la Cour du May aw XV° siecle” for a salon in the Palais-de- Justice. Laoust, Andre-Louis-Adolphe. (Fr.) Born at Douai. Medals in 1873 and ’74. Pupil of Joutfroy. At the Salon of 1877 he exhib- ited “ St. John with his Cross” and a portrait bust in bronzed plaster; in 1876, a medallion portiait ; in 1875, two portraits; in 1874, “Am- phion,” a marble statue, a group in plaster, “ The Capture,” and a bust in plaster ; in 1878, “ Spes” (a statue in plaster) and a portrait bust. Lapierre, Louis Emile. (Fr.) Born at Paris about 1820. Chev- alier of the Legion of Honor. Pupil of Victor Berlin. Among his 40 ARTISTS OF THE NINETEENTn CENTURY. pictures are, “ Twilight,” “ A Pond in the Forest of Champagne,” “ Interior of a Forest,” “ Setting Sim in Winter,” etc. Lapito, Louis-Auguste. {Fr.) Born at Saint-Maur (1805 - 1874). Chevalier of the Legion of Honor and of the Order of Bel- gium. Pupil of Watelet and Heim. He traveled much on the Con- tinent of Europe. Perhaps his water-colors are more admired than his oils. His works are seen in public galleries in France, Holland, and Belgium. They are all landscapes. Lapostolet, Charles. {Fr.) Bom at Velars. Pupil of Cogniet. At the Salon of 1877 he exhibited “Eouen”aud “The Station at Auteuil.” His pictures are aU landscapes. At the Royal Academy, in 1872, he exhibited “ Low Tide at Trouville.” His “ View of the Canal Saint-Martin at Paris, Winter, from the Bridge of the Street Buttes-Chaumont ” (1870) is in the Luxembourg. At the S.alon of 1878 he exhibited “ The Canal of the Giudecca, Venice.” Lasch, Karl Johann. {Ger.) Born at Leipsic, 1822. Professor at Diisseldorf and member of the Academies at Dresden, Vienna, and St. Petersburg. Medals at Berlin, Dresden, Vienna, and Philadel- phia. Studied at the Dresden Academy under E. Bendemann, and at Munich under Schnorr and Kaulbach. In 1847 he visited Italy. Later, he painted portraits at Moscow. In 1857 he settled in Paris. In 1860 he removed to Diisseldorf. His pictures are of genre subjects, and he inclines to romantic and idyllic scenes. In the National Gal- lery at Berlin is the “ Master’s Birthday.” Lathrop, Francis. {Am.) Born on the Pacific Ocean, two days’ sail from the Sandwich Islands, in 1849. In 1860 he began thestudy of art under T. C. Farrar in New York. He went to Germany in 1867, entering the Royal Academy of Dresden. In 1870 he settled in London, remaining three years in the studio of Madox Brown. He was for some time during his London residence with William Morris, in his establishment for the manufactory of artistic household goods, and was also an assistant of Spencer Stanhope. Since 1870 he has lived in the United States. He has painted portraits, furnishing, also, illustrations for Clarence Cook’s “ House Beautiful,” and other publi- cations of Scribner & Co. He is a member of the Society of Amer- ican Artists, sending to its first exhibition, in 1878, portraits of Thomas and Ross R. Winans. He assisted in the decoration of Trinity Church, Boston, of which he designed the chancel. During the winter of 1878 he was engaged in decorating the interior of Bowdoin College Chapel at Brunswick, Me. Latouche, Louis. {Fr.) Born at Ferte-sous-Jouame. A marine- painter. At the Cottier sale, New York, 1878, his “ Normandy Coast- Scene ” sold for $ 745. At the Paris S;don of 1878 he exhibited “ The Beach at Berck ” (Pas-de-Calais). Lauder, Robert Scott. {Brit.) Born in Edinburgh (1803- 1869). He became a student of the Trustees Academy at the age ARTISTS OF THE NINETEENTH CENTURY. 41 of fifteen. About 1823 he went to London, studying for three years in the British Museum. He visited Italy in 1833, remaining until 1838, in close observation and study, in Rome and Florence. He re- sided in London until 1850, when he settled in Scotland, and became principal instructor in the Trustees Academy. He exhibited fre- quently at the Royal Academy and the Royal Scottish Academy, of which latter institution he was made a full member in 1830, He was the author of many popular pictures, illustrative of Scottish history and romance, many of which have been engraved. Among these may be mentioned, “Meg Merrilies,” “The Fair Maid of Perth,” “ The Bride of Lammermoor,” and “ The Trial of Effie Deans.” His “ Christ teaching Humility ” is in the Scottish National Gallery. By reason of ill-health he did not practice his profession for some years before his death. Lauder, James XS. (Brit.) (1812-1869.) He studied under Sir William Allan in Edinburgh, and spent fi.ve years in study in Rome. He was made Associate of the Royal Scottish Academy in 1842 and Academician in 1849. In 1847 he received from the Committee for the Decoration of Westminster Hall a prize of £ 200 for his “ Wisdom ” and “ The Unjust Steward.” Among his most popular works may be mentioned, “ Ferdinand and Miranda,” “ Lorenzo and Jessica,” “ The Toilet,” “ The Money-Lender,” “ Time Changes,” “ Gethsemane,” “The Parable of the Ten Virgins,” “James Watt and the Steam-Engine,” “ Walter Scott and Sandy Ormiston,” many of which have been engraved. Laugde, Francois Ddsird. (Fr.) Born at Maromme, 1823. Chevalier of the Legion of Honor. Pupil of Picot and I’Ecole des Beaux- Arts. His picture of “ Eustache Lesueur chez les Chartreux ” (1855) is at the Luxembourg. “ St. Elisabeth of France washing the Feet of the Poor ” (1867) was purchased by the Emperor. Among his pictures may also be named, “ The Candle of the Madonna ” and “Going to Matins” (both scenes of the thirteenth century), in 1877 ; “ The Angel who bears the Censer,” in 1876 ; “ The Young Housekeeper,” in 1875 ; many portraits and mural paintings at the church of St. Peter and St. Paul at St. Quentin,, in the church of the Trinity at Paris (in the chapel of St. Denis). At the Salon of 1878 he exhibited “ An Old Man ” and “ An Old Woman,” and a cartoon of his picture of St. Denis in the church of the Trinity. “ The ‘ Martyrdom of St. Denis ’ is a drama which Laugee has represented full of action, tumultuous, terrible. Even as a page of history alone, it interests and capti- vates. Behold the first impression which comes from this painting. The qualities which a further study discloses are purity of design, firmness of lines, clearness of mise en scene, and richness of coloring, sustained without weakness.” — Roger Ballu, Gazette des Beanx-Arts, February, 1878. Launitz, Robert R, N. A. (Am.) Born in Russia (1806-1870). Studied under his father, a sculptor of some ability. In 1830 he came to America, and was made a member of the National Academy 42 ARTISTS OF THE NINETEENTH CENTURY. three yeai-s later. Among the better known of his works are the Pulaski Monument in Savannah, Ga., the statue of General Thomas at Troy, N. Y., and several fine monuments in Greenwnod Cemetery. Laurens, Jean Paul. {Fr.) Born at Fourquevaux, 1838. Cheva- lier of the Legion of Honor, 1874. Medal of Honor, 1877. Member of the jury for the Exposition of 1878, and for the annual Salom Pupil of Bida and Leon Cogniet. This painter made his debut at the Salon of 1863. His most important works are, “ The Death of the Duke d’Enghien,” at the Museum of Alengon ; “ The Excommu- nication of Robert the Pious” (1875), now at the Luxembourg; “Francis di Borgia before the Dead Isabella of Portugal”; “The Austrian Staff-Officers around the Death-Bed of Marceau” (1877), purchased by the city of Ghent for 40,000 francs ; “ Death of Sainte- Genevieve ” at the Pantheon ; “ St. Bruno refusing the Gifts of Roger, Count of Calabria,” in the chm’ch of Notre- Dame-des-Champs ; “ Pope Formosa and Stephen VII.”; “The Fishing at Bethsaida,” at the Mu- seum of Toulouse ; “ The Interdict,” at the Museum of Havre ; “ The Funeral of William the Conc[ueror,” at the Museum of Beziers ; etc. The following extract refers to the picture of the “ Death of Mar- ceau ” ; — “This magnificent picture is better than an apotheosis ; it is a transfiguration. The drawing of Laurens has never been more firm and well sustained, his arrangement never more perfect, and his execution more masterly. Perhaps he might be a little reproached, this severe and sober colorist, for certain effects of color, — a little bold, — that of the screen, for example, and the red cloak. But time will deaden them, and bring them into a religious harmony with the whole But of what import all these minute criti- cisms? The universal suffrage, as just in art as in politics, has recognized and proclaimed immediately in this work, not only one of the incontestable glories of the modem school, but still more, one of the most noble pages of history which the immense, eternal, invin- cible French Revolution inspired.” — Mario Proth, Voya/je au Pays des Peintres, 1S77. “The pictures of history, properly so called, become more and more rare at our annual expositions. The genre, landscapes, and portraits make up the largest partcf the works contributed. So much the more necessary is it to notice the artists who go against the cur- rent bravely, and among them is J. P. Laurens, i>upil of Bida, who has given two very remarkable pictures to this Salon of 1S72. One of them, of a somber tone and of singular energy, represents the terrible and almost fantastic scene in which Stephen VII., having exhumed the body of his predecessor. Pope Formosa, bears it, reclothed with the pon- tifical vestments, into the Salon of Council ; then, when an advocate had been appointed to reply in the name of the dead Pope, he heaped upon the corpse adjurations and accu- sations. The scene is fierce and savage, and Laurens has thus treated it The corpse of the dead Pope, with open mouth, the skin already black, extended on the chair, the red gloves covering the tleshless hands, is as sinister as the dead of Vald^ L^l that one sees at Seville., He is not the only Spanish painter this dismal canvas recalls. We might take the members of the Council of Laurens for the bishops or torturers escaped from a picture by Herrera. The face of the advocate of the dead, the menacing gesture of Stephen VII., the corpse itself in which the drama centers, the gray walls with their crosses of blood, the tripod, the sepulchral atmosphere of the scene, add to the impres- sion produced by this picture, — one of the best of the Salon.” — Jules Clabetie, Peintres et Sculpteurs Contempnrains. “ And one of the most important art movements of the present day is caused by a munificent expenditure of money for the decoi'ation of the entire interior of the Pan- ARTISTS OF THE NINETEENTH CENTURY. 43 theon by celebrated French artists, with scenes illustrative of the history of Sainte-Gene- vieve. The subject is national ; no foreign artist has ever attemiited it with success. To M. Jean Paul Laurens a most important part of this work has been confided, — a space ten yards in length in the sight of the abside. At the Universal Exhibition M. Laurens shows nine of his well-known paintings, including the ‘ Excommunicated,' the ‘Borgia,’ the ‘Execution of the Duo d’Enghien,’ and the ‘Death of General Mar- ceau,’ which took the medal of honor at the Salon of 1877. The lugubrious themes which have always inspired the best efforts of tliis artist prepare one to learn that he has now chosen to represent the closing scene in the life of the saint. The new work is stamped with the solemn grandeur of style, the simplicity of effect and broad handling character- istic of all his works, while the realism which has been to some repulsive is refined by a religious sentiment more elevated, but not less tragic. The dying saint is represented reclining on a couch. Her hands are raised to bless the company about her. During eighty years she had prayed and cared for the poor. Her arms, enfeebled by old age and by privation, are sustained by two young girls, who have reverently interposed a drapery between their hands and the form w'hich is to them sacred. The numerous company around them, of every age and condition, is grouped with skill. The dignitaries of the Church occupy the center. A picturesque assemblage of the costumes of the fifth een- tuiy indicates that the Greek, Latin, and Pagan religions had all yielded to her influ- ence. Nearer the entrance beggars in their rags contrast with the richness of the principal group. It is right that this interesting historic composition should be painted in lasting materials on the very walls of the Pantheon, for it is a masterjriece and de- sen'es to endure.” — London Daily News, May 15, 1873. Lauters, Paul. (Belgian.) (1806-1875.) This artist was distin- guished for his excellent landscapes in water-colors. He was a Chev- alier of the Order of Leopold, and a Professor in the Academy of Brussels. He sometimes painted in oil. His works showed a delicate and refined perception of the beauties of Nature, rather than brilliant color or powerful execution. Lawman, Jasper. (Am.) Bom in Xenia, Ohio, 1825. He be- gan his professional career at Cincinnati when a lad of fourteen. In 1846 he removed to Pittsburg, Pa., where he has since resided. In 1859 he went to Paris to study, remaining for a year under Couture. His pictures are owned in New York, Baltimore, Chicago, Philadel- phia, and elsewhere. Many are in the possession of Capt. William Ward, John Scott, Judge W. G. Hawkins, John W. Hampton, John Dalzell, and other residents of Pittsburg. Lawrie, Alexander, N. A. (Am.) Born in the city of New York, 1828. He began his studies in the life and antique classes of the Academy of Design, and in the Pennsylvania Acndemy of Fine Arts. Later he went to Europe, studying under Picot in Paris and E. Leutze in Diisseldorf, working also in Florence. He occupied a studio in Philadelphia for some time, but has been a resident of New York during the better part of his profes-sional life. He is a member of the Artists’ Fund Societies of New York and Philadelphia, and was elected a member of the National Academy in 1866, to the annual exhibitions of which he is a constant contributor, sending landscapes, ideal figure-pieces, and portraits, in crayon and oil. In 1869 he ex- hibited “ Autumn in the Hudson Highlands ” (belonging to Henry 44 ARTISTS OF THE NINETEENTH CENTURY. Marks) ; in 1870, “ A Valley in the Adirondacks ” (belonging to N. T. Bailey) ; etc. His portrait of Judge Sutherland belongs to the New York Bar Association ; that of Gen. Z. Tower is in the Library of the United States Military Academy at West Point. He has also painted Gen. John F. Keynolds, Col. Josiah Porter, and other prominent men. He has been particularly successful in his portraits of ladies. Among his crayon heads, numbering in all about a thousand, the best known are those of Richard H. Stoddard, Thomas Buchanan Read, George H. Boker, and other literary men. His “ Monk playing the Violoncello ” and “Autumn in the Highlands ” were at the Centennial Exhibition of 1876. “ Lawrie exhibited a portrait of three-quarters length, which is simply admirable. Ad- mirable in execution, in the rich simplicity of the dress, in the fresh loveliness of the face, and in the union of boldness and stren^h with gentleness and delicacy.'* — Art Journal, May, 1S77* Lawson, Cecil G. (Brit.) Bom in Shropshire, 1851. Son of William Lawson a portrait-painter, under whom he studied. He has lived for some years in London. Among his more important works are, “In the. Valley, — a Pastoral,” at the Royal Academy in 1873, and the Grosvenor Gallery in 1878 ; “ The Hop-Gatherers of Eng- land,” exhibited at the Royal Academy and in Liverpool in 1875 ; “ The Minister’s Garden ” and “ Strayed, — a Moonlight Pastoral,” at the Grosvenor Gallery in 1878; “The Dragon-Flies,” never pub- licly exhibited ; etc. His pictures are in the possession of Viscount Powerscourt, Godfrey Fawsett, Louis Huth, Mrs. P. Flower, and others. A distinctive place C. G. Lawson has undoubtedly taken as one of the first to at- tempt on a large scale the reconciliation of the realistic with the poetic treatment of nature. In ‘ The Minister’s Garden,’ for example, there is no want of painstaking fidelity to nature in the sturdy fir-tree, the roses, the hollyhocks, and the beehives in the fore- ground, nor in the meadows, swelling uplands, and distant hills, towards which we look from the garden which gives its title to the picture ; but at the same time the artist has thrown such a tender and peaceful sentiment into his work, harmonizing the bright colors of the foreground and choosing a moment of subdued light for the wide expanse of landscape, that he has fully justified himself in describing it as ‘a tribute to the memory of Oliver Goldsmith.’ It is just such a garden as fancy would choose for the Vicar of Wakefield to sit in.” — London Examiner, May 4, 1S7S. ‘‘Much as we value ‘The Minister's G.arden,’ we prefer to it Mr. Lawson’s second and rather less large picture, ‘In the Valley, —a Pastoral,’ which we remember enjoying some years ago at the Royal Academy. This is pre-eminently graceful, and poetic in its grace ; it affects one like a snatch of delicate descriptive lyrical verse Even had we never before seen any productions by Mr. Lawson, what he now shows in the Grosvenor Gallery would prove to us indisputably his possession of the three iirecious qualities, — strength, sweetness, and sentiment.” — W. M. Rossetti in the Academy, June 1, 1S6S. La'wson, Wilfrid. {Brit.) Brother of Cecil G. Lawson. Began his professional career as a designer on wood for the illustrated periodi- cals, working for some time on the staff of the Graphic. He resides in London, and has exhibited in colors and black and white at the Royal Academy, Dudley Gallery, and elsewhere. ARTISTS OF THE NINETEENTH CENTURY. 45 “Mr. Wilfrid Lawson has made himself distinctly the artist of ‘The Children of tlio City.' Ill past years he has shown us at the Academy one canvas in which the little street Arabs are making tliemselves as merry as may be with shadow figures on the walls, and anotlier in wliich a boy and a girl of the same pathetic race are looking up wistfully at a tree, whose blossoms, guarded by the iron railings of a garden, suggest, like tlie children’s city-bound lives, ‘ Imprisoned Spring,* the title of the work. This year the artist exhibits a third of the series in Pall Mall. ‘ Dawn’ represents the interior of a wretched room in a London slum, where a dying girl, supported in lier brother's arms, is lying on the floor, watching through the windows the first gleams of light breaking on the city, — symbolic of the heavenly dawn about to beam upon her soul. This picture, like its predecessors, proves that Mi*. Wilfrid Lawson is not a mere sentimentalist, but a painter who is also a poet.” — Marjazlne of Art^ August, 1878. Lay, Oliver Ingraham, A. N. A. (Am.) Born in the city of New York, 1845. A painter of portraits and of genre pictures. De- voted himself to art in his early youth ; studied in the schools of the Cooper. Institute and of the Academy of Design in his native city^ where his entire professional life has been spent. He was also a pupil of Thomas Hicks for three years, and has been a constant exhibitor for some time in the National Academy, of which he was made an Associate Member in 1876. He was elected a member of the Artists’ Fund Society the same year. Among his portraits exhibited in dif- ferent seasons may be mentioned those of James Barton, Mrs. Eliza Riddle Field, Mrs. Jeremiah Plendricks of Red Hook, N. Y., John Rodgers of Albany, N. Y., John Delafield, Winslow Homer, C. C. Colman, C. C. Griswold, and Miss Fidelia Bridges (the last four belonging to the National Academy). Among his genre works are, “The Letter,” “ The Window” (owned by J. M. Toucey), and “ The Two Friends” (in the collection of John H. Sherwood). “ ‘ Tlie Letter,' by O. I. Lay, represents a dark-eyetl, dark-haired girl, sitting by an open window, through which is seen an apple-orchard in early bloom. She is engaged in writing upon her lap, in true feminine fashion. The story is not a new one, but it is cleverly told. The face and figure are well and gracefully drawn, the position is natural and unconstrained, and the flesh-tints are admirable The drawing of the inte- rior, the bright colors of the Moorish rug on the floor, the little vase of spring flowers in the window, and the old chest of drawers with the quaint brass knobs, is excellent.*’— New York Arcadian, December 15, 1877. Lazerges, Jean Raymond Hippolyte. (Fr.) Born at Nar- bonne, 1817. Chevalier of tlie Legion of Honor. Pupil of David d’ Angers and Bouchot. Many of his subjects are religious. A “ De- scent from the Cross ” (1855) is at the Luxembourg ; another repre- sentation of the same subject is in the chateau d’Eu. “ The Death of the Virgin” (1853) was painted for the chapel of the Tuileries, and was seen at the Exposition of 1867. Lazerges has executed works at the church of Notre Dame de Bon Secours, near Rouen, at a chapel of the convent of La Providence, in the same city, and the ceiling of the theater of Nantes. In 1877 he exhibited at the Salon, “ Falma the Singer ” and “ The Moors in the Court of the Marabout on Friday, which is their Sunday in 1876, “Caravan of Kabyles”; in 1875, “The Resurrection,” “ Louis XVI. and Marie Antoinette at Versailles,” 46 ARTISTS OF THE NINETEENTH CENTURY. and “Jesus led to Prison”; in 1874, “ Stabat Mater”; in 1873, “The Christ of the Nineteenth Century”; etc. Lazerges is a musician, and has composed several songs. He has also written for journals, and published some hooks. Leader, Benjamin William. {Brit.) Bom in 1831. Entered the schools of the Royal Academy in 1854, exhibiting “ Cottage Chil- dren blowing Bubbles,” his first picture, the same year. In 1855 he sent “ A Bird-Trap ”; in 1857, a “ Stream from the Hills ”; in 1860, “A Worcestershire Lane”; in 1863, “A Welsh Churchyard”; in 1867, “ Through the Glen ”; in 1871, “ The Stream through the Birch- Wood”; in 1872, “Wild Wales”; in 1874, “The Thames at Streat- ley ”; in 1875, “ The Wetterhorn ”; in 1876, “ An English Hayfield ” and “A November Evening”; in 1877, “Lucerne” and “Lauter- brunnen”; in 1878, “Autumn in Switzerland” and “ Summer-Time in W orcestershire. ” “Mr. Leader's ‘ Country Churchyard ’ [R. A., 64], taken apparently at Bettws-y-Cocd, deserves notice for its brilliancy, and for the very truthful style of its architecture.” — Palo rave’s Essays on Art. Le Slant, Julien. (Hr.) Born at Paris. Medal of the third class in 1878, when he exhibited the “Death of General d’Elbee.” In 1877 he exhibited “ La partie de tonneau.” Lechesne, Auguste. {Fr.) Born at Caen, 1819. Chevalier of the Legion of Honor. He went to Paris to study, and first attracted attention by a frieze which he executed in the Maison d’Or. From this time he was constantly employed in decorating the hotels of Paris. He has sent to the Salons several works, and especially excels in the representation of animals. Larousse says : — “ Lechesne of Caen does not understand animals like Barye, but he models his sub- jects with so much sjurit and taste, and gives them so much animation and nicety, that their attraction is almost irresistible. It is not grand art, but it is the genrt ■sculptui'e, appreciable by all, attractive and charming.” At the Salon of 1878 he exhibited “ A Dog dying on the Tomb of his Master.” Le Clear, Thomas, N. A. {Am.) Born in Owego, N. Y., 1818. He displayed a talent for art as a child, and sold ideal heads painted on rough boards to his neighbors before reaching bis teens. In 1832 he was taken by his himily to London, Canada, where he painted portraits, but met with indifferent success. He settled in New York in 1839, and (with the exception of a few j-ears passed in Buffalo) his professional life has been spent in that city. He was made a member of the Na- tional Academy in 1863. Among his earlier works are the “ Marble- Players ” (which belonged to the Art Union), the “ Itinerant ” (in the National Academy of 1862), and his “ Young America.” He has painted the portrait of Edwin Booth as Hamlet, Gifford and McEntee the artists, Daniel R. Dickinson, President Fillmore, Dr. Vinton (1870), Bayai'd Taylor, E. W. Stoughton (1877), Parke Godwin (at the Na- ARTISTS OF THE NINETEENTH CENTURY. 47 tional Academy, 1877, and the Paris Exposition of 1878), George Bancroft (in the Century Club), and William Page (in the Corcoran Gallery, Washington). He exhibits occasionally at the Royal Acad- emy, London, and the journals of that city have spoken well of his works, saying that they are among the best in the Academy, fine in color, graceful, pleasing in tone, with great individuality, a “ sense of oneness, caused hy a subtle rendering of all the parts in their just relation one with another,” and that “ they exhibited in a marked degree many of the rare qualities of great portraiture.” “ To the native facility for imitation, Le Clear now unites remarkable power of char- acterization, a peculiar skill in color, and minute authenticity in the reproduction of latent, as well as superficial personal traits. In some cases his tints are admirably true to nature, and his Bnodeling of the head strong and characteristic.” — Tuckerman's Book of the Artists. " The quiet, subdued tones of Le Clear’s work [portrait of Page] in middle tint, its fine finish, and the grave dignity of the hetid, charm every beholder, so as to make him un- derstand wliy tills noble portrait elicited such marked praise wlien exliibited in the British Royal Academy. Le Clear is loi'tunate in being so well represented in tlie Cor- coran Gallery, alongside of some of the best heads of Stuart, Harding, and Healy.” — Art Journal, July, 1878. Lecomte Du Nouy, Jules Jean Antoine. (Fr.) Born at Paris, 1842. Chevalier of the Legion of Honor. Medals at London and Vienna. Pupil of Gleyre, Gerome, and Signol. “The Bearers of Bad News” (1872) is at the Luxembourg. “The Conversion of the Galley Slaves by Saint Vincent de Paul ” is at the church of the Trinity at Paris. In 1877 he exhibited at the Salon, “ The Door of the Seraglio” and his own portrait ; in 1876, “Homer Begging” ; in 1875, “The Honeymoon, Venice, Sixteenth Century ” and “The Dream of Cosron ” ; in 1874, “ Eros ” (at the Museum of Tours) and “The Butchers (Iraacellaj) of Venice.” For private galleries he has painted, “ The Merchant of Pompeii,” “ Christians at the Tomb of the Virgin,” “ The Repose of the Scherif,” “ Christmas Eve at Jeru- salem,” “ Chloeat the Fountain,” etc. His portraits are good. Among them is that of Beranger de la Drome, for the Museum of Valence. His “Invocation of Neptune” (1866) is at the Museum of Lille. The “ Love which Passes ” (1869) is at the Museum of Boulogne. At the Salon of 1878 he exhibited “ Christians at the Tomb of the Virgin at Jerusalem ” and a portrait. Lecomte -Vernet, Charles-Hippolyte-Emile. (Fr.) Born at Paris (1821 - 1874). Chevalier of the Legion of Honor. Pupil of H. Vernet and Cogniet. Made his debut at the Salon of 1833. At the Salon of 1874 he exhibited “ Penelope” and “ Almee ” ; in 1870, “ A Young Fellah Girl” and “A Young Girl playing with an Owl ” ; etc. Lee, Frederick Richard, R. A. (Brit.) Born towards the close of the last century, he began life as a soldier, seeing some active ser- vice. In 1818 he resolved to devote himself to art, and enteied the 48 ARTISTS OF THE NINETEENTH CENTURY. Royal Academy, exhibiting in its gallery in 1824, and regularly for nearly fifty years. He was elected an Associate of the Academy in 1834, and Academician in 1838, and was placed upon the list of Hon- orary Retired Academicians in 1872. Among the better known of his earlier works (many of which have been engraved) may be noted “Showery Weather” (exhibited at the British Institute in 1834) ; “ Coverside,” painted in 1839 (in conjunction with Land- seer) ; “ Evening in the Meadows ” (at the Royal Academy in 1854, the cattle in the stream painted by Thomas Cooper, R. A) ; and a “ River Scene,” at the Royal Academy in 1855 (in which also the cattle are Cooper’s), all of which belong to the Xatioual Gal- lery. His “ Distant View of Windsor ” and “ Gathering Seaweed ” are in the Sheepshanks Collection. In. 1856 he sent to the Royal Academy, “ Breakwaters at Plymouth ” ; in 1858, “ The Bay of Bis- cay ” ; in 1860, “Summer”; in 1865, “ Garibaldi’s Residence at Caprera” ; in 1867, “The Land we Live in” ; in 1868, “Far from the Busy Haunts of Men ” ; in 1869, “ Morning in the Meadows ” ; in 1870, “ The Land’s End and Longships Lighthouses,” and others, since which his works have not been seen at the Royal Academy. Leech, John. {Brit.) (1817-1864.) Was educated at the Char- ter House School in London, and was also a pupil for some time in the Royal Academy, where he exhibited a few pictures of a genre charac- ter, which were in no way remarkable. His sketches in “ Bell’s Life in London ” tvere the first of his works which attracted attention to him as an artist. He was connected with Punch as early as 1841, remaining upon the active staff of that journal for twenty-three years, and receiving for his services, it was estimated, £ 40,000. Many of his sketches, enlarged and colored, were exhibited in London in 1861, drawing crowds of visitors and realizing some £ 5,000. The litho- graphs of these were very popular and extensively sold, as were his many contributions to Punch, when collected in book form. Atnong the great number of works illustrated by Leech are, “ Jack Bragg,” by Theodore Hook ; several novels by Albert Smith ; “ The Story of a Feather,” by Douglas Jerrold ; “ iirs. Caudle’s Curtain Lectures ” ; “ The Comic Latin Grammar ” ; “ The Comic English Grammar ” ; “ The Comic History of England ” ; “ The Comic His- tory of Rome ” ; Christmas numbers of the Illustrated London Xews ; Bentley’s “ Miscellany ” for many years ; “ Jack Hinton ” ; “ Punch’s Pocket-Book,” up to 1864 ; the earlier volumes of Once a Week ; “ Young Troublesome ” ; “ Master Jacky in Love”; “The Book of British Song ” ; “ Puck on Pegasus ”; Blaine’s “ Encyclopaedia of Brit- ish Sports ” ; “ Paul’s Dashes of American Humor” ; “ Life of a Fox- hound ” ; “ The Christmas Carol ” ; “ The Cricket on the Hearth” ; “ The Chimes.” “ John Leech is different from all of these, and taken as a whole surpasses them all. even Cruikshank : and seats himself next, tliough below, William Hogarth. Well might ARTISTS OF THE NINETEENTH CENTURY. 49 Thackeray, in his delightful notice of his friend and fellow-Carthusian in the Quar- terly, say, ‘ There is no blinking the fact that in Mr. Punch’s Cabinet John Leech is the right-hand man. Fancy a number of Punch without Leech’s picture ! What would you give lor it?’ This was said ten years ago (1852). How much more true is it now ! . . . . It is this wholesomeness, and, to use the right word, this goodness, that niakes Leech more than a drawer of funny pictures, more even than a great artist. It makes him a teacher and an example of virtue in its widest sense.” — D r. John Brown, in Spare Hours. “ Nothing was more characteristic of Leech, and nothing was more enjoyable in his works, than the evident genial sympathy with which he entered into every phase of the many-sided English life of the hunting-field, the seaside, the ballroom, the drawing- room, the nursery John Leech had also a fine appreciation of English scenery, and in those bits of it which he introduced into his sketches he did it full justice, while he elevated by their artistic completeness the character of the sketches. ” — Rossetti. “ Very few artists, very few men of any profession, have been privileged to give the amount of pleasure which Leech cofiferred in very different quarters, and on very differ- ent ages To the infinite honor of Leech and of the promoters and proprietors of Punch, it was pleasure of the most iunocent description.” — Mrs. Tytler’s Modem Painters. “ His [Dickens’] opinion of Leech, in a word, was, that he turned caricature into character ; and would leave behind him not a little of the history of his time and its follies sketched with inimitable grace To represent female beauty as Mr. Leech represents it, an artist must have a delicate perception of it ; and the gift of being able to realize it to us with two or three slight, sure touches of the pencil. This power Mr. Leech possesses in an extraordinary degree His wit is good-natured, and always the wit of a gentleman.” — Forster’s Life of Dickens, Vol. II. Chap. XVIII. “ The out-door sketcher will not fail to remark the excellent fidelity with which Mr. Leech draws the backgrounds of his little pictures. The homely landscape, the sea, the winter wood by which the huntsmen ride, the light and clouds, the birds floating over- head, are indicated by a few strokes which show the artist’s untiring watchfulness and love of nature No man has ever depicted the little ‘ snob ’ with such delightful touch. Leech fondles and dandles this creature as he does the children. To remember one or two of these gents is to laugh.” — Thackeray, in the London Times, June 21, 1862. Lefebvre, Charles. {Fr.) Born at Paris, 1805. Chevalier of the Legion of Honor. Pupil of Gros. At the Salon of 1877 he exhibited “ Daimio, — Costume of the Court of Japan” ; in 1816, “ The Separa- tion of SS. Peter and Paul at the Moment when they were led to their Martyrdom ” ; in 1875, “ St. Anne instructing the Virgin Mary ” ; in 1873, “ Lucretia,” etc. Charles Lefebvre has also painted some portraits. Lefebvre, Jules Joseph. {Fr.') Born at Tournan, 1836. Cheva- lier of the Legion of Honor. Pupil of Leon Cogniet. He gained the grand yinx de Rome in 1861, the subject being “ The Death of Priam.” His “ Nymph and Bacchus ” (1866) is in the Luxembourg. In 1877 he exhibited at the Salon, “ Pandora ” ; in 1876, “ Mary Magdalene ” and a portrait ; in 1875, “ Chloe ” and a portrait ; in 1874, a portrait of the Prince Imperial; in 1872, “The Grasshopper”; in 1870, “ Truth ” and a portrait, etc. At the Latham sale, New York, 1878, “ The Grasshopper ” (75 by 35) sold for $ 2,950. At the Salon of 1878 he exhibited “ Mignon ” and a portrait of Mme. . Lefuel, Hector Martin. (Fr.) Born at Versailles, 1810. Com- VOL. II. 3 D 50 ARTISTS OF THE NINETEENTH CENTURY. mander of the Legion of Honor. Member of the Institute. This architect was a pupil of Huyot and I’Jicole des Beaux-Arts. He gained the grand prix de Rotne in 1839. He was architect of the chateau of Meudon, also of that of Fontainehleau, and in 1854 re- placed Visconti at the Louvre. In 1855 he wafe much occupied with the Exposition. He was soon after appointed Chief Architect of the Louvre and the National Palaces. He is to be noticed for his embel- lishments of the Tuileries. In 1867 he was a member of the Im- perial Commission for the E.xposition, and in 1873 was made a member of the Superior Commission of International Expositions. He made one of the jury at Vienna. He is also a member of the Superior Commission of the Fine Arts. He was President of the Institute in 1875. Legros, Alphonse. (Hr.) Born at Dijon. Slade Professor in University College, London. Medals in 1867 and ’68. Pupil of M. Lecoq de Boisbaudran. This artist had no assistance in his educa- tion, and encountered many hardships before he was able to send a 2 ucture to the Salon ; it was a portrait of his father, exhibited in 1857. In 1875 M. Malassis published an account of Legros and his works, from which we give an extract : — “ As it always happens, a literary man was the first to take notice of him. 51. Champ- fleury, — who some j'ears before had pointed out MM. Gustave Courbet and FranQois Bouvin, — with his discriminating curiosity always on the alert, had remarked in the Salon of 1857 the jiortrait of a man (the artist’s father), painted strongly and simply, and signed with the unknown name Legros. He wished to become acquainted with the painter ; fancying him as an honest, middle-aged artist, obscure, deserv'ing, and occu- pied in the production of modest work, he found, to his surprise, a young man under twenty, full of fire and verve, already master of a style at once solid and subtle, engaged with justihable self-reliance upon numerous works in course of execution or preparation. The kind visit of the celebrated writer remains as the pleasantest recollection of the painter’s early days. It was like the first smile of fame.'’ In 1859 “The Angel us ” by Legros attracted much attention, es- pecially from artists ; it was purchased by an English amateur artist, ]\Ir. Seymour Haden. Legros has resided nearly fifteen years in England, where he has received the honor and patronage Achich he failed to obtain in Paris ; and this consideration has at length extended itself to his native country, as will be seen by the fact that his “ Ex- Voto ” lias been purchased for the Gallery at Dijon, “ The Stoning of St. Stephen” for the Gallery at Avranches, “Monks at Prayer” for the Gallery at Alen^on, a drawing of “ St. Sebastian ” for the Gallery at Lille, and the “Amende Honorable” (1868) for the Luxembourg. The works of this artist are more Irequently ex- hibited in England than in France. Many of them go directly from his studio to the purchasers. The following are among his more important pictures : “ The Pilgrimage,” at the Liverpool Gallery ; “ The Spanish Cloister ” and the “ Benediction of the Sea,” at Mr. Eustace Smith’s ; “ The Baptism,” belonging to Sir George Howard. ARTISTS OF THE NINETEENTH CENTURY. 51 “ The Coppersmith,” belonging to Mr. lonides, was at the Salon of 1875, together with the “ Demoiselles du Mois de Marie,” belonging to M. Mieville. Legros has etched a large nnmber of plates, and his works taken altogether are very numerous. At the Grosvenor Gallery Exhibition, 1877, he exhibited “Four Studies, Portraits” (executed in two hours each) before the pupils of the artist in the Slade School, a Portrait of Thomas Carlyle, “ A Landscajre,” “ The Coppersmith,” “ The Spanish Cloister,” and “ The Baptism.” (The last three are mentioned above.) In 1878 he sent to the Grosvenor ten studies and finished paintings. “ France is a country of very strange contrasts, and this contrast is noticeable amongst others, tliat whilst many French people spoil themselves by the utmost extreme of affec- tation, many other French people are just as remar'kahle for the entire absence of affec- tation : so that their simplicity is more simple than ours, and their directness more direct. This contrast has been very strikingly manifested in the French art of the last half-century. Side by side, in the public exhibitions, with art of tlie most pretentious extravagance, grew up another school of art which discarded pretension altogether. Never was any realism so remarkable for simplicity of purpose as that of the genuine Frencli rustic school. I do not mean tlie realism of the revolutionary realists, who called themselves so, but of that school whicli was entirely emancipated from classical author- ity, and used its liberty for the jilain expression of its sentiment, not for the illustra- tion of a theory. These artists were neither influenced by the authority of the classics nor by the force of the reaction against them ; they worked in a calm corner of their own, safe from the flux and reflux of the great currents of their time. M. Legros is one of them ; but instead of going among the oxen and the laborers in the fields, he prefers the solemnity of tlie village church, or the cathedral' aisle, or the quiet monastery ; anil there he will watch his models, who know not that they are watched, and wlio reveal to him the secret of their meditations." — Hamurton, in The Portfolio, August, 1873. " Bold and strong in his style, sometimes even to brutality, he is a proof that the artist never ceases to be true ; his first attempts testified precisely to that conscientious research, to that obstinate lalior which he brings to the interpretation of nature M. Legros has never flattered either the taste or the tendencies of his time; it is thus that he lias remained himself, and that in each one of his impressions he has subordi- nated the form to an original and powerful thought." — Charles Ouellette, Gazette des lieaux-Arts, April, 1876, Leharivel-Durocher, Victor Edmond. (Fr.) Born at Chann, 1816. Chevalier of the Legion of Honor. Pupil of Belloc, Ramey, and A. Dumont. His “To Be and to Seem to Be” (1861) is at the Luxembourg. Among his works are, “ A Group of Angels,” on the tomb of Archbishop Pierres in the church of Saint-Sulpice ; “ Saints Genevieve and Theodechilde,” for the church of Sainte-Clothilde at Paris ; monument to the three brothers Eudes, for the city of Argen- tan ; “ Glory,” for the court of the Louvre ; a statue of Visconti for his tomb ; “ St. Mary Magdalene,” for the church of Saint-Augus- tin at Paris ; “ Tragedy ” and “ Comedy ” (bas-reliefs in stone), for the grand staircase of the Theatre Fran^ais, etc. The list is much too long to be given here. His works are to be seen in many cities, and he has also executed numerous portrait busts and statues as well as other sculptures for private bouses. To the Salon of 1878 he con- tributed a marble statue of “ St. Theodechilde.” 52 ARTISTS OF THE NINETEENTH CENTURY. Lehmann, Charles Ernest Rodolphe Henri, (ffer.) Bom at Kiel, 1814 (now a naturalized citizen of France). Member of the Institute. Officer of the Legion of Honor. Professor at I’Ecole des Beaux-Arts. Member of the Superior Council of the Fine Arts. Pupil of his father and of Ingres. His subjects are religious and his- torical, and he has taken many motives from modem poets. His reputation as a portrait-painter is great. His “ Grief of the Oceanides at the Foot of the Rock to which Prometheus was chained” (1850) is at the Luxembourg. Among his works are, “ An Assumption of the Virgin ” for the church of Saint-Louis at Paris, decorative works at the church of Saint-Merri, at the chapel of the Institute for the Young Blind, a chapel at the church of Saint-Louis-en-PIle, at the church of Sainte-Clothilde, at the palaces of the Luxembourg and of Jastice, etc. His portraits are numerous, and of notable men and women. We may also mention his “Arrival of Sarah at the Home of the Young Tobias,” “ The Education of Tobias,” “Jeremiah,” “Venus,” “L^n- dine,” “ Hamlet,” “ Ophelia,” “ The Dream of Love,” etc. “ He began with the strongest men of the modern French school, — with Ingres, Delacroix, Scheffer, and Delaroche, — and he has always manifested himself at the level of tlie most conscientious art and the best criticism. He comes directly' from Ingres by hi.s style, and with Ingres he made the study of the 'brin his chief care. His point of departure from the spirit of Ingres’ work is in his sentiment, which establishes his re- lation with Scheffer. He is not a typical artist, but for that very reason far less likely to provoke the hostility and depreciation which always accompany the development of a representative and pronounced talent. He is so studied, so conscientious, — he is such a fine draughtsman, and so finished in his manner, — that he has never been exposed to the criticism which made a noise of words, words, words, about the great name of Dela- croix, and left the correct and interesting Delaroche undisturbed. Lehmann and Dela- roche were fellow-students under Ingres ; but in Lehman and Ingres classicLsm was grafted on German mysticism, and it is this union of the positive classic with the poetic sentiment of the North which makes many of his works as strange as they are lovely. Lehmann often gleaned after Delacroix and Scheffer. He followed both in German and English poetry, painting a ‘Hamlet’ after Delacroix, and painting a ‘ ilignon ’ after Scheffer. His ‘Hamlet’ is described as elegant and contempl.ative. Greek trage- dies and mytlis and Jewish and Catholic legends have afforded subjects to this most ac- complished and indefatigable artist His portraits are celebrated, aud rival those by- Ingres and Flandrin. His portrait of the Princess Belgiojoaio is one of the most re- markable of modern portrait studies, and has been characterized as a striking and studied work. But color is so little sought for, and so little felt by the painter, that the effect of the head is described as unreal, — as a head in moonlight or as a scene in dreams, — and it is on this side of elegant and exquisite fantasie that Henri Lehmann has been at once the most charming artist, while to some he has seemed feeble in his hold upon nature. His portrait of Liszt is equally celebrated with his portrait of the Princess Belgiojosio, and ranks with Flandrin 's heads. It has been called ‘ a very rare creation, and surprisingly beautiful,’ by one of the best French critics. Of late years, Lehmann's style, formed in Rome under Ingres, h.as changed somewhat : it has lost its pallor and strangeness, — the charm of his work to some of his admirers, — and has become suf- fused with color. Edmond About say-s it is now w,arm, like the best examples of L^ pold Robert. But we may add that Robert was hardly a colorist, and that what About calls warmth a Venetian probably would call rankly hot" — Eugeke Bexsox, AppUtons' Art Journal, February 26, 1870. ARTISTS OF THE NINETEENTH CENTURY. 53 Lehmann, Rudolf. (Ger.-Brit.) Born near Hamburg, 1819. Son of a miniature-painter, from whom he inherited his taste for art and received his fii'st instructions, and brother of the preceding. Went to Paris in 1834, studying for two years, and spending a like period in Munich, where, for a time, he was a pupil of Kaulbach. In 1839 he went to Rome, in which city he has passed many winters, sending to the Paris Salon of 1841 a picture for which he received a gold medal. He turned his attention to the painting of the figures of Italian women with considerable success, and won the praise and friendship of Thorwaldsen, Ary Scheffer, Delaroche, and other famous artists. He went to England for the first time in 1850, making many subsequent visits before he finally' settled there in 1860. Among his early works are, “ Sixtus Quintus blessing the Pontine Marshes” (in the Paris Salon of 1847, and nowin the Museum of Lille), “ St. Sebastian,” “ St. Cecilia,” “ Haidee,” “ Graziella ” (for which he received the gold medal in Paris in 1854), “ Early Morning in the Pontine Marshes ” (R. A., 1860), “Tasso returning to Sorrento,” “Foundhng Hospital, Rome,” and “A Roman Serenade” (belonging to the Prince of Wales). Since he has lived in England he has sent to the Royal Academy “The Fortune-Teller” and “The Favor of an Answer requested,” in 1868; “After the Fire,” in 1869; “Out of the World,” in 1870; “ May we come in?” (portraits of his own family), in 1871 ; “Confessions,” in 1872; “Ave Maria,” in 1874; “Alma and her pet Kittens” and “Robert Browning,” in 1875; “After the Sitting,” in 1876 ; and many portraits. “ Mr. Lehmann’s works now take a prominent place, as they deserve, in the exhibi- tions of the Royal Academy. It i.s not difficult to recognize in them the influence of his continental training, and especially of his long residence in Rome. His figures always show the feeling they are intended to express, while his coloring is rich yet chastened.” — Art Journal, June, 1874. Lehoux, Pierre-Adrien-Pascal. (Fr.) Born at Paris. Medals in 1873 and ’74. Prix du Salon, 1874. Pupil of Cabanel. At the Salon of 1877 he exhibited “St. Stephen, Martyr”; in 1876, “ The Constellation of the Bouvier ” ; in 1874, “ St. Lawrence, Mar- tyr,” now at the Luxembourg. At the Salon of 1878 he exhibited “ Surprise ” and “ The Wrestlers.” Leibl, H. W. (Ger.) Munich. This artist is prominent in Mu- nich, and his works can be studied, together with those of his fellow- artists, in the Pinakothek of that city, where are placed the works of the so-called new school to which he belongs. To the Paris Expo- sition of 1878 he sent “ Some Peasants ” and a portrait. “ Leibl reveals in painting the rongh-featnred, roughly clad Bauerein, or peasants of the Bavarian hamlets, and the results are sometimes quite marvelous. He can also give yo\i, if he chooses, the delicate beauty of a lady’s hand with a truth to nature that throws enthusiastic young artists into raptures. But he does not often so choose, and this leads us reluctantly to say that the essential coarseness of his character prevents him from being as great an artist as his abilities might otherwise have made him. The 54 ARTISTS OF THE NINETEENTH CENTURY, greatest artists generally combine with strength a certain refinement, apparent in their works, if not in their manners. Beauty in the ordinary sense of the term has no attrac- tions for LeibL Even amidst the homely uncouthness of German peasantry handsome men and comely maidens are to be found. He seems to go out of his way to give us the most repulsive specimens of both sexes that he can find.” — Benjamin’s Contemporary Art in Europe., Leighton, Frederick, R. A. {Brit.) Member of the Academy of Florence. Corresponding Member of the Institute of France. Born at Scarboro’, 1830. Studied drawing as a lad in Rome. Student of the Royal Academy of Berlin in 1845, and studied later in Flor- ence, Brussels, Paris, Frankfort, and Rome. He first exhibited, in England, “ Cirnabue’s Madonna carried through the Streets of Flor- ence ” (R. A., 1855), which attracted great attention in London, and was purchased by the Queen. He exhibited his “ Triumphs of Music,” in 1856 ; “ Sunrise, Capri,” in 1860 ; “ Star of Bethlehem,” in 1862 ; “ Girl feeding Peacocks,” in 1863 ; “ Orpheus and Eury- dice,” in 1864 ; “ David ” and “ The Widow’s Prayer,” in 1865 ; “ The PaintePs Honeymoon,” in 1866 ; “ Venus disrobing for the Bath ” and the “ Spanish Dancing-Girl,” in 1867 ; “ Jonathan’s Token to David,” in 1868. He was elected Associate of the Royal Academy in 1865, and Academician in 1869, when he contributed “ Electra at the Tomb of Agamemnon” and “ St. Jerome” (his diploma work). In 1871 he exhibited “Hercules wrestling with Death”; in 1872, “After Vespers”; in 1873, “Weaving the Wreath” and “The Industrial Arts of Peace” ; in 1874, “Old Damascus”; in 1875, “Little Fa- tima”; in 1876, “The Daphnephoria ” and “Teresiua”; in 1877, “ The Music-Lesson,” “ Study,” and “ An Athlete strangling a Python ” (in bronze). This last was secured by the Academy authorities for 2,000 guineas, under the Chantrey Be(|uest, and was pronounced by the London Art Journal (August, 1877), “ nobly classic in feeling, yet full of such realistic details as modern anatomical knowledge de- mands.” Mr. Leighton has recently (November, 1878) been elected President of the Royal Academy. He has been knighted by the Queen. “ The ‘ Dante in Exile ’ [R. A., 1864] is a piece of refined drawing (with some little man- nerism, perhaps, intlie proportions), and of carefully studied attitude, and has little to fear from English rivalry. The subject was a noble one to attempt, and we are glad tliat Mr. Leighton had the courage to undertake it.” — P.vlgrave's Essays on Art. “ The ‘Summer Moon ’ and ‘ Interior of a Jew’s House,’ by Mr. Leighton, are works well deserving of special commendation. The former is exquisitely poetic in sentiment, rich and suggestive in tone, and admirable in grace of composition. The ‘ Interior of a Jew’s House’ is a complete poem from the ancient world The figures are painted with rare skill and gr.aoe, the drawing is .admirable, .and the .archa:ologic.al learning, whieh seems to be a matter of special ])ride in art to-day, is most thorough.” — Pbof. Weir’s OJicial Report of the American Centennial Exhibition o/lS76. ‘‘ Mr. Leighton’s ‘ Music-Lesson ’ [R. A.., 1S7T] i.s the most striking bit of art work in the whole Exhibition. . . . What makes this picture valuable in our eyes is, first, the per- fect oneness of the conception, the unity of action and sentiment ; and, second, the preciousness of the art with which be has carried out the idea.” — Art Journal, July, 1877. ARTISTS OF THE NINETEENTH CENTURY, 55 ‘‘Frederick Leighton is distinguishing himself in the treatment of classical subjects as well as ijortraiture. Such drawing of the human figure divine as in ‘ Daphneplioria * is rarely excelled.” — Benjamin’s Contemporary Art in Europe. “ Leiglitoii’s young naked athlete, with his limbs separated and firmly fixed on the ground, struggles with a serpent which is entwined about one of his haunches. With one arm behind he ijreserves his body from the danger of the formidable clasp, while with the other in front of him he throws out and holds at a distance the terrible head, grasping the neck with his strong hand. The general outline is grand, and it is a beau- tiful classic study, such as one sees in the drawings of the same artist.” — Anatole de Montaiclon, Gazette des Beaux-ArtSf July, 1878. Lcitch, W, L. (Brit.) Born in Glasgow, studying there under Knox. He has been for many years a resident of London and mem- ber of the Institute of Painters in Water-Colors, of which society be was elected Vice-President, succeeding Louis Haghe in 1870. He was at one time teacher of painting to Queen Victoria, and has furnished illustrations for many well-known books. Among his water-color drawings are, “ Peat Moor near Balmoral,” “ On the Te\'iot,” “ Even- ing,” “ Distant View of Creffel, Dumfrieshire,” “ The Valley of the Tweed from Berwick Castle,” “ Lago Maggiore,” “ Murano near Venice,” etc. At the Loan Exhibition at Glasgow in 1878 were his “ Bethlehem,” “ Church of the Holy Sepulcher,” “ Highland Raid,” and “ Windsor Castle.” Le Jeune, Henry, A. R. A. (Brit.) Born in London, 1820. Entered the schools of the Royal Academy at the age of fourteen. In 1841 he gained the gold medal for historical painting, his subject being “ Samson bursting his Bonds,” exhibited at the British Insti- tute in 1842. He first exhibited at the Royal Academy, in 1840, “ Joseph interpreting the Dream of Pharaoh’s Butler.” In 1845 he was appointed Master of the School of Design ; in 1848, Curator of the Royal Academy School of Painting. Among his early works are, “Ruth and Boaz,” in 1845; “Lear and Cordelia,” in 1849 ; “The Sermon on the Mount,” in 1851 ; “ The Vision of Queen Catherine,” in 1857 ; “ The Sisters of Lazarus,” in 1861 ; and in 1863 (when he was elected Associate of the Royal Academy), “ Early Flowers.” In 1864 he exhibited “ The Wounded Robin” ; in 1867, “ The Ride” ; in 1869, “Rather Shy” ; in 1872, “Great Expectations” ; in 1874, “ Innocence ” ; in 1875, “ A Bite ” and “ My Little Model ” ; in 1876, “Cinderella” ; in 1877, “Music” ; in 1878, “The Low-Born Lass ” and “ Spring Flowers.” “The best- performance ever exhibited by Henry Le Jeune is ‘Much Ado about Nothing’ [R. A,, 1S73], a fisliing-party of tliree children seated catching minnows on an old river sluice. The color, the groujiing, the execution, and the surroundings of this small company entitle it to rank among the most beautiful pieces of art of its kind that have ever been produced.” — Art Journal, June, 1873. Le Keux, Henry. (Brit.) (1787-1869.) Executed a great number of plates ; among others, “ Summer Lake ” (after Turner), “ Venice” (after Prout), “Embarkation of St. Ursula” (after Claude), and illustrations for Britton’s “ Cathedrals,” Rogers’ poems, “ The 56 ARTISTS OF THE NINETEENTH CENTURY. Beauties of England and AVales,” etc. He retired from active ■work in his profession about 1840. Leland, Henry. {Am.) Bom at Walpole, Mass. (1850-1877). Taken as a child to Boston. He showed a talent for drawing at an early age, hut received no instruction in art in America, although as an amateur he painted several creditable portraits. He was en- gaged in mercantile pursuits in Boston untd 1874, when he resolved to become an artist by profession, and went to Paris, entering the studio of Bonnat. Here his progress was so rapid that in one year j'rom the commencement of his studies he sent a portrait to the Salon ( 1875) which was accepted. In the summer of 1875 he visited Boston, when he painted portraits of his father and mother, which were sent to the Centennial Exhibition in 1876. He continued iu Bonnat’s school of drawing after his return to Paris, occupying a studio of his own for painting, and devoting himself closely to his profession. To the Salon of 1876 he sent a full-length portrait of Mile. D’Alembert, daughter of Count D’Alembert, which was highly praised by the Paris press. To the Salon of 1877 he sent “ Italian Girl ” and “Chevalier, Time of Henry HI.” One of his latest productions, and probably his best work, “ Expectation,” was painted for a Boston gentleman. It r’epresented an interior, furniture of white and gold (time of Louis XV.), with a lady in white satin costume. It was praised by BonUcUt, and was exhibited in the Gallery of the Society of American Artists in 1878. In 1877 Leland went to Italy, painting “ A Courtyard in Venice ” while in that city. He painted his own portrait and a “ Court Lady ” (time of Henry III.), which was left unfinished at the time of his death ; while at work upon it, December 5, 1877, in his studio, he met with an accident, dying in a few moments. Jlr. Leland’s works show careful and conscientious study, accuracy of drawing, fine color- ing, and the strength which might be expected from a constant student of Bonnat for three years. Shortly after Mr. Leland’s death the Bo.^;- ton Transcript said ; — “Mr. Leland’s picture is full in the display of artistic genius. In it is a lady in .a white satin dress standing near the center of a room before a piano. She is in the act of unbuttoning a glove, and her attention has been attracted towards the front and opposite part of the room from which she stands, so that a full ■\iew of the face is obtained as she turns her head to greet the expected comer. .... All the shadows are softly diffused into the various parts of the room, and are in perfect keeping with the strong high lights. The face is frankly painted and expressive, the pose of the head easy and natural. The texture of the dress as it falls in graceful folds and train is, as it should be in order to give the proper effect, exceedingly well dra^vn. The painting is in its eveiy part the most faithful in its appearance of truth of tone and execution that has been exhibited in this city for some years.” Leleux, Adolphe. {Fr.) Bom at Paris, 1812, Chevalier of the Legion of Honor, He studied his art absolutely alone. He traveled in France and Algiers, and met with remarkable success in his pictures of manners and customs, which is principally due to his exactness of ARTISTS OF THE NINETEENTH CENTURY. 57 representation. His “ Wedding in Brittany ” (1863) is at the Lux- embourg. At the Salon of 1877 he exhibited “ A Salon of CreniUe ” and “ The Family of a Maker of AVooden Shoes in Lower Brittany.” Among his pictures are, “A Market-Day at Finistere,” Spring Flowers,” “A Funeral in Brittany,” “Arab Women in the Desert,” “ Bedouins attacked by Dogs,” etc. At the Salon of 1878 he exhibited “ AVasherwomen in Berry ” and “ The Departure.” Leleux, Armand. (Fr.) Born at Paris, 1820. Chevalier of the Le- gion of Honor. Brother of Adolphe Leleux. Pupil of Ingres, whom he accompanied to Rome, where he remained two years. A ffenre painter. He had an official mission to Spain in 1846, and has also traveled in Germany and Switzerland. The “ Interior of the Pharmacy of the Convent of the Capuchins at Rome ” (1863) is at the Luxembourg. Among his works are, “ A Village Barber in Switzerland,” “ The Eve of the Fete ” (Swiss), “ The Alpine Hunter,” “ Scenes in the Black Forest,” “ Gypsies,” “ Interior of a Forge,” etc. At the Salon of 1878 he exhibited “The Letter of Recommendation” and “A Woman winding Skeins.” Leloir, Jean Baptiste Auguste. (Fr.) Born at Paris, 1809. Chevalier of the Legion of Honor. Pupil of Picot and I’Ecole des Beaux- Arts. His decorative works are at the churches of Saint-Ger- main-l’Auxerrois and Saint-Merri at Paris, and at that of Saint-Leu Taverney and the church of Saint- Jean at Belleville. Among his pic- tures are, “ The Holy Family in Egypt,” “ A Martyr,” “ Marriage of the Virgin,” “ Daphnis and Chloe,” “ Death of Homer,” “ Marguerite in Prison,” “ Ruth and Naomi,” “ Captive Athenians at Syracuse,” etc. To the Salon of 1878 he contributed “ Horace a Tibur.” Leloir, Alexandre Louis. (Fr.) Born at Paris. Chevalier of the Legion of Honor. Pupil of his father. At the Salon of 1875 he exhibited “ The Grandfather’s Fete” ; in 1874, “The Slave.” At the Johnston sale. New York, 1876, his “Temptation of St. Anthony” (28 by 39) sold for $2,100. To the Salon of 1878 he contributed “ The Betrothal.” Leloir, Maurice. (Fr.) Born at Paris. Pupil of his father and brother. Medal of the third class, in 1878, when he exhibited “The Last Journey of Voltaire to Paris”; in 1877, “ Robinson Crusoe ” ; in 1876, “ The Marionnettes.” Lemaire, Philippe-HenrL (Fr.) Born at Valenciennes, 1798. Member of the Institute. Officer of the Legion of Honor. Pupil of Cartellier. He gained the grand de Rome in 1821. He made his debut at the Salon of 1831. His “ Head of the Virgin ” (1846) is at the Luxembourg. His chef-d’oeuvre is the decoration of the front of the Madeleine. The works of Lemaire are seen in many public places. In 1852 he was elected to the Corps Legislatif in the De- partement du Nord. Lemaire, Hector. (Fr.) Bom at Lille. Pupil of A. Dumont . 3 * 58 ARTISTS OF THE NINETEENTH CENTURY. and Falguiere. Medals in 1877 and ’78, and ■prix du Salon in 1878, when he exhibited a plaster group of “ Samson betrayed by Delilah ” ; in 1877, “ Maternal Love ” and a “ Souvenir ” (bust, plaster) ; in 1876, a plaster group, “ The Bath.” Lematte, Jacques-Francois-Fernand. (Fr.) Bom at Saint- Quentiii. Medals in 1870, ’73, and ’76. Pupil of Cabanel. At the Salon of 1877 he exhibited a portrait and “ The Widow ” ; in 1876, “Orestes and the Furies” and a portrait ; in 1874, “The Rape of Dejanira” ; in 1878, “A Nymph surprised by a Faun” and a portrait of Mile. S. Lenbach, Franz. (Ger.) Bom at Schrohenhausen, a Bavarian village, and the son of a carpenter, whom he assisted in his work ; alt the time developing his taste for drawing by making .sketches of the men and animals which he saw about him. At length he obtained permission from his father to go to Munich. His allowance was fif- teen cents a day 1 He presented himself to Piloty, who arranged for him to enter the Academy. When his course was finished he re- turned to his home, and painted, “ with a sort of intoxication,” the peasants as in his childhood. His “ Sleeping Shepherd ” of the gallery of the Baron Schack was painted at this time. Piloty soon sent the young painter to Rome at his own expense. After his return he wa.s made a Professor at Weimar, where he was associated with Reinhold Begas and Bocklin. They all soon resigned their offices, and Lenbach returned to Munich. He went again to Italy and to Spain, and made many fine copies after Titian, Velasquez, and Murillo. At Paris, in 1867, he received a medal of the third class. He is to-day very cele- brated, and has become the painter of princes and emperors. His pic- ture of the Emperor of Austria was at the Vienna Exposition of 1873. At the Paris Exposition of 1878 several of his portraits were seen. " M. Lenbach expresses in a high degree tlie striking fe,itures of a face, the vivacity, the hnmid deptli of the eyes, tlic accent of the mouth or tlie ear. tlie character ; and allows liimself to freely rest on such or such a trait which pleases him. His execution is singular, — he is not careful to turn a drawing correctly, and leaves transparencies in his shadows But he has a full and profound impression of the man, and of the dominating traits of his face and his whole manner. His portraits of women have much grace, and a charm of sentiment : although one must seek these qualities beneath a melange of remembrances of Rubens and Jordaens, and under a light which is a little pale. But leaving aside sentiment, and his manner of representing what he sees, he is an artist An onion-peel, says one ; a great varnished aquarelle in the manner of Piloty, says another ; painting buttered, ganiished with pareley, d la mailrc-d’dotel, shall I add ! All that you wish. Tlie artist who calls himself Lenbach is a personality, a man of the first r.ank.” — Duranty, Gazette des Bea-ux-Arta, July, 1S7S. Lenepveu, Jules-Eugene. (Fr.) Born at Augers, 1819. Mem- ber of the Institute and Officer of the Legion of Honor. Director of the Academy of France at Rome in 1873. Pupil of Picot. “ The Martyrs in the Catacombs,” Salon of 1855, is at the Luxembourg. He decorated the chapel of Saint Anne in the church of Saint-Sulpice, Paris. This was completed in 1864. He has also executed decora- ARTISTS OF THE NINETEENTH CENTURY. 59 tive works in his native city. His easel-pictures are historical and religious subjects, and portraits. Among them are a “ Venetian Wed- ding,” “ Pius IX. at the Sistine Chapel,” “ Moses succoring the Daughters of Midian,” etc. Lepic, Ludovic-Napoldon. (Fr.) Born at Paris. Medal in 1877. Pupil of Cabanel and Wappers. His pictures at the Salon of 1877 were, “The Broken Boat” and “The Tempest”; in 1876, “The Inundation of the Quay Bercy, March 16, 1876 ” and “ A Calm in the Bay of Somme ” ; also, three etchings of “ Scenes on the Banks of the Scheldt” ; in 1875, “ Peche de nuit an chien de mer” and a “ Boat of Boulogne ” ; in 1874, “ Springtime ” and “ The Deluge ” (a triptych) ; in 1878, “The Departure, — High Tide” and “The Re- turn, — Low Tide.” Lequesne, Eugfene-Louis. (Fr.) Born at Paris, 1815. Chevalier of the Legion of Honor. Medal at London. Pupil of Pradier, who before his death confided to him the completion of the “ Victories ” of the Tomb of Napoleon at the Iiivalides. His portrait statues and busts are numerous. He has executed decorations at the Louvre, and the new church of Saint- Augustin at Paris. His monumental Fountain in the grand Place of Nevers and a “Winged Griffon” at the Museum of Amiens are among his important works. At the Salon of 1876 he exhibited “Gaulois au poteau,” plaster statue ; in 1874, “ That of which the Young Girls dream,” plaster statue ; etc. Le Roux, Charles-Marie-Guillaume. (F?-.) Born at Nantes, 1814. Officer of the Legion of Honor. Pupil of Corot. At the Salon of 1877 he exhibited “A Farm in Vendfe” and “ The Banks of the Loire and the Basin of the Basse-Indre at Low Tide ” ; in 1876, “High Tide at Prefailles ” and a “ View at the Soulliers”; in 1875, “ A Marsh, — Sunrise,” “ The Bourg of Batz and the Croisic, — Storm,” and “ The Approach of a Squall on the Coasts of Brittany ” ; in 1878, “ The Vista of the Chestnut- Trees at the Soulliers ” and “ At the Soulliers, — Morning.” Le Roux, Hector. (Fr.) Born at Verdun. Medals in 1863, ’64, and ’74. Pupil of Picot. At the Salon of 1877 he exhibited “ The Danaides” and “The Vestal Claudia Quinta” ; in 1876, “The Obse- quies of Themistocles ” and “The Trial of a Vestal” ; in 1874, “The Vestal Tuccia.” At the Johnston sale. New York, 1876, the “Fu- neral in the Columbarium” (54 by 39) sold for $725. At the Cor- coran Gallery is the “Vestal Tuccia,” which gained a second medal at Paris in 1874. His “Funeral in the Columbarium of the House of the Caesars” (1864) is at the Luxembourg. At the Salon of 1878 was his “ Pallas Minerva on the Acropolis of Athens ” and “ The Little Orphans.” “ Hector Le Roux, whose studio is at 12 Rue de Navarin, one of the principal artists in Paris, used to live at Rome. There, in his delightful retirement on the Via Quattro Fontane, in a charming apartment now occujiied by Charles Caryll Coleman, the studio 60 ARTISTS OF THE NINETEENTH CENTURY. of which opened on a beautiful garden full of orange and lemon trees, thick with vines. Le Roux painted some of his most important and beautiful pictures. — tlie ‘ Tuccia,’ which is in the Corcoran Gallery at Washington; ‘The Vestal Fire relighted by a Miracle,’ in Mrs. Herriman’s gallery at Rome ; the important and remarkable ‘ Danai- des,’ which was in the last Salon ; etc. Beside these and other valuable art works, the names of which I cannot recall, he also made, during his long residence in Rome, a num- ber of studies, most poetical and happy subjects for future pictures Le Roux has been medaled again and again, and decorated for his beautiful works. His paint- ings, many of them, have been taken by the government, and are in the various museums of France : one is at the Luxembourg, the beautiful ‘ Funeral at the Columbarium of the House of the Ctesars, Porta Capena, at Rome ’ : it was one of the leading pictures hi the Salon of 1864. His ‘ Messalina in the Suburra,’ a terrible but wonderfully strong picture, gained one of his medals some years ago ; it is to be at the Universal Exposition next spring ; when Meissonier, who is on the jury, saw its name in the list Le Roux sent in, he remembered it and expressed much satisfaction. Le Roux sent to the jury a list of six names of pictures for the corning Exposition, — all were admitted, — 1. ‘An An- cient Serenade ’ ; 2. ‘ Summer Triclinium’ ; 3. ‘Fire of Vesta relighted by a Miracle’; 4. ‘Messalina in the Suburra’; 5. ‘Toilette of Minerva Poliade’; 6. ‘The Danaides.’ He is preparing for the spring Salon two new pictures, — one is of two young Roman girls of ancient times visiting the tomb of their parents ; the other is more important in subject, and very interesting and poetical in detaiL It is ‘ The Miracle recorded by Pausanias of the Descent of the Statue of Minerva Poliade from Heaven.’ .... It is represented most poetically. It is before the great city of Athens and its sjilendid temples existed. The young Greek virgins are assembled together at sunset on the summit of the hiU : beyond is the sea and the Troad, a lovely bit of landscape, with soft sky ; a grove of olive-trees rises on the second plane ; the tender atmosphere of a Greek sunset pervades the picture. On the front plane to the left is the dark statue of the goddess which has descended from heaven : the finnly planted, archaic feet are just touching the great stone summit on which her famous temple was afterwaiils erected. This archaic figure is most impressive. The girls are in various attitudes, expressive of their emo- tions. You see that it is a solemn and awful moment; to them is being revealed a sacred mystery that they are to reveal to humanity. One girl has thrown herself face downwards on the rocky base below the statue ; others are veiling their faces in awe ; one, a noble, dignified young viigin, stands in front of the olive grove, full of courage and reverence ; she announces and proclaims the marvelous miracle ; this one is, of course, the future first high-priestess, and the surrounding girls are her sisterhood or band of vestal virgins. This picture is painted in a moderate size, well fitted for a .salon or parlor. I trust some American patron of the arts may secure it at the Salon of next spring.” — Paris Letter of Miss Axke Brewster, October, 1ST7. Le Roux, Eugene. {Fr.') Bom at Paris. Medals, 1864, ’73, and ’75. Pupil of Picot. At the Salon of 1876 he exhibited “ The Letter of Eecoiumendation ” ; in 1875, “ An Ambulance during the Siege of Paris”; in 1874, “ An Old Amateur.” His “New-Born, — Interior of Lower Brittany ” (1864) is at the Luxembourg. Leslie, Charles Robert, R. A. {Brit.-Am.) Born in England (1794- 1859). Taken to America in 1799, he received an ordinary school education in Philadelphia, and was apprenticed to a Iwokseller in New York. In 1811 he returned to England, and entered the schools of the Royal Academy, studying also under West and Wash- ington Allston. He painted during his early career in London, “ Saul and the Witch of Endor,” “ Anne Page and Slender,” “ May- Day in the Reign of Ehzabeth,” and “ Sir Roger de Coverley.” He was elected ARTISTS OF THE NINETEENTH CENTURY. 61 an Associate of the Royal Academy in 1821, and Academician in 1825. In 1831 he accepted the appointment of Professor of Drawing at the Military Academy at West Point, but relinquished it the following year, and returned to England. In 1848 he was made Professor of Painting at the Royal Academy, holding the ofhoe until 1851. His lectures were subsequently published. Many of Leslie’s works are in the Sheepshanks Collection. His “ Uncle Toby and Widow Wadman ” (R. A., 1831) and “ Sancho Panza in the Apartment of the Duchess ” (R. A., 1844) are in the Vernon Collection of the National Gallery, London. HLs “ Columbus and the Egg,” “ Gulliver introduced to the Queen of Brobdignag,” “ Library at Holland House,” “ Queen Vic- toria receiving the Sacrament at her Coronation,” “ Jennie Deans and Queen Caroline,” “ Christ and the Disciples at Capernaum,” are well known by the medium of engraving. His “ Cooke as Richard III.,” “ Murder of Rutland by Clifford,” and others are in the Philadelphia Academy of Fine Arts. James Lenox owns his portrait of Washing- ton Irving. “The more I learn of art, the more respect I feel for Mr. Leslie’s painting as such and for the way in which it brings out the expressional result he requires. Given a certain quan- tity of oil color to he laid with one touch of pencil, so as to produce at once the subtlest and largest expressional result possible, and there is no man now living who seems to me to come at all near Mr. Leslie, his work being in places equal to Hogarth for decision, and here and there a little lighter and more graceful.'* — John Ruskin. “ From this time [1833] Leslie produced a succession of masterly works, — masterly in every respect, perhaps, except their coloring, in which a dull red or burnt sienna tint is too prevalent. This is, however, not the case with the* Sancho Panza ’ and other early works. He is seen to great advantage in the Sheepshanks Collection.'’ — Wornum’s Epochs of Painting. “Leslie’s first successful attempt was a likeness of Cooke the tragedian, taken at the theater. He soon copied admirably, and became, like most of his fraternity, early occu- pied with portraits. After teaching drawing for a short time, he resigned the appoint- ment, returned to England, and enjoyed the liberal encouragement which no other coun- try is so well adapted to yield the kind of genius by which he is distinguished. Sho claims him as her own, but, although born there, his parents were American, and his first lessons in art were received on this side the water. ” — Tuckerman’s Book of the Artists. Leslie, George D., R. A. (Brit.) Born in 1835. Son of Charles R. Le.slie of the Royal Academy, whose pupil he was. George D. Leslie entered the schools of the Royal Academy in 1854, and sent his first picture, “ Hope ” (now the property of Lord Houghton), to the British Institution in 1857. In 1859 he sent to the Royal Acad- emy, “ Reminiscences of the Ball,” “ Matilda” (from Dante) ; in 1865, “The Defence of Lothian House”; in 1867, “The Cousins”; in 1868 (when he was made Associate of the Royal Academy), he ex- hibited “ Home News,” “ The Empty Sleeve,” and “ The Boat- House” ; in 1870, “ Fortunes” ; in 1872, “ Laviiiia ” and “ An Elope- ment”; in 1874, “The Nut-Brown Maid” ; in 1876, “Roses” and “Violets”; in 1877 (when he became Academician), he contributed “ Cowslips ” and “ The Lass of Richmond Hill,” his diploma work ; in 1878, “ Home, Sweet Home.” His “ Celia’s Arbor ” was at Phila- G2 ARTISTS OF THE NINETEENTH CENTURY. delphia in 1876 ; “Fortunes,” “School Revisited,” “Pot-pourri,” “Lavinia,” and “ Celia’s Arbor” were in Paris in 1878. “ It must be a great deliglit to Mr. Leslie to see bis son George D. Leslie do such good ■work as this ‘ Reminiscence of tlie Ball.’ There is not a prettier piece of painting on tlie walls, and very few half so pretty I shall look anxiously for Leslie’s work next year, for lie seems to have truly the power of composition, and that is the gift of gifts, if it be rightly used. He colors very well already. -- Ruskik’s Xotes on tlie Pictures of the Year, 1S75. “ George D. Leslie lias painted nothing so complicated in combination of figures and landscape as in this picture [‘ Fortune,’ R. A., 1S70]. It illustrates both his merits and defects in a conspicuous way. The purity and beauty of tiie faces, the taste of the dresses, the grace of the figures, and the felicity of the grouping, with the amenity of the landscape, give a charm to it which was widely and directly felt" — Tom Taylor in English Painters of the Present Day, 1876. " It would be difficult, as a rule, to find on the walls of any gallery figures more unaf- fectedly refined and more winning in their attractiveness than those George D. Leslie places on his canvases The painter understands thoroughly the sources of a delicate beauty proper to a refined type of English girlhood ; and he has the power, genuinely artistic of its kind, to bring all of the materials of the composition in accord with the dainty spirit that inspires it ; for even the landscape portions of his pictures seem as if painted under the influence of the same graceful feeling and purity of taste, so as to jiresent a perfect harmony between the outside world, and those who for the time at least occupy the scene.’’ — Art Jottrnal, June, 1877. Leslie, Robert C. {Brit.) Son of Charles R. Leslie, and younger brother of George D. Leslie, inheriting much of the artistic talent of his family. He devotes himself particularly to marine views, and has had a studio for some years at Southampton, exhibiting frequently at the Royal Academy, at the Dudley Gallery, and elsewhere. Among his later pictures may be noted, “Beachey Head,” “ Daybreak on the Atlantic,” “ A Calm off the Foreland,” “ A Gale,” “ A Last Shot at the Spanish Armada in the North Sea,” etc. “ All that Robert Leslie has executed of this kind [sailor life, shipping, and the sea] has shown a genuine love and pure feeling for Nature, a thorough mastery of the tech- nical elements of his subjects, and a consistency in all parts of his pictures such as in this particular walk of art only exact knowledge can secure. These qualities give a dis- tinctive value and interest to Robert Leslie’s pictures, which as yet [1870] have hardly the recognition their merits entitle them to.” — Tom Taylor, in English Painters of the Present Day, 1870. “ ‘ Daybreak on the Atlantic’ [R. A., 1877] is a fine and solid example of true and learned modeling of waves, expressing the movement of a ship with rare felicity, note- worthy for just treatment of the atmosphere and broad sober color.” — London Athe~ nanim. May, 1877. Lessing, Charles Frederic. (Ger.) Born at Wartenberg, Silesia, 1808. Member of the Academy of Berlin. Knight of the Order of Merit. Medal of first class at Paris. Pupil of the Academy of Ber- lin under Diihling and Rosel. The father of this artist always ob- jected to his being a painter, but when at seventeen years of age he gained the prize of the Academy by his picture of “ The Cemetery in Ruins,” he met with no more opposition ; and under the influence of Schadow, who had become interested in him, he rapidly advanced. He read the history of Bohemia, and painted “ The Sermon of the ARTISTS OF TUE NINETEENTH CENTURY. 63 Ilussites,” which gained him honors in Paris and criticisms at home, where the story of Huss excited violent passions. But the artist only replied by still other pictures, such as “ Huss before the Council of Constance,” “Huss going to the Funeral-Pile” (in New York), “A Hussite Preaching ” (in the National Gallery, Berlin), and others of a similar character. Among his historical subjects are, “Luther burn- ing the Bull of the Pope,” “ Discussion of Luther and Eck at Leip- sic,” “ Pope Pascal II. Pi’isoner of Henry V.,” etc. Of landscapes we may mention, “ The Cloister in the Snow,” “ View taken in the Eifel,” “ A Wood-Chapel,” “ Ritterburg,” the famous “ Oaks of a Thousand Years” (engraved by Steifensand), and many picturesque views, ruins, convents, Gothic chateaux, and wild forest scenes. The Berlin National Gallery has a large number of his works. The “ Luther and Eck ” is in the gallery at Carlsruhe, and cost £ 2,333. To the Paris Exposition of 1878 he contributed “ A Landscape ” (be- longing to the Gallery of Berlin). ** A painter vigorous, truth-seeking, and naturalistic as Lessing, might reasonably be supposed to tind delight in Nature’s ways. Lessing, indeed, has been deemed by some persons greater as the painter of landscape than of history All the landscapes I have seen by Lessing have been accentuated with predetermined purpose. The fixed and the forcible intent manifest in the artist’s historic compositions speaks out scarcely less decisively and intelligibly in his portraiture of inanimate nature, which thus be- comes, as it were, vocal under his touch Lessing, it will be seen, is a keen ob- server of character, an accurate student of physiognomy. He delineates human nature with a breadth which pertains to the species, and in a detail that distinguishes the indi- vidual And this it is that gives to the works of Lessing their pre-eminent real- ity ; this it is that endows them with strong power of appeal, and brings them in close correspondence with the pronounced and positive spirit of the age. Lessing’s pictures are no unsubstantial visions, no feverish dreams, or ecstatic swoonings ; they are real as life, true as nature, and manly as the grand historic charactei’s they seek to honor.” — J. Beavington Atkinson, Art Journal, September, 1865. Leu, August Wilhelm. {Ger.) Born in Munster, 1818. Royal Professor and member of the Academy of Berlin. Member of the Academies of Vienna, Amsterdam, and Brussels. Medals at Berlin. Studied at the Diisseldoif Academy under Schirmer. Traveled in Norway, Switzerland, Bavaria, and Italy. At the National Gallery of Berlin is his “ View of a Swiss Lake.” At Vienna, in 1871, he ex- hibited “ Am Grundelsee ” ; and at Berlin, in 1876, “ Rocca Bruna, near Nice,” “ A View of Capri,” and a “ View near Kandersteg.” To the Paris Exposition of 1878 he sent “ Lake Oe.schinen in the Canton of Berne ” (belonging to the National Gallery of Berlin). Leutze, Emmanuel, N. A. (Ger.-Am.) Born in Wiirtemberg, Bavaria (1816 - 1868). Taken as a child by his parents to Philadel- phia, he early displayed artistic talents. By the sale of numerous drawings he realized enough to carry him to Europe in 1841, when he went to Diisseldorf, entered the Academy there, and painted his “ Columbus before the Council of Salamanca ” (which was purchased by the Diisseldorf Art Union). He also painted, during his stay in 64 ARTISTS OF THE NINETEENTH CENTURY. Germany, “ News from Lexington,” “ Mrs. Schuyler firing the Wheat- Fields,” and similar works of an ideal or historical character. He also studied in Italy, and returned to America in 1859, after which time he made frequent visits to the art centers of Europe. He was made a member of the National Academy in 1860. He painted many pic- tures taken from French, German, Spanish, as well as American his- torical subjects. Among the better known of these are, “ Columbus in Chains ’’ (exhibited in Brussels, for which he received from the King of the Belgians a silver medal), “ Cromwell and his Daughter,” “John Knox and Mary Stuart,” and “ Western Emigration” (which is in the Capitol at Washington). His “ Elaine ” was in the Na- tional Academy in 1867. After his death, in 1868, were exhibited there the “ Mother’s Visit ” (belonging to H. G. Marquand), the “ Storming of Teocalli, Mexico,” “Settlement of Maryland by Lord Bal- timore,” the “Iconoclast ” (belonging to E. M. Olyphant), and portraits of General Grant, W. Whittredge, Louis Lang, and himself (the last presented to the Academy by John Taylor Johnston). His “ Mary Stuart hearing the First Mass at Holyrood after her Return from France” (belonging to John A. Riston) was at the Paris Exposition of 1867. “Henry VIII. and Anne Boleyn” belongs to W. T. Wal- ters of Baltimore, and his “ Christmas Mummeries ” to iirs. Abner Mellen. “Emanuel Leutze is the representative painter of the American branch of the Dussel- dorf school, and stands the highest in popular esteem. He manifests some originality of thought, much vigor, overmuch dramatic force, and has abundance of executive skill, but is spasmodic and unequal. Tours de force delight him. He has the vicious coloring of the Dusseldorf school in its fullest extent The rotunda painting in the Capitol of the ‘ Star of Empire ’ is his most ambitious work. This, the well-known ‘ Washington crossing the Delaware,' the ‘ Storming of Teocalli, Mexico,’ and the portrait of General Burnside, are striking examples of his epic style.” — Jarves, Art Idea. “ His admirers are fond of him, and his enemies very severe. The character of Leutze was worked out in his pictures with wonderful exactness. He was a hero-worshiper ; he was fond of adventure, and of wild, gleeful fun ; he was more given to vivid sensation than to sentiment or refinement ; he acted out Emerson's words, ‘ There is hope in ex- travagance, there is none in routine ’ ; he was brave and cordial, and sw'ept on to his end with a rush, like a spring waterfall, happy in freedom, and in haste for the end of its course. All this is in his pictures, and while we love the works of others more, we may gain much pleasure from his.” — Mrs. C. E. Clement, Painters, Sculptors, Architects, and Engravers. Ldvy, Emile. (Fr.) Born at Paris, 1826. Chevalier of the Le- gion of Honor. Studied at I’licole des Beaux- Arts under Abel de Pujol and Picot. He gained the grand prix de Rome in 1854. In 1855 he sent to the E.xpoaition a picture of “Noah cursing Canaan,” which was purchased by the government. His “ Death of Orpheus ” (1866) is in the Luxembourg. In 1877 he exhibited the “ Meta sudans, or the Fountain where the Wrestlers of the Circus made their Ablutions,” and a portrait ; in 1876, “The Willow” and “A Bather” ; in 1875, “ The Brook,” “ The Boat, — an Idyl,” and a por- trait ; in 1874, “Love and Folly” ; in 1873, “The Path, — an Idyl” ARTISTS OF THE NINETEENTH CENTURY. 65 and “ A Child ” ; in 1872, “ The Letter ” and “ A Young Girl hear- ing Fruit ” ; etc. Levy has executed decorative works in the church of the Trinity, at the Cercle de 1’ Union artistique, the ceiling of the theater of the Bouffes Parisiens, and in several hotels, etc. At the Salon of 1878 he exhibited “Caligula.” L^vy, Henri Leopold. (Fr.) Born at Nancy, 1840. Chevalier of the Legion of Honor. Pupil of Picot, Cahanel, and Fronientin. In 1865 he exhibited “ Hecuba finding the Body of Polydorus on the Seashore ” ; in 1867, “ Joash saved from the Massacre of the King’s Sons ” ; in 1869, “ Captive Hebrews weeping over the Ruins of Jerusalem ” ; in 1872, “ Herodias” ; in 1873, “ Christ in the Tomb ” ; in 1874, “ Sarpedon ” (in the Luxembourg) ; etc. His “ Christ in the Tomb” was much remarked. In 1875 and ’76 he was engaged in decorative paintings, and has sent nothing to the Salons since 1874. “The color of Henry Levy is much praised. To our eyes it is not that of a frank and sincere colorist, it is that of a man of taste who wishes to produce some picturesque effects. Without ever reaching great power he turns easily to mannerism. Thns his angel’s wings, instead of being white or of one color, are diversely and brilliantly tinged. In the dr.aperies, in the nnde bodies, in the backgrounds, even, one feels an in- cessant preoccupation with the attempt to avoid the commonplace. Moreover, there is a heaviness, a defect in harmony ; the air does not eircnlate freely about his personages. Levy is, in point of color, an intelligent pupil and feeble imitator of Delacroix, as he is in design, composition, and style an eclectic pupii of the great masters. He has neither an inspired genius, nor, perhaps, even the temperament of a painter ; he is, neverthe- less, one of the most distinguished representatives of that young, romantic renaissance which essays to revive among us the traditions of the grand school.” — Ernest Dovergier de Hauranne, Eevue des Deux Mondes, June, 1873. Lewis, John Frederick, R. A. (Brit.) (1805 - 1876.) Son of F. C. Lewis the engraver, whose pupil he Avas. He began his art career by a series of animal studies, which he engraved himself. He painted, in 1822, “Deer-Shooting at Becthus, Essex” ; in 1826, “ Deer-Shooting in Windsor Forest ” ; and was elected member of the Society of Painters in Water-Colors in 1828. He subsequently spent some years in study in Spain, Italy, Greece, Turkey, and the East, painting his “ Spanish Bull-Fight,” “ Monks preaching at Seville,” “ Easter- Day at Rome,” and other pictures. He returned to England in 1851. In 1855 he was elected President of the Water-Color Society, an office he held for three years, exhibiting at its gallery, in 1856, his “ Frank Halt in the Desert of Mount Sinai,” called by Ruskin “ the climax of water-color drawing.” He exhibited at the Royal Gallery, in oil, in 1856, “ The Meeting in the Desert ” ; in 1859 (when he was made Associate of the Royal Academy) he exhibited “ Waiting for the Ferry-Boat, — Upper Egypt”; in 1865, “ A Turkish School, — Cairo” ; in 1866, “ The Door of a Cafe in Cairo ” (his diploma work, deposited on his election as an Academician) ; in 1868 he exhibited “ An Armenian Lady ” ; in 1872, “ The Prayer of Faith shall save the Sick” ; in 1874, “ In-Door Gossip” and “ Out-Door Gossip, Cairo” ; £ 66 ARTISTS OF THE NINETEENTH CENTURY. in 1876, “ Midday Meal, Cairo” and “On the Banks of the Nile, — Upper Egypt.” He was made an Honorary Member of the Royal Scottish Academy in 1853. “ Mr. Lewis’ * Frank Halt in the Desert’ [R A., 1863], substantially a reproduction In oil of his magnificent drawing in the water-color exhibition a few years back, is wrought out with such subtle truth of design, and colored with a skill so extraordinary, that one can hardly help wishing these powers devoted to a subject of larger interest. Here the whole scene is in shadow, yet full of pervading light” — Palgrave’s E&sayz on Art. If ‘ The Frank in the Desert of Mount Sinai ’ stands the test of time, it will one day be among the things which men will come to England from far away to see, and will go back to their homes, saying, ‘ I have seen it ! * as people come back now from Venice, saying, ‘ I have seen Titian’s " Peter Martyr ! *” ” — Mrs. Tytler’s Modern Painters. “ There cannot be the slightest doubt that in losing Lewis we have lost one of the most powerful and original of English artists.” — London Athenutum, September, 1876. “Lewis* style combined all attainable brilliancy with the utmost finish.” — Art Jow'nal, October, 1876. Lewis, Frederick C. (Brit.) (1813- 1875.) Son of F. C. Lewis, an eminent English engraver, and younger brother of J. F. Lewis, R. A. He became an artist at a very early age, studying under Sir Thomas Lawrence. He went to Persia in 1844, through Asia Minor and to India, where he remained for many years, painting the ceremonies and customs of the natives, his pictures being fre- quently engraved. He was a great traveler, and is said to have pos- ited every quarter of the globe. Lewis, Edmonia. (Am.) Born in the State of New York. She has in her veins Indian as weU as African blood. Displapng a natu- ral genius for sculpture, and comparatively untaught, she first exhib- ited in Boston, about 1865, a portrait bust of Colonel Shaw, which attracted much attention. This was followed by “ The Freed woman,” a statue, after the completion of which, in 1867, she went to Rome, where she has since resided. Very few of her works have been sent to America. To the Centennial Exhibition she contributed, in marble, “ The Death of Cleopatra.” Her “ Old Arrow-Maker and his Daugh- ter,” “ Asleep,” and terra-cotta busts of Sumner, Longfellow, J ohn Brown, and others, are known to the visitors of her studio in Rome, but to her own country only by photograph}'. Mrs. Laura Curtis Bullard of New York owns her “ Marriage of Hiawatha.” The Mar- quis of Bute bought her “ Madonna with the Infant Christ,” an altar- piece. “ Among Miss Lewis’ other works are two small groups illustrating Longfellow’s poem of Hiawatha. Her first, ‘ Hiawatha’s Wooing,’ ‘ represents Minnehaha seated, making a pair of moccasins, and Hiawatha by her side with a world of love and longing in his eyes.’ In the marriage they stand side by side, with clasped h.ands. In both, the Indian type of feature is carefully preserved, and every detail of dress, etc., is true to nature : the sentiment is equal to the e.vecution. They are charming bits, poetic, simple, and natu- ral, and no happier illustrations of Longfellow’s most original poem were ever made than these by the Indian sculptor.” — Revolution. April, 1S71. ” This was not a beautiful work [‘ Cleopatra ’], but it was a very original and very striking ARTISTS OF THE NINETEENTH CENTURY. 67 one, and it deserves particular comment, as its ideal was so radically different from those adopted by Story and Gould in their statues of the Egyptian Queen The effects of death are represented with such skill as to be absolutely repellent. Apart from all ques- tions of taste, however, the striking qualities of the work are undeniable, and it could only have been produced by a sculptor of very genuine endowments.” — Great American Sculptors. Leys, Baron Jean Auguste Henri. {Belgian.) Born at Antwerp (1815 - 1869). Made Baron in 1862. Commander of the Order of Leopold. Officer of the Legion of Honor. Member of the Academy of Antwerp. Originally intended for the Church, this artist was so controlled by his love of art that he entered the studio of F. de Braek- eleer, his brother-in-law, in 1830, and three years later brought him- self into notice by his picture of “The Pillage of Antwerp in 1576.” This was followed by “ A Fight between the Citizens of Ghent and a Party of Burgundians ” and “ The Massacre of the Magistrates of Louvain in 1379.” In 1837 his “Rich and Poor,” exhibited at Ant- werp, was bought by the government. “ Rembrandt’s Studio ” was sent to Brussels the same year, and was purchased for a gallery in Ghent. His “Interior of an Inn Yard” (1842) is in the Museum of Frankfort. The “ Renewal of Public Worship in the Antwerp Cathe- dral after the Disturbances of the Iconoclasts ” is in the Brussels Mu- seum. A picture of the same, subject (24 by 31) was sold by Mr. Latham, New York, 1878, for $1,600. After 1846 he exhibited noth- ing of importance until 1851, when “The Fete given to Rubens by the Gunsmiths of Antwerp ” showed the change which his manner had undergone. The absurd name of Pre-Raphaelite is perhaps well enough understood to allow it to be used for the sake of conciseness, in order to give an idea of what this newer manner of Leys is. In 1854, which may be called his best period, he exhibited, at Brussels, “ La Promenade de Faust,” now in the Brussels Museum ; “ New YeaPs Day in Flanders,” bought by M. Fould ; and “Les Trentaines de Bartel de Haze.” To the English International Exhibition of 1862 he sent “ Luther singing in the Streets of Eisenach.” Soon after Baron Leys was commissioned to decorate the great hall of the Hotel de Ville of Antwerp, which he did in a series of pictures illustrative of the eventful history of that city. Want of space forbids a description of these works. Baron Leys has sometimes executed smaller subjects. Among his other works are many excellent etchings. His pictures are very numerous, and are scattered all over Europe. Many have been reproduced by some of the various modes of engraving. “ The Promenade without the Walls,” “New Year’s Day in Flanders” (1855), and “ Franz Floris going to a Fete given by the Confreres of St. Luke ” are among his chefs-d’ceuvre. He has also made some litho- graphs. At the Oppenheim sale, Paris, 1877, “ Interieur de Luther a Wittenberg ” sold for 23,500 francs. At a sale in London, 1876, “Backgammon Players” sold for ,£903. At a sale in Brussels, 1874, “ The Declaration ” sold for £ 1,060. The same work, one month 68 ARTISTS OF THE NINETEENTH CENTURY. later, at Christie’s, brought 1,110 guineas. At the Paris sale, 1868 “ Fetes in Honor of Eubens ” sold for £ 964. At the Sale Wittering! Paris, 1876, “ The Studio of Rembrandt,” important water-color, brought 1,920 francs. At the Plint sale, London, 1862, “Capestro! the Carpenter of Antwerp, preaching in his Wood- Yard” brought £ 850. Zn the Berlin E ational Gallery is a Religious Semdce in Holland, Seventeenth Century,” “ Holland Society in the Seventeenth Century,” and “ Diirer in Antwerp painting Erasmus.” “ Leys is not only this year the grand and illusory colorist we all know ; he reve.als himself as a thinker and a poet ; his pictures are not. as some critics insinuate, with whom Fretich gray is the perfection of art, — laborious copies of the mediaeval age ; they are surprising and powerful works, created by a deep knowledge of the epochs he would represent. With Leys one entirely lives in the sixteenth or seventeenth century, and these periods he would not have you understand by the materialism of art, such as cos- tumes, furniture, and architecture Leys goes much beyond this ; he searches into the very depths of an epoch ; he revives its moral and intellectual life, which he knows how to reflect in the physiognomy of his characters.” — A Critique of the Brussels Exposi- tion o/18o4. “The genius of Baron Leys, however, is of so diversified a character that he can mold it into any form, and adapt it to any purpose, — to the humorous or the pathetic, to the grandeur of history or the incidents of ordinary social life ; and his pencil portrays, with equal truth, vigor, and delicacy, the art of an age long passed away, and that of his own time.’’ — James Dafforne, Art Journal, July, 1866. Lier, Adolf. (Ger.) Bom in Herrnhut, 1826. Member of the Academies of Munich and Dresden. Medals at Vienna and Berlin. Studied at Dresden Academy and under Richard Zimmemiann in Munich. At Paris he was under Jules Dupre. Has traveled in Italv, England, and Scotland. At the National Gallery, Berlin, is “ Evening on the Iser.” To the Paris Exposition of 1878 he contributed “An Autumn Evening on the Banks of the Iser ” (belonging to the National Gallery, Berlin). “ Adolf Lier is inspired by a subtle sympathy with Nature. He has a fine feeling for her various aspects. To him she seems to sing the everlasting minor hymn of the ages that sweeps sadly over the sear fields in the plaintive, melancholy days of October, when tlie birds are flown, the flowers are faded, and the dying year, drawing to its end, sym- bolizes the brevity of life below.” — Benjamin’s Contemporary Art in Europe. Lima, Victor Meirelles de. (Brazilian.) Of Rio de Janeiro. Medal at Philadelphia, where he exhibited “The Naval Battle of Riachuelo,” “ The Brazilian Ironclad Fleet passing by Humaita,” and “ The First Mass in Brazil.” Lindeneher, Edouard. (Fr.) Bom at Vaugirard (Seine), 1837. At the age of thirteen this artist entered the atelier of FanniMe, a “sculp- tor in gold,” and has remained always with this his first and only in- structor. In connection with Fanniere, as his collaborateur, Lindeneher has received several medals. He has designed for various bronze- makers, has sold his models, and his works have appeared with the signatures of his employers, never with his own. Of late, however, he has become more widely known through the vases and other pieces ARTISTS OF THE NINETEENTH CENTURY. 69 of Haviland faience which he has made ; these are separately modeled by him and never molded, and each one hears his name. The special excellence of the works of Lindeneher is their truthfulness to Nature. She loses nothing, and is never exaggerated, but is reproduced with her own sweet grace by this earnest student and conscientious artist. Lindenschmit, Wilhelm. (Ger.) Born in Munich, 1829. Pro- fessor at the Royal Academy of Munich, and member of the Academy of Berlin. Medal at Berlin, 1870. Historical painter. S. G. W. Benjamin says : — “He is inspired by noble thought and high artistic qualities in rendering character, especially in historic compositions. His scenes in the career of Luther are marked by •singular power, and entitle him to rank among the foremost living artists of Germany,” Among his works are, “ Ulrich von Hutten ” (now at the Museum at Leipsic), several pictures from the life of Luther, “ The Poundation of the Order of the Jesuits,” and “ The Pleasures of the Convent.” At the Berlin Exposition in 1876 he exhibited “ Martin Luther be- fore Cardinal Cajetan, Augsbourg, 1518,” “Martin Luther brought by his Parents to the School of the Gray Friars at Magdebourg,” and “ An Episode in the Child-Life of Queen Elizabeth, 1536.” There was an exhibition of pictures by Munich artists in Boston in April, 1878) where the “Venus” by this artist was much noticed. “ Lindenschmit struggles and struggles, but cannot get out of the dirty brown tone that he has acquired in Belgium into a healthy, free atmosphere. There is an oppres- sive heaviness in all his figures which seems to rob them of the use of their limbs. They lack life and motion, they all look jaundiced and ill ; red cheeks and a healthy complexion are unknown in Lindenschmit’s pictures, yellow and leather-colored faces are seen on young and old. If we compare Lindenschmit’s plain, homely, unpretentious manner with Karl Becker’s showy costume pictures, we shall see the intrinsic merit of the works of Lindenschmit in spite of their faults of color.” — Zeitschri/t fur bildende Kunst, 1876. Lindholm, B. (Russian.) Of Helsingford, Finland. At Philadel- phia he exhibited a picture of “A Steamer in Floating Ice,” and re- ceived a medal. To the Paris Exposition in 1878 he contributed “ Pasturage ” and “A Road in the Forest.” Linnell, John. (Brit.) Born in 1792. He early evinced a taste for art, and when not more than twelve years of age became a pupil of Benjamin West, studying later under Varley in London. In 1807 he sent his first picture to the Royal Academy, and for a period of seventy years he has been a regular contributor to its exhibition.s. He began the practice of his art as a miniature and portrait painter, in later j^ears turning his attention to landscapes, in which branch he has won considerable distinction, painting, during his long career, many hundreds of pictures which are in the public and private col- lections of England. Among the Vernon pictures in the National Gallery are two specimens of Linnell’s work, “Wood-Cutters” (men felling timber in Windsor Forest), and “ The Windmill,” which was at the Royal Academy in 1847. Among his earlier works are, “The 70 ARTISTS OF THE NINETEENTH CENTURY. Timber- Wagon,” “Eve of the Deluge,” “Barley-Harvest,” “Under the Hawthorn,” “Christ and the Woman of Samaria,” “The Last Gleam before the Storm,” etc. In 1868 he sent to the Royal Acad- emy, “Crossing the Brook” ; in 1869, “ The Lost Sheep” ; in 1870, “Sleeping for Sorrow” ; in 1871, “Shelter” ; in 1872, “ The Ford” ; in 1873, “The Coming Storm”; in 1874, “Wood-Cutters” ; in 1875, “Woods and Forests”; in 1876, “The Hollow Tree”; in 1877, “Autumn”; in 1878, “The Heath.” “ The forest studies of John Linnell are peculiarly elaborate, and in many i)omt3 most skillful.” — Ruskin’s Modern Painters. Linnell, James Thomas. (Brit.') Son of John Linnell, inherit- ing not a little of his fatheFs talent. He first exhibited at the Royal Academy, in 1850, “ Temptation in the Wilderness,” followed, in 1851, by “Job and the Messengers'”; “ Mountain-Path,” in 1857 ; “Wheat-Field,” in 1858; “ Haymakers,” in 1862; “ South Coast,” in 1864; “Moonlight Road,” in 1867; “Plowing,” in 1868; “Reaping,” in 1870 ; “ Moon is Up,” in 1871 ; “A Country Road,” in 1873 ; the “ Mower whets his Scythe,” in 1874 ; “ Sunset over the Moors,” in 1875 ; “Dartmoor,” in 1876 ; “Cherry Blossoms,” in 1877. Linnell, William. (Brit.) Son of John Linnell. He possesses much of the family genius, and has exhibited regularly landscape pictures in the Royal Academy for some years. In 1861 he sent “Collecting the Flock, — Evening”; in 1862, “The Gleanei-’s Return”; in 1863, “ Over the Muir among the Heather ”; in 1864, “ Banks and Braes” ; in 1866, “The Sheep from the Goats”; in 1867, “The Heights of Abruzzi ” ; in 1869, “ Peasants on the Mountains on their Way to Rome”; in 1871, “Rest by the Way ” ; in 1873, “Over the Heath ” ; in 1874, “ Through the Barley ” ; in 1875, “ Hoppers on the Road ” ; in 1877, “ The Hay-Field ” and “ In the Leafy Month of June” ; in 1878, “The Peasant’s Homestead.” In 1862 he went to Italy, spending his winters until 1867 in Rome. His summer home is in Surrey. “This ts a landscape, however, and if it were more lightly painted, we might be very happy with it [‘ Hoppei's on the Road’]. William Linnell cares no more than his father for brush dexterity ; but he does no worse now in that part of the business than every one else. And what a relief it is for any wholesome human sight, after sickening itself among the blank horrors of dirt, ditch-'water, and malaria, which the imitators of the French schools have begrimed our various exhibition walls with, to find once more a bit of blue in the sky and a glow of brown in the coppice, and sec that ‘ Hoppers ’ in Kent can enjoy the scarlet and purple like empresses and emperors." — Ruskik’s l\oics of the Academy, 1875. Liuton, William. (Brit.) Born in Liverpool, towards the end of the last century. Died, 1876. Brought up to mercantile pursuits in his native town, he devoted himself to art in his leisure moments, and finally decided to adopt it as a profession. He settled in London, and, traveling extensively, he executed many landscapes and pic- tures of a genre character. He exhibited his first work in 1819, “ The ARTISTS OF THE NINETEENTH CENTURY. 71 Joiner’s Shop,” followed by “ Italy,” “ Lake Lugano,” “ Bay of Na- ples,” “Ruins of Psestum,” “Temple of Minerva at Rome,” “Venice,” “ The Tiber,” “ Lancaster,” “ Marius at Carthage,” “ Jerusalem at the Time of the Crucifixion,” and others, many of which have been en- graved. “ The Temple of Psestum,” bequeathed by Mr. Linton to the British peo])le, is in the National Gallery, London. Linton, William James. {Brit.) Born near London, 1812. He studied under G. W. Bonner, an English engraver, and quickly estab- lished for himself a reputation as an excellent drauglitsman on wood. During his long career he has furnished many fine illustrations for books and periodicals, both in the United States and in Europe. In 1846 and ’47 he illustrated “ History of Wood-Engraving ” for the Illus- trated London News ; i.n 1860, “Works of Deceased British Painters ” for the Art Union of London ; in 1869, Holland’s “ Katrina ” ; in 1877, Bryant’s “ Flood of Years ” ; in 1878, “ Thanatop.sis,” etc. Since 1867 he has been a resident of the United States, living for some years in New York ; he finally settled in New Haven, Ct., where he has opened a large engraving establishment. He is a mem- ber of the Artists’ Annuity Fund of England, a member of the American Society of Painters in Water-Colors, and an Associate of the National Academy of Design, New York. He paints occasionally in water- colors, but his artistic fame will rest upon his exquisite engraving. Mr. Linton is known also as an editor and author. In 1851, with others, he founded the London Leader ; in 1855 was manager of Pen and Pencil, and has contributed to the Nation, Spectator, West- minster Review, etc. In 1865 he published a volume entitled “ Claribel and other Poems ” ; he is the author of a Life of Thomas Paine. “ The Engraver, his Function and Status,” by Linton, ap- peared in Scribner’s Monthly, June, 1878. Mrs. Linton is the writer of a book called “ The Lake Countrj',” published in 1864, which was illustrated by her husband, who fur- nished both the drawings and engravings. “Messrs. Ticknor & Fields have also published a pretty little Juvenile entitled ‘The Flower and the Star,’ the joint composition of the pen and pencil of Mr. W. J. Linton, the well-known English engraver, which pen and pencil we are tempted to apostroi>hize in the words of Milton, viz. ‘ Blest pair of Sirens.' There are six stories in Mr. Linton’s little quarto, all original and there are, we should judge, three or four times as many illustrations as there are stories ; and most exquisite they are. In the first ])lace, they suggest the designs of no other artist, American, English, French, or German ; in the second place, they are wonderfully graceful, fantastic, and airy. Mr. Linton’s foliage, and, indeed, his sceneiy generally, is almost beyond our praise, if only for the reason that we are at a loss whether to bestow it on the artist or the engraver." — Albion. “ Mr. Linton is known as the best of living engravers, and as an artist of remarkable ability. The illustration of tliis charming little story will more than sustain his reputa- tion in this respect, and the story itself [‘The Flower and the Star’] ought to make him widely known as a writer who understands just how to write for children.” — Nevj York Citizen. “There are several wood-engravers of remarkable talent, but none succeed in giving to the wood-block more than was idaced upon it by the draughtsman. Their greatest 72 ARTISTS OF THE NINETEENTH CENTURY. success is attained in leaving the drawing no worse than they found it More can be done if you happen to have a little real genius, and Mr Linton is happy in the possession of that quality.” — Pall Mall Gazette. Linton, James D. {Brit.) Bom in London, 1840. He received his art education in St. Martin’s School of Art, Longacre, and under Mr. Leigh on Newnnan street, spending his professional life in his native city. He has been a member of the Institute of Painters in Water-Colors since 1867, contributing regularly to its annual exhibi- tions. Among his more important works are, “ Washing the Beggars’ Beet on Maunday Thursday,” in 1874 ; Lotus-Eaters ” and “ Off Guard,” in 1875 ; “ The Cardinal Minister,” in 1876 ; “ Ave Maria,” in 1877 ; '• bmiigres,” in 1878 ; and “ The Flag of Truce,” never ex- hibited. His “ Washing the Beggars’ Feet ” was at the Philadelphia Exhibition of 1876; “Off Guard,” “The Cardinal Minister,” and “ Ave Maria,” at Paris, in 1878. “ 111 Linton’s ‘ Volumnia ’ the figures are well arranged, the face of Volumnia reveal- ing much of the fiery nature ascribed to her, whilst that of Virgilia comliines sweetness with grief. ‘ His Eminence the Cardinal ’ was one of the most important and striking works in the Exhibition of the Institute of Water-Color Painters last year.” — Art Jour- nal, May, 1S77. Liparini, Ludovico. (Ital.) Bom at Bologna (1800- 1856). Pro- fessor in the Academy of Venice, of which he was also a pupd. He traveled in Italy and studied the old masters. His pictures were por- traits and historical subjects, and are seen in the galleries of Italy. Among the most important are, the “ Death of Bozzaris,” the “ Last Hours of lilarino Faliero,” the “ Horatii taking the Oath,” and a por- trait of Pius VII. Lippincott, William H. (Am.) A native of Philadelphia. He has been for some time a resident of Paris, studying under Bonnat. He devotes liimself to portraits and pictures of child-life, exhibiting in the National Academy of New York and the Paris Salons. To the latter in 1878 be sent “ Lolotte ” (belonging to Dr. G. D. Cochran) and a portrait of “ Miss Ethel.” To the Philadelphia E.xhibition of 1876 he sent “The Duck’s Breakfast ” ; to the Paris Exposition, 1878. two portraits ; and in the same year to the Society of American Arti.sts in New York and to the Mechanics’ Fair, Boston, he contributed “ The Little Prince.” Lloyd, Thomas. (Brit.) Contemporary English landscape-artist, residing in London. He contributes to the Royal Academy, and to the Society of Painters in W.ater-Colors, of which he was elected an Associate in 1878. Among his works, in oil, are, “ Nearly Home,” “An Hundred Years Ago,” “ A Pastoral,” “ Evening,” etc. In water- colors he has exhibited, “ Fa.st falls the Eventide,” “ Up the River,” “ So Tired,” “ Shade,” “ Sunshine,” and others. “In the ‘Pastoral’ [R. A., 1877] the lighting up of the hill beyond is remarkably like nature, and ‘ Nearly Home’ is very faithful to rural circumstances as well as nat- ural fact This artist is making rapid strides, and bids fair to become one of our great landscajie-painters.” — Art /ournul, August, 1S77. ARTISTS OF THE NINETEENTH CENTURY. 73 Lockhart, W. E. (Brit.) Born in Durafrieshire, 1846. He entered the Trustees Academy in 1860, studying under Eobert Scott Lauder. In 1863 he went to Sydney, and in 1867 to Spain, exhibit- ing in 1868 his first Spanish picture, “ The Lovers’ Quarrel.” He has made frequent visits to Spain, spending some months in 1875 on the island of Majorca, where he painted his “ Orange Harvest.” He was elected an Associate of the Royal Scottish Academy in 1871, a full Member in 1878, and also in the latter year an Associate of the Society of Painters in Water-Colors. His studio is in Edinburgh. Among his works may be mentioned, “ The Muleteers’ Halt,” “ The Queen’s Entry into Edinburgh in 1876,” “ St. Andrews,” “A Scene from the Legend of Montrose,” “ The Interior of Roslyn Chapel,” etc. To the Royal Scottish Academy in 1878 he sent “ The Bride of Lammermoor,” “ Gil Bias and the Archbishop of Granada,” “ Sun- set at St. Andrews,” etc. ; to the Water-Color Exhibition, London, 1878, “ The Trongate, Glasgow,” “ Summer Palace at the Hague,” “The Jackdaw of Rheims,” and others. Loefftz, Ludwig. Munich. Medal at the National Exhibition, Munich. A few years since this artist was a paper-hanger. He has now a school for drawing. He is one of the important men in the rising German school. His color, drawing, and composition are praised by critics familiar with his works. At the Paris Exposition of 1878 he exhibited “ A Cardinal,” belonging to Mme. de Gradi'nger, Munich. Loison, Pierre. (EV.) Born at Mer, 1821. Chevalier of the Legion of Honor. Pupil of David d’ Angers. He made his debut at the Salon of 1845. His bronze figure of “ Victory, — the Day after the Combat” (1869) is at the Luxembourg. The statue of “Clo\ds” is at the tower of Saint-Germain-1’ Auxerrois. A bas-relief of “ Agri- culture distributing Crowns to the Children of La Beauce and La Sologne ” is at the grain-market of Mer. Several statues by Loison are in the churches of the Trinity and of Saint- Ambrose. “ Venus ” and “ Navigation ” are at the Tuileries. He has executed many por- traits, and a variety of poetical and mythological subjects. At the Salon of 1877 he exhibited “ACanephora offering Fruits”; in 1875, two portrait busts ; etc. Lombardini, Gaetano. (Ital.) Bom at St. Arcangelo, in Ro- magna (1801 - 1869). A devoted student, he gained prizes in every competition. , Canova was his master for a time, and gave his appro- bation to the “ Hercules strangling Antaeus,” by Lombardini. A fine work, a monument with the figure of an aged paralytic, is ill the cemetery of Cesena ; a fine figure of Christ, in the same place, is con- sidered by artists as sufficient to give him fame. This sculptor is a brave patriot, and has served his country well. Long, Edwin, A. R. A. {Brit.) He has resided in London for many years, exhibiting regularly at the Royal Academy, of which he VOL. II. 4 74 ARTISTS OF THE NINETEENTH CENTURY. was made Associate in 1876. Among his pictures are, “ La Posada,” in 1864 ; “ Lazarilla and the Blind Beggar,” in 1870 ; “ The Suppliants,” in 1872 ; “ Babylonian Marriage Market,” in 1875 ; “ Bethesda,” in 1876 ; “ Aji Egyptian Feast,” in 1877 ; “ The Gods and their Makers ” and “ Henry Irving as Gloucester,” in 1878. [No response to circular.] ‘“The Babylonian Marriage Market ’ is a picture of great merit, and well deserving purchase by the Anthrujiologieal Society. The varieties of character in the heads are rendered with extreme subtlety, while as a mere piece of painting the work is remarkable in the modern school for its absence of affectation. There is no insolently indulged in- dolence nor vulgarly asserted dexterity. The painting is good throughout and obtru- sively powerful.” — Buskin’s Notes of the Academy, 1875. “ ‘ The Egyptian Feast ’ will at once attract attention as the only subject-picture of the year of great importance, and in this the interest is archaeological rather than human. The iiicture which represents the close of a banquet with the guests seated in a semi- circle, while two slaves drag a mummy round to remind them of death, hxs many fine quaiities, and shows much study and improvement in the painter." — Saturday Reviev’, May, 1877. “ Mr. Long’s treatment of the human form halts midway between two modes of design not consistent. It is too artificial to have the familiar charm proper to a painting of genre, and it is not sufficiently select in its choice of gesture, not serious enough in its conception of beauty, to satisfy the requirements. In depicting upon the faces of the assembled guests [in ‘ An Egyptian Feast ' ] the varied emotions aroused by the image of death, the painter’s invention sinks still further below the demands of his subject. There is variety of feeling, but it is everywhere expressed with too much emphasis ; and the gravity of the few who closely surround the bier is almost mechanically contrasted with the gayety of others removed from its influence in a manner su^estive of well- planned theatric effect.” — Fall Mall Gazette, May, 1S77. “ Of Mr. Long’s work, whether in composition or portrait, only one opinion will be held this year, probably, and this will pronounce that the artist, after the slight weak- ness of last year’s work, has put out all his power of drawing and modeling, and has gained greatly in sureness. The extreme refinement in color in ‘ The Gods and their Makers ’ is very pleasing ; different tones of flesh are relieved only by darker or lighter blue-greens, except in the case of the negress who wears a red necklace, the only bit of primary color in the picture. This group of Egyptian girls is full of fun and charm : the background tones ai'c delicately varied. ‘ Henry Irving as the Duke of Gloucester ' is altogether a noble portrait.” — Magazine of Art, June, 1S78. Longfellow, Ernest W. (Am.) Born in Cambridge, Mass., 1845. Son of Henry AV. Longfellow. Landscape and portrait painter. His professional iife has been spent in Boston, with frec^uent visits to Europe. He passed the winter of 1865 and ’66 in Paris in work and study, and the summers of 1876 and ’77 in \ illiers-le-Bel under Cou- ture. A number of his works were exhibited and sold in Boston in 1876. His “ Coast Scene, Nahant ” was at the National Academy in 1871 ; “A View in Essex County, Mass. ” in 1875. He sent to the Philadelphia Exhibition, in 1876^ “ Old Mill at Manchester. Mass.” J. Duff owns his “ Italian Pines in Cannes.” His “John and Priscilla,” exhibited at AVilliains & Everett’s, Boston, in 18/5, attracted much attention. It represents the Puritan youths strolling on the beach, the water rolling its breakei-s nearly to their feet, and the sun setting brill- iantly in the background. It -was one of his earlier efforts at figure- ARTISTS OF THE NINETEENTH CENTURY. 75 painting, a branch of the art to which of late he has more particularly turned his attention. The Art Journal of July, 1877, says ; “ Ernest Longfellow is one of our rising young artists. It is evident that his special talent lies in landscape art.” Very few of his figure-pieces or portraits have as yet been exhibited. Loop, Henry A., N. A. {Am.) Born at Hillsdale, N. Y., 1831. Settled in New York City in 1850, studying for a year mth Henry Peters Gray. In 1856 he went to Paris, where he entered the atelier of Couture, remaining six months, and spending, subsequently, a year in study in Rome, Venice, and Florence. He went abroad again in 1867, visiting the Continental art cities and remaining about eighteen months. With these exceptions his professional life hiis been spent in New York. He was elected a member of the Academy of Design in 1861. He is a member also of the Artists’ Fund Society. Among his ideal works are, “ Undine,” in the National Academy in 1863 ; “Clytie,” in 1865 ; “The Improvisatrice ” and “ Italian Minstrel,” in 1869 ; “ Lake Maggiore,” in 1870 ; “ The White Rose,” in 1871 ; “ Idle Fancies,” in 1874 ; “Venice,” in 1875 (belonging to John J. Cisco) ; “Aphrodite” (belonging to C. P. Huntington) and “^noue” (to Oliver Harriman), in 1877 ; “ Herrnia,” “ Marina,” and a portrait, in 1878. Loop’s “ Italian Minstrel ” was in the Paris Salon of 1868 ; his “Aphrodite” in the Centennial E.xhibition of 1876. Among his portraits are those of J. M. Ward, W. Whittredge, and Dr. Reisig of New York. “A picture [by H. A. Loop] of ‘Undine ’ standing by the water, whose child she was, is full of varied loveliness, the ethereality of the sprite being finely given by a luminous quality of flesh which makes the delicate, graceful body half transparent, and by a man- agement of the pale golden hair with the shrouded light behind it that almost gives one the sensation of a phosphorescent glow. Few pictures of the supernatural exhibited here have ever exceeded this ‘ Undine ’ in sweetness of conception or subtlety of man- agement.” — New York Evening Post, June 1, 1863. Loop’s full-length portrait of J. P. Townsend [N. A., 1876] is a firmly painted and expressive work. The likeness is admirable, and in spirit and expression it is not ex- celled by any work in the Exhibition." — Art Journal, May, 1876. Loop. Mrs. Henry A., A. N. A. (Am.) Born in New Haven, 1840. She began her art studies under Prof. Louis Bail, in her na- tive city ; later, entered the studio of her husband in New York, and spent two years at work and in study in Rome, Paris, and Venice. Her professional life has been spent in New Haven and New York. She was elected an Associate of the National Academy in 1875, and has for some years been a frequent contributor to its exhibitions. Among the more important of her works are portraits of Professor Lamed and Professor Hadley of New Haven ; of Miss Alexander, Miss Harriman, Mrs. Joseph Low, and others in New York ; and ideal figures, entitled “ Baby Belle ” (owned in Newburg, N. Y.), “Little Runaway” (owned by Mr. St. John of New York), “A Bouquet for Mamma ” (in the possession of a lady in Detroit), etc. 76 ARTISTS OF THE NINETEENTH CENTURY. “We have not many better portrait-painters than this lady [Mrs. Loop] in our country. That she had abiiity was evident in the first picture she exhibited, and from the first she has steadily and solidly improved. .... Mrs. Loop’s picture is an honest, unpretending work, well drawn, naturally posed, and clearly, solidly colored. There is not a trace of affectation about it ; the artistic effects are produced in the most straightforward way. The weak point is the eyes, which, to our thinking, want lighting up a little ; they are good in color and expression, but not liquid enough.’’ — C. C., in New York Tribune, April 24, 1874. “ Mrs. Loop is certainly the leading portrait-painter among our lady artists. Indeed, so highly respected is her brush that she has been chosen to furnish pictures of some of our former chief custom-house officers, whose portraits were voted to hang on the walls of their rotunda. She is vigorous, conscientious, and perceptive.” — Chicago Times, May 25, 1875. Loose, Basile de. {Ger.) Bom at Zeele, 1809. Studied under his father, and at the Antwerp Academy. In 1835 he went to Paris. Settled at Brussels. In the National Gallery at Berlin are his “ Scene at an Inn ” and “ A Family Scene in Holland.” At the Leipsic Mu- seum are “ A Dance of Children ” and “ The Lace-Maker.” Lossow, Arnold Hermann. (Ger.) Died at Munich (1805- 1874). This sculptor was one of SchwanthaleFs best pupils, and exe- cuted much work for Louis 1. of Bavaria. His friezes and statues at the Walhalla and Glyptothek are greatly admired. Lossow, Friedrich. (Ger.) Born at Munich (1838 - 1872). Son of the preceding. He was an animal-painter, and there was a vem of humor running through his pictures which was very attractive. Among his works are, “ A Hound with her Young,” “ A House Dog,” several pictures with rats, “ A Country Scene,” etc. His drawing was better than his color. Perhaps his best works are his illustrations for books and publications, which are numerous. Lough, John Graham. (Brit.) Born in the latter part of the eighteenth century. Died, 1876. Son of a small former of Northum- berland, apprenticed to a stone-mason in his native country, he became an ornamental sculptor and builder at Newcastle. Studied the El- gin marbles in the British Museum, and first exhibited at the Royal Academy, in 1826, “ The Death of Turnus,” in bas-relief. “ Duncan’s Horse,” a more famous work, appeared in 1832. In 1834 he went to Italy, spending four years. Among his works are, “ Night’s Swift Dragon,” “ The Mourners,” “ Midsummer Night’s Dream,” and the statue of the Queen (in the Royal E.xchange, London), of Prince Al- bert (at Lloyd’s), the Monument to Southey (at Keswick), and a colos- sal statue of George Stephenson (in bronze, at Newcastle-on-Tyne). His “ Milo and Samson ” belonged to the first Duke of Wellington. Louvrier de Lajolais, Jacques- Auguste-Gaston. (Fr.) Bom at Paris. Chevalier of the Legion of Honor. Pupil of Gleyre and J. Noel. At the Salon of 1876 he e.xhibited “For a Fete” and “A Difficult Passage.” Low, Will H. (Am.) Born in Albany, N. Y., 1853. A pro- tege of E. D. Palmer the sculptor, from whom he received encourage- ARTISTS OF THE NINETEENTH CENTURY. 77 merit and advice. He worked for the illustrated papers in New York from 1871 to ’73, when he went to Paris and entered the studio of Gerome, remaining a few months. Later, he studied with Carolus Duran for four years, returning to America in 1877. He js a member of the Society of American Artist.s. Among his most important works are, “Windy Weather” (1875), belonging to Arthur Haseltine, Lon- don ; “ Reverie, — Time of the First Empire ” (Paris Salon, 1876, and the National Academy, N. Y., 1877), belonging to J. B. Thatcher of Albany ; portrait of Mile. Alhani (Paris Salon, 1877), belonging to Robert Higgins of Albany ; “ Among the Daisies,” belonging to Sir Walter Simpson of Edinburgh (at the Paris Exposition of 1878) ; etc. Lucas, John. {Brit.) Born in London (1807 - 1874). As a lad, he was apprenticed to an engraver, but devoted his leisure hours to study, and began the practice of his profession in 1829 as a portrait- painter. Many of the most distinguished people of England were among his subjects. Among his better known works have been four pictures of the Prince Consort, several of the Princess Royal, of the Duke of Wellington, King of Hanover, Rogers the poet, Gladstone, and others. He also painted a portrait group of Stephenson, Locke, Brunei, and other eminent engineers in consultation over the Mehai Bridge. Some sixty of John Lucas’ portraits have been engraved. Luccardi, Vincenzo. (Ital.) Born at Geniona (1811-1876). Knight of the Orders of St. Gregory the Great, and of the Piano. Chevalier of the Legion of Honor. Professor in the Academy of St. Luke and other Italian institutes. Prizes at Florence and Vienna. Nine medals at Venice. Studied at Venice, and settled at Rome; Among bis best works are, “ Cain,” “ The Deluge,” “ Raphael and the Fornarina,” “ Hagar and Ishmael,” “ Cleopatra,” and “ Aida.” At Munich, in 1870, he e.xhibited a “ Venus ” and “ The Four Seasons.” Lucy, Charles. (Brit.) Born near Herford (about 1804- 1873). At an early age he went to liondon to study art, but, leaving for Paris after a short time, entered I’licole des Beaux- Arts, studying also under Paul Delaroche. He subsequently became a pupil of the Royal Academy, London. He was a constant exhibitor at the Royal Acad- emy of original historical paintings, besides making many realistic copies of the old masters, residing for upwards of sixteen years near Fontainebleau. In 1860 he sent to the Royal Academy, London, “Lord Saye and Sele arraigned in 1451 before Jack Cade” ; in 1863, “ The Reconciliation between Gainsborough and Sir Joshua Reynolds ” ; in 1865, “Garibaldi at the Tomb of Ugo Foscolo” ; in 1867, “The Intercepted Embarkation of John Hampden and his Friends”; in 1868, “ The Forced Abdication of Marie Stuart at Lochleven Castle”;; in 1869, “ Noontide Repose ” and a portrait of Mr. Gladstone ; in 1871, Charlotte Corday returning to Prison after her Condemnation ” ; in 1872, “Columbus at the Monastery of La Rabida” ; in 1873, “The Parting of Lord William and Lady Russell in 1683.” 78 ARTISTS OF THE NINETEENTH CENTURY. " Mr. Lucy’s ‘ Reconciliation of Reynolds and Gainsborough,’ like other pictures of this thoughtful and conscientious artist, interesting and unaffected in idea, does not aim at richness or relief, — qualities which, however, a painter can rarely afford to dispense witlu” — Palgrave's Essays on Art. “ If Mr. Lucy failed to acquire a distinguished name in the roll of painters, it was not for want of perseverance or from the absence of talent, although it might not have been of the highest order. In noticing his exhibited works during many past years we have endeavored to render justice to the merits of his pictures, which seldom or never failed to be popular, as much for the interest attached to the subjects he selected as for the pleasing and conscientious manner in which they were carried out” — Art Journal. July, 1873. Luminals, Evariste-Vital. (Fr.) Born at Nantes, about 1818. Chevalier of the Legion of Honor. Medal at Philadelphia. Pupil of Cogniet. He paints both in oil and in water colors ; and has painted a few portraits and made many sketches. At the Salon of 1877 he exhibited “A toute volee” and “A Prisoner in Flight” (oils), and “ The Tame Bull ” and “ Pirates ” (water-colors) ; in 1876, “ The Consequences of a Duel in 1625” ; in 1875, “ King Morvan” and “A Flock carried off to the Enemy.” “ The Keluctant Bather” is in the collection of Mrs. H. E. Maynard of Boston. “ Formerly Luminals affected the contrasts and the play of light and shade on pictu- resque costumes and uneven ground ; at present he seeks rather the movement and ac- tion of the human figure, and places at the service of bold conscientious drawing the prestige of large execution and brilliant color.” — J. Grascedor, Gazette des Beaux- Arts, July, 1S6S. Lundgren, Egron. (Swede.) (1816-1875.) Received his art education in Paris, where he lived and studied for four years. He painted also during four j'ears in Italy, and for five years in Spain. Was made a Knight of the Order of Gustavus Vasa by the King of Sweden. Settled in London in 1853, and was ujion the staff of Lord Clyde in India, where he made many valuable sketches. He was one of the leading members of the Society of Painters in Water-Colors, contrib- uting to their gallery in London, in 1873, “Italian Music,” “The Traveling Companions,” and “ A Child’s Head ” ; in 1875 (the year of his death), “ Rafaela ” and “ Children Playing.” Lupton, Thomas Goa (Brit.) (1790-1873.) He was appren- ticed to a mezzotint engraver at an early age, and during his career has engraved the portraits of many distinguished men after the lead- ing portrait-painters of his day, besides “Sunrise, — Fishing off Mar- gate ” and “ Eddystone Lighthouse,” after Turner, and other important landscapes of eminent artists. Lyun, Samuel Ferris. (Brit.) Native of Ireland. Died, 1876. Studied in Belfast under his brother, an architect, and in the Royal Academy, London. In 1857 he received the silver medal for the best study from life, and in 1859 the Academy gold medal for the best historical compo.sition. Resided in London until 1875, and was a constant exhibitor of portrait and ideal statues, statuettes, and busts. Among these may be mentioned, “ Evangeline,” “ The Death of Pro- ARTISTS OF THE NINETEENTH CENTURY. 79 cris,” “ Master Magrath ” (tlie famous hound of Lord Lurgan), “ The First Prayer,” and portraits of many eminent contemporary Irishmen. Macallum, Hamilton. (Brit.) Born at the Kyles of Bute, 1843. He entered the Royal Academy, London, in 1865, and has a studio in the English metropolis. Among his works are, “ Shrimping,” “ Waiting for the Ebb,” “ The Kyles of Bute,” etc. His “ Gathering Seaweed on the West Coast of Scotland” was at the Paris Exposition of 1878. Macbeth, Norman. (Brit.) A native of Aberdeen. Portrait- painter, spending his professional life in Edinburgh, where his work is highly regarded. He has been for some years an Associate of the Royal Scottish Academy. He has executed many presentation por- traits of distinguished clergymen, and others, for the public institutions of Scotland. Among his sitters have been Dr. Guthrie, Dr. John Bruck, Dr. Begg, Dr. Cunningham, etc. He exhibits frequently in London. His portrait of Sir John Steell, R. S. A., was at the Royal Academy in 1877, and at the Royal Scottish Academy the following year. He sent a portrait of William Forrest, A. R. S. A., to the Paris Exposition of 1878. Macbeth, R. W. (Brit.) Born in Glasgow, 1848. Son of Nor- man Macbeth, A. R. S. A., a Scottish portrait-painter. R. W. Macbeth studied in the Royal Academy, and has since practiced his profession in London. He was elected an Associate of the Society of Painters in Water-Colors in 1871, exhibiting there and in the Royal Academy pictures generally genre in character, and relating often to modern life. In 1877 he sent to the Royal Academy, “ Potato Harvest in the Fens ”; in 1878, “Sedge-Cutting in Wicken Fen, Cambridgeshire, — Early Morning ” (both in oil). Among his water-color drawings may be mentioned, “ Linked Names,” “ Land at Last,” “ News,” “A Winter’s Walk,” “ Motherly Indulgence,” “ The Morning Post,” “ The Ghost Story,” “ Lady Bountiful,” etc. His “ Evening Hour ” and “ Favor- ite Customer” were at the Glasgow Loan Exhibition of 1878. To the Paris Exposition of 1878 he sent the “ Potato Harvest in the Fens ” and his “ Lincolnshire Gang.” “ R. W. Macbeth’s ‘ Potato Harvest in tlie Fens ’ maintains its well-earned prestige as one of the principal attractions of the present Academy Exhibition.” — Jrt Journal, August, 1877. “ Macbetli’s ‘ Lincolnshire Gang ’ is powerfully rendered in color, drawing, and com- position.” — Benjamin’s Contemporary Art in Europe. Macbeth, James. (Brit.) Son of Norman, and brother of R. W. Macbeth. He is a native of Scotland, but has resided for some time in London, exhibiting his iiaintings, landscapes, figure-pieces, and por- traits at the Royal Academy, the Royal Scottish Academy, the Dudley Gallery, and elsewhere. His “ Sunny Day in the Highlands ” was at the Royal Academy in 1878. To the Paris E.xposition, the same year, he sent “ Gareloch on the Clyde ” and “ The Moor at Whistlefield ” 80 ARTISTS OF THE NINETEENTH CENTURY. (in oil), and “ Sunday Evening, Chelsea Hospital Gardens (in water- colors). MacCallum, Andrew. {Brit.) Bom in Nottingham, 1828. Stud- ied in the Government School of Art in his native city, and went to London in 1849, when he became a student in the School of Design in Somerset House. He went to Manchester in 1851 as a teacher, and was sent in 1853 to Italy, visiting Milan, Florence, Venice, Naples, etc., selecting examples of all kinds of mural paintings for the South Ken- sington Museum. He returned to England in 1858, turning his atten- tion to painting and opening a studio in London. He had pre%dously, however, contributed to the Royal Academy several Venetian sketches. In 1868 he exhibited “ The Approach of the Malaria, Ancient Rome,” followed in other years by “A Moorland Queen” (bought by John Phillip, R. A.), “ The Four Seasons,” “ The Harvest of the IVood,” “The Vanguard of the Forest,” “ Rheingrafenstein, on the Rhine,” “ Rome from Monti Mario,” “ A Sand-Drift, Egypt,” “ Sunri.se, Plain of Thebes,” “Charlemagne Oak, Forest of Fontainebleau,” a series of views near Balmoral (painted for the Queen), etc. An exhibition of thirty-five of his works in London, in 1866, attracted much attention. His “ Sultry Eve ” was at the Centennial Exhibition at Philadeljihia in 1876. “ The power and weakness of contemporary landscape-painters have never been more strikingly exemplified than in the works of MacCallum. Nobody ever drew the strength of a birch-tree or the lightness of a beech with more entire understanding of the nature of the tree, and the giants of the forest were never celebrated by a band more faithful or laborious But, notwithstanding Mr. MacCallum’s great power of obseiwa- tion and memory and realization, he has no spiritual power. Not one of his pictures ever affects us when we stand before it or haunts us when we have left it ” — Haueb- TojJ, English Painters of the Present Day. “ Although Mr. MacCallum is essentially a tree-painter, and revels in the glories of the wood and the forest, he has produced works that prove his habors have not been limited to such subjects ; his sylvan life has been alternated with glacial mountain scenery, with the architecture of Venice and other jdaces, and with the arid deserts of the East. In some of the latter works we see the influence of poetic feeling which is generally .absent in his other pictures ; here he is real and naturalistic, material and sci- entific.” — J-tMES Dafeorne, London Art Journal, December, 1877. Maccari, Cesare. {Ital.) Born at Siena, 1840. Pupil of Luigi Mussini. He gained the frix de Rome, and studied in that city. He .affects the coloring of the Venetian school. His first important work, “ Fabiola,” belongs to Dupre of Florence. His “ Melody ” fol- lowed, and is exceedingly beautiful. The “ Descent from the Cross ” is a grand composition, and shows a masterly handling of light and shade. The frescos on the ceiling of the ro 3 'al chapel of the Sudario in Rome add greatly to the fame of Maccari. Thev were a commission from Vic- tor Emmanuel. For the palace of the Quirinal in Rome he executed a fresco of the “ Triumph of the Three Graces,” and for the chapel of the cemetery at Campo Veramo, Rome, a lunette, “ Tobias buri'ing the Dead.” At Philadelphia, in 1876, were two of his works (be- ARTISTS OF THE NINETEENTH CENTURY. 81 longing to J. Eaymond Claghorn), “ Fond Memories ” and “ Music hath Charms,” for which he received a medal. MacCulloch, Horatio. {Brit.) Born in Glasgow (1805 - 1867). Educated in his native city, studying art under John Knox, a well- known landscape-painter. A picture exhibited in Glasgow, in 1828, first brought him into prominent notice. His “ View of the Clyde,” painted in 1829, attracted some attention in Edinburgh. He was elected an Associate of the Koyal Scottish Academy in 1834, and full member in 1838, exhibiting frequently at the gallery until his death. Among the ^Detter known of his works, which are still very popular in his native country, are, “A Deer Forest in Skye,” “ My Heart ’s in the Highlands,” “ Old Bridge over the Avon, near Hamilton,” “ Druidical Stones by Moonlight,” and many other views of Scottish scenery. MacDonald, James Wilson Alexander. {Am.) Born at Steu- benville, Ohio. He early developed a taste for art, drawing carica- tures of some merit while still a school-boy. In 1840 he saw, for the first time, a bust in plaster, that of General Washington, his admira- tion and study of which led him to resolve to become a sculptor. In 1844 be settled in St. Louis, spending his days in a business house and his nights in the study of art. Here he received encouragement and some instruction from Alfred Waugh, an artist of that city. He made his first bust in 1846, a portrait of his business partner, in clay. Later, he studied anatomy under Professor McDowell. He went to New York in 1849, where he studied one year. In 1854 he executed his first work in marble, a bust of Thomas H. Benton, said to have been the first likeness in marble, cut from life, west of the Mississippi. Later, he made his first ideal work, a bust of Joan of Arc, followed by a full-length figure, called “Italia.” In 1865 he settled permanently in New York. Among his busts are those of Charles O’Conor, ordered by the New York Bar and pre- sented to the Supreme Court of the State ; of John Van Buren ; of James T. Brady (posthumous), in the New York Law Library ; and many more. He is the possessor of Houdin’s original model of Wash- ington, from which he has made a heroic-sized bust in bronze, re- peated several times. His colossal head of Washington Irving is in Prospect Park, Brooklyn ; his colossal bronze statue of Edward Bates, in Forest Park, St. Louis, was unveiled in 1876 ; the statue of Fitz- Greene HaUeck, in Central Park, New York, was unveiled in 1877 by President Hayes ; his colossal equestrian statue of Gen. Nathaniel Lyon is now in the bronze foundry (1878). At present he is engaged on the statue of General Custer, a figure eight feet high, said to be his best work, and to be erected at the Military Academy of West Point. He has also at his studio models for busts of William C. Bryant, Peter Cooper, and Thurlow Weed. Mr. MacDonald has also painted portraits and landscapes in oil, and has written analytical criticisms on some of the most important American artists, besides lecturing upon 4 * F 82 ARTISTS OF THE NINETEENTH CENTURY. artistic and scientific subjects, especially those connected with the proportions of the human form and “ artistic anatomy.” MacDowell, Patrick, K. A. {Brit.) Born at Belfast (1799- 1871). In 1811 he went to London with his mother, where he was apprenticed to a coach-builder for some years. About 1815 fortime j)laced him as a lodger in the house of a French sculptor, where he turned his natural artistic talents to pleasant account, and began his art career by the modeling of small original figures in clay, which met with a ready sale. Later, he modeled portrait busts and ideal figures of a larger size ; the first of the latter to attract attention being Moore’s “ Loves of the Angels.” This was followed by a Scene from Ovid,” “ Bacchus and a Satyr,” and a “ Girl Reading,” which was at the Royal Academy in 1837, and subsequently e.xecuted in marble. In 1841, when he was elected Associate of the Royal Acad- emy, he exhibited “ Girl going to Bathe ” ; in 1842, “ Girl at Prayer” ; in 1845 (when he was raised to the rank of Academician) he sent “ Cupid ” ; in 1850, “ Virginius and his Daughter ” ; in 1851, “ Psyche” ; in 1858, “ Day-Dreams ” ; in 1865, “ Eve ” ; and “ The Young Mother,” in 1867. Among the statues executed by Mac- Dowell are Viscount Exmouth at Greenwich Hospital, Earl of Bel- fast (in bronze) at Belfast, Earl of Chatham in the House of Parlia- ment, and busts of Lord Dufferin and others. Macdowell, Susan Hannah. (Am.) Bom in Philadelphia, 1851. Received her art education in the Pennsylvania Academy of Eine Arts, and under the instruction of Prof. C. Schusselle and Thomas Eakins. Her pictures, which are portraits, composition por- traits, and animals, have been exhibited, and are generally owned in Philadtdphia, where her professional life so far has been spent. MacLeay, Kenneth. {Brit.) Died, 1878. A native of the High- lands of Scothiud, he was educated in Edinburgh, and spent the greater part of his professional life in that city. He was for many yenrs a member of the Royal Scottish Academy, and at the time of his death a Trustee and Auditor of that Institution. In his early days, and un- til the introduction of the photograph, he w’as very successful and very popular in Scotland as a miniature-painter, numbering many of his distinguished countrj’men among his subjects. He painted in water- color for the Queen a large series of portraits of the different High- land clansmen in full costume, which attracted much attention when exhibited. To the exhibitions of the Royal Scottish Academy, in late j'ears, he occasionally contributed miniatures and landscapes. Maclise, Daniel, R. A. {Brit.) Born in Cork, Ireland (1811-1870). Was for a time a bank clerk in his native city, but began painting as a profession in 1827, studying in the Cork School of Art. In 1928 he entered the Royal Academy, winning, in due course, all its medals for proficiency in the different branches. He went to Paris in 1830. He first exhibited at the Roj'al Academy, in 1832, “Puck ARTISTS OF TEE NINETEENTH CENTURY. 83 disenchanting Bottom”; in 1833, “All Hallow Eve”; in 1834, “ Captain Rock,” and in 1835, “The Vow of the Ladies and the Pea- cock,” when he was elected Associate of the Academy. In 1836 he exhibited “ Macbeth and the Witches ” ; in 1840, when he was elected Academician, he painted “ Merrie Christmas in the Baron’s Hall ” and “ Malvolio and the Countess.” Besides his genre painting's, in which his subjects were taken from “ Gil Bias,” the “ Vicar of Wake- field,” Scott’s novels, etc., and in which his success was decided, he devoted himself to portraiture and historical painting. His “ Death of Nelson at Trafalgar” and “ Meeting of Wellington and Blucher at Waterloo ” (the latter 45 feet by 13 feet) hang in the Royal Gallery of the New Houses of Parliament, and through the medium of en- graving are familiar on both sides of the Atlantic. His “ Play Scene from Hamlet ” and “ Malvolio and the Countess ” are in the National Gallery, London. His “ Scene from Midas,” one of his earlier works, belongs to the Queen. He was not a frequent exhibitor at the Royal Academy in his later years. He sent, however, in 1866, “ Here Nelson fell ” and “ Dr. Quain ” ; in 1867, “ A Winter Night’s Tale ” and “ Othello, Desdemona, and Emilia ” ; in 1868, “ The Sleep of Duncan” and “Madeline after Prayer” ; in 1869, “King Cophetua and the Beggar-Maid ” ; and in 1870, “ The Earls of Desmond and Ormond,” his last exhibited work. He was Foreign Member of the Royal Academy of Arts in Stockholm. “ Of Maclise’s genius in his chosen art I will venture to say nothing here, but of his fer- tility of mind and wealth of intellect I may confidently assert that they would have made him, if he had been so minded, at least as great a writer as he was a painter. .... His was only the common fate of Englishmen, and when the real story of the fresco-paint- ing of the Houses of Par'liament comes to be written, it will be anotlier chapter adderl to onr national misadventures and reproaches in everything connected with art and its hapless cultivators.” — Forster’s Li/e of Dickens, Vol. III. Chap. XX. “ May 21s«, 18.35. — Accompanied Mr. Fomter to Mr. Maclise’s lodgings, — found him a young, prepossessing, intelligent man, anxious to paint my picture. Saw his large one of ‘ Captain Rock,’ and several smaller of great merit. Agreed to sit to him “March 21st, 1840. — Called on Maclise, and saw again his gi-and picture of ‘ Macbeth.’ The figure of Lady Macbeth, which I had not seen before, I thought the ideal of the character. It is a noble conception. His picture of Olivia I can look at forever ; it is beauty, moral and physical, personified.’’ — Macready’s Diary and Reminiscences. “ Young Maclise studied not only in his profession in galleries and studios, but for it in anatomical schools, and even in dissecting-rooms ; and likewise in libraries he made himself thoroughly acquainted with the history of art and artists The artist who painted ‘ Malvolio smiling on Olivia ' and the ‘ Banquet Scene in Macbeth ’ has conde- scended to lend his talents to the illustration of magazines and annuals." — Memoirs of the Countess of Blessington. “Maclise was a man of undoubted original genius, and of an earnest and laborious life He is said to have been very far-sighted, and to have prided himself on drawing remote objects with a clearness impossible to more restricted eyes. His power as a draughtsman greatly excelled his power as a colorist.” — Mrs. Tytler’s Modem Painters. Mac Nee, Sir Daniel. (Brit.) Born near Stirling, 1805. Educated at tbe Trustees Academy in Edinburgh under Sir W. Allan. He 84 ARTISTS OF THE NINETEENTH CENTURY. turned his attention particularly to portrait-painting, exhibiting regu- larly at the Royal Scottish Academy and at the Royal Academy in London, having for his subjects many of the most distinguished of his countrymen, among others. Lord Brougham (in the Parliament House, Edinburgh), Viscount Melville, Norman McLeod, Marquis of Lome, Duke of Buccleuch, Hugh Blair, etc. For many years he was a resi- dent of Glasgow. He is a member of the Royal Scottish Academy, was elected its President in 1876, and was knighted by the Queen the same year. Macy, W. S. (Am.) He has lived in Munich about four years, studying under Velten. To the National Academy, New York, in 1877, he sent “Lake Stanberg,” “Early Winter,” etc.; in 1878, “Hurrying up before the Rain ” and “ At the Ford.” To the first Exhibition of the Society of American Artists, in 1878, he contributed “ Forest Scene in Bavaria.” His “ Meadows near Munich ” and “Autumn, Royal Park, Munich” were at the Mechanics’ Fair Exhi- bition, Boston, in 1878. To the Paris Salon of 1878 he sent “ Near Munich.” [No response to circular.] Madou, Jean Baptiste. (Belgian.) Bom at Brussels (1796-1877). Chevalier of the Legion of Honor, and of the Order of Lfopold. Mem- ber of the Academies of Brussels and Antwerp. Professor of Drawing in the Military School of Brussels. Pupil of Francois, and the Brus- sels Academy of Art. In 1814 Madou was compelled to go into busi- ness, but in 1818 he resumed his art studies. He was employed by government in making maps, but in 1820, when lithography was in- troduced into Belgium, he devoted himself to that art, and in the next twenty years executed an immense amount of work in this department ; “ Picturesque Views in Belgium ” (202 jdates), “ Scenes in the Life of Napoleon ”( 144 plates), “ Souvenirs of Brussels” (12 plates), “ Mili- tary Costumes,” “ Scenes of Society,” etc. Of course this work was a preparation for his subsequent painting. His subjects are pure genre, and are not numerous, which adds to their value. Among them are, “ The Sketch,” “Jan Steen and his Friends,” “The Stirrup Cup,” “ The Young Squire of the Village,” “ The Artist’s Amusement at an Inn,” “ The Bandit,” etc. At the Oppenheim sale, London, 1864, “ La dame k la ferme” brought 260 guineas. At a sale in London, 1874, “Reading the Gazette ” sold for £892. At the Latham sale. New York, 1878, “Interior of a Flemish Cabaret” (18 by 23) sold for $ 1,400. Several of his works were sent to the Paris Exposition of 1878. “ He unquestionably stands at the head of the genre painters of Belgium ; his works, whether in lithography, in water-colors, or in oils, show a power of composition, a truthfulness, and a delicacy of touch, combined with solidity, that will bear comparison with the best that have come down to us from the old painters of the Dutch and Flemish schools.” — Art Jotirtialf February, 1S66. ARTISTS OF THE NINETEENTH CENTURY. 85 ' Madrazo, Don Frederic Madrazo Y Kunt. (Span.) Born at Madrid, according to the catalogue of the Salons. Vapereau says that he was born at Rome, and baptized at St. Peter’s. Officer of the Legion of Honor. He received his earliest instructions from his father, Jose Madrazo, and studied later at Paris under Winterhalter. Madrazo is court painter at Madrid, and in 1835 he established there an artistic Review. Among his historical portraits are those of “ Godfrey de Bouillon,” the same “when proclaimed King of Jerusalem” (at Ver- sailles), “ Marie-Christine in the dress of a Religieuse at the Bed of Ferdinand VII.,” “ Queen Isabella,” “The Duchess of Medina-Coeli,” and others. His portraits of the Spanish aristocracy are far too nu- merous to mention. He has sometimes exhibited his pictures at the Royal Academy, London. His portrait of Fortuny, who was his son- in-law, was much admired at the Paris Exposition of 1878, where he also exhibited three other fine portraits. Madrazo, Louis. (Span.) Brother of the above, and also a pupil of his father. At the School of Fine Arts of Madrid he took the grand prize in 1848. His “Burial of St. Cecilia,” belonging to the Museum of Madrid, received honorable mention at Paris in 1855. Madrazo, Ricardo. (Span.) Pupil of his father. At the John- ston sale. New York, in 1876, “ The Interior of Santa Maria at Rome” (23 by 39) sold for $4,600. At the Paris Salon of 1878 he exhibited “A Well near Venice.” Magaud, Dominique Antoine. (Fr.) Born at Marseilles, 1817. Two medals at Paris, and numerous others at the Provincial Exposi- tions. Member of the Academy of Marseilles and Director of I’Ecole des Beau.x-Arts of that city. Correspondent of the Institute since 1874. Pupil of the Art School of Marseilles and of Leon Cogniet. His works are very numerous, many of them being in the public gal- leries and edifices of his native city. At the Salon of 1878 he exhib- ited a picture called “ War.” Magni, Pietro. (Ital.) Born at Milan (1816-1877). In his death Italy has lost one of her greatest artists. Among his principal works are, “ Angelica Bound,” “ Sappho,” “ Reading Girl,” and a Napoleon I. The monument to Leonardo da Vinci, in the Piazza della Scala, Milan, was erected in 1872, and is a fine work; the Fon- tane della Nabresina at Trieste is also much admired; his large group of the “ Opening of the Suez Canal ” is grand ; and his latest works, a statue of “ Oristides ” and an ideal figure called “ Complacency,” were intended for the Exposition of this year (1878) at Paris; the last was seen there. Magnus, Eduard. (Ger.) Born at Berlin (1799-1872). Member and Professor of the Academy of Berlin. Medal at Paris in 1855. Pupil of Schlesinger. He traveled in France and Italy. His early pictures of the “ Return of the Pirate ” and “ The Blessing of the Grandson ” brought him good reputation. At the National GaUery, 86 ARTISTS OF THE NINETEENTH CENTURY. Berlin, are the “ Eeturn of the Fisherman” and a “ Study of Female Heads.” His pictures are of genre subjects and portraits. Magrath, William, N. A. (Am.) Has occupied a studio in New York for many years. Devotes himself to landscapes and figure- pieces, generally of Irish peasant life. He was an early member of the American Society of Painters in Water-Colors, and was elected Associate of the National Academy in 1874, and Academician in 1876. He exhibited, in 1869, “ Irish Peasantry returning from the Fair”; in 1870, “ The Road to Kenmair ” ; in 1871, “The Reveille”; in 1873, “The Empty Flagon”; in 1874, “Reveries” and “Faltering Foot- steps”; in 1876, “Rustic Courtship” (belonging to Robert Gordon) and “ Contentment ”; in 1877, “ Girl Spinning ” and “ Paddy’s Pets ”; in 1878, “ Adirondack Slopes ” and “ A Golden Prospect all in oils. In water-colors he has exhibited “ Out of the Gloom,” “ The Wilds of Connemara,” “ No Place like Home,” “ The Dairy-Maid,” “ The Fish- erman’s Daughter,” “ Irish Interior, — Girl winding Yarn,” “ Gatliering Kelp,” “ On the Threshold,” etc. To the Exhibition at Philadelphia, in 1876, he sent, in water-colors, “ Mussel-Gatherers ” (belonging to Robert Gordon), “Nora” (belonging to J. T. Williams), “An Irish Thatched Cottage,” and “ On the Hdlside.” [No response to circular.] Maignan, Albert. {Fr.) Bom at Beaumont. Pupil of J. Noel and Luniinais. At Philadelphia he exhibited “ Helen at the Foun- tain ” and “ The Sentinel,” and received a medal. At the Paris Salon of 1877 were his “ Frederic Barbarossa at the Feet of the Pope ” and a portrait of Mine. F. At the Luxembourg is his “Departure of the Norman Fleet for the Conquest of England ” (1874). At the Salon of 1878 he exhibited “ Louis IX. consoling a Leper ” and “ The Admiral Carlo Zeno.” Maillet, Jacques Leonard. (Fr.) Born at Paris, about 1827. Chevalier of the Legion of Honor, and of the Order of Leopold. Pupil of r Ecole des Beaux-Arts and of Feuchere and Pradier. "When twenty-four years old he went to Rome, having gained the jprix do Rome. At the Luxembourg are his “ Agrippina and Caligula, ’ sent from Rome in 1853 ; also “Agrippina bearing the Ashes of Germanicus ” (1861). His works may be seen at the Louvre, the Tnileries, and several churches of Paris, while his funeral momunents, his graceful figures, and charming groups are in many places. At the Salon of 1877 he exhibited “ Caisar,” a plaster group, and a portrait bust in marble; at the Salon of 1876, “ Love and a Satyr ” (plaster) and “ Eury- dice,” statuette in terra-cotta; in 1878, terra-cotta statuettes of young women of Syracuse and Corinth. IVlaindron, Etienne-Hippolyte. (Fr.) Born at Champtoceau, 1801. Chevalier of the Legion of Honor. Pupil of David d’Angers. His “ Velleda ” of 1839 was placed in the garden of tlie Luxembourg, and a repetition of it in 1855 was placed in the Gallery of the Luxem- ARTISTS OF THE NINETEENTH CENTURY. 87 bouig. “ Sainte Genevieve disarming Attila ” is in the church of that saint at Paris (Pantheon). At the Cathedral of Sens are thirty-two statues and figures, and a colossal “ Christ.” A bas-relief is at the Cathedral of Rheims ; a “Saint Gregory of Valois,” afthe Made- leine ; etc. At the Salon of 1874, the year in which he was decorated, he exhibited a marble statue called “ France Resigned,” and in 1878, two marble busts. Maisiat, Joanny. (FV.) Born at Lyons. Medals in 1864, ’67, and ’72. Pupil of I’Ecole des Beaux- Arts of Lyons. At the Salon of 1877 he exhibited “ The Washerwomen of Vignely ” and “ A Branch of Plums” ; in 1876, “On the Banks of the Marne” ; in 1875, “A Basket of Peaches and Raisins,” “ Red and White Roses,” etc. Two of his pictures are in the Luxembourg. Makart, Hans, (ffer.) Born at Salzbourg, 1840. Professor at Vienna. Member of the Munich Academy. Medal at Philadelphia. Studied at Munich, in the school of Piloty. He has been frequently in Italy, and sent a picture of “ Roman Ruins ” to the Exposition of 1867 at Paris. At Vienna, where he settled, he has a large studio, and here commenced his first historical picture, “ Catherine Cornaro,” now at the Berlin National Gallery, for which 50,000 marks was paid (.£2,500). The reputation of this artist dates from about 1868. At the International Exposition at Munich in 1869, he exhibited “ L’Es- quisse.” Among his earlier works are, “ The Seven Capital Sins,” “ The Pest at Florence,” “ The Dream of a Man of Pleasure,” and “ Nymphs coming to touch the Lute of a Sleeping Singer.” His “Romeo by the Body of Juliet” is at the Belvedere in Vienna. Among his other works are, “ Leda,” Modern Cupids,” “ Cleopatra,” “ Entrance of the young Emperor Charles V. into Antwerp,” and “ The Gifts of Sea and Earth.” A portrait by this artist, belonging to E. B. Haskell, was exhibited at the Mechanics’ Fair, Boston, 1878. His “ Entrance of Charles V. into Antwerp ” and two portraits were seen at the Paris Exposition of 1878. “Makart is tlie Richard Wagner (some say Offeiibacli ) of German painting. His repu- tation dates hack but a year, and already he lias enthusiastic partisans and detractors. I have seen four works of his It would be presumptuous to attempt to form a definite judgment of this artist after four works, following each other so nearly, but it i.s allowable to seek in these works the elements of which his system and his success are composed. The ‘ Nymphs,’ of the Schack Gallery, 1866, have taught the public and the artist himself that he was incapable of drawing or painting grand figures. ‘ The Sketch,’ of the present Exposition linternatioiial Exposition of Munich, 1869], confirms this obser- vation ; more, it extends it to the figures of smaller dimensions. The torsos, the arms, the legs, are equally incorrect, and as for the hands, the artist has almost spirited them away in order to conceal his want of anatomic science. These experiences have clearly shown the author that he cannot succeed in grand painting. He has bravely chosen his part upon this conviction. Renouncing the manners of the vulgar, he has sought a kind of genre, which demands neither a knowledge of drawing nor of painting, but uniquely a sort of general taste for the association of colors ; and this genre he has found. The ‘ Sketch ’ exhibited helps us to put our finger on ail the resorts of this knowing and in- genious mechanism which he has imagined. An architectural framing, in the form of a 88 ARTISTS OF THE NINETEENTH CENTURY, buffet, closed in three compartments ; a circle of women and a triumphal cortege, the hero- ines of which form some very picturesque groups ; various emblems, scientific or artistic instruments, utensils of the menage, etc., are painted on the different parts of the buffet, and testify to a remarkable understanding of the laws of decoration. The golden tone on which the figures are shown, the brown tone of the branches and the flowers, and tlie tone, sometimes red and again white, of the flesh parts, make a marvelous harmony, of a dazzling richness and a musical charm, — the assemblage offers all the poesy of au- tumn and the falling leaves. Evidently "Makart has his palette to himself, and has imitated no one. lie has discovered a precious vein. "Will he be able to explore it? Has he stuff enough in him to make fruitful and to ripen the germs of the first attempts, or will he be blinded by his first success, and believe that he has arrived at the end ? . . . . The forms of these heroines who fluctuate betw’een the softness of childhood and the rouiidness of ripened age, the forbidding expression of the heads, authorize but too well the reproach of immorality which has been addressed to this art. Not only does 3Iakart debase the human body to the role of simple ornament, but he accords to it no more im- I)ortance than to the hangings and the flowers ; more than this, he changes it, and gives it a dull and cadaverous tint to make it set off the golden or purple tones. This painting is then unhealthy in w’hatever point of view it is put, and it must be condemned, let the skillfulness of the author and his conviction regarding his system be what it may.” — EuciiNE Muntz, Gazette des Beaux- Arts, October, 1S69. “ Makart reminds us of certain virtuosos who know everything, but cannot command the technique to express themselves. Nevertheless, we must constantly speak of his brilliant endowment ; we appreciate it, but deplore the want of an elementary training, the absence of a strong, comprehensive design. Flowing verses, rich rhymes, make a poem : what worth, however, has the most charming poem without that more lovely element which Schiller calls the beautiful soul? Makart’s color is brilliant, satisfying, melting ; shall we ever be able to give the same praise to his conception and drawing? ’ — Eugen Obermayer, Zeitschri/t fiir bildende Kunst, 1871. “ Taken as a whole, and with due acknowledgment of the courage needed for such an attempt, and the talent with which it has been conducted, the picture seems to me a recall of the manner and the artifice, rather than the essence, of the style it affects. What was theatric and grandiose in the art of Veronese has passed into the art of Herr Makart, but the simplicity that made the earlier splendor credible has fled. The labori- ous invention of costume, the genuine charm of color, do not suffice to take from the work its incurable artificiality. The painter has attempted to reproduce there elements of an epoch that cannot sunMve. He has let go the permanent truth that was in his master, and has been content to invent what Veronese imitated : and thus the work is. in the true sense of the term, theatric, for it seeks for the kind of illusion that Ls desired on the stage But although the work of Herr Makart seems to me so far in its essence a failure, it nevertheless desen'es consideration for the brilliant technical quali- ties it displays. There are few paintera of the present day who have enough daring to handle such vast material, to dispose fearlessly and with proper relation so large a num- ber of figures ; and there are still fewer who possess the skill in execution which renders Herr Jlakart's picture a surprising, and in some sense, admirable performance. J. AV. CoMYNS Carr (critique upon " The Nobles of Venice paying Homage to Catherine Comaro ”), The Portfolio, February, 1875. “ Herr Makart. by birth Austrian, but trained under Piloty, is imbued with the ro- mance and voluiduousness of Venezia. He is, in fact, theAeronese of A ienna. It is more than doubtful il' Paul A^eronese had not enthroned * A'enice cro^smed by Glor>-.’ whether Herr Makart would have ever painted * A’enice doing Homage to Catarina Cor- naro,' a grandiose composition, which, when displayed in London, was looked upon less as grave history than as phantasmagoria. The painter, as seen in the great Exhibition of Paris, becomes still more formless and florid when he emblazons the festive Entry of Charles V. into Antwerp.’ It may be feared that this triumphant artist is hurrying to his fall. No amount of genius can pardon ill drawing, or excuse an execution which ARTISTS OF THE NINETEENTH CENTURY. 89 from bravura passes into effrontery. Herr Makart is one of those sensuous painters, nowadays becoming numerous in great cities, who, cariying to fruition the desires of luxurious living, decorate their studios up to the high jiitch of their pictures. The door opens, and at once it is seen that the former austerity of German manners has given place to the allurements now permitted in the ‘ Paris of Eastern Europe.’ ” — J. Beav- INGTON Atkinson, The Portfolio, 1S78. Malchin, Karl Wilhelm Christian. (Ger.) Bom at Kropelin, 1838. Pui3il of the Art School at Weimar under Professor Hagen. Since 1874 he has traveled considerably, and paints and etches. At the Berlin National Gallery is his “ Northern German Landscape with Sheep ” (1877). Mancinelli, Giuseppe. (Ital.) Born at Naples (1813-1875). Member of many academies. He received also many honors. He gained the stipend with which to go to Rome at the Academy of Naples. In 1850 he won the position of Professor in the Academy of Naples, in a concours, by his cartoon of “ Jacob blessing his Chil- dren.” Among his best works are, “ St. Carlo Borromeo,” for the church of St. Carlo all’ Arena ; a “ St. Francesco di Paolo,” for Ferdi- nand II. ; a “ Madonna degli Angeli,” for the church of Tripoli ; a “ Christ in the Garden,” for a church at Syracuse ; a “ St. Clara,” for the Cathedral of Spoleto ; and a “ Death of St. Augustine,” at Piedigrotta. Mancini, Antoine. {Ital.) Bom at Naples. Pupil of Lista and Morelli. At the Paris Salon of 1877 he exhibited “ The Little Moun- tebank”; in 1876, “The Little Scholar,” belonging to Landelle. His picture of “ Tired Out” brought $ 210, at the Cottier sale. New York, 1878. At the Salon of 1878 he exhibited “ The Fete of St. Januarius at Naples.” Several of his works were seen at the Paris Exposition of 1878. Manet, Edouard. {Fr.) Born at Paris, 1833. In spite of his love for art, his family were determined that he should not be an artist, and when seventeen he was forced by them to go to Rio Janeiro ; after this voyage he visited Italy and Holland, and finally entered the atelier of Couture, where he remained six years. In 1860 he painted the “ Man drinking Absinthe.” For several years his works were refused at the Salons. He exhibited his “ Breakfast on the Grass” (which Vapereau says “united, pell-mell, nudities and modern costumes ”) at the Salon of refused pictures, and at length, in 1867, made an exhibition of his works alone. By this means he was placed before the public, and was discussed and rediscussed most vigorously. M. Emile Zola published an elaborate biography, study, and critique of Manet, and praised him much. The following works are good examples of his stjde ; “ The Dead Man,” “ Child with a Sword,” “Olympia,” “A Young Lady” (1868), and “The Spanish Ballet.” Manet is also an etcher, and has made plates of “ La Vierge au lapin,” of Titian, “ Portrait of Tintoretto,” by himself, and “Les petits cavaliers,” by Velasquez, three pictures at the Louvre. 90 ARTISTS OF THE NINETEENTH CENTURY. " , Manet, the painter-in-chief of ugliness, which in sincere self-delusion he ex- alts into a worship. It seems to he a fixed principle with him to make the most prom- ising subjects for beauty — as his ‘Olympia’ for instance, which motive a Titian or Correggio would have transformed into a masterpiece of aesthetic joy — the combination of all that is disagreeable in painting. .... Olympia was naked, but as her flesh was of the hue of green meat, there was nothing corrupting to the public morals in the gross display of her flaccid charms. She was of no mundane type of feature or figure. Her form was coarser, if possible, than a Terra del Fuegian belle’s. A negress stood grin- ning in the background, and a witch-cat, with her black back up, in the foreground. These accesories gave a grotesque hideousness to the whole. Yet there were indications of talent and a certain spotty force of splashy contrasts of coloring, which might be trained to better work. Manet is one of the eccentricities of modem art, as Whistler is another but better variety, induced by the popular love of the sensational and extravagant." — Jabves, Art Thoughts. “ M. Manet, who is well known to American lovers of art as the leader of the new school of painters and the illustrator of Poe’s ‘ Raven,’ exhibits this year two pictures, one at the Salon, the other on the street. Take a look first at ‘ Nana,’ rejected by the jury on the ground of indelicacy. It may be seen in a window at Giroux’s, on the Boulevanl des Capucines. You will probably be surprised when you see it; it is certainly a remark- able work of the master, and it has become one of the incidents of the day. The other picture, exhibited at the Salon, is a portrait, — that of Faure in ‘ Hamlet.' In it we see the Danish Prince in the presence of the ghost, and, at the same time, the singer him- self. In the picture on the Boulevard lie shows his appreciation of grace and cleganca; in that of the Salon, that he is the strong master of a nobie style.’’ — America/i Register. June, 1S77. Mann, J. H. S. {Brit.) Conteraporarj' English painter, residing in London. He is a member of the Society of British Artists, exhib- iting cabinet pictures, generally of a genre character. Among his later works are, “ Nina,” “ Bosom Friends,” “ The Pet,” “ A Quiet Cup of Tea,” “ Eothen,” “ Threatening Weather,” “ Pleased with a Feather,” etc. “ The subject by J. H. S. Mann [R. A., 1S73] is larger than he habitually paints. It i.s catalogued without a name, and represents a lady gazing thoughtfully into the far distance of an open country It is painted with all the grace that has character- ized Mr. Mann’s former productions, but the person has more of intelligence, and carries more of personal importance.” — Art Journal, June, 1S73. Manson, George. {Brit.) Born in Edinburgh (1850-1876). He was a wood-engraver of some promise, painting also in water and in oil colors. Among his original works may be mentioned, *• The B,hymer’s Glen,” “ The High School Wynd, Edinburgh,” “A Sark Fisherman,” etc. Marc, Jean-Auguste. (Fr.) Born at Metz, 1818. Chevalier of the Legion of Honor. In 1836 this artist taught drawing in the .firym- nasium of Diekirch. He went then to Paris, and studied at TEcole des Beaux-Arts under Delaroche. He painted genre and historic subjects and portraits. Marc also made many designs for illustrated publications. On the death of Paulin, founder of “L’Tllustration,” he became managing director of that journal, and after 1865 wrote the political bulletin. Marcellin, Jean-Esprit. {Fr.) Bom at Gap, about 1822. Chev- ARTISTS OF THE NINETEENTH CENTURY. 91 alier of the Legion of Honor. Pupil of Rude. His “ Bacchus giving himself up to Sacrifice” (1869) is at the Luxembourg. The works of this sculptor are seen in Marseilles. Many of his subjects are myth- ological. Marchal, Charles Francois. {Fr.) Born at Paris (about 1828 - 1877). Three medals at Paris Salons. Pupil of Prangois Dubois and Drolling. This artist took his own life ; he had felt that he was un- justly estimated, his eyesight was much enfeebled, his cares were many and heavy, and his courage failed him. Among his best works were, “An Interior of an Inn on a Pete Day at Bouxviller, Upper Rhine ” (1861) and “ Springtime ” (1866). At the Salon of 1876 he exhibited “The Pirst Step” ; in 1875, “The Prey” ; in 1873, “The Morning” and “The Evening, in Alsace” ; in 1872, “Alsace ! ” ; in 1868, “Penelope” (belonging to Mr. Probasco of Cincinnati) and “Phryne”; etc. His “Choral of Luther, Alsace” (1863) and “The Fair of the Servants at Bouxviller, Alsace” (1864) are in the Luxem- bourg. “ Charles Marchal offers ns an example, rare enotigh, of an amateur who has arrived in a few years to the rank of a true artist. I will not recount to you all the circum- stances, more or less romantic, which have led him to live by his labor, nor the difficul- ties of his debut, nor the grand resolve which he one day made to dig to tlie very bottom of Nature in our dear Alsace. This most gay and truly Parisian of all the painters of Paris confined himself for nearly two years to the little industrious village of Bouxviller, in the midst of a new country where the usages and costumes of the good old times are well enough preserved. The peasant-women there wear the embroidered caps, the bodices glistening with spangles, the red or green petticoats, according to their being Protestants or Catholics. The town itself is as picturesque as one could wish, — it seems a place of the Middle Ages, — you see a beautiful example of it in this picture of the ‘ Fair of the Servants.’ Certainly this young artist owes much to the cordiality and hospitality of Alsace, and above all to those good men of Bouxviller who have cared for him as for a son. But it is necessary to say that he has largely paid his debt in revealing to the Paris public the poesy, half Germanic, of this far-off counti’y, and these manners so little known. .... There is, in truth, some little thing wanting in order to make this excellent picture a true chef-d’cuuvre ; the artist lacks almost nothing to make him a grand painter. But what ? I cannot say. Perhaps a little more air in the picture. Perhaps a more free and full effect of light. I am afraid to give advice, especially since it would probably be useless. When an artist walks so firmly in the good path, and makes new progress with each effort, it is best, I believe, that he should consult himself. If he has known how to go so far without the counsel of the critics, he has good sight to discern the end, and good legs to take him to it,” — Ed.uond About, Salon o/1864. Marches!, Pompeo. {Ital.) (1790-1858.) Professor in the Academy of Milan, and recipient of many honors. This sculptor was a pupil of Canova. He executed many portrait statues and busts of notable men ; among them, twelve of the Marshals of Italy for the Cathedral of Milan, one of Goethe for the library of Frankfort, one of Francis I. of Austria (now at the castle of Vienna), a colossal statue of Charles Emmanuel III. in Novaro, etc. Marches!, Salvatore. (Ital.) Of Parma. Medal at Philadel- phia, where he exhibited “ Interior of the Choir of the Cathedral of Parma,” which was one of the pictures most ivorthy of note in the 92 ARTISTS OF THE NINETEENTH CENTURY. Italian exhibit. At the Paris Exposition of 1878 was exhibited his “ Interior of the Sacristy of the Church of Saint John at Parma,” be- longing to the Academy of Milan. Mardchal, Charles-Laurent. (Er.) Bom at Metz, about 1800. Officer of the Legion of Honor, and Correspondent of the Institute. Pupil of Regnault. His pictures are of genre subjects. He has gained much reputation by pastels, and more by his glass painting, which is in many of the finest churches and cathedrals of France. Marilhat, Prosper. (PV.) Born at Vertaizon (1810-1847). Pupil of Roqueplan. His earlier essays gave no promise of the talent which he showed later. He was so fortunate as to have the opportunity of going to the East with Baron Hugel, a rich Prussian, and there found his true inspiration. Gautier says, “ Marilhat was a Syrian Arab, he must have liad in his veins some blood of the Saracens whom Charles Martel did not kill.” Marilhat was invited by his friend to go to the East Indies, but he preferred to remain in Egypt, and passed some time at Alexandria, Cairo, Rosetta, and their environs. He painted a portrait of the Pasha ; he painted other portraits for 300 francs each, in order to support himself. He also decorated a common theater at Alexandria, but whenever he could he made sketches of the country, its environs, costumes, etc. After his return to Paris he sent to the Salons, “ Esbekieh Square,” “ The Tomb of the Sheik Abou-Man- dour,” “The Valley of the Tombs at Thebes,” “The Garden of the Mosque,” and “ The Ruins of Baalbec.” To the Salon of 1844 Marilhat sent eight pictures. Gautier says, that if the expression may be allowed, this exhibition was to him the Song of the Swan, and that these works were eight diamonds. Among them were, “ A Sou- venir of the Banks of the Nile,” “ A Tillage near Rosetta,” “ An Egyptian City by Twilight,” “ View near Tripoli,” “A Cafe on a Road in Syria,” etc. The first of these is his chef-d’oeuvre. He felt that he merited more attention from this Salon than he received, — he was discoirraged ; he fell into a state from which death, even at his early age, was a happy de- liverance ; and so passed away, leaving two or three hundred pictures in a more or less advanced state. Some of his sketches were very beautiful. M. Camille Marcelle has, at his house at Oiseme, a short distance from Chartres, “ The Ruins of Baalbec ” and three studies. At the Wertheimber sale at Paris (1861), “The Entrance to Jeru- salem” (55 by 84 centimeters) sold for 16,000 francs. At tbe Du- bois sale, Paris (1860), “ The Passage of the Ford” sold for 7,050 francs. At the Prevost sale, Paris, “ A Bazaar near J erusalem ” sold for ^640, and “A Turkish Dance near the Bosphorus” for £266. At the Oppenheim sale, Paris, 1877, “Ruins near Cairo” sold for 29,000 francs. “ One of the glories of M.irilhat was that he preserved his originality in presence of Decamps. The talents of these two men are parallel lines, it is trae, but they do not ARTISTS OF THE NINETEENTH CENTURY. 93 touch each other ; the more fruitful fancy of the one is balanced by the character in the works of the other. If the color of Decamps is more phosphorescent, the drawing of Marilhat is the more elegant. The execution, excellent with both, excels in fineness in the painter who was carried away so young to his glory, and to the long future which should await him.” — Theophile Gautiee, Revue des Deux Mondes, July, 1S48. “ Decamps had painted before Marilliat these countries and these figures, and he had impressed on all a strange character and a fierce style, an air of primitive savageness. Marilhat sees tliem with calmer eyes ; lie finds in these figures a beauty more human, and perhaps more true. He throws a less oppressive light over his pictures. Regard- ing this nature on its laughing and magnificent side, he tempers the violence of it, and makes its high colors less pronounced. Marilhat prefers to show us the Happy Arabia.” — Charles Blanc. Maris, Jacques. {Belgian.) Born at The Hague. Pupil of E. Hebert. At the Paris Salon of 1877 he exhibited “The Plow” and “Baby and the Kitten”; in 1874, “A View of Amsterdam.” His “ Seaweed-Gatherers ” brought $ 1,250 at the Cottier sale. New York, 1878. His “View in Holland” (belonging to B. Schlesinger) was exhibited at the Mechanics’ Fair, Boston, in 1878. To the Paris Exposition, same year, he sent On the Beach ” and “ A Dutch .Landscape.” Maris, Matthias. {Belgian.) Born at The Hague. Lives in Lon- don. Mr. Cottier has brought the pictures of this artist to America. One of them was called “Where Shadowy Trees their Twilight make.” Marks, Henry Stacy, A. R. A. {Brit.) Born in London, 1829. He was a pupil of the Royal Academy in 1851. In 1852, with Cal- deron, he went to Paris, where he entered the atelier of Picot, becom- ing later a pupil of I’Jicole des Beaux- Arts. In 1853 he returned to England, and exhibited his first picture at the Royal Academy the same year, entitled “ Dogberry.” In 1854 he sent “ Christopher Sly ” ; in 1855, “Slender’s Courtship” ; in 1857, “Bottom as Pyramus” ; in 1858, “A Day’s Earnings”; in 1859, “Dogberry’s Charge to the Watch” (which attracted much attention); in 1860, “The Sexton’s Sermon ” ; in 1861, “ The Franciscan Sculptor ” ; in 1862, “ The Jest- er’s Text” ; in 1863, “How Shakspere studied” ; in 1864, “Doctors Dif- fer ” ; in 1866, “My Lady’s Page in Disgrace” ; in 1867, “Falstaff’s Own” ; in 1868, “Experimental Gunnery in the Middle Ages” ; in 1869, “ The Minstrel’s Gallery ” ; in 1871 (when he was elected an Associate of the Eoj^al Academy), “ The Book-Worm” ; in 1872, “ Wait- ing for the Procession” ; in 1873, “A Peep of the Avon”; in 1874, “The Latest Fashion” ; in 1875, “Jolly Post-Boys ” and “ A Merrie Jester ” ; in 1876, “ The Apothecary” ; in 1877, “ A Bit of Blue ” and “ The Spider and the Ely ” ; in 1878, “ Convocation.” He is a member of the Society of Painters in Water-Colors. Among Marks’ other pictures, exhibited elsewhere, are, “ Jack O’Lantern,” “ Orpheus,” “ May-Day in the Olden Time,” “ The Tinker,” “ The Princess and the Pelican,” and “ The Missal Painter.” To Philadelphia, in 1876, ho sent “The Ornithologist” and “The Three Jolly Post-Boys”; to 94 ARTISTS OF THE NINETEENTH CENTURY. Paris, in 1878, “ The Apothecary ” and “ St. Francis and the Birds ” (in oil), and “The Princess and the Pelican” (in water-colors). “ Mr. Marks heads the list with a lively and amusing scene of ‘ The Beggars coming to Town * [R. A. 1865J, the best composed and painted work which we remember from his l»encil. The humors of the ragged troupe are carefully discriminated.’’ — Palcrave’s Essays on Art. “The pictorial style of Mr. Marks is expressly medisevah What middle-age sculptors did in stone, the painter does on canvas. The sly humor, the caustic satire, expended on cathedral stalls in centuries past, this artist now revives on the walls of the Royal Academy.” — J. B. Atkinson, English Painters of the Present Day. “ It has been said in the columns of our journal that Mr. ilarks can never put brush to canvas without provoking laughter, and yet after a quaint fashion he preserv'es a cer- tain style of dignity. It is tliis dignity, mediavalas it generally is in expression, wliich gives the true value to his works ; one can smile at the artist’s humor while acknowl- edging and respecting the talent and patient labor in which, so to speak, it is clothed, or, in other words, by which it is exemplified.” — Art Journal^ December, 1870. “ ‘ AMerrie Jest ’ is very characteristic of this painter’s special gifts. The difficulty of so subtle a rendering as this of the half-checked yet extreme mirili of persons naturally humorous can only be judged of by considering how often aspects of laughter are at- tempted in pictures and how rarely we feel ourselves inclined to join in the merriment The piece of accessory landscape is very unaffected and good, and the painting through- out of good standard modem quality.” — Ruskin’s Kotes of the Academy, 1875. Marochetti, Baron Charles. (Ital.) Born at Turin of parents who were naturalized citizens of France (1805 - 1868). Chevalier of the Legion of Honor and Grand Officer of the Order of Saints Maurice and Lazarus. Pupil of Bosio. His “ Young Girl playing with a Dog ” (1827) won his first medal. His chef-d’oeuvre is a statue of “ Emman- uel Philibert,” which he presented to the capital of Sardinia. Among his works are, a has-relief on the Arc de Triomphe, the Tomb of Bel- lini, the high altar of the Madeleine, and many other works in public places in France. After the Kevolution of 1848 he went to England, where he made the colossal “ Eichard Coeur de Lion,” which adorned the entrance to the Crystal Palace, and was cast in bronze by national subscription ; an equestrian statue of the Queen for the city of Glas- gow ; a granite obelisk erected to the memory of the soldiers who fell in the Crimean War ; various ideal subjects, and many portraits, among which M’as that of Prince Albert. In the country of his adoption he found many powerful friends, and received numerous commissions for both public and private works. Marshall, Charles. (Brit.) Born in London, 1806. Like Stan- field, Bough, and other prominent artists, he began his professional career as a scene-painter, working in that capacit}^ in London for many years. He was articled as a lad to Marinari, the Italian scenic- artist of Drury Lane Theater. He was at the Covent Garden Theater while under the management of Mr. Macready, and at the Haymarket Theater when the same actor first produced Bulwer’s “ kloney.” He first introduced the lime light for the illustration of dramatic tableaux, and in his long experience has been associated in the production of many remarkable stage effects in the British metropolis. He illus- artists of the nineteenth century. 95 trated by a diorama the interior view of the coronation of William IV. in Westminster Abbey; assisted at the decoration of the same ca- thedral at the time of the coronation of Victoria; painted moving panoramas of the “ Naval Victories of Great Britain,” “ The Battles of Napoleon I.,” “Overland Route to India ” (a Christmas pantomime written by Douglas Jerrold), “ Tour of Europe,” “ The Crimean Cam- paign,” “ The Great Gold Fields,” etc. He has now retired from scenographic work, devoting himself to landscape-painting, dejjicting chiefly scenes of North Wales, Snowden, etc., also views in War- wickshire, Derbyshire, Devonshire, and Hampshire. He studied oil- painting under John Wilson, and when eighteen years of age received the gold Isis Medal of the Society of Arts for a picture in oil. A view of the Glyddye range of mountains, painted for the Lady Marion Alford, is now at Ashridge, the seat of Earl Brownlow. His “ Even- ing Lights” was at the Royal Academy in 1878. Mr. Marshall has contributed to various publications, including Henshall’s “ Vicinity of London,” “ The Gallery of British Artists,” etc. “ On a certain occasion when Macreacly brought out ' The Tempest,’ I remember Leigli Hunt standing up in the box, involuntarily, and murmuring, witli tears of rapture in his eyes, ' O, it is too beautiful ! ’ at the moment the curtain drew up aud ])resented the seashore of the Enchanted Isle, with the long waves of tiietide slowly moving down towards the spectators, and then bristling into sparkling foam and running onwards in broad silver ridges and ripples over the yellow sands On another occasion, when Macready brought out ‘ As You Like It,’ the Forest of Arden, where the romantic Duke had taken up his abode, was represented at his rustic palace, with an entire covering of tangled boughs and foliage high overhead, among the leaves of whicli, with their delicate tints, peeps of sky, .and glancing green lights, there was a constant moving and fluttering as of soft winds and small birds, whose sweet warbling fitfully blended with the subdued strains of the orchestra below.” — E. H. Horne, The Burlesque and the Beautiful, Contemporary Review, October, 1871. Marshall, William C., R. A. {Brit.) Born in Edinburgh, 1813. W ent to London at an early age, studying sculpture under Baily and Chan trey. He first exhibited at the Royal Academy in 1835. The next year he went to the Continent, spending some time in work and study at Rome. He opened a studio in London in 1839, and was elected a member of the Roj'al Academy in 1852. In 1857 he re- ceived a prize for designs for the National Monument to the Duke of Wellington, to be placed in St. Paul’s, London. He executed the statues of Somers and Clarendon in the Houses of Parliament, of Sir Robert Peel at Manchester, of Jenner in Trafalgar Square, etc. Among his ideal works may be mentioned, “ The Broken Pitcher,” in 1842; “The Dancing-Girl Reposing” (which won the Art Union Prize), “ Fresh from the Bath,” “ The Carrier-Pigeon,” “ Jael,” in 1867; “Psyche,” in 1868; “The Christian Martyr,” in i 871 ; “Ruth,’^ in 1872; “ The Old Story ” and “ The New Story” (in terra-cotta), in 1874; “Convalescence,” in 1875; “Pygmalion’s Statue,” in 1876; “The Prodigal Son,” in 1877; “Early Troubles” and “ Whispering Vows to Pan,” in 1878. 96 ARTISTS OF THE NINETEENTH CENTURY. Marshall, Robert Angelo Klittermaster. (Brit.) Bom in 1849. Studied under his father, Charles Mai-shall. Landscape-painter. Mem- ber of the Langham Sketching Club, elected in 1872, and of the Artist and Amateur Conversazione Society, elected in 1876. He has spent his professional life in London, exhibiting at the Royal Academy, and elsewhere in the metropolis and in the Provinces. Among his works are, “ Looking towards Arthog,” “In the late Summer-Time, Hants,” “ A Shallow, Weedy River, Hants,” “ Sultry Autiunn, Sussex.” Marshall, Thomas W. (Am.) (1850-1874.) A young land- scape and genre painter of much promise. Comparatively self-edu- cated as an artist. He exhibited at the National Academy, in 1871, “Near Bellows Falls”; in 1873, “An Interior at Barbison, France”; in 1874, “ Late Afternoon in the Forest, Keene Flats.” Marstrand, William Nicolas. (Dane.) Born at Copenhagen (1810-1873). He spent some time in Germany and Italy, and on his return to his own country, was made Professor and then Director of the Academy of Beaux- Arts, at Copenhagen. Marstrand became very celebrated in Denmark by his portraits and genre pictures. He sent works to Paris, where his color was not admired, but seemed false and exaggerated. Several works by this artist were exhibited at Paris in 1878. Martin, Homer D., N. A. (Am.) Native of Albany, N. Y. With the exception of a few weeks’ study under William Hart, early in his career, he is entirely self-taught as an artist. For many years he has had a studio in New York. He is a member of the Artists’ Fund Society of that city, of the Society of American Artists, and of the National Academy, of wliich he was elected Associate in 1868 and Academician in 1875. He has been successful as a landscape- painter. Among his works are, “ An Equinoctial Day ” (belonging to Dr. F. N. Otis), “ Brook in the Woods ” (belonging to Dr. Mosher), “The Footpath” and “In the Adirondacks ” (to John Middleton), “ Spring Morning ” (to Montgomery Schuyler), “Morn- ing on the Lake,” “A Cloudy Day,” “Hemlock Woods,” “The Thames at Richmond,” “ Idling,” etc. His “ Adirondacks ” (belong- ing to tlie Century Club) was at the Philadelphia Exposition of 1876. During the summer of 1878 he made a series of sketches of the homes of American Poets for Scribner’s Monthly. “ Homer Martin is seen in a tenderly and originally treated ^Evening on the Saranac* [Artists’ Fund, 187S], with almost gorgeous radiance streaming through and athw’art the river ; a genial, vivacious, winning representation, not destitute of truest poetry.** — New York Evening Post, January 15. 1878. “‘Sand-Dunes on Lake Ontario,* by Homer Martin [Society of American Artists, 1878], is worthy of a place conceived by Dante in his saddest and most lonely hours. A gray sky and an atmosphere loaded with dust envelop some stricken, sear trees, whose tom and shattered limbs are half lost in drifts of white sand This painting haunts one like a melancholy dream, and we wonder what sad mood it was in the artist that could have clothed itself in ascene so dreary and hopeless as this* As a purely ‘im- pressionist ’ picture this takes its place with the dreamy distances of Corot or the ‘Sil- ver Nocturnes* of Whistler.*’ — Art Journal, April, 1S7S. ARTISTS OF THE NINETEENTH CENTURY. 97 Martineau, Robert B. (Brit.) Born in London (1826-1869). Educated at the University of London. He was for four years in the office of a lawyer. In 1846 he turned his attention to art, enteretl the Royal Academy in 1848, obtaining a medal in 1851. Later he was for a short time a pupil of Holman Hunt. He exhibited for the first time at the Royal Academy, in 1852, “ Kit’s Writing-Lesson ” ; in 1855, “ Katherine and Petruchio ” ; in 1856, “ The Lesson ” ; in 1861, “ The Allies ” ; in 1863, “ The Last Chapter ” ; in 1866, “ The Frog Prince.” He sent to the International Exhibition of 1862, “ The Last Days of the Old Home,” which is perhaps his most important picture, and which attracted much attention. It has since been en- graved. “ Mr. Martineau’s single picture, a girl, who has knelt down, while she finishes the last chapter [R. A. 1803] of some absorbing book, is one of the most satisfactory pieces of design and execution on the walis ; what we rather miss in it is the sentiment of beauty. Besides the expression of the young lady’s face, the skillful gradation of the chiaroscuro as the room recedes from the light, and the skill with which the cool colors have been harmoniously carried into the center of the piece by aid of the cover of the book, deserve especial notice.” — Palorave’s Essays on Art. Martinet, Achille-Louis. (Fr.) Born at Paris, 1806. Member of the Institute. Officer of the Legion of Honor and Chevalier of the Order of Leopold. Pupil of Heim and Forster. Most of the plates of this celebrated engraver are after the works of the older masters ; a few, however, are from those of the artists of this century. Among these last are the “ Charles I.” and “ Mary in the Desert,” after Delaroche ; “ The Last Moments of Count Egmont ” and “ Counts Egmont and Horn,” after Gallait ; “ The Adulteress,” after Signol ; “ Tintoretto by the Couch of his Daughter,” after Cogniet ; etc. Marzaroli, Cristoforo. (Ital.) Born near Parma (1837 - 1871). As a boy he attracted much attention by his small plaster figures. He studied under Ferrarini at Parma, and there modeled his “ St. Sebastian Bound,” which brought him into notice. His statue of Parmigianino is in the Gallery of Parma. By this last work he gained the right to go to Rome, where he modeled his “ Nostalgia,” or “ Home-Sickness.” In 1870 he gained the first prize at the National Artistic Exposition. He made a statue of Romagnosi for Piacenza. Masini, Girolamo. (Ital.) Born at Florence, 1840. Professor of Sculpture in Rome. Pupil of Costoli. He won the prix de Rome at Florence, and, going there to continue his studies, has remained. His first work was “ Cola di Rienzi,” which had much merit. His statue of Fabiola has gained him several medals, and is worthy all the praise it has received. Among his other works are a statue of “ Cleopatra,” one of “ Hagar,” and one of “ Adelaide Cairoli,” erected at Gropello. Mason, George H., A. R. A. (Brit) Born in Staffordshire. Died, 1872. He intended to study for the medical profession, but be- VOL. II. 5 G 98 ARTISTS OF THE NINETEENTH CENTURY. came an artist while still a young man, studying in Rome, and paint- ing there his “ Plowing in the Salt-Marshes of the Campagna,” and other pictures. In 1862 he sent to the Royal Academy, London, “ Mist on the Moors” ; in 1863, “ Catch” ; in 1864, “Return from Plowing”; in 1865, “The Geese” and “The Gander”; in 1866, “Yarrow” and “The Young Anglers”; in 1867, “Evening, Mat- lock” ; in 1868, “ Netley Moor.” In 1869 (when he was elected As- sociate of the Royal Academy) he contributed “ Only a Shower ” ; in 1870, “ Landscape, Derbyshire”; in 1871, “Blackberry-Gather- ing” and “The Milkmaid”; in 1872, “Harvest Moon.” Two hundred of his pictures, collected after his death, were exhibited in London in 1873. “ The charm of tliese pictures does not lie in tlie realism with which he has painted the scenes, although, according to the Spectator, he has given in them the life of the midlands with a truthfulness wliich even George Eliot has not exceeded in her writings, but in the idealism that he has put into his fields and commons and country roads, with tlieir peculiar groups, that renders them, while perfectly true, perfectly idyllic.” — Mrs. Tytler’s Modem Painters. “ The colors arc uncommonly tender and bright ; the grays are managed with a skill which all who have handled a bmsh will en^'y, and every line in the little work [ ‘ Catch ’ ] shows that fresh originality of invention or that fust-hand recurrence to Nature, which gives an inimitable air of masterliness to landscape. The children and horses, although on a small scale, are studied with a truth and feeling worthy of the fine ' Landscape of the Campagna,’ by which Mason won for himself distinction at the International Exhibition.” — Palgrave’s Essays on Art. “ Mr. Mason's sources of inspiration have been very humble, but his impersonations are carried out with a refinement above their presumed position. He sets the grammar of Art at defiance in composition, and whether he may or may not have looked at the conceptions embodied on antique vases, we are reminded here and there of the spirit of them. The spirit of Mr. Mason’s manner may be signalized as that of the ‘ Harvest Moon,’ and in studying that really admirable picture we are impressed with the amount of learning shown there. ” — Art Journal, March, 1S73. Massaloff, Nicolas. (Ritssian.') Born at Moscow, 1846. Mem- ber of the Academy of St. Petersburg. Medal at the Salon of 1873. The father of this engraver, a distinguished connoisseur and collector of works of art, gave his son every advantage and en- couragement in his artistic pursuits. He studied at Moscow, then at Dresden under Kriebel. and lastly at Paris under Flameng. He then returned to Russia, and commenced a series of engravings after the masterpieces in the Hermitage at St. Petersburg. He has pub- lished sixty plates as the result of this undertaking. Although at first considered an amateur, Massaloff is now recognized as a true artist. Matejko, Jean Aloysiua. (Pole.) Born at Cracow, 1838. Chevalier of the Legion of Honor. Studied in Cracow, Munich, and Vienna. He occupies the first rank among modern painters of Polish history. In 1874 he exhibited, at the Paris Salon, “ Etienne Bathori, King of Poland, before Pskow, 1582 ” ; in 1870, “ The Union of Lublin, 1569 ” ; in 1865, “ The Sermon of Pierre Skarga ” ; ARTISTS OF THE NINETEENTH CENTURY. 99 etc. In 1875 he exhibited, at Cracow, “ The Placing of the Bells in the Cathedral of Cracow in 1521, in Presence of King Sigismond and his Court.” He published in 1860 twelve illustrations of Polish costume. Charles Yriarte says : — There is in the works of Matejko a vignette appearance which paralyzes the effect which his well-ordered compositions should have. His atmosphere is always violet-col- ored.’' “ Matejko, who is especially consecrated to retrace the grand episodes of the history of Poland, has a talent of a singular sort, whicli enters into no category of the French school. By a certain romantic boldness he reminds us vaguely of Delacroix ; by a cer- tain ugly sincerity he approaches Robert-Fleury ; by a certain brutal realism he some- times recalls Hogarth ; by a certain systematic barbarity he borders upon Gustave Dore, and the humorous pictures of Vibert, all brought together in enormous canvases, fifteen or twenty feet long, encumbered with people in divers costumes, full of bizarre details, spotted with brilliant colors, which are piled one on the other so that the air and the light cannot play between them. At first the eye suffers from this tumult, then one discovers an original composition, great firmness of drawing, energetic and free attitudes, and figures of surprising rudeness.’* — Ernest Duvergier de Hauranne, Hevue des Deux Mondes, June, 1874. Mathieu, Lambert Joseph. {Belgian.') Bom at Bure (1804- 1861). Knight of the Order of Leopold. Pupil of Van Bree. A painter of historical, scriptural, and genre subjects. Director of the Academy of Louvain. Some of his best works are in the Museums of Louvain and Brussels. Matout, Louis. {Fr.) Born at Charleville, 1813. Chevalier of the Legion of Honor. Pupil of I’Ecole des Beaux- Arts. The prin- cipal works of this artist have been cartoons for decorative paintings. Among his easel-pictures are, “ A Woman of Boghari killed by a Lion” (1855), at the Luxembourg; “St. James the Great bap- tizing the Young Scribe,” “Florentine Landscape,” “Venus Pande- mos,” and “ Marriage of Bacchus and Ariadne.” Matteson, Tompkins H., A. H. A. (Am.) Bom in Madison County, N. Y., 1813. As a boy he was an enthusiastic art student, following his profession under many difficulties. He entered the Na- tional Academy, and painted portraits in the city and state of New York for some years. His “ Spirit of ’76,” purchased by the Ameri- can Art Union, first brought him into notice as an artist. Among his early works are his “ First Sabbath of the Pilgrims,” “ Examina- tion of a Witch,” “ Perils of the Early Colonists,” “ Eliot preaching to the Indians,” “ First Sacrament on the American Shores,” “ Eip Van Winkle’s Eetirrn from the Mountains,” “ Eustic Courtship,” “ First Eide,” “Morning Meal,” and his portrait of Mayor Haver- ineyer, in the City Hall, New York. He lived in New York from 1840 to ’51, when he removed to Sherbourne, N. Y. Mr. Matteson has been for many years an Associate of the National Academy, but his pictures have not been seen on its walls since 1869, when he ex- hibited “ At the Stile ” and “ Foddering Cattle.” “Matteson’s early groups judiciously avoid extravagance, are often harmonious in color, but sometimes waut vigor of handling The national and rustic subjects 100 ARTISTS OF THE NINETEENTH CENTURY. drawn by this pioneer genre painter indicate the average taste of the people, and sug- gest what themes executed with greater finish and more subtle elaboration would most successfully illustrate this branch of art among us." — Tuckebman’s Book of the Artists. Maureta, Gabriel. (Span.) Medal at the Philadelphia Exposi- tion, where he exhibited “ Torquato Tasso retiring to the Monastery of St. Onofrio,” which was commended for artistic excellence. Mauve, Anton. {Dutch.) Born at Zaandam. Medal at Phila- delphia, where he exhibited “Hauling up the Fishing-Boat,” which was especially noted as praiseworthy by Mr. Weir in his report. Mauve is the pupil of P. F. Van Os. At Paris in 1877 he exhibited “ Discharging,” and in 1876 two pictures with cows. At the Cottier sale. New York, 1878, “ Pastures in Holland” sold for $ 1,500. His “ Seaweed-Gatherers,” belonging to Thomas G. Appleton, and the “ Forester’s Team, — Frosty Morning, Holland,” belonging to B. Schlesinger, were exhibited at the Mechanics’ Fair in Boston in 1878. At the Paris Exposition, same year, was his “ Landscape with Sheep, — Winter.” Max, Gabriel. (Ger.) This artist is a prominent figure in the present Munich school. We find no note of the more ordinary facts of his life, but whenever his name is mentioned by the writers upon German art of to-day, his power and originality are admitted and ad- mired. Many of his works are tragic in the extreme. That called “ Gretchen ” seems to show forth the whole experience of Marguerite both in this world and the next ; it is a wonderful conception mar- velously carried out, and is said to be a favorite picture with the artist himself. Among his other works are, “ The Lion's Bride,” “ The Young Christian Marhu,” “ The Anatomist,” “ The Melancholy Nun,” etc. Early in 1878 he exhibited at Vienna “The Infanticide.” It represents a mother kneeling on the bank of a stream, and wildly fondling the body of the baby she is about to cast into the water. In “ L’ Art ” we read ; — “The face of the woman i.Villiam Schaus, the well-known dealer.” — Art Journal, August, 1873. Merle, Georges. {Fr.) Born at Paris. Son and pupil of Hugues Merle. He sent to the Salon of 1878, “ The Death of Philip Arte- velde at the Battle of Koosebeke, November 27, 1382 ” ; in 1877, “I’aust and the Three Braves”; in 1876, “Le Pas d’ Aimes dePArbre d’Or.” Merson, Luc-Olivier. {Fr.) Bom at Paris. Medals at Salons of 1869 and ’73. His subjects are generally historical-religious, such as “St. Louis, on coming to the Throne, opens the Jails of the King- dom ” and “ St. Louis, in spite of the Suppheations of the Barons, condemns the old Enguerrand de Coucy, 1259,” both painted for the Gallery of Saint Louis at the Palace of Justice. At the Salon in 1875 he exhibited “The Sacrifice for the Country” and “St. Michael ” ; in 1872, “ St. Edmond, King and Martyr” ; and in 1878, “ The Wolf of Agubbio.” Mdryon, Charles. {Fr.) Born at Paris (1821 - 1868). Early in life he was amarine, and in New Caledonia, which he visited, he made many very interesting sketches of that countiy, then so little known ; later, he made engravings from these designs. On his return to France, Meryon devoted himself to engraving, studied under Blery, and became the best etcher of his day. In spite of his excellence he never felt himself appreciated, and he fell into a misanthropy which at length rendered him insane. He was taken to Charenton, where he slowly died. He wished for no friends or sympathy, and refused to eat. His etchings, especially those of the old parts of Paris, were exquisite. Among those which are highly esteemed are, “ The Ex- change Bridge,” “ The Old Morgue,” “ The Little Bridge,” “ The Apse of Notre Dame of Paris,” “ The Turret of Rue Tixeranderie,” “ The Turret of the Rue de I’Ecole de Medicine,” “ The New Bridge,” and the “ Rue de la Pirouette.” It is much to be lamented that in a fit of madness Meryon destroyed some of his finest works, among which were etchings of “ The College of Henry IV. at Paris.” Mesdag, Hendrik - Willem. {Dutch.) Born at Groningen. Medal in Paris and at Philadelphia, where he exhibited “ Evening on ARTISTS OF TEE NINETEENTH CENTURY. 113 the Beach.” He is a pupil of Alma-Tadema. At Paris in 1877 he exhibited “ Summer Evening ” and “ Twilight ” ; in 1876, two pic- tures, the “ Departure and Return of a Life- Boat at Scheveningen ” ; at the London Royal Academy in 1872, “A Fishing-Smack” ; and in 1871, “A Fleet of Fishing-Boats at Scheveningen.” To the Paris Salon of 1878 he contributed “ Ready to weigh Anchor, Schevenin- gen,” and “ The Scheldt, — Morning,” and to the Exposition, same year, three of his works above named. Meyer, Ernest. {Dane.) Born at Altona (1796 - 1860). Mem- ber ot the Academy of Copenhagen, at which place he studied. In 1824 he went to Italy ; he passed some time in Naples and Amalfi, and settled at Rome, where he died. At the National Gallery at Berlin is his “ Family of Lazzaroni.” Meyer, Jean-Louis-Henri. {Dutch.) Born at Amsterdam (1809- 1866). Chevalier of the Legion of Honor. Pupil of Jean Pienemann. He essayed genre and historical subjects before he confined himself to marine pictures, as he did at length. He lived much in Paris, and sent his works to many Salons and to the Exposition of 1855. In 1867 several pictures were exhibited, which were in his studio when he died. His “ Shipwreck of William 1.” is in the Museum at Haar- lem. Meyer, Jean Georges, called Meyer von Bremen. {Ger.) Bom at Bremen about 1813. Member of the Amsterdam Academy. Medals at Berlin and Philadelphia. Pupil of the Diisseldorf school. He at first essayed historical and religious subjects, but afterwards devoted himself to the genre subjects which have made him popular in Europe and America. He had, some time ago, executed more than nine hundred pictures in oils and water-colors. At the National Gallery, Berlin, is his “ Little Housewife.” At the Johnston sale, New York, 1876, “The New Sister” (19 by 15) sold for $3,700. Almost all his pictures represent children, so that in Germany he has been called “ Kinder-Meyer.” The pictures of this artist are so well known, and their place is so well estabRshed, that nothing need be said of them. They seem to belong to each person who has looked at them, because they appeal to all hearts and fix themselves in all mem- ories. At the Latham sale. New York, 1878, “What has Mother brought?” (20 by 16) sold for $4,050. His “Water-Girl” is in the collection of Mrs. H. E. Maynard of Boston. Theron R. Butler of New York owns his “ Little Coquette,” “ Leaving Home,” “ Medi- tation,” and “ Prayer,” and several very fine specimens of his work were in the collection of the late Alvin Adams of Watertown, Mass. Meyerheim, Frederic-Eduard. (Ger.) Born at Dantzic, 1808. Member of the Academies of Munich, Dresden, and Berlin, and Professor at the last. Medal at Paris in 1855. Pupil of his father and the Academy of Berlin. He joined some young artists in opposi- tion to the Academy, aiid was obliged to support himself by making 114 ARTISTS OF THE NINETEENTH CENTURY. lithographs. In 1834 he exhibited the “ Blind Beggar,” which im- mediately placed him in the first rank as a genre painter. At the Na- tional Gallery, Berlin, is his “ King of the Shooting- Match.” Meyerheim, Paul Friedrich. {Ger.) Born at Berlin, 1842. Member of the Academy of Berlin and of the Belgian Water-Color Society. Medals at Berlin and Paris. Genre painter. Pupil of his father, E. M. Meyerheim. Traveled in Belgium and Holland, and remained a year in Paris. He is a skillful water-colorist and lithog- rapher. In the National Gallery at Berlin is his “ Antiq^uary in the Market-Place at Amsterdam.” At Berlin in 1876 he exhibited “ Two Portraits,” “ A Landscape with Cows,” and a “ Harvest Scene.” Meynier, Charles. {Fr.) Born at Paris (1768- 1832). Chevalier of the Legion of Honor. Pupil of Vincent. Meynier took the grand prix de Rome in 1789. His picture of the “Entry of the French into Berlin” is at Versailles. “The Infant (Edipus presented to Peri- boca ” is in the Louvre. This artist decorated the ceiling of the stair- case leading to the Museum of Painting, and that of the anteroom to the Great Exhibition Hall at the Louvre. Meynier, Jules Joseph. (Fr.) Born at Paris. Medals in 1867 and ’77. Pupil of Delaroche, Gleyre, and Bridoux. At the Salon of 1877 he exhibited “ Chrysante and Daria ” ; at that of 1867, “ The First Christians in Prayer at the Entrance to a Cr\'pt ” ; and in 1878, “ Venus chastising Love” and .some portraits of children. Michel, Ernest-Barth^lemy. (Fr.) Born at Montpellier, where his studio now is. Pupil of Picot and Cabanel. He won the prix de Rome in 1860 and a medal in 1870. To the Salon of 1876 he sent “ Lisa the Bohemian ” and “ The Doves” ; in 1875, “ Fortune and the Child,” “ Young Girl in the Fields,” and “Roman Peasants on the Steps of a Convent ” ; in 1873, “ La Pescivendola.” To Philadelphia, in 1876, he sent “Decameron” ; to the Paris Exposition of 1878, “ The Charity of St. Martin ” (belonging to the church of Saint- Nicolas-des-Champs, Paris) and “ Daphne.” MigUoretti, Pascal. (Ital.) Born at Milan. Medal at Paris in 1855. Pupil of the Academy of ililan, in which city he is known by various religious sculptures and monumental decorations. He ex- hibited at Paris “The Dying Abel” (1855) ; and in 1867, “Char- lotte Corday,” “ Neapolitan Piccirello,” and “ The First Grief.” Mignot, Louis R., N. A. (Am.) Born in South Carolina (1831 -1871). Spent .some years in study in Holland. A landscape- painter of much promise, fond of tropical and semi-tropical scenes. He lived in New York, and was made a member of the National Academy in 1859. Upon the secession of his native State from the Federal Union in 1861 he removed to London, where the rest of his life was spent. Among his earlier works painted in this country are his “ Twilight in the Tropics,” “ Southern Harvest ” (belonging to R. L. Stuart), “ Tropical Scenery ” (belonging to M. 0. Roberts), and ARTISTS OF THE NINETEENTH CENTURY. 115 “Source of the Susquehanna” (in the Wright Collection, belonging originally to H. W. Derby, exhibited in the Paris Exposition of 1867, and in the hlational Academy of New York the following winter). He first exhibited at the Royal Academy, in 1863, “ Lagoon of Guaya- quil, South America ” and “ A Winter klorning ” ; in 1865, “ Evening in the Tropics” ; in 1866, “ Under the Equator” ; in 1867, “Tin- tern”; in 1870, “Sunset off Hastings”; in 1871, “Mount Chim- borazo.” His collected works were exhibited in London after his death, and attracted considerable attention. “ .^t home and abroad Mignot’s best landscapes have won admiration. He is a mas- ter of color, and some of his atmospheric experiments are wonderful. Compare one of his winter with one of his tropical scenes, and the absolute truth of his manner and method becomes impressive.” — Tuckerman’s Book of the Artists. Millais, John Everett, R. A. (Brit.) Bom in Southampton, 1829. Spent his early years in France, and among the Channel Isl- ands. Received a medal from the Society of Arts in 1838, when only nine years of age. He entered the Royal Academy two years later, gaining two silver medals. Exhibited his first picture in the Royal Academy, in 1846, “ Pizarro seizing the Men of Peru” ; in 1847 he received the gold medal for an historical painting, “ The Tribe of Ben- jamin seizing the Daughters of Shiloh ” ; in 1850 he exhibited “ Christ in the House of his Parents,” and his famous “ Huguenot Lovers ” in 1852 ; in 1853, when he was elected Associate of the Royal Acad- emy, he sent “ The Order of Release ” and “ The Proscribed Royal- ist” ; in 1855, “ The Rescue ” ; in 1856, “ Autumn Leaves” ; in 1860, “The Black Brunswicker ” ; in 1862, “The Ransom” and “Trust Me” ; in 1863, “My First Sermon,” “The Wolfs Den,” and “The Eve of St. Agnes.” He was made Academician in 1864, contributing “ My Second Sermon,” “ Charlie is my Darling,” and others ; in 1865, he sent “ J oan of Arc,” “ Esther,” and “ The Romans leaving Brit- ain ” ; in 1867, “ The Minuet,” “ Sleeping,” and “ Waking” ; in 1868, he sent his diploma work, “ A Souvenir of Velasquez,” “ Pilgrims to St. Paul’s,” and “ Rosalind and Celia ” ; in 1869, “ The Gambler’s Wife,” “The End of the Chapter,” and several portraits ; in 1870, “ The Knight-Errant,” “ The Boyhood of Raleigh,” and “ The Wid- ow’s Mite ” ; in 1871, “ Chill October ” and “ Yes or No ? ” ; in 1872, “ Flowing to the River,” “ Flowing to the Sea,” and “ Hearts are Trumps ” ; in 1873, “ Early Days ” and “ New-Laid Eggs ” ; in 1874, “Winter Fuel,” “ The Northwest Passage,” “ The Picture of Health,” and “ A Day’s Dream” ; in 1875, “ The Fringe of the Moor,” “ The Crown of Love,” and “ No ! ” ; in 1876, “ Forbidden Fruits,” “ Getting Better,” “ Over the Hills and Far Away,” and many portraits ; in 1877, “ A Yeoman of the Guard,” “ The Sound of many Waters,” and “ Yes ! ” ; in 1878, “ The Princes in the Tower,” “A Jersey LUy,” and a portrait of the Earl of Shaftesbury. His “ Effie Deans,” engraved by Oldham Barlow, A. R. A., was exhibited in 1877, at a private gal- 116 ARTISTS OF THE NINETEENTH CENTURY. lery in London, for the benefit of the Artists’ General Benevolent Institution, of which Mr. Millais is the Honorary Secretary. Many of his works have been engraved. He is considered the leading por- trait-painter to-day in England, receiving, it is said, two thousand guineas for a single full-length likeness. M^ith Mr. Madox Bro\sTi, D. G. Eossetti, Holman Hunt, and a few more (in 1850 or earlier), he founded an association called “ The Brotherhood of the Pre-Raphael- ites, ” which was the introduction of what is now known as the “ Pre- Raphaelite School of Painting ” in England, whose principal theory of action, according to Faiiholt, is a rigid adherence to natural forms and eifects in contradistinction to the style of rendering of any par- ticular school of art. One of the earliest, and perhaps the most marked of Mr. Millais’ pre-Raphaelite pictures, was “ The Child Jesus in the Workshop of Joseph the Carpenter,” painted in 1850, wonderful in its naturalism and attention to the minutest details. He exhibits at the Grosvenor Gallery. His “ Early Days ” was at Philadelphia in 1876 ; “ Chill October ” and “ Hearts .are Trumps.” at Paris in 1878. Mr. Marsden bought his “ Bride of Lamiuermoor,” the same year, for £ 3,000. “ In 1871 Millais electrified once more the art-loving public by the insurpassable truth of his ‘ Chill October,’ a landscape picture, the exquisite subdued tone of which is one great element of its strength." — Mrs. Tytler’s Modern Painters. “ The critics will differ as to the qualities of each composition, but no single individ- ual will venture to question the genius and consummate ability of the artist Mr. Mil- lais is one of the most powerful painters enrolled in the list of Academicians.” — Art Journal, June, 1875. “ Millais has placed himself at the head of the living portrait-painters of Great Brit- ain As a colorist, it is difficult to see why he should not be assigned to a place among the foremost that Great Britain has produced. ” — Bexjamix’s Contemporary Art in Europe. “It is simply impossible to render adequate justice to this masterpiece of natural representation [’Over the Hills and Far Away’]. It is a very splendid illustration of the author’s extraordinary genius, exhibiting consummate draughtsmanship, marvelous power of coloring, and vivid truthfulness of execution.” — alrf Journal, July, 187a Veiy many of Jlillais’ drawings on wood have all of the qualities of good etchings which the difference of the two processes will pennit His manner of sketching is an excellent manner for an etcher. It is delicate without over-minuteness, and it is rapid and free without neglecting aurdhiug essential. ’* . — Hamerton’s Etching and Etchers, lS7a Miller, Alfred J. (Am.) Born in Baltimore (1810 — 1874). His first lessons in art were received from Thomas Sully. After painting with success in B:iltimore and Washington he went to Europe in 1833, studying in Paris, Rome, and Florence, and living on intimate terms with Thorwaldsen, Greenough, Gibson, and ^ ernet. He was also a fellow-traveler with Brantz Mayer and N. P. Willis. His works in Europe were chiefly copies of the old masters, but they were con- sidered of great excellence. At New Orleans in 1837 he met Sir IVilliam Drummond Stewart, a Scottish Baronet, with whom he visited the Rocky Mountains, making a series of sketches of scenes and incidents of the trip which were the groundwork of the very ARTISTS OF THE NINETEENTH CENTURY. 117 interesting gallery of Indian pictures now at Murtliley Castle, the seat of Sir W. D. Stewart, and probably the most valuable collection of paintings relating to aboriginal American life extant. He spent the winter of 1841 at Taymouth, the guest of the Duke of Breadal- hane in the Highlands of Scotland, painting several family portraits. Returning to Baltimore, he practiced his profession there until his death. In portraiture he followed the school of Lawrence. For W. T. Walters of Baltimore he reproduced in water-colors (accom- panied by his private journal of the Rocky Mountain expedition) the pictures he had painted for Stewart. His works are in many of the important collections of this country. Miller, Charles H., N. A. (Am.) Born in New York, 1842. Studied medicine, and graduated in 1863. During his medical course he painted occasional pictures, and first exhibited at the National Academy, in 1860, “The Challenge Accepted.” In 1864 he went to Europe, and again in 1867, visiting the art centers, and finally settling in Munich, where he remained three years, and became a student of Professor Lier and of the Bavarian Royal Academy. He made fre- quent excursions to Dresden, Vienna, and Berlin. He exhibited at the National Academy, New York, in 1869, “Near Munich, Bavaria ” ; in 1870, “Old Mill near Munich” and “Roadside near Munich” ; in 1871, “Sunset” and “Twilight at Duchau near Munich”; in 1872, “Old Mill, Springfield” and “Old Bridge, Munich ” ; in 1874, “Old Oaks at Creedmoor, Long Island” ; in 1875, “Sheep-Washing on Long Island ” and “ High Bridge from Harlem Lane, New York ” ; in 1876, “ Bush -Burning on Long Island” and “New York from Newton Creek” ; in 1877, “On the Road to Market, Long Island” and “ Autimm ” ; in 1878, “ Sunset, East Hampton, Long Island.” He was elected an Associate of the National Academy in 1873 or ’74, and Academician in 1875. Miller’s “ Sunset at Queen’s, New York ” belongs to Robert Gordon ; his “ Road to the Mill,” to John L. Melcher. His “ Oaks at Creedmoor, Long Island ” was at the Paris Exposition of 1878. “Mr, Miller contributed liis ‘ Betuming to the Fold,’ ‘The Road to the Mill,’ and ‘High Bridge, New York,’ all of which show decided merit with a strong foreign accen- tuation.’’— Brof. Weir’s Official Report of tlie American Centennial Exhibition of 1S76. “ Miller’s ‘ Long Island Landscape ’ is an admirable little picture, full of vigor, but the upper clouds look too heavy. A dark landscaiie covered by a dark sky which is bright towards the horizon.” — New) York Times, April 8, 1877. Millet, Jean-Francois. (Fr.) Born at Greville (1814-1875). Chevalier of the Legion of Honor. Pupil of Delaroche. This artist was one of nine children. His father had no means to .spare for his education ; his grandmother, and an uncle, who was a priest, taught him as well as they could. Very early his vocation for painting declared itself, and in 1834 he went to study with Langlois at Cher- bourg. His progress was so remarkable that the municipal council of Cherbourg gave him a small pension in order that he might go to 118 ARTISTS OF THE NINETEENTH CENTURY. Paris. In 1837 he became the pupil of Delaroche ; and soon the friend of Corot, Theodore Rousseau, Dupre, and Diaz. He was often hungry and cold, for his pension was very small ; but he had the health of a Normandy peasant, as he often called himself, and he was always courageous and hopeful. For a time he hesitated between historical and (jenre painting, hut at length fixed upon representations of pastoral life, that which he knew so well, and with which he was in sympathetic accord. In 1853 he exhibited at the Salon, “ The Reapers,” “A Shepherd,” and “The Sheep-Shearers,” and received his first medal ; in 1855, “A Peasant grafting a Tree ” ; in 1857, “The Gleaners,” which became famous. After this time there was much discussion over his works. “The Woman grazing her Cow” (1859), “ The Shepherdess with her Flock ” and “ Peasants bearing Home a Calf born in the Field” (1864), and the “ Knitting- Lesson ” (1869), were bitterly criticised on the one hand, and passionately praised on the other. In 1870 he sent works to the Salons for the last time : “ November ” and “ A Woman churning Butter.” In the Luxem- bourg are, “ The Church at Greville ” (for which 12,200 francs was paid after Millet’s death), “ The Bathers,” and a number of designs or stud- ies in pencil, crayon, and pen drawing. Among his works we would also mention, “A Bit of the Village of GreGlle,” sold at the Faure sale in 1873 for 20,300 francs ; “A Woman with a Lamp” at the Laurent- Richard sale, 38,500 francs; “ The Evening Angelus ” ; “ The Potato- Gathering” ; “ The Mother cradling her Child”; etc. In the “Har- vest of Beans,” Millet introduced the portrait of his mother, and the cottage in which he was born. This artist executed only about eighty pictures. When we consider that he painted thirty-one years this is not a large number. He gave much thought to his subjects ; he retained his canvases in his studio, and returned to them from time to time, in order to give to them exactly the sentiment he wished them to express, klillet was in one way extremely remarkable, we might almost say unique ; he never painted from a model. What acuteness of observa- tion was required in order to reproduce from memory, as he did, not only the characteristics of attitude and aspect in his figures, but the details of his landscapes ! He le.T, besides his pictures, numerous de- signs and studies in different modes of execution. After his death all that were in his studio (many unfinished) were sold at the Hotel Drouot ; they numbered fifty-six, and brought 321,034 fmncs. M. Gavet had a collection of designs by Millet, numbering ninety-five, which were also sold at the Hotel Drouot, a short time after the sale above mentioned. Previously, however, M. Gavet had generously placed half his collection on exhibition for one month, for the benefit of the family of the artist. The sale brought 431,050 francs; there were not more than twenty purchasers, and but one who was not French. ^lil- let had also executed quite a number of etchings and a few wood-engrav- ings. The following plates have been made by others from his works: ARTISTS OF THE NINETEENTH CENTURY. 119 “The Angelus,” engraved by Waltner ; “ Death and the Wood-Cutter,” “ CEdipus,” and the “ Harvest of Beans,” by Edmond Hedouin. “ The Rustic Labors ” and “ Les quatre heures du jour ” (fourteen pieces) have been copied in wood-cuts by Adrien Lavielle. At the Museum of Fine Arts, Boston, are “ An Interior ” (unfinished), presented by Martin Brimmer, and “Bergere Assise,” gift of S. D. Warren. “The late M. Millet, besides being a landscape-painter, was a great ligure-painter. In the opinion of many, and those not the admirers of the newest phase of French art, the Courbet-Manet-Corot school, he was the first French pamter of his time. Certainly the French school has never produced an artist with such thorough devotion to nature, or who has so truthfully rendered scenes and emotions of natural life. His works have nothing tlicatrical or cynical about them. To an Englishman they are suggestive of the poetry and sentiment of Burns, and the sympathetic feeling for nature of Wordsworth. He had the art of introducing into pictures of modern French pastoral life, while retaining the truthfulness of nature, all the elevated qualities of the best artistic culture to be found in the works of the great masters. Those who remember the ‘Angelus du Soir,’ in the Exposition of 1867, well know this is no exaggeration. The picture represents a couide of peasants, man and woman, who, while at work in the field, hear the bell of the distant church tolling the Angelus. They stop work, reverently bowing their heads in silent prayer. For expression of devotion equally genuine we must go back to the works of the early Italian master!?. “Many of your readers who delighted in Millet’s works will probably be interested in hearing of some of the pictures he was last engaged on, but of which few, alas, we may hope, were quite completed. For he kept his works long in the studio, always endeav- oring to make them as perfect as possible, not only in their execution but In their senti- ment. I remember his showing me a picture of a village church of Normandy, the one in which he was christened. On my speaking of it as completed, ‘ No,’ he said, ‘there is an impression of this scene as it struck my imagination when a child which I have not succeeded in rendering, but which I hope to get some day.' “ Barbison is one of those French villages we know so well, a long street of cottages and small farm-houses, with their i)icturesque basseoonrs. At the top of the village, aji- I>roaching the forest of Fontainebleau, is a range of modest buildings, one of which has a large window. This is the residence and studio of Millet, One day last autumn, being at Barbison, I sent my card to M. Millet, and asked permission to see any work he might have finished. He very kindly acceded to my request, and led the way along a shaded alley to his studio. His appearance was decidedly more provincial than Parisian. He wore a straw hat, loose shooting-coat, and saints. His manner was especially courteous and genial, though very quiet. He gave me the impression of being nearer fifty than sixty years of age. “ The picture on his easel represented an old farm-house in Normandy, in which were visible traces of Gothic windows and buttresses ; in front was some broken ground with implements of labor ; in the distance, the sea. The charm of the piioture was in the sentiment of sunny repose in which the old moss and liohen.covered house was steeped. Seeing the i-espect I had for his work, Millet then produced a series of ])ictures he had in progress, but which space forbids me to more than briefly notice ; the hints will be sufficient for those who know his pictures. Among the. figure-subjects were two lovely little idyls, one a shejiherd-girl leading home her sheep, girl and sheep and landscape all flushed in rosy light. The second, a boy on a bank blowing his horn to call the cows j the figure was relieved against a sunset sky. A very striking work represented an orchard in springtime ; the sun was shining on the near objects and middle distance, over which the rain had just passed ; on the dark stormy sky shone a double rainbow. Also a stormy landscape was one subject, with a flock of sheep being driven to shelter under the cover of haystacks. I must not omit a noble composition of which the scene was laid in an autumn field, on a warm sunny afternoon. Women are bringing sheaves 120 ARTISTS OF THE NINETEENTH CENTURY. of com to the threshing-ground, around which are ranged a score or so of threshers. This group, for varied and spirited action, is marvelous, and it suggested an orchestra executing an allegro motive in a symphony of Beetlioven ; beliind, straw is being burned, the huge wreatli of smoke giving additional impressiveness to the composition. “There was a series of works that appeared to me deeply tonching even then, when tlieir autlior stood before me in health and vigor. These were some pictures and draw- ings made during the late war in the neighborhood of ids birthplace, a village ne.ar Cher- bourg. In them was reflected the sadness which must have fallen on every patriotic Frenchman during that terrible period. Its expression was, perliaps, most profoundly given in a landscape representing the seashore, with a long range of low cliffs, the undu- lating ground and sliglitly agitated sea being painted in varied tones of gray, exquisitely liarmonions, but inexpressibly mournful. “He seemed to regard with much tenderness a drawing of the house where he wa.s bom, very like Burns’ cottage, only having aii additional story. ‘ My ancestors were peasants,’ said he, ‘and I was bom a peasant.’ “ Herein was the secret of his success, and of liis power in reaching the hearts of men. He painted what lie had known and loved. He studied and first practiced his art at I’aris ; latterly, he seems wholly to have lived in the country, and had even given up ex- hibiting ids pictures at the Salon. ‘ The work tliere,’ he remarked, ‘ has too much glare and glitter, and too little of the modesty of nature.’ ’’ — H. Wallis, London Times. “ At the outset it may be observed that Millet, the greatest painter of humanity seen in France for forty years or more, died last year. None like him survive. To him the human body, with all its exquisite forms and retreating curves, delicute grays and reds, and soft, palpitating flesh, was but a casket, beautiful indeed, but inclosing a still more wonderful and beautiful soul that speaks its volitions and thoughts, its emotions and sensations, with every movement of those limbs, with every parting of those lips, anresentations of the types and scenes of the country ; he knows how to give them a rare grandeur and noble- ness, while he in no sense lessens their rusticity. He understands the inward poesy of the fields, he loves the peasants whom he represents, and in their resigned figures ex- presses his sympathy for them. The seed-sowing, the harvest, the grafting, are they not virtuous actions having their worth and their grandeur? Why have not peasants style as well as heroes ? ’’ — Thkophile Gautier. “ The aim of a great painter is not to fly aw.ay towards the moon and the stars : it is to walk with a firm step and a feeling heart in the p.ath which he chooses, always sin- cere towards himself, towards men, and towards nature. This aim Millet had ; and it was that which made him incomparable and immortal.’’ — THfiOPHiLE Silvestre. Millet, Aim^. (Fr.) Bom at Paris about 1816. Officer of the Legion of Honor. Pupil of his father, of David d’ Angers, and A iol- let-le-Duc. He studied both painting and sculpture, and made his debut as a painter at the Salon of 1842 ; he continued to exhibit pictures until 1852. He is best known and most admired as a sculp- tor. Among his works may be mentioned, “Ariadne ’ (at the Luxem- ARTISTS OF THE NINETEENTH CENTURY. 121 tjourg); “Mercury” (made for the Louvre) ; “ Civil Justice ” (made for the Mairie of the first arrondissement of Paris) ; the tomb of Mur- ger, “Youth stripping Leaves from Roses”; “ Apollo and the Muses of Poetry and Dancing” (group in bronze for the New Opera at Paris); “ Vercingetorix ” (a statue in copper, repouss^), erected at Alise-Sainte-Reine (Cote-d’Or), and “ Cassandra placing herself under the Protection of Pallas ” (marble group), Salon of 1877. One of the most interesting works of this sculptor is the statue of Chateau- briand, erected at St. Malo (where this author was born) on Septem- ber 5, 1875. Chateaubriand is represented seated on a rock. His left hand is raised to support the head, but in such a way that the entire face is visible ; in his right hand, which falls on the lap, he holds a crayon. At his feet are exotic plants which recall the travels of Chateaubriand when young. A leaf of the “ Genius of Christianity” is held by his elbow on the rock against which he half supports him- self ; he is enveloped in a large cloak, which falls gracefully away from the upper part of the figure. The whole effect is most pleasing, and the statue is much admired for its conception and execution. To the Salon of 1878 he contributed two portrait busts in marble. Millet, Francis D. (Am.) Born in Mattapoisett, Mass., 1846. He studied in the Royal Academy of Arts at Antwerp under Van Lerius and De Keyser, gaining the silver and gold medals of honor in 1872 and ’73. He has practiced his profession in the United States, Belgium, England, Italy, France, and Austria. He has painted a number of portraits, the most important being those of Charles Francis Adams, Jr., and of Samuel L. Clemens (Mark Twain), both exhibited at the National Academy, New York, in 1877. A large picture called “ The Bay of Naples,” at the Brussels Salon of 1875, was at the American Centennial Exhibition in Philadelphia in 1876. He was the American Art Juror at the Paris Exposition of 1878, and has distinguished himself as a journalist in America and Europe. ** In the North Room, we first encounter Mr. Millet’s portrait of Charles Francis Adams, Jr. This, and the portrait of Mark Twain at the other end of the room, are his only contributions. The latter, owing to its subject, is the more characteristic. Both portraits are excellent, yet with higher flesh-tints than the originals ; the figures are solid, detach themselves immediately from the background, and are a refreshing contrast to the dim, vapory forms which some portrait-painters give us.” — Bayard Taylor, in New York Tribune, April 7, 1878. Mills, Clark. (Am.) Bom in the State of New York, 1815. He learned the trade of a plasterer in Charleston, S. C., beginning about 1835 the modeling of busts in clay, selling his ideal heads for modest prices for some years. His first important work in marble was a bust of John C. Calhoun, finished in 1846, for which he was awarded a gold medal by the City Council of Charleston, in whose possession this work still is. Going thereafter to Washington, D. C., he received a com- mission from Congress for the equestrian statue of Jackson in that city, cast from cannon captured by that hero, and unveiled on the von. II. 6 122 ARTISTS OF THE NINETEENTH CENTURY. 8th of January, 1853. For this Congress voted Mills $ 20,000, and $50,000 for the Washington statue unveiled in 1860. In 1863 he cast in bronze the statue of “Freedom,” designed by Crawford, and now on the dome of the Capitol. A duplicate of the Jackson statue is in New Orleans. “That Clark Mills possesses genius cannot be doubted, and if his works do not possess ail of the conventional graces of European art, he has certainly produced two statues which are original and in perfect keeping with the manly vigor of the Young Republic."* — New York Round Table, 1S6G. “Clark Mills’ equestrian statues look like some prodigious Congressional jokes on art." — Jarves’ Art Thoughts. Milmore, Martin. (Am.) Bom in Boston, 1845. He entered the studio of Ball in 1860, and in 1863 he sent to the Sanitary Fair a statuette, entitled “Devotion.” He studied and modeled for some time in Rome, executing there busts of Pius IX., Sumner, Wendell Phillips, Emerson, and other noted men. He received the commission for the Soldiers’ Monument in Boston, unveiled in 1877, also for the Soldiers’ Monument in Forest Hill, Eoxbury, Mass. Among his works may be mentioned, busts of Longfellow, Theodore Parker, and of George Ticknor, in the Public Library, Boston ; one of E. W. Emerson, belonging to T. G. Appleton, Boston ; also the ideal figures, of large size, “ Ceres,” “ Flora,” and “ Pomona,” in granite on the Bos- ton Horticultural HalL His bust of Charles Sumner was presented to George William Curtis by the State of ^Massachusetts in 1878. He has been happy in representing children. A bust of a jmung son of ex-Governor Claflin of Massachusetts is notable among his works of this sort. “ Tlie subject is most gracefully treated [.Soldiers’ Monument, Boston], .uid the artist is entitled to much credit for the skill with which he has worked out a highly poetic idea.” — Art Journal, October, 1S77. The Boston Journal of September 18, 1877, in describing the un- veiling of the Soldiers’ Monument on Boston Common, says : — “ In this, Mr. Milniore’s grandest effort, is noted tlie purity of style which distin- guishes him as an artist A most striking feature of the monument, and one which will bear the most careful study, is the series of bronze bas-reliefs which are elaborately executed even to the smallest detail The statue of " History * dis- plays a knowledge and skill which stamp it as the work of genius In viewing the monument as a whole the spectator cannot fail to be charmed with the symmetry and conijdeteness of the structure. The immense amount of labor which the sculptor lias performed can only be fully realized by a close inspection.” Minardi, Tommaso. (Ital.) Born at Faenza (1787 - 1871). This artist was a member of several Academies, and received decorations from several monarcbs of Europe. In a concours at Milan, Minardi gained the stipend for Rome, where he received from the engraver Longhi a commission for a drawing of the “ Last Judgment of Michael Angelo,” which is now in the Gallery of the Vatican. While at Rome he was appointed to a professorship in Perugia, where he became so ARTISTS OF THE NINETEENTH CENTURY. 123 distinguished that he was made professor in the Academy of St. Luke at Eome. His “Vision of St. Stanislaiis” is in the Doria Palace ; the “ Propagation of Faith,” a masterly work, is in the Qui- rinal ; “ Hector reproving Paris,” at Ravenna ; the “ Supper at Em- maus,” at Faenza ; and the fresco of “ Lost Souls” at Campo Verano in Rome. Minardi made an album containing four hundred represen- tations of the Holy Family. After he was stricken with paralysis he made a lovely crayon drawing of “ Hippocrates and his Scholars,” which he presented to his physician, Professor Baccelli of Rome. Minor, Robert C. (Am.) Born in New York, 1840. He studied art in Paris under Diaz, and in Antwerp under Van Luppen, Boulan- ger, and others, traveling through Germany and Italy for some time. His studio is in New York, and he has exhibited at the National Academy, in Brooklyn, Chicago, and elsewhere in America. Among his works are, “ Evening,” “ Dawn,” “ Studio of Corot,” etc. He is a member of the Society of American Artists. ‘‘When we come to the works of our resident artists, who represent what may be called the progressive school of art, we find much to admire. Robert C. Minor’s land- scapes are always as intei'esting as they are characteristic. They are strongly impressed with the sentiment of the place and the hour which they represent His * Studio of Corot,’ a charming bit of landscape, how it impres.ses you with just the feeling you would have in the solitude of the country, just after the break of day, and before the sun has burned up the far-reaching mists.” — Boston Transcript., March, 1878. '‘There are those, doubtless, who will blame Mr. Minor for direct imitation in his ‘ Studio of Corot,* a landscape not surpassed in the Exhibition. But apart from the fact that it is permitted to one artist to see a phase of nature as depicted by another, why should individuality be denied an artist who, seeing and loving one of nature’s aspects, endeavors to the best of his ability to acknowledge his indebtedness to the man who has most reverently studied and most adequately expressed that same aspect. In Mr. Minor’s other pictures, especially the three smaller ones, ‘ Autumn Woods,’ ‘ Under the Oaks,’ and ‘ Evening ’ [Society of American Artists, 1878], no one will miss individ- uality or force, though prettiness — one of the banes of modern art as of modern litera- ture-will not be found.” — New York Evening Mail, March 8, 1878. Mintrop, Theodor. (Ger.) Born at Heithausen (1814-1870). This painter was poor, and labored as a peasant until he wa.s thirty years old, when his sketches came under the notice of Geselchap, who introduced him to the art circles of Diisseldorf and secured the recog- nition of his remarkable powers. He painted but little in oils. His best works are cartoons and friezes, full of his fancies. Such subjects as “ Wine,” “ Occupations of Winter,” “ Life in the Fields,” and the “ Apotheosis of Bacchus ” were thus rendered by him, and are worthy of much praise. M‘Kay, William D. {Brit.) Native of Gifford, East Lothian, Scot- land. He began his art studies in 1860, in the Ornamental Class of the School of Design in Edinburgh. Later, he studied under Robert Scott Lauder from the antique, gaining, in 1863, a first prize for the best study in monochrome, and entering the same year the Life Schools of the Royal Scottish Academy. He was elected an Associate of the 124 ARTISTS OF THE NINETEENTH CENTURY. Royal Scottish Academy in 1877, exhibiting regularly in its gallery. Ilis specialty is landscapes with cattle and figures. His professional life has been spent in Edinburgh. Among his pictures may be noted, “An October Morning,” “ Field- Working in Spring, — at the Potato Pits,” “ Twilight,” “ Seedtime,” etc. Molteni, Giuseppe. (Ital.) Bom at Alferi, near Milan (1800- 1867). Member of the Academy of Milan and Conservator of the Brera Gallery. Pupil of the Academy of Milan. His picture of “ The Confession ” is in the Vienna Gallery. “A Holy Family ” is at the National Gallery, Berlin. His works are principally in private col- lections. Molteni gained several medals, and received the decorations of various orders. Monchablon, Xavier Alphonse. (Fr.) Bom at Avillers. Prix de Rome, 1863. Medals, 1869 and ’74. Pupil of Cornu and Gleyre. At the Salon of 1877 he exhibited “The Toilet of Venus”; in 1876, a portrait and “ Jeanne d’Arc”; in 1875, “ Salvator Mundi” and two portraits ; and in 1878, “A Fallen Titan” and “Summer,” “August,” and “ October,” three decorative panels. Montagny, Etienne. (Fr.) Born at Saint-Iitienne, 1816. Chev- alier of the Legion of Honor. Pupil of Rude and David d’ Angers. His “ Saint Louis de Gonzague ” (1864) is at the Luxembourg. In 1877 he exhibited “ St. Francis of Assisi,” a statue in stone, and “ Hope,” statue, plaster ; in 1873, “ Mater Dei,” statue, a font. His portrait busts and statues are numerous, and many have been seen at the Salons. Montalba, Clara. {P>rit.) A native of Cheltenham. She studied in Paris under Eugene Isabey, spending her professional life, which began in 1874, in London and Venice. She M'as elected an Associate of the Society of Painters in Water-Colors in 1874, and has been a member of the Societe des Acquarellistes Beiges since 1876. Among the more important of her works are, “The Last Journey” (7 by 44), in oil (R. A., 1878) ; “Clearing the Customs,” water-color (never exhibited), 4 by 6 feet (Ijoth belonging to W. Ingram, M. P.), “ Blackfriars’ Bridge,” “ Fishing-Boats,” “ Venice,” etc. Her “ Blessing a Tomb, Westminster,” was at the Philadelphia Exhibition of 1876, and her “Corner of St. Mark’s, Venice ” and “Fishing-Boats, Venice” (all in water-colors) were at Paris in 1878. ‘*‘11 Guardino Publico * stands foremost among the few redeeming features of the Exhibition [Society of British Artists, 1874]. In delicate perception of natural beauty the picture suggests the example of Corot. Like the great Frenchman, Miss Montalba strives to interpret the sadder moods of Nature, when the wind moves the water a little mournfully, and the outlines of the objects become uncertain in the filmy air.” — Art Journal, Januaiy', 1S74. Monteverde, Giulio. (Ital.) Bom at Bristagno, near Acqui, about 1836. Professor in the Academy at Rome. The prize of 4,000 lire given at the National Exhibition of Fine Arts at ililan was awarded to the “ Genius of Franklin,” executetl by this sculptor. The ARTISTS OF THE NINETEENTH CENTURY. 125 ■w'ork was purchased by the Khedive of Egypt, who conferred on Mon- teverde the diploma and insignia of Commendatore of Medjie. A.t the Vienna Exposition his group of “Jenner inoculating his little Daughter,” though only in plaster, attracted much attention and gained the gold medal, to which was added the title of Commendatore of the Order of Francis Joseph. One of the latest works of this Ro- man artist is a colossal monumental group, in honor of Riva of Turin. A statue called “ The First Inspirations of Columbus ” is in the Boston Art Museum. At Munich in 1870 he exhibited “ Children playing with a Cat” (belonging to the King of Wiirtemberg). Several works by this artist were at the Paris Exposition in 1878, and his model for the monument of Count Massari was much praised by Anatole de Montaiglon in the “ Gazette des Beaux- Arts,” July, 1878. Monvel, Louis-Maurice Boutet de. (Fr.) Born at Orleans. Pupil of Cabanel, G. Boulanger, J. Lefebvre, and Carolus Duran. Medal of third class in 1878, when he exhibited “ The Good Samar- itan ” and a portrait; in 1877, he sent “ The Toilet of Venus ” and a portrait ; in 1876, two portraits. Mooney, Edward, N. A. (dm.) Born in Kew York, 1813. He studied in the National Academy, gaining a gold medal for an original design of a single figure in oil. He was also a pupil of In- man and of William Page. He has spent his professional life in his native city, working, however, during three winters, in Columbus, Ga., and one in Savannah. His summer house is at Red Hook, New York. His specialty has been portrait-painting. He was elected an Associate of the National Academy in 1839 and Academician in 1840. Among the better known of Mr. Mooney’s portraits is that of Achmet Ben Aman, Commander of the ship “ Sultan,” and representative of the Imaum of Muscat to the United States, which was at the National Academy in 1840, and was purchased by the Common Council of New York. His portraits of ex-Mayors Isaac L. Varian, Andrew Mickle, and Jacob R. Westervelt are in the City Hall, New York; that of Judge Edmunds belongs to the New York Bar Association; and that of Governor Seward is in the State House at Albany. Moore, George B. (Brit.) (1806-1876.) Engaged for some years as a teacher of drawing in the University of London and in the Military Academy at Woolwich. Was the author of several useful educational works on art subjects. He has not exhibited at the Royal Academy since 1859. Moore, Albert. (Brit.) A native of York. He studied in the Langhani Life Classes in London, and has practiced his profession in the English metropolis for some years. His specialty is the human figure, treated in a decorative style. Among his later pictures are, “ Garnets,” at the Royal Academy, in 1878; “Birds,” at the Grosvenor Gallery, the same year. To the Royal Academy, in 1871, he sent “ Battledoor ” and “ Shuttlecock,” companion pictures ; in 1874, 126 ARTISTS OF THE NINETEENTH CENTURY. “Shells”; in 1875, “The Flower-Walk”; in 1876, “Beads”; etc. His “ Finis,” “ Beads,” and the “ Palm Fan ” were at the Paris Expo- sition of 1878. " Albert Moore is indeed, I think, so far as atfy contiguity of modem to ancient art may be predicted at all, nearer in spirit to the Greek than any other artist among us. .... He stands ne.arly alone in our day in his realization of an ideal physical nobleness in the human type, and in his power of arranging and combining the lines of the human form into visible rhji.hm and symmetry, not less delightful than are the audible rhythm and symmetry of music.” — Sidney Colvin, in English Painters of the Present Day. “ The motives of Albert Moore’s art certainly differ widely from that of most of his contemporaries ; it diffei's also from the spirit of much that is great in modem painting. His purpose does not include either sentiment or passion, and the form and color of his work are suggested by the simplest incidents of physical movement” — Art Journal, July, 1874. ‘‘ ‘ The Reader ’ is the finest picture in the whole fifteen hundred [Royal Academy, 1877] Tlie veiy essence of the purity of coloring has been introduced by Mr. Albert Moore into this single figure, which, clad in the artistic peculiar shade of red overhung with white, stands engrossed in the pamphlet she easily balances in her hands. All Mr. Moore's works testify to that rare quality of the good effect produced by contrast of color, and the value obtained by placing it judiciously in small quantities. ” — London Observer, May, 1877. ” To a more purely decorative school — for he banishes emotion altogether — belongs Mr. Albert Moore, who has studied the treatment of draperies in the Greek, ratherthan in the Italian school, and who works in a key of color, or rather of tinting, all his own. He has a way of throwing his flesh into half-shadow, whilst the accessories are brilliant, and the color of this h.ilf-shadow is objectionable, — heavy gray with a tinge of riolet ; this is his one flaw as a colorist, and we have long remarked it. He draws very suffi- ciently well, but no more than that ; and he h.as an intelligent energy of action, which does not mar decorative repose ; of this his ‘ Birds ’ is an example. His plan of yellow is exquisitely fanciful and inventive, and in these fine variations he uses as his strongest accent orange-color, the one hue all but universally avoided in art; with happy eflect.” — Magazine of Art, July, 1878. Moore, Henry. (Brit.) A brother of Albert Moore, and a pupil of the Langham Schools. He paints landscapes and marine views, particularly the latter, in oil and water colors. He has a studio in London, exhibiting frequently at the Royal Academy for some years. He was at one time a member of the Society of British Artists, and was elected an Associate of the Society of Painters in Water-Colore in 1876. Among his works in oil may be noted, “Loss of a Barque in Yarmouth Roads,” “The Last of the Light,” “ Mist and Sunshine,” “ Highland Pastures,” “ Moonlight,” etc. In water-colors he has exhib- ited “ Sunset in the Highlands,” “ The First Snow of Autumn,” “ A Fresh Breeze” (marine), “A Salmon Pool,” “A Jlountain Loch,” and others. To the Philadelphia Exhibition of 1876 he sent “A lYinter Gale in the Channel ” and “ Storm coming on at Sunset, Coast of North Wales,” both in oil. To Paris, in 1878, he sent (also in oil- colors) “Rough Weather in the Mediterranean” and “A Bright Morning after a Gale.” “ ‘ Against the Tide ’ [w,ater-colorJ is by an artist, Henry Moore, who describes the different moods of tlie sea with language peculiarly forcible, and without exhausting his means of effect with exaggerated masses of ivater.” —Art Jourmxl, March, 1873. ARTISTS OF THE NINETEENTH CENTURY. 127 “ H. Moore's ‘ Loss of a Barque * is a vessel aground and swamped by breakers. The -movement of the waves is powerfully rendered, and the sea is very truly painted ; there is much beauty in the effect of light and local color ; the modeling, though the reverse of smooth, is characteristic of the painter.” — London- Atlienfeum^ May, 1877. “ We must give strong praise to Henry Moore’s ‘ Highland Pastures,’ a picture which unites with the artist’s invariable mastery of hand and knowledge, a repose and reserve of color which are less usual in his works.” — Magazine of Art^ August, 1878. Moore, H. Humphrey. {Am.) Born in New York, 1844. Dis- played a taste for art at an early age; studied in his native cit}^ and in San Francisco. In 1865 he went to Munich. After some time spent there and in I’Ecole des Beaux-Arts in Paris, he entered the studio of Gcrome. Later, going to Spain, he met Fortuny at Madrid, whose friend and pupil he became. He devoted two years to the study of Moorish life, and between the years 1873 and ’75, he worked in Rome with Fortuny on his “ Almeh.” In 1875 he returned to the United States. Among his better- known pictures are his “Almeh,” “Blind Guitar-Player ” (belonging to Robert Graves of Tarrytown), “ Gypsy Encampment, Granada,” “ Moorish Bazaar ” (belonging to Charles S. Smith of New York), “ Let Me Alone ! ” (in the collection of J udge Hil- ton), “ A Bulgarian,” “ Moorish Merchant,” etc. He received a medal for the “ Almeh ” at the Philadelphia Centennial Exhibition of 1876. “ ‘ The Moorish Merchant,’ by H. H. Moore, is a very strongly painted picture, illus- trative of a scene in Tangiers, where the picture was painted. We believe Mr. Moore was once a pupil of Fortuny ; at any rate, his art motives and ideas are of the character of that artist. The drawing of this picture deserves marked a,ttention, and the coloring, although necessarily gay, is true to nature. The heads are characteristic both of the race and with reference to the action of the scene.” — Buffalo Courier, February 7, 1877. “ The figure of the swaying, admirably drawn, and poised woman has the modesty of unconsciousness, associated with gayety ; the abandon of delight in a voluptuous dance without the expression or manner of one impure. The dance, or rather body-swaying, of the ‘ Almeh ' is located by the artist in one of the gorgeous halls of the Alhambra, fres- coed in the intricate and dreamy harmony of Moresque decorations, and over the floor is spread a carpet rich in warm hues. The attitude of the girl leaves the body semi-nude, and, while correct in iioint of costume, is contrived v/ith consummate judgment for effect in color.*’ — San Francisco Morning Call, November 11, 1877. Moran, Edward, A. N. A. (Am.) Born in Lancashire, England, 1829. Elder brother of Peter and Thomas Moran. He arrived in Philadelphia in 1844, and was a pupil of James Hamilton, marine- painter, and of Paul Weber, landscape-artist. He went abroad in 1862, studying in the Royal Academy, London, for a few months. In 1869 he settled in New York, going to Paris in 1877, where lie still resides (1878). He is a member of the Philadelphia Academy of Fine Arts, and was elected an Associate of the National Academy in 1873. His first pictures were exhibited in Philadelphia in 1853. Among the better known of his works are, “ Mt. Lafayette from Franconia, N. H.,” “ Bay of New York ” (several views), “ Liberty enlightening the World,” “ Launch of the Life-Boat ” (owned by Matthew Read of Philadelphia), “ The Lord staying the Waters ” (owned by Robert Hare Powell, Philadelphia), “Outward Bound” (owned by Charles 128 ARTISTS OF THE NINETEENTH CENTURY. Sharpless, Philadelphia), “The Last from the Wreck,” “The Tempest, from ‘ David Copperfield,’ ” “ The Bottom of the Sea,” “ The Arrival of the Relief Ship at Havre,” “ Old Fort Dumpling, Newport” (be- longing to George L. Thayer of Boston), etc. To the Centennial Exhibition of 1876 he sent “The Hawk’s Nest ” and “ Minot Ledge Light ” (belonging to Mrs. H. E. Lawrence), “ The Winning Yacht” (belonging to W. A. Caldwell), “Moonlight in New York Bay ” and “ Coming Storm over New York Bay ” (belong- ing to R. E. Moore). Mr. Moran is at present turning his attention ]rarticularly to figure-painting in Paris, and with promise of much success. " Mr. Moran very justly merits the reputation which he enjoys as an eminent land- scape and marine painter, for it has been earned by diliijent application, combined with close observation of nature. He seems to be constituted peculiarly for an artist, for with quick perceptive faculties and a mind capable of reflection, the task of transcrib- in" and translating with truthfulness the simple beauties and refined grandeur of the land and sea has not been to him an irksome toil, but has proved a pleasure ; conse- quently, his pictures have in the highest degree the quality of imparting delight to others. An appreciative observer cannot fail to regard them as faithful and intelligent interpretations of the truth and the sentiment of ever-varying nature The versa- tility of this artist is also unusual, for there are few subjects of general interest in the outer world that he has not touched. The willow-copse and the lilj’-pond, the caves of ocean and the mountain snow-hooded and severe, children busy with nets or playing on the shelly sand, the freshness of spring and the glory of autumn, are among his produc- tions." — rhiladdpliia Evening Bulletin, March 6, 1S71. *■ ‘ In the Narrows,’ by Edward Jloran, is the finest marine we have yet seen from his pencil. Nothing could be sinqiler in plan or color. .... Tlie great chann of the pic- ture is motion. That is something far beyond effects of technique. Everything is in swift or beautiful motion. The fomis of the w.ater are exquisitely chiseled, so sharp and yet so fleeting, and painted all with two colors, the local color of the water and its shadow color. The drawing shows no random work, but every stroke laid on with con- summate knowledge.” — Baltimore Gazette, July 1, 1S73. Moran, Thomas. (Am.) Born in Lancashire, England, 1837. Brother of Edward and Peter Moran. He was taken to America in 1844. Displayed artistic tastes at an early age, and was apprenticed to a wood-engraver in Philadelphia, remaining with him for two years. He turned his attention to water-color painting, studying without a master. In 1860 he began the use of oils, his first picture being an illustration of Shelley’s “ Alastor.” He went to Europe in 1862, and again in 1866, studying and copying on his first msit the works of Turner in London ; on his second, the old masters in France and Italy. In 1871 he accompanied the Exploring Expedition to the Yellowstone Country, and in 1873 went upon a similar expedition under Major Powell, making sketches for his two great works, “ The Grand Canon of the Yellowstone ” and “ The Chasm of the Colo- rado,” which were purchased by Congress for $ 10,000 each, and are both in the Capitol in Washington. His studio was in Philadelphia until 1872, when he removed to New York. He is an Academician of the Pennsylvania Academy of Fine Arts, a member of the Artists’ AMTISTS OF THE NINETEENTH CENTURY. 129 Jund Society of Philadelphia, of the Society of American Painters in 'Water-Colors, and of the Society of American Artists, organized in 1878. Among the more important of Mr. Moran’s works may be men- tioned, “ The Last Arrow ” (belonging to Mr. Baird of Philadelphia), “ The Eipening of the Leaf ” (to Mr. Drexel), “ The Groves were God’s First Temples ” (to Dr. J. M. Sommerville of Philadelphia), “ The Remorse of Cain” (to V. Stausse, Philadelphia), “ The Chil- dren of the Mountain ” (at the Paris Exposition of 1867, belonging to Roswell Smith of New York), “ The Cliffs of Green River ” (to John Taylor Johnston of New York), “The First Ship,” “ Ponce De Leon in Florida,” “ A Dream of the Orient,” “ A Ride for Life,” etc. Many of these have been exhibited in New York, Philadelphia, and other American cities. He sent to the Centennial, in 1876, “ The Moun- tain of the Holy Cross,” and others, for which he received a medal and diploma. Besides painting in oil and water-color, Thomas Moran has made many illustrations for books of travel, history, etc., the original water- color drawings for Prang’s “Yellowstone National Park” (the most elaborate work of the kind yet produced in this country), and has de- voted much time to lithography and other methods of engraving. “ Next to Church’s ‘ Niagara,’ Mr. Moran’s ‘ Great Cahon of the Yellowstone ’ will, we are sure, he received by the best judges of America as the finest historical landscape yet painted in this country. In its original, no less than by its actual achievement, it deserves to be placed so near to the most famous picture that ever came out of an American studio The composition is arranged with great skill ; the tree drawing is most satisfactory, and the variety, the richness, the delicacy of the color, must sur- prise those who have learned from other artists that nature in those regions is dressed mostly in hodden-gray.” — C. C., in New York Tribune, May3, 187’2. “ The shrubbery and the foliage are painted with a free but at the same time a careful hand, and even though occupying a subordinate place in the picture (* The Mountain of the Holy Cross ’), are finished to a high degree. Mr. Moran’s touch has greatly im- proved in firmness, crispness, and certainty, and in this canvas he shows a thorough command over the technique of his art. The only point in which he seems to have failed is in giving distance. The picture seems to lack atmosphere Beyond this we have only praise to bestow on the pictui'e.” — Boston Saturday Evening Gazette, Novem- ber 14, 1875. “ Of the fidelity of this painting, ‘ The Mountain of the Holy Cross,’ to the special characteristics of the Rocky Mountains no traveler in the far West can hold one moment of question. Of the skill in management there can be as little difference of opinion.” — Aldine, April, 1875. Moran, Peter. (Am.) Born in Bolton, Lancashire, England, 1842. He went first to America as a child, and began the study of art under his brother, Thomas Moran, in Philadelphia. In 1863 he went to London, and spent some time in studying the English mas- ters, but he has never been connected with any particular .school of painting. He was elected a member of the Artists’ Fund Society in 1867, and of the Pennsylvania Academy of Fine Arts in 1868. He has spent his professional life in Philadelphia, where many of his pic- 130 ARTISTS OF THE NINETEENTH CENTURY. tiires have been exhibited and are owned. To the Centennial Exhibi- tion of 1876 he sent “ The Return of the Herd ” (for which he received a medal) and “ A Settled Rain ” (sheep in a barnyard), which was purchased by a gentleman of New York. He received also a medal for his etchings on copper, — five frames of animal subjects. To the National Academy, in 1875, he sent “A Sunny Slope” ; in 1876, “Sand Hills, Atlantic City.” His “After the Chase ” (rough hounds on the outskirts of a wood in autumn) is owned by P. A. Widner of Philadelphia, and his “ Twilight, — Sheep returning Home ” (never publicly exhibited) is hi the collection of W. H. Whitney of the same city. ** Peter Moran’s excellent etchings are very varied in style and subject, and show a thorough mastery over the resources of the etching-needle.” — Art Journal, June, 1S67. Moreau, Mathurin. {Fr.) Bom at Dijon about 1824. Chevalier of the Legion of Honor. Pupil of Ramey and Dumont. His “ Spin- ning-Girl ” (1861) is at the Luxembourg. This sculptor has usually represented such subjects as “ Spring,” “ Summer,” “ Meditation,” etc., which require single figures. His groups are, “ Sleeping Children,” “ Saltarella,” “ Primavera,” etc. To the Salon of 1878 he sent a statue of “ Oceanie ” and a statuette of “ Phryne.” Moreau, Mathurin-Auguste. (Fr.) Bom at Dijon. Son and pupil of the preceding. He received a third-class medal in 1874, when he exhibited “ Hylas,” statue, jil.aster ; “ Children,” bas-relief, terra-cotta ; and “ Rita,” bust, bronze. In 1877 he exhibited “ The Path of Flowers,” group, plaster. Moreau, Adrien. (Fr.) Bom at Troyes. Medal in 1876. Pupil of Pils. At the Salon of 1877 were “ The Tziganes ” and “ Under the Shrubbery ” ; in 1876, “ Repose at the Farm ” and a “ Fair in the Middle Ages” ; in 1878, “ Gypsies of Granada ” and “Le menuet.” Moreau, Gustave. (Fr.) Bom at Paris. Chevalier of the Legion of Honor. Pupil of Picot. At the Salon of 1876 he exhibited, “ Her- cules and the Hydra of Lernse,” “ Salome,” and some sketches in water-colors. His picture of “ The Swimming Lesson ” is a pleasing work. His “Orpheus” (1868) is at the Luxembourg. Moreau-Vauthier, Augustin Jean. (Fr.) Born at Paris. Med- als at Paris in 1865 and ’75. Pupil of Toussaint. At Philadelphia he exhibited a “Young Italian Shepherd,” in bronze, and received a medal. To the Salon of 1878 he contributed “St. Genemeve ” (mar- ble statuette) and “ Fortune ” (plaster statue). Morelli, Domenico. (Ital.) Born at Naples, 1826. Honorary Member of the Academy of St. Fernando of Spain at Madrid ; of the Royal Academy of Archaeology, Literature, and Fine Arts of Naples ; and of all the Academies of Fine Arts of Italy. Commander of the Orders of SS. Maurice and Lazarus, and of the Crown of Italy, and Cavalier of the Order of Civil Merit of Savoy. He resides at Naples, and was sent, when quite young, to Rome by the Neapolitan govern- ARTISTS OF THE NINETEENTH CENTURY. 131 ment. He was the pupil of Prof. Caiuillo Guerra. In 18-55 he took the first prize at the Exposition at Naples ; at the National Exposition of Italy in 1861, and at the Paris Exposition of 1867, he received gold medals. Among his works are, “ Cesare Borgia at the- Siege of Capua,” owned by Count Tosca of Palermo ; “ Christian Martyrs,” in the Gallery of Capo di Monte ; “ The Assumption,” in the Royal Chapel at Naples ; “ Tasso and Eleonora” ; a “ Madonna and Child,” in the church of Castellani, which has been praised by Prof. Villari ; a “ Christ,” painted for the composer Verdi ; an “ Odalisque after the Bath ” ; etc. The works of Morelli are much praised by Italian critics, and in “Volere and Potere ” Sig. Lessona has devoted a chapter to him. At the Paris Exposition of 1878 were his “ Oda- lisque ” and “ The Temptation of St. Anthony.” “ Tlie Neapolitan Morelli paints sacred subjects in a less ludicrous, declamatory .style, but after a curious manner, equally removed from any profound feeling. He is versatile and clever, but neither sincere nor skillful enough to revive the dubious merits of the Spagnuola school of his native city, whose technical eccentricities he affects. So far as my observation goes, the ‘ professors ’ of art, like those of literature, darken knowledge rather than enlighten the people or advance taste.’’ — Jarves, Art Thoughts. Morgan, William, N. A. (Am.) Born in London, 1826. He has spent the greater part of his life in New York, receiving his art education in the schools of the National Academy. Among his more important paintings are, “ Emancipation,” in the Olyphant Collec- tion (exhibited at the National Academy in 1868) ; “ The Legend ” (N. A., 1875), belonging to Governor Fairbanks of Vermont ; “ Song without Words” (N. A., 1876), belonging to Mr. Butcher of New York ; “ Motherhood ” ; “ Reverie ” ; “ The Oracle ” ; etc. “ From the easel of William Morgan there is a half-length life-sized figure of a girl, seated in an old library, surrounded by musty books. The subject is entitled ‘The Legend,’ and, aside from its unexpressive name, forms a delightful study. The pose i.s exceedingly graceful, and the modeling of the face, neck, and arms is painted with rare taste.” — Art Journal, May, 1875. Morgan, Matthew (“ Matt ”). (Brit.- Am.) Born about 1840. He was a pupil of Telbin, v'ith whom he worked for some years. He painted scenery at Drury Lane Theater, and while engaged at that house developed a taste for caricature, which led to his becoming connected with the London Tomahawk, a comic illustrated journal. Later, he went to Spain, making many large designs in water-colors. After his return to London he was engaged by Mr. Frank Leslie, for that publisher’s newspaper, and went to America about 1865 or ’66, as a rival to Thomas Nast, who was furnishing political caricatures for the Harpers. Later, Mr. Morgan was employed by Jarrett & Palmer and other theatrical managers in New York, besides engaging in certain theatrical ventures of his own. He is at present a resident of Philadelphia, drawing on stone in the Ledger Building there. He is an occasional contributor to the exhibitions of the American Water- Color Society, sending, in 1875, “ The Old Home Fading away,” of 132 ARTISTS OF THE NINETEENTH CENTURY. which the Art Journal of March, 1875, said, “ The picture is well composed, and is excellent in drawing, hut the color is cold and crude.” Morin, Francois-Gustave. (Fr.) Born at Eouen, 1809. Chev- alier of the Legion of Honor. Member of the Academy of Rouen. His “ Ariosto reading Fragments of his Poem,” and other works of his, are in the Museum of Rouen. “ Titian preparing his Colors ” is at the Museum of Havre. Several of his pictures have been engraved by Sixdeniers. Morot, Aim^-Nicolaa. (Fr.) Bom at Nancy. Prix de Rome, 1873. Medal in 1877. Pupil of CahaneL At the Salon of 1877 he e.xhibited “ Medea” and a portrait of Mile. d’Epinay ; at that of 1873, “ Daphnis and Chloe.” Morrell, Imogene Robinson. (Am.) A native of Attleborough, Mass., she studied art in Diisseldorf under Camphausen, and in Paris under Couture, residing in Paris for some years. She paints por- trait, genre, and historical pictures, gaining a medal at the i\[echanics’ Fair, Boston, and at the Exhibition of Philadelphia in 1876. Among her more important works are, “ The First Battle between the Puri- tans and the Indians,” and “ lYashington and his Staff welcoming a Provision Train ” (both at the Centennial), “ David before Saul,” and others. Her pictures are still signed by her maiden name, Imogene Robinson. “ In the painting of the horses Mrs. Morrell has shonm great knowledge of their action, and the finish is superb. The work is painted with great strength throughout, and its solidity and forcible treatment will be admired by all who take an interest in Revolution- ary history In the drawing of the figures of Standish, and the chief at his side, and the dead and dying savages, there is a fine display of artistic power, and the group- ing of the figures is masterly. As in the companion picture, the utmost care has been taken in the finish, and the painting shows a solidity of treatment and a mastery of a higher standard in art than is often attained by a female artist. In color the works are exceedingly brilliant” — New York Evening Post, February 29, 1S76. Morris, P. R., A. R. A. (Brit.) Born in 1836. For two years he studied in the British iluseum, chiefly the Elgin marbles, entering the Royal Academy in 1855. The same year he won the silver medal of the Royal Academy for best drawing from life ; in 1856 he received two medals ; in 1858 he won the gold medal for the best historical painting, “ The Good Samaritan,” and won also the traveling student- ship, spending some time in Italy and France. He first exhibited at the Royal Academy, in 1858, “ Peaceful Days,” a picture purchased by T. R. Creswick, R. A. To the Gallery of the British Institute, in 1860, he sent the “Widow’s Harvest”; in 1864, “ Where they Crucified Him”; in 1865, “The Battle Scar.” His “Voices from the Sea” U'as at the Royal Academy in 1860 ; “ Captives’ Return,” in 1861 ; “ Jesu Salvator,” in 1865 ; “Riven Shield,” in 1866; “Drift Wreck from the Armada,” in 1867 ; “Ambuscade,” in 1869 ; “The Summit of Calvary,” in 1871; “Highland Pastoral,” in 1872; ARTISTS OF THE NINETEENTH CENTURY. 133 “ Wliereon he Died,” in 1873 ; “ Through the Dell,” in 1374 ; in 1875, “The Mowers” ; in 1876, “ The Sailor’s Wedding” ; in 1877, “The Heir of the Manor” and “The Lost Heir”; in 1878, when he was elected Associate of the Royal Academy, he contributed “The First Communion” and “The Tomb.” His “Shadow of the Cross,” never exhibited, belongs to the Baroness Burdett-Coutts. “ The Mowers,” “The Reaper and the Flowers,” and “The Sailor’s Wed- ding ” were at the Paris Exposition of 1878. “Mr. Morris has taken the suggestions for the grace that is in tliis picture [‘ End of the Journey,’ R. A., 1874] from a simple and earnest style of real life, and the effect he gains could be got only by close and long observation of figures and landscape seen to- gether. Thus we have no touch of the artificial pose and conscious elegance of the pro- fessed model In the execution of the landscape we note what seems to us to be the most defective work of the picture. The treatment of twilight wants subtlety and depth ; passages of color here and there help to give a crude effect to the whole design. Nevertheless, few works of more delicate and tender sentiment are in the Exhibition,” — Art Journal, July, 1874. Morse, Samuel F. B., N. A. (Am.) Born in Charlestown, Mass. (1791 - 1872). Graduated at Yale College, 1810. Went to England the following year with Washington Allston, whose pupil he was, studying also under Benjamin West. He executed a model of a Dy- ing Hercules, for which he received a gold medal from the Adelphi Society of Arts. In 1829 he made a second voyage to Europe for the purpose of completing his art studies. He was one of the founders of the New York Academy of Design in 1826, and its second presi- dent, holding the office from 1829 to ’45. At one time he was lec- turer on the Fine Arts at the New York Athenaeum. As a painter, he was not very successful, and abandoned art as a profession in 1839. Such of his pictures as still exist are prized rather as the work of Morse, the inventor of the Electric Telegraph, than on account of any particular artistic merit of their own. His “ House of Represen- tatives in Washington in 1823,” belonging to Joseph Ripley, was at the National Academy in 1869. Morse, Henry D. (Am.) Born in Boston, 1826, where he has since lived. He had no instruction in art, and cannot be considered a pro- fessional artist. StiU, in his leisure hours for many years he has painted pictures, generally of animals and game, which have met with a ready sale in Boston, and are very highly regarded. He is a mem- ber of the Boston Art Club. Mortemart-Boisse, Baron Enguerrand de. (Fr.) Born at Paris. Medal in 1876. Pupil of A. Johannot and T. Johannot. At the Salon of 1876 he exhibited “ The Bed of an Alpine Torrent near Nice,” and in 1878, “ An Oil Mill near Nice.” Moser, Karl Adalbert. (Ger.) Born at Berlin, 1832. Medal at Berlin, 1854. Pupil of the Berlin Academy. Visited France and Italy. He has executed decorations for various government buildings, reliefs for the Beuth monument, and the groups on the Belle-Alliance- 134 ARTISTS OF TUE NINETEENTH CENTURY. Platze. At the National Gallery, Berlin, is his figure called “ Kunst- technik.” Moss, Ella A. {Am.) Born in New Orleans, 1844. Went to Europe at an early age, became a pupil of the Diisseldorf schools un- der Professor Sohn, and spent many years in the study and practice of her profession in Belgium and Germany. She returned to the United States in the winter of 1877 - 78, opening a studio in New York. Among her portraits are those of many distinguished people in Europe and America. She exhibited a portrait of Rev. Dr. Mor- gan at the National Academy in 1878. Mouchot, Louis. {Fr.) Born at Paris. Chevalier of the Legion of Honor. Pupil of Drolling and Belloc. At the Salon of 1877 he exhibited “A Dahabieh on the Nile” ; in 1876, “ The Ducal Palace at Venice ” and “ The Grand Canal ” ; in 1875, “ A Shop at Cairo ” and “The Shadoof”; in 1874, “ Evening Prayer ” ; and in 1878, “ The Grand Canal, Venice ” and “ A Street in Cairo.” Moulin, Hippolyte. {Fr.) Born at Paris. Medals in 1864, ’67, and ’69. Pupil of Barye. Exhibited at Philadelphia “ The Secret ” and “ A Discovery at Pompeii,” both in bronze, for which he received a inedaL At the Paris Salon in 1877 he exhibited “ Gallia Nostra,” statue, plaster, which was praised by Proth in his “ Voyage au Pays des Peintres ” for that year. “A Discovery at Pompeii” (1864) is at the Luxembourg. To the Salon of 1878 he sent a portrait of M. Du- quesne. Mount, Shepard, A. N. A. {Am.) (1804-1868.) Painter of portraits and game pictures. Elected an Associate of the National Academy in 1831, and Academician in 1842. Among his works, ex- hibited in different seasons, may be named his portrait of Admiral Bailey, U. S. N. ; portrait of himself, painted in 1833, and now in the possession of the N.ational Academy ; and “ Quail,” “ Brook Trout,” “ Shell-Fish,” “ Wood-Robin,” “ Flowers,” etc. Mount, William S., N. A. {Am.) (1806-1868.) Native of Long Island. Began the practice of his profession as an artist in New York in 1829. In 1832 he was elected member of the National Academy. His first picture was “ The Daughter of Jairus,” but he early turned his attention to the representation of tlie negro character, in which he was very successful in a quaintly humorous way. Dur- ing the later years of his life his pictures were rarely exhibited in public. He sent to the National Academy of 1868, “ A Portrait of a Lady ” (belonging to William H. V ickham) and “ The Dawn of Day.” He died before the opening of the Exhibition. The next year was seen in the same gallery his “ Peach Blossoms ” (belonging to J. M. Falconer). His “ Turning the Grindstone ” and “ Farmer’s Nooning” were the property of Jonathan Sturges. “ The Turn of tlie Leaf” is in the collection of James Lenox, “Bargaining for a Horse” is in the New York Historical Society, and “ Raffling for a Goose ” ARTISTS OF THE NINETEENTH CENTURY. 135 (which has been engraved, and was very popular in its day) belongs to M. 0. Roberts. “Very expressive and clever are Mount’s happy delineations of the arch, quaint, gay, and rustic humors seen among the primitive i)eoi>le of his native place ; tiiey are truly American.” — Tuckerman's Book of the Artists. Mozier, Joseph. (Am.) Born in Burlington, Vt. (1812- 1870). Was originall}’ a merchant in New York. Having decided artistic tastes and talents, he went to Europe in 1845, opening a studio in Rome, and remaining there until his death. Among the better known of his sculptures are, “ Pocahontas,” “ Wept of the W ish-tou-Wish,” “Rizpah,” “Rebecca at the Well,” “Jephthah’s Daughter,’’ “White Lady of Avenel,” “ Undine,” “ Queen Esther,” and “ Truth ” and “Silence” (the last two belonging to the Astor Library, New York). His “ Prodigal Son” is in. the Philadelphia Academy of Fine Arts. “There is mucli pathos in tliis coniiiosition [* The Prodigal Son'], which appeals with directness and force to tiie hearts of those who pause in their rambles tlirough the gal- lery to gaze on it. The benignity and fatherly tenderness of the old man are expressed in a language tliat all may read, and that requires no explanation or commentary." — Great American Sculptors. M'Taggart, William. (Brit.) Born in Campbeltown. He re- ceived his art education in the Trustees Academy, Edinburgh, enter- ing that institution in 1852, and spending his professional life in that city. His specialty is the painting of child-life. He was elected an Associate of the Royal Scottish Academy in 1859, and Academician in 1870. Among his pictures are, “ Love lightens Labor,” “ The Young Travelers,” “ Followers of the Fine Arts,” “ An Old Salt,” and at the Royal Scottish Academy in 1870, “ The Fisher’s Landing,” “A Day on the Seashore,” “ Gathering Drift,” etc. “ Although M'Taggart is unequal, there is always a fresh geniality about him that commends his pictures ; he takes firm hold of his subject, yet occasionally disregards finish. His ' At the Fair ' has less of this defect ; the girls examining the photograpli have each her own idea, and all is natural. 'A Sea-Bird, ' where children stretched at ease on the sandy gorse are eagerly examining the wings of a water-fowl, lias a fine shim- mering motion of the sea which forms the background.” — Art Journal, April, 1S74. Miicke, Heinrich Karl Anton. (Ger.) Born at Breslau, 1806. Medal at Besangon, and a great medal from Portugal. Professor at the Diisseldorf Academy, where he had studied. He traveled in Italy and painted historical and religious subjects. At the National Gal- lery, Berlin, are “ St. Catherine of Ale.xandria ” and “ St. Elisa- beth of Hungary.” He made himself known as a fresco-painter by his work at the castle of Heltorf, and in the Council-Chamber of Elberfeld. Some of his pictures are well known by the engravings from them, especially that of “ St. Catherine borne to Heaven by Angels.” Mullar, Charles-Louis. (Fr.) Born at Paris, 1815. Member of the Institute. Officer of the Legion of Honor. Pupil of Gros and Cegniet. This artist is so well known by his picture of the “ Roll- ]36 ARTISTS OF THE NINETEENTH CENTURY. Call of the Last Victims of the Reign of Terror,’’ that his other works have made but a comparatively small impression. This immense work (at the Luxembourg) contains many figures and seventeen ac- knowledged portraits. A copy or sketch of it (51 by 94) was sold at the Johnston sale, 1876, for $8,200. iluller has painted many portraits, and among his other subjects are, “ Thomas Diafoirus ” and “ Mater Dolorosa ” (1877), “Death of a Gitano ” (1876), “Madness of King Lear,” “ The Waiting,” and “One Moment Alone ” (1875), “ Lanjuinais at the Tribune, June 2, 1793 ” (1869), “ Desdemona ” and “ A Scholar” (1868), etc. His picture of “ Charlotte Cordaj’ in Prison” (1875) is in the Corcoran Gallery, Washington. This work was never exhibited in any other place. To the Salon of 1878 he contributed “ Give us Barabbas ! ” and a portrait. “Muller’s great picture of the ‘Call of the Condemned ’ of the Reign of Terror is perhaps the best composed historical painting of our time. None that I know better fultills the requirements of this branch of art, as a realistic narrative. It carries the spectator directly into the scene as it must have appeared on that morning when the last of Robespierre’s victims were wantonly hurried to the guillotine. JIuller drags it bodily out of the past, and puts it before our ejos in its precise truth, without dramatic exaggeration, or attempt to heighten anguish and despair sufficiently intense in their own naked reality. It is a conscientiously told tale. The officials, at whose action we are aghast, are justly treated ; made men doing a stem duty, not ensanguined monsters. There are fifty masterly pictures, each a pathetic tale by itself ; every separate group and individual action diversified in emotion, but filling its place with appropriate feel- ing in the harmonious whole ; all subdued to an appropriate key of light, in fine grada- tion, centered outside the prison-door, where waits the cart which is fast filling with its dismal load. There is no attempt at an imaginative treatment, as in Couture’s picture, but in place of it a picturesque rendering of the spectacle, based upon a thorough study of incidents, costumes, persons, and locality, with copious variety of action and ex- jmession. It is devoid of academic artificiality on the one hand, and of the other extreme of conventional idealism on the other. Sincerity and symjiathy are joined to unquestioned skill and rare talent in composition. Delacroix, by his grand manner, writes his autograph all over his work, and we are led to think as much of the artist as his subject. Poussin, Ingres, and like men represent systems or theories, and provoke comparisons. Delaroche excites the sentiments by his poetical sense, but his defective style of painting detracts from the enjoyment. Even the Couture which hangs opposite recalls the studio overmuch as a composition, besides being simtty in high lights, and securing brilliancy at such sacrifice of unity of tone and color as to make it border on the sensational in general effect Muller attempts nothing that he cannot do thoroughly well, and in a quiet, trath-telling manner. His system gives all to art, regardless of exhibiting the artist. The painting is not the highest effort, but it is a success in high art complete in its way. Muller paints histoi-y as Motley writes it, picturesquely, ai.d with insight into its emotions.” — Jakves, Art Thoughts. Miiller, CarL (Gcr.) Born at Darmstadt, 1818. Professor at the Academy of Dtisseldorf. Pupil of his father, and of the Academy of Diisseldorf under Professor Sohn. He visited Italy, and when forty years old was Professor in the Academy where he had studied. His jiictures are numerous. His “Annunciation,” in the Gallery of Diis- seldorf, is well known by an engraving. His most important frescos, which are in the church of Saint Apollinarius at Remagen, are de- ARTISTS OF THE NINETEENTH CENTURY. 137 servedly much admired. He sent to Paris, in 1855, “ The Last Sup- per,” “ The Virgin and Child,” and “ The Annunciation,” before men- tioned ; and to the Salon of 1853, “ The Holy Family.” At the Lon- don Royal Academy in 1876 he e.xhibited “ The Virgin 'and Child before a Grotto” and “The Virgin, Infant Christ, and St. Joseph with an Angel.” Muller, Victor. (Ger.) Born at Frankfort (1829- 1871). Pupil of the Staedel Institute ; studied also at the Antwerp Academy, from which place he went to Paris with a young colony of German and Dutch artists, where he remained for some years and was in the atelier of Couture. He lived awhile at Frankfort, and settled in Munich in 1864. His “Hamlet in the Churchyard,” painted in 1869, and ex- hibited at Munich, first gave him a reputation. In the “ Zeitschrift fiir bildende Kunst,” a writer of his obituary says, “ No one has more truly comprehended and depicted the inner spirit of this Prince of our first tragedy.” Among his works are, “ The Muses and Graces,” a decorative work in Frankfort, “ Hero and Leander,” “ Bestraften Ehebruch,” and several portraits. Mulready, William, R. A. (Brit.) Born in Ireland (1786- 1863). Entered the schools of the Royal Academy in 1800. He first ex- hibited, in 1806, “A Cottage”; in 1811, “The Roadside Inn” ; in 1813, “Punch”; in 1815 (when he was elected Associate of the Royal Academy), “ Idle Boys.” He was made Academician in 1816. Among his earlier works are, “ The Wolf and the Lamb,” and “ An Interior of an English Cottage ” (which belonged to George IV.) ; “ The Convalescent ” ; “ The Cousin ” ; “ The First Voyage ” ; “ Lend- ing a Bite ” ; “ Blackheath Park ” ; “ The Fight Interrupted ” ; “The Barber’s Shop” and “Fair Time” (1809); “The Last Inn” (1835); “Crossing the Ford ” (1842) ; and “The Young Brother” (1857), which belonged to the Vernon Collection, and is now in the National Gallery, London. After his death a collection of his works was on exhibition for some time at the South Kensington Aluseum, attracting great attention in London. Some of his drawings were sold at auction about the .same time, bringing enormous prices. His last picture, exhibited at the Royal Academy, was “ A Toy-Seller,” in 1862. Many of his works have been engraved. “ Mulready’s ‘ Sonnet ’ has been very justly described as one of the most purely and tenderly poetical of English pictures from common life His refinement in form. his great sense of beauty, the poetry and invention of his subjects, combine to give them a peculiarly strong and lasting hold over the memoiy of those who have studied them.” — Art Journal, May, 1876. “ Yet Mulready must unhesitatingly be placed among the few really eminent and thorough draughtsmen of the British school. His power over form was almost com- ifiete, although not so wide in range when he painted ‘ The Rattle ’ in 1808, as when be drew ‘ The Bathers ’ in 1849. His refinement is not less marked in ‘ The Gravel Pit ’ [1807] than in ‘The Toy-Seller’ of 1862 If Mr. Mulready’s earliest aim in his figure-subjects was humor, in his latter it was grace. In its essential purity no English painter c.an, we think, be set above him. Great as are the claims of Gainsborough, Rey- 138 ARTISTS OF TEE NINETEENTE CENTURY, Holds, Stotliard, and Leslie, none of tliem equaled Mulready in that refined accurarj which has been noticed as his primary characteristic.'* — Palgrave's Essays cm Art. Mulvany, George F. (Brit.') Born in Dublin (1809 - 1869). Son of Thomas Mulvany, who was the first keeper of the Royal Hiber- nian Academy, and a painter of some repute in Ireland. The son evinced a taste for art at an early age, was educated in Dublin, studied in Italy, and was made an Associate of the Royal Hibernian Acad- emy in 1832. A few years later he was elected Academician, and on the death of his father, in 1845, he succeeded him as keeper. He was also one of the organizers, and as long as he lived a director of the Irish National Academy. He exhibited frequently in his native city, and his works were popular elsewhere. Among his pictures may be mentioned “ First Love,” “ The Peasant’s Grave,” “ The White Man cast on the Red Man’s Shore,” and a popular portrait of Thomas Moore, which has been frequently engraved. His last work, a por- trait of Father Burke, was left unfinished. Munkacsy, Mihaly. (Hungarian.) Bom at ilunkacs. Medals in Paris in 1870 and ’74. Pupil of Knaus. At the Salon of 1877 he exhibited the “ Story of a Hunt” and a portrait ; in 1876, “The In- terior of a Studio”; in 1875, “The Village Hero, Hungary” ; in 1874, the “ Mont-de-Piete ” and “The Night Prowlers.” One of his finest works was the illustration of an old custom in Hungary of ex- posing a prisoner, who had been condemned, to the public for several hours. In this picture the different expressions of those who have come to see the unfortunate man are very remarkable. Three of his pictures were in the Paris Exposition of 1878. Munn, George F. (Am.) Born in Utica, N. Y., 18-52. First studied art under Charles Calverly the sculptor, and later at the schools of the National Academy, New York. He went to Europe to enter the Art Schools at South Kensington, where he received a gold medal, the first awarded to an American, for a model in clay of the Farnese Hercules. In the schools of the Royal Academy he received a silver medal for a life drawing ; and he was subsequently in the studio of George F. Watts in 1876. He has painted and sketched in Brittany, and has exhibited at the Dudley Gallery, London, at Bir- mingham, and elsewhere. Among his works are, “ Wild-Flowers,” “ Roses,” “ Meadow-Sweet,” “ A Sunny Day, Brittany,” etc. ** A flower-picture here [Dudley Gallery, 1875], notable for the absence of manufactur- ing deftness, which goes so far to neutralize the beauties of Fantin’s work, is the large and most careful study (wild-flowers, meadow-sweet, the chief) to which is attached a new name, G. F. Munn. This is evidently a labor of love, full of the most minute and loving study, such as a man gives who finds both intense pleasure in his work and the subject of it, such labor as only young men can give, for only they arc sustained by such keenness and freshness of delight.” — Tom Taylor, in London Graphic, October, 1S75. Munro, Alexander. (Brit.) Born in Scotland (1825 -1871). Settled ill London in 1848. In 1849 he exhibited for the first time at the Royal Academy several portrait bust.«. His first ideal work. ARTISTS OF THE NINETEENTH CENTURY. 139 “ Paolo and Francesca,” in marble, was at the Royal Academy in 1852, and was purchased by Mr. Gladstone. His “Hippocrates” (R. A., 1857) was presented by John Ruskin to the new Museum at Oxford. Among his ideal works are, “ Undine,” “ The Lover’s Walk,” “ Joan of Arc,” “ The Young Hunter,” and “ The Sleeping Boy.” He executed busts of Sir Robert Peel, Gladstone, and J. E. Millais, R. A. ; a statue of “ Mary, Consort of William III.” in the House of Parlia- ment, the colossal statue of James Watt at Birmingham, and statues of Galileo, Davy, and Watt at Oxford. “ Though all his works show talent of a high order, Mr. Munro especially excels in female busts, and in his representation of children, both singly and in groups. In all of these is refined and delicate sentiment, a quality which, in the case of the little ones, is often allied with graceful fancy.” — Art Journal, March, 1871. Munzig, G. C. (Am.) Born in Boston, 1850. He has spent his professional life in his native city. As an artist he was comparatively self-taught. He is a member of the Boston Art Club, and is on the Committee on Design for the “ School for Art Needlework” connected with the Museum of Fine Arts, Boston. His specialty is portraits in crayon. Within a few years he has turned his attention somewhat to oils. He has exhibited at Philadelphia, New York, Cleveland, and Boston, and his portraits are in the possession of Dr. Oliver Wen- dell Holmes, Winthrop Sargent, Frederick R. Sears, Henry D. Parker, George Wheatland, Eben Jordan, Mrs. Oliver Ames, Mrs. Oakes Ames, Mrs. D. B. Van Brunt, Miss Harriet W. Preston, Mr. James Lawrence, Mme. Teresa Careho, the late Mnie. Teresa Tietjeiis, Mme. RudersdorfF, and others. Murray, Elizabeth. (Brit.) Member of the Institute of Painters in Water-Colors of London, and of the American Society of Water- Color Painters in New York. She exhibited at the Institute, in 1878, “A Moorish Saint” and “ Music in Morocco” ; in 1875, “The White Rose”; in 1873, “The Greek Betrothed”; in 1872, “The Gypsy- Queen ” ; etc. At the National Academy, in 1875, she exhibited, “ Spanish Lovers lighting Cigarettes” (in oils) ; in 1871, “ Dalmatian Peasant ” ; in 1870, “ The Old Story in Spain ” (both in water-colors). “ The Eleventh Hour” (in water-colors) brought $260 at the John- ston sale in New York in 1876. Murray, David. (Brit.) Born in Glasgow, 1849. Brought up to mercantile pursuits, he spent his early youth in a warehouse in his native city, studying art in his leisure hours, but not adopting painting as a profession until within a few years. His studio is now (1878) in Glasgow. To the Royal Scottish Academy, in 1878, he sent “On the Towing-Path, Thames,” “The Intruder,” “A Sleepy Brook,” “The English Yeoman’s Dwelling,” etc. Musiu, Francois. (Belgian.) Bom at Ostende. Medal at Phil- adelphia, where he exhibited “ Seashore at Scheveningen ” and the “Harbor of Rotterdam in Rainy Weather.” At Paris, in 1877, was “ The Dike at Ostende in Heavy Weather.” 140 ARTISTS OF THE NINETEENTH CENTURY. Mussini, Cesare. (Ital.) Bom at Berlin, 1808. He early fixed himself in Florence, and has acquired fame in his peculiar hianch of painting. His drawing is always correct, and his color excellent. Many of his pictures have been commissions from Russia. Among his works are, “ Leonardo da Vinci dying in the Arms of Francis I.,” “ Tasso reading his Poem to Eleonora d’Este,” “ Raphael and the Fornarina,” the “ Death of Atala,” and “ Stanislaus Poniatowski gi^ung Freedom to the Poles.” The portrait of this painter is in the auto- graph collection of the Uffizi. Mussini, Luigi. (Hal.) Born at Berlin, 1813. Pupil of his brother Cesare. Director of the Academy of Siena. His first work, “ Sacred Music,” proved him to have unusual merit. In correctness of drawing he is unsurpassed, and his compositions are simple and truthful. They suggest the works of the cinque-cento painters. Among his works are, “ Eudoro and Cimodocea ” (in the gaUeiy of modem paintings in Florence), the “Christian MartjT” (in the Cathedral of Siena), “ The Money-Changers in the Temple,” the “ Last Day of Nero,” the “ Triumph of Truth,” etc. Sig. Luigi Mussini is considered one of the best painters in Italy, and is at the head of his school. Since he has presided over the Academy of Siena, many fine artists have graduated there. His portrait is in the autograph collection in the Uffizi. To the Paris Salon, in 1878, he sent “ Page siennois de la Tortue, — XV' siecle.” Mutrie, Martha D. and Annie F. {Brit.) Natives of Man- chester. Settled in London in 1854, exhibiting annually at the Royal Academy flower-pieces, the works of both sisters being very popular. Miss Mutrie sent to the Royal Academy, in 1860, “Fungus”; in 1861, “Wild Roses”; in 1864, “Garden ITowers ” ; in 1868, “Roses”; in 1872, “In the Flower-Market” ; in 1875, “ The Cottage Window” ; in 1877, “ Spring Flowers.” Miss Annie F. Mutrie exhibited, in 1860, “ Where the Bee Sucks ” ; in 1861, “York and Lancaster”; in 1863, “Autumn”; in 1871, “The Balcony” ; in 1874, “ My First Bouquet”; in 1875, “Farewell, Summer”; in 1876, “The Evening Primrose”; in 1877, “Wild- Flowers of South America.” Both of these ladies were “ commended for great merit in genre paint- ing” by the judges at the Centennial Exhibition in Phikdeljffiia in 1876. ** These ladies rank as excellent fmit and flower painters. A fault has been found with their subjects that they are too often cultivated flowers, and that whether garden or wild flowers they are apt to be aiTanged arbitrarily and artiflcially." — Sins. Tytler’s Modern Painters. “Miss M. D. Mutrie’s ‘In the C?ottage ■Window'[R. A.. 1875], a beautiful study of flowers, is oue of the brightest and most truthful little studies from Nature in this year's Exhibition.” — Art Journal , July, 1875. M'Whirter, John. {Bril.) Bom near Edinburgh, 1839. He studied under Robert Scott Lauder, and practiced his profession in ARTISTS OF THE NINETEENTH CENTURY. 141 Edinburgb, until 1869, when he opened a studio in London. He devotes himself to landscape-painting, selecting his scenes frequently in the Highhuids of the West of Scotland. He exhibits at the Royal Academy and at the Royal Scottish Academy, of which hitter insti- tution he is an Associate Member. Among his works are, “ The Mail from the North,” “Glencoe,” “The Falls of Tummell”; etc. To the Royal Scottish Academy, in 1878, he sent “Thunder-Storm on the Prairie” and “Salt Lake City, Utah”; to the Royal Academy, the same year, “The Three Graces ” and “ The Vanguard.” His “ Into the Depths of the Forest,” “ Out in the Cold ” and “A Fisherman’s Haven ” were at the Paris ExjDosition of 1878. Naftel, Paul J. {Brit.) English water-color artist, for some years a resident of Guernsey, at present living in London. He is a member of the Society of Painters in Water-Colors, sending annually from ten to fifteen pictures to its exhibitions ; among others, “ Near the Grange, Borrowdale, Cumberland,” “ Morning at Penllergare, South Wales,” “ Seaweed-Gathering, Guernsey,” “ Capri, from the Pine Valley, Sorrento,” “ First Snow on Blockmount,” “ The Mole near Twickenham,” “ Killarney, Ireland,” etc. His “ Violet-Gather- ing at Bordighera in December” and “Near Lismoi’e, County Wateiv ford” were at the Grosvenor Gallery in 1878. To the Paris Exposi- tion, the same year, he contributed “ Views of the Isle of Arran and of Killarney.” Naish, John George. {Brit.) Born in Sussex, 1824. Entered the Royal Academy in 1846, exhibiting the same year his first picture, entitled “ Troops departing for India.” In 1850 he went to the Con.- tinent, studying and working in the galleries of the Louvre, Paris, in Bruges, Antwerp, and elsewhere, returning to England the next year. Among his earlier works are, “Water-Nymphs” and “ Hymn to the Rising Sun,” in 1849 ; “Mermaids” and “ Titania,” in 1850 ; “ The Power of Music,” in 1854 ; “ Fairies Returning ” and “ The Swoon of Endymion,” in 1855; “ Midsummer Fairies,” in 1856 (exhib- ited both at the Ro}^! Academy and the British Institution); “ Influ- ence of the Soul,” in 1858 ; “ Ode to the Northeast Wind,” in 1860 ; “ Rough Hands and Warm Hearts ” and “The Last Tack Home,” in 1864 ; and “ Better than Gold,” in 1865. About 1860 he altered the style of his paintings, leaving the ideal and classical figures for marine subjects. In 1867 he sent to the Royal Academy, “ The Mouth of the Harbor”; in 1870, “Enoch Arden”; in 1871, “A North Devon Cove”; in 1873, “The most Northerly Point of Devon”; in 1874, “Homeward Bound”; in 1876, “The Night-Catch, — on Board a Traveler in Barnstaple Bay”; in 1877, “Life-Boat returning, — a Sea to Starboard ” ; in 1878, “ A Summer Sea ” and “ The Devonshire Trawlers.” “ A grizzled sailor and his son are liere seen picturesquely sheltered beneath the of their boat, and looking with fixed, eager eyes on the scattered roofs of the 142 ARTISTS OF THE NINETEENTH CENTURY. famous village of Clovely Last Tack Home,* R. A., 1S64]. Evcrj'tliing is drawn with that conscientious fidelity to which Mr. Naish has accustomed us in his work, wliile he lias given it greater interest by his introduction of the Imiuaii figure.*’ — Palcrave’s Essays on Art. Certainly there was no truer or finer combination of land and ocean among the pic- tures of that year than tlie view of the town [‘ Ilfracombe,* R. A., 1S70], in which the jiainter had been a resident for some time. It afterwards gained a gold medal at the Crystal Palace Naish disdains to make any compromise witli Nature ; he repre- sents her as she appears to his eye, but with something more than mere typographical accuracy, for to this quality must be added, as a general rule, poetic feeling, adapting it- self to the circumsttinces of the subject, and oiiginality of treatment As a color- ist, moreover, Mr. Naish distinguislies himself.” — Art Journal, November, 1S75. Nakken, W. C. {Dutch.) Of The Hague. Medal at Philadel- phia, where he exhibited ‘•Haymaking in Normandy.” Mr. Weir especially commends this picture in his report. At the Paris Expo- sition, 1878, he exhibited “ Etalon Normand” and “The Stable of the Inn.” Nanteuil, Celestin. (Fr.) Born at Rome, of French parents (1813-1873). Chevalier of the Legion of Honor. His family re- moved to Paris when he was still an infant. He studied under Lang- lois and Ingres, and then, in 1827, entered I’Lcole des Beaux-Arts, where he became a sort of captain among some turbulent students. When a revolt occurred Nanteuil was expelled from tlie school, which made him a hero with a class, and he became known as one of the leaders of the reformers of art, as they were called. For some years he was employed in etching for romantic literature. In 1848 he first sent to the Salon a work worthy of notice, “ A Ray of Sunshine,” which was much admired. He devoted himself to genre subjects, and exhibited each year. His “Souvenirs of the Past” and “The Future ” are well known from lithographs by himself. Nanteuil exe- cuted many jdates for artistic publications. He traveled much and made numerous sketches. In 1870 he was placed at the head of the School of Design at Dijon, and appointed Conservator of the Mu- seum of that city. Since his death two of his water-colors, “ Hunting- Dogs in Repose ” and “ The Fawn,” have been placed in the Luxem- bourg. Nash, Joseph. (Brit.) Born about 1812. An artist in water- colors, making as his specialty architectural views and antique ex- teriors and interiors, Engli.sh and Continental. He first exhibited in public in 1835. Among the better known of his e:irly drawings are, “ The Queen’s Vi.sit to Lincoln’s Inn Hall,” in 1846 ; “ The Interior of the Crystal Palace,” in 1851 ; “Rochester,” “Roman Cathedral,” “ Charles V. visiting Francis 1. during his Confinement,” in 1855 ; “ Chapel of .Edward the Confessor at Westminster,” in 1866 ; “ Red Room of Louis Philippe at Claremont,” in 1867 ; “ The Brown Gal- lery, Knole, Kent,” in 1872 ; “ A Dinner-Party under the early Plantagenets ” and “The Thumb Stocks,” in 1873. He has been for some time a member of the Society of Painters in ARTISTS OF THE NINETEENTH CENTURY. 143 "Water-Colors. In 1838 lie published a volume entitled “Archi- tecture in the Middle Ages,” with lithographic illustrations, and a few yeais later, in four series, “ The Mansions of England in the Olden Time.” He has also furnished illustrations for the" works of Shakspere, Scott, and other standard authors. Nast, Thomas. (Am.) Born in Landau, Bavaria, 1840. Taken to America in 1846. Early displayed artistic talents, but, with the exception of a few months’ tuition under Kaufmann, is entirely self- taught. He began his professional career as a draughtsman for il- lustrated journals as early as 1855. In 1860 he went to Europe, followed the army of Garibaldi, sending sketches to London and American pictorial papers ; returned to America in 1862, and during the American Civdl War sent many graphic drawings of war scenes to the Harpers’ ijeriodicals, attracting gi-eat attention on both sides of the Atlantic. He did not develop into a caricaturist until the close of the war, his later work being chiefly in that direction. Although not a member of any academy or society of the country, he is an occasional contributor to the public exhibitions in New York and elsewhere, sending to the National Academy, in 1868, “The Last Drop” ; in 1870, “ The Departure of the Seventh Regiment,” belonging to James H. Ingersoll. “Judging from wood-cuts in Ilarper’s Weekly of compositions relating to the various stages of the war, Nast is an artist of uncommon ability. He has comi)Osed designs, or rather given hints of his ability to do so, of allegorical, symbolical, or illustrative char- acter, far more worthy to be transferred in paint to the walls of our public buildings than anything that has as yet been placed on them. Although hastily got up for a tem- porary j)urpose, they evince originality of conception, freedom of manner, lofty apjire- ciation of national idems, and action, and a large artistic instinct.” — Jarves, Art Idea. “ Nast has jiroved one of the most spirited and authentic draughtsmen of the battles and other scenes incident to the late Civil War. His illustrations for Harper’s Weekly show talent and fidelity. He is an original designer, and exhibits a remarkable gra-sp of the great questions at issue.” — Tuckerman’s Book of the Artists. “ What a gift is this year’s volume of Harper’s, setting New York and its affairs so wonderfully before us ! It would do you good to know, if I could tell you, the enjoy- ment your great and glorious Nast is giving in this valley. I sent the number to Fox How, when W. E. Forster was there, and they borrowed it again for the Stanleys and Lady Richardson. The favorite, the one supremely extolled, is that of the Romish Crocodile and the children. The Dean [Stanley] was delighted with it.” — Harriet Martineau’s Autobiography, Vol. II. Navez, Francois Joseph. (Belgian.) Bom at Charleroi (1787 - 1869). Member and Professor of the Royal Academy of Belgium. Correspondent of the Institutes of France and Holland. Chevalier of the Orders of the Lion of Belgium, of Leopold, of William, and of the Legion of Honor. Member of various academies and important art associations. Pupil of Frangois and David. His “ Hagar in the Desert” is at the Brussels Museum ; his “Raising of the Sulamite’s Son” and the “ Meeting of Isaac and Rebecca” are at The Hague ; an “ Italian Mother with a Sick Child ” is at the National Gallery, Ber- 144 ARTISTS OF THE NINETEENTH CENTURY. lin ; The Prophet Samuel,” in the iluseum at Haarlem. His works are also seen in churches in Brussels, Amsterdam, etc. His portraits were much admired. He painted one of William of Holland for the Duke of Wellington. Neagle, John. (Am.) (1799-1865.) A portrait-painter, cora- jiarativel}' self-taught. He was apprenticed to a coach-painter in Philadelphia. About 1818 he began the practice of the higher branches of his profession in that city, settling in Lexington, Ky., and subsequently in New Orleans. His best-known work, ‘‘ Patrick Lyon the Blacksmith,” in the Boston Athenaeum, was painted in 1826. He was a son-in-law of the artist Sully, from whom, in his early years, he received much encouragement and help. The. best part of his pro- fessional life was spent in Philadelphia, where are still preserved many of his pictures, notably, the portrait of Washington in Independence Hall, of Henry Clay in the Union League Club, and of Henry Carey in the Academy. He was President of the Philadelphia Artists’ Fund Society for many years. A valuable portrait of Gilbert Stuart by Neagle is now in the Boston Athenteum. It was exhibited at the Centennial Exhibition of 1876. Neal, David. (Am.) Born in Lowell, Mass., 1837. He went to Munich in 1861, where he has since lived. In 1862 he entered the Royal Academy of Bavaria, where he studied from the antique for two years, later becoming a pupil of his father-in-law, the Chevalier Ainmuller. In 1869 he entered the studio of Piloty, remaining until 1876, ch.anging his style of work and devoting himself entirely to figure-painting at that master’s suggestion. Presuous to thi.s, he painted several interiors, the most important being “ The Chapel of the Kings, Westminster Abbey” (belonging now to Francis Cutting of Boston) and “ St. Mark’s, Venice ” (now the property of Samuel Nickerson, President of the First National Bank of Chicago) ; both of these were at the International Art Exhibition at Munich in 1869, and later at the National Academy of New York. In 1876 Mr. Neal was awarded the great medal of the Royal Bavarian Academy of Fine Arts for his “ First Meeting of Mary Stuart and Rizzio.” This medal is the highest in the gift of the Academy, and Mr. Neal the first American upon whom it has been bestowed. This picture was later in the collection of D. 0. Mills, President of the Bank of Cali- fornia, and was exhibited at the Munich Art Union, afterwards in London, later in Boston, Lowell, Chicago, and elsewhere in the Llnited States. It has been extensively photographed. Among his works are, “ Return from the Chase ” (belonging to John Bloodgood of New York), exhibited in Munich for the benefit of the wounded in the Franco-German war, and at the National Academy, New York ; “ James Watt,” a large historical picture at the Royal Academy, Lon- don, in 1874 (belonging to Sir B. S. Phillipps, formerly Lord Mayor of London) ; “ The Burgomaster ” ; and several portraits and ideal heads. ARTISTS OF THE NINETEENTH CENTURY.. 145 The “ Wartburg,” a monthly journal of the Munich Archaeological Society, edited by the celebrated art critic, Dr. Forster, says (No. 9, 1876) ; — “ The greatest interest was created at the Art Union by a historical picture of con- siderable dimensions by David Neal. This highly gifted artist, who is still young, an American by birth, and a pupil of Piloty, took as a subject for his picture the first meeting of Marie Stuart, the brilliant and lovely as well as inconstant Queen of Scots, with the singer Rizzio. The artist represents the object of so much poetic lore in the bloom and splendor of her youth ; the period chosen being when she was at the height of her fortunes The scene is excellently well conceived and represented in a most masterly manner ; the characters, particularly those of the principal personages, are well carried out with equally as much knowledge of the times, as well as a love and feeling for the subject. In another column we give a notice of the honorable distinction which has been conferred upon Mr. Neal on the part of the Royal Academy for this prominent work. ” Referring to a portrait (Mrs. Raymond) exhibited at Munich, the “ Zeitschrift fiir bildende Kunst ” says : — “ From David Neal, a pupil of Piloty, we have a lady’s poi-trait which is to so high a de- gree spirited and fine in the conception, and is executed with so much bravour, that it would do honor to his master, and certainly evinces a finer feeling for color than i.s possessed by even Piloty himself.” “ In England Mr. Neal has earned a place in the high ranks by hi.s ‘James Watt,' and his ‘ Mary Stuart and Rizzio,’ that was exhibited in this country, has removed all ques- tions here as to his gi-eat merits. Looking at these two paintings, one is impressed with the power of a deep-thinking artist. He has not devised a scene merely to show off his technical skill ; he saw deeper, and represents more than it would be easy to define in words It would not be amiss to analyze, also, his ‘ Mary Stuart and Rizzio.’ We should find in it the true elements of historical painting. The Queen, followed by her maids and Darnley, has descended a massive staircase, and has turned on the lower landing, when she sees Rizzio reclining asleep on a carved wood chest, his mandolin by his side. The Queen’s fixed look of surprise, her equivocal gesture, are significant. Now we have the clew to all the rest ; since it is known that Rizzio has been taken into the Queen’s household service, tlie love, and the complications, and the murder follow, as night the day. This is high art ! ” — Chicago Tribune, March 24, 1878. Weff, Timoleon Charles de. (Russian.) Born at Korkulla (1807 - 1877). Court Painter and Member of the Academie des Beaux-Arts at St. Petersburg. Studied at Dresden and Rome. In 1826 he settled in St. Petersburg, and soon became distinguished. Many of his por- traits are of the members of the Imperial Family. In the Hermitage at St. Petersburg there are two pictures by Neff of “ Nymphs Bath- ing.” There are more copies made of these pictures than of any other works in that gallery. Nehlig, Victor, N. A. (Am.) Born in Paris, 1830. Studied art in his native city nnder Cogniet and Abel de Pujol, and settled in America in 1850. He opened a studio in New York, was quickly elected an Associate of the National Academy, and made an Acade- mician in 1870, when he exhibited “ The Bravo.” One of the results of a visit to Cuba was his “ Mahogany Cutting ” (belonging to John C. Force), which was at the National Academy in 1871, since which time he has not exhibited in that gaUery. He visited Europe in 1872. VOL. II. 7 J 146 ARTISTS OF THE NINETEENTH CENTURY. Among his works are “The Artist’s Dream,” “ The Armorer of the Olden Time,” “ Gertrude of Wyoming,” “ Pocahontas,” “ Hiawatha,” “ The Captive Huguenot,” etc. N^moz, Jean-Baptiste-Augustin. (Fr.) Bom at Thodure. Medal in 1877. Pupil of Picot and CabaneL At the Salon of 1877 he exhibited “Theseus going to fight the Minotaur” ; and in 1878, “ Paradise Lost.” Neuber, Fritz. (Ger.) Bom at Cologne, 1837. Pupil of Stephan. He has passed some time in several German cities, and has worked very c^uietly in a manner quite his own. He lives in Hamburg. Among his works are his statues of Peter Vischer, Gustavus Adol- phus, Barbarossa, Plandel, Bach, Neander, Schleiermacher, Luther, Twelve Apostles, etc. His works in the Xicolas Church brought him into much notice, and he received numerous commissions for busts and other work from private individuals. Neuville, Alphonse de. (Fr.) Born at Saint-Omer, 1836. Cheva- lier of the Legion of Honor, ilember of a rich family, he had a fine education, and left school with honors. His parents intended him for an official career, but he declared himself onH ready to join the army, and in spite of all obstacles he entered the preparatory school of Lori- ent. The Professor of Design at this school, familiarly known as Papa Duhousset, quickly remarked the astonishing skill of De Neuville in drawing. Naturally the teacher took great pleasure and pride in teach- ing him, and often declared to the young fellow, “Quoique tu fasses, rappelle-toi que tu ne seras jamais qu’un peintre.” He next went to Paris and entered the law school, for the sake of peace with his famil}'. He remained three years, and passed most of his time at the military school or at the Champs-de-Mars, sketching, and making himself inti- mately familiar with all of a soldiePs life which could there be learned. When he next returned home, he declared that he would be a painter or nothing. After a year of opposition his father went with him to Paris to consult some artists on the prospect for the young man. Bellange, Yvon, Picot, all discouraged him, and advised his return to the home he had left. But the young fellow believed in his “lucky star,” and took a small studio and went to work. His fii'st picture, “ The Gervais Battery,” w'as accepted at the Salon of 1859 and took a medal of the third class. Just then Delacroix, who was in his de- cline, became the friend of the artist, and, while his doors were closed to most people, De Neuville spent many hours with him. In I860 the debutant received a commission to paint “ The Taking of Naples by Garibaldi,” for the Cercle Artistique. He went to Italy, and the picture which he brought back was bad enough to satisfy a bitter enemy ! In 1861 his “ Chasseurs of the Guard ” took a second medal at the Salon. From this time attention w’as turned to De Neuville, and he held a place among French military painters. He received, however, but few orders, and was obliged to make wood-cuts for ARTISTS OF THE NINETEENTH CENTURY. 147 illustrated publications, in order to live. In this department he has been nearly as fruitful as Gustave Dore. His picture ot the “ Attack of the Streets of Magenta” (1864) was very successful, and was bought by the State for the city of Saint-Omer. His picture of 1868 was purchased for the Museum of Lille, — it was “ The Chasseurs crossing the Tchernaia on Foot.” Naturally the war of 1870-71 was an inspiration to this painter, and the pictures he has since painted have placed him in the first rank among his fellows. “ The Bivouac before Bourget ” (1872) is at the Museum of Dijon. “ The Last Cartouches at Balan” (1873) was judged worthy of the Cross of the Legion of Honor. In 1874 he exhibited “ The Attack by Fire on a Barricaded House at Villersexel.” This is considered his best work by many. Paul Mantz calls it a “ masterpiece.” De Neuville, in his frequent journeys, makes some sketches not “ in his line,” as one may say, and has painted a few subjects, such as the “ Recolte du Varech,” which are also excellent pictures. At the Salon of 1877 he exhibited “An Episode in the Battle of Forbach, August 6, 1870” and a portrait ; in 1875, “A Surprise in the Environs of Metz, Au- gust, 1870.” In the gallery of W. T. Walters of Baltimore is his “ Engineer Officer on a Reconnoissance.” “ De Neuville has not perhaps the exactness and careful timidity of Detaille : he is not, like him, the pupil of Meissonier and a miniaturist by profession : but he has free- dom, audacity, movement, truth of physiognomy, truth of gesture, truth of color at the end of his brush, and all without visible effort. In a word, he has the genius of action, that entirely French quality which one cannot exact from a Dutchman like Detaille.” — Ernest Duvebgier de Haukanne, Revue des Deux Mondes, June, 1874. Newell, Hugh. (Am.) Born in Ireland. Brought up in Belfast, and educated at Queen’s College there. He studied art in Antwerp, also in Paris under Couture, and later, in London, in the South Ken- sington Schools. At the age of twenty-one he came to the United States, settling in Baltimore, and receiving both the gold and silver medals of the Maryland Institute. His professional life has been spent in Baltimore and Pittsburg, Pa., and his paintings have been exhibited, and are owned in those cities, in Philadelphia and New York. Since 1870 he has been Principal of the Pittsburg School of Design for Women, and was awarded a diploma for the work of this school from the judges of the Centennial Exhibition of 1876 in Phil- adelphia. His “ Smithy ” was at the National Academy of New York in 1873; his “ In the Cottage Window ” and “ Basket of Grapes,” in 1878. Newman, Henry R. (Am.) A water-color artist, who has lived for many years in Florence. He paints a variety of subjects, and is very happy in his flower-pieces. As a teacher, he has been very suc- cessful and fashionable, and well merits the praise bestowed upon his work. He exhibited in Florence, in 1878, “ A Study of Pink and White Oleanders ” and “Grapes and Olives,” and sent to the Gros- 148 ARTISTS OF THE NINETEENTH CENTURY. venor Gallery, London, the same year, “ Flowers ” and “ An Architec- tural Study.” Several of his Florentine street scenes belong to Lord Spencer. Of a drawing of Santa Maria Novella, Florence, by ilr. Newman, Ruskin wrote to the artist in 1877 : “I have not for many and many a day seen the sense of tenderness and depth of color so united, still less so much fidelity and affection joined with a power of design which seems to me, though latent, very great. To have made a poetic harmony of color out of an omnibus-stand is an achievement all the greater in reality because not Likely to have been attempted with all one’s strength.” Newton, Sir William John. (Brit.) (1785-1869.) Miniature- painter to the Queen, receiving the honor of Knighthood in 1837. In his branch of the profession he was popular ancl much patronized by the Royal and Noble Families. He contributed a large number of works to the Royal Academy yearly, until 1863. “ The Christening of the Prince of Wales at Windsor ” (which was at the Royal Academy in 1845) was his largest and most important picture. It was painted on ivory, and attracted much attention. Newton, Mrs. Charles T. {Brit.) (1832-1866.) Daughter of John Severn, an artist. She displayed remarkable talents for art at an early age, and studied under George Richmond, devoting herself to portrait and figure painting in water and oil. In 1861 she was married to C. T. Newton, Superintendent of Antiquities at the British Museum, and turned her attention, during the few remaining years of her life, to drawing from the Roman and Greek sculptures and vases in that institution. Among her paintings may be mentioned, “ Elaine,” “ Sebaste,” “ Levantine Lady,” “ Jewess of Smyrna,” “ Letty,” etc. She exhibited a portrait of herself at the Royal Academy in 1863. Newton, Alfred P. (Brit.) Born in 1835. A graduate of no school of painting, and comparatively self-taught, he has studied di- rectly from nature in Wales, Scotland, and Italy, devoting himself to landscapes, chiefly in water-colors. He was elected a member of the Society of Painters in W’^ater-Colors in 1860, upon the exhibition, in its gallery, of his first works. Among his more important pictures are, “ Moiintain Gloom,” “ Mountain Glory,” “ Mystery and Immen- sity,” “ Nature’s Merriments ” (in oil), “ Declining Day,” “ The First Approach of Winter,” etc. His “ Mountain Gloom ” and “Left by the Tide” were at the Philadelphia Exhibition in 1876, gaining a medal. To Paris, in 1878, he sent “ Left by the Tide.” “ It is literally certain that no artist whatever, hefore our day, could have drawn that mountain [‘Glencoe’] with sucli truth. No artist before this century would have un- derstood tile mass of granite under the thin and broken turf. Nor would any older artist have felt the loveliness of the natural scene in this half-melancholy, half-pleas- urable spirit. The work is impressive because the scene is impressive, and because the artist has trained himself to see and feel enough to reproduce, but not enough to trans- form nature, and make a new creation of his own.” — P. G. Hamef.tojj, in English Paint- ers of the Present Day, ARTISTS OF THE NINETEENTH CENTURY. 149 Nevin, Blanche. (Am.) Native of Philadelphia. Studied sculp- ture under J. A. Bailly and at the Pennsylvania Academy of Fine Arts. Executed several portrait and ideal busts, owned principally in her native city. Among her more important works are a full-length statue of “ Eve ” and a statuette of “ Cinderella.” Nicol, Erskine, A. R. A. (Brit.) Born near Edinburgh, 1825. Was apprenticed to a house-painter in his native city, in his leisure hours studying in the Trustees Academy, and teaching drawing a few years later in the High School at Leith. After spending three or four years in Dublin, where he gave lessons in drawing and painted por- traits, gathering at the same time material for the clever sketches of Irish character in which he has been so successful, he returned to Edinburgh, contributing regularly to the exhibitions of the Royal Scottish Academy, of which he is an Associate Member. He re- moved to London, where he still resides, in 1862. He sent to the Royal Academy, in 1857, “Did it pout with its Betsy?”; in 1861, “Toothache” ; in 1862, “Notice to Quit” ; in 1863, “Waiting an Answer” ; in 1864, “ Among the Old Masters ” ; in 1865, “ A Depu- tation ” ; in 1866, “Both Puzzled”; in 1867, when he was made Associate of the Royal Academy, he sent “ Kiss an ’ make it up ” ; in 1868, “A China-Merchant” ; in 1869, “A Disputed Boundary” ; in 1871, “On the Lookout”; in 1872, “His Babies”; in 1873, “ Steady, Johnny, Steady ! ” ; in 1875, “ The New Vintage” and “Al- ways tell the Truth!” ; in 1876, “Storm at Sea” ; in 1877, “ Un- willingly to School”; in 1878, “The Lonely Tenant of the Glen,” “ Under a Cloud,” and “ The Missing Boat.” “ The Almshouse Nurse,” a sketch of Erskine Nicols, was in the National Academy of New York in 1869; his “ Paying the Rent ” (belonging to F. 0. Day) was in the Centennial Exhibition of Phila- delphia in 1876; his “Collecting his Thoughts” brought $ 1,560, and his “Yours to Command” $ 1,575, in the sale of the Latham Collection in New York in 1878 ; both were painted in 1865, and now belong to Theron R. Butler of New York. His works are famil- iarly known on both sides of the Atlantic through the medium of engraving. “ Erskine Nicol’s ‘ Storm at Sea ’ [R. A., 1876] is a picture of great pathetic power, vigorously lianclled, marvelously well drawn, and abounding in evidences of skill and painstaking study,” —A7-( Journal, July, 1876. “ Erskine Nicol is represented by one of his inimitable bits of Irish comedy. Ex- pression could go no further than in his burly farmer who has come into town to con- sult ‘ His Legal Adviser ’ [R. A., 1877].” — London Standard, May, 1877. ‘‘ A very broadly painted group [‘ Unwillingly to School,’ R. A. , 1877], showing an old Scotch dame doing her best to coax a braw little Hieland laddie, in a kilt and blue bon- net, and with a pair of cheeks like unto two Ribstone pippins, into going to school. The contest of emotions in this work is exquisitely rendered.” — Illustrated London News, May, 1877. Nicoll, J. C. (Am.) Born in the city of New York in 1845, 150 ARTISTS OF THE NINETEENTH CENTURY. where the greater part of his professional life has been spent, with the exception of extensive sketching-tours along the coast from the Gulf of St. Lawrence to Florida. Mr. Nicoll painted for two years in the studio of Mr. F. H. De Haas, and has studied in the fields with Mr. De Haas, Kruseinan Van Elten, and others, hut does not consider himself a pupil of either of these gentlemen, and was not a student of any of the art schools of this country or of Europe. His works, which are of moderate size, have been exhibited in the principal cities of the country. He is not a member of the National Academy, but one of the original members of the Water-Color Society in 1866, holding the position of secretary for nine years, and being better known in that branch of the art, to which a large part of his time has been de- voted. His specialty is coast views. He was elected a member of the Artists’ Fund Society in 1874. Among the better known of Nicoll’s works in oils are, “ Thatcher’s Island, Mass.” (sold in Syracuse), “Sunset, Bay of Fundy ” (now in Chicago), and “ A Summer’s Resting-Place ” (belonging to H. P. Farnham) ; in water-colors, “ Moonlight, Cape Ann ” (the property of J. M. Sears of Boston), “Off Portland Harbor,” “Shower on the Coast,” “ Schroon Lake,” and “ Coast View in Spring.” His “Foggy Morning, Grand Menan ” and his “Gulf of St. Lawrence” were at the Centennial Exhibition of 1876 ; “ On the Gulf of St. Lawence ” and “ Shower on the Coast ” (both in water-colors) were at the Paris Exposition of 1878. “ NicoU’s ‘ Coast View in Spring ’ [water-color, 1875] is an admirable specimen of liis skill. The coast line is rocky, and in giving the texture of the water-worn granite as well as the breaking surf with its shower of spray, the artist shows that his study has been earnest as well as conscientious. In color the work is brilliant, and what is commend- able, there is no departure from truth to produce the result.” — Art Journal, March, 1875. Nieman, Edmund John. (Brit.) Born in Islington, of German parentage (1813-1876). Engaged in mercantile pursuits until the age of twenty-six, when he took up the profession of an artist. He resided in Buckingliamshire, and painted from nature. He first ex- hibited at the Royal Academy, in 1844, “ On the Thames, near Great Marlow,” which attracted favorable notice. In 18.50 he was elected trustee and honorary secretary of the National Institution, a short- lived association of artists. Among his better known works are, “ The Thames at Maidenhead,” “Recollections of the Rhine,” “Scarbor- ough, — Sunset” (1862), “ Moss Troopers,” “The Ambush,” “Chester Cathedral,” “Launch of the Great Eastern,” and a view of “ Scarbor- ough,” his last exhibited work, at the Royal Academy in 1872. ^‘Nieman’s style of painting may lay claim to a certain originality His coloring is powerful, with often a tendency to heaviness, hut at all times it is highly effective. Four of hi.s paintinos are in the National Collection at South Kensington.*’ — Art Journaf^ August, 1S77. Niemeyer, John H. (.4m.) Born in the city of Bremen, 1839. He was taken to the United States at an early age, but returned to Eu- ARTISTS OF THE NINETEENTH CENTURY. 151 rope as a youth to complete his art education, studying in the School of Fine Arts, Paris, under Gerdme and Yvon, and for some time in the private atelier of Jacquesson de la Chevreusse. From 1866 to ’70 he was in the studio of Cornu. He received two medals- from the Imperial School of Design in Paris. His professional life in America was spent in New York until 1871, when he was appointed Pro- lessor of Drawing in the Yale School of Fine Arts, where are some of his genre pictures. Among his important works are, “ Guttenberg inventing Movable Type,” at the Paris Salon of 1869, and at the Cen- tennial Exhibition at Philadelphia, in 1876. Of late years he has ])ainted portraits and ideal works. “ A picture with a meaning conveys a double satisfaction, and the artist could scarcely have chosen a subject more appreciated by every one. The picture itself [* Guttenberg 'J is a product of a master’s hand, and Mr. Niemeyer shows an intimate knowledge of de- tail of the early ages." — New York Telegram, March 4, 1871. Nittis, Giuseppe de. (Ital.) Born at Barletta. Medal in 1876. Pupil of Gerdme. At the Salon of 1877 he exhibited “ Paris, — View from the. Pont Royal” ; in 1876, “ On the Road to Castellamare ” and “Place des Pyramides” ; in 1875, “ Place de la Concorde” and “At Bougival, on the Seine.” At the Glasgow Fine Art Loan Exhibi- tion, 1878, there was a fine picture by De Nittis of the “ Arc de Triomphe, Paris,” belonging to J. G. Sandeman, Esq^. “ In the dis- tance the arch, protected by scaffolding and woodwork. In the street, and riding out of the picture, a lady on a black horse and a gentleman on a brown. In the foreground, to the right, a lady in black, accom- jianied by a nurse with scarlet and black tartan shawl, wait to cross the street. Other figures through the picture.” Nobas, Rosendo. (Span.) At Philadelphia he exhibited “ A Wounded Bull-Fighter,” a portrait of Fortuny, and one of Miguel de Cervantes, all in plaster, and received a medal. Noble, Matthew. (Brit.) (1818- 1876.) Studied in London, e.xhibiting there his first work in 1845. He executed the Wellington Monument in Manchester, Oliver Cromwell in the same city (the first statue to the Protector erected in a public place in England), and statues of Sir John Franklin, Sir Janies Outram, the Earl of Derby, and of Queen Victori.a, in different cities of Great Britain. Among his ideal works are, “Amy and her Fawn,” “ Purity,” “ The Spirit of Truth,” etc. “This flue bronze statue [Earl of Derby] is an object of great attraction to almost every one wlio liappeiis to be for the first time in tlie neigl)borhoo(l of the Houses of Parliament and Westminster Abl)ey. The statue is one of Mr. Noble’s most successful works. The figure, liabited in tlie costume of tlie Oxford cliancellor, is very dignified, yet easily and gracefully imsed ; the expression of the face is rather severe, but highly intellectual. [It was unveiled in 1874.] ’’ — Art Jmirnal, August, 187.'). Noel, Edme-Antony-Paul. (Fr.) Born at Paris. Medals in 1872 and ’74. Pupil of Guillaume, Lequesne, and Cavelier. Prix de 152 ARTISTS OF THE NINETEENTH CENTURY. Rome in 1868. Chevalier of the Legion of Honor in 1878. At the Salon of 1878 he exhibited a portrait of Baron Taylor (in bronze) and “ Meditation ” (a statue in marble) ; in 1876, “ After the Bath ” (statue, marble) ; in 1875, “ Romeo and Juliet ” (group, marble) and “ The Retiarius ” (statue, bronze) ; in 1872, “ Marguerite ” (statue) and “ Death ” (a bas-relief), both in plaster, etc. M. Noel is also known by his artistic work in the Haviland faience, a fine specimen of which is a vase in the possession of Mr. Harjier of New York. His signature is on his vases, and they are all modeled, never molded. Norton, William E. (.4m.) Sprung from a shipbuilding family in Massachusetts, he had, from his infancy, a fondness for the sea, making several voyages before the mast, before he settled in Boston, and began the painting of marine \’iews, which are his specialty, and in which he has met with decided success. In 1877 he went abroad, opening a studio in London. Among his works are, “ Gathering Kelp,” “ Whale-Ships Trying Out,” “ Early ilorning,” “ Calm After- noon,” etc. His “ Fog on the Grand Banks ” was at the Philadelphia Exhibition of 1876. To the Royal Academy, London, he sent in 1878, “The Thames near Blackwall,” “Twilight on the Banks of Newfoundland,” and “Becalmed on the Grand Banks.” To the Mechanics’ Fair, Boston, the same year, “ Midnight Moonlight on the Grand Banks,” “ Nantasket Beach in November,” and “ In the Bay.” “ William E. Norton’s ‘ Crossing the Grand Banks ’ is most remarkable for its effective presentation of fine neutral tints of rich deep gray, and soft rich hazy dream-light." — Journal, May, 1S77. Oakes, John Wright, A. R. A. (Brit.) Born in 1822. First sent a picture to the Roj’al Academy in 1848. In 1860 he exhibited “An Old Sand-Pit”; in 1861, “Water Meadows, Sandwich”; in 1863, “The River in Flood” ; in 1865, “ Morning at Augera, Lago Maggiore ” ; in 1869, “Early Spring ” ; in 1870, “A Summer Morn- ing” ; in 1871, “ Source of the Thames” ; in 1872, “Repairing the Old Boat” ; in 1873, “ A Mountain Stream, Aberdeenshire ” ; in 1874, “ A Sandy Bit of the Road ” ; in 1876 (when he was elected an Asso- ciate of the Royal Academy), “ Fording a Tidal Creek ” and “• Shel- tered”; in 1877, “In the Border Countrie” and “Line-Fishing” (a calm sea on the South Coast) ; in 1878, “ Dirty Weather on the East Coast ” and “ In the Meadows.” “We remember no landscape of Mr. O.akes’ so powerful or so well brought together in effeet as his ‘ Mountain Valley ’ [R. A., 1SG4]. Otters catching salmon in the foreground, whilst behind a sudden gleam of angrj’ light, succeeding rain and snow, smites the frac- tured face of a huge slate-cliff. Tlie work has a real solemnity of effect ” — P.vlgrave's Essays on Art. Oakey, Maria R. (Am.) Bom in New Fork, 184/. She was educated at the schools of the Cooper Institute and the Academy of Design, and has had the benefit of instruction, at different periods, from ARTTSTS OF THE NINETEENTH CENTURY. 153 La Farge, William Hunt, Dr. Riramer, Swain Gifford, George Butler, Edwin Forbes, and Thomas Couture. With the exception of a visit to France and Italy her professional life has been spent in New York. Among her works are a portrait of a boy, life size and full length, ex- hibited in Boston and New York (belonging to Daniel Oakey); por- trait of Miss 0. S. Ward ; “A Woman Serving,” exhibited in New York, Boston, and London (belonging now to Edward Cook); “Vio- lets,” a life-size (three-quarter length) figure of a young girl in an- tique dress, at the Exhibition of the Society of American Artists in 1878; “LTnamorato”; “The Philosopher’s Corner ” (in oil), belong- ing to Samuel V. Wright of New York ; and portraits, flowers, still- life, and charcoal drawings, owned by Miss Bartol of Boston, C. W. Woolsey, John P. Townsend, J. Q. A. Ward, Alexander Cochrane, and others. O’Connell, Mme. Frederic-Emilie-Auguste-Miethe. {Ger.) Born at Berlin, 1828. Pupil of Begas of Berlin. Her first picture, the “ Day of the Dupes,” though far from perfect, was much praised. In 1844 she married and settled in Brussels. Here, by the study of the pictures of the Flemish school, she much improved, and while in Belgium she painted many water-colors, some portraits, and executed most of her etchings. She received at the Salons there all the med- als, including that of the first class. About 1853 she went to Paris, where she was also successful, and where she opened an atelier, and received a number of pupils. Among her works are, “ Portrait of Rachel,” “ Peter the Great and Catherine,” “ Maria Theresa and Frederick the Great.” Among her etchings are, “ St. Magdalen in the Desert,” “ Charity surrounded by Children,” some busts, portraits, etc. O’Donovan, William R. (Am.) Born in Virginia, 1844. An American sculptor whose professional life has been spent in the city of New York. He sent to the National Academy, in 1874, a bust of the late Peter Gilsey (belonging to Mr. Henry Gilsey). In 1876 he exhibited a bust of the late John A. Kennedy, executed for the monument to be placed over his grave by the Odd Fellows. In 1877 he sent his bust of Thomas Le Clear, N. A., and in 1878, busts of William H. Beard, Winslow Homer, and one of William Page, to be presented by a number of prominent residents of New York to the Academy of Design. He is at present (1878) engaged upon a bust of Theodore Tilton, and many prominent Americans have been among his subjects. He was elected an Associate of the National Academy in 1878. “ In making a bust Mr. O’Donovan, as he should, pays as much attention as a por- trait-painter does to the modifying influence of color or form One of the best and best-known artists of the country is reported to have said recently of O’Donovan’s portrait of the painter Page, that it is executed in the true Pliidian spirit. This was only another way of saying that it is in the style of the purest ancient Greek art, and as so little of our modern sculpture deserves such praise, Mr. O’Donovan’s bust is a singu- larly interesting performance.” — Journal, February, 1878. 7* 154 ARTISTS OF THE NINETEENTH CENTURY. Ogilvie, Clinton, A. N. A. {Am.) Born in New York, 1838, He has devoted himself to landscape-painting, studying under James Hart, and practicing his profession in his native city. He has t^Hce visited Europe, working for some time in Paris. In 1864 he was elected an Associate of the National Academy, exhibiting there, in different seasons, “ The Path by the River,” “ Valley of the Croton,” “ Farmington River Scenery,” “ The Brookside,” “ Summer Day in Connecticut,” “ Sunny Summer Time,” “ The Mountain Brook,” “Near Brummer, Switzerland,” “ Lauterhrunnen,” “Lake Como,” “ Lake of Killarney,” etc. His “ In the Woods” was at the Centen- nial Exhibition at Philadelphia in 1876. Oliva, Alexandre-Joseph. (E?-.) Bom at Saillagous.se, about 1824. Chevalier of the Legion of Honor. Pupil of Delaistre. Best known by his portrait statues and busts, of which he has made a great number. His “Rembrandt” (1853) and a bust of R. P. Ventura de Raulica are at the Luxembourg. Olivi^ Leon. (Er.) Born at Narbonne. Medal in 1876. Pupil of Coedes and Cogniet. At the Salon of 1876 he exhibited “The Question ” and “ A Fisherman of the Seine.” O’Neil, Henry, A. R. A. (Brit.) Bom in St. Petersburg, 1817. Taken to England as a child, he displayed a taste for art, and entered the Royal Academy in 1867. He exhibited his first picture two years later, since contributing regularly to the exhibitions of the Academy. His “ Eastward Ho,” in 1858, and (the companion picture) “ Home Again,” in 1859, attracted great attention in England, and brought him into prominent notice as an artist. Both were engraved. Among the better known of O’Neil’s earlier works are, “ The Last Moments of Mozart,” “ Queen Catherine’s Dream,” “ The Return of the Wan- derer,” and “Ruth and Naomi” (which belonged to Prince Albert). In 1860 (when he was elected an Associate of the Royal Academy) he contributed “ The Shipwreck ” ; in 1861, “ The Parting Cheer” ; in 1862, “ Mary Stuart’s Farewell to France ” ; in 1863, “ The Power of Music ” ; in 1864. “The Landing of the Princess of Wales at Graves- end ” ; in 1866, “ The Last Moments of Raffaelle ” ; in 1868, “Before Waterloo” ; in 1872, “Rebecca and Ivanhoe” ; in 1873, “Tintoretto painting his Dead Daughter ” ; in 1874, “ The Path through the Glen ” ; in 1875, “ An Incident of the Plague of London ” ; in 1876, several bits of Scottish landscape ; in 1877, “ Shakspere reading ‘A Midsummer Night’s Dream ’ to Queen Elizabeth”; in 1878, “Loch Leven, 1568 ” and “ Catherine’s Dream.” Many of the above have been engraved. To the Philadelphia Exhibition of 1876 he sent “A Volunteer.” O’Neil, G. B. (Brit.) A resident of London. He paints genre subjects, which appeal to the popular taste. He first exhibited at the Royal Academ}' in 1851, and continues to send pictures there regu- larly. Among his earlier works may be mentioned, “ A Hearty Wei- ARTISTS OF THE NINETEENTH CENTURY. 155 come,” “ A Statute Fair,” “ The Rival Musicians,” “ A Favorite Tune,” etc. To the Royal Academy, in 1868, he sent “Why so late ? ” ; in 1869, “ New Shoes ” ; in 1871, “ The Children’s Party” ; in 1872, “Nestlings” ; in 1873, “Driving a Pair” ; in 1874, “A Little Better” ; in 1875, “Sympathy”; in 1876, “ Our Boys ” ; in 1877, “ The Father of the Regiment ” ; in 1878, “ Reaping Time.” One of his first works which attracted public attention, “ The Found- ling ” (R. A., 1852), bequeathed by Jacob Bell, is now in the National Gallery, London. Many of his pictures have been engraved. Orchardson, William Q., A. R. A. (Brit.') Born in Edinburgh in 1835, and educated there at the Trustees Academy. He painted portraits in his native city for a few years, exhibiting at the Royal Scottish Academy. In 1863 he removed to London, where he still resides, and sent to the Royal Academy, the same year, “ An Old English Song ” ; in 1864, “ Flowers of the Forest ” ; in 1865, “ Ham- let and Ophelia ” ; in 1866, “ Story of a Life ” ; in 1867, “ Talbot and the Countess of Auvergne” ; in 1868 (when he was elected an Associate of the Royal Academy), a “Scene from Shakspere’s Llenry IV.”; in 1869, “The Duke’s Antechamber”; in 1871, “On the Grand Canal” and “An Hundred Years Ago”; in 1872, “Casus Belli ” and “ The Forest Pet ” ; in 1873, “ Cinderella ” and “ The Protector ” ; in 1874, “ Hamlet and the King ” and “ Ophelia ” ; in 1875, “ Too Good to be True” and “ Moonlight on the Lagoons ” ; in 1876, “The Bill of Sale” and “Flotsam and Jetsam”; in 1877, “The Queen of the Swords” and “ Jessica ” ; in 1878, “A Social Eddy ” and “ Autumn.” Among Orchardson’s other works are, “ Peggy,” a scene from “ The Gentle Shepherd ” (Brit. Inst., 1863), “ The Challenge ” (Paris Expo- sition, 1867), “ Christopher Sly,” “Choosing a Weapon,” “ The Vir- tuoso,” “ The Salutation,” etc. He sent to Philadelphia, in 1876, “ Prince Henry, Poins, and Falstaff,” and “ Moonlight on the La- goons, Venice ”; to Paris, in 1878, “ The Queen of the Swords,” “ The Bill of Sale,” “ Escaped,” and “ The Duke’s Antechamber.” “ Orchardson is an artist of more tlian ordinary merit.’’ — Benjamin's Contemporary Art ill Europe. “ Wc look with somewhat mixed feelings on what may, we suppose, he termed the rising school of English and Scottish incident jiainters. Among the latter Mr. Orchard- son has at present the air of losing ground ; the less promising qualities in his work of the last two years liaving obtained in 1865 a certain prominence over the merits visible in his earlier jiroductions. His ‘ Hamlet and Ophelia ’ has many clever points, and the scene has been properly imagined as off the stage, but we do not gain so much as might have been expected ; the two heads, especially Ophelia’s, being poor and unsatisfac- tory in character.” — Palgrave’s Essays on Art. “ ‘ Two Skye-Terriers ’ fR. A., 1S73], by Orchardson, are admirably painted. To each dog is given a definition of character which is remarkably impressive. This is, we be- lieve, the only animal picture by this painter tliat has been exhibited in the Royal Academy. It is not easy to determine whether he deals more favorably with animal or human expression.” — London Art Journal, June, 1873. 156 AETISTS OF THE NINETEENTH CENTURY. Ordway, Alfred. {Am.) A resident of Boston. He was the founder of the Boston Art Club, in 1854, and its first Secretary and Treasurer, its President in 1859, and the Corresponding Secretary in 1866. From 1856 to ’63 he was director of the exhibitions of paint- ings at the Boston Athenaeum, and has exhibited regularly at the Art Club. His pictures are owned by Mr. Thomas Wigglesworth of Boston, Colonel Elliot of Baltimore, and other collectors. “ On Charles River,” “ Newton Lower Falls,” and “ Arline ” were at the Mechanics’ Fair in Boston in 1878. Osborn, Miss E. M. (Brit.) Residing in London, she had for some years also a studio in Glasgow, painting portraits and occasional subject-picture.s. Among her works may be noted, “ Olivia,” at the Glasgow Loan Exhibition of 1878 ; and “A Golden Day-Dream ” and “ The Cemetery at Mazorbo, near Venice,” at the Royal Academy, London, in 1877. Oudin6, Eugene-Andrd (Fr.) Born at Paris, 1810. Chevalier of the Legion of Honor. Pupil of Andre Galle. The works of this sculptor are mostly for public buildings, fountains, etc., and are ap- parently innumerable. He has also executed a large number of por- traits. At the Salon of 1878 he exhibited a portrait of himself, a bust in bronze. Oudinot, Achille Francois. (Fr.) Born at Damigny (Ome), 1820. Pupil of Huyot in architecture, and of Corot in painting. After visiting Italy, from which country he brought many water- color sketches, his vocation for painting seemed too prononce to be disregarded, and, although he has since done considerable work as an architect, it is as a painter that he is best known. He has also occu- pied himself as a designer, especially for the “ Magasin pittoresque,” and has painted on glass. At the Exposition of 1855 his glass paint- ings were much admired. In the Art Journal of January, 1876, is the following : — “ At tlie exhibition of the works commanded by the city of Paris were seen five large and beautiful glass paintings, executed by Oudinot, which are placed on the chevet of the church of Saint-Jacques du Haut-Pas, where tliey make the best effect. It is to be remarked tliat they are painted in black and wliite on a ground of mosaic of gold. It has a happy effect, at the same time that it is a progress. M. Oudinot is now occupied in the restoration of the glass of Jean Cousin, at the Sainte-Chapelle at Vincennes.” Oudinot also placed himself in relations with some master-builders, and was charged with the erection of houses in Paris, a hotel at Passy in the style of Louis XIIL, and with numerous country-houses, among which was that of the late artist Daubigny, near I’lsle-Adam. During the year 1877 Oudinot took up his residence at Boston, and carried to the United States a large number of iiictures, some of which have been exhibited in Boston art galleries and exhibitions. One of these, which wonderfully represents a storm of wind, was pur- chased by Mr. D. Waldo Lincoln of Worcester. Others have been ARTISTS OF THE NINETEENTH CENTURY. 157 bought by Mr. T. G. Appleton, Mr. G. B. Richmond, Mr. Wig- gles worth, and others. His subjects are varied. His landscapes present to us many of the characteristic features of French country scenes, — thatched cottages, wooded paths, meadows and streams, are reproduced with the varied effects of shining and lowering skies, with a charm which written words can scarcely tell, — certainly not in the space here allotted us. His picture of “ Dunes at Dun- querque ” has been much admired. “ Oudinot was long a favorite pupil of Corot, and shows in his works very distinctly the influence of that master on his manner. While he is versatile, his most successful labors are landscapes. These are usually at once rich in coloring and imaginative in temper and quiet Of the pictures by him recently exhibited those were most at- tractive which represented pastoral scenes. Several were marine views, however, and one, representing a land storm, i)roveil that the painter is capable of imaginative work of a high order.” — Art Journal, December, 1877. Ouless, Walter William, A. R. A. {Brit.) Born at St. Heller, s, Jersey, 1848. Educated in the Royal Academy, he has devoted him- self to portrait-painting, spending his professional life in London. He has exhibited at the Royal Academy since 1873, and was elected an Associate of that institution in 1877. Among the better known and more successful of his portraits have been those of Lord Selborne, Lord Justice Amphlett, Charles Darwin, Admiral Sir Alexander Milner, Hon. E. P. Bouverie, Hon. Russell Gurney, etc. Few artists of greater promise in his line can be found than W. W. Ouless. His texture, handling, and coloring are of the first order.” — Benjamin’s Contemporary Art in Europe. ” ‘The Mayor of Newcastle,’ by Ouless, is an agreeable and vigorous portrait, highly creditable to the painter, and honorable to its subject and to its possessors. Mr. Ouless has adopted from Mr. Millais what was deserving of imitation, and has used the skill he has learned to better ends. All his portraits are vigorous and interesting.” — Ruskin’s Notes of the Academy, 1875. ‘‘Mr. Ouless* jiortraits have vast merit. Painted with equal firmness and freedom, they are invariably life-like and expressive, and display a general grace and brilliancy of treatment, which imparts to them a distinctive and resistless charm ." — London Morn- ing Post, May, 1877. Ouvrid, Pierre Justin. (FV.) Born at Paris, 1810. Chevalier of the Legion of Honor. Pupil of Abel de Pujol and Chatillon. His picture of the “Oval Court of the C.astle of Fontainebleau” (1840) and “ The Monument to Walter Scott at Edinburgh” (1863) are at the Luxembourg. The pictm’es of this artist are numerous, and his works varied. He paints in both oil and water colors, and makes lithographs. Overbeck, Friedrich. {Ger.) Born at Lubeck (1789-1869). Associate Member of the Institute of France. After some preliminary studies this artist settled in Rome in 1810, and remained there during his life. He became a Roman Catholic, and laid down as the funda- mental principle of his art, that it existed only for the service of re- ligion. He drew about him many disciples, who with him under- 158 ARTISTS OF THE NINETEENTH CENTURY. took to accomplish the regeneration of painting. He became known through his frescos of the “ History of Joseph,” at the villa of the Consul-Oeneral of Prussia, and “Jerusalem Delivered,” at Villa Mas- simi, in which works he was assisted by his brother artists and pupils. The “ Miracle of the Rose,” in the church of Saint Agnes at Assisi, was almost entirely the work of Overbeck. Among his oil-picture.s are, “The Entrance of Christ into Jerusalem,” at the church of Xotre- Dame in Lubeck ; “ Christ on the Mount of Olives,” at Hamburg ; the “ Marriage of the Virgin ” ; several Holy Families ; the “ Death of Saint Joseph”; etc. Many engravings have been made after the works of Overbeck, and for a time his “ new departure ” in painting was much talked of, and he apparently had great influence. His pupils, as they returned to Germany, were employed in the deco- ration of churches and chapels, and these remain to show the fruit of his influence and doctrines. The chef-d’ceuvre of this painter is the “ Triumph of Religion in the Arts,” which is at the Staedel In- stitute in Frankfort. At the National Gallery, Berlin, is his “ Jeru- salem Delivered.” " The world of modem Gennan art, as that of old, divides itself into two hemispheres ; Overheck rules as the modem Raphael over one: Cornelius, as a German Michael Angelo, hears iron sway over the other. Overherk is the St. John which leaut in love on the bosom of our Lord : Cornelius is St. Peter, strong as a rock on which to build the Church. And as with Michael Angelo followei-s were wanting, so with Cornelius he walks in that tcrribilc via wherein few can venture to tread. The lot of Overbeck is more blessed. Like to Raphael, his forerunner, he draws by love all men unto him ; near to him, through fellowship of endearing sympathy, warmed by the emotion which beauty, akin to goodness, in the universal heart begets. .... Among the oil-paintings of Overbeck, ‘ The Triumph of Religion in the Arts,’ one of the choicest treasures in the Stiidel Institute, Frankfort, is certainly the most elaborate and ambitious. This grand composition, which may be likened in its intent to Raphael’s ‘ School of .Athens,’ or to the ’ Hemi- cycle ’ by Delaroche, has been aptly termed by German critic.s, ‘ The Christian Parnas- sus,’ the dawn of light in Europe. I wish that space were left for detailed description of this work, weighty in thought, and loaded with symbolism, — a work meant as a dec- laration of faith, the programme of a creed, preaching to the world a homily. Yet while pondering on this jiicture well worthy of veneration. 1 could not but regret once more, that Overbeck, in maturing his pictorial thoughts, had not shown like diligence in the perfecting of the material instruments, through which alone ideas can be. made visible. In the remembrance of the heavenly harmonies of Angelico and Perugino, it is hard to forgive even a spiritual artist for crudeness of tone, and for the use of colors which are of the earth earthy. In the recollection of Italian pictures, lovely in all per- fections, it is not easy to bestow unqualified .admiration on figures which, whatever be their Christian graces, are severe in outline, ungainly in form, and feeble in bodily frame. Such defects, however, may be perchance but motes that darken the sunbeam ; they are, perhaps, but the vapora of earth which the light of heaven has struggled in vain to dispel.” — J. Beavington Atkinson, Art Journal. Februarj-, 1S65. ” There is also a conservative religious school illustrated by Overbeck, and an eclectic one by Cornelius and Kaulbach, who thought to rec.ast the art of the nineteenth cen- tury in old molds, and with about as much permanent success as a new order of Stylites miglit expect. These artists are ambitious, learned, sincere, and skillful. But the com- mon people wonder, shake their heads, and straightway forgetting the big paintings compounded of defunct foreign systems and feelings, pass on to admire the easel repre- ARTISTS OF THE NINETEENTH CENTURY. 159 sciitaiions of things familial’ and domcHtic. Modem democratic taste, right or wrong, will not tolerate asceticism, allegory, religious or classical idealism, mysticism, roman- ticism, or other passion of the past, while it can command a plentiful supply of its own loved naturalism. Its idols must talk its own tongue, and have a fellow-feeljug. Democ- racy has hit the right path for a more wholesome art of its own than aristocracy ever worked out for itself. Believe, and then be baptized. The habit of cliurch or state is to baptize first, leaving the neophyte to believe if he can, disbelieve if he dare.” — Jarves, Art Thoughts. Pabst, Camille Alfred. (Fr.) Born at Heiteren. Medal at Paris in 1874. Medal at Philadelphia. Pupil of Comte. At Phila- delphia he exhibited “ The Alsatian Bride,” and at the Paris Salon of 1877, “ The Cradle” and “ The Album of the War and in 1878, “An Apothecary in Alsace ” and “A Corner of my Atelier.” Page, William, N. A. (Am.) Born in Albany, N. Y., 1811. Re- moved in 1820 with his family to New York City. Was a pupil in the classical school of Joseph Hoxie. At the age of eleven he gained a premium from the American Institute for an india-ink drawing. He entered the law office of Frederick De Peyster when quite a young man, but soon devoted himself entirely to art, studying under Pro- fessor Morse, and in the schools of the National Academy. In 1828 and ’29 he painted portraits in Albany. Again settled in New York, and, later, opened a studio in Boston, where he remained until he went abroad. For many years he was considered the leading American por- trait-painter in Rome. He was made a full member of the National Academy in 1836. Among Page’s earlier works are a “ Holy Family ” (belonging to the Boston Athenaeum), “ The Infancy of Henry IV.,” and a portrait of Governor Marcy (the last in the City Hall, New York). In 1868 he sent to the National Academy portraits of Robert B. Minturnand Mrs. Theodore Tilton; in 1869, Henry Ward Beecher (belonging to Theodore Tilton); in 1870, Governor Fenton (belonging to the city of New York); in 1874, Col. R. G. Shaw. His “An- tique Timbrel-Player” was in the National Academy in 1871; “Far- ragut’s Triumphant Entry into Mobile Bay,” in 1872 ; “Shakspere,” in 1874; and “ Shakspere, from the German Death Mask,” in 1876. Among his other works may be mentioned, “ Ruth and Naomi ” (in the possession of the New York Historical Society), “Moses,” “ Ruth,” “ Venus,” and portraits of Robert Browning, and Charlotte Cushman. A head of Christ, painted by Page for Theodore Tilton, and exhibited at the National Academy and elsewhere, attracted much attention. The lectures which this artist delivered at the National Academy were fine, and much valued by the students who listened to them. A number of Page’s pictures were on exhibition in New York in the winter of 1877, including his bust and full-length portrait of Shakspere, his copy of Titian’s “ Venus,” and his own “ Venus,” painted in Rome in 1859, and exhibited in London in 1860 and in New York in 1867. Mr. Page has for some years occupied a studio in New York. IGO ARTISTS OF THE NINETEENTH CENTURY. “ There is much in Page to command respect He experiments boldly in pursuit of the combined splendor and imrity of Titian, thinks profoundly, reasons plausibly, and always essays high art. Ever ready to confound or convince, he surprises, delights, confuses, and disappoints all at once. Some of his portraits exhibit nice discrimination of character, while his ideal works, notwithstanding faults of grammar and much want of good taste, when he departs from direct copying, have something grand in suggestion, showing familiarity with great work.” — Jarves, Art Idea. “Of all the American portrait-painters. Page is the most originally experimental ; he has studied his art in theory as well as practice He seems to unite the conserva- tive instincts of the old-world artists with the bold experimental ambition of the young Republic.” — Tuckerman’s Book of the Artists. “ Page’s portrait of President Eliot of Harvard College [N. A., 1876] is in many re- spects the finest work in the Exhibition. It is a striking likeness, and the pose is emi- nently characteristic of the man. We look upon this work as the highest aim in portraiture. The painting is solid, the drawing firm, and every detail of the work is finished with conscientious care.” — Art Journal, May, 1876. Falizzi, Joseph. (Ital.) Born at Lanciano, 1813. Chevalier of the Legion of Honor. Pupil of the Academy of Naples. He went to Paris in 1844. He paints landscapes, figures, and animals. Naturally, with such endeavors, some things must he good and some bad. It is quite necessary to choose carefully if one buys a Palizzi. At the Salon of 1877 he e.xhibited “Asses in a Forest” and “ Cows in a Pasture” ; in 1876, “ The Return from the Fair” and “The Road of San Germano, near Mount Cassin” ; and in 1875, “An Italian Herds- man descending the Mountain ivith his Sheep.” His “ Landscape with Goats” and “A Neapolitan Boy” belong to J. H. Weeks of Boston. “Joseph Palizzi is a Neapolitan, naturalized Frenchman, even a Parisian by his mind, his talent, his success. 1 know few artists more fruitful, more varied, more anxious to attempt painting in all phases ; he goes from landscape to figures : he knows animals by heart : he leaves one pocket picture in the size and finish of a miniature to undertake a grand eanv.as of historic dimensions. At times he throws aside his palette to essay charcoal and water-colors. He is a seeker ; an insatiable, an ambitious man in the best sense of the word. We can see that success and failure (there are some heights and depths in his history) stimulate him equally.” — Edmoxd About, Salon d«lS64. Palmaroli, Vicente. (Span.) A medal at the Exposition Univer- sal, Paris, 1867. He is one of the chief painters of his school, and may be compared with Fortuny in certain points, and with !Meissonier in others. Two works by Palmaroli, “ The Listener ” and “ The Con- noisseur,” are in the collection of ilr. Theron R. Butler, New York. When his picture of “ The- Sermon in the Sistine Chapel ” was on ex- hibition it attracted much attention. The following extract from a M'riter in the “ Gazette des Beaux- Arts ” relates to this work : — “ Since the first day of the Exposition the critics, whose enthusiasm was immediately excited, group themselves eagerly before the ‘ Sermon in the Sistine Chapel.’ It is be- cause one is always attracted by works in which effect and style are in unity. The pic- ture of Palmaroli has this merit : it is harmonious, it is tranquil, it is sober, and, more- over, adequately colored ; the reds, the blacks, the whites, the browns, are so marvel- ously mingled that this flourish of trumpets (in color) does not cover up the monotonous voice of the preacher. What is wanting in this jiicture (but in so small a me.asure that perhaiis I ought not to speak of it) is a more marked character in the physiognomies of ARTISTS OF THE NINETEENTH CENTURY. IGl the personages. It seems that such an artist as might he named — Meissonier, for ex- ample — would have biirine v/itli more incisive traits tlie faces of the cardinals and archbishops. But what we say ought not to hinder the sympathy which is awakened by tlie i)ietui’e of Palmaroli. Even after the ‘ Sistine Cliapel ’ of Ingres, this work is excel- lent. ” Palmer, Samuel. {Brit.) Bom at Walworth, Surrey, 1805. He studied in the Antique School of the British Museum and else- where, and has spent his professional life in London and the counties of Kent and Surrey, passing two years in study and observation in Italy. He has painted in oil and water colors, and turned his atten- tion somewhat to etching. About 1853 he was elected a member of the Etching-Club and a full member of the Society of Painters in Water-Colors. Among his more important drawings sent to the Water-Color Exhibitions in different seasons are, “ A Dream on the Apennine,” in 1864 ; “ The Ballad,” in 1860 (belonging to F. Craven) ; “ Pompeii ” and “ St. Paul landing in Italy,” in 1868 ; “The Fall of Empire,” in 1871 ; “A Golden City,” in 1873 ; draw- ings from “ Comus,” “ L’Aliegro,” and “11 Penseroso,” and “Tityrus restored to his Patrimony,” in 1877 ; etc. “ Palmer’s studies of foliage are beyond all praise for carefulness. I have never seen a stone'i>ine or a cypress drawn except by him, and his feeling is as pure and grand as his fidelity is exemplary. I look to him, unless -he loses himself in over-reverence for certain conventionalisms of the elder schools, as one of the probable renovators and correctors of whatever is failing and erroneous in the practice of English art.” — Ruskin’s Modern Painters. ** Samuel Palmer is one of the few really great English etchers, but as it results from the nature of his work that each plate of his is very costly in time, and as he happens to be a very successful painter in water-colors, the consequence is that his production in etching has been extremely limited If ever a true appreciation of art shall be- come general among our descendants, they will wonder how it is possible that Samuel Palmer, to whom was given genius and length of days, and who in his time, as they will see, was one of the most accomplished etchers who ever lived, should have left behind him just half a dozen plates.” — Hamerton’s Etching and Etchers, Palmer, Erastus D. (Am.) Born in Onondagwa County, N. Y., 1817. He lived in Utica, N. Y., for many years, following his trade, that of a carpenter. In 1846 he settled in Albany, and began his professional career as a cutter of cameos, pursuing this branch of his art with decided success until 1852, when he executed his first im- portant piece of sculpture, “ The Infant Ceres,” which was exhibited at the National Academy in New York, and attracted much atten- tion. “ Ceres ” was followed by “ The Morning Star,” “ The Evening Star,” and other subjects in bas-relief. Among his ideal busts are, “ Spring,” “ Resignation,” etc. His first full-length figure was the “ Indian Girl,” followed by the “ White Captive,” “ Faith,” “ The Emigrant’s Children,” and “ Peace in Bondage.” Among his other works are, “ The Little Peasant,” “ The Sleeping Peri,” and “ The Infant Flora.” He has executed portrait busts of Moses Taylor, Alexander Hamilton (belonging to Hamilton Fish), Erastus Corning, Governor Morgan, Commodore Perry, and other prominent men. ’ K IG2 ARTISTS OF THE NIA’ETEENTH CENTURY. His “Disappointment,” at the Johnston sale, in 1876, brought $ 660. His bronze statue of Robert Livingston was at the Phil- adelphia Centennial Exhibition of 1876, and was “ commended for artistic excellence,” receiving a medal. Mr. Palmer’s professional life has been spent in Albany. He made his first visit to Europe in 1874, observing and studying the masters, ancient and modern, in the different art centers of the Continent, and working for some time in Paris. “ Palmer’s cameo-cutting was bold, distinct, nnevasive : some of his works in that line are perfect gems, and far more satisfactory than most of the cameo portraits for whicli travelers pay such exorbitant prices in Rome ‘ Ceres ’ was idealizeja- min's Contemporary Art in Europe. Paton, Sir Noel. (Brit.) Joseph Noel Paton wa.s bom in Dunferm- line, Scotland, 1821. He was the son of a designer of patterns, who gave him his first instruction in drawings. He was subsequently a pupil of the Royal Scottish Academy in Edinburgh, and of the Royal Academy in London. In 1845 he received from the Commissioners of Decoration of Westminster Hall a prize of £ 200 for his cartoon, “ The Spirit of Religion,” and in 1847 a prize of £300 for his “ Recon- ciliation of Oberon and Titania.” His “■ Quarrel of Oberon and Ti- tania ” was jjurchased by the Scottish Academy in 1849, and placed in the National Gallery in Edinburgh, at a cost of £ 700. Among his works may be mentioned, “ Thomas the Rhymer and the Queen of Fairyland,” “ The Pursuit of Pleasure,” “ Nicker the Soulle.ss,” “The Bluidy Tryste ” (1858), “The Fairy Raid” (R. A., 1867), “ Caliban ”(R. A., 1869), “ In Memoriam,” and “ Home from the Cri- mea,” the property of the Queen, and exhibited at the International Exhibition in 1862, engraved, and very popular. Paton was knighted in 1867, upon his appointment as Queen’s Limner for Scotland. His “ Good Shepherd ” (belonging to the Queen) and “ Caliban listening to the Music ” were at the Paris Exposition of 1878. “ Paton aims always at a higher province of art than the common class of incidents, and his jiictures arc full of minute detail, not only natural, which he i>aints with great delicacy, but of that antiquarian character which cannot be obtained without pains and study. All this makes us regret that Mr. Paton persists in attempting subjects which, judging from the results, must be pronounced quite above his abilitie.s. He is an exam- j)le of the intellectual illusion which mistakes interest in an art fora iiower in it.’* — Palguavl’s Essays on Art. “ Foremost in its cla.ss, or rather prominent in that original walk which the painter [Xocl Paton] holds exclusively his own. we pause before ‘ Oskold and the Elleiiiaids * [at the Royal Scottish Academy, 187-1],— Oskold, the fonner, being the embodiment of a pilgrim soul, fighting his way through the jierils of a false, lying world ; the latter repre- sentative of the five senses, beautiful sirens, bent on the cavalier’s ruin through their many glittering temptations. Like most of this artist’s allegories, the rigidly j>oetic con- ception with its thousand dreamy suggestive accessories can find but scant justice in word description. As tlie whole scene is in a sense spiritually originated, it must be not only materially but spiritually discerned.” — London Art Journal, Ajwil, 1874. Paton, Waller H. (Brit.) A native of Dunfermline. Scotland. Younger brother of Sir Noel Paton and of Mrs. D. 0. Hill. He was brought up as a banker. Possessing, however, much of the inherent talent for art which has made his family remarkable, he turned his attention to painting, devoting himself particularly to landscapes. He is an artist comparatively self-taught, and has spent the better part of his professional life in Edinburgh. He has been a member of the Royal Scottish Academy for some years, contributing frequently to its exhibitions, as well as to those of the Royal Academy in Lon- don. Among his later works are, “ Old Homes ’’and “New Tenants,” “ Decay of the Forest,” “ Falls of Tummell,” and others, at the Royal AETISTS OF THE NINETEENTH CENTURY. 167 Scottish Academy in 1878. His “ Lamlash Bay, Isle of Arran” is in the National Gallery of Scotland ; his “ Dell without a Name ” was at the Philadelphia Exhibition of 1876. “ In all of Waller Paton’s landscapes there is a strong leaning to the spiritual above the material, — as little of the human as must be, as much of the divine as may. The ‘ Summer Evening, Invereloy Arran ’ [R. A., 1874], although entirely faithful in feature to the locale, is handled with such delicate grace, and is so redolent of the sweet sanctity of perfect peace, that we seem to gaze rather on a fairy region than on any this world can offer.” — Art Journal, March, 1874. Patrols, Isidore. (Fr.) Born at Noyers. Chevalier of the Legion of Honor. At the Salon of 1877 be exhibited “The Visit’’ and “The First Suspicion”; in 1876, “In the Garden ” and “ Le juge intime”; in 1874, “The Reading, — Young Russian Girls,” “Confidences,” and “Fruits.” Many of the pictures of Patrois are scenes from Russian life. “ The Young Mother ” is in the collection of Mrs. H. E. Maynard of Boston. Near St. Petersburg there is an- nually a procession of Holy Images, which is intended as a memorial of the procession of 1832, when the cholera proved so fatal in Russia. Patrois painted a picture of this procession in 1861, which is in the Luxembourg. Patten, George. (Brit.) (1802 - 1865.) Received his first in- struction in art from his father, a miniature-painter of some repute, devoting himself, after studying in the Royal Academy, to that branch of art, but, later, turning his attention to portraits on a larger scale. He was appointed Portrait-Painter to the Prince Con- sort shortly after the marriage of the Queen, enjoying for many years the patronage of British Court circles. He painted a few ideal pic- tures, but was more successful in his portraiture of living subjects. Patten, Alfred Fowler. (Brit.) Born in London, 1829. Son of George Patten, pupil of his father, studying also for some time in the Royal Academy. He has exhibited frec^uently at the Royal Acad- emy, and in the gallery of the Society of British Artists, of which institution he has been a member for some years. Among his later works at the Royal Academy may be noted, “ May-Day Revelers fetching forth their Queen,” in 1870 ; “ Happy Springtime,” in 1873; “Reading Robinson Crusoe,” in 1878. To the Society of British Art- ists he sent, ill 1877, “Lovers, beware ! ” and “Fresh Flowers”; in 1878, “Feeding the Ducks ” and “ La belle fleuriste.” Pauwels, William F. (Dutch.) Born at Eeckeren, 1830. Di- rector of historical painting in the Academy at Weimar. Pupil of Wappers and De Keyser. Painter of historical and genre subjects and portraits. Among his works may be mentioned, “ The Widow of Van Artevelde,” “The Proscribed Victims of the Duke of Alba,” and the “ Calling of St. Clara.” Pauwels has decorated the interior of the Hall at Ypres ; the subjects are historical scenes from 1187 to 1383, such as “The Founding of the First Hospital in Flanders,” “The Return of Warriors after the Battle of the Golden Spurs,” etc. 1C8 ARTISTS OF THE NINETEENTH CENTURY. One of his later works is a genre picture of “ Queen Philippa of Eng- land succoring the Poor of Ghent.” At the Corcoran Gallery, Wash- ington, is his “Justice to Lievin Pyn, 1541.” Pazzi, Enrico. (Jtal.) Born at Ravenna, 1818. Knighted hy Victor Enmianuel, he has received from King Humbert the highest pension of the Commandery of the Order of Saints Maurice and Laz- arus. Professor in the Academy of Florence and honorary member of many Italian and foreign academies and societies. He first stud- ied in the Academy of Bologna under Professor Santi; later, in Flor- ence under Dupre. He received a subsidy from the city of Ravenna for six years, to enable him to continue his studies. In 1848 he re- turned to Bologna. In 1868 his statue of Dante was erected in the Piazza Santa Croce at Florence. Later he modeled a statue of Savo- narola (intended for a large hall in the Palazzo Vecchio, Florence) and a group called “ Venice Enslaved.” He was summoned to Bel- grade in Servia, where he received from that government a commis- sion to erect (in bronze) an equestrian statue to ^lichael Obrenovicht III. About the same time he ■was charged with the erection of a monument to the illustrious Luigi Carlo Farina, the patriot historian, in the Piazza della Stagione at Ravenna. At the unveiling of this monument Pazzi was made a citizen of the toum of Russi, the birth- place of Farini, and it was also upon this occasion that he was so highly honored by King Humbert. One of the earliest works of this sculptor was “ The Child Moses trampling on the Crown of Pharaoh,” and one of his hvtest is “ Lucretia.” Peale, Rembrandt. (Am.) Bom in Pennsylvania (1778-1860). He early evinced a taste for art, and in 1795 painted from life a por- trait of General Washington, frequently copied by himself and others, and well known through the engravings after it. It was purchased by the United States Government in 1832. Peale studied art under liis father Charles W. Peale, one of the early American portrait- painters in Philadelphia, opening a studio of his own in Charleston, S. C., in 1796. In 1801 he went to London, where he was a pupil of Benjamin West until 1804. He lived for three years in Paris, return- ing to America in 1809. Among the better known of his portraits are those of President Jefferson, Mrs. Madison, Commodores Bain- bridge, Perry, and Decatur (in the Gallery of the Flew York Histori- cal Society) ; of Houdon the sculptor (in the Pennsylvania Academy of Fine Arts); of General Armstrong, and an equestrian portrait of Washington (in Independence Hall), and many people of note on both sides the Atlantic. His “ Errina ” is in the collection of H. C. Carey of Philadelphia. “ Wine and Cake ” and “ Italian Pe;rsant ” belong to James L. Claghom ; “ Babes in the Wood,” to Marshall 0. Roberts ; and “ Song of the Shirt,” to G. W. Riggs. His “ Court of Death ” (a large canvas, 13 feet by 24 feet) has been frequently litho- graphed and engraved, and is probably the best kno'sra of his works. ARTISTS OF THE NINETEENTH CENTURY. 169 It was exhibited in almost every important city of the United States. Rembrandt Peale was the author of several books : “Notes on Italy,” published in 1831 ; “Reminiscences of Art and Artists,” published in 1845 ; besides a biography of his father, and occasional papers on art topics. Peale, Sara M. (Am.) Daughter of James Peale. She studied under her father, and under her uncle John Peale (the founder of Peak’s Museum), devoting herself to portrait-painting, and working at her profession for some years in Baltimore and Washington, where she had among her sitters Lafayette, Benton, Henry A. Wise, Caleb Cushing, and other distinguished men. She resided in St. Louis from 1847 to ’77, painting there, among other portraits, one of Father Mathew. She went to Philadelphia in 1878. Of late years she has turned her attention to fruit-pieces. Pearce, Charles Sprague. (Am.) A native of Boston. He has lived for some time in Europe, painting under Bonnat in Paris, and spending his winters at Nice. He has also made tours in Africa, Algiers, etc. He has devoted himself to portraits and figure-pieces, exhibiting in the Paris Salon. To the Centennial Exhibition at Philadelphia in 1876 he sent “ L’ltalienne ” ; to the exhibition of the Society of American Artists, in 1878, “ The Lamentation over the First-Born in Egypt.” His “ Pet of the Harem ” (belonging to R. S. Fay), and the “Lamentation” and others, were exhibited at the Mechanics’ Fair, Boston, 1878. Peduzzi, Renato. (Ital.) Of Milan. At Philadelphia he ex- hibited “ A Chimney-Piece with a Boy representing Silence,” “ A Boy and a Swan,” and “A Dancing Fawn,” and received a medal. Peele, John T., A. N. A. (Brit.-Am.) Born in Peterboro’, Eng- land, 1822. Carried to America by his parents in 1824. Began the practice of art in Buffalo, N. Y., under difficulties and with no art education. He painted portraits in New York, Albany, and London, England, settling finally in New York about 1846, where he turned his attention to the painting of ideal subjects, in which children form the principal feature. He went again to England in 1851, to the Isle of Man in 1858, remaining eight years, and finally took up his residence in Kent. He is an Associate of the National Academy of Design, New York, and a member of the Society of British Artists, in whose galleries, as well as in those of the Royal Academy, London, he frequently exhibits. Among his works are, “ The Children of the Wood,” “Grandma’s First Lesson in Knitting,” “Music of the Reeds,” “The Little Laundress,” “Children of Robert Thornton” (R. A., 1874), “ Grace before Meat,” “ Highland Supper,” “ Sunny Days of Childhood,” “ Asleep on Duty,” “ One Tune More,” “ Blowing Bubbles,” “ A Monument of Suspense,” and “ The Prayer for Health,” many of which have been engraved. His “Children of the Wood” (purchased by Prince Albert) is in Osborne House, Isle of Wight. von. II. 8 170 ARTISTS OF TUB NINETEENTH CENTURY. “ Peek’s method of treating juvenile portraiture is both commendable and pleasant : it retains the individuality while it takes the impersonatiou out of the category of a mere portrait, dressed and set up for the occasion In all of his works Mr. Peek’s aim and purpose seem to have been to show as much of the poetic side of nature as is consistent with his subject, to preserve its individuality, while imparting to it something beyond mere natuialism." — JH Journal, May, 1876. Peiffer, Auguste- Joseph. (Fr.) Bom at Paris. Pupil of Klag- mann. Medal of the third class in 1878, when he exhibited “ The Swallows,” a statue in marble. Peinte, Henri. (Fr.) Bom at Cambrai. Prix du Salon, 1877. Pupil of Guillaume and Cavelier. The sensation which the ’• Sarpe- don” of this artist made is well shown in the extracts below, and when it is found so artistic and beautiful in plaster what may it be in some more artistic material ! “ The ‘ Sarpeclon * of Peinte is one of the statues most justly remarked by all those who have studied the human body and the difficult art of reproducing it with originality. It merits iht prix du Salon which it receivefL*’ — Charles Timbal, Gazette dcs Beaux- Arts, June, 1877. “ The figure is solidly, firmly planted. The attitude and the movement are exact and correct. The design, without angles or heurts, is of a rare elegance. The muscles are wisely treated, without exaggeration. The ensemble is irreproachable, and the ‘Sarpe* don,' in bronze, will become classic.” — Mario Proth, Voyage an Paysdes Peinires, 1S77. Pellegrin, Louis Antoine Victor. (Fr.) Born at Toulon, 1836. Made his debut at the Salon of 1864, with a picture of “Louis XIV. making Presents to the Duchess of Bourgogne in the Apartments of Mme. Maintenon.” This was followed by “ Marie Antoinette wait- ing to be taken to the Tribunal,” “Vert-Vert,” “Interior of the Church of Saint-Severin,” “ Marie Antoinette conducted to the Scaf- fold,” etc. He exhibited at the London Academy, in 1873, “ Saint- Severin’s Church at Paris on Christmas Eve.” Pelouse, Louis Germain. (Fr.) Born at Pierrelaye. Medals in 1873 and ’76. Landscape-painter. His “ Souvenir of Cernay ” (1872) is in the Lu.xembourg. At the Salon of 1877 he exhibited two views in Finistere, one an evening and one a morning effect. They belonged to M. Tabourier and M. Hoschede. Penley, Aaron Edwin. (Brit.) (1806 — 18(0.) Mater-color artist, painting landscapes, portraits, and rustic figure-pieces. He was Professor of Drawing at IVoolwich Academy, M ater-Color Painter to IVilliam IV., and author of several valuable books upon art sub- jects. Penne, Charles Olivier de. {Fr.) Bom at Paris. Medal in 1875. Pupil of Cogniet and Jacque. At the Salon of 1877 he ex- hibited “Dogs of St. Hubert” and “Fox Hounds”; in 1876, “ The Cry of the Mbld Boar” and “English Dogs” ; in 1875, “Xor- man Dogs ” and “ Cerf force, — tenant les abois.” At the Johnston .sale in 1876, “The Lost Scent” (12 by 18) sold for §190 (water- color). At the Salon of 1878 he exhibited “English Dogs” and “ Dogs of Saint-Germain and Skye.” ARTISTS OF TEE NINETEENTH CENTURY. 171 Pennethorne, Sir James. {Brit.) Bom in Worcester, England, 1801. At an early age he went to London, studying architecture under Nash, Pugin, and others. About 1825 he visited the Conti- nent, spending some time in study in Romei In 1840 he was appointed architect and surveyor to the Commissioners of Woods, and turned his attention particularly to the improvement of the streets of London. Among the better known of his architectural works are the new wings of Buckingham Palace and Somerset House, and the new University of London. He also furnished designs for the laying out of Battersea and Victoria Parks. He was knighted by the Queen in 1870. Pereda, Raimondo. {Ital.) Of Milan. At Philadelphia he ex- hibited, “ Love’s Net,” “A Child’s Grief,” and “Pretence and Sym- pathy,” in sculpture. At the Paris Exposition of 1878 he exhibited a group in marble, called “ Orphelins de mere.” Perigal, Arthur. {Brit.) A native of London, residing for many years in Edinburgh. Landscape-painter. Member of the Royal Scottish Academy, exhibiting there and at the Royal Academy in London. Among his later works may be noted, “Loch Assynt, Sutherlandshire, ” “ Vesuvius, from Naples,” “At the Pier at Nairn,” “ Arran,” “ On the Jed,” “ A Rough Day,” “ Evening in Skye, ” “ Loch Tromlie,” “ Morning in Glen Nevis, ” etc. His “ Moorland near Kiii- lochewe, Ross-shire ” is in the Scottish National Gallery. Pdrignon, Alexis. {Fr.) Born at Paris, 1806. Officer of the Legion of Honor. Pupil of Gros. This celebrated portraitist is dis- tinguished by “ a true color, a firm and fine pate, with elegance of form, grace in modeling, and a sober and wise execution.” Large numbers of his portraits have been exhibited at the Salons. Perignon be- came, some years since, the Director of I’Jicole des Beaux- Arts at Dijon. He exhibited two portraits at the Paris Salon of 1878. Perkins, Charles C. (Am.) Born in Boston, 1823. Chevalier of the Legion of Honor, 1867. Corresponding Member of the French Institute, 1868. President of the Boston Art Club since 1871. Mem- ber of the American Academy of Arts and Sciences, 1874. Honorary Director of the Museum of Fine Arts, Boston, 1876. Member of the New England Historical Society, 1876. Honorary Member of the Metropolitan Art Museum, New Vork, for life. President of the Handel and Haydn Society since 1875. Mr. Perkins studied oil- painting under Ary Scheffer, and etching under Bracquemond and Lalanne. Though not a professional artist, he devotes himself to the study of art in various directions, delivers lectures upon subjects con- nected with etching and other kindred topics, and published “ Tuscan Sculptors,” two volumes, in 1864, and “ Italian Sculptors,” one vol- ume, in 1867. The plates in these books were etched by the author, many of them from his own drawings. In 1878 Mr. Perkins pub- lished “ Raphael and Michael Angelo,” a biographical and critical essay. 172 ARTISTS OF THE NINETEENTH CENTURY. “ ‘ Italian Sculptors ; being a History of Scuipture in Nortbem, Southern, and East- ern Itaiy.’ Mr. Perkins continues, we trust he does not conciude, his vaiuabie popuiar dissertation on the scuipture of Itaiy. Haring, four years since, given us an exceiicnt account of the arts in marbie and bronze as tiiey were practiced in the seats of the old Etruscans and their accessories, he turns to other fields in that peninsula, which, if it was not the birthplace, has been the Capua and the grave of the nobler arts The author reviews with much tact, excellent taste, and ample learning, the seulptnral schools of Rome, Lombardy, — a very interesting branch of the subject, wherein he points out the error of ascribing the arts of their Italian buildings to the Lombard tribe, rather than to the Maestro Comaeini, or freemasons, and traces the whole historj- of that noble branch of design, — Venice, with a charming school of the greatest wealth, Verona, Vicenza, Padua, Mantua, and Brescia, all of which have marked characteristics, and the cities of Central Italy, Bologna, Ferrara, Modena, Genoa, Carrara, etc. Our verdict on this admirable work is given with pleasure, not only on account of the taste, tact, learning, and comprehensive views of the author, butbecamse his literary style is clear, hLs research large, and his illustrative power rich.” — London Athemeum, January 2, 1S69. “ In choosing Raphael and Michael Angelo for his subjects, Mr. Perkins sets his feet in a well-worn track Next best to new material, however, is a novel and lively presentation of the old. Andtosomuch of originality, Mr. Perkins in this scholarly and refined treatise can lay claim. No one before, if our memoiy serves, has given a sketch of these two great artists set side by side like the double profile on an antique coin, one shining in the sunshine of youth and love and divine achievement, the other somber with the njighty shadows of his own stormy power.” — Literary IForld, March, 1878. Perraud, Jean Joseph. (Fr.) Born at Monay (1821-1S76). Member of the Institute, 1 865. Officer of the Legion of Honor, 1867. Medal of Honor, 1869. This sculptor was the pupil of Ramey and A. A. Dumont, and of I’Ecole des Beaux- Arts. He gained the grand prix de Rome in 1847. In 1863 he exhibited “The Infancy of Bac- chus,” nowin the Luxembourg, which reappeared at the Exposition of 1867; in 1869, “Despair,” now in the Luxemboui^, which was much remarked, and “ Sainte-Genevieve,”for the church of Saint-Denis- (lu-Saint-Sacrament. Perraud executed a figure of “ Justice ” and two caryatides for the Palace of Justice, and a group of the “ Lvric Drama ” for the New Opera House at Paris. He followed the classical traditions, and has been called cold and mannered. In 1866 he ex- hibited at the Salon two portrait busts; in 1875, “ The Day,” a group in marble, for the Avenue de PObservatoire, and two portrait busts; in 1874, two portrait busts ; in 1873, “ Galatea,” statue in marble. “ ‘ The Infancy of Bacchus ’ is the work of a sculptor who knows all the secrets of the human form, and excels in expressing them, even in the attitudes, which, like those he has given to these figures, make most prominent the hidden details of the interior structure of the bones. The trunk, the limbs, the shoulders of the fawn, are of superb workmanship : the flesh, although virile and firm, has a supple delicacy and much life ; the head is expressive : the little Bacchus is also full of delicacy and force ; in fine, the work is marvelou-sly brilliant in all its details. We believe, at the s.ame time, that in the next figure which Perraud cuts in marble he will preoccupy himself more with the beauty of the whole effect and with the eurj-thmy of the lines. Perraud is a sculp- tor, he is not yet a statuary.” — Paul Maxtz, Gazette, des Scaux-Arts, July, 1863. Perrault, L^on. (Fr.) Bom at Poitiers. Medals at Piiris in 1864 aud ’76, and one at Philadelphia. Pupil of Picot and Bouguereau. ARTISTS OF THE NINETEENTH CENTURY. 173 At Philadelphia he exhibited “ The Bather ” and “ Repose,” and at the Salon of 1877, “ Jesus Christ in the Tomb ” and a portrait ; in 1878, “ Maternal Tenderness ” and a portrait. Ferret, AimA {Fr.) Born at Lyons, 1847. Third-class, medal in 1877. Pupil of r licole des Beaux- Arts of his native city, and of Vollon at Paris. He exposed several works at Lyons, and had already attracted much attention when he made his debut in Paris, at the Salon of 1870, with the “ Gossips of the Banks of the Rhone, — in the Fog.” This same year he came under the influence of Vollon, who was of great advantage to him. He joined the army in 1870, and after his duties there were ended, he made his journey to La Bresse, the quaint country from which he has drawn so many inspirations. Among his works are, “A Baptism in La Bresse” (1877), “A Wedding in Bourgogne in the Eighteenth Century ” (1876), “ Between two Fires ” and a “ Ravine of Bugey ” (1875), “ The Oriental ” and “ Young Girls of Macon.” At the Salon of 1878 he exhibited a portrait and “ A Dream on the Grass.” Perry, B. Wood, N. A. {Am.) Born in Boston, 18.31. Was for some time in a mercantile house in New Orleans. In 1852 went to Europe to study art, visited London and Paris, and settled in Diissel- dorf, studying under Leutz for two years and a half, and was in the studio of Couture in Paris for one year. In 1857 he went to Venice, holding the position of United States Consul. In 1860 he returned to the United States, and visited many of the cities of the South and West, where he was well regarded as a portrait-painter. He spent three or four years in San Francisco, and went to the Sandwich Isl- ands ; on his return painting portraits of Brigham Young and other Mormon leaders. He settled in New York in 1866, and contributed to the National Academy, in 1867, “ Counting the Spoils.” In 1868 he was made Associate of the National Academy, and in 1869, when he exhibited “ The Weaver,” he was made Academician. In 1870 he exhibited “ Huldy,” “ The Contraband of Peace,” and “ The Story of the Tiles ” ; in 1871, “ The Garibaldian,” “ The Lost Art,” “ The Clock- Doctor,” and “ Saturday Afternoon ” ; in 1874, “ He ’s coming, — Anne Hathaway ” (belonging to E. E. Dorman) ; in 1875, “ The Old Story,” “A Good Egg,” and “ Heart’s Ease” ; in 1876, “A Quilting-Party,” “A Bit of Gossip,” “A Quiet Afternoon,” and others ; in 1877, “The Sower,” “Sweet Corn,” and “A Helping Hand”; in 1878, “The Story.” In 1876 he sent to the Water-Color Exhibition, “ A Month’s Darning” and “ Anne Hathaway’s Kitchen” ; in 1877 (when he was elected a member of the Society), he contributed “ Spun Out,” “ A Nice Book,” and “ The Milkmaid.” His “Young Franklin and the Press” belongs to the Buffalo Academy of Fine Arts ; “A Month’s Darning,” at Philadelphia, in 1876, is in the collection of S. V. Wright. “ Perry at the present time occupies a place very nearly at the head of our American genre painters. He was one of the first of them to paint American subjects, and the 174 ARTISTS OF THE NINETEENTH CENTURY. most lowly are invested with a poetry of feeling and delicacy of expression which are not exceeded hy any of his contemporaries. That he is a close student, the wide range of his domestic subjects gives ample evidence. His style is broad, but, in connection with it, tliere are an apparent mellowness of execution and unity of sentiment, which are so noticeable in the best works of the modem French schools.” — Art Jmmvil, July, 1S75. ** Mr. Perry exhibited three pictures, ‘ The Weaver,’ ‘ Kept In,’ and ‘ Young Franklin,* all characteristic and distinctively American. This artist has made steady progress, and adhered with commendable strictness to subjects within the scope of his powers and sympathies, and he has gradually, but surelj*, attained a command over hU materials that is wortliy of high praise. His pictures are illustrative and ]deasing, and evince a con- scientious study of his subject. He has not yet attained complete mastery of the figure, nor are his pictures free from labored manipulation and thinness of method, but they evince genuine qualities of merit.” — Prof. Weir’s Official P^eport of the American C€n~ tennial Exhibition o/lS7C. Perry, lone. {Am.) Born in the city of New York, 1839. She studied in the art schools of the Cooper Institute, New York, and for some months was a pupil in painting of Mr. Henry Loop. Her pro- i'essional life has been spent in New York, and her works are exhibited in the galleries of Schaus, Goupil, and others. Among her paintings may be mentioned, “ Called by the Angels ” (belonging to Mrs. Younglove of Cleveland, Ohio), “ Fadalma ” (belonging to Mrs. A. C. Longstreet of New York), “Hypatia” (belonging to Miss Mary L. Booth of New York), “Eomola” (belonging to Miss Bunce), and “ Heavenward,” “ Consuelo,” “Aida,” “ Zenobia,” “ Elsa at the Com- ing of Lohengrin,” etc. “In conception, originality of treatment, and spirited drawing, this work [‘Heaven- ward’] may be reganledas the chef-iVceuvre of this gifted lady. It has been reproduceened of late years, that he has lived to see the scepter pass from his hand. Such is the fate of all reformers. The genius which entitles them to our veneration, and increases the world’s stock of culture and progress, so tends to educate the rising generation that the very efforts which placed them on so liigh a point aid to carry their pupils still higher and beyond them. We can- not, perhaps, ascribe to Piloty original powers equal to those of Kaulbach or of some of the rising school. But there is some brilli.ant work, notwithstanding, in a painting which he is now executing for the new Rathhaus, or City Hall, of Munich, for which he is to receive 50,000 florins ; a large sum for Germany. It is an allegorical representation of the city, and contains portraits of all her citizens who have been distinguished in her past history. It seems thus far to contain more of the good qualities of his style and less of the faults of his other works.” — Benjamin-, Contemporary Art in Europe. “ In Piloty's much-admired picture of ‘ The Death of Wallenstein,’ the truth with which the carpet, the velvet, and all other accessories are painted, is certainly remark- able ; but the falsehood of giving prominence to such details in a picture representing the death of Wallenstein, as if they were the objects which could possibly arrest our at- tention and excite our sympathies in such a spectacle, is a falsehood of the realistic school. If a man means to paint upholsterj", by all means let him paint it so as to de- light and deceive an upholsterer : but if he means to paint a human tragedy, the. uphol- sterer must be subordinate, and velvet must not draw our eyes away from faces.” Mr. Lewes, Fortnightly Review. ARTISTS OF THE NINETEENTH CENTURY. 183 In this art, whatever be its worth, Piloty is a master, — what a baton is to the con- ductor of an orchestra, what a bow is to the leader of violins, such is the brush in the hands of this painter. Manipulation so dexterous, and for detail so minute, does not stop with the delineation of form : it goes on even to the illusive imitation of surface. Texture is got by loaded solid paint, transparency by thin liquid wash. As’ an example of the former method, look at the ciminbling and calcined ruins of Nero's Golden House. Gaze, too, when next in Munich, on the glitter of that diamond ring which dazzles on the hand of Wallenstein.” — J. Beavington Atkinson, Art Journal^ October, 1865. Pils, Isidore Alexandre Augustin. {Fr.) Bom at Paris (1813 - 1875). Memlier of the Institute. Officer of the Legion of Honor, and Professor in I’Ecole des Beaux-Arts. Pupil of Picot, and a grad- uate of I’Ecole des Beaux-Arts. In 1838 his picture of “ St. Peter healing the Cripple at the Gate of the Temple ” won for him the grand frix de Rome. After his studies in Rome he traveled consider- ably, and went to the East during the Crimean war, where he made studies for some of his most notable pictures. That this painter suc- ceeded in addressing himself to popular favor in France cannot be doubted, when we remember the honors bestowed upon him ; but his works are open to severe criticism, and this has not been wanting. His principal works are, “Christ preaching in Simon’s boat” (1846); “ Death of Mary Magdalene ” (1847), purchased by the Minister of the Interior ; “ Bacchantes and Satyrs ” (1848) ; “ Eouget de I’Isle sing- ing the Marseillaise for the first Time” (1849) ; “Death of a Sister of Charity” (1850) ; “The Athenian Slaves at Syracuse” (1852) ; “Prayer at the Hospital” (1853); “A Trench before Sebastopol” (1855) ; “ Disembarking of French Troops in the Crimea” (1858) ; “ De- file of Zouaves in the Trench before Sebastopol ” ; “ School of Musketry at Vincennes” (1859) ; “Battle of Alma” (1861), purchased for the Minister of State, — a chef-d’ceuvre, the work rvhich in the future will give him the most fame ; “ Fete given to the Emperor and Empress at Algiers in 1860 ” (1867) ; and many pictures in aquarelle which we have not space to enumerate. The four paintings in the vault over the great staircase in the New Opera House are by Pils. “The most coarse and truly vulgar of military painters is Pils, whose glaring daubs, of gigantic dimensions, are liberally purchased by the government, whilst their author receives the honors of his profession. The reader may remember a picture by him in the Exhibition of 1867, rejireseuting a reception of Algerian chiefs by the Emperor and Empress of the French. I have never seen so perfect an instance of this particular kind of art-degradation. Painters have often before condescended to flatter the pride of pow- erful sovereigns, but the adulation has been accompanied by art. In this instance the picture was as much painting in the true sense as the reports of the same scene by the government penny-a-liners were literature ; the fierce glare of the colors corresponded to the ardors of the bought journalist. In another picture of nearly equal dimensions are a company of colossal riflemen sprawled on their bellies in the foreground, displaying a row of gaiters and shoes, with odd results to the grace of the composition.” — Hameb- ton’s Contemporary Fren^ Painters. “ M. Pils paints soldiers with manly simplicity, without bluster and artificial swag- gering. He jiuts a soul under their uniform, and gives each one a character You can examine them one by one, they all interest you ; they live, they think, and they act." — Theophile Gautier, Abecedaire du Salon de ISGl. 184 ARTISTS OF THE NINETEENTH CENTURY. " By a singular and rare privilege, that which Fils said of his master can be applied exactly to himself : and we know not how to better close this notice than to borrow of him the lines whicli he has consecrated to M. Picot ; ‘ He had neither pride nor vanity ; he never spoke of himself or of liis works ; tills soul, so honestly bom, so sincerely good and instinctively wortliy, had no need of any sort of mask in order to make itself resiiectei He spoke not willingly of art, and took pity on the declaimei-s on this subject His love for art was so profound that words seemed to him powerless to express it. All insuffi- cient expression seemed to him a profanation.’ I repeat it. Fils is a French artist in the most rigorous acceptation of tlie term. An artist, lie possessed all the beautiful quali- ties, — tlie genius, the warmth, tlie disinterestedness. Freucli he was also, by his emi- nent qualities as a designer ; ids sketcliing was bold, spirituel, very skillful in lightness, and full of freedom He never made merchandise of his art, or sjieculated on his tal- ent. He demanded of liis natural gifts only the translations of tlie conceiition of his tliouglit, or the dreams of his imagination, without disturbing Iiimself with the demands of fashion or tlie fonduess of the multitude. He was never preoccupied witli makinga fortune. After having been one of the mastei-s of tlie French scliool, after enjoying a fame whicli to the clever or the complaisant brings infallibly riches, he died iioor, very poor. I know no better eulogy to give Iiim. A French painter, his talent had the grand national quali- ties, — simplicity, neatness, brilliancy. His legitimate ancestors are Lelirun, Jouvenet, Lemoine, Natoire, Gros, Gerard, Gericaiilt He had the power to take liis inspirations or demand his instructions in Germany or Flanders, in Spain or at Genoa. The tradi- tions of his countiy appeared to be sufficient for him ; he remained indissolubly at- tached to it, — a merit more rare tiian one thinks in tliese times. In studying attentively our conteinporaneoiis art, one discovers some exotic cuiTents, some foreign intrusions, some influences in antipatliy to tlie national temperament ; and this state of things allows us only to reflect sadly enougli upon whoever has it at heart to maintain in France tlie preponderance in works of taste. It is our last superiority ; let us not compromise it ; let us sustain it with ail tlie ardor of filial piety. From tills side, perhaps, the rising again and tlie salvation will come. Fils would have raised a warning finger to those who follow us ; he can take his rest ” — L. CLfiMENT de Ris, Gazette das Beaux- A rts, December, 1875. “ He wislied to consecrate the last years of his life of suflering to a work which should class him among the painters of history Fils deceived himself ; he was not bom for grand mythological painting. He was well aide to make his zouaves scale tlie heiglits of Alma, but the suniinits of Olympus are not taken by .assault. His figures were too heavy to sustain tlieinselves on the golden clouds of the Homeric heaven. His qualities of life, of movement, of picturesqueness, liis lively feeling for the modem mili- tary type, whicli is tlie characteristic of his talent, only hindered liini. To succeed in this new genre, it was necessary to become anotlier painter, — to be transfomied. That is what he did ; tlie metamorphosis avas sad. He was Isidore Fils ; lie was a painter like so many others, skillful, ingenious, experimental, but stripped of originality, of power, of nobility. Happily for this valiant artist,_the paintings at the Opera will soon have been forgotten, also tlie Arab Chiefs and the Holy Tliursday : he avill be remembered as the painter of Alma, — tliat n.ame wliich so afflicted Fils, but the only one by which he will be known to posterity.” — Henry Houss.vve, Revue dcsDcnxiTmdes, Febmary, 1S76. Pilz, Vincenz. {Bohemian.) Bom at Warn.sdorf, 1819. Pupil of the Academy of Vienna. In 1849 he went to Rome, and remained until 1855. Among his works are a relief of “ The Descent from the Cross,” in the chapel of the Princess of Lichtenstein; “Twelve Apos- tles,” for a castle in Grafenegg ; a bronze group of “ IVissenschaft und Handel,” sent by the Emperor of Austria to Queen Victoria, now at Windsor Castle; statue of Hannibal, for the Arsenal at Vienna; and numerous portrait busts and statues. ARTISTS OF THE NINETEENTH CENTURY. 185 Pinwell, George John. (Brit.) Bom in London (1842-1875). Educated at the Heathly School of Art. Originally devoted his time to wood-engraving for book illustrations, manifesting a decided talent in that branch of art. He was elected an Associate of the Society of Painters in Water-Colors in 1869, contributing frequently to the ex- hibitions in Dudley Gallery until 1871, when be was made a full member, but failing health prevented his active work after that time. In 186.9 he contributed “ The Pied Piper of Ilamelin ” and “ A Seat in St. James’ Park in 1870, “ The Elixir of Love in 1871, “Away from Town”; in 1872, “The Saracen Maiden” and “The Strolling Player.” He illustrated Jean Ingelow’s Poems, Buchanan’s “Ballads of the Affections,” Dalziel’s “ Wayside Posies,” etc. Many of his sketches and studies were exhibited in London in the winter of 1876. " Pinwell painted some of the most pathetic of modern popular pictures, but we think he did too mucli to do all things well, and that the shortcomings of his art were in jiart due to lack of balance in his technical juilgment, as well as to his need of severer train- ing than it has been his lot to receive.” — London Athenatum, September, 1875. “ In all he [Pinwell] has shown himself a man of earnest thought, and an artist who would win the applause of tliose who think, rather than of those who are attracted by qualities more on the surface than underlying the subject.” — London Art Journal, July, 1873. Place, Henri. (Fr.) Born at Paris about 1820. Chevalier of the Legion of Plonor. A painter of still-life and marines. His “ Marine- Cliffs of Dover ” (1849) is in the. Luxembourg. Plassan, Antoine Emile. (Fi-.) Born at Bordeaux. Chevalier of the Legion of Honor. Medal at Philadelphia, where he exhib- ited “Before the Mirror.” At the Wilson Exposition, Brussels, 1873, “The Breakfast” was much admired. At the Walters Gallery, Baltimore, are several of his pictures ; among them the “ Bourgeois Gentilhomme ” is a spirited and characteristic work, and “ A Sleeping Girl ” is very charming. At the Salon of 1877 he exhibited “Con- templation ” and “A Beading.” At the Johnston sale. New York, 1876, “ The Physician’s Visit ” (4 by 3) sold for $ 450, and “ The Old Bachelor” (6 by 4) for $ 280. At the Salon of 1878 he exhibited “The Family of Viscount C. ” and “Le jour des rameaux.” His “ Table Supplies ” is in the collection of Mr. T. R. Butler of New York. Plassman, Ernest. (Ger.-Am.) Born in Westphalia. Died in 1877. Plassman removed to America about 1850, and followed the oc- cupation of a modeler of statuary for many years in New York. He was the founder of the Society of Art, a flourishing association of German artists and art-lovers in New Yoik. Among the better known of Plassman’s works are the statue of Franklin, in Printing- House Square, New York ; the Vanderbilt statue, in the Freight Depots on Hudson Square ; and the statue of Gutenberg, on the building of the New York “ Staats Zeitung.” 186 ARTISTS OF THE NINETEENTH CENTURY. Plockhorst, Bernhard. (Ger.) Bom at Branswick, 1825. Medal at Berlin. Professor at Weimar, 1866-69. Studied at Munich Academy ; was associated with Piloty ; also studied under Couture at Paris. He painted an altar-piece for the Cathedral at Marienwer- der. Most of his historical subjects are religious ; those best known are, “ Mary, with St. John,” and “St. Michael and Satan struggling for the Body of Moses.” These have been engraved. His portraits are his best works. At the National Gallery at Berlin are those of the Emperor and Empress of Germany. At the Leipsic Museum are two of his religious subjects. Pointelin, Auguste-Emmanuel. (Fr.) Born at Arbois. Pupil of Maire. Medal of the third class in 1878, when he exhibited “ A Prairie in the Cote-d’Or” ; in 1877, “A Valley in the Jura”; in 1876, “ On a Plateau of the Jura, — Autumn.” Poittevin, Eugene le. (Fr.) Born at Paris (1806- 1870). Chev- alier of the Legion of Honor, and of the Belgian Order of Leopold. Pupil of I’Ecole des Beaux-Arts and Louis Hersent. He traveled much on the Continent and in England. His subjects were varied. In the Luxembourg is a “ View near Etretat in the Bathing-Season ” (1870); at Versailles, “ The Capture of Baruth,” “ Naval Engagement at Embro,” “ The Battle of Wertingen,” and other maritime subjects. Among his works are, “The Turkey- Drover” (1853), “Winter in Holland” (1855), “Dutch Pilots” (1859), etc. At the Johnston sale, 1876, “Lighthouse, Coast of Holland” (48 by 35) sold for $1,300. At the Leipsic Museum is his “Fishermen saving a Wreck.” “ Upon even his most ordinary subjects II. le Poittevin bestowed the utmost care. His touch is decided, his general manner broad, and in his color the utmost harmony ]irevails, combined with a brilliancy seldom seen in the works of French landscape and marine painters. Thus his execution may be traced to the works of the Dutch and Flemish artists, white his compositions show more point and anecdote than are gener- ally found in the latter. For his well-earned and duly merited reputation, he was ern- dently indebted to his close and continual observation of nature ; studying not only in his atelier, but yet more in the gi-een fields and by the open sea, where humanity was busied, and where character was to be found : for figures, as a rule, play even a more important part in his pictures than do the inanimate objects amid which they are placed.” — AH Journal, October, 1S70. Pollastrini, Enrico. (Ital.) Born at Leghorn (1817 - 1876). Professor in the Academy of Florence, and a member of several other Academies. Pupil of Bezzuoli. He was original in conception, correct in drawing, and a good colorist. Among his best works are, “The Raising of the Son of the Widow of Nain,” in the church of the Soc- corso at Leghorn ; an “ Episode of the Inundation of the Serchio,” in the Gallery of Modern Painting at Florence ; the “ Death of Fer- ruccio ” ; the “ Exiles of Siena ” ; “ San Lorenzo distributing Alms ” ; and the “ Battle of Legnano.” Poole, Paul Falconer, R. A. (Brit.) Bom in 1818. Studied art without a master and in none of the established schools, exhibit- ARTISTS OF THE NINETEENTH CENTURY. 187 ing his first picture at the Royal Academy, London, in 1 830, “ The Well, — a Scene at Naples.” In 1837 he sent to the Royal Acad- emy, “The Farewell”; in 1838, “The Emigrants’ Departure” ; in 1843, “ The Great Plague of London.” In 1846 (when he was elected Associate) he exhibited “ The Surrender of Sion House in the Reign of Henry VIII. ” ; in 1851, “ The Goths in Italy ” ; in 1852, “The May Queen” ; in 1860, “ The Escape of Glaucus and lone from Pompeii” ; in 1864, “Greek Peasants” ; in 1865, “The Eruption of Vesuvius, A. D. 70”; in 1868, “A Border Raid”; in 1869, “The Prodigal Son”; in 1872, “Remorse” (his diploma work) ; in 1873, “A Lion in the Path” ; in 1874, “The Grape-Gatherer” ; in 1875, “ Ezekiel’s Vision ” ; in 1876, “ The Meeting of Oberon and Titania” ; in 1877, “ Leading the Blind,” “The Dragon’s Cavern,” and “Au- tumn ” ; in 1878, “Solitude” and “Harvest-Time.” He was elected Academician in 1862. “Mr. Poole’s drawing we fear will be to the end of time a stumbling-stone, not only to his friends, but to his reputation ; but his scene from Pompeii during the eruption fR. A., 1S65] is filled with well-imagined incidents, and renders vividly the effect of that lurid and preternatural light which would arise when a midday Southern sun is veiled by clouds of ashes, and reddened by stealthy interminglings from Vesuvian fire.” — Palgrave's Essays on Art. “ There is no artist of our time who has acquired greater success by such realistic pic- tures as this [‘ Rest by the Way ’] than Mr. Poole. He has produced many of them, but it is not by these that he has won his way into the Royal Academy. The painter of ■ Solomon Eagle ’ (‘ The London Plague ’), of ‘ The Moors beleaguered by the Spaniards in Valencia,’ ‘ The Visitation and Surrender of Sion House,” and many other pictures of a like high character, takes up, it may be presumed, these pretty rural scenes by way of relief from the more important labors of his studio” — Art Journal, November, 1874. “ ‘ The Lion in the Path,’ by P. F. Poole [American Centennial Exhibition, 1876], is a landscape of great strength and color. .... The colors in it are so strong and deep that it is really a great piisture.” — Art Journal, July, 1876. “ There has always been in Mr. Poole’s work some acknowledgment of a supernatural influence in physical phenomena, which gives a nobler character to his storm painting than can belong to any merely literal study of the elements.” — UnsKi's’s Notes of the Academy, 1875. Porcelli, Antonio. (Ital,) (1800-1870.) Distinguished in land- scape and figure painting. He imitated Flemish art with Italian ideality. A fine work of his is “ The Fountain Dell Acqua Autosa, close to the Flamminian Way, with a Concourse of People.” “ The Cobbler’s Monday ” was purchased by the Emperor of Russia. He painted numerous carnival scenes and kindred subjects, as well as “ The Pine Forests of Ravenna ” and other fine landscapes. His water-colors and drawings are much prized. Portaels, Jean Franqois. {Belgian.) Born at Vilvorde, 1820. Chevalier of the Order of Leopold. Member of the Antwerp Academy. Director of the Academy of Ghent, and later Professor in that of Brussels. Medal at Paris, 1855. Pupil of Navez at Brussels, and of Delaroche at Paris. At Antwerp, in 1842, he gained the grand prix de Rome. Portaels has traveled in Italy, the East, Hungar}’, Spain, and 188 ARTISTS OF THE NINETEENTH CENTURY. other European countries. Among his well-known works are, “ The Flight into Egypt,” “ The Drought in Egj^pt ” (in the Corcoran Gallerj' at Washington), “ The Funeral in the Desert,” “A Syrian Caravan sur- prised by the Simoom ” and “ Leah and Rachel.” The pediment of the church of Saint- Jacques at Brussels is adorned by frescos of Por- taels, representing Christianity. Another fresco by him is in the chapel of the Brothers of the Christian Doctrine, and in the Tympa- num of the Royal Theater at Brussels is another of a dramatic subject. His portraits are famous, among them those of Mehemet-Ali, the Empress of Mexico, the Queen of Holland, etc. His ideal portraits, such as “ A Young Girl of Trieste,” “Glycine,” “ An Eastern Girl,” and “A Jewess of Asia Minor,” are much admired. At the Cottrell sale in London, in 1873, “ The Daughter of Zion ” sold for 710 guineas. At the Paris Salon, in 1877, he exhibited “Portrait of M. P. D.” His picture of “Judith” is a pleasing conception of this well-worn subject. Porter, Benjamin Curtis, A. N. A. (Am.) Bom in Melrose, Mas.s., 1843. As an artist he is comparatively self-educated. He has spent the better part of his professional life in Boston, where of late years he has devoted himself almost exclusively to portrait-painting, and with marked success, numbering among his sitters many promi- nent people of Boston a7id vicinity. He went abroad in 1872, and again in 1875, to study, spending some months in Venice and Paris. In 1878 he was elected an Associate of the National Academy in New York. Among his ideal figures are, “ The Hour-Glass ” and “ The Mandolin Player.” “ Mr. Porter has placed himself in a high position by close and persistent study of the fundamental principles of his art. The secret of his color, which commands so much admiration, is the tone which governs its value But it is not color alone that gives so much importance to this artist’s productions, nor is it his general master)’ of technique ; there is in his works a depth and purity of sentiment, an undemonstrative tiioughtfulness, which gives them a peculiar charm, and which makes of them some- thing much higher than pieces of color. We see in both his portraits and ideal works tlie jiainter of refined and poetic feeling, one who can conceive a subject of expressive beauty and so develop it with wealth of palette and richness of impasto, that it shall pain in meaning as the execution progresses. The full-length portrait of a lady which Mr. Porter has sent by invitation to the Paris Exposition [of 1S7S] is a marked example of his power of combining magnificence of color with chaste design and elevated feeling. Mr. Porter is of no school, and therefore this picture will take its place in the exhibi- tion as essentially an American production.” — Darius Cobb, Boston Evening TmveUer, May 9, 1S78. Pott, L. J. (Brit.) Born in Nottingbamsbire, 1837. Displayed jibenomeiial talents as an artist at an early age, and drew cleverly when not more than five years old. He was articled to an .architect when si.xteen, but soon left that branch of art for the study of paint- ing in London. He first exhibited at the Royal Academy, in 1860, “Studying from N.ature ” and “EfBe Deans” ; in 1861, “Dark and Fair” ; in 1863, “Puss in Boots” ; in 1864, “Rebecca describes the ARTISTS OF TEE NINETEENTH CENTURY. 189 Fight to Ivanhoe ” ; in 1865, “ Old Memories ” ; in 1867, “ The De- fence”; in 1868, “The First Success”; in 1869, “Fire at a Thea- ter”; in 1871, “Mary Queen of Scots led to Execution”; in 1872, “Charles I. leaving Westminster Hall after his Trial”;- in 1873, “ On the March from Moscow” ; in 1874, “ Paris in 1793 ” ; in 1875, “ Don Quixote at the Ball” ; in 1876, “ His Highness in Disgrace” ; in 1877, “Waiting for the King’s Favorite”; in 1878, “Fallen among Thieves.” “ When this picture [‘ Mary Queen of Scots led to Execution ’] was exhibited at the Roj'al Academy in 1871, very many, if not all of those who had made close acquaintance with the artist’s previous works, were satisfied that in it he had accomplished a sur- prising advance. Pott’s ‘ Defence,’ and his ‘ Fire at a Theater,’ showed him to be on the right road, but it was this work which at once gave him something more than an ordinary reputation as a painter of historical subjects.” — Art Journal. May, 1875. Powell, William H., A. N. A. (Am.) Native of the State of Ohio. He is an Associate Member of the National Academy, and has for some time had a studio in the city of New York. He devotes himself to portrait and historical painting. He is the artist of “ The Discovery of the Mississippi by De Soto ” (in the rotunda of the Capi- tol at Washington) and of “The Battle of Lake Erie,” painted for the State of Ohio. His “ Landing of the Pilgrims ” belongs to Marshall 0. Eoberts. His portraits of General McClellan and of Major Anderson are in the City Hall, New York. He has had among his sitters Washington Irving and many private individuals. Powers, Hiram. (Am.) Born in Vermont (1805 - 1873). When a boy Powers was taken with his faniil}’ to Cincinnati, Ohio, where he learned the art of modeling, and acq^uired some local reputation for his busts and medallions of such men as Calhoun, Webster, Jack- son, and Clay. After a short residence in Washington, D. C., he went to Italy in 1837, settling in Florence, where the rest of his life was spent. In 1839 or ’40 he completed his “Eve,” and the “Fisher- Boy ” a little later. “ The Greek Slave ” (the work upon which much of his fame now rests) was finished in 1843. Of this figure some six or eight copies came from Powers’ studio : the first, sold to Captain Grant for $ 4,000, was taken to England, and is now in the gallery of the Duke of Cleveland ; the second, brought to America in 1847, attracted great attention when exhibited in New York, and is now at the Corcoran Gallery in Washington ; the third copy be- longs to Earl Dudley ; the fourth, purchased by Prince Demidoff for $4,000, was sold at that nobleman’s death for $ 11,000 to A. T. Stew- art of New York ; the fifth copy is in the possession of Hon. E. W. Stoughton. Other works of Powers have been extensively repeated. Among his ideal subjects are his “ Penseroso ” (in the Lenox Library, New York ; never copied), “ America ” (destroyed by fire in Brook- lyn), “ Eve Disconsolate ” (belonging to E. D. Morgan), “ Faith,” “ Hope,” “ Charity,” “ Clytie,” “ Proserpine,” “ California,” “ Christ,” and “ Paradise Lost.” His statues of Washington, Webster, Franklin, 190 ARTISTS OF THE NINETEENTH CENTURY. Jefferson, Calhoun, and others are in different American cities. The original Webster, lost at sea, cost $ 12,000, the duplicate $ 7,000. Among the distinguished persons who have sat to Powers for their portrait busts, were John Q. Adams, Calhoun, Jackson, Van Buren, Marshall, Abbott Lawrence, Slidell, Grand Duchess of Tuscany, Nicholas Longworth, Winthrop, Sparks, George Peabody, Vanderbilt, Everett, and Dr. Bellows. The Calhoun statue in Charleston, S. C., was taken to Columbia, and destroyed in that city by tire during the Civil War. Of an exquisitely casved hand, that of an infant daughter of the sculptor, Hawthorne makes Miriam speak very pleasantly in the “ Marble Faun.” Although small and simple, it is one of the most artistic and touching of Powers’ creations. It has been occasionally reproduced. One tine copy is in the possession of Mr. John Erskine of Boston. “ Hiram Powers fitly represents the mechanical proclivities of the nation. His female statues are simply tolerably well-modeled fisures, borrowed in conception from the second-rate antiques, and somewhat arbitrarily named. . . . ‘ California,’ ‘ Eve,’ ‘ America,’ ‘ The Greek Slave,’ are the same woman, and each might be called some- thing else with equal felicity of baptism. The ‘ California’ is essentially vulgar in pose and commonplace in allegory.” — Jarves, Art Idea. “ Powers is an eclectic in the study of natui'e, and has triumphed over academic dog- mas and dictation. Thorwaldsen visited his studio, and pronounced his bust of Webster the best work of the kind executed in modern times The genius of Powers is singularly healthful There is something in the cai-eer of this remarkable artist which strikes ns as eminently American.” — TucivER.man’s Book of the Artists. “ Hiram Powers cannot be ranked among the great sculptors of our time. His ‘ Eve ’ is undoubtedly his ma.sterpiece among ideal figures, although his ‘ Greek Slave ’ has at- tained larger popularity, simply from being more widely known. Tlie dignity of some of his allegorical statues, such as ‘ California,’ and of some of the portrait statues, as that of Washington, is greatly impaired by the too lavish introduction of accessories or by peculiarities of costume. The statue of Franklin, on the other hand, is simple and thoughtful Of his busts, particularly those of females, nothing can be said but what is eoinmendatory If he made no real advance after the production of ' Eve ’ and ‘The Greek Slave,’ he maintained to the last the reputation acquired by these.” — Art Journal, July, 1873. “Appeal, fair stone. From God’s pure height of beauty against man's wrong : Catch up in thy divine face not alone East’s griefs, but West’s, and strike and shame the strong. By thunder of white silence overthrown.” Mrs. Browning's Apostrophe to the Greek Slave. Powers, Preston. (Am.) Born in Florence, 1843. Second son of Hiram Powers, whose only pupil he was, receiving his constant in- struction for six years. His professional life has been spent in the United States and in Florence, where his studio, that occupied by his father, now is. Among the better known of the works of Preston Powers are the statue of Senator Jacob Collamer of Vermont (origi- nally ordered of Hiram Powers), to be placed in the Old Hall of Representatives in Washington, D. C.; a bust of Charles Sumner, ARTISTS OF THE NINETEENTH CENTURY. 191 from photographs and casts taken by Mr. Powers after the statesman’s death, and now owned in Washington ; a bust of Agassiz, from a death-mask, exhibited in Boston, the original being in the Cambridge Museum. His bust of J. G. Whittier, from life, is in the Public Library at Haverhill, and a replica is to be placed in the Public Library of Boston. His bust of Swedenborg belongs to the New Church Society of Boston ; his bust of Senator Morrill of Vermont belongs to the family of that gentleman ; and his bust of General Grant is for the War Department in Washington. An ideal figure, “ Maud Muller,” still unfinished, is in his studio in Florence. “ Mr. Powers’ style of work reproduces that of his father, and is remarkable for deli- cacy and finish ; wliile liis devotion to his profession promises an equal amount of work in the future The figure of Senator Collamer is distinguished hy a quiet dignity and ease which is apparent to tlie casual observer, but only those who know something of the work can appreciate the difficulties that have been overcome in dealing with our modern costume.” — Boston, Transcript. “ Mr. Powers is also engaged on an ideal figure and on several portrait busts, and has already crowded his studio with the numerous woi'ks he has executed in the ten years of his artistic life. His love for his profession is extreme, and is proved hy his careful and delicate modeling of details. Nothing escapes ids eye ; every line is turned to account if useful, and the result is the same vivid and life-like look which is so no- ticeable in his father’s work His views on the subject of art are essentially the same as his father’s, hut his mind works in its own way to turn tliein to the best possi- ble account.” — Boston Advertiser, October 8, 1877. Powers, Longworth. Son of Hiram Powers. Resides in Flor- ence. [No response to circular.] Poynter, Edward J., R. A. (Brit.) Born in Paris, 1836. Son of Ambrose Poynter, an architect, and grandson of Thomas Banks, R. A., an eminent sculptor of the last century. Poynter was taken to England in his iniaucy, commencing the study of art in 1854, Went to Paris in 1856, studied under Gleyre, and was also a student of riiicole des Beaux-Arts. He settled in London in 1860. In 1859 he exhibited in the British Institution, “ Two Italian Piiferari ” ; in 1861, at the Royal Academy, “ Alla Veneziana ” ; in 1864, “ The Siren” ; in 1865, “Faithful unto Death”; in 1866, “Offerings to Isis ” ; in 1869 (when he was elected an Associate of the Royal Acad- emy) he sent “Proserpine”; in 1870, “Andromeda”; in 1871, “The Suppliant to Venus”; in 1872, “Perseus and Andromeda”; in 1874, “Rhodope”; in 1876, “Cecil Wedgwood” and “ Atalanta’s Race ” ; in 1877, “ The Fortune-Teller ” (deposited on his election as an Academician) ; in 1878, “ Zenobia Captive ” and a portrait of Mrs. Langtry. Poynter was the first “ Slade ” Professor of Art at the University College, London, and for some time a Director of the Art Schools at South Kensington Museum. His “Ibis Girl,” “The Golden Age,” and “ The Festival ” were at Philadelphia in 1876. “ Israel in Egypt,” “ Proserpine,” and “ The Catapult ” were at Paris in 1878. He is also a contributor to the Grosvenor exhibitions. 192 ARTISTS OF THE NINETEENTH CENTURY. “ Among the younger painters of England whose work departs from traditions exclu- sively English, and is such as to take its place in the general stock of trained European art, Mr, Poynter is one of the most noteworthy Were one to try to analyze the characteristics of this central example of Mr. Poynter’s talent Israel in Egv’pt’], one would have to speak first of a clear and determined practical sense, showing itself in the carefully rational and probable arrangement of the general scene, and the efiective realization and solution of every problem, whether of archseology or mechanics, which it suggests. ” — Sidney Colvin, in English Painters of the Present Day, 1S71. “ The figure, although somewhat statuesque, is striking and graceful, and the birds are most picturesquely grouped, hut the composition as a whole [‘ Feeding the Sacred Ibis in the Halls of Karnac ’] loses much of its harmony in the engraving by the obtrusive- ness of the background of Egyptian architecture with its redundancy of varied and promi- nent ornamentation.” — Art Journal, January, 1874. “I wonder how long Mr. Poynter thinks a young lady could stand barefoot on a round-runged ladder [‘ The Festival’], or that a sensible Greek girl would take her sandal.s off to try, on an occasion when she had festive arrangements to make with care. The ladders themselves, here and in No. 236 [‘ The Golden Age ’], appear to me not so classi- cal or so rude in type as might have been expected, but to savor somewhat of expedi- tious gas-lighting Both these pictures are merely studies of decorative composition, and have far too much pains taken with them for that purpose. ” — Buskin’s A’ofes of the Academy, 1875. Pozzi, Francesco. (Hal.) Born at Portoferraio (1790-1844). The colossal statue of Ferdinand III. at Leghorn, and the Farinata degli Uberti of the loggia of the Uffizi at Florence are fine works by Pozzi. His “ Dancing-Girl,” “ Bacchante,” “ Mercury,” and “ Cipa- risso ” have been frequently repeated. Pradilla, F. (Span.) Of Madrid. At the Paris Exposition of 1878 this painter was awarded the medal of honor for his picture of “ Dona Juana La Loca.” She was the daughter of Feixlinand and Isabella and the mother of Charles V. She is represented upon one of the occasions tvhen the funeral cortege of her husband halts for the night. It will be remembered that she followed this sad procession to the place of burial. The atmosphere in this picture speaks of chill and desolation, and the whole effect is that of strength and sincerity on the part of the artist. Pratere, Edmond de. (Belgian.) Born at Courtrai. Medal at Philadelphia, where he exhibited “ Animals, — a Halt.” At Paris, in 1877, were “ Dog-Keepers at the Rendezvous of the Hunt ” and “Dogs at Bay.” Prdault, Antoine- Augustin. (Fr.) Bora at Paris, 1809. Pupil of David d’ Angers. Made his debut at the Salon of 183.3, but was excluded from the Salons during fifteen years. At length, in 1849, his works were admitted for exhibition, and he gained reputation rapidly. His works are seen in churches and other public places. In 1877 he exhibited a “Funeral Bas-Relief,” belonging to Carolus Duran; in 1876, a portrait, medallion, plaster, and “ Ophelia,” bas- relief in bronze, bought by the Ministry of the Beaux- Arts ; in 1875, “ Jacques-Cceur,” statue, marble, bought by the Ministry of the Beaux- Arts, and two medallion portraits in bronze ; in 1874, funeral me- dallions in bronze ; etc. ARTISTS OF THE NINETEENTH CENTURY. 193 Preller, Friedrich Johann Christian Ernst. {Ger.) Born at Eisenach, 1804. Professor of Drawing in the School of Fine Arts at Weimar. Court painter. Studied under various masters at Weimar and Dresden, and at the Academy of Antwerp. Goethe -was the friend of Preller, and through his influence the Grand Duke Karl August became interested in the young artist, and took him on a journey. Preller was very ill, and the Grand Duke cared for him most tenderly. In 1825 the artist went to Milan, where he studied in the Academy. He went to Koine in 1828; there Joseph Anton Koch influenced his studies, and directed his attention to the study of drawing, as he was inclined to regard only the grand effects of nature, to the injury of the whole effect of his composition. In 1831 he went to Weimar, and was employed from 1835 to ’37 in decorating the Wieland Hall in the museum of that city. In the Castle of Weimar he executed six historical Thuringian landscapes. In 1840 he visited Norwaj^, and afterwards painted Northern landscapes and marine views. He had already painted in Leipsic his .series of Odys- sey pictures which seemed to be his one entrancing thought ; he repeated them three times. The Grand Duke gave him a commission to rejiaint them, and he went to Italy for the purpose of making studies for them. This occupiied two years, and the sixteen cartoons are in the Museum at Leipsic. Two of his works, “ Calypso ” and “ Leucothea,” are at Munich. At the National Gallery of Berlin are his “ Styrian Landscape ” and a “Norwegian Coast Scene.” About 1830, at Weimar, he became interested in etching, and for a long time was very active in an etching-club which he had established. His own works of this sort are much prized by collectors. “ In Preller’s representations we find energy and conscientiousness which surpass, not only in execution, but in the whole spirit, the works ordinarily considered as up to the required level. The peculiarity of historical representation — that peculiarity of it which makes the figures appear as if inoided from nature — he has forcibiy presented to us once more. Nothing in Nature is hidden from him, — her beauty is naked to his observation. The remarkable knowledge of forms and their organic connection which he has gained by unceasing study and an industry never satisfied by itself, shows him outlines through any and every covering. In ins landscapes he renders justly both the vegetation and the outlines or undulations whicli it conceals, and takes from the spirit of neither by over attention to details. He has not thus mastered Nature by prying and digging ; she has been revealed to him spiritually, and has become his through a devotion of thought and an inexorable earnestness of contemplation. This, far from making him a slave to trivial things, makes him a ruler with a sort of loving authority.” Dr. Max Jordan, Zeiischrift fiir hildende Kunst, 1866. Preyer, Johann Wilhelm. (Ger.) Born at Rbeydt, 1803. Studied in Diisseldorf Academy. Passed some years at Alunich and settled at Diisseldorf. Traveled extensively in Europe. His pic- tures are of flowers and fruit. Several are in the Berlin National Gallery. At the Johnston sale in New York in 1876, “Fruit” (21 by 20), from the old Diisseldorf Gallery in New York, sold for $ 1,400. VOL. II. 9 M 194 ARTISTS OF THE NINETEENTH CENTURY. At the Leipsic Museum is one of his fruit-pieces. Mr. T. E. Butler of New York has his “ Fruit and Wine.” Princeteau, Rend (FV.) Bom at Liboume. Pupil of I’Ecole des Beaux-Arts. Medal at Philadelphia, where he exhibited a por- trait of Washington and “Horses frightened by a Railway-Train.” At Paris, in the Salon of 1875, he exhibited the preceding picture and “ Halte ! ” and a group in plaster, “The Punisliment of Brunehaut”; in 1872, “A Patrol of Uhlans surprised by French Sharp-Shooters ” ; in 1878, a picture of “The Return from the Promenade” and an equestrian portrait of Count T. L. Prinsep, Valentine C. (Brit.) Born in India, 1836. He was originally intended for the Indian Civil Service, but, resolved to devote himself to art, he went to England to study, exhibiting at the Royal Academy in 1862, “How Bianca Cap el lo sought to poison the Car- dinal de’ Medici” ; in 1864, “My Lady Betty” ; in 1865, “Belinda” (from Pope’s “Rape of the Lock”) ; in 1867, “Miriam watching the Infant Moses” ; in 1868, “A Venetian Lover” ; in 1869, “Bacchus and Ariadne” ; in 1870, “The Death of Cleopatra”; in 1871, “News from Abroad ” ; in 1872, “The Harvest of Spring” ; in 1873, “ Lady Teazle ”; in 1874, “ Newmarket Heath, — the Morning of the Race in 1875, “A Minuet”; in 1876, “The Linen-Gatherers”; in 1878, “A Kashmiree Nautch-Girl” ; and many more, besides an occasional portrait. His “ Minuet ” and “ Death of Cleopatra ” w^ere at the Cen- tennial Exhibition at Philadelphia in 1876 ; “Reading Grandison,” “ Linen-Gatherers,” and “A Bientot,” at Paris, in 1878. “ Mr. Princep, if he does not this year trj' any subject of powerful interest, has gained in mastery over his art. His ‘Berenice,’ although not exactly the lady of whom Hr. Browning speaks in the verse quoted, is a grand piece of decorative coloring, althougli ratlier coarse in design. This same artist’s ‘ Lady of the Last Century,’ in her full court dress and fan, sweeping gracefully by, shows command over motion, color, and life. ” — Palorave’s F.ssays on Art. “ ‘ A Bientot ’ [R, A. , 1876] is by V.al. C. Princep. He is always exceptionally strong in these charming little pieces of drawing-room incident, and this picture is an admira- ble illustration of the care and skill with which he handles such subjects." — Art Jour- nal, July, 1876. Priou, Louis. (Fr.) Born at Toulouse. Medals in Paris in 1869 and ’74, and at Philadelphia, 1876. Pupil of I’Ecole Municipale of Bordeaux, and of Cabanel. At Philadelphia he exhibited the “Edu- cation of Young Satyrs,” and at Paris, in 1877, the same picture and a “Venetian Duo” ; in 1876, “Nymph of the Wood” and “A Souvenir” ; and in 1874, “A Family of Satyrs,” now at the Cor- coran Gallery in Washington. The catalogue says : — “ The prodigious vigor of the composition and its fine color are equal to the artist’s thorough classical conception of the subject The whole scene is reidete with the spirit of the wild, joyous sylvan life, associated with those imaginary wood deities of the ancients.” To the Salon of 1878 he contributed “ The First Miseries of a Yoimg Satyr ” and a portrait. ARTISTS OF THE NINETEENTH CENTURY. 195 Probst, Karl. {Austrian.) Of Vienna. Medal at Philadelfiliia, where he exhibited a “Portrait Study, — Female Figure,” of which Weir says : — “ A portrait study by Charles Probst has exceptional merit. The expression^ and atti- tude are very natural, and the technical treatment skillful. It was one of the best por- traits of the Exhibition.’* Protais, Paul Alexandre. (FV.) Born at Paris, 1826. Cheva- lier of the Legion of Honor. Pupil of Desmoulins. He followed the French armies in the Crimea and in Italy, and devoted himself almost entirely to military subjects. He received his first medal in 1863, and his decoration in 1865. Among his works the following are the most important : “ Battle of Inkermann,” “ Death of Colonel Brancion,” “ Taking of a Battery of the Mamelukes ” (1857), “ Attack and Tak- ing of the Mamelukes,” “The Last Thought” (1859), “Brigade of General Cler on the Route to Magenta,” “ Passage of the Sezia,” “ An Evening March,” “A Sentinel” (1861), “The Morning before the Attack ” and “ The Evening after the Combat ” (1863), — the last two are his most admired works, and were in the Exposition of 1867, — “ The End of the Halt,” “ Passage of the Mincio,” “ An Interment in the Crimea,” “The Conquerors, — Return to the Camp ” (1865), — the last was also in the Exposition of 1867, and was purchased by Count W. de la Valette, — “A Wounded Soldier,” “A Bivouac” (1866), “ The Grand Halt,” purchased by the Princess Mathilde (1868), “ En Marche ! ” and “ The Night of Solferino ” (1870), “ The Separation,” “Army of Metz,” October 29, 1870, and “ Prisoners,” near Metz, No- vember 1, 1870 (1872), “The Repose” (1873), “An Alert,” “Metz,” (1874), “ French Guards ” and “ Swiss Guards ” (1875), “ La garde dir drapeau ” (1876), “ Passage of a River ” (1877). “ Protais lias discovered new material in warfare, leaving to others the purely military spirit, and studying soldiers, for the first time in the history of art, simply as human beings, placed in circumstances of great interest The picture called ‘ Morning before the Attack ’ represents a small body of Chasseurs de Vincennes, marching warily towards the enemy, on hilly ground, in the cold light of early morning. Tiiere is no glare of color ; but the dark uniforms harmonize pleasantly with the gray sky and dewy green mountain ground. The execution is modest and simple, a little too metliodical perhaps, but without dash or bravura ; and the spectator is made to understand that the artist would rather he felt the .awfulness of the moment than wandered from the matter to admire pretty tricks of execution or clever bits of detail.” — Hamekton, Contem- porary French Painters. “ He paints soldiers as a comrade ; we see that he knows them, understands them, and loves them. He knows war to the bottom in all familiar aspects, heroic and mel- anchoiy. He will tell you how the men lie down and shield themselves during a hait, and how tiiey replace themselves cn roide. If you repro.ach him with h.aving exhibited in 1SG4 the same troopers as in 1S63 and '62, he will rejily to you, not without reason, tlnat the troopers change iittle, th.at they resemble each other more or less ; that the army, like the convent and the jirison, and .all institutions outside of mature, is a mold, a gaulfer-iron, in which man models and forms himself anew on a uniform type. From this comes that uniformity which penetrates, whatever bapjiens, through the most varied episodes. ” — Edmond About, Salon de 1SG4, It was said that the Emperor paid £ 5,000 for two pictures, “ The Morning and Evening of the Soldier,” at the Salon of 1863. 196 ARTISTS OF THE NINETEENTH CENTURY. Prout, Samuel. {Brit.) Born, at Plymouth (1785 - 1852). He evinced a decided talent for water-color painting as a youth, and, going to London early in the century, he found a ready sale for his works. About 1820 he visited the Continent, making many sketches of the scenery of the Rhine, the Alps, etc., which were subsequently en- graved. He was made a member of the Society of Painters in 'Water- Colors very early in his career, and contributed regularly to its exhibitions for many years. He turned his attention particularly to architectural drawings, and his works were very popular, and by collectors are still highly prized. Among the better known of his pictures are, “ Chartres Cathedral,” “ City of '\^enice,” and the draw- ings illustrating “Views in the North and West of England,” “ The Continental Annual,” “ The Landscape Annual,” and other volumes of a similar character. “ We owe to Samuel Prout, I believe, the first perceirtion, and certainly the only ex- pression, of precisely the characters whicli were wanting to old art, of that feeling wliieh results from the influence among the noble lines of architecture, of the rent and the rust, the Assures, the lichen, and the weed, and from the writings upon the pages of ancient walls of the confused hieroglyphics of human history For numerous as have been his imitators, extended as his influence, and simple as his means and manner, there has as yet appeared nothing at all to equal Iiim. There is no stone drawing, no vitality of arcliitecture, like Prout's." — Ruskin’s Modem Painters. Pugin, Edward W. {Brit.) Born in 1834. Pupil of his father, a well-known English architect, whom in 1852 he succeeded. He has designed and completed many important buildings, principally church edifices, in all parts of Great Britain and Ireland. Puvis de Chavannes, Pierre. (TV.) Born at Lyons. Died, 1871. Chevalier of the Legion of Honor. Pupil of Henri Scheffer and Cou- ture. He has devoted himself to mural and decorative painting. His “ Peace ” and “ War” were immense symbolical- works ; small repro- ductions of them were seen at the great Exposition of 1867, and they were much noticed and discussed. In 1865 he executed for the Wu- seum at Amiens “ Ave Picardia nutrix,” a monumental work with eight figures, for Le Cercle de I'Union Artistique. He painted a deco- rative figure called “ Sport ” for the grand staircase of the Museum of Marseilles, “ Massilia, a Greek Colony,” and “ Marseilles, — the Gate of the Orient ” (1869). At the Salon of 1870 he exhibited “ The Beheading of St. John the Baptist” and “ Mary Magdalene in the Desert ” ; in 1872, “Hope”; in 1873, “Summer”; in 1874, “The Year 732, — Ghailes Martel saved Christianity by his Victory over the Saracens near Poitiers,” and a design for “ The Sixth Century, — Eadegonde, retired to the Convent of Sainte-Croix, gives an Asylum to Poets, and protects Letters from the Barbarity of the Age,” — both of these sub- jects were for the decoration of the Hotel de Ville at Poitiers ; in 1876, one painting and one sketch for his scenes in the life of St, Genevieve, which he was commissioned to execute in the Pantheon, now the church of Sainte-Genemeve, by the Ministry of Public In- struction and Beaux-Arts. ARTISTS OF THE NINETEENTH CENTURY. 197 “The artist so long disputed is henceforth in full favor in public opinion ; he seems to have disarmed criticism, triumphed over the most rebellious, and rallied the most frivo- lous among the worldlings who felt themselves much affected by this epic simplicity and this profound sincerity. He has not a useless gesture, not a line which has not its value ; all the words are ideas, and the poem is accessible to all. M. de Charannes had his public restraint, he isolated himself in his intellectual aristocracy, and people remem- ber that curious inauguration of frescos at the Museum of Amiens presided over by Theophile Gautier, where only a few of the initiated had a place. To-day, after having so long suffered, he is honored, and his hour is decidedly come.” — Charles Yriarte, Gazette des Beawc-Arts, June, 1S7G. “The truth is that, for intensely poetical sentiment, few living painters may be com- pared to Puvis de Chavannes. His art is a poetical abstraction ; the region that he paints is not the world, but a painter’s dreamland, and the figures th.at dwell in it are not men and women, but the phantoms of a powerful yet tranquil imagination. To enjoy works of this kind thoroughly, we must surrender ourselves to them, and live an hour in this world of strange beings, — so strong, so stately, so magnificent in irresistible ac- tion, so calm in their everlasting rest.” — Hamerton’s Painting in France. Pye, John. (Brit.') (1782-1874.) Settled in London in 1800, and was an apprentice of Heath. He engraved Turner’s “Pope’s Villa,” one of his earliest works, in 1808, and later. Turner’s “Temple of Jupiter,” and the paintings of Claude, Michael Angelo, and other prominent British and Continental artists, ancient and modern. Pyne, James B. (Brit.) (1800-1870.) Spent the early part of his life in Bristol, his native city, painting and teaching drawing. He removed to London in 1835, exhibiting for the first time at the Royal Academy the next year. His works, however, have not been seen at the Royal Academy since 1841. He was elected a member of the Society of British Artists in 1839, and was for some years its Vice-Presi- dent. In 1841 he went to Italy, where he painted many attractive Venetian landscapes. In 1848, for the Agnews, he painted a series of twenty-four pictures of English landscapes, which were subsequently lithographed. In 1851 he visited Italy and the Rhine. “ Pyue lias very accurate knowledge of limestone-rock, and expresses it clearly and forcibly ; but it is much to be regretted that this clever artist ajipears to be losing all sense of color, and is getting more and more mannered in execution, evidently never studying from nature except with the previous determination to Pynize everything,” — Ruskin’s Modern Painters. “ As a rule, Pyne’s pictures are not popular. Like Turner’s, they are not generally intelligible But he has left works behind him which, if the colors are found to be ]iermanent, will be valued hereafter as among the best of our modern school of landscape- painting. ” — Art Journal, Seiitember, 1870. Quarnstrom, Carl Gustav. (Swede.) Born at Stockholm (1810 - 1867). Member and Director of the Academy of Stockholm. Pupil of the same under Hasselgren. He at length studied sculpture under Bystriim. In 1836, by means of a stipend from the King, he went to Rome. Since then he has visited Paris, and been again to Italy. Among his works are, “ Martyrs in the Amphitheater,” “ Neapolitan Fishermen ” (in the Museum of Stockholm), busts of Wasa, Frederika Bremer, and other notable people. Some of his motives are drawn from Northern mythology, such as “Hoder von Loke,” etc. 198 ARTISTS OF THE NINETEENTH CENTURY. Qucirtley, Arthur. {Fr.-Am.) Born in Paris, France, 1839. As an artist, he is self-taught, having studied in no schools and under no mas- ters. His professional life has been spent in Baltimore and New York, opening a studio in the latter city in 1875 or ’76. He first exhibited at the Eoyal National Academy, in 1875, “ Calm Days, Isles of Shoals,” and “Evening at Narragansett.” Among the more important of his works are, “ Low Tide ” (N. A., 1876) and “ Making the Landing, White Island, Isles of Shoals,” both owned by John B. Thoms of Baltimore ; “ Morning Effect, North River” (N. A., 1877), the prop- erty of John Taylor Johnston ; “ An Afternoon in August, Coast of Maine ” (N. A., 1878), belonging to Mr. Colgate. He was elected a member of the Artists’ Fund Society in 1876. His “ Morning Effect in New York Harbor ” was sent to the Paris Exposition of 1878. “ ‘ The Close of a Stormy Day ’ is the strongest thing Arthur Quartley has yet done, and it admits him without demur into the front rank of our raarine-ii.amters.’' — Art Journal, May. 1S77. “ Among the most progressive landsoape-painters in this country is Arthur Quartley, whose ‘ Afternoon in August ' is, so far .as we know, the best marine he has yet painted .... With its exquisitely soft and beautiful far distances and skies it contains several special bits of decoration that are absolutely tinsel But what especially interests one in him is the rapidity of his growth. Even now he is almost, if not quite, at the head of American marine-painters : and the creditable aiijiearance which he is making is one of the distinct and bright features of the Academy Exhibition.” — .Yew York Evening Post, Aprii 20, 1S7S. Raabe, Joseph. (Ger.) Born at Deutsch Wartenbei^ (1780- 1849). Painter to tbe Court of Hesse-Darmstadt. Professor at the Academy of Bonn. Member of the Academie des Beaux- Arts at Dres- den. Painter to the Court of Sa.xony and Profes.sor at TEcole des Beaux-Arts at Breslau. He had a varied talent, a sure hand, and e.xrpiisite taste. He made a large number of fine copie-s in Italy. His “ St. Peter and St. Paul” is in the principal church of Naum- bourg-sur-la-Queiss, Silesia. In the Dresden Gallery there is a series of sketches and paintings, illustrating “ L’antit^ue histoire de la Ger- manie et de I’Allemagne au moyen age.” Radclyffe, Edward. {Brit.) (1810-1863.) Son of William Radclyffe, a noted English engraver, whose pupil and assistant he was for some years in Birmingham, his native town. He went to London about 1842, where he became associated with the Art Journal, and other illustrated periodicals, furnishing many fine plates after the leading artists of the day. “Kenilworth Castle,” “ Peat-Gatherem,” “Outskirts of the Forest,” “Changing the Pasture,” and others, after David Cox, were among his later works. Radford, Edward. (Brit.) Born at Plymouth, 1831. -A.t the age of fifteen he was articled as a pupil to a civil engineer, practicing as an architect in Canada and the United States from 1854 to ’61. He w.as some months a lieutenant in an Ohio battery in the Amer- ican Civil War, and was engaged upon ordinance until 1862. In ARTISTS OF THE NINETEENTH CENTURY. 199 , 1863 he commenced painting as a profession, in Cincinnati, Ohio, returning to England the same year, and becoming a subscriber to the Artists’ Society, Langham Chambers. He was elected an Associate of the Society of Painters in Water-Colors in 1875, and is also.a mem- ber of the Adelphi Society of Arts. Among his more important works are, “The Soldier of the Cross,” at the Royal Academy in 1868 (owned in New York) ; “ Flora,” at the Dudley Gallery in 1873 ; and “ Weary,” at the Water-Color Exhibition of 1875 ; “ The Con- valescent ” (belonging to Mr. Baring, M. P.) ; “ Footprints ” and “ Caveas Emptor,” in 1876 ; “ A Little Chilly ” (belonging to Col- lingwood Smith) ; “ The Introduction ” and “ Godiva,” in 1877 ; “In Consultation ” and “ The Critics,” in 1878. “ Edward Radford’s ‘ Weary ’ is a picture painted with much Ciire and attention to detail, especially in the imitation of the textile fabrics ; the figure of the woman is ex- cellently modeled, and the pose easy and natural.” — Art Journal. March, 1877. Raffet, Denis- Auguste-Marie. (Fr.) Born at Paris (1804- 1860). Chevalier of the Legion of Honor. Pupil of Charlet, I’Ecole des Beaux- Arts, and of Gros. At the time of his studies it was quite the custom for artists to publish an annual album of lithographs. Raffet’s first album was dated 1826, and his success was more than usual for a young man. The subjects which he drew from military life have, with good reason, remained celebrated. Raffet early re- solved to be a painter of soldiers and the incidents of their lives. He studied hard, and neglected no means to fit himself for his chosen specialty. It is said tliat at one time he obtained the head of a young soldier who had died in the hospital, shut himself up with his ghastly treasure, and made repeated pictures of it in order to master the strange pallor and painful mysteries of death. He still wished to see war itself, and in 1832, at the siege of Antwerp, he made many sketches. At the Salon of 1835 the lithographs of these scenes were exhibited ; they gave promise of the future success of the artist, and attracted much attention to him. Prince Demidoff became his friend, and took him on a long journey in Russia, Moldavia, Wallachia, the Crimea, Smyrna, etc. During tliis time Raffet had always the pencil in hand, and his lithographs illustrating this journey are most val- uable, and are a perfect reflection, as in a mirror, of the scenes repre- sented. Raffet was often asked to paint an historical picture for the Gallery at Versailles ; this he intended to do, but his lithographs were so much sought, and his series of plates (especially that of 92, for the “ Journal de I’Expedition des Portes-de-Fer,” for the Duke of Orleans) so important, that the painting was always deferred. Raffet visited Belgium, and in 1849 he went to Italy to study the motley soldiers. The troops of Garibaldi, the Swiss Papal Guards, the Austrian, the Piedmontese, the French armies, and the picturesque costumes of the Italian women, afforded great scope to the painter. He sketched much in water-colors, and his picture of “ The Evening 200 ARTISTS OF THE NINETEENTH CENTURY. of the Battle of Navara,” where all were seeking and hurjdng their dead, is a splendid example of his art. After the siege of Rome Raffet divided his time between Paris, where his family were, and Florence, or San Donato, where Prince Deniidotf always wished for him. In 1853 these two friends went to Spain, and Raffet had not completed at the time of his death the album of his Spanish sketches, which is mucli to be regretted, but at the same time he had in train his illustrations of the siege of Rome, and was so suddenly cut off that much was left unfinished. His works are far too numerous to be mentioned, but his sketches show the true heroism, the sad, tender, and brave elements, of the soldier’s life, and in them one will find harmonized historj^ and poetry. Rahl, Charles. (Ger.) Bom at Vienna (1812-1865). Pu- pil of the Academy of Vienna. He had an extensive atelier in Vienna, and received many pupils. His works are numerous, and some of them are important. They are seen in the gaUeries and churches of his native city. He executed some frescos and monumen- tal painting, and four hundred portraits. His picture of “ Christians surprised in the Catacombs ” is in the National Gallery, Berlin. Rajon, Paul-Adolphe. {Fr.) Born at Dijon. Medals in 1869, ’70, and ’73. Pupil of Gaucherel and Flameng. The etchings of this artist are fine. Hanierton says that he “ never issues s’ovenly or careless work.” He is a painter as well as an etcher, and has consequently a certain understanding which is of service to him, but which is want- ing in one who is only an engraver. His engravings are very numer- ous, and are principally (in late years entirely) etchings. Ramsay, Milne. (Am.) A native of Philadelphia, he has lived for some time in Paris, studying under Bonnat, and contributing to the first e.xhibition of the Society of American Artists in New Vork, in 1878, “ The Bird-Fanciers.” To the Paris Salon he sent, in 1876, “ The Home of a Naturalist ” ; in 1878, “ Cromwell and his Daughter Elizabeth.” Several of his genre pictures have been purchased and photographed by Goiqjil & Co. Among them are “ A Moral Lesson ” and “ Douce Beatitude,” which have been highly praised for fineness and finish of detail. Rankley, Alfred. (Brit.) (1820 - 1873.) A genre painter of con- siderable reputation in England. Among his works are, “ The ^ il- lage School,” “ Old Schoolfellows,” “ The Benediction,” “The Fare- well Sermon,” “ After Work,” “The Doctor’s Coming,” “The Hearth of his Home,” “ The Lonely Hearth,” “ Eugene Aram,” “ Dr. M atts visiting some of his Little Friends,” “ George Stephenson at Darling- ton,” “ Milton’s First Meeting with Mary Powell.” He last exhibited at the Royal Academy, in 1871, “ The Benediction.” Riinkley’s ])ictures are carefully painted. The story, whatever it may be, is attrac- tively set out, and for the most part <‘onve 3 ’s some good and wholesome moral, and witli- out any forced or vapid sentiment. They were hung in the Ac-ademy in various years : all were directed to awaken dormant sympathy in favor of what is kindly in feeling and of good report.” — ylrf /oni'7ia7, FcbruaiT, 1S73. ARTISTS OF THE NINETEENTH CENTURY. 201 Ranvier, Victor Joseph. (Fr.) Born at Lyons. Medals in 1865 and ’73. Pupil of Janmot and J. Richard. At the Salon of 1876 he exhibited “The Morning”; in 1874, “The Deliverance of Prome- theus”; in 1873, “ Echo ” and “ The E.xiled Virtues ” (water-color). His “ La chasse au filet ” (1864) and “ The Infancy of Bacchus ” (1865) are in the Luxembourg. Rapin, Alexandre. {Fr.) Born at Noroy-le-Bourg. Medals in 1875 and ’77. Pupil of Gerome and Frangais. Landscape-painter. At the Salon of 1878 he exhibited “Le Valbois (Doubs) in No- vember.” Raven, J. S. {Brit.) He was the son of the Rev. J. Raven of Preston, an amateur jiainter. As an artist J. S. Raven was compara- tively self-taught. He e.xhibited at the Royal Academy, the Dudley Gallery, and elsewhere. He was drowned while bathing at Harlich in 1877. Among his pictures are, “ Midsummer Moonlight ” (R. A., 1866), “ A View of the Tay near Duiikeld,” “ Baiff and Lord’s Seat from the Slopes of Skiddaw,” “ Summer Haze,” and “ Part of the Land-Slip, Chapel Rock, Lyme-Regis,” etc. After his death a collec- tion of his works were on exhibition in the Gallery of the Burlington Fine Art Club, in London, of which the London Times said : — “ The loss to art will he felt with the more regret now that we have brought before us the whole work of his life, and see such fine poetic endowments and strong development of long-cherished aspirations, with such vigorous and energetic application of a juost observant study of Nature.” Read, Thomas Buchanan. (Am.) Born in Chester County, Pa. (1822- 1872). In 1839 he entered the studio of a Cincinnati sculptor, intending to learn that branch of art. He quickly relin- quished it for painting, however, and opened a studio of his own in New York, two years later. In 1846 he settled in Philadelphia, and in 1850 he went to Europe, working and studying in Florence and Rome. He made the latter city his home, with occasional visits to America, upon one of which, in 1872, he died in New York. Among the better known of his works are, “The Water-Sprite,” “ The Lost Pleiad,” “ The Star of Bethlehem,” “ Sheridan and his Horse.” He began his career as a portrait-painter with some success. His portrait of George Peabody is in the Peabody Institute, Baltimore. Mr. Claghorn of Philadelphia, an early friend of Mr. Read’s, purchased a number of his pictures, painted at different periods, illustrating his progress from time to time. His was a very versatile genius. He occasionally turned his attention to sculpture in his maturity, and executed a bust of General Sheridan, which proved how successful he might have been with his chisel, had he so elected in his youth. By his poems, perhaps, he will be best known in the future. His “ Sheri- dan’s Ride” is one of the most popular productions of the minor poets of America. His first book of “ Poems ” was published in 1847 ; his “Laj's and Ballads” in 1848, “The New Pastoral” in 1855, 202 ARTISTS OF THE NINETEENTH CENTURY. “ The Home by the Sea” in 1856. A collected edition of his works was published in 1860. Ream, Vinnie (Mrs. Hoxie). (Am.) American sculptress, re- siding for some years in Washington, D. C. She went to Italy in 1869 or ’70, executing in Rome her statue of Lincoln (for the United States government), now in the Capitol at Washington. Among her works are busts of Lincoln, Thaddeus Stevens, Re verdy Johnson, etc. ; and medallions of Father Hyacinthe, Gustave Dore, and Kaulbach. She is at present (1878) at work upon statues of General Custer and Admiral Farragut. Her “Spirit of the Carnival,” “The West,” “ Miriam,” a bust of Senator l\Iorrell, and a bust of a child were at the Philadelphia Exhibition in 1876. [No response to circular.] Redgrave, Richard, R. A. (Brit.) Bom in 1804. Brought up to commercial pursuits. Studied from the Elgin Marbles in the British Museum in 1823 or ’24. Sent his first picture to the Royal Academy, “ The Brent, near Hartwell,” in 1825. In 1831 he sent his “ Commencement of the Massacre of the Innocents” ; in 1833, “ Cym- beline” ; in 1840 (when he was elected Associate of the Royal Academy), “ The Reduced Gentleman’s Daughter.” Among his early works maybe mentioned, “ Quintin Matsy’s First Picture” (1839), “ The Poor Teacher ” (1843), “ The Seamstress ” (1844), “ Fashion’s Slaves” (1847), “The Lost Path,” “ The Old English Homest^d,” “The Flight into Egyj^t ” (1851), and other well-known pictures. He was elected Academician in 1850, and has held several high official positions under the government in the different art institutions of the country. His “ Olivia’s Return to her Parents ” and “ Country Cousins” are in the Nation.al Gallery, London, and his “Gulliver on the Farmer’s Table ” belongs to the Sheepshanks Collection. He ex- hibited at the Royal Academy, in 1861, “The Strayed Flock” ; in 1863, “ The Way through the Woods ” ; in 1864, “ Jane Shore doing Penance” ; in 1866, “ The Woodman’s Dinner” ; in 1868, “Eugene Aram”; in 1869, “From Autumn to Winter”; in 1870, “Jack-o’ Lanthorn”; in 1871, “The Charcoal-Burners” ; in 1872. “ E.xpecta- tion” ; in 1873, “The Lady of the Manor” ; in 1874, “Sermons in Stones ” ; in 1875, “ The MiR Pool ” and “ Starting for a Holiday ” ; in 1876, “Calling the Sheep to Fold” and “The Oak of the ^lill- head ” ; in 1877, “ Deserted,” “ Help at Hand,” and “ A Well-Spring in the Forest” ; in 1878, “The Heir come of Age” and “Friday Street.” To Paris, in 1878, he sent “Deserted” and “Starting for a Holiday.” He is a member of the Society of British Artists. “ ‘ Sunday Morning ’ is one of those avenues wliich Jlr. Redgrave now paints witli so much grace and truth. Wlien we remember tlie verj- liiglily finished figure-pictures w'hicli he was accustomed to exhil)it in former years, it is at least remarkable that he should h.ave forsaken a very fascinating manner of minute execution for the free but by no means ineffective method he now professe.s.” — Art Journal, September, 1S73. “ Mr. Redgrave, the now veteran painter and writer upon art, has beeu a contributor ARTISTS OF THE NINETEENTH CENTURY. 203 to the publications of the Etching Club. Tlie temper of his work is always studious and sincere ; and, besides these qualities, it has a certain tenderness of sentiment ; but, from the technical point of view, it has been injured by a striving after finish, which was due in part to the habit of working ou a small scale.” — Hamebton’s Etching and Etchers. Reed, Helen. (Am.') A Boston artist. She began her profes- sional career in that city by the drawing of portraits in crayon. Later, she went to Florence, where she studied sculpture under Pres- ton Powers, sending to America bas-reliefs in marble, which have been exhibited at the Boston Art Club, in New York, and elsewhere. Regnault, Alexandre - Georges - Henri. (Fr.) Born at Paris (1843-1871). Prix da Rome, Medal, 1869. Son of the acade- mician who was director of the manufactory at Sevres. Pupil of Lamothe and Cabanel. Regnault contended for the prfx de Rome in 1863, and was much disappointed at not winning it. In 1864 he sent two portraits to the Salon, which were coldly received. At length in 1866 the prize was his, and he went to Italy. Soon after he re- turned to Paris for the Exposition. After he was again in Rome he made twenty-seven designs for the illustration of “ W ey’s Rome.” These designs are excellent. In 1867 he sent to the Salon a decorative panel ; in 1868, one painted portrait and the sketches of two other portraits. In the autumn of 1868, not being well, this artist went to Spain, and saw General Prim, from which resulted the portrait of the Salon of 1869, which is now so well known ; it is in the Luxembourg. From Spain Regnault went to Tangiers, and even in the short time he was able to spend there, fell so in love with the life of that country that he determined to return when at liberty to do so. In 1869 he painted his “Judith,” and in 1870 sent to the Salon the “ Salome,” which is a remarkable work. In the summer of 1870 he went again to Tangiers, and painted “ The Execution without Judgment under the Moorish Kings of Granada,” now in the Luxembourg. Hearing of the war, Regnault returned to Paris to bear his part in the defence of his coun- try. On the 19th of January, 1871, he left Paris with a spirited party who made a sortie attempting to join the expected army of suc- cor. He was killed towards evening on the field of Buzenval. No friend saw him die, but the next day an ambulance-driver found his body and read his name on the lining of his capote. In the confusion the traces of him were again lost, and it was not until the 25th that his friends recovered his remains. His funeral took place at the church of Saint- Augustin, just at the sad moment when the capitulation of Paris was made known. Paul Mantz closes his account of Regnault thus : — “ It vpill soon be a year since these fatal things occurred : but the remembrance of Regnault remains as fresh as on the day of his death, an'l yesterday, when at the exhibition of the works of the pensioners at Rome, we saw in the place where his con- tribution for the fourth year should have been, an easel draped in black and decorated with green boughs, each one felt an oppression at the heart at this siiectacle, which told too well of human injustice, and of the cruelty of the times. Regnault, crowned already 204 ARTISTS OF THE NINETEENTH CENTURY. with a precocious glory, was scarcely at the first chapter of his book ; his art was young, like his soul ; he knew little of painful experiences, and in the constant holiday of his life could not yet understand tliem. He would without doubt have advanced in the sentiment of manner, as in that of the drama. But the dream is ended : the i)resent and the future, both have perished together. There remains to us only his work, which is but a 1 ‘adiant beginning, and the example of his death, which plainly shows that the culture of art extinguishes not tlie religion of patriotism in the soul. Let us guard faith- fully the memory of the artist and the citizen, and on this tomb, where so many hopes are buried, let us read, with our regrets for the departed master, our hatred for those who killed him.” — Gazette des Beaux-Arts, January, 1S72. In the Luxembourg, besides the works already named, there are four water-colors of Spanish subjects (executed in 1868 and ’69), and fifteen sketches, presented to the gallery by V. Eegnault, member of the Institute. At a Paris sale of 1872, “A Morocco Soldier at the Gate of a Pasha, Tangiers ” sold for £ 960. “ Henri Regnault, who was killed at tlie battle of Buzenval in 1S71, when but twenty- eight years of age, was the most remarkable jiainter of the contemporary school in point of promise, and had he lived until maturity would have attained a pre-eminent positiou. The works he left behind him remind one, in fire and force, of Gericault’s paintings or Schiller's Robbers Winning the prix de Rome at twenty -three, he sent home dur- ing his absence such works as ‘ Judith and Holofemes,’ ‘ Salome,’ the famous ‘ Portrait of General Prim,’ and an ‘ Execution under the Moors at Granada,* the la.st two painted during a trip to Madrid and Tangiers. In the portrait of Prim the horse is of the Anda- lusian type : the motif of the composition rejiresents the arrival of General Prim before Madrid, with the revolutionary forces, October 8, 186S. The execution scene aroused a profound sensation on the part of both critics and public, as well it might, for the start- ling character of the subject and the tremendous power of the treatment, greatly assisted by that simplicity which indicates large reserve strength in the artist and wonderfully stimulates the imagination of the observer. It is marvelous that artists so rarely avail themselves of this master weapon of simplicity. A marble stainvay with two or three steps leads to a Moorish court in the style of the Alhambra, which is suffused with a glowing light suggesting the burning heat of a Southern sun. In the immediate fore- ground are the two figures comjiosing the a^vful drama, — the executioner and his vic- tim. The former, erect, massive, inflexible, impassive as a statue, draws his cimeter across his tunic to wipe off tlie blood : wliile the mangled trunk of what was once a man has fallen heavily down the steps, and the head lies in a pool of blood. It is not too much to say that this blood mantling on the marble slab is one of the finest hits of color in modern art This painting is hung in the Luxembourg, and persons have been so overcome by its horrible realism as to be seized with faintness when gazing uj>on it. There seems to be an impropriety in admitting such a work to a public national gallery. . . . , Either it is bad as a work of art, and should therefore be excluded, or it is good as a work of art, and sliould therefore be forbidden, on exactly the same grounds that the public are guarded from the demoralizing influence of a public execution. Tliis. however, would not j)revent its more private exhibition, purely as a work of art, to those who would study it only from such a x>oint of view.” — Benj.\min*s Contemporary Art in Europe. Reid, George. (^Brit.) Born at Aberdeen. A portrait-painter, executing occasional landscapes, generally in the manner of the Dutch school, of -which he is a disciple. He was a pupil of ilollinger. He has sj^ent the greater part of his professional life in his native city, where his studio now is. He was elected a full member of the Royal Scottish Academy in 1878. Among his works are, “ The Wa.shiug- Day,” “ Whins in Bloom,” etc. To the Royal Scottish Academy in ARTISTS OF THE NINETEENTH CENTURY. 205 1878 he contributed “ Dornoch,” “ A Highland Kitchen,” and several portraits. “ A more unpretending theme could scarcely have been selected than a stretch of com- mon with masses of blooming freeze, a bare pathway, down which sheep are wending, and a cool, gray sky overhead. Yet out of these Mr. Reid has constructed a charming landscape [‘ Whins in Bloom’]. — Art Journal, April, 1874. Reid, Archibald D. {Brit) Native of Aberdeen, where he still resides. He is a brother of George Reid, R. S. A., and devotes himself to landscape-painting. “ A Harvest Scene,” by A. D. Reid, was at the Glasgow Fine Arts Loan Exhibition of 1878 ; the same year he sent to the Royal Scottish Academy, “ Boys and Buoys,” “ An East Coast Fishing Village,” “ Guessing the Catch,” and “ On the Find- horn, — Autumn.” Reinhart, Benjamin Franklin, A. N. A. {Am.) Born near Waynesburg, Pa., 1829. He displayed a talent for art as a child, and notwithstanding many obstacles, decided to follow it as a profession. At the age of fifteen he found himself at Pittsburg, Pa., receiving there a few lessons in the mixing and application of oil-colors, be- ginning his career untutored and alone by the jrainting of portraits. Later, he went to New York, where he spent three years, studying in the schools of the National Academy. In 1849 he visited Ohio and several cities of the West, painting many notable men of that section. In the course of a year or two he was enabled to go to Europe, settling first in Diisseldorf, and later in Paris. He availed himself of the best schools, studying grand composition and design with a view to becom- ing an historical painter. At the end of three years he returned to America, following his profession in New York, Ohio, and New Or- leans. At the outbreak of the American Civil War he went to Eng- land, and lived seven years in London, where he met with decided success as a painter of English genre svabjects. In 1868 he came again to New York, where he has since resided, devoting himself to cabinet- sized pictures, genre and historical. He is an Associate of the National Academy. About forty-five of his pictures have been engraved. Among his more important works are, “Cleopatra” (the studies for which were made in Egypt, and which is now in England, where it was painted), “ Evangeline,” “The Nymphs of the Wood,” “ Katrina Van Tassel,” “ Pocahontas,” “Washington receiving the News of Arnold’s Treason,” “ Consolation,” “ The Entombment,” “ Young Franklin and Sir William Keith,” “ The Regatta,” and “ The Pride of the Village.” all painted since his last return to New York. Among his portraits are those of the Princess of Wales, the Duchess of Newcastle, the Countess of Portsmouth, Lady Vane Tempest, Lord Brougham, Johri Phillip, R. A., Thomas Carlyle, Tennyson, Mark Lemon, Chief Justice Daly, Charles O’Conor, Dr. Marcy, George M. Dallas, James Bu- chanan, E. M. Stanton, Winfield Scott, S. P. Chase, Bishops McEl- vaine and Polk, Elliott, J. C. Breckinridge, Stephen A. Douglas, Samuel Houston, and many more. * 206 ARTISTS OF THE NINETEENTH CENTURY. Reinhart, Charles S. {Am.) Born at Pittsburg, Pa., 1844. Was engaged upon the United States military railroads in Virginia, during the Civil War, for a period of three years, and, later, spent four j’ears in a steel manufactory at Pittsburg. In 1 868 he began the study of art in Paris, going subsequently to Munich, where he entered the Royal Academy, and studied drawing under Professor Streyhiiber, and etching and painting under Professor Otto. The greater part of his professional life has been spent in New York. For six and a half years he W'as in the employ of Harper and Brothers, opening a studio of his own in the summer of 1876. He is a member of the American Art Club in Munich, the Pittsburg Art Association, New York Etching Club, and was elected a member of the Water-Color Society in 1876. He has contributed illustrations to various publications of the Scribners’, Harpers’, Appletons’, and of Osgood’s, and exhibits fre- quently at the National Academy, oil and water-color paintings, as well as sketches in pen and ink. “ Caught Napping ” and “ Clearing Up ” ill 1876, Reconnoitering” in 1876, “The Rebuke” in 1877, are among his oil-pictures. To the Water-Color Exhibitions he sent, in 1877, the “ Close of Day ” and “ Gathering Wood in 1878, “At the Ferry.” His “ No Trespassing” belongs to Fletcher Harper, Jr., and his “Noon and Midnight” (both in black and white), to J. Abner Harper. ' “C. S. Reinhart’s ‘Gathering Wood’ is composed in his happiest mood, the least ambitious but best water-color he has to sliow, being remarkable, not only in figures, where his strength lies, but in color as well.” — New York Times, January' 22, 1S77. Reinherz, Conrad. {Prussian.) Bom at Breslau. Pupil of the Academy of Munich and of Dietz. His pictures are landscapes, and have been exhibited in the prominent German exhibitions for some years. He ranks high among the artists of his country. Rethel, Alfred. {Fr.) Born at Aix-k-Chapelle (1816 - 1859). When thirteen years old this artist executed a design, which gained him admission to the Academy of Dtisseldorf. At twenty he took up his residence in Frankfort. The subjects of his works are very varied. His historic portraits are famous. He executed many fres- cos. In 1844 he went to Rome, and two years later commenced, in the Council Chamber at Aix, a series of scenes iUustrative of the life of Charlemagne. But his mind became diseased, he imagined and suffered more than we have space to recount, and his life was all the more sad for its early promise of brilliancy unfulfilled. Among his works may be mentioned, “ The Massacre of St. Boni- face,” “ The Swiss in Prayer before the Battle of Seinpach, 1386,” “Death coming as a Friend,” “The Dance of Death,” “Death as an Avenger,” etc. In the Berlin National Gallery is his picture of “ St. Boniface,” and several cartoons of his pictures at Aix. At the Leipsic Museum is his picture of “ Peter and John healing the Lame Man at the Door of the Temple.” ARTISTS OF THE NINETEENTH CENTURY. 207 Reusch, Friedrich. {Ger.) Of Berlin. At Philadelphia he ex- hibited “ A Group for a Fountain,” in bronze, and received a medal. Reviere, Briton, A. R. A. (Brit.') Born in London, 1840. Son of an artist of considerable ability, from whom his early art-training was received. After graduating at the University of Oxlord he settled in the neighborhood of London in 1867, devoting himself to painting as a profession. He first exhibited at the Royal Academy, in 1858, “ Rest from Labor ” ; in 1859, “ On the Road to Gloucester Fair ” ; in 1864, “Iron Bars” and “Romeo and Juliet”; in 1866, “The Poacher’s Nurse”; in 1867, “Strayed from thp Flock” and “The Long Sleep,” which first attracted popular attention to his work. In 1868 he sent the “ Last of the Garrison” ; in 1870, “A Midsummer Night’s Dream ” ; in 1872, “Daniel”; in 1873, “Argus”; in 1874, “Apollo”; in 1876, “A Stern Chase”; in 1877, “A Legend of St. Patrick ” and “ Lazarus.” He was elected an Associate of the National Academy in 1878, contributing “ Sympathy ” and “ An Anxious Moment.” Among his water-color paintings may be men- tioned “ Fox and Geese ” (in the South Kensington Collection). His “ Charity ” (engraved by F. Stackpole) received a medal at the Vienna Exposition, and his “ Circe and the Companions of Ulysses ” (engraved by the same artist) and “War-Time” (R. A., 1875) were at the Philadelphia Exhibition of 1876; “The Last of the Garrison,” “ Charity,” and “Daniel ” were at Paris in 1878. “ There is a pathos in this composition [‘ War-Time ’] so touching as to make one turn sadly away to search after more cheery work, before examining with any minute- ness the other contributions of the same excellent artist.” — Art Jotirnal, June, lS7o. “ ‘ Circe and the Companions of Ulysses,’ by Mr. B, Reviere, is conceived and executed with that rare skill which deservedly entitles this artist to the high reputation he enjoys. The humor is admirably rendered, and exhibits a keen appreciation of the possibilities of expression in swinish physiognomy.” — Peof. Weir’s Official Report of the American Centennial Exhibition of 1876. Rhomberg, Hanno. (Ger.) Born at Munich (1820 - 1869). Stud- ied under Schnorr and Bernhard. He was much associated with Enhuber, who influenced him. His fame dated from his “ Traveling Students,” which Louis I. bought for the Pinakothek. Among his earlier works are, “The Work of a Village Painter,” “The Votive Tablet,” “ The Tight Shoe,” “ The Best Scholar.” In 1869 he painted “ An Inn Scene.” Ribera, Carlos Louis. (Span.-Fr.) Bom at Rome, of Spanish par- ents, about 1812. Two medals at Paris. Pupil of his father and of Paul Delaroche. This painter has lived much at Paris, and has exhibited at many Salons. Among his works are, the “ Origin of the Family of Los Girones,” “ Battle against the Moors of the Sagra of Toledo,” “ Don Rodrigo de Calderon led to Execution,” and “ Mary Magdalene at the Sepulcher.” Ricard, Gustave. (Fr.) Bom at Marseilles (1824 - 1873). Two medals at the Salons. This painter studied in his native city mitfl. 208 ARTISTS OF THE NINETEENTH CENTURY. 1844, when lie went to Paris and exhibited the portrait of ilme. Sabatier, which was much admired. He studied under Cogniet, and made maii}^ copies at the Louvre. Three years later he went to Eome, where he continued to make copies and also original works. He visited Florence, Venice, and England. He made his debut at the Salon of 1850, and continued to exhibit nine years ; he then appeared no more until 1872, when he sent the portrait of Paul de ilusset. He found the Salons decidedly against his ideas. His portraits, how- ever, were much sought. In 1863 the decoration of the Legion of Honor was tendered him, but he replied, “ It is too late,” and could not be prevailed upon to change his decision. He lived as simpH after his fortune was made as before, and admitted but few to his home or heart. So sudden was his death that his model knocked at his door as he breathed his last. At the Wilson E.xhibitiou at Brussels, in 1873, was seen his own portrait, painted by himself in his earlier years. Richards, T. Addison, N. A. (Am.) Born in London, 1820. In his 3 'outh he resided in the State of Georgia. In 1845 he removed to the cit}' of New York, where, with the exception of occasional Amer- ican and European tours, the rest of his professional life has been spent. In 1848 he was elected an Associate of the National Acadenij-, Academician in 1851, and Corresponding Secretarv in 1852. He was the first Director of the Cooper Union School of Design for Women, in 1858 to ’60, and since 1867 he has been Profe.ssor of Art in the UniversiU' of New York. Among the better known of Hr. Richards’ earh' paintings ma\^ be mentioned, “ Alastor, or the Spirit of Soli- tude” (from Shelley’s poem), at the National Academv in 1854 (be- longing to Mr. Wolsey of New Haven) ; “ The Indian Paradise, — a Dream of the Happv Hunting-Ground,” at the National Academy in 1854 ; “ The Edisto River, S. C.” ; “ Live-Oaks of the South ” ; “ The French Broad River, N. C.,” at the Natiouid Academj' in 1859 ; “ The River Rhine” and “Warwick Castle,” in 1869 (belonging to N. Jarvis). In 1871 a collection of one hundred of his works was on ex- hibition at the Somerville Gallerv in New York, including American, Canadian, tropical, Swiss, and English landscapes, and a number of fruit and flower subjects, which were afterwards sold. His “ Chatsworth, England ” and “ Lake Thun, Switzerland ” be- long to A. Jenkins of New York ; “ Italian Lake Scene,” to A. Aiken, New York ; “ Lake Winnipiseogee,” to Mrs. M. B. Young, Fall River ; “ Sunnyside,” to James S. Virtue, London, ilr. Richards has furnished illustrations for manv books and magazines. The first of these was the “ American Artist,” treating of flower-painting, pub- lished in Baltimore as earW as 1838 ; followed bv “ Georgia, Illus- trated,” steel-plates, published in 1842 ; ‘‘ The Romance of American Landscape,” quarto, in 1854 ; “ Summer Stories of the South,” in 1853 ; “ Pictures and Painters,” in 1870. He was also engaged on the Appletoiis’ “ Hand-Books of Travel,” Illustrated Guide-Books ARTISTS OF THE NINETEENTH CENTURY. 209 to the Hudson, to Saratoga, to Central Park, etc. ; as well as many illustrated papers for Harper’s Magazine, including “ Sunnyside, the Home of Irving,” “ Idlewild, the Home of Willis,” “ Lake George,” “ The Connecticut Eiver,” “ The Eice- Lands of the South,” and so on, in a great many instances furnishing the letter-press as well as the plates. “ At various times Mr. Richards has visited all sections of the country, and through the medium of tlie magazines has presented to his countrymen careful and accurate pictures of tlie scenery of the country, from the sunny valleys of New England to the wide savannahs and rolling prairies of the South and West. In addition to his art labors Mr. Richards has also devoted much time to literary study, and many of the papei's that have appeared in Harper and the Knickerbocker are the products alike of his pen and pencil.” — New York Evening Express, February 29, 1868. “Richards’ landscapes range through a considerable variety of subjects, the most of them being views studied by the artist from choice portions of American and European scenery. Some are compositions, and all show that sure ai'tistic sense of the elements of beauty in scenery, which has heretofore given the artist his rank in the art-pro- ductions of the country. Of the artist’s methods of teclinical execution it is needless to speak at this day, his style jirobably being as familiar to the public as that of any of the veteran exhibitors on the walls of the National Academy.” — Home Journal, March 22, 1871. Richards, William T., N. A. (Am.) Born in Philadelphia, 1833. At an early age he turned his attention to the study of art, and be- came a painter by profession in 1853. In 1855 he went to Europe, spending a year in study and observation in Florence, Eome, and Paris. In 1856 he opened a studio in Philadelphia, and in 1866 re- turned to Europe for a short visit. He is an Honorary Member of the National Academy of Design and an Associate Member of the Water-Color Society. His summers of late years have been spent at Newport, E. I. Among his works in oil are “ Mid-Ocean,” “ New England Coast,” “At Atlantic City,” “Midsummer,” “June Woods,” “Wood Scene,” “Spring,” “Summer Afternoon,” “Ebb Tide,” “ Old Orchards at Newport,” “The Inlet near Newport,” and “Out in the Country.” In 1871 he sent to the Water-Color Exhibition, “ Mount Desert,” “Pulpit Eock, Nahant ” ; in 1874, “Off the Spar Buoy, Atlantic City”; in 1875, “ Lake Squam” and “The Third Beach, Newport”; in 1876, “Almy’s Pond” and “Gooseberry Island,” near Newport ; in 1877, “Autumn, near Newport”; in 1878, “So’- west Point, Conanicut ” and “ Almy’s Pond, Newport.” He sent to the Paris Exposition of 1867 his “Foggy Day at Nantucket” (belonging to George Whitney) and his “Woods in June” (belonging to Eobert L. Stuart). To the American Centennial Exhibition of 1876 he contributed “The Wissahickon” (in oil) and “Old Trees at Atlantic City” and “Paradise, Newport” (in water-colors), for which he was commended by the .judges. His “Going to the Spring” and “First Beach, Newport” belonged to John Taylor Johnston, and his “Sunset on the Ocean,” to S. J. Harriot. His “Spring,” at the Blodgett sale, brought $ 1,610. To Paris, in 1878, he sent “South- N 210 ARTISTS OF THE NINETEENTH CENTURY. west Point, Conanicut,” in water-color, and three pictures in oil, — “ In the Woods,” “ Spring,” and “ The Forest.” “ So carefully painted in some of Richards’ landscapes are the leaves, gra-sses, grain- stalks, weeds, stones, and flowers, that we seem not to he looking at a distant prospect, but lying on the ground with herbage and blossoms directly under our eyes.” — Tcckeb- man's Book of the Artists. “ Mr. W. T. Richards contributed but a single oil-painting, ‘ The Wissahickon,’ not one of his best pictures. This artist is a careful, conscientious student of Nature, hut it is only recently that he has permitted himself to exercise that freedom and largeness of vision characteristic of m.nture art ; his later works manifest this in a marked degree. No painter is more thoroughly master of the sea and waves in motion than is this art- ist.” — Prof. Weir’s Official Report of the American Centennial Exhibition o/lS76. ‘‘ William T. Richards’ ‘ Gull Rock, Newport, — Fog coming in ’ [in oil, N. A., 1877] shows water without life or transparency, and rocks wanting in character. The picture is quite without depth or originality.” — New York Times, April S, 1877. “ There is no storm [‘ Gull Rock,’ N. A. , 1877], but the dark green sea lifts with a deep pulsation, and dashes over the rock with a resistless motion that is very suggestive of latent power. It is a jiicture full of large simplicity and quiet truth that study cannot easily exhaust.” — Art Journal, May, 1877. ‘ ‘ Richards is one of the first American painters who adopted the pre-Raphaelite style of treatment in their pictures ; this was in 1858, and since that time no artist in this country has achieved greater success in the profession. .... His drawing is never at fault, and the crispness of his touch is charming.” — Art Journal, August, 1877. Richards, Orren C. (^m.) Born in South Boston, 1842. In 1857 he began the study of decoration with Thomas Savory in Boston. In 1860 he studied under George Inness at Medfield, Mass. He en- tered the army at the outbreak of the Civil War. He has painted scenery at nearly all of the Boston theaters, and easel-pictures of still- life, in oil. His “Peonies” (belonging to Mrs. E. E. Slack) was at the Mechanics’ Fair, Boston, in 1878. Richardson, T. M. (Brit.) Contemporary English water-color artist, residing in London, and for many years a member of the Old Water-Color Society. He p.aints landscapes, generally of the High- lands of Scotland and the Continent. Among his works, exhibited in different seasons, are, “LochTulla,” “Loch Awe,” “Glen Xevis,” “Look- ing towards Glencoe,” “ Argyleshire,” “ On the River Oran,” “ Bone Church, Isle of Wight,” “Lago Maggiore,” “Via Mala,” “Market- Boats, Lake Como,” etc. “ In No. 36 [Society of Painters in 'Water-Colors, 1873], by T. M. Richardson, we have one of those luxuriously colored and elaborately worked drawings on which this artist has built his reputation. It is entitled ‘ In the Neighborhood of the Town of Cozenzos, Northern Calabria, ’ The mountains, of which a mass closes the middle distance, are most skillfully drawn and richly colored, and in the entire composition there is a complete- ness which almost bespeaks a scenic study.” — Art Joumalf June, 1S73. Richet, L^on. (FV.) Born at Solesmes. Pupil of Diaz, whose style he has adopted. His pictures are charming. In the collection of Mrs. H. E. Maynard of Boston is “Near NouAion, in Picardy.” His works are rare in America. At the Salon of 1877 he exhibited “Aurora” and “Route of the Artists, Forest of Fontainebleau” ; in 1876, “The Boundariesof Barbison, Fore.-^tof Fontainebleau ’’.and “After the Storm”; in 1878, “A Scene near Evreux” and “The Gleaners,” ARTISTS OF THE NINETEENTH CENTURY. 211 Richmond, George, E. A. {Brit.) Born in 1809. Entered the schools of the Eoyal Academy in 1824. He made his most decided success as a portrait-painter, at first in water-colors and crayon, later in oEs. He was elected an Associate of the Royal Academy in 1859, and Academician in 1867. Among his later portraits may be men- tioned, “ The Earl of Elgin,” in 1860 ; “Edward M. Ward, R. A.,” in 1861 ; “The Duke of Buccleuch,” in 1865 ; “Sir Moses Montefiore,” in 1875 ; and many prominent people of church and state. Among his paintings of another class are, “The Agony in the Garden,” in 1858 ; “ Sunset from Hyde Park,” in 1861 ; and “ A Scene from ‘Comus,’ — the Measure,” in 1864. “ The art of George Richmond is studious and painstaking to almost too great a de- gree, leaving upon the mind not a very vivid sense of freshness of vision in the painter. The work is often overlabored, the necessary impression of spontaneous vitality drawn unfairly out by hard and cautious style. Still in everything from this painter’s hands we have work that carries with it a conviction of conscientious and well-directed effort, oftentimes yielding a cultured and satisfying result.” — AH Journal, July, 1873. Richomme, Jules. (Fr.) Born at Paris, 1818. Chevalier of the Legion of Honor. Pupil of Drolling. Made his debut as a por- trait-painter in 1839. Richomme has executed mural paintings in the church of Saint-Severin. at Paris, and in several provincial churches. His picture of “St. Peter of Alcantara healing a Sick Child” (1864) is at the Luxembourg. In 1877 he exhibited “An Arab Woman ” and “ The Chinese Doll ” ; in 1876, “ The Dove ” and a portrait of the Marquise Ginori ; in 1875, “The Shower,” “Tlie Little Idle One,” and the “ First Lesson on the Violin.” Richter, Adrien-Louis. (Ger.) Born at Dresden, 1803. This artist was, in early life, a painter and designer, as well as an engraver. But his labors as a designer were the most important, and occasioned his traveling quite extensively. In 1828 he was appointed to the School of Design of the porcelain factory at Meissen, and later he became professor and president of the landscape studio in the Academy of Dresden, and also a member of the Council of that Academy- His oil-paintings are few in comparison with his designs and engravings, but they are such as give him good rank among German landscape- painters. Richter, Gustav. (Ger.) Born at Berlin about 1822. Professor and member of the Senate of the Royal Academy of Arts in Berlin, and member of the Academies of Munich and Vienna. Grand medal in Berlin, 1864, and other medals at Paris, Brussels, Vienna, and Philadelphia. This artist is known in America by chromos from his pictures, which are brilliant in color, and charming to the public gen- erally. His Oriental scenes are very rich in effect. His portraits are excellent. Among his works are, the “ Odalisque,” “ The Raising of Jairus’ Daughter” (at the National Gallery, Berlin), and many por- traits. He sent to the Philadelphia Exposition a portrait of the Hon. George Bancroft. At the Exposition at the Academy at Berlin, in 212 ARTISTS OF THE NINETEENTH CENTURY. 1876, he exhibited three portraits and the “ Lowenritt,” and at the Paris Exposition, 1878, three portraits. “ In spite of the artificial arrangement of his works his excellence is chiefly shown in his delicate painting, his well-balanced parts, his careful and often corrected modeling, and the beautiful coloring in the principal lights, while his shadows so round the flesh parts that they are softened to an ivory-like smoothness.” — E. D. in Zeilschrxfi fur Ml- dende Kunst, 1875. Riedel, August, (Ger.) Bom at Bayreuth, 1800. Professor of St. Luke’s Academy at Borne. Member of the Academies of Berlin, Munich, Vienna, and St. Petersburg. Pupil of the Academy of Mu- nich. His pictures are landscapes and genre scenes, and are in many gallerie.s, both public and private. The “Albanian Girls” and “Bath- ing Girls ” are in the National Gallery, Berlin. Riefstahl, Wilhelm Ludwig Friedrich. (Ger.) Bom at Neu- Strellitz, 1827. Director of the Art School at Carlsruhe. Medals at Berlin; and member of Berlin Academy, at which place he studied. In 1848 he made the designs for illustrating “ Kugler’s History of Art.” He traveled much in mountainous countries, and was passion- ately fond of their scenery. In 1869 he went to Borne. At the Na- tional Gallery at Berlin are his “ Mountain Chapel with Herdsmen at Devotion” and “All Souls’ Day in Bregenz.” In Berlin, in 1876, he exhibited “A Convent on the Inn”; and at the Paris Exposition of 1878, “The Pantheon of Agrippa at Borne” and “Attendant le cer- cueil.” Eugene Miintz says of Biefstahl : “ He sees justly, feels profoundly, and knows how to express what he feels.” Ridsener, Louis-Antoine-L^on. (Fr.) Born at Paris, 1808. Chevalier of the Legion of Honor. Pupil of David and Gros. His picture of “ Erigone ” (1864) is at the Luxembourg. Among his works are, “ Boses,” “ Bacchus and Ariadne,” “ The Awaking,” “ The Toi- lette,” “ Country Pleasures,” “ The Brook in the Wood,” and “ Le doux sommeil secoue sur lui ses pavots.” Rimmer, William. (Am.) Bom in Boston, 1821. He was edu- cated for the medical profession, devoting himself particularly to anatomy. Later, he turned his attention to sculpture and to art in- struction. He has delivered a valuable course of lectures on art anat- omy at the Lowell Institute, Boston, at the University at Cambridge, Mass., before the National Academy, New York, and elsewhere. He was Director of the School of Design of the Cooper Institute, New York, for some years. He published, in 1864, a volume entitled “ The Elements of Design.” Among his sculptured works are statues of Alexander Hamilton, “ Falling Gladiator,” etc., and a colossal head of “ St. Stephen,” in granite. “ This artist [Dr. Rimmer] has wrought a figure of the most rare anatomical power and truth : and a group which was mistaken for Bunyan’s ‘Great-Heart and Giant Grim’ in mortal struggle, but which was intended to represent ‘ Union and Secession.’ ” — Tuckerman's Book of the Artists. ARTISTS OF THE NINETEENTH CENTURY, 213 “ Dr. Rimmer, an accomplished teacher of design, of much original mental force, destined to do good service to American art, has given a striking example of his capacity for realistic sculpture in the model of an athlete reeling under the force of a dcath- hlow. The knowledge of anatomical science displaj’ed is wonderful Tn a head of ‘ St. Stephen,’ carved by himself from granite, Dr. Rimmer has shown a finp capacity for lofty expression.” — Jarves, Art Idea. Rinehart, William Henry. (Am.) Born in Frederick, Md. (1825- 1874). In his youth he was apprenticed to a stone-cutter in Balti- more, studying in the night schools of the Maryland Institute. He went to Italy in 1855, studying and working at sculpture in Florence for three years. He returned to Baltimore in 1858, but after a short stay, went again to Italy, opening a studio in Rome, where the rest of his life w^as spent. Among his works maybe mentioned, “ The Wood- man” (one of the earliest), “ Leander,” “ Night,” “ Morning,” “Woman of Samaria,” “ Indian Maiden,” “ Rebecca,” “ A Nymph,” “ Endym- ion,” “Hero,” “ Atalanta,” and “Clytie” (in the Peabody Institute, Baltimore). He executed many portrait busts. His statue of Chief Justice Taney, ordered by the State, of Maryland, was unveiled at Annapolis in 1872. “Rinehart’s ‘Woman of Samaria’ is admired for the deep and pure thoughtfulness of her expression, as if the words of Christ had sunk into her soul. He has charmingly illustrated maternal affection in his ‘ Latona and her Infant,’ while two sleeping babes on one pillow are full of nature and beauty.” — Tuckerman’s Book of the Artists. Ritchie, Alexander H., N. A. (Brit.-Am.) Bora in Glasgow, 1822. He studied drawing in the Royal Institution at Edinburgh, under Sir William Allan, and during his first year received four pre- miums. He has been a resident of New York for many years. In 1871 he was elected a member of the National Academy. He is a painter and engraver, and is higlily regarded in botli branches of his profession. Among his w'orks in oils are, “ Mercy knocking at the Gate,” “ Fitting out Moses for the Fair,” “ Death oi' Lincoln,” “ Baby, who ’s that? ” (portraits), and portraits of Dr. McCosh of Princeton, Prof. Charles Hodge of Princeton, etc., all exhil)ited at the National Academy. He engraved “ Washington and his Generals ” and “ Mercy at the Gate,” after his owm pictures ; “ Contemplation,” after S. J. Guy; “ Washington entering New York,” “ The First Blow for Liberty,” and “ The March to the Sea,” after Darley; “ Lady Washington’s Re- ception,” after Huntington ; etc. Rivalta, Augusto. (Ital.) Bom at Genoa, 1837. Professor in the Academy of Florence. He has received many medals. His early inclination for art w'as cultivated, and he soon became known for his taste in composition and his skill in execution. He went to Florence, and there modeled his statue of “ Clinzia,” which he sent to the Accade- mia Ligure. His most famous work is called “ An Episode of War,” and represents a wounded soldier supported by a brother soldier and a Sister of Charity. It is full of feeling, and admirably e.xecuted. The subject was suggested to the artist by his own experience as a vol- 214 ARTISTS OF THE NINETEENTH CENTURY. imteer. His statues of Niccolini the poet for Florence, and Cavonr for Naples, are very fine. For the Hospital for the Poor in Genoa he made the statue of Palleri and the monument to the Marchesa Corsi Pallavicini. For the celebrated Cemetery of Stagheno he has made several monuments; those of Giuseppina Croce and Bartolomeo Savi deserve mention. Robbe, Louis-Marie-Dominique-Romain. {Belgian.) Born at Courtrai, 1807. Chevalier of the Legion of Honor, of the Order of Leopold, and of that of Charles 111. of Spain. His pictures are of animals, and much admired. His “ Shepherd and Flock ” is in the collection of Mrs. H. E. Maynard, Boston. Robbe, Henri. {Belgian.) Brother of the preceding. He is a painter of fruits and flowers, and has received several medals. Robbins, Horace W., N. A. {Am.) Bom in Mobile, Ala., 1842. "When about twenty-one years of age he entered the studio of James kl. Hart in New York, where he spent a few months. Later, he opened a studio of his ovm. In 1865 he ^•isited Jamaica with F. E. Church, going thence directly to Europe. He worked in Paris dur- ing three winters, from that of 1865, making sketching-tours during the summer months in Switzerland and elsewhere. He returned to New York in the fall of 1867, and has since resided principally in that city. He was elected an Associate of the National Academy in 1864, and Academician in 1878. He is Secretary of the Artists’ Fund Society, and has been a member of the M'ater-Color Society for some years. To the National Academy in 1869 he sent, “ The Close of a Cloudy Day”; in 1870, “A TropicM View” (belonging to Dr. F. N. Otis) ; in 1871, “An Autumnal Morning” (belonging to D. C. Blodgett) ; in 1873, “A Morning View in Switzerland”; in 1874, “Morning in Jamaica”; in 1875, “ Passing Shower, Jamaica ” (be- longing to J. '\banderpoel of New York) ; in 1876, “ Flooded Mead- ows ” ; in 1877, “Harbor Islands, Lake George”; in 1878, “Morning in the Adirondacks” and “ Sunny Banks of the Aus;able.” Among his contributions to the E.vhibitions of the M'ater-Color Society may be mentioned, “ A New England Road Scene,” in 1877, and “ A New England Homestead,” in 1878. To the Centennial Exhibition at Philadelphia, in 1876, he contrib- uted “ New England, — Autumn” and “Farmington River, Ct.”; to the Paris Exposition of 1878, “ Harbor Islands, Lake George.” His “ White Mountain Scenery ” belongs to M". S. G. Baker of Baltimore ; “ Mount Madison,” to H. W. Robbins ; “ Roadside Elms,” to Mrs. Attwood of Poughkeepsie ; “ Mount Philip, from the Farmington River,” to G. D. Phelps of New York ; and “ The Freshet,” to Mrs. A. R. Phelps of Hartford. Rbber, Ernst. {Ger.) Born at Elberfeld, 1849. Pupil of the Diisseldorf Academy and of E. Bendemann. At the National GaUery of Berlin are some of his decorative paintings in the Halle von der Nische. ARTISTS OF THE NINETEENTH CENTURY. 215 Rbber, Fritz. {Ger.) Born at Elberfeld, 1851. Brother and pupil of the preceding. He also painted in the National Gallery at Berlin. Robert, Leo-Paul. (Swiss.) Born at Bienne. Medal in 1877. Pupil of his father and Geronie. At the Salon of 1877 he exhibited “ The Zephyrs of a Beautiful Evening.” Robert-rieury, Joseph-Nicolas. (Fr.) Born at Cologne, of French jjarents, 1797. Member of the Institute. Commander of the Legion of Honor. He studied in Paris under Girodet, Gros, and Horace Vernet. Visited Italy, and remained there several years. Made his debut at the Salon of 1824. At the Luxembourg are his “Conference at Poissy in 1561” (1840), “Jane Shore” (1850), and the “ Pillage of a House in the Jews’ Quarter at Venice in the Middle Ages ” (1855). “ The Entrance of Clovis into Tours ” is at Versailles. This painter has been Professor at I’Ecole des Beaux- Arts in Paris and at the Villa Medici at Borne. In 1864 he was a member of the Municipal Council of Paris. The following important works were executed by Robert-Fleurj’- for the decoration of the Audience Hall in the new palace of the Tribunal of Commerce : “ The Institution of the Juges consuls, in 1563,” “ The Promulgation of the Ordinance of Commerce in 1673,” “ Napoleon receiving the Code of Commerce presented to him by President Vignon in 1807,” and “ Najjoleon III. visiting the New Palace of the Tribunal of Commerce in 1865.” Con- cerning these works Rene Menard wrote in the “ Gazette des Beaux- Arts,” February, 1869, a long article, which closes thus : — ** As a whole, these great canvases are an honor to Robert-Fleury, and prove what veritable power there is in that talent which holds its superiority desi>it.e tlie most un- favorable conditions. Robert-Fleury had never attempted works of grand dimensions, and his debut is the work of a master ; he had never painted official subjects, and in this difficult and thankless style he takes a first rank. All that is wanting to make his work comxilete is a greater freedom of insiiiration. A man of talent is always master of his execution, because he rules it with all the superiority of his science ; but insiiiration de- mands that it shall not be shackled by restrictions which straiten it. It is only able to soar when it is personal, and has the fundamental laws of art alone for its guide.” At the Pereire sale in Paris, 1872, “Charles V. in the Monastery of St. Just ” sold for £ 1,600. At the Oppenheim sale, Paris, 1877, “ The Sack of Rome ” sold for 12,700 francs. Robert-Fleury, Tony. (Fr.) Born at Paris. Chevalier of the Legion of Honor. Son of Joseph-Nicolas Robert-Fleury. Pupil of Delaroche and Cogniet. Painter of historical sulijects and portraits. In the Luxembourg are his “ Les vieilles de la Place Navona, Rome” (1867), and “ The Last Day of Corinth” (1870). In 1866 he exhib- ited “ Varsovie, the 8th of April, 1861,” and received for it his first medal ; in 1873, “ The Danaides ” ; in 1874, “ Charlotte Corday at Caen, 1793” ; in 1876, “ Pinel, Chief Physician at the Salpetriere in 1795” ; in 1877, two portraits. Roberts, David, R. A. (Brit.) Borir in Edinburgh (1796 - 1864). He served an apprenticeship of seven years in his native city, as 216 ARTISTS OF THE NINETEENTH CENTURY. house-painter and decorator, and was engaged for some time as a scene-painter, with a company of strolling players. He received no regular instruction in art. He painted scenes for the theaters of Edinburgh and Glasgow, and for Drury Lane Theater in London in 1822. He exhibited pictures in Scotland, and in several proHncial cities of England, sending his first work to the Royal Academy, in 1826, “ A View of Rouen Cathedral.” In 1838 he was elected an Associate of the Royal Academy, and Academician in 1841. He trav- eled extensively on the Continent and in the East, painting out of England some of his best-known works, “ Jerusalem from the Mount of Olives,” “ The Church of the Holy Hativity, Bethlehem,” “ The Gateway of the Great Temple, Baalbec,” etc. Later, he studied in Italy, and in his own country, exhibiting at the Royal Academy, in 1860, “Venice, the Piazza of St. Mark’s,” “A Street in Antwerp,” “ The Interior of the Cathedral of Pisa,” and “ The Coliseum, Rome, ' — Evening” ; in 1881 he sent “ Ruins of the Temple of the Sun at ; Baalbec” and “A Fete-Day at St. Peter’s” ; in 1862, “A Chapel of i the Cathedral of Notre Dame, Bruges,” and a series of views on the ; river Thames, from Chelsea to Greenudch, which were continued the ‘ foUowing year, and upon which he was at work at the time of his j sudden death in 1864. His “ Chancel of the Church of St. Paul, j Antwerp” (1848) and “The Interior of Burgos Cathedral, North I Transept” (1835, belonging to the Vernon Collection) are in the Na- tional Gallery, London. His “ Crypt, Roslin Castle,” “ The Gate of Cairo” (1843), and “ Old Buildings on the Darro, Granada” are in the Cruikshank Collection. Many of his works have been engraved, and £ 16,000 was raised by the exhibition and sale of some of his sketches and paintings in 1865. He was an Honorary Member of the Royal Scottish Academy, and of several continental institutions of a similar kind. “ From liis early occupation as scene-painter, Roberts borrovred broad effects wliich | saved him alike from trifling minuteness and sei^’ile imitation His work was nni- « formly scenic, made up of buildings and street scenes, and. althougli he knew how to vary and animate these by the introduction of numerous chamcteristic figures, thej* were apt to partake of the groupings of stage processions But he loved the buildings which he was content to paint, loved every vaulted arch and wreathed pillar, down to the individual stones of the pavement, and rendered them all with rare fidelity and grace.” — ^Irs. Tytler’s Modern Painters and Paintings. Among the members of the Academy we have at present only one professedly archi- tectural draughtsman of note, David Roberts, whose reputation is probably further ex- t-ended on the Continent than that of any other of our artists except Landseer Tlie fidelity of intention and honesty of system of Roberts have been, however, always meri- torious ; his drawing of architecture is dependent on no unintelligible linens, or blots, or substituted tj’pes ; the main lines of the real design are always there, and its hollowness and undercutting given with exquisite feeling. His sense of solidity of form is very peculiar, leading him to dwell with great delight on the roundings of edges and angles : his execution is dexterous and delicate, singularly so, in oil ; and his sense of chiaro- scuro refined.” — Ruskin’s Modern Painters. Roberts, Edward J. (Brit.) (1797-1S65.) An engraver. Pupil ARTISTS OF THE NINETEENTH CENTURY. 217 and for some years an assistant of Heath in London, doing much fine work in the illustrating of gift-hooks and elaborate editions of stand- ard authors. His etchings are still highly regarded by critics and connoisseurs. He executed but few large plates. Roberts, Thomas. (Brit.) Born in 1820. Educated as an en- graver, he followed that branch of the profession for some time, de- voting himself to the brush when about twenty-five years of age. He was made a member of the Society of British Artists in 1855, and has been its secretary for upwards of twenty years. Among his later works are, “ The Image of Ids Father,” in 1877 ; and “ The Missing Curl,” in 1878. To the Philadelphia Exhibition, in 1876, he sent “ The Night before Bosworth.” Roberts, Howard. (Am.) Born in Philadelphia, 1843. He began his art studies under J. A. Bailly, in the Pennsylvania Academy of Fine Arts. At the age of twenty-three he went to Europe, enter- ing I’Ecole des Beaux-Arts in Paris, and spending some years in that city in study under Dumont and Gumery. Returning to America, he opened a studio in Philadelphia, and modeled his first important work, a statuette of “ Hester and Pearl,” from the “ Scarlet Letter,” exhibited at the Academy of Fine Arts, and attracting much atten- tion. This was followed by “ Hypatia,” “ Lucille,” and other ideal and portrait busts. He went again to Paris in 1873, remaining a year at work in that city, and modeling there “ La Premiere Pose,” which was at the Centennial Exhibition of 1876, receiving a medal. His latest work is a statuette of “ Lot’s Wife.” On the strength of the “ Hester and Pearl ” he was elected a member of the Philadelphia Academy. “ ‘Lot's Wife’ is a very singular creation, which could only have been imagined by the artist in a grotesque mood. It cannot he called beautiful, but it is most original in conception and execution : and in spite of its grotesqueness, it is full of power and im- pressiveness Roberts’ busts are charming, those representing childhood and womanhood especially. His ideal busts are the inspirations of a most rare fancy, while his portraits liave that inestimable quality in all portraits, of showing their subjects at their best, while losing none of their resemblance.” — William J. Clarke, Jr., Great. American Scviptors. “ Roberts is one of the most careful and conscientious of young American sculptors, and one of the best trained. All his works sliow very careful study and real knowledge, gained by iiatient endeavor. His ‘ La Premiere Pose ’ was one of the three works of American sculptors to which medals were awarded at the Centennial Exhibition of 187C.” — Art Journal, April, 1877. Robie, Jean-Baptiste. (Belgian.) Born at Brussels, 1821. He has received medals at Paris and The Hague, and is Chevalier of the Order of Leopold. His fine pictures of flowers and fruits are well known in Europe and America. At the Johnston sale. New York, 1876, “The Massacre of the Innocents” (18 by 24) sold for $550. His “Flowers and Objects of Art” is in the collection of Mr. T. R. Butler of New York. Robinson, John Henry, R. A. (Brit) (1796 - 1871.) )Vent to VOL. II. 10 218 ARTISTS OF THE NINETEENTH CENTURY. London in his youth, and was articled to James Heath. One of the first of his engravings which attracted attention was “ The Wolf and the Lamb,” after Mulready. Among other plates are, “ Napoleon and Pius VII.” (after Wilkie), “ Little Red Riding-Hood ” (after Land- seer), portrait of Sir Walter Scott (after Lawrence), Vandyck’s por- trait of Rubens, Murillo’s “ Spanish Flower-Girl,” Leslie’s “ Mother and Child,” and many more. He was elected Associate Engraver of the Royal Academy in 1856, and Academician in 1867. Robinson, Thomas. {Am.') Born in Nova Scotia, 18.35. He studied in Paris under Courbet, and received also instructions from August Bonheur, although he was not a regular pupil of the latter artist. He has lived and painted in Providence, R. I., in Boston, and in France. A number of his works were sold in Boston in the spring of 1878. He sent to the Centennial Exhibition of 1876, “A Bull’s Head ” (belonging to Dr. Angell of Boston), “ Dog’s Head,” “ Sheep in Pasture,” and “A New England Farmer” (belonging to John Foster of Boston). He painted a portrait group of five dogs (belonging to William Sprague), and his pictures are owned by Amasa Sprague, Mrs. Charles Ames, and others. His “ Sprague’s String Team,” painted for Amasa Sprague, attracted much attention. One of his earlier works, a fruit-piece, is in the possession of Thomas J. Flagg of New York. Rodakowski, Henri. (Ger.) Born at Leopol, 1823. Chevalier of the Legion of Honor. Pupil of Cogniet. Among his works are many portraits, and some historical subjects, such as “ Sigismond I. of Poland, conquered by the Seditions of the Nobles and the Intrigues of Queen Bona Sforza, making Proclamation, etc.,” “ The Battle of Choczim,” “ Peasants of Gallicia at Church,” etc. Rogers, Randolph. (Am.) Born in the State of New York, about 1825. Brought up to mercantile pursuits, hut turned his attention to sculpture at an early age, going to Italy for the purpose of study, and remaining for some time in Rome. Returning to America, he opened a studio in New York. Among his earlier works are, “ Nydia,” “ Boy and Dog,” and statue of John Adams at Mount Auburn, Mass. In 1858 he designed the doors of the Capitol at Washington, representing the chief events in the career of Columbus, which were cast in bronze at Munich. He finished the AVashington Monument at Richmond, Va., which was left uncompleted by Crawford at his death, adding the statues of Mason, JIarshall, and Nelson, and many of the allegorical figures for which Crawford made no designs. Since the Civil War he has executed the ^Memorial Monument erected at Providence, R. L, in 1871, and that in Detroit, Mich., unveiled in 1873. His statue of Lincoln, in Philadelphia, was completed in 1871 ; that of Seward, in New York, in 1876. His “Angel of the Resurrection,” on the monu- ment of Colonel Colt in Hartford, Ct., is one of the most satisfactory of Ids works. Among his ideal heads those of “ Isaac ” and “ Ruth ” ARTISTS OF THE NINETEENTH CENTURY. 219 have been greatly admired. To the Centennial Exhibition of 1876 he sent “ Atala,” “ Ruth,” and “ Nydia, the Blind Girl of Pompeii ” (the last two belonging to James Douglas). His colossal figure of the “ Genius of Connecticut ” was placed on the new Capitol at Hartford in 1877. His studio is still in Rome ; his professional commissions bring him occasionally to his native country. ** Rogers was commissioned to create doors for the Capitol at Washington. In the light of symbolic portals to a Temple of Freedom, the idea partakes of the sublime ; but the American is too impatient for original insiiiration, and has no adequate concep- tion of his oppoitunity for noble work. Borrowing his general ideas from Ghiberti, he hurriedly elaborates a prosaic historical composition of the ‘ Discovery of America by Columbus,’ clever and interesting as illustration, but far beneath the requirements of creative art or the dignity of the occasion.” — Jarves, Art Idea. ** The statue representing * Michigan * is a warlike figure, moving forward, with shield aloft, and sword drawn back for the thrust. In the girdle which binds the coat of mail appears the Indian tomahawk, and in the hair the Indian ornaments of sliells and feathers, indicating the youth of the State, whose lands within the memory of living men were the home of the savage. There is nothing else, however, savage in the repre- sentation, which is full of grace and life.” — T uckerman’s Boole of the Artists* “The Seward statue [Madison Square, New York], although open to criticism in a few details, is, as a whole, an excellent piece of work, woidhy of its conspicuous position in one of the great centers of the metropolis.” — Art Journal, September, 1877. Rogers, John, N. A. {Am.) Born at Salem, Mass. As a young man he studied civil engineering, but was compelled to abandon that profession on account of the weakness of bis eyes. He entered a machine-shop in Manchester, N. H., where he remained for eight years, modeling in clay during his leisure moments. He visited Europe in 1858, but soon returned to America, and in 1859 executed the first of his small plaster groups, called “The Slave Auction.” Quickly following this were “The Picket-Guard,” “Taking the Oath,” “The Wounded Scout,” “One More Shot,” and other war subjects, which met with a degree of popular success never equaled in its way in America. He was elected a full member of the National Academy in 1863. In 1869 he sent to the National Academy, “ The Fugitive’s Story”; in 1870, “The Foundling”; in 1874, “Hide and Seek”; in 1877, “The Mock Trial ” and “School Days.” To the Paris Exposition of 1867 he sent, in bronze, “ One More Shot,” “ Taking the Oath,” and “ The Wounded Scout,” and twenty-nine groups to the American Centennial Exhibition of 1876, for which he was commended by the judges “for excellence in the fine art of sculpture.” “We now come to a high order of ability ; indeed, we may call it genius, in its i>e- culiar province, as original as it is varied and graphic, pure in .sentiment, clever in exe- cution, and thoroughly American, in the best sense of tlie word, in everything We know of no sculptor like John Rogers of New York in the Old World, and he stands alone in his chosen field, heretofore in all ages approjiriated by painting ; a genu- ine production of onr soil, enlivening tlie fancy, enkindling patriotism, and warming the affections by liis lovely, well-balanced groups in plaster and bronze. Althougli dis-. criminative, they possess real elements of greatness. In their execution there is no 220 ARTISTS OF THE NINETEENTH CENTURY. littleness, artifice, or affectation. The handling is masterly, betraying a knowledge of design and anatomy not common, and a thoroughness of work refreshing to note. ” — Jarves, Art Idea. Rogers, Frank Whiting. {Am.) Born at Cambridge, Mass., 1854. He became a pupil of J. Foxcroft Cole in 1873, and, later, w;is in the studio of Thomas Robinson of Boston. His specialty is animal-paint- ing. Among the better knotvri of his pictures are, “ The Two Friends ” (belonging to William F. Morgan of New York), “Resignation” and “ Steady ! ” (belonging to Thomas AFigglesworth of Boston), “ Mis- chief” (belonging to S. L. Brackett, Boston), and “Loo,” a portrait of a dog, in possession of Charles Turner of St. Louis. He exhibits in Boston and New York. “ Mr. Rogers has had from the first a good measure of success with his paintings of dogs. He seems to have talent in plenty for tliis work, and to make the best use of it. His painting of a setter which was hung at the last Art Club Exhibition wa.s much ad- mired and judiciously praised, for it appeared to be somewhat of a snri>rise to the public from so young an artist Tliere are not many dog-painters in this country, and there are none known to us in Boston, who devote themselves as Mr. Rogers does to this subject. He attempts a great deal, and succeeds better than any one would reasonably expect of him. ” — Boston Advertiser. Rolfe, H. L. (Brit.) A well-known fish-painter, of the English school, exhibiting frequently for many years, in London and the Prov- inces, works in his peculiar Rne, which are very popular. He sent to the gallery of the Society of British Artists in 1877, “ On a ATsit to the Upper Proprietors”; in 1878, “The Last Struggle.” “ * Perch, Roach, and Dace ’ [by H. L. Rolfe, R. A., 1S73] exhibits really the perfec- tion of fish-painting. Indeed, this aitist paints river fish as they never before appeared on canvas, — an enviable immortality, which must certainly reconcile them to the hook ! ” — Art Journal, June, 1S73. Roll, Alfred-Philippe. (Fr.) Born at Paris. Medals in 1875 and ’77. Pupil of Gerome and Bonnat. At the Salon of 1877 he ex- hibited “ The Inundation in the Suburbs of Toulouse in June, 1875 in 1876, “The Huntress” and a portrait ; in 1875, “Halte-la ! ” ; in 1873, “A Bacchante in 1872, “ A M^ounded Fugitive”; in 1870, “ The Environs of Baccarat ” and “ Evening.” “ His inundated ones are not models. They do not pose themselves, nor regard they the public. They live, each one his own life, all brought into the powerful unity of action. The groups are well arranged, the faces varied ; all are understood The action is just ; the nude is well treated, well modeled : and the an.atomy observed. That of the boy who holds his mother, half fallen over, by the midtUeofthe body, is a bit of master- work. The water is muddy, — it surges. The viilues are exact, the color vigorous, the pei-spective vast. Roll, in fine, copies not nature photographically, in the fashion of the skillful ones of to-day, corrupting the public, and corrupted by it. He interprets nature, and grandly, because his art is grand. The jilace we gave him a year ago among the debutants he has kept. It is the first ” — Mario Froth, Voyage an Pays des Pcintres, 1877. Romanelli, P. (Ital.) Professor at Florence. Pupil of Bartolini. Among his principal works are, “ Monumental Statue of Count Fos- .sombroni,” “A Boy Bacchus treading the Gmpes,” “The Betrayed,” “ AVilliam Tell’s Son ” (executed in marble for Mr. A^'anderbilt of New ARTISTS OF THE NINETEENTH CENTURY. 221 York), a fine portrait bust of Bartoliiii, “The Genius of Italy,” “The Nymph of the Arno,” etc. To the Paris Exposition of 1878 he con- tributed a statue in marble, “ The Eose of Sharon.” Romberg, Arthur Georg. (Ger.) Born at Vienna (1819.- 1875). Professor of Painting at Munich. Member of the Academy of Berlin. Studied at the Academy of Dresden and under Hiibner. Went to Munich in 1850, where he soon became distinguished as a genre painter. His drawing is correct, and his personages all have marked characteristics. He usually combines some mirth with his represen- tations. Among his pictures are, “ Peasant-Women of Dachau on Sunday,” “ The Bouquet,” “ The Walk with the Hofineister,” “Hiding,” and “After the Masked Ball.” In 1860 he went to Wei- mar, and there executed his “ History of Civilization ” for the Maxi- milaneum at Munich. His designs for the Schiller and Goethe Galleries added to his fame. In connection with Pauwels he executed frescos at the Wartburg in the part where Luther had lived. In 1865 he removed to Munich, where, in 1870, he exhibited “ Frederick II. hold- ing Court in Palermo.” Ronner, Mme. Henriette. (Butch.') Born at Amsterdam. Member of the Academy of Eotterdam. She has resided more than twenty years in Brussels, and has gained many medals in her own country and in others. She paints principally subjects in wliich domestic animals are introduced. At the Glasgow Fine Art Loan Exhibition in 1878 was her “ Boy and Dog,” loaned by J. Stevenson. “ Exterior of a house. The door is open, but guarded by a big, surly red and white dog. A boy in a blue overall, and with a basket on his arm, hesitates to enter from fear of the dog.” Ronot, Charles. (Fr.) Born at Belan-sur-Ource. Pupil of A. Glaize. Medals in 1876 and ’78, when he exhibited “ The Charities of St. Elizabeth of Hungary ” ; in 1877, “ The Anger of the Pharisees ”; in 1876, “The Workmen of the Last Hour.” Roqueplan, Joseph-Etienne-Camille. (Fr.) Born at Malemort (1802-1855). Ofticer of the Legion of Honor. Puinl of Gros and of Abel de Pujol. This artist belonged to the romantic school. His pictures are landscapes and genre subjects. He also painted battle- pieces for the Gallery at Versailles, and decorated several ceilings for the palace of the Lu.xembourg. Rosales, Edouard. (Span.) Died at Rome, 1873. Chevalier of the Legion of Honor. Corresponding Member of the Institute. Di- rector of the Spanish Academie des Beaux-Arts. The picture of “ Isabella the Catholic dictating her Will ” was the most important Spanish picture at the Paris Exposition of 1867. After the death of Rosales, “ The Death of Lucretia,” another grand work, was exhibited in Paris. Larousse says of this : — “ In a subject so often repeated, and which may be well made emphatic and melodra- matic, the Spanish artist has understood how to be original and simple, to unite the 222 ARTISTS OF THE NINETEENTH CENTURY. nobility and pathos of tragedy with the gravity of history ; las figures have an antique character inspired by study of celebrated masters, and the costumes are arranged with science and taste. A rich and vigorous color adds to the merits of this work ; the light, largely concentrated on one arm of Lucretia, and on the face of the old Lucretius, lias great brilliancy, and makes a somewhat violent contrast with the shadows in the work.” Rosen, George, Count von. (Swede.) Professor of the Eoyal Academy of Stockholm. At Philadelphia he exhibited “A Portrait” and received a medal To the Paris Exposition of 1878 he contrib- uted “ The Flower-Market ” and a portrait of a painter. Rosenthal, Toby E. (Am.) Bom in Hessen, Germany, and taken to America as an infant. He began the study of art in the public schools of San Francisco, taking lessons there also from a Span- ish painter, under whom he made rapid progress. At the age of seven- teen he went to Munich, and entered the Royal Academy, remaining two years in that institution, and spending three years longer in Mu- nich as a private pupil of Professor Raupp. Again entering the Acad- emy, he remained about seven years under Piloty, painting, during that time, “ Morning Prayers in the Family of Bach ” (purchased by the city of Leipsic, and now in the museum there). Among his works may he mentioned, “ Elaine ” (at the Philadelphia Exhibition in 1876), “ Love’s Last Offering,” and a study of the head of Mrs. Greatorex, painted in Munich in 1871, and exhibited at the Hational Academy in New York in 1875. Very few of his works have been exhibited in America. “Toby Rosenthal’s ‘Elaine ’ in illustration of Tennyson’s lines, ‘And the dead, steered by the dumb, went upward with the flood,’ attracted great attention in Boston when it was recently exhibited there. The critics all concede that the picture is well painted, and embodies great dramatic force, but the wisdom of choosing so sad a subject Ls doubtful.” — Art Journal, .\pril, 1875. “ Mr. Rosenthal’s picture of the ‘ Young Monk ’ in the refectory of a convent was one of the most poetic in sentiment to be found in tlie whole E.xhibition. It is pure and deli- cate in feeling, and skillfully painted. ” — Prof. Weir’s Official Report of the American Centennial Exhibition o/lS76. Rosier, Amed^e. (Fr.) Bom at Meaux. Medal at Paris in 1876, and at Philadelphia the same year. Pupil of Cogniet and Du- rand-Brager. At Philadelphia he exhibited “ Evening in the Harbor of Venice” and “ Morning on the Lagoons of Venice” ; at Paris, in 1877, “ On the Lagoons of Venice, — Setting Sun ” and “ The Canal of St. Mark’s, Venice.” “ A Landscape ” by this artist is in the collec- tion of Mrs. H. E. Maynard of Boston. To the Salon of 1878 he sent two Venetian views. Ross, Sir William, R. A. (Brit.) (1794 - 1860.) Displayed re- markable talents as a child, painting portraits before he reached his teens, and winning many valuable medals and prizes for his work in London and the Provinces, while still a lad. He entered the Royal Academy in 1805, when only ten years of age, exhibiting regularly at its gallery after that period for many years. He was elected an Associate of the Royal Academy in 1838, and Academician in 1839. He executed ARTISTS OF THE NINETEENTH CENTURY. 223 several important figure-pieces of a scriptural and historical charac- ter, but his specialty was portraiture in miniature, in which branch of art he was wonderi'ully successful, no artist of the English school of any century ranking higher. He numbered among his sitters the Queen and Prince Consort of England, with many members of Eng- lish royal and aristocratic families, Louis Philippe, Louis. Napoleon, Leopold of Belgium and his family, etc. He was knighted by Queen Victoria in 1839. Ross, Robert Thorburn. {Brit.) Born in Edinburgh, 1816. Student of the Trustees Academy for three years, when he opened a studio in Glasgow, painting portraits for some time. In 1842 he went to Bewick, remaining for ten years, and for the first time turning his attention to ideal subjects, contributing to the Eoyal Scottish Acad- emy, in 1845, “ The Spinning-Wheel.” In 1852, when he was elected an Associate of that Academy, he removed to Edinburgh. He was made an Academician in 1869. Among his works, many of which have been engraved, are, “ The Dead Eobin,” “ The Mote in the Eye,” “Hide and Seek,” “ The Thorn in the Foot,” “ The Dancing-Lesson,” “ The Broken Pitcher,” “ Leaving Home,” “ Highland Pets,” “ Asleep,” and “ The Highland Shepherd’s Fireside.” “ This artist [Ross] has evidently studied Scottish life in the cottage, on the sea-coast, and by the river-side. His pictures are all of this class of subject, which he renders with fidelity, and under most attractive aspects. He is an excellent colorist, and shows true feeling for the picturesque, both in his figures and their surroundings, whether in or out of doors.” — Art Journal, 1871. Ross, Alfred. (FV.) Born at Tillieres-sur-Arve. Pupil of Jouf- froy. Exhibited at Philadelphia a statue (in bronze) of “ A Bohemian at the Spring,” and received a medal. Rosseels, Jacques. {Belgian.) Of Antwerp. Medal at Philadel- phia, where he exhibited “ A Mill on the Scheldt.” Rossetti, Dante Gabriel. {Brit.) Born in 1828. Educated at King’s College, Ijondon, contributing illustrations as a young man for a fine edition of Tennyson’s poems. His “ Girlhood of the ViTgin,” exhibited in London in 1849, first attracted attention to him as an artist in colors ; it appeared simultaneously with Millais’ “ Isabella ” and Holman Hunt's “ Eienzi,” and introduced with them what is known as the pre-Eaphaelite school to England. To the Liverpool Academy, in 1856, he sent three pictures in water-color, “ The Wed- ding of St. George,” “ Dante’s Dream on the Death of Beatrice,” and “A Christmas Carol.” To the Eoyal Scottish Academy, in 1860, he contributed “ Fair Eosamond.” Of late years his pictures have not been shown to the public. He is better known as a writer than as an artist. His “ Early Italian Poets,” translations from Dante and others, was published in London in 1861 ; a revised edition, called “ Dante and his Circle,” appearing in 1874. He also gave to the world a vol- ume of original “ Poems” in 1870. 224 ARTISTS OF THE NIHETEENTH CENTURY. “As a figure-painter his drawings, such as I have seen, are far above the strictly real- istic work produced by acolytes of his order .... Rossetti, a man of genius, has lighted his canvas and his pages with a quality that is ennobling.” — Stedmas s Victorian Poets. “ D. G. Rossetti was the founder and for some years the vital force of the pre-Raphael- ite school. He was the first assertor in painting, as I believe I was myself in art liter- .ature (Goldsmitli and Moliere having given the first general statements of it), of the great distinctive principle of that school tliat tilings should be painted as tliey probably did look and liappen, and not as by rules of art developed under Raphael, Correggio, and Mi- chael Angelo they might be supposed gracefully, deliciously, or sublimely to have hap- pened.” — Ruskin’s Notes of the Academy, 1875. “ There are few more intense and perfect poems in the English tongue than the ‘ Blessed Damozel,’ by Dante Gabriel Rossetti, and tliere must be thousands of persons who feel sometliing more than mere curiosity to see the picture, founded on the poem and bear- ing its name, painted by the poet himself for Mr. William Graham. An opportunity to do so is not, however, likely to occur, at least for some years ; and all but a favored few must be content to know it by inadequate verbal description. The damozel is leaning ‘ from the gold bar of lieaven,’ surrounded by groups of happy reunited lovers. Below is a predella just added by the artist ; the bereaved lover stands amid the fall of leaves with his eyes fixed on heaven. The cerulean, rose, and delicate green tints of the upper can- vas are brought out into beautiful contrast by the autumnal tints and the black grays of the predella. Mr. Rossetti has more than one new work in hand.” — Magazine of Art, June, 1878. Rossiter, Thomas P., N. A. (Am.) Born at New Haven, Ct. (1818- 1871). He studied in his native cit)', and in 1838 began the practice of his profession there as a portrait-painter. In 1840 he vis- ited Europe, stud 5 ’ing in London for six months, and in Paris tor a year. In 1841 he settled in Rome, remaining five years, spending his summers in sketching-tours in Germany, Switzerland, and Italy. In 1846 he opened a studio in New York, painting an occasional portrait, hut devoting himself chiefly to the illustration of scriptural and his- torical subjects. In 1853 he returned to Europe, remaining in Paris until 1856. Spending a few years in New York, he removed in 1860 to Cold Spring, on the Hudson. He was elected an Associate of the National Academy in 1840, and Academician in 1849. Among his works, some of which have been engraved, are, “ The Last Hours of Tasso,” “ Puritans reading the Bible,” “ Miriam,” “ The Ascension,” “ Return of the Dove to the Ark,” “ The Wise and Foolish Virgins,” “Noah,” “Italy in the Olden Times,” “Home of Washington,” “ Washington in his Library,” “ Washington’s First Cabinet,” “ Prince of Wales at the Tomb of Washington,” “ Palmy Days at Mount Ver- non,” “ Representative Merchants,” etc. Rossiter, Charles. {Brit.) Bom in 1827. A pupil of Mr. Leigh’s school, in Newman street, London, he did not turn his attention to art as a profession until about 1850, making his specialty small genre pictures. For a quarter of a century he has exhibited at the Royal Academy and the Gallery of the Society of British Artists. Among his earlier works, which were very popular with all classes of people, were, “ The Song of the Shirt,” “ The Protector,” “ Puritan Purifiers,” “ The Return of ORvia,” etc. He sent to the Royal Academy, in ARTISTS OF THE NINETEENTH CENTURY. 225 1866, “ The First Lesson ” ; in 1867, “ The Little Singer ” ; in 1868, “ II Penseroso ” ; in 1870, “ A Gleam of Hope ” ; in 1871, “ Memories of the Past ” ; in 1872, “ The Necklace ” ; in 1875, “ Rival Anglers” ; and ill 1877, “ Rough Weather.” Rossiter, Mrs. Charles, wife of the foregoing, exhibited for some years attractive pictures of birds at the Royal Academy, but her name has not been seen in its catalogues since 1 873. Roth, Christian. (Ger.) Professor at Munich. This sculptor has studied anatomy with great thoroughness, and he has done much to enable the students of sculpture about him to pursue this necessary branch. Among his works are a fountain at Munich representing a “ Faun with the Mask of Jupiter.” His “ Kanipf um das Friihstuck” (now belonging to Duke Charles Theodore of Bavaria) gained a prize. It represents a boy and goose struggling over a piece of bread. Roth’s best works are those above the genre subjects. His perfect knowledge of the human form should be employed in monumental sculpture. His “ Wacht am Rhein ” is a work of strength, but not of high art. His colossal bust of the late Prince Charles of Bavaria, for the park of the castle of Tergernsee, is without doubt his master- work in por- traiture, and perhaps the verdict of years will make his portrait busts his chefs-d'muvre. Rothermel, Peter F. (,4m.) Born in the State of Pennsylvania in 1817. He was brought up as a surveyor, and did not devote him- self to the study of art until he was twenty-one years of age. In 1840 he began the active practice of his profession by the painting of por- traits. In 1856 he went to Europe, spending some time in the art centers of the Continent, painting his first historical picture, and later making that class of subjects a specialty. Among the better known of his works are “ St. Agnes ” (painted in 1858, and now in Russia), “The Foscari,” “Patrick Henry before the Virginia House of Burgesses,” “Cromwell breaking up the Service in an English Church,” “ Columbus before Isabella,” “ De Soto discovering the Mississippi,” “ St. Paul on Mars Hill,” “ The Battle of Gettysburg ” (in the Capitol at Harrisburg, Pa.), “Christian Martyrs in theColiseum,” and others, many of which have been engraved. To the Centennial Exhibition at Philadelphia, in 1876, he sent “The Battle of Gettys- burg,” “ Amy Robsart interceding for Leicester,” “ The Trial of Sir Henry Vane ” (belonging to J. L. Claghorn), “ Macbeth meditating tlie Murder of Duncan ” (belonging to Thomas Dolan), “ Hypatia stripped and torn to Pieces by the Christian Mob of Alexandria,” “The Landsknecht” (belonging to Matthew Baird), and “The Christian Martyrs.” He was “ commended for excellence in historical painting.” “ With unequal power, but frequent fidelity to the conventional requirements of his historical painting, Rothermel’s career, in view of the department he illustrates, has been remarkably prosperous. The pictures he has exhibited abroad have gained him houoralde mention, though confessedly unfinished.” — Tuckeem ah’s Book of the Artists. 10* o 226 ARTISTS OF THE NINETEENTH CENTURY Rousseau, Philippe. {Fr.) Born at Paris about 1808. Officer of the Legion of Honor. Pupil of Gros and Victor Bertin. At first' Rousseau painted landscapes, and made his debut in 1831. Since his earlier works he has painted numerous subjects which may be termed animal genre. They are very much admired. “ The Importunate ” (1850), “Storks taking a Siesta,” and “A Kid feeding on Flowers” (1855) are in the Luxembourg. In 1866, “The Monkey Photograph ” and “ Flowers,” remarkable works, were purchased by the Princess Mathilde. In 1877 he exhibited “ The Breakfast ” and “ 0 ma tendre musette!”; in 1876, “Oysters” and “Poppies”; in 1875, “The Wolf and the Lamb” and “Cheeses”; in 1874, “La Fete-Dieu” and “The Salad”; in 1872, “The Sweetmeats” and “Springtime”; in 1870, “ The Flowery Fomitain” and “ The First Plunrs and the Last Cherries,” etc. “M. Philipjie Rousseau is not only a man of genius, he is also, unfortunately, a seeker of genius. Curiosity and surprise make a portion of the interest which his works inspire. One sometimes studies them as the subscribers to ‘ L 'Illustration ’ meditate upon the rebus. Animals are wise little jiersonages to Rousseau ; each of his frames resembles an outlandish theater in which the beasts play a comedy I recognize with the public the originality and the attraction of his works, but I am not able to approve of all the talent which he expends in order to lower painting to the level of the vignette.” — Edmond About, Nos Artistes an Salon de 1857. Rousseau, Thdodore. (Fr.) Born at Paris (1812 - 1867). Chevalier of the Legion of Honor. Pupil of Guillon-Lethiere. A landscape-painter. Made his debut in 1834. In 1867 he exhibited “ A View of Mont Blanc ” and “ The Interior of a Forest ” ; in 1866, “ Sunset, Forest of Fontainebleau,” and “ Boundaries of the Forest of Fontainebleau at Barbison”; in 1864, “A Village, — Cottages under the Trees” ; in 1863, “A Pool beneath some Oaks” ; etc. At the Hotel Pereire in Paris there is an extpiisite landscape by Theodore Rousseau which was purchased at the Demidoff sale for 3,250 francs. At the Strousberg sale, Paris, 1874, “A Fisherman” sold for .£832. At the Laurent- Richard sale, Paris, 1873, “ Watercourse at Sologne ” sold for £ 1,600 ; “ Hoar-Frost,” £ 2,404. This artist, in truth, has varied prodigiously, and his work sometimes shows us vivid impressions expressed with rare happiness, but tlie execution will not bear the at- tentive examination of amateurs who seek to analyze it and judge it in detail ; at other times he executes pictures treated with scrupulous care, hut which have not as a whole the charm and the unaffected simplicity which artists admire in the first” — Renk Me- nard, Gazette des Beaxix-Arts, March, 1873. ” Tiieodore Rousseau has been for twenty-five years the first apostle of truth in land- scape. He made a breach in the wall of the historic school, which had lost the habit of regarding nature, and servilely copied the bad copyist-s of Poussin. This audacious inno- vator opened an enormous door by which many others have followed him. He emanci- pated the landscape-painters as Moses formerly liberated the Hebrew.s, ‘ in exitu Israel de.£gypto.* He led them into a land of promise, where the trees had leaves, where the rivei's were liquid, where the men and the animals were not of wood. On the return of this truant school the young landscapists forced the entrance of the Salon, and it was still Theodore Rousseau who broke down the door. In that time Rousseau occupied the first rank in landscape, above all as a colorist ; but neither the Institute nor the ABTISTS OF THE NINETEENTH CENTURY. 227 puWie wished to confess it. His incontestalde talent was contested by all the world. It is only to-day that his reputation is made. He can become remiss with impunity without its being seen, etc.” — Edmond About, Nos Artistes au Salon de 1S57. Rowbotham, Thomas L. (Brit.) (1823-1875.) Active, mem- ber of the Institute of Painters in Water-Colors, painting landscapes with skill and taste. His works were pleasing and popular ; among them may be mentioned, “ The Sacred City of Benares on the Gan- ges,” “MiU in Surrey,” “On the Thames, — Evening,” “A Winter Sunset,” “The Imperieuse, — Breaking up at Woolwich in 1867,” “ Castellamare, Bay of Naples,” and “ Sisteron, South of France.” Rowse, Samuel W. (Am.) A native of the State of Maine. Recently this artist has spent some time in New York, but the greater part of his professional life has been passed in Boston. He devotes himself particularly to drawing in black and white. His work is seldom publicly exhibited, although he has been for some years one of the most successful of American artists. Photographs of his lighter works, chiefly ideal pictures of children in crayon, have been very common throughout the United States. While in the sun copies justice has not been done to the originals, each one, no matter how slight and sketchy, has something of the peculiar charm of manner which in his drawing of children is irresistible. One well-known connoisseur writes : — “The ai^parent simplicity and real subtlety of Rowse’s portraits of children is beyond analysis. They constantly remind one of Sir Joshua ; but Sir Joshua in only a few in- stances attained such completeness, such unity in purpose and in execution, as is shown by Rowse. Herein his work possesses a quality seldom reached in modern art, — that of harmony. 'Whatever he undertakes, the result is a picture. It is not an effort, a frag- ment, not the exhibition of some school or method ; it is a whole, and it is beautiful.’* While Mr. Rowse has had few pupils, m the ordinary sense of the term, he has had many foRowers, disciples, and imitators, and has had a decided and beneficial influence upon his peculiar branch of art. Among the many illustrious men whose portraits he has drawn in crayon, have been James Russell Lowell, R. W. Emerson (belong- ing to Charles E. Norton), and Hawthorne (the property of Janies T. Fields). Recently he has given more attention to painting in oil, and devoted the year 1877 (in New York) to the producing of por- traits in that medium. His “ Head of a Child ” (belonging to Morris K. Jessup) was at the Loan Exhibition of the Society of Decorative Art at the National Academy in 1877. ‘‘ Rowse is one of the most delicate and true crayon limnera in this country ; some of his heads are unsurpassed for fine feeling and exquisite drawing.” — Tuckerman’s Book of the Artists. “ ‘ Even in England,’ writes Mrs. Elizabeth Murray to a London art journal, ‘ there are none to compare with Rowse in crayon portraits, for refinement and beauty in idealiz- ing a portrait, while the likeness is wonderful in its identity.’ ” — Boston Advertiser, May 23, 1868. Rubio, liOuis. (Ital.) Bom at Rome in 1797. -Ifter studying in Italy he passed some time at Paris under Cogniet. He finally set- 228 ARTISTS OF THE NINETEENTH CENTURY. tied in Geneva. He gained several medals at Paris and Rome, and was made member of the Academy of St. Luke. His works are seen occasionally in public galleries. Rudder, Louis-Henri de. (Fr) Bom at Paris, 1807. Chevalier of the Legion of Honor. Pupil of Gros and Charlet. Many of his ' pictures are of historical and religious subjects. At the Luxembourg i is “ Nicolas Flamel, an Alchemist of the Fifteenth Century.” Rud- der painted considerably in water-colors. At the Salon of 1878 he exhibited “Ecce Homo” and a “View on the Banks of the Douet at 1 Benzeval (Calvados).” i Ruskin, John. (Brit.) Born in London, 1819. He graduated at the University of Oxford, and gained the Newdigate Prize for Poetry ! in 1839. Later, he studied art under Fielding and J. D. Harding, I attaining no ordinary proficiency as a draughtsman, but never becoming ; a professional artist. Ruskin is known, however, throughout the English-speaking world as an art critic, and a brilliant and prolific, as well as original, writer upon art subjects. Not always temperate in i his strictures upon existing art and contemporary artists, he has fre- quently been the subject of sev'ere criticism from rival critics ; but, unquestionably, no work of its kind has been more widely read than ' Ruskin’s “ Modern Painters,” and to no single work and to no single author does the world of art owe so much. An ardent and enthu- siastic admirer of Turner, Ruskin’s first literary effort was a small pamphlet, the avowed object of which was the defence of that artist. It was subsequently enlarged, and was published in 1843 as the first volume of “ Modern Painters: by a Graduate of Oxford.” It attracted much attention in England. The second volume, to which the au- thor’s name was not attached, appeared in 1846; the third volume was not published until some ten years later; the fourth, and perhaps the ablest, followed more quickly; and the fifth and last was given to the public in 1860. During the irregular and desultory appearance of this work Mr. Ruskin’s pen was by no means idle. He published “ The Seven Lamps of Architecture,” in 1849 ; the first volume of “The Stones of Venice,” in 1851; “Lectures on Architecture and Painting,” in 1854; “ Giotto and his Works in Padua,” inl855; “Notes on the Turner Collection,” in 1859; etc. Besides these, he is the au- thor of many other volumes, and has written interesting and valuable “ Notes on the Pictures of the Royal Academy,” for several seasons (the last in 1875), and has contributed articles to the London Times, Art Journal, Quarterly Review, Cornhill Magazine, and other periodicals. In 1867 Mr. Ruskin was appointed Rede Lec- turer at Cambridge, and in 1869, Slade Professor of Fine Arts at O.xford. In 1871 he endowed the Taylor Gallery at Oxford with £ 5,000 for the maintenance of a Master of Drawing, and he has generally spent the greater part of his private fortune in other schemes for art education and the public good. !Mr. Ruskin has fur- ARTISTS OF THE NINETEENTH CENTURY. 229 nished illustrations for “ The Stones of Venice,” and for the later vol- umes of “ Modern Painters His original drawings are rarely seen hy the public. In 1878, however, was exhibited in London one hun- dred and twenty-six drawings by Turner, together with nearly eighty sketches, drawings, and photographs executed or collected by Euskin. Of these P. K. Conder wrote, in the October number of the Art Journal of that year, as follows ; — “ The collection under review gives a rare proof of the possession by Buskin of an indispensable qualification for the thorough judge of art, namely, the hand to create, as well as the eye to see. It may not be true that none but a painter can truly be a judge of painting. It may even be urged that a painter is not the most reliable jiidge or critic of the works of his brothel’s of the pencil. But we think that it must be admitted that none but an artist m some field or branch of art can be a thorough judge of art in any of its branches. The education of the hand is needed in order to give a reflected power and accuracy to the education of the eye. There is an unfinished pencil sketch of an ‘Outline from the Fresco of the Sacrifice of Job in tlie Campo Santo of Pisa,’ from the hand of Mr. Buskin, which might have been placed without discredit in tlie exquisite coilection of drawings by old masters exhibited last autumn in the Grosvenor Gallery. In refined delicacy and graceful truth of touch, combined with depth and tender sense of feeling, it almost leads us to echo the half-suppressed sigh of the draughtsman, ‘ Had I been able to keep myself clear of literature ! ’ Some of the archi- tectural sketches give a feeling of Gothic tracery akin to that which must have been possessed by the great artists of our cathedrals.” If the world is not familiar with the work of Mr. Ruskin’s pencil, the work of his pen has made him a power wherever art is known. Of his “ Stones of Venice,” Charlotte Bronte wrote to Mrs. Gaskell in 1851 : — “*The Stones of Venice’ seem nobly laid and chiseled. How grandly the quarry of vast marbles is disclosed I Mr. Kuskin seems to me one of the few genuine writers, as distinguished from book-makers, of this age. His earnestness even amuses me in some passages, for I cannot help laughing to think how utilitarians will fume and fret over his deep, serious (and as they will think), fanatical reverence for art. That pure and severe mind you ascribe to him speaks in every line. He writes like a consecrated priest of the Abstract and Ideal.” This book [ ‘ Modern Painters'] contains more true philosophy, more information of a strictly scientific kind, more original thought and exact observation of nature, more enlightened and serious enthusiasm, and more eloquent writing than it would be easy to match, not merely in works of its own class, but in those of any class whatever. It gives us a new, and, we think, the only true theory of beauty and sublimity ; it as- serts and proves the existence of a new element in landscape-painting, placing its prince upon his rightful throne ; it unfolds and illustrates, with singular force, variety, and beauty, the laws of art ; it explains and enforces the true nature and specific func- tions of the imagination with the precision and fullness of one having authority, — and all this is delivered in language which, for purity and strength and native richness, would not have dishonored the early manhood of Jeremy Tajdor, of Edmund Burke, or of the author’s own favorite Richard Hooker.” — Dr. John Brown, in North British Review. “ There is one man among us who has done more to breathe the breath of life into the literature and the philosophy of art, who has encouraged it ten thousand times more effectually than all our industrious Coles and anxious Art Unions, and that is the author of ‘ Modern Painters.’ I do not know that there is anything in our literature, or in any literature, to compare with the effect of this one man’s writings. He has, by his sheer force of mind and fervor of nature, the depth and exactness of his knowledge, and 230 ARTISTS OF THE NINETEENTH CENTURY. the amazing beauty and power of language, raised the subject of art from being subordi- nate and teclinical, to the same level with poetry and philosophy. He has lived to see an entire change in the public mind and eye, and, wliar is better, in the public heart, on all that iiertains to the literature and philosophy of representative genius. He com- bines its body and its souL Many before him wrote about its body, and some well ; a few, as Charles Lamb and our own ‘ Titmarsh,’ touched its soul ; it was left to John Ruskin to do both.” — Notes on Art in Horae Subsecivee. “Unquestionably one of the most remarkable men of this or any age is Mr. Ruskin. He is, if you like, not seldom dogmatic, self-contradictory, conceited, arro- gant, absurd, but he is a great and wonderful writer, he has created a new literature, the literature of art.” — Fraser’s Magazine. “ Yet in his book [ ‘ Modem Painters ’ ] there was a bold originality, an uncom- promising independence, quite startling to the lovers of the old beaten track, the devotees to precedent. The daring champion of Turner, not content with asserting the painter’s claims to universal admiration, announced, somewhat authoritatively, certain principles of art neither derived from Alison or the Royal Academy Indefati- gable in the pursuit of that branch of art, which in all his loving is the love, Mr. Ruskin has lately written a book for young persons, entitled ‘ The Elements of Drawing, in Three Letters to Beginners.’ He always writes con armre, but never more so than in this valuable little treatise. Mr. Ruskin is not only a practical artist, but he has also had much experience in teaching, being employed at present as head-teacher of a class in drawing in the Working-Men’s College, 45 Great Ormond street, London.” -intro- duction to Mrs. Tuthill’s Beauties of Ruskin, 1865. “A man has arisen among them [British artists] to justify and elevate their practice into theory, namely, John Ruskin, an admirer and friend of Turner: an earnest, im- passioned, and original writer, perfectly competent, very studious, very iiopular, and possessing a thoroughly English intellect. Nothing is more precious than personal, in- dependent, and well-ordered impressions. Especially when, like his, they are boldly expressed, they lead us to reconsider our own. There is no one to whom Ruskin’s works, such as ‘ Modern Painters ’ and 'The Stones of Venice,’ fail to suggest subjects for thought. His firet principle is that the literal truth and the characteristic detail must be loved with enthusiasm.” — Taine’s Notes on F.ngUind. Sain, Edouard- Alexandre. (Fr.) Born at Cluny. Medals at Paris in 1866 and ’75, and at Philadelphia in 1876. Pupil of Picot. At Philadelphia was exhibited an “ Italian Girl ” by this painter (owned by Theodore Lyman of Boston), “ A Family Scene in the Pyrenees ” (medal), and “ The Convalescent.” At the Salon of 1877 he exhibited “ Andromeda” and a portrait of T. Lambrecht. At the Luxembourg is his “ E.xcavations at Pompeii ” (1866). Saint-Gaudens, Augustus. (Am.) Born in NewYork. He began his professional career as a cameo-cutter in his native city, and upon the proceeds of the sales of his work in that branch of art he went to Paris, where he spent some years modeling and drawing in the Academy, and the School of Medicine, gaining a medal in the latter institution. He also studied sculpture in Rome. Among his works are a statue of “ Hiawatha ” (belonging to E. D. Morgan of New York), a statue of Farragut for the city of New York (now in course of execution), and busts "of President Woolsey of Yale, William M. Evai-ts, etc. He executed the bas-reliefs in St. Thomas Church, New York, and as- sisted La Farge in the decoration of Trinity Church, Boston. He is the Yice-President of the Society of American Artists. ARTISTS OF THE NINETEENTH CENTURY. 231 Saintin, Jules Emile. {Ft.) Born at Lenie. Chevalier of the Legion of Honor. Medals in 1866 and ’70. Pupil of Drolling, Picot, and Leboucher. At the Salon of 1877 he exhilnted “ The First En- gagement ” and “Self-Satisfied” ; in 1876, “The Last Ornament” and “ The Thoughtless S.nibrette.” One of his pictures, called “ The Tomb without Flowers,” represents a young woman standing on the shore and gazing out at the sea. To the Salon of 1878 he sent “Jeanne ” and “ Will he return ? ” Saint-Jean, Simoa. {Fr.) Born at Lyons (1812 - 1860). Cheva- lier of the Legion of Honor. Pupil of Francois Lepage. This painter was made famous by his pictures of flowers, fruits, birds, etc. He has sometimes painted in water-colors. At the Johnston sale. New York, 1876, “ A Fruit-Piece ” (19 by 26) sold for $ 1,350 ; and at the Latham sale. New York, 1878, “Fruit and Flowers” (32 by 24) sold for 1,400. At the Corcoran Gallery, Washington, is a picture of “Fruit” (1855). Salentin, Hubert. {Ger.) Born at Ziilpich, 1822. Medals at Vienna and Besangon. Commenced his studies late in life at the Academy of Diisseldorf. Genre painter. His scenery is well done and he has a pleasing manner. At the National Gallery at Berlin is his “Pilgrim at the Chapel.” In Berlin, in 1876, he exhibited “ The Praying Maiden,” “ Hol’uber,” and “The Return from the Wood.” His “Foundling” belongs to Mr. S. D. Warren of Boston. Salmson, Hugo. {Swede.) Born at Stockholm. Pupil of the Academy of his native city, and of Comte of Paris, where, at the Salon of 1878, he received honorable mention. This artist paints genre subjects. At the Paris Salon of 1875 he exhibited “The Little Swedish Girl.” The child, dressed in the peculiar costume and cap of her country, holds a pigeon in her arms, while the flock are on the ground beside her ; the background is good, and well expresses the character of Swedish scenery. In the Corcoran Gallery at Washing- ton is the “ Fete of St. John in Dalecarlia.” This picture was in the Salon of 1874, and selected by the Ministry of Beaux-Arts for purchase ; but as their appropriation was insufficient, it was secured for the Corcoran Gallery. Salter, William. {Brit.) Born in Devonshire (1804-1875). Went to London in 1822, .studying under Northcote for five years. In 1827 he went to Florence, where he painted his “ Socrates before the Court of Areopagos,” a picture that at once established his reputation ns an artist, and led to his being elected a member of the Academy of Fine Arts, and Professor of the First Class of History in Florence. He went to Rome in 1832, studying there and in Parma, returning to London the next year. For over a quarter of a century he was a ■ prominent member, and for some time Vice-President, of the Society i of British Artists. Among his works (many of which have been en- j graved) are, “The Annual Banquet given by the Duke of Welling- 232 ARTISTS OF THE NINETEENTH CENTURY. ton at Apsley House to tlie Veterans of Waterloo”; “ Jephthah’sRash Vow ” ; “ Interview of Charles I. with his Children in the Presence of Cromwell” (1863) ; “Queen Elizabeth reproving Dean Noel in the Vestry of St. Paul’s ” (1865) ; “ Desdeniona and Othello before the Senate’’ (1869) ; “ The Last Sacrament” (1874) ; “The Merchant of Venice ” ; etc. “ Salter’s best works are his portraits, 'both male and female. These are nuiiierons, and as a rule show brilliant and h.arnionious coloring.’’ — Art Journal, March, 1876. Sand, Maurice, real name, Dudevant (Er.) Bom at Paris, abbut 1825. Chevalier of the Legion of Honor. Son of Mine. Dudevant, (George Sand). This artist has also a name as a man of letters. His pictures are of such subjects as, “ Muleteers,” “A Market at Pompeii,’^ “ Leander and Isabella,” etc. Sanderson, Charles Wesley. {Am.) Bom at Brandon, Vt., 1838. ^ A music-teacher by profession, Mr. Sanderson has from boyhood prac- ticed and studied drawing and painting. His first teacher was James ; Hope, a Scotchman who settled in Vermont. Later, he studied oil- painting under S. L. Gerry. In Paris he practiced drawing from life . in the atelier of Julien, where he took two prizes and was admitted to I’Ecole des Beau.v-Arts for excellence in drawing from the nude. i He afterwards gave some attention to water-color painting in England, and has continued the practice of this art. Of late his pictures have ' attracted attention, and several of them have been sold for good prices. . Among them are, “ Lana Cascade, near Lake Dunmore, Vermont ” ’ (purchased by klr. Turner of Brooklyn), “The Afterglow, Wetter- i horn ” (Mrs. S. D. AVarren of Boston), “ Otter Creek Meadows, Ver- J mont ” (Mr. AVright of Boston), etc. < “ In the same gallery there is a water-color by Mr. C. W. Sanderson, whose paintings • should be more frequently exhibited. The painting is a study of the ' Lana Cascade,’ ' near Lake Dunmore, Vt, and is in most respects an excellent picture. There is noth- ing at all conventional about it, and one can easily see that the artist has attempted to make an accurate, careful, and truthful interpretation of the scene before him. The handling of the colons is a clear indication that the artist has skill in manipulating tlie brush, and it is this disclosure of reserved strength that arouses the desire to know the artist better through his paintings. The scene in itself is a charming one, very familiar to be sure, but of that sort which one is never tired of seeing.” — Boston Daily .idrer- ■ tiser. Sandys, Frederick K. {Brit.) Bom in 1832. First exhibited at the Royal Academy in 1854. A painter of portraits, in which he has been very successful, and occasionally an exhibitor of ideal sub- jects. Among the latter may be mentioned, “ Oriana ” (R. A., 1861), ! “La Belle Ysonde ” (1863), “ Morgan-le-fay ” (1864), “ Cassandra ” (1865), and “ Medea ” (1869). This artist also furnishes wood-cuts for the publishers of illustrated books from time to time. His “ Medea” i was at the Paris E.xposition of 1878. “ Mr. Sandys, though we believe known as the author of some noteworthy drawings. , must be also reckoned as a painter among the men of promise in which this Exliibition ARTISTS OF THE NINETEENTH CENTURY. 233 [E. A., 1863] has been unusually fertile. His head of Mrs. Rose has struck every one as a remarkable example of execution, in which careful drawing and characteristic ex- pression are set off to the best advantage by signilicance in the accessories and care in the finish.” — Palgrave’s Essays on Art. “ Neither in his portraits nor in his pictures does Frederick K. Sandys always attain ideal grace and harmony, but he is always closely in contact witli his subject. There is never any want of reality in the impression given by his paintings, rather perhaps there is sometimes a want of reserve in the emphasis and vivid power displayed. But when these powers do find a complete embodiment in the treatment of some wortliy theme, the effect is as strong as anything to be found in tlie art of our time. The picture of ‘ Medea,’ exliihited some time ago, is a remarkable example in this direction. There the ideal wa.s kept supreme, and yet the influence of tlie picture was intense in its leality." — Art Journal, August, 1873. Sangster, SamueL {Brit.) (1804 - 1872.) A line-engraver of considerable reputation. Among the better known of his works are, “The Gentle Student ” and “ Forsaken,” after G. S. Newton ; “ The Syrian Maid,” after Pickersgill ; “ The Victim,” after A. L. Egg ; “ Juliet and the Nurse,” after Briggs ; “ The Sepulcher,” after Etty ; and “A Scene from Midas,” after Maclise. Sangster retired from the active practice of his profession some time before his death. Sanguinetti, Francesco. (Ital.) Born at Carrara. Died 1870. Pupil of his father and of Rauch of Berlin. After visiting Italy he returned to the studio of Rauch in 1831. He executed several busts and a statue of Hylas in marble. He then settled in Munich, where he died. He there executed many portrait busts of distinguished in- dividuals, and at the time of his death was engaged upon a statue of Maximilian II., intended for the National Museum. He carried out the models of Schwanthaler for the figures in the State Library and the Asylum for the Blind. “ Sanguinetti’s private life seems to have been particularly unfortunate. First, he lost, it has been stated, by mismanagement, a property he had bought with the savings of many years ; next, his daughter was assassinated at the age of nineteen by a jealous lover ; then he was swindled by a dealer out of a valuable collection of pictures ; and, lastly, lost what money he had latterly accumulated by the bursting of a bubble com- pany, and was even compelled to sell the little house in which he resided.” — Art Jovr~ nal. May, 1870. Sanson, Justin-Chrysostome. {Fr.) Born at Nemours. Chev- alier of the Legion of Honor. Pupil of Jouffroy. His “ Pieta ” (group, marble, 1876) was bought by the Ministry of Fine Arts. This sculp- tor has been much employed upon public monuments and buildings, such as the Palace of Justice at Amiens, the New Opera, etc. Sant, James, R. A. {Brit.) Born in London, 1820. Became a pupil of Varley, and entered the Royal Academy in 1840, shortly after beginning his career as a painter of portraits, in which art he has been verj’ successful. Among his sitters have been the Prince Con- sort, and several members of the Royal Family, the Due d’Aumale, the Lord Bishop of London (1865), and the Queen and the children of the Prince of Wales (1872), shortly after which he was appointed Principal Painter in Ordinary to Her Majesty. Among his figure- 234 ARTISTS OF THE NINETEENTH CENTURY. pictures may be mentioned, “Samuel” (1853); “Children of the Wood ” (1854); “ Infancy ” (1857) ; “ Little Red Riding-Hood ” (1860); “The First Sense of Sorrow” (when he was elected Associate of the Royal Academy in 1862); in 1863, “ Taking Notes ”; in 1864, “ Turn again, Whittington”; in 1866, “Light in Dark Places”; in 1369, “ Mentonese Children ”; in 1870, “Alone”; in 1871, “ The Schoolmas- ter’s Daughter ” (his diploma work, deposited on his election as Acad- emician); in 1874, “ Peaches ”; in 1875, “The Early Post”; in 1877, “ Gleanings”; in 1878, “ Little Zara.” His “Young Whittington” was at Philadelphia in 1876; “The Early Post” and “ Adversity,” at Paris in 1878. Mr. Sant has given us everything in this painting [‘ Early Post,* R A., 1875] : youth, heauty, life, sympathy, a charming story, and a very plea.sant reminiscence of an English countr>'-house, without our ever having been there. As an example of careful art-work and purity of tone in coloring, this composition of itself is excellent, but as an incident 1 of every-day life, depicted on canvas, it is one of the very best pictures of the Academy.” j — Art Journal, July, 1875. Santarelli, Emilio. (Ital.) Bom at Florence, 1801. Professor of > the Academy of Fine Arts at Florence. Son of an artist, he wa.s early instructed in design, and went to Rome, where he was a pupil i of Thorwaldsen. He has not attained great fame, although he has executed many works by which he will be honorably remembered. One glorious act of his merits the gratitude of coming generations. He has collected a marvelous number of original drawings by the old masters, and these he presents to the city of Florence, in order that they may never be dispersed or fall into mercenary hands; among ^ them are some chefs-d’auvre. Among the works of Santarelli are a statue of Michael Angelo, placed under the loggia of the Uffizi, | many portrait busts, a series of bas-reliefs of mythological subjects, ' a statue called “ The Good Shepherd,” a “ Kneeling Magdalen,” a ! “Bacchante,” “The Prayer of Innocence,” “Cupid in Mischief,” a I half-colossal statue of St. Francis, etc. Sargent, John S. {Am.) A native of Philadelphia, he has lived for some years in Europe, painting in Paris under Carolus Duran. His “ Fishing for Oysters at Cancale,” at the Exhibition of the So- ciety of American Artists in New York in 1878, was purchased by Samuel Colman. To the Paris Salon, in 1878, he had “ Eu route pour la Peche.” At the Pai-is Exhibition of 1878 he exhibited a por- trait. Sarrocchi, Tito. {Ital.) Born in Siena about 1825. Professor at the Academy of Siena. Pupil of this Academy and of Dupre in Florence. He has been successful as an artist, showing much imagi- nation, great fidelity to nature, and great skill in execution. Among the works by which he is known we may mention the “ Finding of the Cross by Queen Helena,” an alto-relievo on the facade of Santa Croce, Florence ; a very beautiful Bacchante, exhibited at the Exposi- i ARTISTS OF THE NINETEENTH CENTURY. 235 tion in Paris in 1867 ; a fine group for the Campo Santo of Siena ; a group of a little girl teaching a young child his first prayer ; a beauti- ful figure of Hope, and several portrait statues, all fine in conception and execution. The restorations of the statues of the Cathedral of Siena and ©f the Fonte Gaia in the Piazza Victor Emmanuel are by Sarrocchi. Sartain, John. (Brit-Am.) Born in London, 1808. Academi- cian and member of the Philadelphia Academy of Fine Arts. Trustee and Member of the Committee on Instruction in the Pennsylvania Museum and School of Industrial Art, Controller of the Artists’ Fund Society, Philadelphia. Vice-President of the School of Design for Women, Philadelphia. Chief Administrator of Fine Arts at the Phil- adelphia Centennial Exhibition of 1876. Honorary Member of the Art and Amicital Society of Amsterdam. In 1878 he received the Cross of Officer of the Equestrian grade of the Order of the Crown of Italy from King Umberto. He removed to America in 1830, hav- ing already made a reputation as an engraver. In 1842-43 he was proprietor of Campbell’s Magazine and editor of Sartain’s Union Magazine. He was the first engraver in mezzo-tinto of any account. He has, it is said, produced more works than any other living en- graver. His ‘‘ Christ Rejected,” after Benjamin West, and “ The Iron- Worker and King Solomon,” after C. Schussele, are the largest and most important as well as the finest mezzo-tinto plates ever made in America. His portraits of Sir Thomas Lawrence and others are fine ; that of Professor Mapes was made from his own drawing. His “ Battle of Gettysburg,” after the picture by Peter F. Rothermel, is a very interesting work. Among his plates are, William Penn (full length), after H. Inman ; Henry Clay (full length, in the act of speak- ing), after John Nagle ; Martin Van Buren (full length), after Inman, and other portraits, which we have not space to name. Also, “ Adam and Eve,” after Marc Antonio’s celebrated print ; “ Zeisberger preaching to the Indians,” after Schussele ; “ County Election in Missouri,” after C. C. Bingham ; “ Eugenie, Empress of France, and the Ladies of her Court,” after Winterhalter ; “ The Return from Market,” after J. L. Krimmel ; “ The Valley of the Battenkill,” after Boutelle ; etc. He has been for many years a resident of Philadelphia. Sartain, William. (Am.) Born in Philadelphia, 1843. Son of the preceding. He spent six months in the Pennsylvania Academy of Fine Arts and seven years under Leon Bonnat at Paris, study- ing also at the Academie Nationale des Beaux- Arts, and making excursions to Algiers and elsewhere. He passed one winter in Rome, one in Seville, and the winter of 1877 and ’78 in New York, joining the Society of American Painters on its organization in 1877, and contributing to its first exhibition, “ A Court-Yard, Paris,” “ Ital- ian Girl,” and other pictures. His “ View in the Street of Algiers ” was in the Paris Exposition of 1878. His “ Italian Head,” at the Na- 236 ARTISTS OF THE NINETEENTH CENTURY. tioiial Academy of 1876, was purchased on the opening day of the Exhibition by Samuel Colman, N. A. To the National Academy, in 1878, he contributed “ Young Italy ” and “ A Street in Algiers.” “ For a female figure in life-scale, however, if we wish to go to one which easily over- comes everything else in the Exhibition, whether portraits or invented ‘eharacters, we must approach William Sartain’s simple head of a Contadina [N. A., 1870]. No other study of life compares with it in the most distant way, and from the standpoint of its intentions and problems it may be called a perfect work. It is a beautiful, plaintive Italian face, looking upward in prayer. The lifting of the brows over the forehead : the sockets of the black, hollow eyes ; the dark, yet transparent, olive of the cheek ; and the flesh shadows, so deep, yet not opaque, show the great promise and present success of this pupil of Bonnat." — New York Nation, April 6, 1876. “ The colors are so grave and the modeling so delicate that it reminds one of the Span- ish pictures in the Louvre or the Pitti. This is W. Sartain’s ‘ Italian Head,’ something wholly quaint and unusual for an American painter. Artists admire it for its exquisite lelations of light, and the excellent manipulation of the paint.” — Art Journal, April, 1876. Sartain, Emily. (Am.) Bora in Philadelphia, 1841, Daughter of John Sartain, the well-known American engraver, from whom she acquired the art of engraving on steel. She was a pujiil of the Pennsylvania Academy of Fine Arts, Philadelphia, and, going to Europe, she studied in Paris four years with Evariste Luminais. Her work has been portraits and genre pictures. She has exhibited in the Salon in Paris, and at different local academies throughout the United States. The greater part of her professional life has been spent in Philadelphia, where she has practiced both painting and engraving. She worked for some time in Paris, and in Parma, Italy. To the Centennial Exhibition in Philadelphia, in 1876, she contributed “ The Eeproof,” for which in the official report she was “ commended for merit in genre painting.” Satterlee, Walter. (Am ) Born in Brooklyn, N. Y., 1844. A graduate of Columbia College. He studied art in the schools of the Academy of Design, spent some time in the studio of Edwin White in New York, and, going abroad, was a pupil of Leon Bonnat in Paris. He began to exhibit at the National Academy about 1868, sending to the gallery in that year, “Autumn turning the Leaves” and “ Count Fosco.” In 1870 he contributed “ Morning among the Flowers” ; in 1871, “Feeding the Pets” ; in 1873, “A Coquette of the Olden Time” ; in 1874, when he was in Rome, he sent “ Out for a Ride” (belonging to H. C. Howell) ; in 1876, “The Arrow and Song ” ; in 1877, “ His Eminence the Cardinal ” ; in 1878, “ Contem- plation ” and “ The Captive.” He was elected a member of the Amer- ican Society of Painters in Water-Colors in 1873 or ’74, exhibiting, in 1875, “ The Young Bohemians ” and “ Cinderella ” ; in 1876, “ The Evening Prayer on the Lake” ; in 1877, “The Fortune-Teller” ; in 1878, “Old Ballads,” “ The Belle of the Yillage,” etc. Among his most important ivorks are, “ Contemplation,” “ Come, ye Disconso- late,” “ The Peacemaker,” “ Marguerite,” “ Love in Sunshine,” “ Love ARTISTS OF THE NINETEENTH CENTURY. 237 in Shade,” and “Love-Making in Capri” (the last belonging to Sam- uel V. Wright of New York). To the Centennial Exhibition at Philadelphia, in 1876, he sent “ Marguerite ” (in oil), and “ Far- Away Thoughts” and “One Hundred Years Ago ” (in water-colors). Scaramuzza, Francesco. (Jtal.) This artist’s illustrations of the “ Divine Comedy” are much praised. His subjects have been varied; liistorical, poetical, and mythological themes have all come under his brush. He has boldness and energy, and his effects of light are as- tonishing. His representations of “The Assumption of the Virgin,” “Eve,” “ Sarah,” and “ Rachel” are admirable. Schadow, Friedrich Wilhelm. {Ger.) Born at Berlin (1789- lf62). Doctor of the University of Bonn. Knight of the Red Eagle and other orders. Member of the Academy of Berlin and the Institute of France. Professor at Berlin and at Dusseldorf. Went in 1810 to Rome with his brother Rudolph, and joined the German artists there, who were called “ Nazarites.” Two years later both brothers entered the Roman Catholic Church. The “Wise and Fool- ish Virgins ” of the Stiidel Institute, Frankfort, is a fair work from which to judge this painter. He was not a great master, and he holds higher rank as a professor than as an artist. Scholars crowded to him from Berlin, and at Diisseldorf he numbered Hildebrandt, Sohn, and Lessing among his pupils. He lived, however, to see even this glory shadowed. He was accused of sectarianism or over-zeal for religious art ; he was called weak and superficial, and he resigned his position as a leader. He received many honors, but he paid the necessary penalty in this age, for desiring every picture to be sanctified by crucifixes, Virgins, and other symbols, i'orgetting that truth and beauty simply rendered must lead the mind to the source of truth, and need not the aids of artificial or formal signs. At the National Gallery, Berlin, are his “ Christ at Emmaus ” and a portrait of a woman. Schampheleer, Edmond de. (Belgian.) Born at Brussels. Medal at Philadelphia, where he exhibited “Nimuegen on the River Wahal.” At Paris, 1877, were his “ Dordrecht and the Meuse ” and “ The Road of Loosdricht at Hilversum.” He has also exhibited some of the above pictures at the Royal Academy, London, and at the Paris Exposition, 1878, to which he sent “Near Gonda” and “Between Witteren and Zele.” Schaus, Prof. Ferdinand. (Ger.) Of Weimar. Medal at Phila- delphia, where he exhibited “ Saint John ” and “ A Dryad,” which were commended. To Paris, in 1878, he sent “Calisto.” Scheffer, Ary. Born at Dordrecht (1795-1858). Officer of the Legion of Honor. This artist was French before the civil law, because, under the name of the Bavarian Republic, his birthplace >vas within the limits of the new French Departments.- His father, an artist, died young, and his mother superintended his education. As early as 1807 a picture of ScheffeFs attracted attention. His mother took 238 ARTISTS OF THE NINETEENTH CENTURY. him to Paris, and placed him under the instruction of Guerin. For several years after his debut he painted small genre subjects, includ- ing “ The Soldier’s Widow,” “A Sister of Charity,” etc. At length he occupied himself with scenes from works of great poets, such as Goethe, Burger, Schiller, Dante, and Byron. “ Beatrice ” and “ Fran- cesca di Rimini,” which appeared at the Salon of 1835, were his crowning works in this department. Later, he devoted himself to re- ligious subjects, as “Christ bearing his Cross,” “Temptation of Christ,” “ Christ the Consolator,” “ Ruth and Naomi,” etc. Many of his works are well known from the engra\dngs of Bernard!, Blanchanl, Calamatta, Dupont, Louis, Thevenin, etc. Scheffer may be called a romanticist. He was extravagantly fond of music, and, in truth, had the soul of a poet. After the death of his mother he wished to execute a funeral monument for her, not being willing that any hand but his own should do this work. He essayed sculpture for the first time, and, for a novice, the work was creditable. The sentiment which prompted this act is most touching to the hearts of all mothers. At the Johnston sale. New York, 1876, “ Love Celestial and Terres- trial ” (13 by 8, sepia) sold for $200. At the Corcoran Gallery, Washington, is his picture of “ Count Eberhard.” “All the circumstances of Scheffer’s life were favorable to his artistic development. His father had been a respectable artist, with a competent pirivate fortune ; . . . . Madame Scheffer herself was an amateur painter of some ability, and both respecte>l artists and understood the aims of their existence Scheffer, like David, led an ardent political life by the side of his artistic one ; but whereas David’s jiolitical career lowere him in the opinion even of his own party, that of Scheffer is always honor- able, and its greatest fault is nothing worse than that want of jirudence inseparable from all private political action Scheffer will be rememlrered as a friend of the Orleans family. He was introduced to them by Gerard in 1S2G, and became their drawing-master, and soon afterwards their friend. .... It is very curious that Scheffer w.as one of the two persons [Thiers being the other] who. in 1S30, rode to Xeuilly to tell Louis Philippe that he was to be king, and that Scheffer should have lieen also one of the sad group th.at quitted the Tuileries in 1S4S, when he assisted Louis Philil'pe into his cab The affectionate relation which existed between Scheffer and the Pi incess Marie reminds us of Roger Ascham and Lady Jane Grey Scheffer, as an artist, owes his rank almost entirely to the elevation of his feeling. His drawing is usually correct and his taste refined ; but his color is b.ad, and though his handling is neat, from much practice, it has no artistic subtlety. The excellence of his personal character had some concent in his success I have a great difficulty in admitting that any artist is a great painter who is not also a colorist, and Sclieffer, by uniting bad color with considerable artistic merits of other kinds, has done positive harm to the art of painting Of landscape he was wholly ignorant, and, like most figure-painters. could not understand that there were fields of study in that department of art lying outside the limits of his knowledge. He w.as a cultivated gentleman and man of the world, and had the habits of one, so far as they were compatible with the industrious pursuit of art. His great interest in politics gave him a common ground on which he habitually met men of distinction who were more or less indifferent to painting. In this respect Scheffer enjoyed an .advantage somewhat rare among artists, whose oavn pursuit is so engrossing that they are liable to be entirely absorbed by it ... . He will be re- membered as .an artist of high aim and pure sentiment, and a man of more than com- mon political conviction and fidelity. Imt his influence upon art has been slight and will not be durable." — Hamertox’s Contemporary French Painters. ARTISTS OF THE NINETEENTH CENTURY. 239 “ However, An,' Scheffer was not alone an artist, he was a mind, a heart, a character : a mind open to all culture, all graces, all enthusiasms ; a heart tender, generous, de- voted, under an envelope somewhat rude and harsh : a character imbued with stoicism with inflexible uprightness, austere probity, which has lived in our time (it is to say all) without pollution, without weakness or faltering. Have I told how sweet and true were his friendships, how solid and charming his conversations, how sincere indulfent, andfaithfui his affection? To enjoy them was the imivilege of his friends and asso- ciates. Did I tell of his unbounded generosity, his prodigal benevolence, so inex- jiressible that after a fruitful, laborious life and many well-paid labors, Scheffer had only wherewith to live from day to day, and left not the least saving ? He would tell me that the left hand should not know that which the right gives. Shall I tell in fine the immovable constancy of his opinions and of the attachments which he formed 2 ... . I wish only among a hundred equally honorable acts to cite one, not well known, and which a late confidence revealed to me. Ary Scheffer was for a long time an Officer of the Legion of Honor. After the terrible and fatal days of June, 1848, when he bravely led the battalion of the National Guard, of which he was chief, the cross of a com- mander was offered him. ‘ If this distinction,’ replied he, ‘ were accorded to me in my career as an artist, and as a ]>rize for my works, I should receive it with deference and satisfaction ; but to adorn myself with a collar which would recall to me the horrible combats of civil war, — never ! ’ He was indexible. This instance suffices to paint the man, and we can terminate this sketch of his life with the last words of the preface to the Book of Job, in which the eminent interpreter of this old Hebrew poet deplores that Ary Scheffer was not able to finish his compositions on this subject. ‘ Alas ! what lessons of moral elevation, what a source of i)rofounJ emotions and high thoughts, have disappeared from our age, so poor in great souls, with the last sigh of this man of heart and genius.’ ” —Louis Viardot, Gazette des Beaux-Arts, February, 1859. Schelfhout, Andrew. (Dutch.) Born at The Hague (1787- 1870). Member of all the academies of Holland. Medals at Ant- werp, Brussels, Ghent, and The Hague. This landscape-painter was especially successful in representing winter scenes. His pictures are in the Munich and other galleries. They are usually small, although he has sometimes painted large works. They show skillful drawing, with fine knowledge of perspective, and are good in color and care- ful in execution. At the Johnston sale, “A Winter Landscape” (21 by 27) sold for $610. It was from the Wolfe sale in 1863. At a sale in Utrecht, 1873, “The Mountain Landscape” brought .£758. Mr. Probasco of Cincinnati has in his collection “ A Skating Scene ” by Schelfkout, painted in 1849, which is a fine example of this mas- ter’s style. Schenck, August-Frederic-Albrecht. (Ger.) Born at Gluck- stadt, 1828. Chevalier of the Orders of Christ of Portugal and of Isabella the Catholic. Medal at Philadelphia. He passed some time in business in England and Portugal before he became a pupil of Cogniet. He made his debut at the Salon of 1855. His “ Repose on the Seashore ” (1864) and “ The Aw'akening ” (1865) were bought by the State. His pictures are much admired, and his reputation is, perhaps, greater in England, Portugal, and America than in France. His exhibit of 1877, “ The Return to the Park” and “ A Bit of Au- vergne,” was much praised. Soon after his debut he lost his fortune. 240 ARTISTS OF THE NINETEESTH CENTURY. At Philadelphia he exhibited “Sheep in a Storm.” Mr. D. Waldo Lincoln has a very fine work by Schenck with the same title. Among his more famous pictures are “ Autour de I’auge,” belonging to Count Castellani ; “ Perdus,” to Miss Wolfe of New York ; “ The last Hour,” to Mr. Gibson of Philadelphia. Mrs. Eliza Sutton of Peabody, Mass., has a fine example of his brighter manner, where the flock are be- neath a bright sky, in the midst of gay flowers and fresh pasturage. The “Awakening” is at the Museum of Bordeaux; and “In the Dale,” at the Museum of Lille, — in short, Schenck’s pictures are in many galleries in Europe and America. At the Salon of 1878 he exhibited “ Anguish ” and “ The Neighboring Mill.” “ Albert Sclienck is certainly one of the most original figures of the contemporaneous artistic gallery ; I should like to have the time to paint in full this robust companion, born in Holstein, annexed by Prussia without asking, and adopted by France because he wished it. All the world to-day regards Schenck as one of our first animal-painters. He is one of those originals, of a species not yet extinct, who prefer dogs to men, and find more sweetness in sheep than in women. With such fancies one leaves the city for the fields, and has only to do with animals. Our artist has taken this part after having profoundly studied his fellow-creatures. Retired to Ecouen, to a farm, he lives in the midst of oxen, dogs, goats, asses, horses, and sheep of all types, races, and species ; cares for tl-.ein, cultivates them, loves them, and .above all studies them, as never artist studied his models. He knows better than any one their habitual behavior, their favor- ite poses, their prefeiTed attitudes, and the mobile play of their physiognomies. By means of studying closely the joys and griefs of these modest cumi>anions and humble servants of man, he has penetrated the inmost recesses of their souls, which he knows how to show us in pictures of striking truth. His animais’ heads are jiortraits particu- larized with all the care which Cabanel, Dubufe, and Bonnat gave to the human mask. Tlie picture which he exhibits to-day under the title of ‘ Angoisses ’ is pathetic to the last degree. A lamb is wounded, lying on the ground, losing its blood, which pours out of a horrible wound. The ravens, with their infallible instinct, scent the approaching death, and await their prey ; their sinister circle is closed in, — the unfortunate little beast cannot escape them. The mother is there ; she comprehends it, the poor crea- ture ! the fate which awaits her dear nursling, and broken-hearted, full of anguish [it is the title of the picture, and it is just], she bleats for the shepherd who comes not It is a little drama, this picture, and as poignant as if it had men for actors and victims.” — Supplement of the Figaro, June 5, 1878. “ There are few artists more popular than Schenck, and the crowd wl-.ich goes from year to year to the Palace of Industry has quickly discovered, among the innumerable pictures, his works with a touch so spirituelle and a dramatism so powerful in their simplicity. The reflected judgment of the connoisseurs confirms the instantaneous im- pression of the multitude, and this artist is able to please equally the difficult and the nnifs.” — £doi'abd Dbumont, Galerie Contemporaine, Litteraire, Artistique, 1871. Schendel, Petrus van. (Dutch.) Born at Ter Heyflen (1806- 1870). Medals at Paris, in Holland and Brussels. Studied in Am- sterdam, Eotterdam, and Antwerp. His earlier works included a variety of subjects. After a time be devoted himself to scenes by lamplight and firelight, which were very popular. At the National Gallery at Berlin are two of his market-scenes, “ A Woman selling Fish” and another with vegetables. At the Leipsic Museum are “The Rettirn from the Hunt” and “A Scene in a Fish- Market.” ARTISTS OF THE NINETEENTH CENTURY. 241 Schetky, John Christian. (Brit.) Born in Scotland (1778- 1874). Educated at the Hi"h School of Edinburgh, with Brougham, Scott, and Horner. In 1825 and previously he exhibited marine- pictures of an historical character, and was marine-painter ' succes- sively to George IV., William IV., and Victoria. He exhibited at the Royal Academy, London, as late as 1871, “A Gallant Rescue” and “Coming to Anchor in Portland Roads”; in 1872, he sent “Wreck of the Frigate Anson,” “Shipping in the Olden Time,” and “ A Trial of Speed off the Dodman.” “ As a marine-painter Mr. Schetky’s pictures were always held in estimation for their truthfulness ; this quality appears to have been his great aim. A gallery of his works would contain among them some of the most stirring nav.al actions that occurred dui'- iiig the long wars of the early part of tills century, besides others of a later time.” — Art Journal, February, 1874. Schievelbein, Friedrich Anton Hermann. (Ger.) Born in Berlin (1817 - 1867). Pupil of the Berlin Academy and of Professsor Ludwig Wichmann. He early received a commission at St. Peters- burg, where he was employed in the rebuilding of the Winter Palace and on the St. Isaac’s Church. At that time he had taken the grand prize at Berlin. Before he left for Rome he sent in his drawing for the group for the Castle Bridge. The choice fell on his design, and he soon retuined from Rome in order to execute it. At Berlin he was very active and much employed in public works. The Stein memorial was completed from his designs, by his pupils, after his death (it was not erected until 1875). He also made the statues of Luther and Melancthon for the University of Konigsberg. At the National Gallery, Berlin, is the model of a frieze in relief, subject, the “ Destruction of Pompeii.” Among his other works are, “ The Muses,” “Raphael,” “The Months” (at Sans-souci), “Colossal Statue of Hermann von Salza,” “A Despised Christ,” “A Winter Evening,” “ A Protecting Angel,” etc. Schilling, Johannes. (Ger.) Bom at Mittweida, 1828. At the Leipsic Museum are his reliefs of “Jupiter and Ganymede” and “ Aphrodite and Eros.” At the Briihl Terrace in Dresden are his groups of “Evening” and “ Night.” Among his latest productions is the National Monument in the Niederwald, — a great work, com- bining a representation of “Father Rhine,” nymphs, and other de- signs. Schinkel, Karl Friedrich. (Ger.) Born at Neu-Ruppin (1781.- 1841). Studied at the Academy of Berlin under David and Fried- rich Gilly. Traveled in Italy and visited Paris. He was for a while obliged to support himself by painting, at which time he became as- sociated with Karl Gropius, for whom he later composed his famous panoramas. In 1824 and ’26 he again visited Italy and France, and also England. In 1839 he received a high official position as an architect in Prussia. His decorative works were remarkable for their VOL. II. 11 P 242 ARTISTS OF THE NINETEENTH CENTURY. grandeur of conception and grace of composition. He was somewhat wanting in technique ; but his sentiment and rich imagination gave a spirit to his works which more than compensated for this. At the National Gallery of Berlin are, “ An Ideal Landscape at Sunset,” “An Italian Landscape,” and several others. Schirmer, Guillaume. {Ger.) Born at Berlin (1804-1866). Prol'essor and Member of the Academy of Berlin. He executed deco- rative works in the Castle of Prince Albert of Prussia, and in the New Museum of Berlin. In the National Gallery, Beilin, are his pictures of “ Tasso’s House at Sorrento ” and a “ Scene at Sans- Souci.” Schleich, Eduard. {Ger.) Born in Castle Haarbach near Land- shut (1812- 1874). Royal Professor of Bavaria. Pupil of the Mu- nich Academy, but essentially taught by the old masters and nature, which he studied lovingly. His pictures are landscapes. He trav- j eled considerably in Europe. His “ Evening Landscape ” is in the I National Gallery, Berlin. His “ Beach at Scheveningen ” (belonging • to the Royal Museum at Munich) was at the Paris Exposition of 1878. ^ Schlesinger, Henri Guillaume. (Hr.) Born at Frankfort. • (Naturalized Frenchman.) Chevalier of the Legion of Honor. Pupil of the Academy of Vienna. He made his debut at the Salon of 1840. At the Salon of 1875 he exhibited “ The Dove-Cot ” and “ Jehanne ” ; in 1874, “ Brother and Sister”; in 1872, “Lost Labor”; in 1869, “ The Good Friends,” etc. He has e.xhibited many portraits. At the Royal Academy, in 1873, he had “ Ce n’est pas moi ! ” To the Salon of 1878 he sent “A Good Kiss” and “Correggio drawing some Pictures of Children.” | Schloesser, KarL {Ger.) Bom at Darmstadt. Painter of the Diisseldorf school. Resides in London. Knight of the Order of Merit. Medal at Vienna. At the Exhibition of 1876, at the Royal Aardemy, he exhibited “ The Village Lawyer”; at the first exhibition of the Grosvenor Gallery (1877), “ The Refectory.” His “ Forbidden Fruit ” was bought by Napoleon HI. Among his other works are, “ The Reprimand ” and “ Reading the News,” — the last is a small picture i (only 12 by 9) and was sold at the Johnston sale in 1876 for $310. ' “ The Political Opponents ” was much remarked at the Berlin Expo- sition of 1871. Ill 1875 he exhibited “ Obligatory Instruction ” (two ohildren sent off to school, one going very unwillingly). At the London Academy in 1878 he e.xhibited “Reprimand,” and at Paris, same year, “ Seeking Advice.” Schmid, Mattias. Pupil of Piloty. Paints the same sort of sub- jects as Defregger, and has nearly always a political or religious motive behind his representations. One of his most powerful works represents priests pla 5 dng cards before a Tyrolese inn ; an old ni;m comes forward and beseeches the holy fathers to buy his crucifixes ARTISTS OF THE NINETEENTH CENTURY. 243 wliich he carries in his arms ; his wife with her infant remains a little behind. The priests roughly repulse him, but a young girl who is serving them with beer regards the old man with pity. Schmidt, Max. (finr.') Born in Berlin, 1818. Professor at Kbnigsberg. Member of the Academy of Berlin. Medals at Berlin and Vienna. Studied at the Berlin Academy. Traveled extensively in Europe and in the East. Landscape-painter. Some of his decora- tive works are in the New Museum at Berlin. In the National Gal- lery, Berlin, is his “ Wood and Mountain.” His “ Banks of the Spree, — Dull Weather” was at the Paris Exposition of 1878. Schnorr von Carolsfeld, Julius Veit Hans. (Ger.) Born at Leipsic (1794 - 1872). Member of the Institute of France. Professor at the Academy of Munich, and later at the Academy of Dresden, where he was also Director of the Royal Museum. Pupil of his father and of the Academy of Vienna. In 1817 he went to Rome and re- mained ten years. After his return to Germany he was commissioned by King Louis to execute decorative works at the new Residence. They consisted of five pictures from the story of the Nibelungenlied. He also executed other important works of the same sort, such as scenes from the lives of Charlemagne, Barbarossa, and Rudolf of Haps- burg. The cartoons of the Nibelungen series and a picture of “ St. Roch distributing Alms ” are in the Museum of Leipsic. At the National Gallery, Berlin, are two other cartoons of scenes from the Nibelungenlied. Among his other pictures are, “ The Three Christian Cavaliers ” and “ The Three Pagan Cavaliers,” a “ Holy Family,” frescos of scenes from the works of Ariosto, the “ Marriage of Cana,” “ Jacob and Rachel,” the “ Annunciation,” and other religious subjects. Schoenewerk, Alexandre. (Fr.) Bom at Paris. Chevalier of the Legion of Honor. Pupil of David d’ Angers, Jollivet, and Triqueti. At the Salon of 1877 he exhibited the “ Mime-dompteur,” a group in plaster ; in 1876, “ Hesitation,” a marble statue ; in 1875, “ A Young Girl at the Fountain,” in terra-cotta, being a reduction of the marble statue of 1873 ; in 1874, “ Lulli,” plaster statue (model of a work in- tended for the New Opera), “ St. Thomas Aquinas,” statue in stone (for the fa 9 ade of the Sarbonne), and “ The Upper Portion of a Monu- ment to E. Ortolan, Professor at Law,” bronze ; and, in 1872, a statue of the “ Young Tarentine,” a subject suggested by the words of Che- nier, — “ Elle a vecu, Myrto, la jeune Tarentine, Son beau corps a roule sous la vague marine ! ’* Scholtz, Julius. (Ger.) Born at Breslau, 1825. Professor in the Academy of Dresden, and Member of the Academy of Berlin. Studied at Dresden Academy and under J. Hiibner. He is an historical painter. In the National Gallery at Berlin is his “Volunteers of 1813 before Frederick William HI.” Schoru, Charles. (Ger.) Born at Diisseldorf (1803- 1850). Pupil 244 ARTISTS OF THE NINETEENTH CENTURY. of Cornelius at Munich, and of Gros and Ingres at Paris. When he returned to Munich he assisted Cornelius in some of his great works. Schom made the cartoon for a painted glass window for the Cathedral of Ratisbon, representing “ The Conversion of Slaves by St. Benno.” He was employed by the King of Bavaria to assist in forming the Munich Gallery. He visited many continental cities to collect jdc- tures, and in London purchased Wilkie’s “ Reading of the WiU.” His own pictures are of the historical genre style, such as “ Paul III. contemplating the Portrait of Luther,” *' Salvator Rosa among Brig- ands,” etc. Schrader, Jules. (Ger.) Born at Berlin, 1815. Professor and Member of the Academic Senate of the Academy of Berlin. Medal at Paris, 1855. Pupil of his father and the Academy of Berlin, where he obtained several prizes, but failed of that which would take him to Rome. He also studied at Diisseldorf under Hildebrandt and GuiUaume Schadow. At Berlin in 1844 he gained the grand prize, and went to Rome in 1845, where he remained three years. He there painted the “ Capitulation of Calais,” which was much admired, and gained him his election to the Academy of Berlin. His best works are, “ Frederick the Great after the Battle of Kallin,” at the Museum of Leipsic ; “ Jephthah’s Daughter,” in the Museum of Konigsberg ; “ The Consecration of the Church of St. Sophia at Constantinople by the Emperor Justinian” (1853), a grand mural painting at the Museum of Berlin ; and “Cromwell at the Death-Bed of his Daughter” (1864), in the Museum of Cologne. At the Exposition in the Royal Academy at Berlin, in 1876, he exhibited “ The Flight ” and two portraits ; and to Paris, in 1878, he sent a portrait of Dr. Becker. “Schrader is. moreover, one of the best painters of genre and of portraits of our time, and his portraits of Alexander voii Humboldt and Peter de Cornelius maybe mentioned, above all, as veritable chefs-d'oeuvre. His jirinciiial qualities are a profound science of colors, an inimitable talent in the drawing of the nude and of draperies, and a consum- mate knowledge of the costumes of all times.” — Larousse, Dictioniiaire L'nivcrsel Schreyer, Adolphe. (Ger.) Born at Frankfort-on-the-Main, 1828. Medals at Paris, 1864, ’65, and ’67 ; at Vienna, in 1873 ; at Brussels, in 1863 ; and the Cross of the Order of Leopold in 1864. In 1862 he was made Painter to the Court of the Grand Duke of Meck- lenbourg-Schwerin, and is ilember of the Academies of Antwerp and Rotterdam, and Honorary Member of the Deutsches Kochstift. Be- longing to a distinguished family, this artist received every adv.antage that travel and instruction can give. In 1855 he followed the regi- ment commanded by Prince Taxis to the Crimea. He has msited Algiers, and other Eastern countries, as well as all the principal coun- tries of Europe, and everywhere has diligently studied his subjects. Among his best works are the “ Battle of Waghensel,” belonging to the Duke of Mecklenbourg ; the “ Battle of Comorn,” belonging to the Count of Bouilly-Mensdorf ; “ An Attack of Cavalry,” belonging to ARTISTS OF THE NINETEENTH CENTURY. 245 M. Eavenet of Berlin ; the “ Prince of Taxis wounded at Temeswar,” belonging to the family of the Prince. His “ Horses of the Irregular Cossacks,” snow-scene (1864), and a “ Charge of the Artillery of the Imperial Guard in the Crimea ” (1865) are in the Luxembourg. At the Johnston sale, New York, 1876, “ Wallachian Peasants crossing a Ford ” (21 by 42) sold for $ 2,700 ; and “ Arabs Retreating ” (45 by 69) for $ 6,700. At the Latham sale. New York, 1878, “ Traveling in Russia ” (18 by 42) sold for $ 2,150 ; “ A Wet Day in Moldavia ” (18 by 42) for $ 2,050, and a “ Wallachian Stable on Fire ” (47 by 79) for $ 3,500. “ The Watering-Place ” is in the Corcoran Gallery at Wash- ington. At the Museum of Fine Arts in Boston is the “ Flight of the Standard-Bearer,” belonging to John C. Phillips. At the Walters Gallery, Baltimore, are the “ Winter Scene in Poland ” and an “ Arab Horseman.” A fine picture called “ Winter ” is in the collection of Mrs. H. E. Maynard of Boston, and “ Coming to Camp ” belongs to Mr. Frank R. Kimball of the same city. It is a very fine specimen of SchreyeFs work, and is a Wallachian winter scene. “Schreyev joins to a grand and bold conception a profoundly poetic sentiment ; this makes him both German and French. His manner, as well as his talent, has two na- tures ; it recalls both Delacroix and Fromentin. His color is a happy mingling of the dreamy tones of the one and the powerful colors of the other. And one should above all admire it for the incontestable originality thus manifested in this mingling, — a quality one does not look for in a man whose character and manner have different asjiects. All that I say of the color of Schreyer may be also applied to his-drawing. His lines, clear and vague at the same time, are, in spite of these two distinct qualities, strangely per- sonal with this artist. From all this the great talent of Schreyer seems like something much more than talent.” — Courrier Artistique, Februar)', 1864. In the “Moniteur Universe!,” February 18, 1864, Theophile Gau- tier praised in the most exalted terms the works of this artist, and compared him to Delacroix, Decamps, and Fromentin, saying at the same time that he was an imitator of no one. The following is a translation of a charming letter to Schreyer from the same critic : — “ M V DEAR Schreyer, — I came with Hert and Martinet to see you. Tou are gone out, but your genius remains at home. We have admired this marvelous picture of ‘ Chasse- Neige,’ — so true, so iiicturesque, so dramatic. I am egotistic enough to be a good judge in this matter. I have been myself enveloped in a snowy whirlwind near Kowno, and your canvas makes me shiver ; I seem to be still in Russia. We hope that you will be willing to send this masterpiece to our exposition. I dare not believe in such a happi- ness. and I thank you in my name and in the name of the Societe nationale des Beaux- Arts. Your admirer and President, “ Theophile Gautier,” Schrcedter, Adolf. (Qer.) Born at Schwedt (1805 - 1875). Mem- ber of the Academy of Berlin. Professor of the Polytechnic School at Carlsruhe. Pupil of the Diisseldorf Academy. His pictures were genre subjects, with a comic element, such as scenes from “ Don Quixote,” “Falstaff,” etc., “The Wine-Taster,” “The May Tree,” and others. At the Wolfe sale. New York, 1863, “Falstaff thrown into the Thames ” sold for $ 975. Schulz, Moiitz. (Her.) Born in Leobschiitz, 1825. Honorary 246 ARTISTS OF THE NINETEENTH CENTURY. Member of the Pclj-technic School at Eotterclam. Studied at the Academy of Berlin. Was in Rome from 1854 to ’70, when he estab- lished himself in Berlin. One of the bas-reliefs on the column of Victory is by Schulz, and he has executed two groups illustrative of Instruction in the Arts, which are in the National Gallery at Ber- lin. At Berlin, in 1871, he exhibited “Cupid and Psyche,” “Love’s Dream,” and “ Rape of Ganymede”; in 1876, “ Night as a Charity” and “ Bacchantes, a Faun, etc.” Schutzenberger, Louis-Frederic. {Fr.) Born at Strasbourg. Chevalier of the Legion of Honor. Pupil of Gleyre. At the Salon of 1877 he exhibited, “ The Harvest, — Souvenir of Italy ” and “ Diana at the Bath”; in 1876, a portrait and “Joan of Arc hearing her Voices”; in 1875, “The Seven Capital Sins,” “The Flight of Nero,” and “ A Marsh in the Gombo of Pisa,” etc. At the Luxembourg are “Terpsichore” (1861) and “Centaurs hunting a Wild Boar” (1864). Schwarz, Albert. (Ger.) Of Berlin. Medal at Philadelphia, where he exhibited “ Broken Flowers.” Schweinitz, Rudolf. (Ger.) Bom at Charlottenburg, 1839. Studied at the Berlin Academy under Professor Schievelbein. In 1865 he visited Paris and Italy, and has also traveled in the North of Eu- rope. Among his works are the Soldiers’ Monument for Gera, eight colossal groups for the Royal Bridge at Berlin, monument to Frederick William III. at Cologne, nine reliefs for the balcony of the Hotel de Ville at Berlin, and a group, the “ Fine Arts,” in the National Gallery of that city. Schwind, Moritz Ludwig (Ritter von). (Ger.) Born at Vienna (1804-1871). Professor at the Academy of Munich. Pupil of Schnorr and Cornelius. This painter executed many fre.scos which brought him reputation. At the National Gallery, Berlin, is his “ Rose, a Wedding Scene.” At the Leipsic Museum is a cartoon, “ Symphony,” which is a representation of various scenes in the love of a young couple; they are called “Andante,” “Allegretto,” etc., like parts of a symphony in music, — several portraits are introduced. Among his other works are scenes from “ Cinderella,” the “ War of the Singers at Wartburg,” etc. “ That original and genial artist, Maurice von Schwind of Munich, has just exhibited his last completed work, — the story of the water-nymph Slelusina. Like his ‘ Cin- derella’ and ‘The Seven Ravens,’ known to English readers by the fairy-tale of Ander- sen, the drawing is in water-color, about two feet high, and divided into a series of compartments, six or eight or more feet long. Schwind’s particular taste has always led him to choose old German tales of fairy or of folk lore for the subject of his Jiictures, and, so completely does he identify himself with the story, that all those representations of his are surrounded by .an atmosphere wholly their own The delicacy with which Herr von Schwind manages such subjects is decidedly a marked feature in all his compositions. Yet everything is natural, and seemingly as if it could not possibly have been otherwise,” — Art Journal, 5Iay 7, 1S70. “ Schwind was taken away from all other interests of life by his devotion to his art. Art permeated his whole being, and he ever strove for perfection. His desire to create ARTISTS OF THE NINETEENTH CENTURY. 247 never allowed him to rest His poetic conception enabled him to render the most ordinary and prosaic scenes attractive. Schwind’s peculiarity can only be comprehended by seeing his representations of the antique and of old German art. A rich vein of humor runs through all his work. There is and has been, perhaps, no artist to whom the entire beauty of the antique has been more fully revealed, but while he has been so utterly occupied with the beauties of the past, he seems never to have been oblivious to the immense gap which intervenes between the old and the new. His understanding of modern, in contradistinction to classic, art, was plainly shown by Schwind in his prac- tice of his art, and he was not the man to lessen his individuality by studying and copying the old masters ; he used the knowledge gained from them in his own manner. So, in 1833, he went often to the Sistine and observed the works of Michael Angelo, and then, as he himself said, returned home to go on with his Bitter Kurt. His use of Grecian myths was not incompatible with this, for he copied not the dead academical fonns, but he brought them down to the minds of his time by giving them the warmth of his own imagination.” — Carl Albert Begnet, Zeitschri/t fiir bildende Kunst, 1872. Scifoni, Anatolio. (Ital.) Of Rome. Meda] at Philadelphia, where he exhibited “ Offerings to the Lares ” and “ Preparations for a Feast at Pompeii,” which last was especially commended in the re- port of Mr. Weir. Scott, Sir George Gilbert, R. A. (Brit.) (1811-1878.) Son of the Bible commentator. Was placed at an early age in an archi- tect’s office, and designed the Martyrs’ Memorial in Oxford in 1842. Later, he furnished designs for churches in Camberwell, Croydon, Leeds, Liverpool, Doncaster, and elsewhere. In 1855 he obtained a medal of the second class for designs exhibited in the Paris Exposition of that year. In 1861 he was elected Academician of the Royal Academy in London, sending “ Views illustrative of Gothic Designs of Government Offices.” His drawings of the Memorial Window to the Prince Consort for the Chapel Royal, Windsor, were at the Royal Academy in 1862 ; view of the New Leeds Infirmary, in 1863 ; the Midland Railway terminus and hotel, in 1865 ; a new building for the University of Glasgow, in 1869. In 1873 he received the honor of Knighthood, contributing the same year, to the Royal Academy, designs for the Cathedral of St. Mary’s, Edinburgh. In 1875 he ex- hibited Premiated Designs for the new German Parliament House, prepared in conjunction with his son, J. 0. Scott. “Scott’s merit as a designer lies rather in the whole than in the details. Carefully and correctly drawn, the main outlines of his more important buildings are sometimes satisfactory. But a nearer approach reveals that the ornament is cold and unimagina- tive ; compared with what the higher Gothic demands, it is dead decoration.” — Pal- grave’s Essays on Art. Scott, Julian, A. N. A. (Am.) Born in the State of Vermont. During the American Civil War he was attached to a Vermont regiment, where his rough charcoal sketches of war-scenes attracted the attention of art-lovers in the army. He opened a studio in New York at the close of the war, and began to exhibit at the National Academy in 1870, sending “ Gen. 0. B. Wilcox in Libby Prison ” (belonging to William T. Blodgett) and “The Rear-Guard at White Oak Swamp ” (the property of the Union League Club). He was 248 ARTISTS OF THE NINETEENTH CENTURY. elected an Associate of the National Academy in 1871. In 1873 he exhibited “ Complacency ” (belonging to William E. Dodge, Jr.) ; in 1874, “Prison Life” (belonging to John Rogers), “Near the Out- posts” (belonging to Judge J. R. Brady), “Cavalry Charge near Ashby’s Ga]), Va., in 1862 ” (to Col. Joel B. Erhardt), and “ On Board the Hartford” (belonging to Loyall Farragut) ; in 1875, “Old Rec- ords” (belonging to William E. Dodge) ; in 1876, “The Duel of Burr and Hamilton ” and “ The Capture of Andre ” (belonging to J. Abner Harper), and “ A Camp Raid” (the property of Fletcher Harper, Jr.) ; in 1877, “Reserves awaiting Orders” (belonging to R. B. Livermore); in 1878, “Meditation” (belonging to J. W. Casilear) and “Poke o’ Moonshine.” To the Water-Color Exhibition he has sent “ Changing Guard, 1776,” “New England Turkey-Shoot ” (belonging to N. T. Bailey), and “On Guard, 1861.” [No response to circular.] Seel, Adolf. (Ger.) Born at Wiesbaden, 1829. Member of the Royal Society of Water-Color Artists of Belgium. Studied at Diissel- dorf Academy, and was a disciple of K. Sohn. Resided in Paris for two years, and passed two other years in Italy ; traveled also in Spain, Portugal, Africa, and the Orient. On these joirmeys he made many sketches. At the National Gallerj', Berlin, is his “Arabian Court- Yard in Cairo,” which was sent to the Paris Expo.sition of 1878. S4gd, Alexandre. (Fr.) Born at Paris. Chevalier of the Legion of Honor. Pupil of Flers and Cogniet. Painter of landscapes. His “Oaks of Kertregonnec” is in the Luxembourg. To the Salon of 1878 he sent “The Green Road” (Seine et Marne), belonging to M. HedG Seiffert, Karl Friedrich. (Ger.) Bom in 1809. Pupil of the Berlin Academy and of Biermann. He paints landscapes and por- traits. He has spent some time in Italy, but lives now in Berlin. His picture of the “ Blue Grotto of Capri ” is in the Beilin Natior.;J Gallery. Seisser, Martin B. (Am.) Born in Pittsburg, Pa., 1845. He went to Europe in 1868, studying under Carl Otto in ^Munich. In 1869 he entered the Royal Academy of Bavari.a, receiving corrections from Piloty, Schwind, and others. He remained in Munich until 1871, when he returned to Pittsburg, where his professional life has since been spent. Among his works are portraits of Francis Mur- phy, Rev. Carl Lorch, Col. Henry Hays, and others ; and a picture entitled “ The Crusaders,” painted in 1875, which was stolen in 1878 at an auction sale in Philadelphia. Sell, Christian. (Dane.) Born at Altona, 1831. Studied at Diis- seldorf Academy. He is a disciple of Th. Hildebrandt and M . von Schadow. Traveled in Gennany and Belgium, and followed the Prussian army in the wars of 1866 and ’70. Paints military genre subjects and scenes from the older German wai-s. In the National ARTISTS OF THE NINETEENTH CENTURY. 249 Gfallery at Berlin, is his “ Scene at the Battle of Koniggratz.” At the Leipsic Museum is his “Soldiers in the Thirty-Years’ War dividing Booty.” Sellier, Charles Auguste. (Fr.) Born at Nancy. Prix de Rome in 1857. Medals in 1865 and ’72. Pupil of Lehorne and Cogniet. At the Salon of 1875 he exhibited “The Return of the Mendicant Friar” and “Christ in the Tomb”; in 1872, “A Nereid.” This artist paints many portraits, two of which were at the Salon of 1878. Sellstedt, Lars Gustaf, N. A. (Am.) Bom in Sweden, 1819. Began life as a sailor, following the sea for some years. In 1842 he settled in Buffalo, N. Y., where the better part of his professional life has been spent. Here he began to study art without a master, and made portraiture his specialty. In 1846 he met Thomas Le Clear, and profited much by the association. In 1858 he began to exhibit in the National Academy, New York. In 1859 he sent the head of a Jewish Rabbi, which attracted some attention. In 1871, when he was elected an Associate of the National Academy, he contributed his own por- trait, which is now owned by the Buffalo Fine Art Academy. He exhibited a portrait of William G. Fargo in 1874, and was elected Academician. From 1862 to ’76 he was Corresponding Secretary and Superintendent of the Buffalo Fine Art Academy, an institution which, with Le Clear, William H. Beard, and others, he was instrumental in founding. He was its President in 1876 and ’77, and, from prefer- ence became again its Superintendent in 1878. Among Mr. Sellstedt’s portraits may be mentioned those of Judge VerplanckandMrs. Fargo (belonging to William G. Fargo), Millard Fillmore (belonging to the Buffalo Club), E. G. Spaulding and wife, Dr. William Shelton, George W. Clinton, LL. D., in the Natural Science Rooms, Buffalo, and others, including eleven “ kit kat ” portraits of distinguished citizens of Buffalo, — mayors, judges, lawyers, etc., in the City Hall of that city. His “ Abandoned,” a marine picture, is in the possession of David Gray of Buffalo, and other genre and marine pictures of more or less importance are owned in Buffalo and elsewhere. “One of the very test portraits of the year is that of Mr. L. G. Sellstedt. painted by himself. It is not possible to conceive a more unaffected piece of realism.” — New York Tnbune, April, 1871. “ The half-length of an artist — probably himself — by Mr. Sellstedt of Buffalo, turn- ing from his easel to speak to a friend or to look at a sitter, is the finest portrait in this year’s Exhibition ; gravely strong in color, while the head is painted with wonderful roundness and reality. ’’ — New York Leader, April, 1871. Semper, Gottfried. (Ger.) Born at Hamburg, 1804. Professor of the Academy at Dresden. Member of the Academy of Marlborough House. Professor of Architecture at Zurich. Medal at Paris, 1867. This architect studied at Munich and Paris, and visited Italy, Sicily, and Greece. He acquired at Dresden a great reputation as an instruc- tor, and was charged with the decoration of the antique cabinet of the Royal Museum. He also superintended the construction of the Hos- 250 ARTISTS OF THE NINETEENTH CENTURY. pital of the Ladies of Saint- Matemite, and in 1839, by order of the King, constructed the new theater, which proved a great success. He was also architect of the new synagogue, the Villa Oppenheim, and the new Royal Museum, commenced in 1847, which he conducted only to the first floor. It was finished after his designs, with the ex- ception of the citpola. He reconstructed the church of St. Nicolas at Hamburg. On account of political troubles he left Germany for England in 1848, and soon became a member of the Academy of Marlborough House. In 1856 he was called to Zurich, where he has been Professor of Architecture and Director of the School of Archi- tecture of the Polytechnic Academy of the Confederation. Semper has written some valuable works on architecture and kindred subjects. Settegast, Josef. {Ger.) Bom at Coblenz, 1813. Studied in Diis- seldorf and Frankfort, and went to Rome. Upon his return to Ger- many he executed frescos in the Maximilian Church at Diisseldorf, which established his reputation as a painter. Shalders, George. (Brit.) (1825-1873.) Landscape-painter. He introduced animals into his pictures, and executed many pictures of the scenery of Surrey and Hampshire, besides views in Ireland. Shapleigh, F. H. (Am.) Born in Boston, 1842. He has spent his professional life in his native city, and was elected a member of the Boston Art Club in 1874, but received his art education in the studio of Lambinet in Paris. A landscape-painter. Among his more important pictures are, “ Venice ” (belonging to A. F. Harvey, Boston), French landscape (belonging to J. C. Howe), “ Cathedral Rocks ” (to C. 0. Foster), “ Mount Washington ” (to W. F. Robinson), “ Yo- semite Valley” (in the possession of Henry C. Bacon, San Francisco), “ Mirror Lake ” (owned by David Dudley Field, New York), “ Co- hasset Harbor ” (oumed by klartin Bates), etc. “ Shapleigh is engaged on a winter subject, already nearly finished, the composition of which is novel and decidedly pleasing The snow is represented with great fidelity, and the cold atmosphere of winter, the dark and brittle foliage, and so forth, are also rendered capitally.” — Boston Post, March 14, 1S78. Shattuck, Aaron D., N. A. (Am.) Born in the State of New Hampshire, in 1832. In 1850 he entered the studio of Alexander Ransom in Boston, and painted portraits. Later, he becjmie a pupil of the National Academy of New York, settling finally in that city. He first exhibited, at the National Academy in 1856, a study of wild- flowers and grasses. In 1861 he was elected Academician. Among his earlier works are, “ Glimpses of Lake Champlain,” “ Autumnal View of Androscoggin Scenery,” “ Sunset on the Lake,” and others. In 1869 he sent to the National Academy, “ Hillside, Lake Cham- plain” and “ Morning Light” ; in 1870, “ Lake Champlain” and ‘‘- 4 . Study of Rocks” ; in 1871, “The New England Farm” and “A Group of Sheep”; in 1872, “White Hills in October” ; in 1873, “Sheep” ; in 1874, “Sheep and Cattle in Landscape” (belonging to ARTISTS OF THE NINETEENTH CENTURY. 251 J. H. Sherwood); in 1875, “The Old Homestead” and “Haying- Time ” ; in 1876, “ The Road to Simsbury, Ct.” and “ Autumn near Stockbridge, Mass.”; in 1877, “ Granbury Pastures” and “Cattle Grazing.” His “ Stockbridge Scenery ” (25 by 42) brought $ 660 at the Johnston sale in 1876. “ Sliattuck is exact, graceful, and often effective ; there is a true pastoral vein in him. His best cattle and water scenes, with meadows and trees, are eloquent of repose and of nature.” — Tockerman’s Book of the Artists. Shaw, Richard Norman, A. R. A. {Brit.) Student of the Royal Academy. Received silver medal for architectural drawings in 1852, gold medal in 1853, and traveling studentship in 1854. He has fur- nished designs for many public and private buildings throughout Great Britain, turning his attention chiefly to country-houses. He was elected an Associate of the Royal Academy in 1872, and Acad- emician in 1878. Shaw, Annie C. (Am.) Born at Troy, N. Y., 1852. She has lived for some years in Chicago, studying art under H. C. Ford of that city. She was elected an Associate of the Chicago Academy of Design in 1873, and Academician in 1876, the first woman upon whom the distinction has been conferred. Among her paintings are, “ On the Calumet ” (1874), belonging to J. H. Dole ; “ Willow Island ” (1875), belonging to C. L. Hutchinson ; “ Keene Valley, N. Y.” (1875), to A. A. Hunger ; “ Ebb-Tide on the Coast of Maine” (1876), to William Butterfield; “Head of a Jersey Bull” (1877), to Mrs. Jenny F. Kempton ; “ Returning from the Fair ” (1878), exhibited in Chicago, Boston, New York, and elsewhere. Her “ Illinois Prairie ” was at the Centennial Exhibition at Philadelphia in 1876. “ Annie C. Shaw has steadily advanced in the profession, and has achieved decided success in painting landscapes, having studied from nature in successive summers at Mackinac, the Adirondacks, the Bock Eiver region, the coast of Maine, and in the quiet nooks of Massachusetts Her latest painting is a study from life of an Alderney bull, which is a marked departure from her previous attempts, and is faithful to nature. It is a bold, strong picture, good in form, and filled with vigorous characteristics of animal life.” — Milwaukee Evening Wisconsin, 1877. ” Annie C. Shaw has finished her upright landscape, of medium size, combining tlie best results of her studies for many years. It hears the title ‘ Returning from the Fair,’ from the group of Alderney cattle in the road curving through the forest. The eye of the spectator is struck with the rich mass of foliage passing from the light green of the birches in the foreground, wliere the liglit breaks tlirough, to the dark green of the dense forest, shading into the brownish tints of the early September-tinged leaves. Farther on, the eye is carried back through a beautiful vista formed by the road leading through the center of the picture, giving a fine perspective and distance through a leafy archway of elms and other forest-trees, that gracefully mingle their branches overhead, tlirough which one catches a glimpse of deep-blue sky. As tlie eye follows this roadway to its distant portion, the sun lights up the sky, tingeing with a mellow light the group of small trees and willows, contrasting beautifully with the almost somber tones of the dense forest in the middle distance.” ■ — Chicago Times, April, 1878. Shirlaw, Walter. (Am.) Born in Paisley, Scotland, 1837. He was taken to America in 1840, and has spent his professional 252 ARTISTS OF THE NINETEENTH CENTURY. life in Chicago, Munich (Bavaria), and New York, studying in Munich for some years under Professors Eabh, Wagner, Bamberg, and Lindenschmidi, eminent men of the various schools there. He was elected Academician of the Chicago Academy of Design in 1868, Associate of the National Academy, New York, in 1878, and is at present (1878) a professor in the Ait Students’ League in the latter city. His “ Toning of the Bell,” a number of “ Heads,” and minor works are owned in Chicago. To the Society of American Artists, of which he was one of the original members and first President, he sent, in 1878, “ Good Morning,” “ The Young Patrician,” “ Sleep,” and a study of a “ Head.” To the National Academy, in 1877, he sent “ Sheep-Shearing in the Bavarian Highlands ” ; in 1878, “ The Bather ” and a portrait. His “ Toning of the Bell” and “ Feeding the Poultry ” were at the Centennial E.xhibition in Philadelphia in 1876 ; “ Sheep-Shearing in the Bavarian Highlands,” at the Paris Exposition of 1878. “ Mr. Shirlaw, a student of ilunich, exhibited two exceptionally strong and admirable works, evincing remarkably dexterous jicwers of nmnipulation.” — Prof. Weir’s Official Jieport of the American Centennial Exhibition of 1S76. Shumway, Henry C., N. A. (Am.) Bom in Middletown, Ct, 1807. He settled in New York at an early age, and during his long professional career has been a resident of that city. He was a stu- dent of the American Academy of Fine Arts in 1828 and ’29, and one of the early members of the National Academy of Design, having been elected Academician in 1832. In 1829 he began his career as an artist by painting on ivory, exhibiting his work annually at the National Academy for many years. As a portrait-painter he was popular and successful, and has numbered among his sitters many prominent citizens of New York and other places. In 1838 he was commissioned to go to Washington, D. C., to paint Henry Clay, the picture being owned at present by Mrs. Gideon Lee of New York. Shurtleff, R. M. (Am.) Born at Rindge, N. H. After studying drawing at the Lowell Institute, Boston, and at the National Acad- emy, New York, he settled in the latter city, where most of his pro- fessional life has been spent. Among his pictures are, “ A Race for Life,” “The American Panther,” “ The Still Hunter” (belonging to George Dwight, Jr., of Springfield, Mass.), and the “ Wolf at the Door,” owned in Utica, N. Y. “ ' A Race for Life ’ [N. A- , 1877] is the most remarkable animal picture in the Exhibi- tion. It will surprise every one who overlooked the artist’s ‘ Pantlier ’ of last year, and who only remember him by his landscapes. Scene and subject are equally grim and terrific. A weird winter forest ; gleams of a coppery sunset burning low behind the trees ; prints of flying feet on the crisp, livid snow ; and a horde of ravenous gray wolves dashing forward in an animal frenzy of pursuit, the foremost seeming to spring bodily from the canvas The open, slavering mouths, the swift vigor of the legs and paws, the hair bristling into knotty points and rising along the back, are all repre- ARTISTS OF THE NINETEENTH CENTURY. 253 sented with a i)ower which makes the spectator’s flesli creep. It is rather a ghastly siil)- ject which Mr. Shurtleff has chosen, but he has succeeded in giving it tlie necessary tragic dignity.” — New York Tribune, April 28, 1S7S. “Mr. Shurtleff has executed a grimly humorous i)aiuting, ‘The Wolf at the Door,* representing an open studio door, with tlie easel and liand of the artist Just dimly visible within, and hungrily waitiJig outside a lone gaunt wolf, evidently just at the point of starvation or he would not call at that unpromising abode.” — Springfield Republican, Siegert, August. (Ger.) Bom at Neiiwied, 1820. Studied at Diisseldorf and paints historical subjects, among which are, “ The Entrance of Luther into Worms,” “Frederick defending his Son pressed upon by the Soldiers of the Emperor,” etc. He also paints genre scenes, such as “ Hospitality,” “ Children in an Artist’s Studio,” and “ The Service of Love,” in the Museum of Hamburg. Siemiradsky, Henri. (Pole.) Born at Kharkow, 1843. Gold medal at St. Petersburg. Medal at Philadelphia. Pupil of the Academy of St. Petersburg. Prix de Rome. His picture of “ The Confidence of Alexander the Great in his Physician ” (1870) attracted much attention. At Philadelphia he exhibited “ The Amulet Seller.” His picture of “ The Christians burning for Torches before Hero ” excited an unusual interest in Rome. It combines remarkable effects of magnificence and horror. The architecture, the pomp of the Em- peror with his Empress, courtiers, and attendants, would well befit a scene of peace and happiness. But the horrible effect of placing in the midst of all this splendor these Christian martyrs, bound and ready for the burning, with the executioners waiting to apply the torches, can only be realized in seeing it ; for so well is the reality made to appear in this picture, that one feels by turns horror and pity, as fully as if in a life scene of the same character. The wonder is great that so young an artist could have grasped the thought or its execution. This picture is to be permanently in St. Petersburg. To the Paris Exposition (1878) he sent the above-described picture, “ The Cup or the Woman,” and “ The Shipwrecked Beggar.” Signol, Emile. (Fr.) Born at Paris, 1804. Member of the In- stitute, and Officer of the Legion of Honor. Pupil of Blondel, Gros, and r^Icole des Beaux-Arts. He gained the p?-r.x de Rome in 1830. His picture of “The Adulteress” (1840) is at the Luxembourg, and gained much fame for the artist by reproductions in engraving which are widely known. Several works by this master are at Versailles. His “ Death of Sappliira ” is at the Madeleine. He has executed much decorative work in other churches of Paris, the last of which was that of Saint-Augustin. He has also painted many portraits. Silva, Francis A. (Am.) Born in Nesv York, 1835. He in- herited his taste for art from his grandfather. Col. Francois Jean of the French army, who was exiled during the first Revolution, went to Lisbon, devoted himself to his brush, and became Painter to the Spanish Court Young Silva, whose father opposed his studying art, after trying several trades, was finally apprenticed to a sign-painter in 254 ARTISTS OF THE NINETEENTH CENTURY. New York, remaining nntil the outbreak of the Civil War. He served in the army as an officer until 1866, when he returned to his native city. In 1868 he began his professional career as an artist. He is entirely self-taught. He was elected a ^Member of the Water-Color Society in 1872, of the Artists’ Fund Society in 1873. He devotes himself particularly to marine views. Among his more important works are, “ Moonrise ” (belonging to Eugene Van Eensselaer), “ On the Hudson” (to Dr. Judson of St. Petersburg, Russia), “Sunrise in Boston Harbor ” (to H. P. Cooper), “ A Gray Day at Cape Ann ” (to R. G. Dun), “Bass Rocks” (to George C. Waldo), “Sunset on the Coast” and “Moonrise, Hudson River” (to J. A. Jameson), “New London Light” (to Cortlandt Palmer), “ The Twilight Hour” (to Jackson Schultz), “Hudson River” (to Cyrus Butler), “The Yacht Magic ” (to W. T. Garner), and “ iloonlight on the Chesapeake ” (to ML J. Best). Simart, Pierre Charles. {Fr.) Bom at Troyes (1806 - 1857). Member of tlie Institute. He wished to be a sculptor from his earli- est years ; but he met with positive persecution from his family on account of this desire, and at seventeen be went to Paris with a pen- sion of only 300 b ancs a year from his native city. It is easy to see that on this sum he could only live in misery, and his trials had such an effect on him that one of his friends says of him, that he entered on life with a broken heart. He was always a prey to intense sad- ness, as may be seen from his letters (Jitude sur sa vie et son oeuvre par M. Gustave Eyries). In 1833 Simart obtained the grand prix de Rome, and went there at about the same time as Ingres, who replaced Horace Vernet. His first notable work was the “Disk-Thrower,” models of which, in plaster, are at the Louvre and at the Museum of Troyes. His “ Orestes taking Refuge at the Altar of Pallas ” was called by Ingres the most beautiful statue of modern times. It was seen at the Salon of 1840. The plaster model is at the chateau of Vendreuve, and the marble is at the Museum of Rouen. He next executed two bas-reliefs, “ Sculpture ” and “ Architecture,” which were placed on the right wing of the Hotel de Yille at Paris; two large figures, “Justice” and “Abundance,” attached to the columns ot the Barriere du Trone; the bust of a Prince of the House of Or- leans, at Yersailles; “Philosophy,” a marble statue in the library of the Luxembourg ; a bust of M. Jourdan at the Museum of Troyes ; and “An Angel consoling Tobias,” belonging to Daguet, a molder at Paris. All these works were executed between 1840 and ’43. In 1841 Simart married, and from that time his life was happier. He then undertook a “ Yirgin and Child ” for the altar of the Virgin in the Cathedral of Troyes. It is now in its place, — a marble group, — both figures are standing, but the position seems to separate too much the mother and child ; altogether, it is not satisfactory in sentiment. Simart next executed the bas-reliefs for the chateau of the Duke de ARTISTS OF THE NINETEENTH CENTURY. 255 Luynes at Dampierre ; they are among his best works. For several years previous to 1857 he was occupied with the decoration of the tomb of Napoleon I. at the Invalides, and the ceiling of the Salon Carre at the Louvre. These works are not likely to increase his fame. In 1857 he composed the charming group of “Art demanding Inspiration from Poesy” (in marble), in the Salle du Trone at the palace of the Luxembourg. This was completed from his model after his death. At the Museum of Troyes is a collection of models from his works. Simler, Friedrich Karl Josef. {Ger.) Born at Hanau (1801 - 1872). Studied at Munich. Landscape and animal painter. He remained some time at Vienna, and traveled in Upper Austria and Styria ; later, in France and Italy. He was for a time at Hanover, where he had been commissioned to paint a number of portraits. In 1862 he settled at Aschaffenburg. At the National Gallery, Berlin, is his picture of a “ Wild Bull.” The three sons of Simler all studied art. Simmons, William Henry. (Brit.) Born in 1811. Received his art education in London, and gained a medal of the Society of Arts while still a young man. Among the more important of Sim- mons’ plates are, “ The Queen in the Highlands,” after Landseer ; “The Marriage of the Prince of Wales,” after Frith; “A Wee Bit Fractious,” “ His Only Pair,” “ Daddy ’s Coming,” “The Poor Man’s Friend,” “ Baith Faither and Mither,” and others, after Thomas Faed; “ Christ and his Disciples ” and “ The Light of the World,” after Hol- man Hunt ; “ The Proscribed Royalist ” and “ Rosalind and Celia,” after Millais ; “ Not Guilty,” after Abraham Solomon ; “ Both Puz- zled” and “ Steady, Johnny !” after Erskine Nicol; “ Luff Boy,” after Hook; “Great Expectations,” after Henry Le Jeune ; “The Shep- herd of Jerusalem,” after P. R. Morris ; and many more. Simmons, Franklin. (Am.) Born in Maine, 1841. He devoted his leisure time as a boy to drawing and painting, and finally to model- ing, executing portrait busts as soon as he graduated from college. In Washington, during the Civil War, he found ample employment in the cutting of busts of statesmen and soldiers, and the execution in bronze of several statues for public monuments. He settled in Rome about 1867. Among his works executed there are the statues of Roger Williams and Governor King, in Washington ; “ Jochebed,” for Mr. W. S. Appleton ; “ Roger Williams,” in bronze, in Providence, R. L, unveiled in 1877 ; and the Naval Monument in front of the National Capitol. " The general expression of the principal figure [Jochehed] is the union of mental ac- tivity with external repose. This is well contrasted with the restless playfulness of the smiling boy, Moses. The design of Jochebed’s figure would almost amount to grandeur were not its simplicity lessened in a degree by the exuberance of the drapery, or rather by its being cut up into numberless folds.” — Art Journal, October, 1S73. “ The story tells itself with all-suftlcient completeness, but the merits of the statue 256 ARTISTS OF THE NINETEENTU CENTURY. r‘ Jochebed ’] do not liy any means exhaust themselves with a satisfactory exposition of the subject. The face is full of expression, and the draperies, while broadly massed, as draperies in sculpture always should be, are minutely and admirably studied in a manner that is suggestive of some of the best antique work." — Great American Sculptors. Simonetti, Cavaliere Attilio. (Jtal.) Born at Rome. Profes- sor at Naples. Pupil of Fortuny. At the Paris Salon of 1875 he e.vhihited “ The First Fahle” ; in 1876, “After the Ball” ; in 1878, at the Exposition, “ Via Giuseppe Mancinelli, at Palazzolo.” At the Johnston sale, New York, 1876, his “ Proclamation in Front of the Pantheon ” (.32 by 63) sold for $ 2,725. Simonsen, Niels. {Dane.) Born in Copenhagen, 1807. Mem- ber of the Academy of Copenhagen. Studied first in Copenhagen under Professor Lund. Went then to Munich. He traveled in Al- geria, and, by a picture of “ Lord Byron’s Corsair,” won considerable fame. His best works are sea-views, among which may be mentioned “ Fishermen rescuing a Ship in the North Sea.” “ A Betrothal, Swe- den ” may be commended for its representation of national customs. Simpson, William. {Brit.) Bom in Glasgow. He commenced his career as an artist in his native city, where he was apprenticed to a firm of lithographers. Later, he removed to London, entering the employment of the Messrs. Day. He went to the Crimea in 1854, and during the Russian war sent home sketches which were published in book form. He was in India in 1859, and has visited many countries on the staff of the Illustrated London News. He is a member of the Royal Geographical Societj’’, and exhibits occasionally sketches in water-colors, as yvell as in black and white. Sinding, Otto. {Norwegian.) ^ledal at Philadelphia, where he exhibited “ Ruth and Boaz,” which Weir pronounced the most impor- tant work in the exhibit of Norway, and says, in his report, “ This picture is a production of mature art, admirable in sentiment, in breadth and freedom of execution, and fine in color. The figures are thoroughly well drawn, and the landscape skillfully rendered.” “ Otto Sinding is a coast-painter who makes one actually hear the roar of the breakers ns they chase each other in tumultuous masses, and lash the rocks with a power that may be felt.” — Benjamin’s Contemporary Art in Enrope. Skill, F. John. {Brit.) Contemporary English water-color artist. Member of the Institute, living in London. Devotes himself to land- scape and marine views, with occasional figure-pieces. Among his works are, “ Rising Tide,” “ By the Sea,” “ A Shrimper,” “ Thames Lock in June,” “ Sheep, South Devon,” “Little Cow-Keeper,” “ Her First Ball,” etc. To the Paris Exposition he contributed, “ View on the Tiber ” and “ San Lorenzo, Genoa.” “The tints are so delicately chosen, are so skillfully combined, that we must look upon this little sketch [F. J. Skill’s ‘Sunrise on the Grand Canal. Venice,* 1S75] as equal in effect to anything in the Exhibition. It is conceived and executed in the true spirit of water-color art.” — Art Jovrnal, February, 1S75. Skovgaard, Peter Christian. {Dane.) (1817-1876.) Profes- ARTISTS OF THE NINETEENTH CENTURY. 257 sor at the Academy of Copenhagen, where he studied and won medals. He is one of the most celebrated landscape-painters of Denmark. Few northern artists have so nearly approached Claude Lorraine. His drawing is better than his color. His pictures of wood-scenes and of gently flowing streams are especially good. Several of his best works are at Christiansborg. His portraits are also good. Eight of his Dan- ish landscapes were exhibited at the Paris Exposition of 1878. Slingineyer, Ernest. {Belgian.) Born at Loochristi, 1823. Chev- alier of the Order of Leopold. He won several medals. Pupil of Wappers. He sent to the Brussels Exposition of 1842 “ The Avenger,” afterwards seen at Paris and The Hague, and sold in Cologne. His “ Death of Classicus ” was purchased by the King of Holland ; the “ Death of Jacobsen,” by the King of Belgium ; “ Camoens,” by the King of Portugal. He has painted several battle-pieces, which have been much praised. Among his other works are, “ The Christian Martyr,” “ An Episode of St. Bartholomew’s,” and “ The Physician Vesalius following the Army of Charles V.,” a chef-d’oeuvre, now at the Museum of Brussels. Small, William. {Brit.) Contemporary English landscape-artist, residing in London. Member of the Institute of Painters in Water- Colors. Among his works in that medium are, “ The Fallen Monarch,” “ Going to Market,” “ Connemara,” “ Early Spring,” “ The Harvest- Field,” “ The Last Offer,” “ At Hampstead,” etc. In oil he has ex- hibited of late years, at the Royal Academy, “After the Storm,” “ The Highland Harvest-Home,” and others. To the Paris Expo- sition of 1878 he sent “ The Wreck ” (in oil), and “ Beech-Trees ” and “ Poplars ” (in water-colors). “ ‘ The Wreck ' [R. A., 1876], by Wtlliani Small, is a noble specimen of grandly painted seascape, certainly one of the masterpieces of the year.” — Art Journal, July, 1876. Smart, John. {Brit.) Born in Edinburgh. Educated in his native city, spending the greater part of his professional life there. A landscape-painter, he devotes himself particularly to the wild and barren scenery of the Highlands of Scotland, frequently introducing cattle into his pictures. For some years Associate of the Royal Scot- tish Academy, he was elected Academician in 1877. Among his later works may be noted, “ Autumn, Glen Lyons,” “ Drumharry,” “ Head of Glen Ogle,” “Hill Frank, — Clipping-Day,” “A Feeding Storm,” “ In the Pass of Lyon,” “ Far from the Busy World,” “ When Hill- taps a ’ were White,” “ Halt of the Herd,” etc., exhibited at the Royal Academy and the Royal Scottish Academy. His “ Gloom of Glen Ogle” was at the Philadelphia Exhibition of 1876; “Among the Yellow Corn,” -at Paris in 1878. “ Perhaps John Smart has risen more rapidly into deserved esteem than most of his compeers. He has certainly never achieved greater success than in ‘ The First of Win- ter’s Snaws’ [R. S. A., 1874]. The chill from the whitened hillside creeps into our blood, and we feel that none hut a veritable scion of canid Caledonia could have ex- pounded a theme of such thoroughly bleak nationality.” — Art Journal, March, 1874. Q 258 ARTISTS OF THE NINETEENTH CENTURY. Smillie, James. (Brit.-Am.') Bom at Edinburgh, 1807. When about eleven years old he was apprenticed to a silver-engraver. This master died soon, and Smillie was for a short time with Edward Mitchell, an engraver of pictures. When he was less than fourteen he was taken to America. His father and brothers established them- selves as jewelers in Quebec, and James worked for them. His skill attracted the notice of Lord Dalhousie, who gave him a passage to London, with letters of introduction. This proved an injuiy, for the engravers to whom he applied demanded large prices for his instruc- tion, supposing him to be a protege of Lord Dalhousie. He therefore went to Edinburgh, and remained five months with Andrew AVilson, and then returned to Quebec. He went to New York City in 1829, and has since resided there. He has been much connected with bank- note engraving. He was made a member of the National Academy in 1851. His plate of “ The Convent Gate,” after R. AV. AA’eir, first at- tracted public attention to his work. His series after Cole’s “ A^oyage of Life ” and Bierstadt’s “ Rocky Mountains ” are too well known to require praise. Among his best plates are, “ The Bay and Harbor of New York,” after John J. Chapman ; “Dover Plains,” after A. B. Dur.and ; “ Evening, in the New York Highlands,” after AA^eir ; “ Jlount AVashington, from Conway A'alley,” after John F. Kensett ; “ American Harvesting,” after J. F. Cropsey ; “ The Land of the Cypress,” after D. Huntingdon ; etc. "James Smillie, conceded to be the best landscape engraver in America, is altogether a self-educated man, overcoming every obstacle by patient, persistent effort. His plates, the most imi>ortant in this particular branch of the art yet produced in this country, executed with great taste and ability, are replete with fine artistic feeling, and are truth- ful translations of the originals.’* — WT. S. Baker, American Engravers and their IVorks. Smillie, James D., N. A. {Am.) Born in New York, 1833. Son of James Smillie, N. A., by whom he was educated as an engraver on steel, devoting all his time to that profession, until 1864, when he turned his attention to dravdng and painting, without, however, the benefit of schools or masters. He has spent his professional life in New York, studying also among the great mountain-ranges of the United States, the Sierras, the Adirondacks, the Rocky, AA'hite, and Catskill Mountains. He made a short visit to Europe in 1862. He wixs elected an Associate of the National Academy in 1868, Academician in 1876, and member of the Council the next year. He was one of the original members of the American Society of Painters in AA^ater-Colors, in 1866, was its first Treasurer, and its President from 1873 to ’78, con- tributing regularly to its exhibitions as well as to those of the Acad- emy of Design. Among the more important of hi? works may be mentioned, “ Evening among the Sierras of California ” (owned by S. T. AVniiams of New York), “ The Lifting of the Clouds, AYhite Mountains” (belonging to George Hearne of New York), .and “Dark against Day’s Golden Death ” (belonging to AA^iRiain M. Smillie of ARTISTS OF THE NINETEENTH CENTURY. 259 New York), all in oil ; in water, “A Scrub-Race on the Western Prairies” (owned by W. Wilson of New York) and “ The Track of the Torrent, Adirondacks ” (in the collection of F. W. Lewis of Phila- delphia). “ The Scrub-Race ” and “ A Study from Nature; Ausable River” were at the Centennial Exhibition at Philadelphia in 1876. For Appletons’ “Picturesque America” he illustrated “The Saguenay,” and furnished the letter-press description as well as the illustration for the article on the Yosemite in the same work. “ In the coloring the tones on the mountain side, in shadow, are almost opalescent in effect, and are brought together and harmonized in the most artistic way [‘ Evening, High Sierras, Cal.,’ N. A., 1S76].’’ — Art Journal, June, 1870. Smillie, George H., A. N. A. (Am.) Born in the city of New York, 1840. Son of James Smillie, line-engraver, and younger brother of J. D. Smillie, N. A. He entered the studio of James M. Hart at an early age, spending the greater part of his professional life in New York. In 1871 he made a trip to the Rocky Mountains and the Yosemite Valley for the purpose of study and sketching, and in 1874 he visited Florida. He was elected an Associate of the National Acad- emy in 1864, and member of the American Water-Color Society in 1868, contributing regularly to the annual exhibitions of both insti- tutions. Among his more important works are, “ Boquet River and Hills ” (N. A., 1869), belonging to A. Van Valkenburg, New York ; “Under the Pines of the Yosemite” (water-color, 1872), owned by James Smillie ; “ A Lake in the Woods ” (N. A., 1872), the property of Touro Robertson, New York ; “ A Florida Lagoon ” (N. A., 1875), owned in Utica. To the Centennial Exhibition he sent (in oil) his “ Lake in the Woods ” and (in water-color) “ Sentinel Rock, Yosemite Valley ” and “ Study on the Ausable River, N. Y.” “ George H. Smillie’s sketclies do infinite credit to liim in tiieir carefully finished exe- cution and in the understanding of the subject A certain refinement runs through all his artistic work, no matter what be the subject. It enhances the charm of his more quiet scenes, and modifies, without losing the character of bolder, wilder views. His sketches in detail show a careful study which form most promising and valuable means for important works.” — New York Herald, November, 1870. “ There is a charming ])icture of good size by George H. Smillie, ‘ Under the Pines of the Yjosemite. ’ Two large, brown pine trunks rise about thirty or forty feet to the to)i of the picture. Indians are camping beneath, etc The work is full of artistic skill and of poetical feeling, and gives us delightful associations with this romantic and unexplored region.” — Atlantic Monthly, March, 1872. Smirke, Sir Robert, R. A. {Brit.) (1780-1867.) Son of Rob- ert Smirke, a prominent painter and member of the Royal Academy. He studied architecture in Italy, and elsewhere on the Continent, and upon his return to England was employed upon the British Museum and the new London Post-Office. He designed many buildings in Great Britain, public and private, and was knighted by William IV. in 1831. He was elected an Associate of the Royal Academy in 1813, Academician in 1823, and for many years was Treasurer to the Acad- emy, resigning that position in 1850. 260 ARTISTS OF THE NINETEENTH CENTURY. Smirke, Sydney, R. A. {Brit.) Bom in the early part of the present century. Younger brother of Sir Robert Smirke. He en- tered the schools of the Royal Academy as a youth, gaining the gold medal in 1819. In 1848 he was elected an Associate of the Royal Academy, Academician in 1860, Professor of Architecture in 1861. Treasurer in 1862, Trustee in 1867, and was placed upon the list of Honorary Retired Academicians in 1877. Among the better known of the London buildings designed by Sydney Smirke are the Carleton Club, the Conservative Club, the Reading-Room and other portions of the British iluseuni, and the new Royal Academy, Burlington House, completed in 1874. He was also engaged in the restoration of the Temple Church, London, York Minster, Lichfield Cathedral, and many fine edifices throughout the kingdom. Smith, Colvin. {Brit.) (1793- 1875.) Began his art career at an eaily age, entering the schools of the Royal Academy in London, and studying and painting in Italy. He settled in Edinburgh in 1827, and became a member of the Scottish Academy in 1829. He exhibited as late as 1871. A portrait-painter, having many of his dis- tinguished fellow-countrymen for his subjects ; among these, Macken- zie (“The Man of Feeling”), Jeffrey, Sir Walter Scott, and others. His portrait of Scott was verv' successful, has been engraved, and it is said that over twenty copies of it were painted by the artist, for many of which Sir Walter gave sittings. Smith, T. L., A. N. A. {Am.) Born in Glasgow, 1825. He emi- grated to America at an early age, and studied for a short time under George H. Boughton, in Albany, N. Y. He opened a studio in that city in 1859, remaining there three years. In 1862 he removed to Xew York, where the rest of his professional life has been spent. He has been a frequent contributor to the exhibitions of the National Acad- emy, and was elected an Associate of that institution in 1870. He began his career as a painter of winter scenes, with a strong lore for the season itself, and has devoted himself almost exclusively to the delineation of landscapes of that character, with marked success. Among his more important works are, “ The Homestead in M inter,” at the National Academy in 1871 ; “The Grove in Winter,” at the National Academy in 1872 (owned in Albany, N. Y., by Captain Sweeney) ; “ The Deserted House,” at the National Academy in 1873 (now in the collection of W. H. Hamilton of New York) ; “ The Eve of St. Agnes,” exhibited at the Boston Art Club in 1873 (nowin the Saville Collection of that city) ; and “ Woods in Winter ” and “ Woods in Autumn,” his two largest works, belonging to J. H. White of Boston. “ The De- serted House ” and “ The Eve of St. Agnes ” were at the Centennial E.xhibition at Philadelphia in 1876. " Mr. Smith paints, conscientiously, -winter trees and snow, a farmer’s cosy home, out- buildings, and wood-piles : the calm, -warm glow of a winter sky and clouds, tnily and faithfully, according to his oum mspiration The merit of this picture [‘ Winter ARTISTS OF THE NINETEENTH CENTURY. 261 Ilomesteiicl ’], as far as style is concerned, is the art, which conceals art, an individuality of thought and expression by which we recognize and sympathize with a fresh local in- spiration from nature.” — jVeu) York Evening Post, April, 1870. Smith, George. (Brit.) Born in London, 1829. He entered the schools of the Eoyal Academy in 1845, and was also for some time a pupil of Cope. He first exhibited at the Koyal Academy about 1850, and regularly since. Among his early works are, “ The Launch ” and “ The Bird-Trap.” In 1861 he exhibited “ The Seven Ages in 1862, “ Searching for the Well”; in 1864, “ Beware of the Dog in 1865, “Light and Diirkness”; in 1867, “The Valentine”; in 1869, “A Game of Speculation ”; in 1870, “ In the Study ”; in 1872, “ Paying the Legacies”; in 1873, “Who comes here ?”; in 1875, “A Scrap of Nature ”; in 1876, “ Out in the Cold World ”; in 1878, “ The Soldier’s Wife.” Smith, A. Cary. (Am.) Born in New York, 1837. He studied under M. F. H. De Haas, and has spent his professional life in his native city, devoting himself to marine views. He has been a frequent exhibitor at the National Academy for some years, sending, in 1867, “ Off Little Gull ”; “ The Yacht Eva ” (belonging to L. L. Lorillard), in 1868; “ Sunrise,” in 1869; “The Last of the Old Ship ” and “ Nor’- wester, Coast of Maine,” in 1871; “Windy Day,” in 1876 ; “The Yacht Dauntless” (belonging to Philip Schuyler), in 1877 ; and “Perils of the Sea,” in 1878. He has also painted the yacht “Co- lumbia,” for Lester Wallack; the “ Sappho,” for William P. Douglas; the “ Wanderer,” for James Stillman; and many more. Smith, F. Hopkinson. (Am.) Born in Baltimore, 1838. A self- educated artist, and prominent member of the Water-Color Society, of which he was elected member in 1871, and Treasurer in 1873, a posi- tion he still holds (1878). He is a constant contributor to its exhibi- tions, sending, in 1871, “ Summer in the Woods, White Mountains”; in 1874, “The Old Man of the Mountains”; in 1875, “Overlook Falls” and “Walker’s Falls, Franconia Notch, N. H.”; in 1876, “A Summer’s Day” and “Grandfather’s Home”; in 1877, “In the Darkling W^oods ” (belonging to William D. Irwin, Chicago)," Under the Leaves” (belonging to William D. Sloane, New York), and “ De- serted ” (the property of Charles F. Havermeyer); in 1878, “ The Old Smithy,” “ Looking Seaward,” etc. His professional life has been spent in New York. His “Old Cedars, Franconia Mountains” and “In the Darkling Wood” were at the Centennial E.xhibition of 1876. His “ Profile Notch ” (in charcoal) is in the collection of Samuel V. Wright; “A Cool Spot” (in water-color), in the collection of John Jacob Astor. ” ‘Walker’s Falls, Franconia Notch ’ [N. A., 1875], by F. Hopkinson Smith, is remark- ably successful in the delineation of the falling water and the moss-covered rocks which line the ravine. The tree foliage is fresh, and shows some clever gradations from the dark tones in shadow to the topmost branches, which are under the influence of the noonday sunlight.” — Art Journal, March, 1875. 262 ARTISTS OF THE NINETEENTH CENTURY. “ Smith belongs much to the same set of landscapists as Bellows, Durand, and in cer- tain respects, Bristol and Wliittredge ; painters who represent American scenes of cheerful vegetation, usually under bright skies. Mr. Smith is succeeding very well in water- colors, a branch that neither of the other men we have named, except Bellows, has affected much : and in the recent Water-Color Exhibition of the Academy, if the eye rested upon a clear brook, whose clean amber-colored bed reflected green forest-trees that nodded about it ; or if the visitor espied some rustic bridge that connected two sides of a country village, with gray-white church-steeple ; or where a couple of lovers reposed upon a bank thick grown with wild-flowers — it was quite probable that each of them was piainted by this artist Mr. Smith’s paintings are all of a summer-like character ; and, although the arrangement of his compositions is sometimes a little formal, the detailed objects are well handled ; and whether it be rocks, water, or wood- land glades, all indicate a very genuine lover of Nature, and that a hard and enthusias- tic student is diligently seeking to transcribe her moods.” — AH Jourml, March 11, 1S76. Smith, Frank Hill. {Am.) Born in Boston, 1841. He received his early training in the schools of that city, and studied architecture there with Hammatt Billings. Later, he entered the Atelier Suisse in Paris, and was also a pupil of Bonnat, and other masters in Paris and Italy. His professional life has been spent largely abroad, in Belgium, Holland, Italy, the interior of France, and four or five years in Paris. For some time he has been a resident of Boston. He was a Judge of Fine Arts at the Philadelphia Exliibition of 1876, and is a Director of the School of the Boston Museum of Fine Arts. He has painted portraits, figure-pieces, and landscapes ; and his works are in public and private collections in Boston and elsewhere in the United States. “ Venice,” one of the most important of his landscapes, belongs to the Boston Somerset Club ; another view of “ Venice,” to Hon. William Claflin of Massachusetts. Within the last two years Mr. Smith has given special attention to fine interior decoration, his study and observations in Europe being in some degree directed with a view to this work. He made many drawings and sketches of famous Continental interiors which he brought to America. He decorated the Windsor Hotel and Opera House, Holyoke, Mass., and several private and public buildings in Boston and Cambridge. In this work he has been assisted by a large corjis of artists who have had more or less training under him, but the princijtal part of the labor he has performed himself. “ Among the notable pictures .at Doll and Richards’ .are the portraits of two children, by Frank H. Smith, which we think will prove more generally .attractive th.an such pic- tures usually do : in,asmuch .a.s, besides containing excellent likenesse.s of the originals, it is a charmingly arranged and painted interior, with figures such as any lover of good pictures might enjoy Tlie painting of these .accessories is worthy of much praise. The characteristics of the different materials, and particularly of the vase, are very skillfully and admirably rendered, while the values of color and tone are imanaged with fine artistic skill and feeling. Although we h.ave spoken first of the painting of the accessories, they by no means occupy a place of undue prominence, but are subseivetl with much good taste and forbe.arance to the figures." — Boston Tratiscript, February 17, 1S73. " Mr. Smith has by no means .ah.andoned the production of oil-paintings, yet much of his time is now occupied in drawing designs for the adorning of the walls of buildings. ARTISTS OF THE NINETEENTH CENTURY. 263 both public and private. The movement that lie has had the lionor of inaugurating in this city is now moving rapidly on to success. He lias recently completed the drawing- rooms of a residence on Commonwealth Avenue, giving to each detail a careful treatment that has made the walls veritable works of art.” — Boston Post, July 3, 1878. Smith, William Russell. (Am.) A native of Scotland. He wa.s taken to America at an early age by his family, who settled in Pitts- burg, Pa., and apprenticed the lad to Lambdin in Philadelphia, under whom he learned to draw. Eeturning to Pittsburg, he became a scene-painter in the theater there, and held a similar position in the Walnut Street Theater, Philadelphia, where he is said to have dis- played uncommon proficiency in the higher kinds of scenic art. Sub- sequently he became painter of landscapes of a smaller and more elaborate style in Philadelphia, where his studio still is, and where his pictures are highly jjrized and many of them owned. His “ Cave at Chelton Hills ” was at the Centennial .Exhibition of 1876. “ We have seldom found landscapes more cherished by tlieir owners or more enjoj'ed by those intimately acquainted witii their autlientic cliarms than are Russell Smith’s. . ... In the hajipiest efforts of this artist we find the fresh and free impression of na- ture reproduced with singuiar vitality.” — Tuckerman’s Book of the Artists. Sohn, Karl Ferdinand. (Ger.) Born at Berlin (1805-1867). Professor at the Diisseldorf Academy. Studied at the Berlin Academy. In 1826 he followed Schadow to Diisseldorf. In 1830 he went to It- aly, and afterwards traveled in France, Belgium, and Holland. In 1832 he became Professor at Diisseldorf, where he takes high rank among the artists of that school, and has instructed many of its best men. At the National Gallery, Berlin, are his “ Lute- Players,” “The Eape of Hylas,” and “ Portrait of a Woman.” At the Leipsic Museum is his “ Donna Diana.” Among his other works are, “ The Lorelei,” “Vanity,” “The Sisters,” “Tasso and the Two Leonoras,” “Eomeo and Juiiet,” “ The Judgment of Paris,” “ Diana at the Bath ” (a clief- d’osuvre), etc. At the Johnston sale. New York, 1876, “ Diana sur- prised by Acteon ” (28 by 23) sold for $ 575. Solomon, Abraham. (Brit.) Born in London (1824-1862). He entered the schools of the Eoyal Academy at the age of fifteen, and was considered a very promising pu])il. His first work, “ The Courtship of Ditchen ” was exhibited at the Eoyal Academy in 1843, followed by others in a similar vein. His best-known pictures, which have become popular on both sides of the Atlantic by means of the engravings of them, are, “Third Class, — the Parting ’’and “ First Class, ■ — the Eeturn,” exhibited in 1854 ; “ Waiting for the Verdict,” in 1857 ; and “ Not Guilty,” in 1859. His last exhibited works were, “Le malade imaginaire ” and “ Consolation,” in 1861 ; and “ The Lost,Found,” in 1862, the year of his death. Sonntag, William Louis, N. A. (Am.) Born in Western Penn- sylvania, 1822. His profe.ssional life has been spent in Cincinnati, Ohio, in Italy, where he studied and painted for some time, and in the 264 ARTISTS OF THE NINETEENTH CENTURY. city of New York, which has been his home during the last twenty years. He is a member of the Artists’ Fund Society, and was in 1861 elected a full member of the New York Academy of Desitm. As an artist he is entirely self-taught. His first work of importance Avas entitled “The Progress of Civilization,” comprising four paint- ings ; his second, “ Alasror, or the Spirit of Solitude,” from Shelley ; his third, “ The Eagle’s Home,” painted for Charles M. Stewart, of Baltimore ; his fourth, “ The Dream of Italy,” property of Mr. Dinsmore of New York; his fifth, “The Spirit of the Alleghanies,” a large canvas, purchased by the Marquis of Chandos, now Duke of Buckingham ; sixth, “ A View of the Shenandoah,” lately in the possession of Jay Cooke of Philadelphia ; seventh, “ Eecollections of Italy,” belonging to Abram Adams of Boston. Among his later works exhibited at the National Academy may be mentioned, “ Sun- set near Bethlehem, N. H.,” in 1871 ; “ Sunset in the Swamp, near the Coast of Maine,” in 1873 ; “ The East Eiver in February,” in 1874; “A View in Vermont,” in 1875 ; “The Gulf” (belonging to John H. Sherwood), in 1876; “Deserted,” in 1877 ; “A Passing Shower” and “Clement’s Brook, N. IL,” in 1878. His “Hour after Sunset” and “Hour before Sunrise,” on the Susquehanna, com- panion pictures, belong to Mrs. E. D. Kimball of Salem ; and “A View near Harper’s Ferry, Va.,” to Mr. C. H. Miller of the same city. His “ Sunset in the WEderness ” he sent to the Centennial Exhibition in Philadelphia in 1876. Sorensen, C. F. {Dane.) Member of the Academy of Copenha- gen. Medal at Philadelphia, Avhere he exhibited “ Sunset on the Atlantic, — an Old Frigate in a Gale.” To Paris, in 1878, he sent, “ Vessels of War leaving the Faroe Islands,” “Fishers on the Coast of Norway,” and “Navigators passing Kinn Sound on the Way to Bergen.” Soumy, Joseph-Paul-Marius. (Fr.) Born at Puy Amblay (1831-1863). Student at I’Ecole Imperiale at Lyons, where he gained the first prize. In 1852 he entered I’licole des Beaux- Arts at Paris, and studied under Henriquel Dupont. In 1854 he took the grand prix de Rome, and soon Avent to Italy. Not long after he painted the portrait called “ La Carolina,” at the Museum of Mar- seilles. He made designs after the masters ; one from a portrait by Giorgione in the Doria Palace, and from it he made an engraAring. This AA'as his chef -d^ oeuvre. Could he haA'e liA'ed he AA'ould haA’e had an influence on the engraving of his time. But his life Avas a sad one, and, after having become nearly blind, he threw himself from the AvindoAV of a maison de santi', and Avas killed. Spangenberg, Gustav Adolf. {Ger.) Born at Hamburg, 1823. Eoyal Professor and member of the Berlin Academy, also member of Vienna and Hanau. Medals at Cologne, Berlin, and Vienna. Studied in Hanau under Pelissier. In 1849 went to the Antwerp ARTISTS OF THE NINETEENTH CENTURY. 265 Academy for a short time. In 1851 went to Paris, where he remained six years ; he there studied a short time under Couture, and spent a year in the atelier of the Triqueti. He visited Italy, England, and Holland, and settled in Berlin. His subjects are principally illus- trative of German history and literature. At the National Gallery, Berlin, are his “ Luther translating the Bible ” and the “ Procession of the Dead.” His picture of “ Luther with his Family” is at the Museum at Leipsic, and has become well known from the engraving by Louis Schulz. He occupied himself for some years in a series of pictures from the life of Luther, whom he has depicted with his com- panions and occupations in a very graphic manner. He has thor- oughly studied their habits and customs, he represents much in detail, and, in short, gives an elevated and charming idea of a cultured, pure, and refined life. One of these works, “ Luther, his Wife, Children, and Melancthon,” painted in 1867, is in the collec- tion of Mr. Probasco of Cincinnati, and is, perhaps, the only work by Spangenberg in the United States. His “ Death and its Cortege ” (belonging to the National Gallery, Berlin) was at the Paris Exposi- tion, 1878. Spartali, Marie (Mrs. William J. Stillman). {Brit.) Daugh- ter of a well-known Greek merchant, who has been for many years a resident of London. Miss Spartali was a pupil of Ford Madox Brown, and is one of the most prominent disciples of that artist’s peculiar school. She exhibited, for the first time in public, at the Dudley Gallery in 1867, “ Lady Pray’s Desire,” followed by “ Chris- tiana,” in 1868 ; “ Burning the Love-Philter,” in 1869. To the Royal Academy, in 1870, she sent “St. Barbara” and “The Mystic Tryst”; in 1873, “The Finding of Sir Launcelot disguised .as a Fool ” ; in 1875, “ Mona Lisa” ; in 1876, “ The Last Sight of Fiam- metta ” ; in 1877, “ Roses and Lilies.” To the E.xhibition of the Water-Color Society at the National Academy, New York, she sent “ Lilacs and Roses,” “ Launcelot and Elaine,” “ On a Balcony,” “Tristram and Isolde,” in 1875 ; “Roses,” in 1877 ; and “Bloom- Time,” in 1878. To the Centennial Exhibition at Philadelphia in 1876 she contributed, “ Sir Tristram and Queen Yseult.” “ On the Balcony” belongs to Col. John Hay, and “Mona Lisa” to Mrs. Charles Fairchild of Boston. “Miss Spartali hjis a fine power of fusing the emotion of her subject into its color, and of giving aspiration to both ; beyond what is actually achieved one sees a reaching towards something ulterior. As one pauses before her work a film in that or in the mind lifts, or seems meant to lift, and a subtler essence from within the picture quickens the sense. In short. Miss Spartali, having a keen perception of the poetry which resides in beauty and in the means of art for embodying beauty, succeeds in infusing that per- ception into the spectator of her handiwork.” — W. M. Rossetti, in English Painters of the Present Day, 1871. “ ‘ The Finding of Sir Launcelot disguised as a Fool ’ and ‘ Sir Tristram and La Belle Fonde ’ [R. A., 1873, both in water-color] are two illustrations of the ‘ Mort d’ Arthur ’ which have many commendable artistic qualities. Mrs. Stillman has brought imagina- 12 * 266 ARTISTS OF THE NINETEENTH CENTURY. tion to her work. These vistas of garden landscape are conceived in the true spirit of romantic luxuriance, when the beauty of each separate flower was a delight. The figures, too, have a grace that belongs properly to art, and which has been well fitted to the condition of pictorial expression. The least satisfactory part of these clever draw- ings is their color. There is an evident feeling of hannony, but the effect is confused, and the i>revailing tones are uncomfortably warm." — Art Journal, July, 1873. Spencer, Frederick R., IST. A. (Am.) (1805-1875.) Studied ■without a muster in his native -village, Canistota, N. Y., where he practiced his profession as a portrait-painter until he settled in New York about 1830. He was elected Associate of the National Acad- emy in 1837, and Academician in 1846, painting the portraits of many distinguished men. He retired to Canistota in 1853. His name rarely appeared in the catalogues of the metropolitan exhibitions after that year, although he continued to paint until the time of his death. “ Mr. Spencer carried his work to a high degree of finish, and in his style resembled, in a measure, that of the late Henry Inman. He was generally successful in procuring the likeness of a sitter.” — Art Journal, May, 1875. Spertini, Giovanni. (Ital.) Of Milan. At Philadelphia he exhibited a bas-relief in terra-cotta, “ The Modern Cain,” “ Love’s Messenger,” and a portrait of Giuseppe Dassi, Vice-President of the Italian Centennial Commission. He received a medal. Spread, Henry F. (Brit.-Am.) Bom at Kinsale, Ireland, 1844. lie studied art for four or five years at the schools of South Kensington, gaining several prizes. Later, he studied painting in water-colors un- der Riviere and Warren. In 1863 he went to Bmssels, and became a pupil of Slingineyer. The next year he visited Australia, settling in Melbourne, where he painted many portraits, making sketching-tours in New Zealand and Tasmania. He removed to the United States in 1870, spent a few months in New York, and settled in Chicago, where his studio now is. He is a member of the Chicago Academy of Design. Among his more important works are, “ The Bard,” in the collection of Mr. St. Clair, London ; “ Thoughts of Home,” now in Melbourne ; “ Chicago rising from her Ashes,” belonging to Mor- ris Martin ; “ The Roman Honey-Girl,” also owned in Chicago, and many portraits. Spring, Edward A. (Am.) Born in the city of New York in 1837. His first visit to Europe was made in 1846-47, when, at the age of nine years, he modeled a head of “ Medusa ” in the studio of Hiram Powers. In 1852 he drew from casts in the studio of H. K. Brown, the winter of 1861-62 he spent in the studio of J. Q. A. "Ward, and he studied under Dr. Riramer in 1864 and ’65. Besides these, he has spent five years in study in England and France. In 1862 Mr. Spring occupied a large studio with William Page, N. A., at Eagleswood, N. J. In 1868 he discovered in the neighborhood fine modeling clay, peculiarly suitable for terra-cotta work, and turned his attention to that branch of art, establishing the Eagleswood Art Pot- tery Company in 1877. He exhibited at the National Academy, N. Y., ARTISTS OF THE NINETEENTH CENTURY. 267 a best of Mazzini in 1873, and a number of terra-cotta works in 1878. In 1876 he exhibited over two hundred objects in clay in Washington, illustrating many branches of scientific and art study, which now belong to the National Museum of Education. Mr. Spring has been favorably known as a lecturer in different American cities, and is suc- cessful as an instructor. Of his lectures in Boston, in 1875, the Ad- vertiser of that city said : — “ His gemline enthusiasm for art in every fom, and generous aid in endeavoring to spread the art idea by his practical lectures on modeling and instructive conversa- tions, will be long remembered by those who have enjoyed them. We hope Mr. Spring may find it to his advantage to return to Boston and make it his home.” Sprosse, Carl. (Oer.) Born in Leipsic (1819 - 1874). He was a very poor boy, and struggled for the merest existence. Water- color painter of architectural subjects. His views at Venice and those of Roman ruins are among his best works. Later, he painted some Grecian views. At the Museum at Leipsic are, “ The Interior of a Gothic Church,” “ View of an Ancient Cemetery,” “ View of the Cathedral at Regensburg.” Stacquet, N. Lives at Brussels. We only know this artist by his small water-color pictures, exhibited in America of late by Mr. Daniel Cottier. Two of them, belonging to Mr. W. L. Andrews, were in the Exhibition of the Water-Color Society of New York, early in the winter of 1878. Mr. Clarence Cook spoke of them as worthy of the admiration they received, and said they were “ expres- sive of the artist’s love for what is tenderest and most evanescent in natural beauty.” Staigg, Richard M., N. A. {Brit.- Am.) Native of Leeds, England, but taken to America in his youth, having previously received no art education, except such as was gathered during a short season of em- ployment as a draughtsman in an architect’s office, and a few evenings’ instruction at the Leeds Mechanical Institute. He began the practice of art at Newport, R. I., as a miniaturist, receiving there encourage- ment and valuable assistance from Allston. His excellent miniatures of Allston, Everett, Webster, and others are well known through the engraved copies of them. Some of his portraits on ivory, exhibited at the Royal Academy, excited considerable attention from English art critics and connoisseurs. He was elected a member of the Na- tional Academy, N. Y., in 1861, and has been a member of the Boston Art Club for some years. He went to Paris in 1867, remaining until 1869, and exhibiting at the Salon of 1868 portraits of the sons of John Munroe the banker and of the daughter of Richard Green- ough. He went to Europe again in 1872, and spent two years. Since his return he has painted portraits in Boston and Newport, with an occasional genre picture and landscape study. Among his earlier works are, “ The Crossing-Sweeper,” “ The Sailor’s Grave,” “ Cat’s Cradle,” “ News from the War,” “ By the Sad Sea Waves,” “ Beach 268 ARTISTS OF TUB NINETEENTH CENTURY. at Newport,” “ Moonlight,” “ Gathering Fagots,” and “ Going Home in the Snow.” He exhibited at the National Academy, N. Y., in 1870, “First Steps,” “St. Jerome,” “The Lesson,” and several por- traits ; in 1875, “The Italian Chestnut-Gatherer”; in 1876, “ Ital- ian Peasant Knitting”; in 1877, “ Italian Girl’s Head”; in 1878, “ Boy’s Head ” and “ Margaret.” His “ Empty Nest ” and “ Cornice Road, Italy ” were at the Philadelphia Exhibition of 1876. “ Staigg has painted several remarkable portraits, wherein the character and tone are masterly, and the skill exhibited as delicate as it is trutliful He has a fine feeling and delicate insight ; there is nothing crude or exaggerated in his style, and he compre- hends the refinements of his art, of which his ideal is exalted, and to which his devotion has been single and earnest. ” — Tuckermax’s Book of tJie Artists. Stallaert, Joseph. {Belgian.) Medal at Philadelphia, where he exhibited “ Palm Sunday, Albano, Italy,” “ The Fan,” and “ The Cel- lar of Diomede, — Scene at the Destruction of Pompeii.” At Paris, in 1877, was his “ Polyxena sacrificed to the Manes of Achilles.” To the Exposition of 1878 he sent “The Death of Dido,” “ The Sacrifice of Polyxena,” and “ The Last Combat of the Gladiators.” Stanfield, Clarkson, R. A. (Brit.) (1793-1867.) Began life as a sailor. With a decided taste for art from his youth, and fondness for the drama, he became a scene-painter, exhibiting his first pictures of a smaller character in the galleries of the Society of British Artists, of which he was an original member in 1823. His “Wreckers off Fort Rouge,” one of the earliest of his important works, was at the British Institute in 1827. He first exhibited at the Royal Academy about the same year, and was elected an Associate in 1832, and Acad- emician in 1835. He traveled extensively on the Continent, painting many landscapes, but his most successful works Avere his marine view.s, many of Avhich have been engraved. His “ Battle of Trafalgar” belongs to the United Service Club in London; his “ AVind against Tide” (in the Paris Exposition of 1855) Avas painted for Robert Ste- phenson. “The Victory toAved into Gibraltar after Trafalgar” and the “ Siege of St. Sebastian ” Avere in the collection of Sir ilorton Peto. In the National Gallery, London, are his “Entrance to the Zuyder Zee ” (R. A., 18-14), a sketch of his “ Battle of Trafalgar,” his “ Lake of Como,” and “ The Can;il of the Giudecca,” His pictures are very popular and command A’ery high prices. At the sale of the collection of Charles Dickens, in 1871, a thousand guineas were giA'en for a vieAv of “ Eddystone Lighthouse,” a scene painted by Stan- field in the course of a feAv hours for one of the famous amateur plays organized by Dickens and his friends. Stanfield, George C. (Brit.) Son of Clarkson Stanfield. Has ex- hibited i'requently at the Royal Academy for some years, sending, in 1860, “ The Church of St. Michael, Ghent”; in 1861, “Siuirbuig: Cas- tle”; in 1863, “On the Lahn ” ; in 1864, “ The Amphitheater, Verona”; in 1867, “At Luzern” ; in 1868, “Angers” ; in 1871, “A A’iew in ARTISTS OF THE NINETEENTH CENTURY. 269 Brittany”; in 1872, “Dunbar Castle, Scotland”; in 1873, “Holy Island, JSlortbunibeiiaud” ; in 1875, “Entrance to the Harbor of La Rochelle, France” ; in 1876, “On the Banks of the Nile, Upper Egypt.” Stanhope, R. Spencer. (Brit.) An English artist, belonging to the pre-Raj)haelite school. He first exhibited at the Royal Acad- emy about 1860. In 1862 he sent “The Flight into Egypt” ; in 1864, “ Rizpah ” ; in 1865, “ Beauty and the Beast ” ; in 1868, “ The Footsteps of the Flock” ; in 1869, “ The Rape of Proserpine ” ; etc. The more important of his later works have appeared in the Grosvenor Gallery, including “ Eve Tempted,” “ Love and the Maiden,” and “ On the Banks of the Styx,” in 1877 ; and “ Night,” “ Morning,” “ The Snlamite,” and “ Cupid and Psyche,” the following year. His “ Water-Gate” and “ On the Banks of the Styx” were at the Paris Exposition of 1878. Stebbins, Emma. (Am.) A native of New York, where, as an amateur, she distinguished herself by her drawings in black and white, and her paintings in oil. Going to Italy some years ago, she settled in Rome, where she worked and studied assiduously as a sculptor. Her earliest important work was a statuette of “ Joseph,” followed by “ Columbus,” “ Satan descending to tempt Mankind,” etc. She executed for the Central Park, New York, a large fountain, the subject of which is “ The Angel of the Waters.” She is the author of the biography of her friend, Charlotte Cushman. [No response to circular.] Steell, Sir John. (Brit.) Born in Aberdeen in 1804. Fie studied art in Edinburgh, and later in Italy, remaining in Rome un- til 1833, when he opened a studio in Edinburgh, where he has since resided. His statue of Sir Walter Scott, in Carrara marble, in the well-known Scott monument, on Princess street, Edinburgh, first brought him into prominent notice as a sculptor. A duplicate in bronze of this figure, cast in 1873, is now in the Central Park, New York, and a companion' statue of Robert Burns is at present (1878) in course of construction. Among the better known of Sir J ohn Steell’s works are the statues of Wellington, Professor Wilson, Allan Ramsay, and Thomas Chalmere, all in bronze, and in the public streets of Edin- burgh, and the statue of the Queen in the Royal Institution in the same city. He executed the monument to the 42d Highland Regi- ment at the Cathedral of Dunkeld ; the monument to the 93d High- landers in Glasgow Cathedral ; statues of Lord Melville and Jeffrey ; busts of the Queen, Prince Albert, Duke of Wellington, Duke of Edinburgh, Florence Nightingale (the only portrait of any kind for which she ever sat), and many more. His last and perhaps most im- portant work is the Scottish National Memorial to the Prince Consort, in Charlotte Square, Edinburgh, upon the unveiling of which by the Queen, in the summer of 1876, the sculptor received the honor of 270 ARTISTS OF THE NINETEENTH CENTURY. knighthood. Early in his career he was appointed Her Majesty’s Sculptor for Scotland ; he has been a ineuiber of the Eoyal Scottish Academy for many years. “ The memorial has been for twelve years in course of design and construction. It was proposed soon after Prince Albert’s death, and has been paid for by public subscrip- tion. It is a colossal equestrian statue in bronze, upon a pedestal of Aberdeen granite, the whole about thirty feet in height. The Prince is in military costume, and hts hand- some German face and figure are said by persons who knew him well to be faithfully portrayed. Horse and rider are gracefully and naturally posed, and the effect is artisti- cally fine.” — New York Evening Post, September 2, 1876. Steell, Gourlay. {Brit.) Born in Edinburgh, where he was educated, and where his professional life has been spent. He is a younger brother of Sir John Steell. A painter of animals and of scenes in humble Scottish life. He is a member of the Eoyal Scot- tish Academy, exhibiting there and at the Eoyal Academy in London. On the death of Landseer, in 1873, he was appointed Animal Painter for Scotland to the Queen. Among his later works are, “A Challenge ” (Highland bulls), “ On the Trail of the Deer,” “ Xoble, Waldman, and Corran ” (favorite dogs of the Queen, to whom the picture belongs), “ The Open Window ” (water-color), “ Eough Art- Critics,” “ When Greek meets Greek,” “ Death of Old ilortality,” etc. His “ Spring in the Highlands ” belongs to J. H. Sherwood. His “ Eobbie Burns and the Field Mouse,” “ Visit of the Queen to a Highland Cottage,” and others have been engraved. Stefifeck, Karl Constantin Heinrich. (Ger.) Born at Berlin, 1818. Professor and member of the Berlin Academy ; also member of the Vienna Academy. Medals at Berlin, Paris, and Philadelphia. Studied at Berlin Academy under Franz Kruger and Karl Begas, and then at Paris under Delaroche. Visited Eome, and in 1842 returned to Berlin. At first he painted historical subjects ; later, animals and sporting scenes. He has executed a quantity of lithographs and etch- ings, — many of these are studies of horses. At the National Gal- lery, Berlin, is his “Albert Achilles in the Struggle with the Nurem- bergers, 1450,” painted in 1848. At Berlin, in 1876, he exhibited a portrait of the Emperor and a “ Gypsy Scene ” ; and at Paris, in 1878, “ Attrape ! ! ” belonging to the Emperor of Germany, and “ Chez I’accouchee,” belonging to Baron von Arnim. Steinbriick, Eduard. {Ger.) Born at Magdebouig, 1802. Mem- ber and Professor of the Berlin Academy. Pupil of Wach. He has painted “ Mary kneeling before her Son,” for the church of St. Jacques at Magdebourg, and a few landscapes, but most of his sub- jects may be called romantic genre. At the Berlin National Gallery are, “ Children Bathing ” and “ Marie with the Elv’es.” Among his works are, “ The Elves,” “ The Nymphs,” “ Eed Eiding-Hood,” “ Un- dine in a Boat,” etc. Steinheil, Louis-Charles-Auguste. {Fr.) Born at Strasbourg, 1814. Chevalier of the Legion of Honor. Pupil of Decaisne. This ARTISTS OF TEE NINETEENTH CENTURY. 271 artist has gained a large part of his reputation by his mural and glass painting. He has executed pictures in almost every kind of style, and works in water-colors as well as oils. In 1876 he received the commission to execute some frescos in the Cathedral of Strasbourg. Steinle, Eduard. Born at Vienna, 1810. Member of the Acad- emies of Berlin, Vienna, Munich, and Hanau. Medals at Berlin and Paris. Pupil of the Academy of Vienna and of Cornelius at Rome. Professor at Frankfort. His decorative paintings are at the ChMeau Reineck, the Cathedral of Cologne, the Museum of Cologne, the Im- perial Hall of Frankfort, at Riga, in the church of Saint jEgidius at Miinster, and in other places. The cartoons of the last named are in the Leipsic Museum. In the Berlin National Gallery there are also cartoons from the “World’s History,” and some scenes from Shaks- pere’s “ Twelfth Night ” or “ What You WilL” To the Paris E.xposi- tion, 1878, he sent “ The Virgin and Child,” in water-color, belonging to the Princess Marie de Lichtenstein, and cartoons of nine frescos in the chapel of the Princes of Lowenstein at Heuhach-sur-Mein, and ten others from frescos at the Museum of Cologne. Stephens, Edward B., A. R. A. {Brit.) A native of Exeter. He entered the schools of the Royal Academy at an early age, and in 1843 gained the gold medal for a work in alto-relievo. Later, he went to the Continent, remaining three years in the study of sculpture at Rome. To the Great Exhibition in London, in 1851, he sent “ Satan Vanqrrished ” and “ Satan tempting Eve.” Among his earlier works are, “ Eve contemplating Death,” “ Angel of the Resurrection,” etc. To the Royal Academy, in 1861, he contributed, “ Evening, — Going to the Bath,” a group in marble ; in 1863, “ Alfred the Great in the Neatherd’s Cottage ” (purchased by the Corporation of the City of London, and now in the Mansion House) ; in 1865, when he was elected an Associate of the Royal Academy, “ Euphrosyne and Cu- pid in 1867, “Lady Godiva”; in 1868, “Coaxing”; in 1869, “Saved from the Wreck” ; in 1871, “ Zingari ” ; in 1873, “A Deer- Stalker”; in 1874, “ Leander ” ; in 1875, “ Evening ” and “Morn- ing” ; in 1876, “The Bathers” ; in 1878, “The Little Carpenter.” He has also executed many statues and busts. Stevens, John. {Brit.) Born in Ayr (about 1793 - 1868). En- tered the schools of the Royal Academy in London in 1815, gaining in 1818 two silver medals. He practiced portrait-painting in his native town for a few years, when he went to Italy, settling in Rome, and making that city his home for many winters. He was a member of the Royal Scottish Academy. His “ Standard-Bearer ” is in the Scottish National Gallery. Stevens, Alfred. {Brit.) Born in Blandford, Dorsetshire (1817- 1875). He displayed marked talent for painting as a child, and at the age of sixteen he went to Italy, studying the works of Sal- vator Rosa in Florence. Later, he entered the studio of Thorwaldsen 272 ARTISTS OF THE NINETEENTH CENTURY. in Rome, turning his attention to plastic art, and remaining with that master for some years. He returned to England in 1843, ■when he settled in London, and connected himself with the Art Schools of Somerset House. In 1850 he removed to Sheffield, executing what is known as “ decorative work,” in iron and silver, for manufactiu’ing firms of that city. He received in 1857 the commission from govern- ment for the great work of his life, the monument to the Duke of Wellington in St. Paul’s Cathedral, London. The sum voted by Par- liament {£ 14,000) for the execution of this commission was utterly insufficient and exhausted long before its completion. He expended upon it much of his private means, was censured for his delays in the work, and suffered much grief and disappointment during its progress, leaving it unfinished at his death, eighteen years after the commission was given him. It has nevertheless added greatly to his fame as a sculptor. He was the author of several admirable portrait busts of the members of the family of his friend. Hr. Collman, and others. He executed the mosaic “ Isaiah ” in the arch of the dome of St. Paul’s, turning his attention also to painting and architecture. “ Stevens’ figures were always (like nearly all first-rate sculpture in tlie best times) part and parcel of something else. Sculpture was to him as intimately related to archi- tecture as was his owm flesh to his own bones, and so we find that his noblest sculptured •v^rorks, — the life-sized marble figures in Dorchester House, and the bronze figures of the Wellington memorial, — are, like the best sculpture of which the world knows, integral and essential parts of architectural compositions. Since Michael Angelo made the monument to Lorenzo de Medici, no stronger nor more vigorous work has been made in marble than these Dorchester House figures. The pose of them, the manner in which the heads and shoulders are related to the comice over them, the modeling of the flesh, all speak of an artist greater than our modem scale of measurement can by any possi- bility gauge. These figures belong to the culminating period of Stevens* career, and are contemporary with the groups of the Wellington monument, his last and cro^vning work.'* — Edward W. Godwin, F. S. A., Art Monthly Review. Those interested in such matters, however, were well aware that Stevens had de- signed some of the finest works of the day : innumerable decorative objects of daily use, distinguished by the finest taste, decorations proper in metal, stone, and marble, to say nothing of works of higher pretensions, with which the names of manufacturers, rather than of the real designer, were associated. A fine exajn)>le of his peculiar skill is seen by those who pass the British Museum, and admire, probably without knowing to whoni they are indebted for tliem, the excellent designs of the little sejant lions on the iron posts before the gi'ille, and, we believe, the verj’ handsome grille itself. In fact, his works are numerous, yet they rarely bear bis name.” — Athenecnm, May S, 1S75. Stevens, Joseph. (Belgian.') Born at Brussels, 1819. Chevalier of the Orders of Leopold and of the Legion of Honor. After studying at Paris, he made his debut at the Salon at Brussels in 1844 and at Paris in 1847. He continued to exhibit at Paris until 1863, since which time he has appeared at but one Salon, that of 18<0, with ‘‘ The Intervention.” He paints genre subjects, very frequently with ani- mals, and holds a high rank among artists of this type. Among his works are, “ The Surprise,” “ An Episode in the Dog-Harket at Paris,” “ The Dog and the Fly ” (at Paris in 1878), “ A Philosopher without knowing it,” “ The Kitchen,” “ The Corner of the Fire,” etc. ARTISTS OF THE NINETEENTH CENTURY. 273 ^‘Rarely have the Dutch or Flemish artists done better than Joseph Stevens in his * Kitchen.' It is an interior animated by no figure ; no interesting cook paring the vege- tables while listening to a lover leaning on the window-sill ; no scullion in a white cai) licking the sauce from his fingers. Joseph Stevens has disdained these vulgar artifices ; he has painted, with masterly dexterity, the chimney in brown tones, the stove backed with faience, without otlier objects than the great iron fire-dogs, the toothed turnspit, the stewpans polished like antique shields, the kettles glittering, the coffee-pots prat- tling ; all this is of a color so true, strong, and beautiful, and so broadly and at the same time so exactly rendered, that we arrest ourselves before the ‘ Kitchen ' as before a Peter de Hooge.” — Theophile Gautier, Abecedaire du Salon de 1S61. Stevens, Alfred. {Belgian.) Bom at Brussels, 1828. Officer of the Order of Leopold. Commander of the Order of St. Michael of Bavaria, Commander of the Order of Ferdinand of Austria, and Officer of the Legion of Honor. Pupil of Navez in Belgium, and of Roqueplan at Paris. This painter represents scenes from modern life, and repro- duces with great exactness the costumes, furniture, etc., of the time. He has exhibited his works in Brussels and Paris since 1849, and in reality belongs to the schools of two countries. Stevens sent eighteen pictures to the E.xposition of 1867 ; among them were, “The Visit ” (purchased by the King of Belgium), “La Dame Rose” (purchased for the Museum at Brussels), “ Consolation,” “ Innocence,” “ Ophelia,” “A Duchess,” “A Morning in the Country,” “A Good Letter,” etc. At a sale in Brussels, in 1874, “The New Year’s Gift” sold for £840. Among his later works are “ The Bath ” and “ The Japanese Woman.” At the Latham sale. New York, 1878, “ Springtime of Life ” (49 by 19) sold for $ 1,050. “We have been able to follow this painter (who has grown in France, and who belongs to two schools) since his debut. With pleasure we have seen him .abandon, little by little, his first manner, in which solidity degenerated into heaviness, in which the strong tones too nearly .approached black. Stevens has been transformed under our eyes, and, while remaining earnest, he has become one of the best of the painters of modern elegan- ces In ‘La dame rose,’ in ‘Une bonne lettre,’ the faces of the charming little women painted by Stevens are veiled by an obscure tint, which threatens, by the action of time, to become darker. To tell the truth, it is the only fault which troubles us in these pictures, so well done, so charming to see, and which, taking in the daily realities of modern life, will always tell of its costumes, furniture, and elegances.’’ — Paul Mantz, Gazette, des Beaux-Arts, July, 1S67. Stever, Gustav Curt. (Russian.) Born at Riga (1823-1877). Honorary Cross of the Order of the House of Mecklenburg. Studied at the Academy of Berlin. In 1850 he went to Stockholm to paint portraits and execute other commissions. In 1854 he went to Paris and studied under Couture. Among his works are, “ The Death of Gottschalk, King of the Wendens,” “ King David and Abishag, the Shunamite,” “ The Angel of Prayer,” “ The Last Supper,” and “ The Transfiguration.” In 1859 he settled at Hamburg, where he was much employed. In 1865 he removed to Diisseldorf, and tliere painted more religious pictures as well as genre subjects, such as “ Vandyck at his Easel,” “ Jean Mabuse painting his Dead Child,” etc. He was a suc- cessful instructor, and executed some excellent portraits. His picture 12* K 274 ARTISTS OF THE NINETEENTH CENTURY. of “Master Adam van Noort surprising his Pupil Rubens at his Secret Studies” attracted much attention at the Exposition at Berlin in 1871. Stocks, Lumb, R. A. {Brit.) Bom in 1812. He began his ca- reer as a line-engraver when about twenty-one years of age, furnish- ing illustrations for fine editions of English books ; and, later, plates of a larger and more important character, such as Webster’s “ Dame School,” Patou’s “ Olivia and Viola,” Maclise’s “ Fitting Mo.ses for the Fair” and the “ Meeting of Wellington and Blucher on the Field of Waterloo,” Wilkie’s “Gentle Shepherd,” T. Faed’s “Silken Gown,” Mulready’s “ Fight Interrupted,” Horsley’s “ Deserted,” E. if. Ward’s “ Marie Antoinette in Prison ” and “ Charlotte Corday in the Concier- gerie.” He was elected an Associate Engraver of the Royal Academy in 1853, and Academician in 1872. Stone, Frank, A. R. A. {Brit.) Bom in Manche-ster (1800- 1859). He had no instruction in art, and did not adopt it as a pro- fession until 1825, devoting himself in the beginning of his career to water-color drawing. He joined the Old Water-Color Society in Lon- don in 1832, remaining a member about fifteen years. His first pic- ture appeared on the walls of the Royal Academy in 1837. In 1840 he exhibited “ The Legend of Montrose,” his first important work in oil, followed by the “ Stolen Interview between Prince Charles and the Infanta of Spain,” in 1841 ; “The Last App^l,” in 1843 ; “ The Course of True Love,” in 1844 ; “Ophelia and the Queen,” in 1845 ; “The Impending Mate ” and “ Mated,” in 1847; “ The GardeneFs Daughter,” in 1850; “A Scene from the Merchant of Venice,” in 1851, when he was elected Associate of the Royal Academy ; “ The Old Old Story,” in 1854 ; “ Bon jour, messieui’s,” in 1857 ; and the “ Missing Boat,” in 1858 : many of which have been engraved. “ Frank Stone was one of the most graceful of English gtnrt painters. His subjects are commonly of a sentimental character, and distinguished for their delicate allusions to the ‘gentle passion,’ and his young women certainly seem very lovable persons. In later years he tunied his attention much to French subjects, illustrating local manners and customs." — Worsum's Epochs of Painting. Stone, Horatio. {Am.) (1810-1875.) He was a native of New England, and a practicing physician in New York for some time. He went to Washington about 1848, devoting, after that period, his entire attention to sculpture, executing several statues and busts of public men, — Chief Justice Taney, Thomas Jefferson, John Hancock (in the Senate Chamber), Thomas Benton, and others. About 1856 he made his first visit to Italy, remaining several years. “ Dr. Stone w.as very entliusiastic in his nature, and had he given his attention earlier to the study of art, under a competent master, he might have achieved lasting fame." — Art Journal. November, 1875. Stone, William Oliver, N. A. {Am.) Bom at Derby, CL (1830-1875). Studied art in New Haven, and painted portraits there, as a young man, with considerable success. He settled in New ARTISTS OF THE NINETEENTH CENTURY. 275 York about 1858, and was made a member of the Academy of Design in 1859, exhibiting annually until the year of his death. As a por- trait-painter he was very popular, and among his sitters have been Howell L. Williams (in the Union Club, New York), Daniel Le Roy, Mrs. Hoey, James Gordon Bennett, and others. “ Mr. Stone was an admirable painter of women and children, and some of his pictures of this class have never been equaled in America In his handling of these sub- jects he threw around them an expression of ideality which was artistic in the liighest degree, and raised his art far above the level usually attained in portrait pictures. He was a prolific painter, and one year sent nine pictures to the Academy.” — Art Journal, November, 1875. Stone, Marcus, A. R. A. {Brit.) Son of Frank Stone, A. R. A., an artist of much repute. Marcus Stone was born in London in 1840. He worked in his father’s studio, inheriting some of his father’s genius, but receiving little instruction in art. He exhibited his first picture, “Rest,” at the Royal Academy in 1858. In 1859 he sent “Silent Pleadings”; in 1860, “The Sword of the Lord and Gideon in 1861, “ Claude accuses Hero ” ; in 1862, “ The Painter’s First Work” ; in 1863, “ On the Road from Waterloo to Paris” (a picture containing a portrait of Bonaparte, which attracted some at- tention). In 1864 he exhibited “Working and Shirking” ; in 1865, “ Old Letters ” ; in 1866, “ Stealing ” and “ Nell Gwynn” ; in 1868, “ The Interrupted Duel” ; in 1870, “ Henry VIII. and Anne Boleyn observed by Queen Katherine” ; in 1871, “The Royal Nursery in 1838” ; in 1872, “ Edward II. and Piers Gaveston” ; in 1874, “ My Lady is a Widow and Childless ” ; in 1875, “ Sain et Sauf ” ; in 1876, “ Rejected ” ; in 1877 (when he was elected an Associate of the Royal Academy), “The Sacrifice” and “Waiting at the Gate ” ; in 1878, “ The Post-Boy” and “ The Time of Roses.” His “Childless Widow” was at Philadelphia in 1876, and at Paris in 1878. “This picture [‘Claude accuses Hero,’ B. A., 1861], instead of looking like the work of a very young man, has rather the appearance of being painted with a decision and breadth of touch bespeaking one who has painted on from vigorous style into facile manner. The ripe facility of pencil is at least equaled by adroit dexterity of grouping and disposition of color, so that, as a whole, this is a most winning and attractive pic- ture.” — Art Journal, June, 1861. “ Marcus Stone stands at the head of his craft as a skillful designer and admirable painter of pieces of historic genre." — Art Journal, April, 1877. Stone, J. M. (^m.) Born in Dana, Mass., 1841. He received his art education in Munich, under Professor Seitz and Professor Lindenschmidt. He has spent his professional life in Boston, where he is an instructor in the School of the Museum of Fine Arts. He was elected a member of the Boston Art Club in 1876, exhibiting there his “ Tuning of the Violin,” the same year, considered his most important work. Among his portraits are those of Frank Dengler the sculptor, belonging to F. X. Dengler, Covington, Ky., and of F. W. Tilton of Newport, painted for Phillips Academy at Andover. 276 ARTISTS OF THE NINETEENTH CENTURY. “ The portrait of Mr. Tilton is not only an admirable likeness, but the best portrait Mr. Stone has yet done, and ought to rank him among the first portrait-painters of Boston. The artist’s thorough knowledge of drawing is shown in the certainty of the lines and the firm, vigorous modeling. The execution manifests both strength and nice perception ; not a feature is neglected or slurred over, and, at the same time, there is no suggestion of higgling The expression and pose are finely conceived, having that quality which in portraiture is most difficult to catch, — action. This is partic- ularly evident in the rendering of the eyes, which are not set or fixed in gaze, which have a peculiarly animated and, at the same time, contemplative glance, — a striking something which may be expressed in the word ‘intelligence.’” — Boston Advertiser, June, 1S7S. Storelli, Felix-Marie-Ferdinand. (Ital.) Born at Turin (1778- 1854). Medal at Paris. This landscape-painter e.xhibited works at Paris many times. Some of them were at the palace of Saint-Cloud ; others are at the Trianon ; and his portrait of Marshal Schomberg is at Versailles. Storey, George Adolphus, A. R. A. (Brit.') Bom in London, 1834. Displayed a love of art as a child, and won a prize at school for painting in oil when not more than twelve years of age. Between 1848 and ’50 he studied mathematics in Paris, painting in the Louvre in his leisure moments. Later, he studied art in London, entering the Royal Academy in 1854. In 1852, however, he had sent to the Royal Academy his first picture, “ A Family Portrait ” ; in 1853, “ Madonna and Child” ; in 1854, “Holy Family,” which attracted considerable attention. He visited Spain for the purpose of painting and study in 1863. Among his earlier works are, “ Sacred Music,” “ The Widowed Bride” (1858), “The Bride’s Burial,” and “The Annunciation.” His “ Meeting of William Seymour and Lady Arabella Stuart in 1609 ” (which first brought him prominently into public notice) was exhib- ited in 1864. In 1865 he sent “ The Royal Challenge ” ; in 1867, “ After You ! ”; in 1868, “ The Shy Pupil ” and “ Saying Grace in 1869, “Going to School” and “The Old Soldier” ; in 1870, “The Duet ” and “ Only a Rabbit ” ; in 1871, “ Ro.sy Cheeks ” and “ Lessons in 1872, “Little Buttercups ” and “ The Course of True Love ” ; in 1878, “ Love in a Maze ” and “ Mistress Dorothy ” ; in 1874, “ Grand- ma’s Christmas Visitors ” ; in 1875, “ Caught ” and “ The Whip- hand ” ; in 1876 (when he was elected Associate of the Academy), “ A Dancing- Lesson ” and “ My Lady Belle ” ; in 1877, “ The Old Pump-Room at Bath,” “ The Judgment of Paris,” and “ Christmas Eve ” ; in 1878, “ Sweet Margery.” He sent to the Paris E.xposition of 1878, “Scandal” and “The Old Soldier.” “George A. Storey has still to aequire more finish, delicacy, and completeness of exe- cution to fit his pleasant class of subjects ; and he will then fill a place of his own in which he will not find many competitors Mr. Storey, too, may for the moment almost claim a monopoly of pretty, playful vnndcvillc. His portraits of children and girls are particul.arly ple.asing .and Inappy in arrangement” — Tom T.vylor, in English Artists of the Present Day. “ Among the yotinger men of our living school of painters we cannot point to a more conscientions worker than Mr, Storey. His principal characters are, as they should be. ARTISTS OF THE NINETEENTH CENTURY. 277 his chief study, hut the accessories are not neglected His canvases are never overloaded, and on the other hand they are never wanting in suhject-matter of more or less interest. The domestic life of a past generation affords him an ample field for the display of many of the best qualities one desires to see in a picture.” — Art Journal, June, 1S75. Story, William W. (Am.) Born at Salem, Mass., 1819. Grad- uated at Harvard College, 1844. Studied law, and published several law treatises considered valuable in that profession. He published a volume of Poems in 1847, a Life of his father. Judge Story, in 1851, and a second volume of Poems in 1856. Adopting sculpture as a profession, he went to Rome, one of his earliest works being a statue of his father, now at Mount Auburn Cemetery, in Cambridge, Mass. His “ Cleopatra ” (bought by John T. Johnston), and his “ Sibyl,” ex- hibited at the London International Exhibition of 1862, were highly praised by critics and connoisseurs. Among his works are, “ Saul,” “ Sappho,” “ Delilah,” “ Moses,” “Judith,” “ Infant Bacchus,” “ Little Red Riding-Hood,” and “ Jerusalem in her Desolation ” (presented by the purchasers of it to the Academy of Arts in Philadelphia). His “Medea” was at the Philadelphia Centennial Exhibition in 1876. He is the author of the statues of George Peabody, in London, and of Edward Everett, in the Public Garden at Boston, both in bronze. At present (1878) he is engaged on a National Monument to be placed in Independence Square, Philadelphia. “ ‘Jerusalem in her Desolation ’ is tlie title given by W. W. Story to a colossal statue [exhibited in London in 1873]. It is a noble female, figure clad in flowing drapery ; tlie head, crowned with a kind of phylactery, is fineiy modeled, the Hebrew face having an expression of mingled distress and contempt The generai impression of the design is that of majestic sorrow, and the execution of the work throughout is most care- ful." — AH Journal, August, 1873. " The two conceptions, ‘ Cleopatra ’ and the ‘ Libyan Sibyl,’ have placed Mr. Storj' in European estim.ation at the head of American scuiptors Profiting by the knowl- edge of the old masters, and forming his tastes upon the best styies. Story has had the independence to seek out an unused field. In this he confers honor on our school, and gives it an impetus as new as it is refresliing.” — Jarvf.s, Art him. “ In a word, all Cleopatra — fierce, voluptuous, passionate, tender, wicked, terrilile, and full of poisonous and rapturous enchantment — was kneaded into what, only a week or two before, had been a lump of wet clay from the Tiber. Soon apotheosized in an inde- structible material, she would be one of the images that men keep forever, finding a heat in tliem that does not cool down through the centuries.” — Hawthorne, in The Marble Faun, Story, George H., A. N. A. (Am.) Born in New Haven, Ct., 1835. He began his art studies, at the age of fifteen, under Professor Bail of New Haven ; later, spending two years in the studio of Charles Hine, a portrait-painter, in that city. Going to the Continent of Europe, he passed a year in general observation and study. He then resided two years in Portland, Me., gaining, in 1858, the State Medal of Maine for the best oil-painting. He painted for two years in Washington, D. C., passed a year in Cuba, and for some time has been a resident of New York. In 1875 he was elected an Associate 278 ARTISTS OF THE NINETEENTH CENTURY. of the National Academy, and is a member of the Artists’ Fund So- ciety. His pictures are exliibited frequently in New York and else- where. Among the better known of them are, “ The Testy Old Squire’s Complaint” (the property of Charles Rogers), “The Young Mother” (owned by J. F. Nash, Yonkers), “The Student of Nature” (owned by E. B. Warren, Philadelphia), “The Young Student” (owned by David Grosbeck, Suffern, N. Y.), a full-length life-sized portrait of H. J. Kimball, a portrait of Whitelaw Reid (belonging to the Lotus Club), “The Winter School,” “ Uncle Peter in his Castle,” “The Return of the Forager,” “Freeing the Butterfly,” “Praj^er,” “ A New England Professor of Psalmody,” “ Making his Mark,” “ The Clock-Tinkers,” a large portrait group of the Governor of Yilla- Clara, in his gallery at Madrid, Spain, and others. His “Young Mother,” “Echoes of the Sea,” and “The Young Student” were at the Centennial Exhibition of Philadelphia in 1876. “ No artist in tliis countrj- has made such a decided advance in his profession daring the last five years as George H. Story ; and he invests his works with so much refine- ment of feeling that they at once arrest attention in whatever position they may be placed.” — Art Journal, May, 1875. Strazza, Griovanni. (Ital.) Born at Milan (1818 - 1875). Pro- fessor in the Academy of the Brera. He received many medals. When but twenty years old he had modeled, in Rome, his statue of “ Ish- mael,” which won him much fame. His works are seen in many cities. His bust of Manzoni was greatly admired at Yienna in 1873. One of his last works was the statue of Donizetti placed in the atrium of the Theater of the Scala at Milan in 1874. Street, George Edmund, R. A. (Brit.) Born in Essex, 1824. He studied architecture for some years under Sir George G. Scott. In 1866 he was elected an Associate of the Royal Academy, Academi- cian in 1871, and Auditor in 1873. He has designed many important buildings throughout Great Britain, particularly turning his attention to country-houses and church edifices. He was instrumental in the restoration of Bristol Cathedral and Christ Church Cathedral, Dublin, among others, and was appointed Architect to the new Courts of Jus- tice, London. Stroebel, J. A. B. (Dutch.) Of The Hague. Medal at Philadel- phia, where he exhibited “ The Deacons of the Silversmiths’ Guild conferring a Certificate,” of which John F. Y eir says, “while tending towards the conventional it is nevertheless admirable in many estima- ble qualities, broad and simple in treatment, and pure in tone.” Stroobant, Francois. (Belgian.) Born at Brussels, 1819. Chev- alier of the Order of Leopold. Medal at Paris, 1855. Pupil of Lau- ters. An artist of good reputation as a landscape-painter. He used water-colors and pastels, and made numerous lithographs. Sturm, Friedrich Ludwig Christian. (Ger.) Born at Rostock, 1834. Medal at London. Pupil of Berlin Academy under Eschky; later, ARTISTS OF TEE NINETEENTH CENTURY. 279 under Professor Gude, at Carlsruhe, he finished his studies. Traveled in the North of Europe and Italy. At the National Gallery, Berlin, are bis pictures of the “ Baltic Sea ” and the “ Mediterranean Sea.” Sully, Thomas. (Am.) Born in England (1783 - 1872). ■ Taken to America at the age of nine years, he studied art in Charleston, S. C., where he began the practice of his profession as a portrait- painter. He lived for some time in Richmond, Va., and in New York, settling finally in Philadelphia. He made several visits to Europe ; in 1838 painting fromlife a portrait of Queen Victoria, now in the pos- session of the St. George’s Society of Philadelphia. Among his por- traits are those of Lafayette, in Independence Hall ; Fanny Kemble ; Charles Kemble ; George Frederick Cooke, and others, in the Acad- emy of Fine Arts, Philadelphia. His portrait of Jefferson belongs to the Military Academy at West Point ; that of Commodore Decatur (at Philadelphia Exhibition in 1876) is in the City Hall, New York ; those of Reverdy Johnson and Charles Carroll are in Baltimore. His “ Washington crossing the Delaware ” (so familiar in America by the engraving) is in the Boston Museum. In the gallery of !M, 0. Rob- erts are his “ Woman at the Well ” and “ A Girl offering Flowers at a Shrine.” “Sally’s organization fits him to sympathize with the fair and lovely rather than the grand or comic. He is keenly alive to the more refined phases of life and nature. Hi.s pencil follows with instinctive truth the primdples of genuine taste. His forte is the graceful. Whatever faults the critics may detect in his works they are never those of awkwardness or constraint. He exhibits the freedom of touch and the airiness of out- line which belong to spontaneous emanations The series of illustrations that Sully commenced are happily, but not forcibly conceived. Portia is fair and dignified, but not sufficiently vigorous. Is.abella is as chaste and nun-like as Shakspere made her, but her dormant and high enthusiasm docs not enough appear; Miranda, a character better ale tastes.” — hew York Home Journal, January 3, 1872. Thompson, Launt, IT. A. {Brit.- Am.) Born in Ireland, 1833. Ee- nio^ed to America in 1847. Settled in Albany, N. Y. Entered the office of a professor of anatomy in that city, and subsequently became a student of the medical college. He early displayed a talent for draw- ing, occupying his leisure hours with his pencil. He abandoned medicine to become a pupil of the sculptor Palmer, and worked in his studio in Albany for nine years. In 1858 he moved to New York, was made an Associate of the National Academy in 1861, and Academician in 1862. In 1875 he took a studio in Florence, where he still remains (1878). Among his works are portrait busts of Wil- liam C. Bryant (for Central Park), of James Gordon Bennett, Eobert B. Minturn, Captain Charles Marshall, Edwin Booth as “ Hamlet,” Professor Morse, Dr. Tyng (1870), Parke Godwin, and C. L. Elliott, N. A. (1871). Among his ideal works are, “Elaine,” “The Trap- per,” “ Morning Glory,” and “ Lily Maid.” His statue of Napoleon (bronze) and a bust of a “ Eocky Mountain Trapper ” were at the Paris Exposition of 1867. Thompson. A. Wordsworth, N. A. (Am.) Born in Baltimore, 1840. In 1861 he went to Paris, and began the study of art under Charles Gleyre in 1862, and, later, was, for a time, a pupil of Emile Lanibinet. In 1864 he entered the studio of Albert Pasini, working there one year. His first publicly exhibited picture, “ Moorlands of Au-Fargi,” was at the Paris Salon of 1865. In 1868 he settled in New York, since then his home, with the exception of occasional visits to Paris. In 1873 he sent to the National Academy “ Desola- tion,” upon the strength of which he was made an Associate of that institution ; he was elected Academician in 1875. In 1878 he joined the Society of American Artists, sending to their first exhibition, the same year, “ The Eoad to the Saw- Mill.” Among the better known of Wordsworth Thompson’s works are, “ The Port of Menazzio, Lake Como ” (owned by William H. Davis of New York), “ Desolation ” (now in Buffalo), “ Steamboat-Landing at Menenazzio ” (owned by Mr. Fairbanks of St. Johnsbury, Vt ), “ Virginia in the Olden Times” 292 ARTISTS OF THE NINETEENTH CENTURY. (belonging to D. H. McAlpine, N. Y.), “ The Vesper Hour ” (to ‘Wil- liam Brookfield, N. Y.), “Annapolis in 1776 ” (to the Academy of Fine Arts in Buffalo, N. Y.), “ Traveling in Corsica ” (to Isaac S. Platt). To the Exhibitions of the National Academy he has been a regular contributor for some years, sending, in 1869, “ View of Mount Etna” ; in 1870, “ PLeminiscence of the Potomac ” ; in 1871, “ Even- ing on the Moor” ; in 1874, “ A Picnic on the Rocks, Lake George” ; in 1875, “Gathering Apples”; in 1876, “A Midsummer’s Day on Long Island”; in 1877, “ Pursuit of Knowledge mider Difficulties ” and “By the Sea, Mentone”; and, in 1878, “ A Review at Phila- delphia in 1777.” He sent several works to Philadelphia in 1876, and “ The School-House on the Hill ” to the Paris Exposition of 1878. “ Mr. Thompson has caught the sorrowful sentiment of the scene [‘ Desolation and embodied ali its poetry and romance. Apart from its merits as a work of art, the pic- ture will be valuable as an historical souvenir, for donluless the ruins of St. Cloud will before long be cleared away, and there is no iirobability of the palace being rebuilt. We learned afterwards, as we guessed from his work, that Mr. Thompson, starting with a genuine vocation for art, Imd studied it with rare fidelity, had passed years in the ate- liers of the best artists of Paris, had devoted his days and nights to careful drawing of the human figure, from the marble and from life, that in pursuit of the picturesque he had made the tour of Europe on foot, etc., and also that he devoted fully as much time to American sceneiy, making not merely drawings, but elaborate pictures in the fields.” . — Boston Daily Globe, May 7. 1873. “ A. W. Thompson exliibited ‘ On the Sands, East Hampton ’ and ‘ Virginia in the Olden Times,’ both works showing marked evidence of discipline and carefnl study. There is a tendency towards the adoption of the French manner in this artist’s work, which shows whence he derived this discipline. It is a question whether a better man- ner may not be derived directly from nature without the inten>osition of another's method of viewing things.” — Prof. Weir’s Official Report of the American Centennial Exhibition o/lS76. Thompson, Elizabeth (Mrs. Butler). (Brit.) Born about 1844. As a child she evinced a decided taste for drawing soldiers and horses. Entered the South Kensington schools ; painted for some years as an amateur, and did not exhibit in public until 1873, when she sent to the Royal Academy “ blissing,” a picture which attracted great at- tention. In 1874 she exhibited her famous “Roll-Call” (purchased by the Queen), which achieved a popularity for itself and for its painter almost without precedent in the history of art in England. Her picture of “ The 28th Regiment at Quatre-Bras ” was at the Royal Academy, 1875, since which she has exhibited at private galleries, “ Balaklava,” in 1876, and “ The Return from Inkerman ” (purchased for £3,000 by the Fine Art Society in 1877). Her latest work (stiR on the easel) is “ ’Listed for the Connaught Rangers.” Among her other works is “ The Magnificat,” a religious picture painted in 1869. In water-colors Jliss Thompson has painted “ On Duty,” a trooper of the Scot’s Grays (1875); “Scot’s Grays Advancing,” “ Cavalry at a Gallop,” “Sketches in Tuscany ” (1877). etc. “ The Return from Inkerman ” was at the Paris E.xpo.sition of 1873. AR7VSTS OF THE NINETEENTH CENTURY. 293 “ I never approached a picture with more iniquitous prejudice against it tlian I did Miss Thompson’s [‘ Quatre-Bras ’], partly because 1 have always said that no woman could jiaint, and secondly because I thought what the public made such a fuss about mast be good for nothing. But it is Amazon’s work this, no doubt of it, and the first tine pre-Raphaelite picture of battle we have had ; profoundly interesting, and showing all manner of illustrative and realistic faculty But actually here, what I suppose few j-ieople would think of looking at, the sky is most ter.derly ]iainted, and with the truest outline of cloud of all in the Exliibition; and the terrific piece of gallant wrath and ruin on the extreme left, when the cuirassier is catching round the neck of his horse as he falls, and the convulsed fallen horse, seen through the smoke below, is wrought through all the truth of its frantic passion, with gradations of color and shade which I have not seen the like of since Turner’s death. ” — Buskin’s Notes of the Academy, 1875. “ ‘ Inkermau ’ is simply a marvelous production when considered as the work of a young woman who was never on the field of battle No matter how many figures she brings into the scene, or how few, you may notice character in each figure ; each is a supreme study.” — Art Journal, August, 1877. It would be natural for some errors to appear in them [‘Boll-CaU,’ ‘Quatre-Bras,’ and ‘ Balaklava ’]; the wonder is, considering the circumstances, that they are so few. As works of art we should say that they display real pathos and dramatic power in jiarts, often with effective drawing of the horses. But the power is too scattered, the composition lacks simplicity, breadth, concentration. 'While isolated groups are very well conceived, and would appear well as separate paintings or episodes, they do not sufficiently harmonize to form the unity of one great composition. Tlie coloring is also sometimes very good, and then again is impaired by crude unnatural yellows or other tints out of tone with the rest. Miss Thompson’s genius seems to be lyrical rather than epic.” — Benjamin’s Contemporary Art in Europe. Thompson, Albert. (Am.) Bom at Woburn, Mass., 1853. He received bis early art education in Boston. In 1872 he spent six months in European travel, going abroad again in 1874, with J. F. Cole and E. L. Weeks, when he visited Great Britain, France, and Italy, and studied in the continental galleries. In 1873 he became a pupil of W. E. Norton. He paints landscapes and figures, exhibiting at the Boston Art Club and other galleries. He is the author of a work entitled “Elementary Perspective,” published in 1878. ” Mr. Albert Thompson has a number of truly fine pictures in this collection. In an ‘ .\pple-Orchard, — Summer,’ are purity of atmosphere and fine contrasts of color. His ‘ Cattle on a Hillside ’ is a sweet composition, and Mr. Thompson’s knowledge of the anatomy is here conspicuous His ‘ Landscape and Cattle,’ ‘ Summer Afternoon,’ and ‘ Lake Winnipiseogee from Wolfborough,’ all attest Mr. Thompson’s power in selec- tion of subject, and nice gray qualities, as well as for tone and quality of rich color.” — Boston Transcript. “ At Noyes and Blakeslee’s gallery a number of Albert Thompson’s paintings are now on exhibition. One is a very life-like study of an Italian boy, two or three are jiic- turesque scenes in Nonnandy, and among the smaller pictures is a wood interior and a bit of pasture-land, with lowering clouds above, that will attract especial notice. The cattle which Mr. Thompson so freely introduces into his landscapes are excellently drawn, and, like J. Foxcroft Cole, he knows just where to place them. All of the pic- tures are fresh in tone, broad in treatment, and, while representing a variety of subjects, show at the same time a marked individuality.” — Boston Advertiser. Thorburn, Robert, A. R. A. (Brit.) Born in Dumfries, 1818. Entered the Drawing Academy of the Royal Institution, Edinburgh, in 1833, and the Royal Academy, London, in 1836. He first exhib- 294 ARTISTS OF THE NINETEENTH CENTURY. ited at the Royal Academy in 1837. Until the introduction of pho- tography he devoted himself to the painting of miniatures, in which he met with decided success. Among his sitters were the Queen and several of her children, the Prince Consort, and other distinguished jieople. He was admitted to the Academy as an Associate in 1848, and received a first-class gold medal at the Paris Exposition of 1855. In later years he has painted life-size portraits in crayon and oil, and ideal figure-pictures, exhibiting at the Royal Academy, in 1864, “Where shall I take Refuge?”; in 1865, “Asleep ” and “On the Esk”; in 1866, “The Orphans’’; in 1867, “Scotch Stream”; in 1868, “Forecasting” ; in 1869, “Undine” and “Country Life”; in 1870, “John the Baptist” and “Catherine of Aragon”; in 1871, “Summer” and “The Concealment of Moses”; in 1872, “The Widow’s Stay ” ; in 1873, “ Rebecca at the Well ” ; in 1874, “ In the Meadow ” and “On the Hillside” ; in 1875, “ On the West Coast of Scotland” ; in 1876, “Christian descending the Hill Difficulty”; in 1878, “ The Slough of Despond ” and “ Out in the Cold.” “ Thomburn’s miniatures combine truth and spirit with graceful grouping and deli- cacy of execution.” — Mbs. Tytleb's Modem Painters. Thorndike, G. Quincy. (Am.) Bom in Boston, about 1825. Graduated at Harvard University in 1847, when he visited Europe, studying for some time in Paris. Returning to America, he settled in Newport, R. I., devoting himself to landscapes and marine views. Among the better known of his pictures are, “ The Wayside Inn,” “ Swans in the Central Park,” “ The Lily Pond,” “ The Dumplings, Newport,” and “ View near Stockbridge, Mass.’’ “ Thorndike is so thoroughly French in style and motive that his pictures require naturalization before being popularly welcomed at home.” — Jarves, Art Idea. Thornycroft, Mary. (Brit.) Born in 1814. Daughter of John Francis the sculptor, whose pupil she was. She etnnced decided taste for art as a young girl, modeling busts and ideal subjects, and ex- hibiting at the Royal Academy at an early age. Her first important work was a life-sized figure, entitled “ The Flower-Girl,’’ which at- tracted some attention. In 1840 she married T. Thornycroft, one of her father’s pupils, and with her husband went to Rome in 1842, spending a year in that city at work and in study. A few j’ears later she was commissioned by the Queen to execute statues of the children of the Royal Family, which were designed in character, as the “ Four Seasons,” were exhibited at the Royal Academy, and were much praised. To the Paris Exposition of 1855 she conti’ibuted, “ A Girl Skipping.” In 1861 she e.xhibited, at the Royal Academy, “ Princess Beatrice ” (belonging to the Queen) ; in 1863, “ The Princess of W.ales” and “ Princess Louis of Hesse ” ; in 1869, “ A Young Cricketer ’’ ; in 1871, “ The Princess Louise”; in 1872, “ Melpomene ” ; in 1875, “Princess Christian” ; in 1877, “ The Duchess of Edinburgh.” ARTISTS OF THE NINETEENTH CENTURY. 295 “ Sculpture has at no time numhered many successful followers among women. t\'e have, however, in Mrs. Thornyci-oft, one such artist, wlin, by some recent advance and by the degrees of success which she has already reached, promises fairly for the art. Some of this lady’s busts have refinement and feeling.” — Palgrave's Essays on Art, 1863. Thornycroft, Thomas. (Brit.) A contemporary English sculp- tor. He was a pupil of .John Francis. Among his works are, “ James I.” and “ Charles I.” (in marble), iii the Eoyal Gallery of the palace of Westminster, “The Prince Consort,” “ Meljiomene,” “Thalia,” “Clio,” etc. (in bronze), and many portrait busts and statues. Thornycroft, Hamo (sculptor) and Helen and Theresa Thorny- croft (painters), children of the two preceding artists, have inherited the family tastes and talents for art. They all exhibit their works at the Royal Academy, London. Tidemand, Adolphe. {Norwegian) Born at Mandal (1814- 1876). Chevalier of the Orders of Saint Olaf and the Legion of Honor. Court painter in Norway. Member of the Academies of Berlin, Amsterdam, Copenhagen, and Stockholm. Studied fii’st at the Acad- emy of Copenhagen, then at that of Diisseldorf under Hildebrandt and Schadow. Tidemand decorated the chateau of Oscarshall, near Christiana. He painted landscapes and historic genre subjects. His most important work is “ The Baptism of Christ,” which is in a church in Christiana. Among his pictures may be mentioned, “ The Distribution of the Sacrament to the Aged and Infirm, according to the Lutheran Form,” “Single Combat in Ancient Times,” “ Village Funeral in Norway,” “ Farewell of Emigrants leaving for America,” and “ Young Man Preaching.” His picture of “ The Assembly of the Haugiens,” a very important work, is in the Diisseldorf Gallery ; it has been reproduced several times by the artist. Tidemand has vigor of conception, vivacity of expression, and the power of harmo- nizing his groups, and giving a characteristic expression to each face and figure. “ It was in studying the manners and the costumes of the peasants of his country and reproducing them on Ids canvas, that he made an original and merited reputation. Tidemand had not the. temperament of a colorist ; Imt his color, a little cold and dull, failed not to harmonize with his compositions, intelligently arranged, and frequently of a remarkable character. .... He was, above all, a painter of genre, or ratlier a painter of manners, and one of the more distinguished ; a conscientious and learned artist, with a talent severe and elevated.” — L'Art, 1876. “ The primeval strength of the Norwegian peasant ivould never have been so well known if tins artist had not represented it by academical idealization. His feeling, conception, and masterly individualization transfigure most of ins personages, even when they are not correct according to the accepted idea of beauty. His color is fresli, strong, and of great harmony ; his drawing broad and bold, but without pretension. Free from forced contrasts, his pictures have the simplicity of nature, and are distin- guished for careful and conscientious study, and a proper adaptation of parts." — Uiisere Zeit, October, 1876. Tidey, Arthur. {Brit.) Born in 1808. Brother of Henry Tidev. He was a fashionable painter of portraits in miniature, before the 296 ARTISTS OF THE NINETEENTH CENTURY. invention of photography, and still exhibits at the Eoyal Academy. He is a resident of London. Tidey, Henry. (Brit.) (1814-1872.) Received his first in- struction in art from his father, John Tidey, and began the practice of his profession as a painter of portraits in oil, having among his sitters members of the aristocracy and of the Royal Family, and ex- hibiting frequently at the Royal Academy. In the later years of his life, however, he devoted himself entirely to water-colors, and was made a member of the Institute in 1858, contributing to its gallery in the same year, “The Feast of Roses” (purchased by the Queen) ; in 1860 he painted “Queen Mab,” for which he received two medals ; in 1863, “Christ blessing Little Children” ; in 1864, “The Night of the Betrayal.” Among his later works are, “ Sardanapalus,” in 1870 ; “ Seaweeds,” in 1871 ; and “ Castles in the Air,” in 1872. Tieck, Christian Frederic. (Ger.) Born at Berlin (1776- 1851). Member of the Academy of Berlin, and Director of the division of Statues of the Museum of that city. Pupil of Schadow in Ger- many and of David in France. This sculptor traveled much, and re- mained a long time at Carrara, where he became the intimate friend of Rauch. Tieck was more successful in portrait busts than in em- bodying iipaginary conceptions. He had many sitters among people of mark. Among his busts may be mentioned those of the Emperor of Germany (in the Salle des Iitats at Berlin), the King of Bavaria, Schelling, Schinkel, Goethe, Lessing, etc. He assisted in the decora- tion of the new chateau at Weimar ; he was charged with the deco- ration of the new theater at Berlin ; the portal of the Cathedral, Berlin ; and the models of the Genii for the monument of Saalfeld and that of Kreuzberg. Tieck was very active in establishing a gal- lery of models from antique statues and monuments at the Museum of Berlin, and, together with Beuth, Schinkel, and Rauch, he exe- cuted a large number of these copies. Tiffany, Louis C., A. N. A. (Am.) Bom in the city of New York in 1848. Was a pupil of George Inness for some time, studtnng subsequently in Paris and under Leon Bailly. He has traveled ex- tensively in France, Africa. Spain, and other countries, painting many characteristic pictures of Eastern life. He was made a member of the Water-Color Society in 1870, an Associate of the National Academy in 1871, and Treasurer of the Society of American Artists in 1878. To the National Academy (in oil) he has sent “A Dock Scene, Yonkers,” in 1869 ; “Fruit-Vender, under the Sea-Wall at Na.ssau,” in 1870; “Hunter’s Dinner ” and “ Street Scene in Tangiers,” in 1872 ; “Market-Day outside the Wall, Tangiers,” in 1873 ; “Clouds on the Hudson,” in 1874 ; “ Ceramic Wares ” and a “ Study at Quimper, Brittany,” in 1877 ; “ A Laborious Rest ” and several street scenes, in 1878. To the Water-Color Exhibition in 1869 he contributed “Venice” ; in 1872, “Meditation” ; in 1874, “A Mer- ARTISTS OF THE NINETEENTH CENTURY. 297 chant of the East ” ; in. 1876, “A Shop in Switzerland”; in 1877, “ An Old Shop at Algiers ” and “ The Palace of the Pasha Ali Ben Haessein, at Algiers ” ; in 1878, “ The Cobblers of Boufarik.” To Philadelphia, in 1876, he contributed (in water-color), “-Old and New Mosques at Cairo,!’ “Lazy Life in the East,” and “A Street Scene in Cairo ” (belonging to George D. Morgan). To Paris in 1878 he sent, “Duane Street, New York” (in oil), and “ Market-Day, Morlaix ” and “ The Cobblers of Boufarik ” (in water-colors). His “ Life in the East,” a view of the old Sub-Treasury Building, Tangiers, in the Johnston Collection, is now in the possession of Mrs. John C. Green. His “ Citadel at Cairo ” belongs to Charles Storrs of Brooklyn ; his “ Old Second-Hand Shop at Geneva,” to Joseph Millbank ; his “New London Harbor” (water-color), to Samuel V. Wright. Tilton, John Rollin. (Am.) Born in Loudon, N. H., 1833. He has been a close student of the Venetian school of painting, especiall}" of Titian, but is a graduate of no art academy, and has studied under no master. His professional life has been spent in Italy, chiefly in Rome. Many of his landscapes are in the collections of the Marquis of Sligo, Sir William Drummond Stuart, Lord Am- berly. Lady Ashburton, and others in England. Marshall 0. Roberts of New York owns his “ Kent Ombres.” He exhibited at the Royal Academy, London, in 1873, “The Palace of Thebes,” etc. Mrs. A. Mitchell of Milwaukee owns an Egyptian view ; Martin Brimmer of Boston, “ Como” and “ Venice” ; Fletcher Adams of New York, “ Venetian Fishing- Boats.” He has exhibited at the Royal Academy, London, National Academy, New York, Boston Athenseum, etc. To the Centennial in Philadelphia, in 1876, he sent “ The Lagoons of Venice ” and “ Kem Ombres.” “ Of the American artists who have won fame for themselves by persevering industry. Mr. Tilton is a prominent example. He is the first American painter since Benjamin West who.se works have received special commendation from the President of the Royal Academy, who, as some of our readers will recollect, at the annual dinner last year, complimented Mr. Tilton, in the most flattering tenns, on the success of his picture of ‘ Kem Ombres,’ Upper Egypt, which was placed ‘on the line ’ at the last Exhibition.” — London Daily News, 1874. “ A long and loving observation of Nature in many climes and in all her moods has enabled this artist [John R. Tilton] to do by Nature as an experienced portrait-painter does by his sitters, to select each subject at its best, at the most favorable moment of the day, and of tlie year, and under the most favorable circumstances of light and atmosphere ; and the result is that this little view of Orvieto makes a singular contrast of tone to that of the ‘ Thebes.’ Tlie Valley of the Nile in the latter is at its greenest, and yet it is a very different greenery from that of the Valley of the Tiber. .... The solidity of the painting and at the same time tlie transparency of the work are truly remarkable in this little titbit of a landscape.”— T. Adolphus Trollope, London Standard, Febrnary .’i, 1874. “He [Mr. Tilton] was born on the other side of the Atlantic, but he has studied life and nature in all countries, and his paintings of Naples and Venice, of Greece and ®Sypt, are as well known in Italy, in England, and all over Europe, as they are in his own country He values his picture not so much as a masterpiece of landscape 13* 298 ARTISTS OF THE NINETEENTH CENTURY. painting, as it is, tut for the importance it will have in after times as a faithful histori- cal memorial of Rome as it was, and as, if he had his way, it should never cease to he. Few men have, by a quarter of a century of loving familiarity, made themselves more minutely acquainted, not only with every inch of its ground, and every stone of its buildings, but wliat is much more, witli every phase, shade, and nuance of its ever- changing, ever-charming atinospliere. There can be nothing more true, yet nothing more exquisitely got up, more genially idealized, than this long-meditated lucture of ‘ Rome from the Aventine.’ ” — Londmi Times, January 8, 1878. Timbal, Louis Charles. {Fr.) Bom at Paris, about 1822. Cheva- lier of the Legion of Honor. Painter and art-critic. Pupil of Droll- ing. He sent his first contribution to the Salons in 1847. He hits painted a variety of subjects, and some portraits, but the larger num- ber of his works are religious subjects. He has also decorated a chapel at St. Sulpice, and executed a “ Theology ” in the church of the Sarbonne. In the Luxembourg are his “ Muse and Poet ” (1866) and “ Christ’s Agony in the Garden ” (1867). Timbal contributes many articles to the “ Gazette des Beaux- Arts.” He is a man of for- tune, and art is his passion. He has a tine collection of Italian objects of art of the Middle Ages and of the Eenaissance. “ M. Timbal pretends not to occupy a considerable place in the contemporaneous school : he holds the rank assigned to ail artists who are mindful of the lessons of the past. His admiration for the great geniuses wliom lie has known and studied aids him in avowing liimself only an imitator of these giants : he is their victim : lie is resigned to Ills fate. His important compositions in the chapel of Sainte-Genevieve at Saint-Sulpice are tre-ated in the style of tlie beautiful Florentine frescos of the Brancacci chapel : the expressions are true, but the niovemeiits seem suppressed for the sake of a dignity which is not in the character of all the personages” — Georges Berger, Gazette des Beaux- Arts, Februarj', 1876. Tissot, James. {Fr.) Bom at Nantes. Medal in 1866. Pupil of H. Flandrin and L. Lamothe. This artist, French by birth and education, has now so long resided in England that he has become in effect a man of that country. His picture of the “ Meeting of Faust and Marguerite ” (1861) is in the Luxembourg. He exhibited at the Salon of 1870 (for the last time), “ A Young Girl in a Boat ” (belong- ing to Mr. IV. H. Stewart) and “ Partie Carree ” ; in 1869, “ A fVidow ” and “Young IVomen examining some Japanese Articles” ; in 1S6S, “A Breakfast” .and “The Retreat in the Garden of the Tuileries ” ; in 1867, “ A Young Woman singing with an Organ” and “Confi- dence ” ; in 1866, “A Young fVoman in Church ” and “ The Confes- sional” ; etc. At the Royal Academy E.xhibition, London, in 1876, he exhibited “ The Thames,” “ A Convalescent,” an etching of “ The Thames,” and another etching, “Quarreling” ; in 1875, “A Bunch of Lilacs ” and “ Hu.sh ” ; in 1874, “ London Yisitors,” “ Waiting,” and “ The Ball on Shipboard ” ; in 1873, “ The Captain’s Daughter,” “ The Last Evening,” and “Too Early”; in 1872, “ An Interesting Story” and “ Les adieux.” At the Walters Gallery, Baltimore, is a “ Marguerite,” by Tissot. “ Faust and Marguerite ” (a remarkably fine work of its kind) is in the collection of Mrs. H. E. Maynard of Boston. ARTISTS OF THE NINETEENTH CENTURY. 299 Tissot is the declared enemy of aerial pei-spective, and he lias sworn that by the force of talent and mind he will make us forget that there is an atmosphere which serves to unite the tones of color, to graduate them in their plane, and from tliem to bring out harmony. We will not stop befoi'e the large picture, which leaves us too much to desire in this direction, but we pass rather to tlie two delicious portraits of comedians. There Tissot, who had but one figure to paint, was obliged to renounce his monomania, and show himself that which he really is, a very skillful painter, and an artist full of spirit.” — Ren£ Menard, Gazette rles Bmux-Arts, June, 1869. “ Botli Alma Tadema and Tissot have wielded a large influence on contemi)orary Eng- lish art.” — Benjamin’s Conteniporarij Art in Europe. ‘‘The pictures of Tissot, Heilbuth, and Legros, hung side by side, suggest curious contrasts. The first sends five pictures, ‘ Spring ’ and ‘ July,’ full-length portraits in white, with knots of pale yellow riband, under skillfully managed rellected lights ; ‘ Cro- quet,’ a graceful figure of a stripling girl, dressed in black, in a garden ; ‘ Evening,’ the crush at the entrance to a West-end soiree, with a young lady in a daring ‘ arrangement,’ in which yellow predominates in head-gear, fan, and dress, all of the most pronounced fashion of modern millinery, a figure worthy of Worth ; and a ‘ Study,’ of which only a pretty simple head is finished. It is impossible to conceive artless unsophisticated, less in contact with nature, as far as its subject-matter goes, than Tissot’s. But it would be dif- ficult to find in any contemporary painter’s work more artistic thought and resource than have been lavished on these unsophisticated subjects. It is art brought to the doors aud laid at the feet of the mmide, if not sometimes of the demi-monde, with an almost cynical sincerity. Thus far it is French rather than English, alike in the ideas it suggests and the skili it shows.” — London Times, May 2, 1878. Tite, Sir William. (Brit.) (1802-1873.) He studied architec- ture under Laing, and was very prominent in liis profession. He fur- nished plans for many fine buildings in London and elsewhere in Great Britain, the best known, perhaps, being the Royal Exchange in the metropolis. In 1862 he was elected President of the Institute of British Architects, and was knighted by tbe Queen in 1869. He was a member of Parliament for upwards of twenty years. Tolies, Sophie Mapes. (Am.) Native of the city of New York. Began the studj’ of art in Philadelphia, in 1864, under P. F. Rother- nieL She was some time in the schools of the National Academy and of the Cooper Institute, New York, where she received two med- als. Spending two years in Paris, she was a pupil of E. Luminais, painting and copying in that city and in Italy. She first exhibited at the National Academy, in 1876, a portrait ; in 1877, she exhibited “ The Cottage Door,” and several flower-pieces ; in 1878, “ In Me- moriam.” Among her portraits is one of Linda Gilbert of Chicago. For several years she has been Vice-President of the Ladies’ Art As- sociation. Tompkins, Clementina M. G. (Am.) A native of Washington, D. C. She has lived for some time in Paris, studying in the National Schools of Design there, and under Bonnat. Her specialty is por- traits and figure-pieces. She exhibited at the Salon in Brussels in 1872, and has contributed regularly to the Paris Salons since 1873. To Philadelphia in 1876 she sent “The Little Musician,” for which she received a medal ; to the Paris Exposition of 1878, “ The Little Artist ” and “Rosa, la fileuse.” 300 ARTISTS OF THE NINETEENTH CENTURY. Topham, Francis William. {Brit.) Born in Leeds (1808- 1877). He began life as an engraver in bis native city, removing to London about 1830. Shortly after joining the Institute of Painters in Water- Colors, he devoted himself to painting Spanish, Welsh, and Irish peasant life with marked success. Leaving the Institute, he became an active member of the Society of Painters in Water-Colors, con- tributing, among other sketches, “ Irish Courtship,” “Welsh Cabin,” “ Spanish Gypsies,” “ Beading the Bible,” etc. Among his later works are, “ Preparing for the Fight ” and “ Waiting by the Stile,” exhibited in 1872 ; “The Bird’s-Nest ” and “ Listening to the Love- Letter,” in 1873 (sent to Philadelphia in 1876) ; “ Wayfarers ” and “A Welsh Stream,” in 1875; and after his death, in 1877, “Black- berry-Gatherers” and “Haymaking.” Two of his works, “Venetian Water-Carriers ” and “ The Eve of the Festa,” were at the Paris Ex- position of 1878. His death occurred in Spain. Topham, Francis W. W. (Brit.) Bom in London, 1838. Son of Francis W. Topham, from whom he received his first instruction in art, studying later at the schools of the Royal Academy. He has lived and painted in Italy and France, and is at present a resident of the suburbs of London. He exhibits frequently at the Royal Acad- emy, the Society of British Artists, etc. Among his more important works are, “ Relics of Pompeii,” “ The Fall of Rienzi, the last Ro- man Tribune,” “ Drawing for Military Service, Modern Italy ” (R. A., 1878), “Refugees from Pompeii,” etc. His “Fall of Rienzi ” was at the Philadelphia Exhibition of 1876. “The Winged Pensioners of Assisi,” at Paris, in 1878. The cloister of Assisi has been carefully and literaUy studied in all but what is singular or beautiful in it But there is more conscientious treatment of the rest of the building, and greater quietness of natural light, than in most picture backgrounds of these days [‘ The Sacking of Assisi by the Perugians in 1442 *]." — RcsKiy’s KoUs of the Academy, 1875. Torelli, Lot. (Ital.) Sculptor of Florence. At Philadelphia he exhibited “ Eva St. Clair ” (“ Uncle Tom’s Cabin”) and “A Good Housekeeper,” and received a medal. At the London Academy in 1876 he exhibited a statuette in terra-cotta, “ Fidelity,” and “The Love-Message.” Toudouze, Edouard. (Fr.) Born at Paris. Prix de Rome, 1871. Medals, 1876 and ’77. Pupil of Pils and A. Leloir. At the Salon of 1877 he exhibited “The Wife of Lot”; in 1876, “ Clytemnestra, — the Murder of Agamemnon”; in 1878, a portrait and “ The Beach at Yport.” Toulmouche, Auguste. (Fr.) Born at Nantes. Chevalier of the Legion of Honor. Pupil of GlejTe. The works of this artist are well known. They are usually interiors, with Parisian women of our day. He holds a high place among painters of these subjects. At the Salon of 1876 he exhibited “Flirtation” and “ Summer”; in 1874, ARTISTS OF THE NINETEENTH CENTURY. 301 “ The Serious Book ” (a very pleasing picture) and “ The Eesponse.” At the Latham sale, New York, 1878, “ Why don’t he come?” (26 hy 20) sold for $950. His “Waiting” belongs to IVlr. S. Hawk of New York. Tournemine, Charles Emile Vacher de. (Nr.) Born at Toulon (1814- 1872). Chevalier of the Legion of Honor. Pupil of Eugene Isabey. At the Luxembourg is his “ Elephants of Africa ” (1861). Many of his pictures are of hunting-scenes, others of land- scapes, and some illustrative of the customs of Eastern countries which he had visited. Trautmann, Karl Friedrich. {Ger.) Born at Breslau (1804- 1875). Studied at Berbn Academy. His small wood-scenes and groups of trees are very agreeable pictures. He was also a lithog- rapher. At the National Gallery, Berlin, is “The Oak Wood.” Trigt, H. A. Van. {Dutch.') Of Hilversum. Medal at Philadel- phia, where he exhibited “Norwegian Women bringing Children to be baptized.” This picture is specially commended by Mr. John F. W'eir in his report. Triqueti, Henri de. (FV.) Born at Conflans (1804-1874). This artist was a pupil of Hersent. He made his debut at the Salon of 1831 with four pictures, and to the same Salon he sent also a sculp- tured group of the “ Death of Charles le Temeraire,” the success of which decided him to devote himself to sculpture. This work and some others led Thiers, then Minister of the Interior, to give him the commission for the doors of the Madeleine. One of his most speaking works is the “ Besurrection of Lazarus,” made for the tomb of the only son of the artist, who was killed by an accident in 1861. Laza- rus has the face of the son. Triqueti received from Queen Victoria the order for the complete ornamentation of the chapel at Windsor, and the construction of the tomb of Prince Albert, which is there. Here he has employed both painting and sculpture. It is an immense w'ork, and any proper description of it would demand more space than we can here give. Triqueti was also a writer on art matters. Among his MTitings is a volume called “ Les Trois Musees de Londres.” Trotter, Newbold H. (Am.) A resident of Philadelphia. He devotes himself to pictures of animal life. His “ On the Hills ” and “Resting” were at the National Academy in 1874; his “Quiet Nook” and “California Valley Quail,” in 1875. To the Centennial Exhibition of 1876 he sent “ Wounded Buffalo pirrsued by Prairie Wolves.” [No response to circular.] “ Trotter’s ‘ They know not the Voice of the Stranger ’ [Phil Acad. 1S73] is a valu- able specimen of animai painting Hi.s ‘ Fading Race,’ a herd of buffalo speeding towards the setting sun, is poetical in conception, and both in matter and manner is much the best work the artist has produced in a long time." — Art Journal, June, 1877. Troyon, Constant. (Fr.) Born at Sevres (1810- 1865). Chev- 302 ARTISTS OF THE NINETEENTH CENTURY. alier of the Legion of Honor, and member of the Academy of Amster- dam. His parents wished him to he a painter of porcelain, but after a time spent in the manufactory at Sevres he studied under Riocreux, and became a painter of landscapes and animals. He was a hard worker, and determined to overcome the difficulties of his art. He cannot be positively called a literal painter, but he painted very little that was not apparent to an uneducated eye, and his representation of animals was the truth of nature, interpreted in a large sense and with freedom of touch. He seldom worked continuously on one sub- ject, but kept a large number of pictures in progress at the same time. He traveled mucli in his own country, and made a journey to Hol- land, in which country, as well as in Belgium and England, his works were much admired. After his death, in the Exposition of 1867, the following pictures were exhibited, “A Land.scape with Animals” (afterwards given to the Museum of the Luxembourg by the mother of Troyon), “ Scotch Dogs,” “ A Dog and a Partridge,” “ A White Cow in a Field,” and “ A Seashore.” Troyon first sent pictures to the Salon in 1833 ; he received medals in 1838, ’40, ’46, ’48, and ’55 ; he was decorated in 1849. Among his principal works are, “• The Ferry- Boat” ; “Oxen going to Work” (1853), for which the city of Bordeaux paid 4,000 francs in 1860 ; “ The Valley of the Toque in Normandy” (1853) ; views of Sevres, Saint-Cloud, Argenton, and the environs of Vannes, of The Hague, and of Amsterdam ; etc. ilany of his works have been engraved, such as “ The Bathers,” “ The Poacher,” “ The Watering-Place,” and some of the pictures men- tioned above, etc. At the Laurent-Richard sale, Paris, 1873, “ The Ford” sold for .£2,480 ; “A Shepherd and his Flock,” for £1,668 ; Cows,— Sunset,” for £1,082; “The Return of the Flock,” for £1,020. At the Johnston sale of pictures, in 1876, the “ Autumn Morning, — Landscape and Cattle” (28 by 42) was sold for $9,700, and a pastel, “ Roadside Cottage ” (12 by 15), brought $ 110. At the Norzy sale, Paris, 1860, “Cows in a Pasture, — Effect of a Storm” brought 3,000 francs. In Paris, in 1874, the “ Plaine de la Toque, Normandie,” sold for £ 1,840. *' He had, hoTverer, a more poetical mind than any other artist of the same class, and the poetry of the fields has never been more feelingly interpreted than by him. In the ‘ Oxen going to Work ’ we have a page of nistic description as good as anything in litera- ture, of fresh and misty morning air, of rough, illimitable land, of mighty oxen march- ing slowly to their toil ! Who that has seen these creatures work can be indifferent to the steadfast grandeur of their nature ? they have no petulance, no hurry, no nervous excitability : but they will bear the yoke upon their necks, and the thongs about their horns, and push forward without flinching from sunrise until dusk ! ’’ — Hamertos’s Contemporary French Painters. •• A mise en scene, picturesque, and often with a rare magnificence of effect : a color, sober, fine, distinguished, unfolding itself in sweet harmonies : a bold and origin.al mod- eling. a quick instinct for light, the magic of shaded or radiant horizons, —these are the attractive charms, the exceptionable qimlities, which assure this artist an eternal place among the masters of the genre." — Larousse, Dictionnaire U niverseJ. ARTISTS OF THE NINETEENTH CENTURY. 303 Triibner, Wilhelm. {Ger.) Born at Heidelberg, 1852. Pupil of the Academy of Munich, of Dietz, and, later, of the great portrait- painter, Canon, at Stuttgart. In the spring of 1878 this young artist exhibited at Munich a full-length portrait which excited immense interest, and he is now engaged upon several other portraits, which, it is said by other artists, will give him a great reputation. Trumbull, Gurdon. {Am.) Born at Stonington, Ct., 1841. Youngest son of Hon. Gurdon Trumbull. He studied art under F. S. Jewett of Hartford, Ct., and for a short time under James Hart of New York. His professional life has been spent in Hartford. Among the better knowui of his works are, “ A Moorish Watch-Tower, Coast of Spain ” and “ A Critical Moment,” a trout picture (both belonging to William C. Prime of New York). Hon. Charles M. Pond, Dr. E. K. Hunt of Hartford, Ct., and others, own his pictures of fish. His “ Plunge for Life ” and “ Over the Falls,” exhibited at Snedecor’s Gallery, New York, in 1874, have been chronioed, and are very pop- uliir. The “Critical Moment” was at the Centennial Exhibition at Philadelphia in 1876. “ Mr. Trumbull’s standing as an artist was long .since assured by works of tliis class [‘The Plunge for Life ’ and ‘ Over the Falls’]. His work is distinguished for a somewhat uncommon union of cliaracters, namely, accurate and finished detail joined to complete action and life in the. whole picture. Viewed at a distance, liis fisli are living and moving, full of reality, while, as tliey are approached and examined, even witli tlie aid of a glass, they are found to be minutely accurate in the rendering of even tlie texture of skin and tlie arrangement of scales.” — New York Sun, March 19, 1S74. “ Tlie two pictures represent a trout and a black bass. The trout has the hook, has made his mad rush, has snapped the frail tackle, and is ‘over the falls ’ with a plunge and a swirl, and you see him flash through the green water. .... This work shows the most astounding care, all those delicate, soft, pink points on the trout’s side imitate nature, and the wondrous delicate gossamer fins absolutely undulate. The bass is quite as surprising as a picture. It is not only as a work of art that it is admirable ; it has the merit of being a perfect ichthyological study.” — Forest and Stream, March 26, 1874. Tryon, Benjamin F. (Am.) Born in New York City, 1824. Pupil of Richard Bengough and James H. C^fferty. His subjects are landscapes, and bis works are in galleries in Boston (where he now resides) and other cities. He has exhibited at the Boston Art Club exhibitions, and at the Academy of Design in New York, since 1866. His “New England Scenery” was at the Mechanics’ Fair, Boston, 1878. Among his works are “River St. Lawrence near the Thousand Islands,” “ Early Autumn Afternoon,” “ Conway Valley and Moat Mountain,” “ A Quiet Nook,” etc. His “ View of San Miguel Falls, San Juan Mountains,” exhibited in Boston in November, 1878, excels his former work, and has been the means of attracting attention to this artist. rSchaggeny, Charles Philogfene. {Belgian.) Born at Brussels, 181 5. Chevalier of the Order of Leopold. Pupil of Eugene Verboeck- hoven. His pictures represent animals and landscapes. At the Latham sale. New York, 1878, “ Rest at a Blacksmith’s Shop ” (30 by 304 ARTISTS OF THE NINETEENTH CENTURY. 44) sold for $800. To the Exposition at Paris, in 1878, he sent “ Before the Storm.” TSchaggeny, Edmond. {Belgian.) Born at Brussels (1818- 1873). Chevalier of the Order of Leopold. Brother of the preceding, and pupil of the same master. He has also chosen similar subjects for his pictures. At the Leipsic Museum there is a “ Resting Herd ” painted by him. At the Latham sale, a water-color, the “ Shepherdess and Flock ” (20 by 30) brought $ 275. At the Khalil Bey sale, 1868, “ Shepherd and Sheep ” brought £ 268, and in London, in 1872, a pair, “ Returning to the Fold ” and “ Repose of the Flock,” brought 232 guineas. Tuckerman, S. S. (Am.) A native of Massachusetts. He paints marine views and landscapes, and studied under Hunt in Boston. He has also studied in Paris. At present (1878) he is a resident of London. In 1876 a collection of some forty of his works, chiefly au- tumnal views, and scenes of North Easton and Newburyport, Mass., was on exhibition in Boston, where many of them are oumed. To Philadelphia, the same year, he sent “ Beach at Hastings ” and “ The United States Frigate Constitution escaping from the British Fleet in 1812.” Turcan, Jean. (Fr.) Bom at Arles. Pupil of Cavalier. Medal of the second class in 1878, when he exhibited “ Ganpnede,” a group in plaster. Turner, Joseph M. W., R. A. (Brit.) (1775-1851.) Displayed artistic talents at an early age, e.xhibiting at the Royal Academy, in 1787, two drawings. In 1788 he was in the office of an architect in London, entering the Royal Academy schools in 1789, subsequently making sketching-tours along the banks of the Thames, in Wales, and the North of England. He confined himself for a few years to water- color sketches, which were se7it annually to the Academy. “ Moon- light, — a Study at Millbank,” was his first oil-painting at the Royal Academy in 1797. His “ Battle of the Nile ” appeared in 1799. He was elected an Associate of the Royal Academy in 1800, Academician in 1802. In 1807 he was elected Professor of Perspective. He vis- ited Italy .three times. He had no family, and left his pictures to the nation. Over a hundred of his paintings, and as many sketches and drawings, are in the National Gallery, London, dating from 1790 to 1850. Of all the artists of the nineteentli century. Turner was per- liaps the most remarkable, and of no artist in any age h;rs more been written. There is no space here for enumeration of his works, or further account of his career, with which so many volumes have been filled. His pictures now command fabulous prices. His “ Ant- werp, — Van Goyen looking for a subject,” ])ainted in 1833, was sold in London, in 1863, for 2,510 guineas ($ 16,000), its original price to the artist being perhaps less than one tenth of that sum ; some of his drawings at the same sale bringing $ 2,500 to $ 3,000. ARTISTS OF THE NINETEENTH CENTURY. 305 His “ Slave Ship ” (36 by 48), exhibited at the Royal Academy in 1840, and purchased by John Taylor Johnston from Mr. Ruskin, was sold in 1876 for $ 10,000, to Miss Alice Hooper of Boston. One hundred and five of his drawings and pictures, at a sale in London, April, 1878, brought over £ 73,000, or $ 365,000. Turner’s “ Dolbad- den Castle, North Wales,” lent by the Royal Academy of London, was in the Philadelphia Exhibition of 1876. “ I believe if I were reduced to rest Turner’s immortality upon any single work, I should choose ' The Slave Ship.’ Its daring conception, ideal in the highest sense of the word, is based on the purest truth, and wrought out with the concentrated knowledge of a life. Its color is absolutely iierfect, not one false or morbid hue in any part or line, and so modulated that every square inch of canvas is a perfect composition ; its drawing as accurate as fearless ; the ship buoyant, bending, and full of motion : its tones as true as they are wonderful ; and the whole picture dedicated to the most sublime of sub- jects and impressions (completing thus the perfect system of all ti-iith, which we have shown to be formed by Turner’s works), — the power, majesty, and deathfuluess of the open, deep, illimitable sea.” — Ruskin’s Modern Painters. ‘‘Thacker.ay, when siieaking of ‘The Slave Ship ’ by the same amazing artist, says, with delightful naivete, ‘I don’t know whether it is sublime or ridiculous.’” — Dit. Brown’s Spare Hours. “ Turner had three styles as a landscape-painter ; the first was highly elaborated, e.s- pecially in his water-color drawings. The contrast of style between his early and latest works is remarkable ; in the best of his early works he shows a strong imitation of Wilson and a certain coldness of color ; the Latest are distinguished for their exces- sive looseness of execution and extravagance of coloring. It is in his middle style that he is greatest, th.at he is himself. The middle iieriod may date from 1S02 to 1S32 In the last ten years of his career and occasionally before. Turner was extravagant to an extreme degree ; he iilayed equally with nature and with his colors. Light with all its prismatic v.arieties seems to have been the chief object of his studies ; individuality of form or color he was wholly indifferent to. The looseness of execution in his latest works has not even the apology of having been attempted on scientific principles; he did not work upon a particular iiolnt of a picture as a focus and leave the rest obscure, as a foil to enhance it, on a principle of unity ; on the contrary, all is equally obscure and wild alike. These last productions are a calamity to his reputation ; yet we may, perhaps, safely assert that, since Rembrandt, there has been no painter of such origi- nality and power as Turner.” — Wornum’s Epochs of Painting. ‘‘No landse.ape-painter has yet appeared with such versatility of talent. His histor- ical landscapes exhibit the most exquisite feeling for beauty of hues and effect of light- ing, at the same time that he has the power of making them express the most varied moods of nature I should therefore not hesitate to recognize Turner as tlie greatest landscape-painter of all times, but for his deficiency in an indispensable element in every work of art, viz. a sound technical basis." — Dr. Waagen, Treasui'y of Art in Great Britain. “ Turner’s great genius needs no panegyric ; his best monument is the great works bequeathed by him to the nation, which will be ever the most lasting memorial of his fame. ” — Smiles’ Self-Help. ‘‘That day [May 5, 1S12], I saw at the Exhibition a picture by Turner, the impres- sion of which still remains [written in 1840], It .seemed to me the most marvelous landscape I had ever seen, ‘ Hannibal crossing the Alps in a Storm.’ I can never forget it." — Diary o/ Henry Crabbe Robinson. “ I must request you to turn your attention to a noble river-piece by Turner, ‘ The Fight- ing Teni^raire,’ as grand a painting as ever figured on the walls of any academy, or came from the easel of any painter It is absurd, you will say (and with a great T 306 ARTISTS OF THE NINETEENTH CENTURY. deal of reason) for Titmarsh or any other Briton to grow so politically enthusiastic about a four-foot canvas representing a ship, a steamer, a river, and a sunset. But herein surely lies tlie power of the great artist. He makes you see and tliiiil; of a great deal more than the objects before you ; he knows how to soothe or to intoxicate, to lire or to depress, by a few notes, or fonns, or colors, of wliich we cannot trace the effect to the source, but only acknowledge the power.” — Thackeray, in Fra$er*s Magazine, 1839. “ The influence of Tumer upon engraving might supply the subject for a separate essay. He educated a whole school of engravers, and a veiy remarkable school it was : he educated them first by showing them the more subtle and delicate tonality in his l)ictures, and afterwards by a strict supervision of their work as it proceeded. His best qualities as a teacher came from his union of extreme delicacy with force : his worst fault, his most evil influence, came from his reckless desire for brilliance, which made him always ready to destroy the tranquillity of a plate if he thought that it did not look effective enough. This was the same si)irit acting in another direction which made liim so determined to make his pictures brilliant at all costs, on the walls of the Acad- emy ; but there he could achieve it with the heli» of chrome, and cobalt, and vermilion. On a dull jilate he had no resource but that of glittering lights, which he scattered in profusion Mike stars on the sea.’ ” — P. G. Hamerton, in the Portfolio, March, 1878. “ The following opinion, expressed by an intelligent and accomplished American artist, Mr. George Inness, is interesting for its frankness: ‘ Turner's “Slave Ship ** is the most infeiDal ijiece of claptrap ever jiainted. There is nothing in it. It ha.« as much to do with human affections and thought as a ghost. It is not even a fine bouquet of color. The color is harsh, disagreeable, and discordant' This is severe, and I think its severity is partly due to reaction against Mr. Raskin’s eloquent praises. On the other hand, I liave observed that some Americans seem to think it a sort of duty to admire Tunier, and to become enthusiastic about even his least important works. May I ven- ture to observe, both to American and English readers, that nobody is under any obliga- tion to admire either tlie late or the early works of Turner : that they are as much open to criticism as those of any other artist, and that the best way to judge them fairly is to look at them as if they had never been either praised or censured. The warm contro- versy at Boston about the ‘Slave Ship ’ was caused by a feeling of rebellion in some minds, too independent to accept dictation from an English critic, whilst others de- fended the picture as the work of a man of genius who had been roughly treated by the ])ress. An antagonism of this description is good for the fame of an artist, because it makes everybody talk about him, but truth disengages itself only wlien the noise has ceased and the smoke of battle has passed away. It is not of the least use to argue about color. From Mr. Ituskin the color of the ‘ Slave Ship ’ calls forth no harsher criticism than that he thinks ‘the two blue and white stripes on the drifting flag of the “ Slave Ship ” in the last degree too purely cold,’ and he elsewhere expressly approves of its strongest passages. It is one of those compositions in which Tunier used the most brilliant of all his jngments. A lurid splendor was his purpose, and he hesitated at nothing for its attainment. It is hardly jiossible for any painter to deal with vermilion and lemon yellow, in any quantity, without falling into some degree of crudity. If you compare even the ‘Tcmeraire’ with the rich, deep Inannonies of Titian ami Giorgione you will feel it to be relatively crude. Btit are fiery sunsets never to be painted ? “ Form may be argued about more positively. The wave-forms in the slaver are original, but they are. I believe, carefully observed. The comparatively flat, or simply swelling space, between the ridges of broken sea I have often seen in nature, and the sudden leaping of the spray is no doubt also a reminiscence. Tlie introduction of the sharks, manacles, and human hand and leg was artistically awkward to manage, and is so horrible that the mind revolts from these details. The thoroughness of study in the sky may be judged of by the rain-cloud engraved from it by Mr. Annitage under the title. ‘ The Locks of Typhon.' Our sense of the delicacy of this piece of work may l>e heightened by the exquisiteness of the engraver’s peiformance : but the painter must have worked delicately also.” — P. G. HAiiERTON, Hie Port/o/io, 1S7S. ARTISTS OF THE NINETEENTH CENTURY. 307 Turner, William Green. (Am.) Born at Newport, R. I., 1833. He went abroad for the purpose of studying sculpture, and was for some time a pupil of the Academy of Fine Arts in Florence, spend- ing his professional life there and in other Italian cities. He is a member of two of the Florentine Art Societies. Among his works may be mentioned, “ Transition ” (“ There is no death ; what seems so is transition.” Longfellow), which was exhibited at the Centen- nial at Philadelphia in 1876, and is now in charge or possession of Mr. Sartain of the Philadelphia Academy of Fine Arts ; with two medallions, “Night” and “Morning.” His “Fisherman’s Daughter,” also at the Centennial Exhibition, was purchased by Mr. Wolverton, and is now in his collection at Philadelphia. In his studio (1878) are, “ Rhoda,” “ The Herald of Peace ” (an allegory to be cast in bronze), and “ Sabrina” from “ Comus ” (still in clay). “A most splendid figure, half life-size, now adorns Jlr. Tamer’s studio ; it represents ‘Rhoda ’when she ran in and told how ‘ Peter stood before the Gate.’ His ‘Night* and ‘ Morning ’ (medallion busts), and his ‘ Incredulity ' and ‘ Herald of Peace,’ all give evidence of the original genius of the artist. His compositions show great originality, and are more distinguished for largeness and simplicity of masses than for secondary matters of fine detail.” — Sviiss TimeSf December, 1876. Twachtman, J. H. (Am.) Born in Cincinnati, 1853. He began his art studies in the School of Design in Cincinnati, and .spent the winter of 1874 and ’75 in Duveneck’s Life School and Painting Class in the same city. He went to Europe in the fall of 1875, entering the Art School at Munich, where his professional life so far has been spent. He is a member of the American Art Club of Munich, and exhibited for the first time in New York with the Society of American Artists, in 1878, two “ Italian Scenes.” Ulivi, Pietro. (Ital.) Born at Pistoia, 1806. Professor in the Royal Lyceum, Forteguerra. He won many prizes in various cities of Italy. His portraits are celebrated for their fine coloring. Many of his best works are in his native city. His correctness in drawing is remarkable. Victor Emmanuel II. bought his picture of a “ Father blessing his Son, who goes forth to be a Soldier.” Ulivi was chosen to copy, for engraving, the frieze around the Hospital of Pistoia, con- taining the bassi-relievi of the Della Robbia. Ulmann, Benjamin. (Fr.) Born at Blotzheim. Chevalier of the Legion of Honor. Pupil of Drolling and Picot. This artist paints many portraits. Among his other works are, “ Remorse,” “ The Gitanos of Granada,” “The Bell-Ringers of Nuremberg,” etc. At the Luxembourg is his picture of “ Sylla at the House of Marius ” (1866). To the Paris Salon of 1878 he sent “ The Lurlei.” Unger, Wilhelm. (Ger.) Born at Hanover, 1837. Professor at Vienna. Pupil of Keller and Thater. Medal at Philadelphia, where he exhibited the following etchings : “ Marine View,” after Van der Capella ; “ Portrait,” after Velasq^uez ; “ Portrait,” after Palma 308 ARTISTS OF THE NINETEENTH CENTURY. Vecchio ; “ Landscape,” after Hobbema ; “ Jacob’s Blessing,” after Govaert Flinck ; “ Catherine Comaro,” after Hans Makart ; “ Katrina Fonrment,” after Kiibens. Unger is one of the best living etchers, and his works are much sought for illustrations of books of luxurj', etc. To the Paris Exposition, 1878, he sent “ La ronde de nuit,” after Eembrandt ; a portrait of Eembrandt, after his own picture ; and other etchings after Eubens, Snyders, and other ancient masters. Ussi, Commander Stefano. (Ital.) Born at Florence, 1822. Medal at Paris, 1867, and at Vienna in 1873. Professor of Fine Arts at Florence. Pupil of Pollastrini, and a painter of the first rank. “ The Expul.sion of the Duke of Athens,” an early work, won much fame for the artist, and gained the gold medal at the Paris Exposition in 1867. It is now in the Gallery of Modern Paintings in Florence. He went up the Nile, and brought back many valuable sketches. His “ Departure of a Caravan for Mecca ” was a commission from the Khedive of Egypt, who declared that the picture merited a frame of gold. It was much noticed at Vienna in 1873. One of his latest works is a fine painting of the “ Last Day of Bianco Capello.” His portrait is in the collection of autograph portraits in the Uffizi. To Paris in 1878 he sent “ Bianca Capello at Poggio a Cajano attempts to poison the Cardinal de’ Medici,” and two Eastern scenes. Uwins, Thomas, E. A. (Brit.) Born in London (1782-1857). He began life as an engraver, entering the schools of the Eoyal Acad- emy. Later, he devoted himself to oil and water-color painting. He painted portraits for some time in Scotland and on the Continent. As early as 1811 he was Secretary of the Society of Painters in Water- Colors, contributing to its exhibitions for many years. He was elected Associate of the Eoyal Academy in 1833, on the strength of his “ In- terior of a Saint Manufactory at Naples.” He was made Academi- cian in 1839. He was Keeper of the National Gallery from 1847 to ’55, and for some time Librarian of the Eoyal Academy. Among the more important of his many works are, “ Taking the Veil,” “ Vint- age in the Claret Vineyards, South of France,” “ Le Chapeau de Brigand,” and “ Sir Guyon fighting for Temperance ” (the last three in the National Gallery). Uwins, during his long career, exhibited, in all, one hundred and two pictures at the Eoyal Academy. Many of his works have been engraved. “Among the many .artists either already eminent or rising to eminence, who made the acquaintance of Lady Blessington in Italy, was Hr. Uwins, the painter, who already [1S24] had acquired celebrity by several works in which the glowing scenery and pictu- resque inhabitants of Rome and Naples were delineated, in a style of the highest excel- lence.” — Memoirs of the Countess of Blessington. Vaini, Pietro. (Ital.-Am.) Bom in Eome (1847 - 1875). Stud- ied and practiced art in Italy. In 1872 he settled in NewTork, where he painted portraits of a number of prominent people with con- siderable success. His large figure-pictures attracted much attention ARTISTS OF THE NINETEENTH CENTURY. 309 ■when exhibited, on account of the morbidly somber nature of the sub- jects, and the vivid, and sometimes horrible, realism of his treatment of them. His “ Othello and the Handkerchief'’ (property of the Pal- ette Club), his “ First Grief,” “After the War,” and “ Veronica gazing upon the Face of her Dead Rival,” will not be (quickly forgotten by those who saw them. These did not meet with ready sale in this country. His smaller ideal works, pleasanter in style, and generally pictures of fashionable life, were more popular. His death was startling and dramatic. While entertaining a party of friends at a picnic by the recitation of a tragic poem in his native language, he illustrated the narrative by taking his own life as described by the poet. ** As a colorist Vaini had no superior in this country, and his style was fully in accord ■with that of the famous school in wiiich he was educated. He was an indefatigable worker, and left a rare collection of studies as well as finished pictures.” — Art Journal, October, 1875. Valerio, Theodore. (Fr.) Born at Herserange, 1819. Chev- alier of the Legion of Honor. Pupil of Charlet at Paris. This painter is remarked for his water-colors and etchings. Several of his pictures show the customs of the Montenegrins, Tsiganes, Hun- garians, etc. At the Salon of 1876 he exhibited “ The Beach at Tres- malouen in a Storm” and “ Women near Carnac ” ; in 1875, “ A Well of Sweet Water, near Carnac,” “The Departure for the Fields,” “ Saint Colombau,” and a “ Souvenir of the Rocks of Kermarie at Low Tide.” Vallance, W. F. (Brit.) Born in Paisley. Went to Edinburgh in his youth, studying from the antique under Robert Scott Lauder, and, later, passing through the Life School of the Royal Scottish Academy. He first exhibited small figure-pieces, subsequently turn- ing his attention to marine views. He is a resident of Edinburgh, •and was elected an Associate of the Royal Scottish Academy in 1875. Among his works are, “ Sunday Morning,” “ Leisure Hours,” “ Loch Fine,” “ Largo Bay,” “ A Fresh Breeze,” etc. Valles, Lorenzo. (Span.) Of Madrid. Medal at Philadelphia, where he e.xhibited the “ Insanity of Donna Juana de Castille.” Van Blten, Kruseman. (Dutch- Am.) Born in Alkman, FIol- land, 1829. Chevalier of the Order of the Lion, of the Netherlands. Member of the Academies of Amsterdam and Rotterdam, and of the Belgian Water-Color Society ; Associate of the National Academy, New York ; and member of the American Society of Painters in Water-Colors. Medals at Amsterdam in 1860, and at Philadelphia in 1876. He was instructed in drawing in his native town, and in 1844 went to Haarlem and studied painting under C. Lieste and other masters. His professional life has been spent in Haarlem, Amster- dam, Brussels, and New York, and he has made sketches in Ger- many, Austria, Switzerland, France, and England. To the National Academy, New York (in oil), Van Elten has con- 310 ARTISTS OF THE NINETEENTH CENTURY. tributed many pictures : “ Summer Morning, Esopus Creek,” in 1867 ; “Druidical Tombs, Holland,” in 1869; “Peace” and “War,” in 1870 ; “ Morning in the Har/,” in 1871 ; “ Passing Shower near Pittsfield, Mass.,” in 1875 ; “ Cornfields,” in 1876 ; “Landscape, Dela- ware,” in 1877' “ Summer Day, Winnockie Kiver, N. J.,” in 1878. To the Water-Color Society E.xhibition, in 1867, he sent “ Sunday Morn- ing in Holland” ; in 1871, “ Meadows near Farmington” ; in 1875, “Evening, Long Island Sound in 1876, “ Landscape in Holland ” ; in 1877, “ Landscape near Torresdale, Pa.,” “ Chickens,” and “ Ducks ” ; in 1878, “Home, Sweet Home, — Scene in Holland,” “ Morning near Gloucester, Mass.,” and othens. To the Centennial E.xhibition of 1876 he sent, “Clearing Off, Adirondacks,” “The Grove in the Heath,” “ Russell’s Falls, Adirondacks” (in oil), and “ Autumn in the White Mountains ” (in water-colors). Among his earlier works may be mentioned, “ Early Morning in the Woods” (belonging to the Queen of Holland), “Sunday Morn- ing,” “ Interior of the Woods,” “ Landscape in Gelderland ” (in private collections in Haarlem and Amsterdam). His “ Well in the Heath ” belongs to Jay Cook of Philadelphia. “ To the earnest student of landscape ait Mr. Van Elten’s pictures furnish an agree- able surj^rise ; their originality of treatment raises them above the common art level, and their boldness and vigor of coloring are not reflected in tlie works of any of his contem- poraries. In his pictures Van Elten rarely composes ; he selects his studies with the idea of making pictures, and hence when finished they are perfect and truthful portraits of the scenes they puriiort to represent .... There is a calm sweetness about this pic- ture [‘ Landscaiie on the Farmington River a depth of jierspective, and conscientious elaboration of detail which will be appreciated by all lovers of the beautiful. In its composition it shows an harmonious tone which is in keeping with the scene in Nature.'' — Art Journal^ November. 1S77. Van Hove, Victor. (Belgian.) Bom at Renai.x, 1825. Medals at Paris for sculpture and painting. Of later years tbis artist seems to have abandoned sculpture, and paints genre landscapes ; such as, “Fishermen’s Daughters of the Coasts of Flanders,” “Orphans going to Church, near Dordrecht,” etc. His sculptures of the “Child play- ing with a Cat ” and “ A Slave after the Bastinado ” were exhibited in Paris, and were well received. Van Lerius, Joseph Henri Francois. (Dutch.) Born at Boom, near Antwerp (1823 - 1876). Professor of Painting in the Academy of Antwerp. Honorary Member of the Academies of Rotterdam, Amster- dam, and Saxony. Chevalier of the Onler of Leopold. Pupil of the Academy of Brussels, schools of Antwerp, and of Banjii AVappers. At first Van Lerius painted portraits, in which department he was success- ful. His first subject-picture was “ An Interview between Leicester and Amy Robsart,” followed by “ Milton dictating to his Daughter” and “ Paul and Virginia crossing the Stream,” which last was in the collec- tion of the Baroness Voykerstoot at Brussels. Among his later works are, “Esmeralda” (1848), in the Brussels Museum ; “Adam and Eve” ARTISTS OF THE NINETEENTH CENTURY. 311 (1848) ; “The Four Ages ’’ ; “ The First-Born,” bought, by Queen Vic- toria ; “Volupte et Denouement” (1857), bought by Prince Saxe- Coburg of Gotha; “Cinderella”; “The Golden Age”; Joan of Arc” ; “Venice” ; “ Portrait of a Swedish Girl” ; etc. . In 1877 the city of Antwerp Ijought the “Lady Godiva” for 18,000 francs. At the International Exposition at Munich, in 1869, he exhibited a melo- dramatic work called “ Plutot mourir” ; it represented a young girl throwing herself from a window in order to escape dishonor. Van Luppen, G. J. A. (Belgian.) Of Antwerp. Medal at Phil- adelphia, where he exhibited “ After the Rain ” and “ Before the Storm.” To Paris, in 1878, he sent the last-named picture and “ La Flandre.” Van Marcke, Emile. (Fr.) Born at Sevres. Chevalier of the Legion of Honor. Pupil of Troyon. At the Salon of 1877 he exhib- ited, “ The Spring at Neslette, in Normandy,” belonging to Mr. Brown of Philadelphia; in 1876, “The Cliff” ; in 1875, “The Vil- lage Pasture, Normandy,” “The River Morte at Treport,” and “A Bridge on the Bresles, Normandy.” At the Johnston sale. New York, 1876, “A Herd of French Cattle” (38 by 59) sold for ^5,100, and “Landscape with Cattle” (14 by 21) for $2,550. At the Walters Gallery is a large picture of cattle by Van Marcke ; and a fine picture by the same artist is in the collection of Mrs. H. E. Maynard of Bos- ton. Vannutelli, Cavaliere Scipione. (Ital.) Born at Rome, where he resides. Medals at Paris in 1864 and ’67. At the Paris Exposi- tion of 1878 he exhibited “ The Monferrina ” (an Italian dance) and “ The Night.” At the Salon of the same year were “ The Roman Campagna” and “An Agreeable Reading” ; in 1877, “A Procession at Venice ” ; etc. [This artist merits a more extended notice, but no reliable information could be obtained.] Varley, John. (Brit.) (1778 - 1842.) One of the early English artists in water-colors, and a founder of the Old Water-Color Society, in 1805. He painted many views in Wales and the valley of the Thames, and was the author of several text-books on drawing, some of which are still in use. Among his works are, “ Holy Island,” “ Rochester Castle,” “ A Quiet Stream,” “ Old Inn on the Banks of the Thames,” “ Conway Castle,” etc. Varley, Cornelius. (Brit.) Born in London (1781 - 1873). Brother of John Varley. Artist in water-colors, devoting himself chiefly to Welsh and English landscapes and classical scenes. He was one of the original members of the Society of Painters in Water- Colors. Varley, William Fleetwood. {Brit.) (1785 - 1856.) Younger brother of Cornelius and John Varley, studying under the latter. He painted landscapes in water-colors, teaching drawing at Oxford for some years before his death. 312 ARTISTS OF THE NINETEENTH CENTURY. Varni, Santo. (Ital.) Bora at Genoa. He is one of the first sculp- tors of the day, and one of whom Genoa is justly proud. His work is chiefly monumental. For Staglieno he made the fine monument of Marchese Donghi, with statues of “ Prudence,” “ Eternity,” and “ Faith in God.” At the same place, also, is the monument to ilarchese Lo- mellini, with a beautiful statue of “ Grief,” a monument to Dufour, with a sleeping figure, and a very grand monument for the Cattanei family, with a seated figure of the Saviour, and the figures of St. John the Baptist and St. Matthew below. In Santa Croce in Florence is a mon- ument to Giovanni Eossini, and in Pisa one to Luigi Canina. In the Hospital of Genoa are the statues of Merani and Tignago, by Varni, and the monument to Columbus begun by Pampaloni in Genoa was finished by this sculptor. The statues of Pagano Doria and Vittorio Pisani in Venice, and Emmanuel Fileberto in the Royal Palace in Turin, are by Varni. Vasselot, Anatole Marquet de. (Hr.) Born at Paris, 1840. Medals in 1873 and ’76. Pujjil of Jouffroy and Bonnat. This sculptor was intended for a diplomatic career by his family, but his tastes so controlled him that at length he separated himself from all former surroundings, and after many difficulties made his debut at the Salon of 1866. His bust of Balzac (1870) ornaments the grand staircase of the Comedie-Frangaise, and is a tndy fine work. In 1868 he made a good medallion portrait of Abraham Lincoln. His best work is the “ Chloe” of 1869. In 1873 it was put in marble, and was medaled and bought by the government. His “ Christ in the Tomb,” in bronze (1876), re- ceived a second medal. His “ Patrie” (1874) was purchased for the court of the palace of the Grande Chancellerie of the Legion of Honor. In 1875 he exhibited a bas-relief called “ Honor to our Dead ! ” and in 1876, a “ Theseus,” also bought by the State. His portrait busts are excellent. This sculptor has received many medals and testimo- nials of honor in various cities of France, at Brussels, and at Phila- delphia, where he exhibited a portrait of Monsieur Auzoux, and a figure of “ Chloe,” both in bronze. At the London Academy, in 1875, he exhibited “ Chloe,” in marble, and “ JHle. Sombreuil,” and in 1878, at the Paris S;don, a statue of the “ Young Greek Athlete ” and a bust in bronze of Ro3e--Lnais. Vaudremer, Joseph- Auguste-Etnile. (Fr.) Born at Paris, 1829. Chevalier of the Legion of Honor. This architect gained the pruc de Rome in 1854. He has held various offices in Paris, and has been as- sociated with important works there since 1859. He has also con- structed some civil and funereal monuments, and has sent to the Salons very remarkable architectural drawings. Vaurdal, Henri de. (Fr.) Born at Paris. Pupil of Toussaint. Medal of third class in 1878, when he exhibited a plaster statue of “ Perseus ” ; in 1877, he sent a bronze statue, “ The Little Gleaner ” ; in 1876, a “ Portrait of a Child ” (a bust in bronze). ARTISTS OF THE NINETEENTH CENTURY. 313 Vautier, Benjamin. (Swiss.) Born at Morges, 1830. Member of the Academies of Berlin, Munich, Antwerp, and Amsterdam. Medals at Berlin and Paris. Pupil of Rudolph Jordan at Diisseldorf. Painter of scenes from peasant home-life. His “First Dancing- Lesson ” (vil- lage of the Black Forest) is in the National Gallery, Berlin ; “ A Courtier and Peasants of Wiirtemberg,” in the Museum of Bale ; “ After the Burial ” (canton of Berne), in the Museum of Cologne. At the Johnston sale. New York, in 1876, “ The Music-Lesson ” (11 by 8) sold for $ 360. At the Walters Gallery is his “ Consulting his Lawyer,” well painted and full of humor ; also, “ Caught in the Act.” " The scenes which he places before us are never superficially treated ; he never expects US to be satisfied with the costumes iu place of the characters of the people he refjre- sents ; on tlie contrary, his figures, in their faces and in every line of detail, express their peculiar individualities with marked force The wine-merchant on the Rhine differs from the beer-mercliant in Bavaria, and the Spieszbiirger of a Westphalian middle city, who is happily placed between beer and wine, is again a different person. Vautier has so well hit this characteristic trait-painting, that he proves himself not only to have studied closely, but he has given rein to a natural genius for such conceptions. More- over, he has a full vein of humor which is all his own, but he only gives way to this when it accords with the subject he represents. He is not one of those who, by reason of vanity, add to their representation their o^vn conceits, like some actors who in side play act their ovni farces ; but he is a true interpreter of the poet whom he represents. Just this beautiful moderation brings out the meaning of the composition as if in a concen- trated light, so that the delight of originating and that of showing forth the intention must almost be united in one emotion.” — W. L., Zeitschrift fur tildendc Kuiist^ 1866. Vedder, Elihu, N. A. (Am.) Born in New York, 1836. As a child he showed decided talent for art, studying for a short time in his native city. Later, he became a pupil of T. H. Mat- teson at Sherbourne, N. Y. After some years spent in Italy he opened a studio in New York, but is at present a resident of Rome. He was elected a full Member of the National Academy of Design in 1865. Among Yedder’s earlier works are, “ The Lair of the Sea-Ser- pent,” “ The Monk upon the Gloomy Path,” “Arab listening to the Great Sphinx,” “ The Crucifixion,” and “ The Lost Mind ” (belonging to Mrs. Laura Curtis Bullard). He sent to the National Academy, in 1869, “The Death of Abel” ; in 1871, “An Ideal Head” ; in 1874, “A Scene on the Mediterranean” and “Une fete champetre.” He rarely exhibits, however, in America. His “ Greek Actor’s Daughter ” was at Philadelphia in 1876 ; his “ Old Madonna ” (belonging to E. D. Morgan), “ Cumean Sibyl,” and “Young Marsyas ” were at the Paris Exposition of 1878. Martin Brimmer owns his “ Genii.” “A Pas- toral ” (belonging to E. B. Haskell) was at the Mechanics’ Fair, Bos- ton, in 1878. " Vigor and independence in Vedder are allied to great ambition and general aesthetic instinct. While in Italy he manifested a keen appreciation of the best elements of its old art. A clever, indefatigable student, he never became a mere copyist, but, making notes of ideas and technical details, assimilated to himself much of the lofty feeling and strong manner of the world’s masters in painting. .... Vedder is a painter of ideas. His style is naturalistic as relates to truth of illustration, but ideal and intellectual iu motive. If VOL. II. 14 314 ARTISTS OF THE NINETEENTH CENTURY. he were not so drawn to painting by delight of color, he could be eminent as a sculptor. That he would be the most original and inventive of our school, the dramatic force of expression and power of modeling shown in his recent bas-reliefs of the ‘ Arab Slave ’ and ‘ Endymion ’ sufficiently attest.” — Jarves, Art Idea, 1866. “ Vedder is one of the most original of the American jiainters in Rome, distinguished especially for his quaiiitness, alike in his subjects and in their treatment.” — Mrs. Tyt- ler’s Modern Painters. “ Mr. Vedder sent his ‘Greek Actor’s Daughter,' a thoughtful and poetic conception, jiaintod with rare feeling and learning.” — Prof. Weir’s Official Report of the American Centennial Exhibition of 1516. Veit, Philip. [Ger.) Bom at Berlin (1793- 1878). This painter belonged to the school of Cornelius and Overbeck. His mother was the daughter of Mendelssohn, and the wife of Friedrich Schlegel. Veit was a devout Koman Catholic. At the National Gallery, Berlin, is his picture of the “ Three Maries.” His allegorical picture of “ Germany,” represented as a young matron, and his portraits of the Emperors of the Middle Ages made him much reputation. Vela, Vincenzo. (Ital.) Bom at Ligumetto, in the Swiss canton of Tessin, 1822. Officer of the Legion of Honor. Son of poor peasants, he worked as a boy in quarries, and when fourteen went to Milan, where he was employed in the restoration of the Cathedral. His brother, who had become a sculptor, placed him in the studio of Cacciatori. He was often forced to work by night upon jewelers’ models, in order to save himself from starvation. In 1848 he obtained a prize at V enice for his “ Christ raising the Daughter of Jairus.” In 1847 he went to Rome, but was called suddenly away to serve in the army. He was also a volunteer in the Italian army in 1848. His earlier rvorks are, “ Prayer,” “ Spartacus,” for which he received a medal at Paris in 1855 (bought by the Duke Antonio Litta), and some busts. He was elected member of the Academy of Milan, but declined the honor. In 1855 he e.vecuted “ Harmony in Tears,” for the tomb of Donizetti. In 1863 he e.xhibited a group, “ France and Italy,” given by the ladies of Milan to the French Em- press. His “ Last Days of Napoleon,” much remarked at the Exposi- tion of 1867, was purchased by Napoleon 111. in the name of the French people. A replica was sold at the Johnston sale, New York, for $ 8,100, and is now at the Corcoran Gallery, Washington. His “ Christopher Columbus,” “ America,” and “ Springtime ” are much admired. In 1873 he was commissioned by the Town Council of Geneva to execute the monument to the Duke of Brunsuick, after the model of the Tomb of the Scaligers at Yerona. Vely, Anatole. (Fr.) Born at Ronsoy. ]\Iedal in 1874. Pupil of Signol. At the Paris Salon of 1876 he exhibited the “ Fir>t Step’" and a portrait; in 1875, “Meditation-” ; in 1874, “Lucia di Lammermoor.” At the Corcoran Art Gallery, AYashiiigton, is his “ Talking Well.” The catalogue says : — “ This charming picture is by one of the leading figure-painters of France. The maiden is a model of rustic grace, and the coloring throughout is hanuonious. Its sen- ARTISTS OF THE NINETEENTH CENTURY. 315 timent is delicately expressed. The ‘talk’ may come from the well, but it i.s evident, from the arch glance and smile of the maiden, that she suspects the whisper to be some- what human.” Vera, Alejo. (Spanish.) Medal at Philadelphia, wliere he exhib- ited “The Burial of San Lorenzo at Rome.” Vera is one of the artists who have made the art of Spain known with favor in present times, and in the report upon the Fine Arts of the Philadelphia Exposition this picture is especially commended. Verboeckhoven, Eugene Joseph. (Belgian). Born at Warne- ton (1799). Chevalier of the Legion of Honor, of the Orders of Leopold of Belgium and Michael of Bavaria and Christ of Portugal, and decorated with the Iron Cross. Member of the Academies of Belgium, Antwerp, and St. Petersburg. This artist devoted himself to the painting of animals, and his works are so well known in America as well as Europe that they need no description or praise. They are in many private galleries. At the Johnston sale. New York, 1876, “ Flemish Landscape and Cattle” (23 by 28) sold for $ 875. At the Latham sale. New York, 1878, “ A Frightened Bull ” was purchased by J. J. Astor for 1 1,500, and “ Sheep and Twin Lambs, Scotch Highlands” (44 by 34) for $ 3,400. This artist has made some por- traits worthy of mention, and has also essayed sculpture. His statue of “ Meditation ” was far above most first attempts, and possessed a good degree of merit. A fine picture of “ Sheep, — Interior ” is in the collection of Mrs. H. E. Maynard of Boston. To the Paris Exposi- tion in 1878 he contributed seven characteristic works. Verboeckhoven, Charles-Louis. {Belgian.) Born at Warneton, 1802. Medals at Brussels. Brother and pupil of Eugene. This painter at first essaj'ed animal subjects, but soon gave them up for marines, in which he has a reputable name. Verhas, Jan. (Belgian.) Born at Termonde. Medal at Philadel- phia, where he exhibited a “ Seashore at Blankenberghe.” In Paris, in 1877, were “ The Inundation ” and “ The Studio ” ; in 1878, “ The Master Painter ” and “ The Bouquet of Marguerites.” Verheyden, Isidor. (Belgian.) Of Brussels. Medal at Philadel- phia, where he exhibited “ A Landscape.” Verlat, Charles. (Belgian) Born at Antwerp, 1824. Professor at the Antwerp Academy. Chevalier of the Legion of Honor. Pupil of the Antwerp Academy and of Nicaise de Keyser. He has painted a great variety of subjects, hut his animal pictures are the best. His “ Storming of J erusalem ” is in the Mu.seum at Brussels. Some of his pictures have a comic vein, such as “ Might is Right,” in which a big monkey takes a nut from the jaws of a little monkey. Some of his portraits are good ; among them, those of Frederick Preller and the Grand Duchess of Saxe-Weimar. At Paris, in 1869, he exhibited “ A Dog at Bay” ; in 1868, “A Holy Family ” and “A Day of Mourn- ing ” ; in 1866, “ A Rabbit-Hunt.” Among his works are, “ The 316 ARTISTS OF THE NINETEENTH CENTURY. Wolf-Hunt,” “Mourning over the Body of Christ,” “Madonna with Christ and John,” “Shepherd Girl with her Flock,” “ Dogs waiting for the Start,” “ The First Snow',” “ Quarreling over the Booty,” “ Buffaloes attacked by a Tiger,” “ Eenard in Hope,” and “ Renard Deceived.” Verlat has also executed some admirable etchings ; his versatility and his certainty and celerity of touch are remarkable. “As a painter of sheep and shepherd-dogs, Verlat is altogether without a superior, even in Belgium, where Verboeckhoven has eDjo3'ed a great reimtation for many years.** "William B. Scott, Gems of Modem Belgian Art. Vernet, Emile-Jean-Horace. {Fr.) Bom in the Louvre (1789- 186.3). Member of the Institute, 1826. Director of the French Academy at Rome, 1828. Grand Officer of the Legion of Honor. At fifteen years of age this artist was able to support himself by the sale of his drawings. He studied with Vincent, and sketched from the living model. At his father's desire he contended for the •prix de Rome, but failed. He then painted his first military subject, “ The Taking of a Redoubt,” and afterwards devoted himself to that class of pictures. At twenty years of age he was married, and soon began to keep an account of receipts and expenditures, by means of which may be traced the gradual increase of his prices, from that of 24 sous for a sketch of a tulip up to 50,000 francs for the portrait of the Empress of Russia. In 1814 Yemet, with his father and Gericault, fought on the Barriere de Clichy, and for his galLint conduct there the Em- peror gave him, wdth his ow'n hand, the decoration of the Legion of Honor. In 1812 he had received commissions from the King of Westphalia, and, in 1813, from Maria Louisa. In 1817 his “Battle of Torlosa ” was much praised. This w'as the beginning of his tri- umphs ; the picture W'as purchased for the Maison du Roi for 6,tX)0 francs. He now desired to secure Royal commissions, but his political record had not been pleasing to the Bourbons, and after many expe- riences, the nature of which we have not space to relate, he became the protege of the Duke of Orleans. In 1817 he painted a portrait of the Duke for which he received 3,000 francs ; he repeated this por- trait in various costumes and characters, besides making other pic- tures for his patrons. Naturally those who made the little court of Orleans also became his patrons, and at this period he executed some fine works. At the Salon of 1819 he exhibited sixteen or more pic- tures ; it was the year w'hen the “ Medusa ” of Gericault and the “ Odalisque ” of Ingres occupied all minds, yet Yemet also received much attention and praise. The Duke of Berry, in his role of patron of the Societe des Amis des Arts, now commanded two pictures of Yemet ; he painted “ The Dog of the Regiment” and “The Horse of the Trumpeter,” for the tw'o receiving 5,000 francs. Meantime Yemet made numerous sketches for lithographs, which were scattered among the people, the spirit of w'hich was displeasing to the King, and it seemed wise for the artist to leave Paris. In 1820 he and ARTISTS OF THE NINETEENTH CENTURY. 317 his father went to Rome. At this time was painted the famous “ Course des Barberi,” or the dejrarture of the horses for the carni- val races. It was sold to M. de Blacas for 4,000 francs. After his return to Paris he painted for M. Odiot “ The Defence of the Barrier of Clichy,” which is hy many considered his best work. Odiot paid him 4,000 francs for it, and gave it to the Chamber of Peers ; it is now at the Louvre. The year 1822 may be said to end the first period of his life ; he had made one of his very best pictures, but he had not been recognized at the Salon ; he had sent there the above- mentioned work, also the “Battle of Jemmapes,” painted for the Duke of Orleans, and a number of other works. They were refused, the only one exhibited being one that had been ordered by the gov- ernment, and the subject chosen. It represented his grandfather, Joseph Vernet, lashing bim.self to the mast of a ship during a tempest. He received 6,000 francs for it. The public were indignant that he should have been excluded on account of the political sentiments he held, and he opened at his studio an exhibition of forty-five of his j^ictures, which embraced a great variety of subjects. Before this time he had relied on the court of Orleans ; but after this exposition he had the public for his friend. Money came now in plenty ; the dealer Schroth bought his small pictures, giving him from 700 to 2.000 francs each. The Societe des Amis des Arts paid him 3,000 francs for one, and a Russian princess demanded some portraits of Napoleon at 1,000 francs each. In 1824 he received 51,850 francs. Among the works of that year was the equestrian portrait of the Duke of Angoulenie, for which he was paid 9,950 francs, and before the year "was out, Charles X. ordered his portrait at the same price. The following year he was overwhelmed with orders for portraits, but he found time to paint the “ Bridge of Arcole,” for which he received 10.000 francs, and the “ Battle of Valmy,” for the Duke of Orleans, which closed the series of four battles which the Duke wished for the Palais- Royal ; — they were Jemmapes, Hanau, Montmirail, and Valmy. In 1826 Horace and his father were invited to Avignon to attend the opening of a gallery in the Museum, devoted to the Vernets, who had originated in that city. Carle Vernet sent his picture of the “Course' des Barberi,” and Horace sent his “ Mazeppa pursued by Wolves.” At Avignon they received every possible attention ; they were conducted to the home of their ancestors ; they piously saluted it, and inscribed their names on the door-posts. At the ceremony of opening the gallery, poems were read in their praise, and they were made members of the Athenaeum. After they returned to Paris they received two urns of sculptured silver. They bore the two designs of the pictures which the father and son had sent to Avignon ; they were the work of a jeweler in that city, who refused to be paid for his labor on them ; they were presented to the artists by the city of 318 ARTISTS OF THE NINETEENTH CENTURY. Avignon. The Gallery Vemet is still a sacred place in the old city of the Popes. There are works of Antoine, Frangois, Joseph, Carle, and Horace Vemet. The first canvas of the “ Mazeppa” was injured by a saber-stroke in the tumultuous studio of Vernet ; he made a second picture, and both are at Avignon ; beneath them are the busts of Joseph Vernet by Brian, and that of Horace by Thorwaldsen. After his election to the Institute in 1826 Vernet changed the style of his subjects. For the “Julius II.,” a ceiling in the Museum of Charles X., he received 17,910 francs ; for “Philip Augustus before Bouvines,” now at Versailles, 24,775 francs; for the “Battle of Fontenoy,” 30,000 francs. In 1828, when appointed to the French Academy at Rome, he established Salons every Thursday ; they were ver}^ gay, — they were attended by artists, travelers, and men of distinction, who danced and amused themselves as if the world of Paris had sprang up in Rome. Vernet now added new subjects to his list ; he painted Roman women, brigands, etc., and the year 1831 marks the end of his second period. In serious work he had not advanced. The “Ar- rest of the Princes ” was the best picture sent from Rome, but it was not equal to the “ Clichy ” of ten years before. After the revolution of 1830, it was a trial to Vernet to wear his honors at the Villa Medici. The French army was making more subjects for pictures than ever before since the campaign in Egypt, and Vernet could not follow it. In 1833 he was relieved, and soon went to Algiers. At the time of his arrival military operations were suspended, but he occupied himself continually in sketching. He painted also the “Rebecca,” for which the Duke of Rohan paid 1,000 crowns, and “ Arabs conversing under a Fig-Tree.” for Lord Pembroke, and dupli- cated it for Gourieff, receivdng 16,000 francs for the two. In 1833 the King ordered the palace at Versailles to be used for an historical museum. From this time the two thoughts of Horace Vernet were the East and the iluseum at Versailles. The few works that he exe- cuted, not connected with these two objects, are comparatively unim- portant. Louis Philippe, who had ordered from him the four battle- scenes already mentioned, now required of him Friedland, Jena, and Wagram. There was no room large enough to hold his immense can- vases, and on that account one floor w:us removed, throwing two Aages into one, and thus the grand Gallery of Battles was made. Bouvines and Fontenoy were added to the above-named works. At length the King wished the artist to paint the Siege of Valenciennes. It is related that on that occasion Louis XIV. with Mine, de iMain- tenon remained in a mill, where they could safely watch the combat ; the King wished this to be represented. Vernet refused to so paint it, and left Paris for St. Petersburg. He was received with open arms, flattered, feted, and caressed. After a time the Czar desired him to paint the “Taking of "Warsaw”; instead of refusing, Vernet replied, “ Why not ? Does a Christian artist hesitate to paint the passion of ARTISTS OF THE NINETEENTH CENTURY. 319 Christ ? ” If the Czar had ever seen the picture which Vernet made, he would have been amazed at his audacity. Under a gloomy sky, in the midst of smoke, he painted a soldier, dressed in a white tunic with purple facings, fallen and fearfully wounded in the- head ; upon his breast rested an eagle, decorated with the cordon noir, pressing hard upon the prostrate wretch with his frightful talons. Vernet was never willing to part with this picture, but guarded it as one cherishes the memory of a virtuous act. He returned suddenly to Paris in order to see his father, who longed for him, and died a few months later. Vernet had no trouble in re- entering Versailles; he was as necessary there as he could wish to be; no one had been found who could satisfactorily fill his place. News came of the taking of Constantine, and Vernet was officially dispatched to take sketches on the spot for his three great paintings for the Salon of Constantine. When these were completed, they were surrounded by other works of his, until that Salon became a wonderful monument to his facility of design and execution. In 1839 Vernet went to Egypt, Syria, and Turkey. In 1842 he went again to Russia, where he made a long journey with the Czar, and others of high position. He was a great favorite with the Emperor, who liked him all the more that he did not always agree with His Majesty. On returning to St. Petersburg, he remained for some time, painted his portrait of the Empress, received many valuable presents, etc. After his return to Paris he took up portrait-painting, but still new battles were fought, and his old love resumed her sway over him. He left MarseiUes for Aran in 1845. The army received him with great enthusiasm, and showed him unprecedented honors, hailing him as the great painter of its hardships, bravery, and victories. Upon this, and all the occasions of his life in which he was made the recipient of unusual honors, he conducted himself with most becoming modesty, and in this way, perhaps more than in any other, he manifested the sensible common- sense side of his character. The revolution of 1848 struck Vernet to the heart ; he still worked on, but his best and happiest days were gone. At the Exposition of 1855 he had a Salon entirely devoted to his works, and it was a great satisfaction to him to thus show to men from the four quarters of the globe upon what rested his claim to fame. He lived yet eight years more. He worked always; the Cri- mean war opened to him a new field, and he was much interested in it. He painted the battle of Alma, a portrait of Napoleon III., and other works, but he wrote of himself thus : “When time has worn out a portion of our faculties, we are not entirely destroyed, but it is neces- sary to know how to leave the first rank, and content one’s self with the fourth.” “ How can one judge with one word a career so long and full ? At an age when so many only commence to feel their way, he was already a painter. He held the brush sixty years. Could he have held it without weaknesses ? To expect it would not be loyal. 320 ARTISTS OF THE NINETEENTH CENTURY. Is it necessary, on the other part, to place the prophetic trumpet at the lips and proclaim Horace Vernet tlie national painter of France? Without doubt he has recorded the history of France in pictures, but all the painters at V ersailles have done the same. For us, leaving to foreigners the ni.align pleasure of judging us after their standards, we be- lieve that we recognize in the French nation more depth and more height than Horace Vemet has known how to give it. But to what profit these useless debates ? We have before us a man of incontestable value, an artist by right of birth, a skiUful designer, who has cast to the wind of publicity more than two hundred lithographs : a skillful painter, wliose pictures can be numbered to five hundred ; an amusing story-teller when he takes the pen ; a man who by his labors, his activity, his travels, has lived the meas- ure of several lives, and has influenced his country and his age. Shall we attempt to lessen him by most incomplete criticisms, or aggrandize him without moderation by un- reasonable eulogies ? No ! Let us bow before this triumph of skill and genius, and with- out seeking outside his family for comparisons, let us salute him as the last and greatest of the Vernets.” — L^on Lagrange, Gazette des Beaux-Aiis, November, 1863. “ Vernet is the most direct offspring of the common taste and mind of France. He is the artist of the multitude. All is revealed at one look. His hand and eye are quick, memory retentive, and manner dashing, materialistic, and sensational. The love of ex- citement and adventure, a free camp-life, and brave deeds, are his special attractions. He tells his story rapidly and off-hand, freely emphasizing for effect, but, in the main, truth-telling. It is done by action, for he has no sentiment for color, and no higher in- tellectual aim than declamation. Vernet is a clever but not great artist. He rejects academic trammels, aud makes himself a spirited reporter of history in its external look, the French soldier being his ideal man. In fine, he seems to be a sort -of ‘our own cor- respondent ’ of tlie brush, after the stamp of the Times’ Bussell, very acceptable to those who care only for a lively-told stoiy.” — Jarves, Art Thoughts, 1869. Vernon, Thomas. (L’rii.) (1824-1871.) Studied art in Paris for some years. Well and favorably known in England as a line- engraver. Among bis works are, “ The Virgin Mother,” after Dyce ; “ Abundance,” after Van Eycken ; “ Olivia,” after C. E. Leslie ; “ The Novice,” after A. Elmore ; Eaphael’s “ Mother and Child,” Cope’s “ First-Born,” and Murillo’s “ Christ healing the Sick.” Veron, Alexandre Rend (Fr.) Born at Monthazon. Pupil of M. Delaroche. At Philadelphia he e.xhibited “ The Banks of the Seine,” “ Entrance to the Harbor of Boulogne, — a Storm,” and a “ Park at Senlis,” and received a medal. At the Salon of 1878 he exhibited “ After the Rain ” and “ A Fine Winter Day,” both tdews at Ar- genteuil (Seine et Oise) ; and, in 1877, “ The Park at Mont-l’Ev^ue” and “ Evening in the same Park.” Vertunni, AchUle. {Ital.) Born at Naples. Pupil of Fergola. A painter of landscapes. Medal at Philadelphia. Some of his views in Egypt are remarkable for their truthful rendering of the character- istic lighting of that country, and the grandeur and impressiveness of its ruins are told in the pictures of \ ertunni as few artists have at- tempted to portray them. Our idea of Eastern pictures is too much associated with scenes in harems, mosques, etc., which are, strictly speaking, costume pictures, and give no idea of the great and grand wonders of that old world. ^ ertumri had shown his power in kin- dred subjects, in his fine representations of the Roman Campagna, before he saw the East, and he has well fulfiUed the hopes which his ARTISTS OF THE NINETEENTH CENTURY. 321 admirers indulged regarding the manner in which he would inter- pret other scenery than that of Italy. At the Paris Salon of 1876 he exhibited “At Naples” and “A Pool, Eoman Campagna.” The works of Vertunni are sometimes seen in England, more rarely in America. His means are such that he has been able to surround himself with everything that artists love, and a visit to his studio, where salon after salon is filled with artistic treasures of past centuries, is one of the choicest pleasures a visitor to Rome can enjoy. But amid this little world of rich old tapestries, rugs, bronzes, statues, armor, porcelains, and flowers, amid all this deep-toned coloring and artistic richness, the pictures of the artist cannot be overlooked, though modestly placed, as if but a part of the elegant i'urnishing of the rooms. The eye may wander from them for a time, but it will return, and in the future these pictures are the dis- tinctive feature in one’s remembrance of that wonderful Roman studio. At Philadelphia his pictures were the “ Ruins of Psestum ” and “ The Pyramids of Egypt.” To Paris, in 1878, he sent the last work, and three other Eastern and Italian scenes. Two of Vertunni’s pictures belong to Mrs. J. H. Weeks of Boston. “At the Dudley Gallery,” says the London Illustrated News, “ are now exhibited some landscapes by Cavaliere Vertunni, a celebrated Neapolitan artist, usually resident in Rome. These works, like many others recently produced in Italy, afford very gratifying evidence of the rapid advance lately made by the modern Italian school.” “ The landscapes of Vertunni are remarkable for almost exuberant power, for almost excessive daring in the application of the pigments, and for entire freedom from the con- ventionalities of ‘ classical,’ as opposed to naturalistic, representation. They comprise five large and noble views, widely differing in subject and effect, and a smaller study for a picture ; the whole taken, with one exception, from the neighborhood of Rome or in Central Italy.” — Art Journal, August 13, 1870. Verveer, Samuel Leonidas. {Dutch) Born at The Hague (1813- 1876). Chevalier of the Order of Leopold, and of the Crown of Oak of Luxembourg. Member of the Art Societies of Brussels and Ghent. Medal at Philadelphia. This artist represented views of cities, such as Amsterdam, Rotterdam, Bruges, Dordrecht, etc. He also painted some genre subjects, such as “ Salmon-Fishers,” “ Depart- ure for the Market,” etc. At Philadelphia he exhibited “ The Vil- lage of Scheveningen.” Vetter, Jean H^gdsippe. (Fr.) Born at Paris, about 1816. Chev- alier of the Legion of Honor. Pupil of Steuben. Made his debut at the Salon of 1842 with a portrait, but his subjects are those of anec- dote, such as “ Mascarilla presenting Jodelet to Cathos and Madelon” (1865) ; “ Bernard Palissy ” (1861), a work which made a great success, and was sold for 25,000 francs ; “ The Quarter of an Hour of Rabelais ” (1855) ; “ Moliere and Louis XIV.,” at the Luxembourg ; “ The Ex- q^uisite, — Time of Louis XIIL” (1875) ; “The Flight into Egypt” 18* u 322 ARTISTS OF THE NINETEENTH CENTURY. (1874) ; “ Mazarin ” (1872), purchased by the Ministry of the Beaux- Arts ; etc. In 1878 he exhibited a portrait and “ The Letter.” Veyrassat, Jules Jacques. {Fr.) Bom at Paris. Medal for etching in 1866 and ’69, and for painting in 1872. The father of Veyrassat M’as a jeweler, and wished his son to follow the same occu- pation ; he placed the boy at the Drawing School in the Hue PEcole de Medecine, which was intended to fit young 'men for trades which liave some connection with art. The young artist was very happy there, and drew and modeled arduously. His success in this school determined him to make art a profession. His father sought the advice of Decamps, who said that obstacles should be throuTi in the way of the son, thinking that if he indeed had a vocation for art, he would overcome all difficulties, and if not he had best be discouraged. After the revolution of 1848 the father w’as too poor to aid the son in anj' case. Veyrassat then commenced making copies of works in the Louvre, and also some etchings for publishers. In this way he sup- plied his necessities, and as soon as he could afford it moved to £couen, where he became the friend of Edouard Frere. Veyrassat paints pic- tures of country-life pure and simple. In 1877 he exhibited the “ Passe-cheval ” (a small boat for taking horses over a stream, etc.) and the “Stone Quarry” (Fontainebleau); in 1876, “The Little Bridge at Samois ” and “ A Belay of Horses for Tow-Boats ” ; in 1875, “ The Watering-Place,” “ The Well,” and “ Stone Carts ” (Fontaine- bleau), etc. His subjects are often repeated. VejTassat lives at Samois on the Seine, near the Forest of Fontainebleau, a place well suited to his studies. This artist also paints in water-colors ; “ The Luncheon of the Harvesters” (1877) is a good specimen of his art in this direc- tion. A picture by Veyrassat, “ Barge Horses,” is in the collection of Mrs. H. E. Majmard of Boston. To the Salon of 1878 he sent “ The Fair of St. Catherine at Fontainebleau ” and “A Belay for Horses of Tow-Boats.” Vibert, Jehan Georges. (Fr.) Bom at Paris, 1 840. Chevalier of the Legion of Honor, 1870. Pupil of I’licole des Beaux- Arts, and of Barrias. Made his debut at the Salon of 1863, seven years only be- fore his decoration. During the siege of Paris he belonged to the Sharp-Shooters, and was wounded at the combat of IMalmaison, Octo- ber, 1870. At the Salon of 1877 he exhibited “ The Xew Clerk ” (purchased by Mr. Butler of New' York) and “ The Serenade,” also four w'ater-color sketches ; in 1876, a portrait and “ The Antechamber of Milord”; in 1875, “The Grasshopper and the Ant” and “The Bepose of the Painter ” ; in 1874, “ The Beprimand ” (belonging to Miss Wolfe), “A Jlonk gathering Badishes,” and a portrait; in 1873, “ The Departure of the Bridegrooms ” (Spain) and “ The First- Born ” (belonging to Mr. Stebbins) ; in 1870, “ Gulliver fastened to the Ground and surrounded by the Array ” and “ The Importunate ” ; etc. At the Johnston sale, the “ Servant Beading ” (water-color, 8 by ARTISTS OF THE NINETEENTH CENTURY. 323 11) sold for $ 330 ; “ The Knife-Grinder ” (pen and ink, 7 by 5), for $200; and “The Offer of the Umbrella” (water-color, 18 by 13), $ 1,000. Besides his exhibits at the Salons, Vibert has painted more than one hundred easel-pictures. He has also executed an “ Assump- tion of the Virgin” for the chapel of Saint-Denis in the church of Saint-Bernard. As an author he has produced a vaudeville, the “ Tri- bune mecanique,” two comic scenes for acting, called the “ Chapeaux ” and the “ Portraits ” ; also a comedy, the “Verglas.” At a sale in Brussels, 1874, “ Gulliver in Liliput ” sold for £ 800. At the Latham sale. New York, 1878, “ A Committee on Moral Books ” sold for $ 4,100. It is 19 by 26 inches in size. At the Salon of 1878 he exhibited “ The Apotheosis of Thiers.” This is fully described in the following letter written from Paris, October, 1877, by Miss Brewster of Eome : — “ One of the most original artists that Le Roux introduced me to is Vibert ; he is truly an original man in every way. He is middle-sized, stout for his age, — for he seems only thirty-five, — has a full, merry, happy, but very shrew’d, sensible face; he loves work, and is, as are all these men, an indefatigable, untiring worker, but he loves also to take his itlay-hours. In the evening he goes to the theater, and among his friends and himself removes his thoughts from his work and his studio. “ And what a worker he is, not only in his studio, but all over his house I From the moment you enter the grriZ^c of his handsome residence in Rue dc Boulogne, up to the studio, you see you are in an artist’s house. There are fine Japanese majolica mon- sters on the portico ; marble shells full of flowers ; tlie walls of the entrance-way are Pompeian ; the walls of the staircase are covered with India-straw matting, and the outside of the stair-balustrade has a deep fringe of rattan ; India plates of brass and India i)anelings are on the landing-places. His bedroom is Japanese, and he has painted the ceiling to imitate a great plaque of crackled porcelain ; it is deliciously done. He has inclosed all his garden and made a sort of Japanese court and salon ; there are skylights and gay friezes, and part of the ceiling he has decorated most skill- fully with curious, grotesque, and gay-colored Japanese dragons and gilt diaperings. At the end of the court is to be a fountain of his own designing. I saw the photographs of it. There is a red marble basin, and on the top of the wdiole is a bronze bust of La Fontaine, the French fabulist. On the fountain front are bas-reliefs fj’oni some of the fables. One is of the stork’s feast to the w'olf, and at the side of the fountain ’s the device Vibert has adopted from one of La Fontaine’s fables, ‘ Travaillez, prenez de la peine.’ “ Vibert's pictures are remarkable, as you know, for delicacy of touch and nice feeling for color. He, as all the other Parisian artists, studies nature constantly. He builds up his pictures, and copies accurately. His poetic imagination supplies the ideal. His studio is arranged for different compositions of pictures. On one side are two fine columns wuth gilt capitals, and draperies lianging between. On another side is a balus- trade. There are all manner of accessories about. “ I have left to the last the description of the picture Vibert is painting for the com- ing Salon ; it is already celebrated, although only a study as yet of the immense work it wull be W’hen completed. All Paris that is interested in art is talking of this picture, not only on account of its great cleverness but also because of its curious history. The subject is now called the ‘ Apotheosis of Thiers.’ When Vibert designed the picture he asked Detaille to help him paint it. The two men worked on it most faithfully; when it ar- rived at a certain point Detaille requested his master, Meissonier, to see it. Meissonier refused, and showed such displeasure that Detaille was obliged to give up all work upon ft, as his master selfishly wished to keep the subject for himself. Vibert luckily, how- ever, has no such feelings of delicacy toward Meissonier, and has resolved to finish the stupendous work alone and unaided. 324 ARTISTS OF THE NINETEENTH CENTCRY- “It is hardly an ‘apotheosis,’ for the ideas and works of Thiers, rather than his person, are deitled in this noble design of Viberfs. I think I never felt so deeply before how difficult it is to explain or describe in words a picture ; it is always a thankless task, but in the present case the subject is so coiuidex that language can do it no justice. There are an infinite number of details in the picture ; but the principal personage is expressed in a forcible, striking manner. The dead body of the great French debater, historian, and statesman lies on a bier, decorated with the grand cross of the Legion of Honor. Although the body and face have the cadaverous rigidity of death, there is likewise a noble expression, an elevated character given to this form of death that seems to make it grander and more dignified than in life; and in the center of the immense composition, so original in its conception, this figure first arrests the attention ; this is the great difficulty of such a i)icture, and it has been overcome in a masterly manner. At tiie foot of the bier stands France, a beautiful, noble woman, weeping, draped in black crape ; she is laying gently the tricolored flag over the bier, and its folds are en- veloping the. body of the dead. At the head of the bier, to the right, almost in the center of the picture, is Glory, tall and beautiful, with a transparent Greek tunic ; she has just alighted ; the feet hardly touch the ground ; her wings (golden) are unfolded, and with a noble movement she points to the heavens, where j'on see displayed, as in cloud- visions, the works and ideas of the dead great man ; in one of her hands is .an oak branch, the civic recompense she, offers to the citizen of citizens, — he who triumphed so nobly over the horrors of the Commune and redeemed France. " The Commune is represented by a sort of hybrid being that lies in the right comer of the picture on the ground in a death agony ; the red flag is in tatters beneath this creature, and in its hand is a burning torch. This torch rests against the shield of Paris, which is half charred. This is a most curious and impressive part of the remark- able i)icture. “ At the foot of the bier are heaped up laurels, wreaths and crowns and garlands, the memories of the numberless testimonies of sorrow that were sent by all classes of per- sons to the funeral of Thiers, and there is also the black standard of Belfort, dedicated to him who was able to save this city for France after the terrible Prussian-French war. To the right in the distance is represented the siege of Paris : there is fighting and car- nage ; the forts are defending the city. Tliis is another testimony of gratitude to the dead statesman, for it was Thiers who fortified the city in 1840, when he was minister under Louis Pliilippe. By these fortifications, it will be remembered, Paris was able to hold out so long, to the great astonishment of all Europe, when the formidable Prussian army invaded the city, for it was known that only some debris of regiments, collected in haste, had subdued the insurgents among the people, and were defending the place. “ To the left, back of the lovely figure of mourning France, we see the funeral cort^e, soldiers, deputations, the funeral car or chariot, the immense crowd, the whole people — a million of men as it were — entering Pere la Chaise, and behind this vast concourse is the great silliouette or outline of the city of Paris. This completes the various ground- plans of the picture. “ The artist then desires to exiiress M. Thiers in the three great phases of his life, — a life th.at was singularly complete in each ph-ise, — the orator, the historian, and the statesman. To give these three forms, he uses most happily the heavens of his picture, and, although the representations are multiplied, all is so well ordered, arranged ■\vith such clever ingenuity, that nothing is confused or troubled. Here, again, words are mis- erably we.ak. Each episode of the dead statesman’s life is given with clearness and diversity in the moving masses of clouds, and the clouds lose none of their lightness. The varied actions, too, produce a happy eSect to the eye, although in description the melange may seem incredible and impossible. As M. Tliiers first made himself known .as a speaker, it is with that phase the cloud phantasmagoria begins. To the left, at the very' summit of the clouds, is the Chamber of Deputies, with its tribune that was so often made illustrious by the speeches of Thiers : 1S30 is personified by the Column of July, when he made part of the government. Below this rolls a mass of clouds that ARTISTS OF THE NINETEENTH CENTURY. 325 sweep across the canvas ; these contain the historian’s phase, the works he wrote on the Revolution, the Consulate, and the First Empire. “ In the clouds we see first the Rastiie, and tlie people destroying it in their fury. Then advance forward the soldiers of the Republic ; these are Jemapes, Fleuris, and the great wars of Italy. To these, follows mysterious Egypt, with its pyramids ; the banks of the Nile, covered with triumphant French armies, Kleber, Desaix ; here is the center of the canvas, and the heavens are briglitiy illuminated ; this giow is very harmonious, and unites weil with the warm color of giory. To this center also is given part of the history of Napoieon at the summit of his glory and power : it is the brilliant period of the First Empire ; but the heavens gradually lose their brilliancy, as it to typify that it is no longer the people that is ruiing ; there are battles and victories, but tlie imperial glory becomes obscured and somber ; Russia is represented by a routed army in the center of snow and ice. This wonderful historical epic is given witli marvelous clearness and genius ; it traverses the canvas from ieft to right. Then at the right extremity the acts of M. Thiers are resumed. We see tlie grounds of Longchamps, where Thiers, as President of the Republic, held the grand review of the troops, which he reorganized when it was thought that France, crushed, humiliated, despoiled, could never rise from her terrible fall. When I think how beautiful is this truly sublime picture, .and how inefficient are words to give an idea of it, my attempt seems most audacious. Those of you who will see the picture next spring may forget my description, but those of you who cannot have that privilege and pleasure may accept my inteutions indulgently, and probably be glad to have the result of them. ” Vinck, Franz. {Belgian.') Of Antwerp. Medal at Philadelphia, where he exhibited “ A Flemish Burgher’s Wife in the Sixteenth Century ” and “ The Confederates in the Presence of Marguerite of Parma.” Vinton, Frederick Porter. (Am.) Born in Bangor, Me., 1846. This painter was brought up to mercantile pursuits, but turned his attention to art, and when seventeen years old the advice and influ- ence of W. M. Hunt helped to fix his decision to become a painter. In 1875 Vinton went to Paris and studied seven months under Bonnat. He then went to Munich, and remained a year, studying under Duve- neck and in the Academy under Professors Wagner and Diez. He returned to Paris, and was one of the early pupils in the school of Jean Paul Laurens. He returned to America in the autumn of 1878, and opened a studio in Boston. Before going to Europe Vinton ex- hibited his pictures at the Boston Art Club. “ Celestina,” one of his early works, belongs to Mrs. Dix of Poston. At the Paris Salon of 1878 Vinton exhibited the “ Little Gypsy ” or “ Italian Girl,” which was recently seen at Doll and Richards, Boston. To the Paris Exhi- bition, 1878, he sent “ A Head of a Neapolitan Boy ” and the “ Head of an Old French Peasant-Woman.” The former was sold for 1,200 francs. Vinton paints portraits, and is now engaged upon one of Mr. T, G. Appleton. “ Mr. Vinton’s ‘ Celestina ’ is more to our mind than either Bouguereau or Duveneck. However, Mr. Vinton stands in an intermediate place, with a picture professing neither the actualness of Duveneck nor the idealized polish of Bouguereau, hut merely the charming reality of art modifying and sweetening its subject, — a young Italian girl playing a mandolin, and clad in a faded blue kirtle, drab jacket, and a white kerchief yellow fringed. Green, gray, brown, and red are darkly interblended in the background. 326 ARTISTS OF THE NINETEENTH CENTURY. and the figure is defined by some hold and yet subdued spreading of lights on face, hair, and form.” — The Atlantic, June, 1875. " Mr. Frederick V'inton’s ‘ Italian Girl,’ which was exhibited in the Salon and received the generous j)raise3 of his brother artists in Paris, is the best representative of his work abroad, and affords an excellent opportunity for renewing otir acquaintance with him. The i)icture made a good impression in Paris, and certainly will sustain before the Bos- ton public the honor which is conferred upon a painting by its admission to the Salon. . ... In Mr. Vinton’s picture what charms most is the ricliness and harmony of the coloring. The flesh is very natural It looks as though it would yield to the pressure of the finger, — there is nothing hard about it. To say that he has given the subject a new charm, is to say a great deal, when we remember how many times the subject has been treated and by what artists.” — J. B. Millet, Boston Advertiser, November 12, 1S78. Viollet-le-Duc, Etienne Adolphe. (Fr.) Born at Paris (181T- 1878). Three medals at the Salons. Pupil of Leon-Fleury. This landscape-painter has exhibited at the Salons since 1844. Among hi.s numerous works we may name the following: in 1877, “Cliff and Beach at Iitretat ” and the “ Plateau of Amont, at Etretat” ; in 1876, “ The Aqueduct of Buc, in the Valley of Jouy ” and “ The Calvary of Yport ” ; in 1875, two pictures, the “ Western and the Eastern Entrances to the Fernie du Mont,” at Etretat ; in 1874, “ The Environs of Cannes ’’and “The Isles of Hyeres ” ; in 1872, “ The Vallej’ of Jouy, taken from the Heights of Metz ” ; in 1870, “ The Valley of Jouy, — Morning,” one of his best works. Two of his landscapes were sent to the Salon of 1878 after his death. Viry, Paul. (Fr.) Born at Poce. Pupil of Picot. At the Paris Salon of 1877 he exhibited “Music” and “A Falconer”; in 1876, “ The Duo ” ; and in 1875, “ The Return from the Hunt ” and “ The Aviary.” At the Latham sale. New York, 1878, “Courtiers of Louis XIII.” (32 by 40) sold for $ 1,800. Vogel von Vogelstein, Karl Christian. (Ger.) Bom at Wil- denfels (1788 - 1868). Member of the Academies of Vienna, Munich, Berlin, and St. Petersburg. This artist studied at the Academy of Dresden, and went to Rome, where he passed seven years. In 1820 he was called to Dresden as a Professor. In 1842 he returned to Rome, remaining some time. Fie executed various decorative works, but his fame rests on his portraits. That of Tieck is at the Berlin National Gallery. After his death the government bought lor the Museum of Dresden the entire collection left in his studio. The Leipsic Museum has two of his portraits. Among other honors he received letters of nobility. Voillemot, Andr^-Charles. (Fr.) Born at Paris. Chevalier of the Legion of Honor. Pupil of Drolling. Among his works are, “Twilight, — a Decorative Fantasy,” “The Woman with Roses,” “ Spring,” and “ Innocence in Danger.” Volk, Leonard W. (Am.) Born at Wellstown, New York, 1828. He has spent his professional life principally in Chicago. He was for several years in Italy at work and at study, but under no particu- lar master. In 1867 he was elected Academician of the Chicago ARTISTS OF THE NINETEENTH CENTURY. 327 Academy of Design, and has been for eight years its president. He is also a member of the Chicago Academy of Sciences and of other Art associations and societies. Among his more important works are the Douglas Monument ; a bust of President Lincoln, from life, exhibited at Paris in 1867 ; life-sized statues of Lincoln and Douglas, in the Illinois State-House, executed from life studies ; the statuary in the Keep Monument in Watertown, N. Y. ; the Erie County, N. Y., Soldiers’ Monument, the first monument of this kind erected in this country ; the Soldiers’ Monuments, with statues, at Rock Island and Cook County, 111. ; etc. Volk, Douglas. (Am.) Son of Leonard Volk. He has been a resident of Paris for some time, where he was a pupil of Gerome. He has also studied in Rome. To the Paris Salon in 1878 he sent a portrait of Mile. T. He contributed to the Centennial Exhibition at Philadelphia, in 1876, “Vanity” and “In Brittany”; to the Ex- hibition of the Society of American Artists in New York in 1878, two views of “ Domestic Life in Normandy.” Vollon, Antoine. (Er.) Born at Lyons, 1838. Chevalier of the Legion of Honor, 1870. Studied at the Academy of Lyons. He went to Paris and made his debut at the Salon of 1864. So great was his success that he was decorated six years after his first exhibition. His subjects are mostly kitchen interiors, sea-fish, and portraits. In 1876 he exhibited at the Salon, “A Woman of Pollet at Dieppe” ; in 1875, “ The Pig” and “Armures ” (at the Luxembourg) ; in 1874, “A Bit of the Market”; in 1872, “New Year’s Day” and “The Kettle” ; in 1870, “A Corner of my Studio” and “Sea-Fish” (in the Luxembourg) ; in 1869, “ After the Ball ” ; in 1868, “Curiosities” (in the Luxembourg) and “ Portrait of a Fisherman.” In 1871 he exhibited at the Royal Academy, London, “ Luncheon.” At the Sa- lon of 1878 he exhibited “ The Helmet of Henry II.” and “A Span- iard.” Among the new names which the public has learned this year, I recommend to you especially that of Vollon. The catalogue does not tell us under what masters he has worked, neither from what studio he emerges, armed at all points. If spiritualism was not a pure absurdity, I should believe that Chardin had come back at niglit to give les- sons to this young man. He has exhibited two pictures, of which one represents the * Interior of a Kitchen/ the other, a monkey surrounded with fruits and musical instruments. The two subjects are treated with decision, firmness, and a freedom al- ready masterly. The tones are just and true. This young man is truly strong. If I saw in him only a hopeful pupil, I should not cry out to him the name of Chardin.” — Edmond About, Salon de 1864. In the “ Gazette des Beaiix-Arts” of July, 1878, Bo^er Ballu praises the work of Vollon, ^‘The Helmet of Henry IL,” and finally says : — “It is not an exact imitation, a faithful copy, made at the expense of patience by a minute and skillful brush ; it is, so to speak, a portrait ; yes, I am right, a portrait of the helmet of Henry II., represented with the physiognomy of an object of ancient art, and that charm so peculiar to the taste of the sixteenth century. In truth, the amount of real talent here bestowed is not to be appreciated, and I am convinced that in this still-life Vollon has equaled Chardin.” 328 ARTISTS OF THE NINETEENTH CENTURY. Voltz, Friedrich Johann. (Ger.) Bom at Nordlingen, 1817. Member of the Academies of Berlin and Munich. Eoyal Bavariiin Professor. Medals at Berlin, and the great Wiirtemberg Art Medal. Studied at the Academy of Munich. In 1843 be went to Italy, where he remained two years. His specialty is in representing idyllic animal pictures. He has been influenced in his maimer and color by Schleich, Piloty, Spitzweg, and others of the ^Munich school. He has visited most of the art cities of Europe, and is au fait to the progress and interests of the art world. In later yearn Voltz has practiced etching and lithographing. At the National Gallery, Ber- lin, are his “Menagerie” and “Cows Drinking.” At the Leipsic Museum there is a characteristic picture by Voltz. At Berlin, in 1876, he exhibited two cattle pictures and an “ Idyl.” At the Bos- ton Museum there is now a fine picture by Voltz, belonging to Mr. H. P. Kidder. It represents^a group of cattle coming over a bilk Mr. T. R. Butler of New York has in his collection a “ Landscape with Cattle,” by this artist. Von Severdonck, J. {Belgian.) Born about 1825. A pupU of Verboeckhoven, with whom he has lived in Brussels, for many year's. He occupies a studio with his miister, and is said to do the greater part of the mechanical work of Verboeckhoven’s pictures. Von Severdonck himself paints small landscapes with sheep, and some- times fowls introduced as accessories ; they are painted with great care and tenderness, are agreeable in color, and truthful in drawing and action. They are in many fine collections in America. He has painted but few large works. He sent “ A Cavalry Charge ” to the Paris Exposition of 1878. One of his large pictures, a landscape with animals, belongs to Mr. Charles G. Woods of Boston. Voss, Maria. (Dutch.) Of Oosterbeck. liledal at Philadelphia, where she exhibited “ Still-Life.” Mr. Weir calls her picture “ quite superior to anything of its kind in the E.xhibition.” Vriendt, Julian de. (Belgian.) Of Antwerp. At the Johnston sale in New York, 1876, “ The Story of the Battle ” (21 by 26) sold for $ 1,800. To the Paris Exposition of 1878 he contributed six por- traits. Vriendt, Albrecht de. (Belgian.) Knight of the Order of Leo- pold. iledals at London and Vienna. A resident of Brussels. At the Municli Exposition, in 1870, he exhibited “ Episodes from the Life of Charles V.” At Berlin, in 1876, “ Charles V. in the Cloister of St. Just.” To the Paris Exposition of 1878 he sent “Charles V. at Yuste,” “Jacqueline of Bavaria imploring the Pardon of her Hus- band by Philip the Good,” and “ The Excommunication of Bouchard d’Anvers.” Wach, Karl Wilhelm. (Ger.) Born at Berlin (1787-1845). Royal Professor and member of the Academy of Berlin. Court painter. He studied at Berlin Academy. Especially excelled in ARTISTS OF THE NINETEENTH CENTURY. 329 knowledge of perspective. In the war of 1813 he served as an officer. Afterwards at Paris he studied under David and Gros. In 1817 he went to Italy. His power of application was remarkable, — in three months he made more than one hundred drawings from pictures, — but his individual style was not changed by this study. In 1819 he returned to Berlin, and established an atelier after the French man- ner, where he received large numbers of pupils, and became the most distinguished teacher of his time. He painted religious and his- torical subjects and portraits. He executed two altar-pieces for the Peter- Paul Church in Moscow. At the National Gallery, Berlin, are his “ Psyche surprised by Cupid,” “ A Madonna,” and “ Studies of Heads.” Wagner, Ferdinand. {Ger.) Born at Schwabmiinchen, 1820. Has received the freedom of the city of Augsburg. Studied under Cornelius and Sclmorr. Paints historical subjects. He executed some frescos at the church of Konigsbrunn, — others in the govern- ment buildings at Constance are quite famous. He has also painted decorative works in Augsburg, Breslau, Meiningen, Monaco, etc. Wagner, Alexander. (Hungarian.) Born in Pesth, 1838. Pro- fessor at Munich. Medal at Philadelphia. Studied under Piloty at Munich. Was appointed professor when but twenty-eight years old. Among the more important works of Wagner are, “ An Episode of the Siege of Belgrade ” and a portrait of the Empress, both in the Museum at Pesth ; “ Departure of Queen Isabella Zapolya,” belonging to the Hungarian Academy ; “ Baptism of Stephen I., King of Hun- gary ” ; two frescos at the National Museum in Munich, called “ En- trance of CiTstavus Adolphus into Aschaffenburg ” and the “ Marriage of Otho the Illustrious ” ; at Pesth, a fresco, “ The Tournament of Matthias Corvinus,” “ Hussar-Life,” and “ Madchenraub.” Wag- ner is best known in America by his “ Roman Chariot-Race,” photo- graphs of which were familiar before his second work, of the same subject, was seen at the Philadelphia Exposition. This is, by general consent, considered inferior to the first and smaller work, which was so admired at Vienna, and is now owned in England. “ The Chariot- Race ” was followed by “ Racing among the Horse-Herders of Debrec- zin.” This city is, next to Pesth, the leading one of Hungary, and the herders in that part of the country are famed for their skill in lassoing and taming the wild horses of the Putzta. ** Alexander Wagner loves his technique, hut his ruling jiassion is to get at the mingled physical and spiritual life, the action, the soul of a conception, and he subordinates all else to its portrayaL” — Art Journal, April, 1877, Waldo, Samuel. (Am.) A native of Connecticut (1783-1861). He received his first instructions in art in his native State, but painted for some time in Charleston, S. C. In 1806 he went to London, and was admitted into the small but select circle of American artists then in the English metropolis. After painting portraits m London for 330 AliTISTS OF THE NINETEENTH CENTURY. three years, he returned to the United States in 1809 and opened a studio in New York, where the balance of his professional life was spent. He devoted himself to portrait-painting udth marked success. The New York Historical Society owns his likeness of Peter Remsen, and several portraits of ex-mayors of the city of New York, by Waldo, are in the City Hall there. Waldorp, Antoine. {Dutch.') Bom at Basch (1803-1867). Chevalier of the Lion of the Netherlands, the Crown of Oak, and the Order of Leopold. He at first painted decorations, but devoted him- self later to views of cities and marines. Walker, Frederick, A. R. A. {Brit.) Bom in London (1840- 1875). Entered the office of an architect at the age of sixteen, be- ginning the study of art a year later, soon after which he entered the Royal Academy, London. His earliest efforts were made as a de- signer on wood, showing decided genius in his illustrations of current literature, furnishing the drawings for Thackeray’s “ Adventures of Philip,” and other books. He first exhibited in colors, “ The Lost Path,” at the Royal Academy, in 1863. In 1864 he was elected an Associate of the Water-Color Society, and a full ^Member in 1867, making rapid progress in that branch of the profession, and exhibiting frequently such works as his “ Fishmonger’s Shop,” “ Spring,” “ Au- tumn,” “ Stream in Invernesshire,” “ Fate,” “ Well-Sinkers,” etc. In oil, also, he was quite successful, sending to the Royal Academy, in 1868, “ The Vagrants in the Glen ” ; in 1869, “ The Old Gate ” ; in 1870, “ The Plow ” ; in 1871, “ At the Bar” ; in 1872, “ The Harbor of Refuge ” ; in 1875, “ The Right of Way,” his last picture. He was elected an Associate of the Royal Academy in 1870. About one hundred and fifty of his works in oil and water-colors were exhibited in London after his death in 1875. “ Mr. Walker is especially fond of out-door light, air. dew, sunshine, and the freshness of niorniirg among spring leaves and floweis. The shrubs, annuals, and budding plants of an English gai-den have probably never before been ]iaiuted with so much loving sim- ])!icity and harmonious freshness of color.” — Sidney Colvin, in English FainUrs of the Present Bay, 1S71. “ Walker’s ' Right of Way ’ is a child frightened by sheep while crossing a meadow, full of charming expression of the poetry of nature, and softly and deftly handled The painter is one of considerable repute in this special line of art” — Art Journal, June, 1875. " The predominating qualities of Walker’s designs for book illustration are facility of invention combined with great tenderness and grace in drawing, and an innate percep- tion of individual character Of what may be termed idyllic painting Walker was unquestionably one of the ablest representatives. Defects of style were occasionally to be noticed, but they were in great measure redeemed by grace of composition.” — Art Journal, November, 1876. Wallace, William. {Brit.) Bom in Falkirk (1801 - 1866). Por- trait-painter. He practiced bis profession in Edinburgh until 1833 or ’34, when he opened a studio in Glasgow. His work is still highly regarded in his native country. ARTISTS OF TEE NINETEENTH CENTURY. 331 Waller, Frank. {Am.) Born in New York, 1842. He received his first lessons in drawing while a pnpil of the New York Free Acad- emy. Between the years 1863 and ’68 he was in business in his native city, drawing with pen and ink, and painting in oil in his leisure hours. He went to Europe in 1870, when he entered the studio of J. G. Chapman in Rome, and first resolved to adopt art as a profession. In 1871 he returned to New York ; but again crossed the ocean in 1872, making many studies in Egypt for future works. On his Nile trip he was accompanied by the late Edwin White. Since 1874 he has studied at the Art Students’ League, New York. He has been its Treasurer, and was its first President, still holding the latter office. Among his works are, “ Temple at Biggeh Philae in the Distance,” “ Tombs of the Califs, near Cairo,” “ On the Desert,” “ Santa Maria del Sasso, Lake Maggiore ” (belonging to Parke Godwin), “ Ruins near Cairo,” “ Interior of a Studio,” etc., views of Egypt being a specialty with him. He exhibits frequently at the National Academy, New York. Walter, Thomas N. (Am.) Born in Philadelphia, 1804. He studied architecture in his native city, under Strickland, and began the practice of the profession in 1830. Among the public buildings designed by Walter are the Philadelphia County Jail, in 1831 ; Girard College, in 1833 ; the extension of the Capitol at Washington, the iron dome of the Capitol, the new Treasury Building, the Con- gressional Library, and the wings of the Post-Office and the Patent Office. He was at one time Professor of Architecture in Franklin Institute. Walton, Elijah. (Brit.) A contemporary English water-color painter, whose favorite subjects are mountain-tops wrapt in mist, and often covered with snow. There was an exhibition of his works, numerous drawings in water-colors, and a few pictures in oil, in Lon- don, in the summer of 1874, including “ Dahabeah,” “Valley of the Wandering,” “ Mount Sinai ” (belonging to Dr. Blackie), “ Bedouins and Dromedaries,” etc. “ Elijah Walton has shown himself equally able to deal with the ruddy glow of the hot East, and with the sunlit aspect of the Western glaciers and snow-covered mountains, and while he is truthful in his delineation of the local characteristics of both the West and East, the unvarying sameness of his system of treatment establishes a strangely close connection between the two. In his Egyptian and Arabian scenes Mr. Walton’s peculiari- ties are productive of the happiest effect ; and he seems to have entered into all of the associations of the scene with an unusual depth of feeling.”— Art Journal, August, 1874. Wappers, Egide-Charles-Gustave, Baron. (Belgian.) Bom at Antwerp (1803- 1875). Painter to Leopold I. Officer of the Legion of Honor. Pupil of the Academy of Antwerp, and of Herreyns and Van Bree. He went to Paris, and adopted the manner of the ro- mantic school. From 1846 to ’53 he was Director of the Academy of Antwerp, and resigned the office, in which he was followed by De Keyser. His pictures are mostly of historic subjects, such as “ The 332 ARTISTS OF THE NINETEENTH CENTURY. Devotion of the Burgomasters of Leyden,” “ Charles IX. during St. Bartholomew’s Massacre,” “ Peter the Great with the Ship-Builders of Saardam,” “ The Defence of Rhodes by the Knights of Saint-John of Jerusalem” (for the Galler}^ of Versailles), “The Great Fishing at Antwerp ” (for Queen Victoria), etc. He also made numerous por- traits. Mr. Probasco of Cincinnati has in his collection the “ Neuvaines of the Family of Count Egmont previous to his Execution by the Duke of Alva,” painted in 1866. Ward, Edward M., R. A. (Brit.) Bom in London, 1816. He entered the schools of the Royal Academy in 1835. Went to Rome in 1836, studying in that city for three years, winning a medal in the Academy of St. Luke for historical composition in 1838. He returned to England in 1839, exhibiting his first picture, “ Cimabue and Giotto,” the same year. In 1840 he sent to the Royal Academy “ King Lear,” and in 1843, to the British Institution, “ Napoleon in the Prison of Nice,” which was subsequently the property of the Duke of Welling- ton. Among his early works are, “Dr. Johnson reading the Manu- script of the Vicar of Wakefield,” “ The Early Life of Goldsmith,” “Dr. Johnson in the Antechamber of Lord Chesterfield’s House,” “ Lord Clarendon’s Disgrace,” in 1846 ; “ The South Sea Bubble,” in 1847 ; “ London during the Great Fire,” in 1848 ; “ Charles Second and Nell Gwynn,” in 1849 ; “ Daniel Defoe with the Manuscript of Robinson Crusoe,” in 1850 ; “Isaac Walton Angling,” in 1851 ; “The Royal Family of France in the Temple,” in 1852 ; “Charlotte Corday going to Execution” and “The Execution of Montro.se,” in 1853; and “The Last Sleep of Argyle,” in 1854. In 1856, when he was made Royal Academician, hatdng been elected an Associate ten years pretdously, he exhibited “ Marie Antoinette parting with her Son.” In 1858, by Royal command, he painted “ Victoria visiting the Tomb of Napoleon I.” and “ The Investment of the Garter upon Napo- leon III.” His “ Antechamber at Whitehall during the Dying Mo- ments of Charles II.” was exhibited at the Royal Academy in 1861 ; “Charlotte Corday in Prison,” in 1863; “ Thackeray in his Study,” in 1864 ; “The Night of Rizzio’s Murder,” in 1865 ; “Amy Robsart and Leicester,” in 1866 ; “Juliet in Friar LavTence’s Cell,” in 1867 ; “The Marriage of the Duke of York to Lady Anne Mowbray,” in 1868 ; “Beatrice, Much Ado about Nothing,” in 1869 ; “Judge Jef- freys and Richard Baxter,” in 1870 ; “Anne Boleyn at the Queen’s Stairs, Tower,” in 1871 ; “ The Quarrel between Captain Absolute and Lydia Languish,” in 1872 ; “ The Eve of St. Bartholomew” and “ The Landing of Charles Second at Dover,” in 1873 ; “ Midsummer,” “ Christmas,” and “ Charles Second and Lady Rachel Russell,” in 1874 ; “ Lady Clara Vere de V ere ” and “ The Orphan of the Temple,” in 1875 ; “A Normandy Fish-Market,” in 1876 ; “Forbidden Fruit,” “William Third at Windsor,” and “Forgotten, — Court of Charles Second,” in 1877. He contributed both to Philadelphia in 1876, and ARTISTS OF THE NINETEENTH CENTURY. 333 to Paris ia 1878. Mr. Ward has been a very prolific painter, sending every year five or six elaborate works to the Royal Academy. Many of his paintings have been engraved. His “ Dr. J ohnson in the Ante- room of Lord Chesterfield,” “ The Disgrace of Lord Clarendon,” “ South Sea Bubble,” and “ James Second receiving the News of the Landing of the Prince of Orange” are the property of the nation, in the National Gallery. He contributed eight pictures in fresco for the cor- ridor of the House of Commons. “In liis ‘Charlotte Corday’ [R. A., 1863] Mr. Ward has attempted a subject which hardly any power in art could render pleashig ; and conscientiously as he has studied tlie period, one cannot help feeling that these decisively foreign historical subjects are dangerous ground In his larger picture, ‘Tlie Foundlings visiting Hogarth’s Studio,’ tlie artist has selected what the result proves to he a better field for the exer- cise of his inventive powers. The execution is indeed hard and grating ; it is almost like wind-instruments played out of tune ; but the vivacity of the children, and the pretty, natural action, shown in some of their figures, would render the design attractive in print.” — Falorave’s Essays on Art, “ This picture is a most masterly performance, ‘ Eve of St. Bartholomew ’ [R. A., 1873]. Never did Mr. Ward take up a subject which, according to our idea, had less promise, and never has he made more of a passage he has taken in hand.” — Art Journal, June, 1873. “The artist has made a touching picture [‘ William III. at Windsor,’ R. A., 1877], like many others from his hands calculated to appeal to the common human heart. He has told the story very pleasantly. We need hardly say that the walls, near and remote, which include a portion of the chapel, and the costume of the guard of the King, are perfect. No painter takes greater delight and pains to ascertain the facts of history when he makes history his study. The whole scene is compact and wisely arranged.” — Londom, Standard, May, 1877. “Mr Ward has realized an incident which actually took place, with convincing fidel- ity [‘Last Interview between Napoleon I. and Queen LouLsa of Prussia,’ R. A., 1877]. Only the back of the Emperor is seen, but his unheroic figure, his head sunk between his shoulders, and his hands clasped behind his back, are very characteristic ; and the figure of Talleyrand, who looks over his shoulder at the Queen, with an air of exultation, is scarcely less good. The portraits have evidently been taken from authentic sources, and all the details of costume and accessories are scrupulously correct. The artist never spares either time or trouble to secure absolute accuracy in these matters.” — Lo 7 jdo)i Globe, May, 1877. Ward, Henrietta. {Brit.) Wife of Edward M. Ward, R. A., be- longing by birth to an artistic family, her father being Raphael Ward, an engraver, and her grandfather, Janies Ward, R. A., one of the best animal-painters of England. Mrs. Ward, in late years, has been a regular contributor to the Exhibitions of the Royal Academy. In 1860 she sent “ The First Step in Life ” ; in 1862, “ Despair of Queen Henrietta Maria at the Death of Charles I.” ; in 1863, “ Mary, Queen of Scots, quitting Sterling” ; in 1864, “ The Tower, ay, the Tower ! ” ; in 1866, “ Palissy the Potter ” ; in 1867, “ Scene from the Childhood of Joan of Arc”; in 1868, “Lady Jane Grey”; in 1869, “Scene from the Childhood of the Old Pretender”; in 1870, “Going to Market, Picardy”; in 1871, “The Fortunes of Little Fritz”” in 1872, “The Queen’s Lodge, Windsor, in 1786”; in 1873, “Chat- 334 ARTISTS OF THE NINETEENTH CENTURY. terton” ; in 1874, “ The Defence of Latham House” ; in 1875, “ The Poet’s First Love”; in 1876, “The Ugly Duckling”; in 1877, “ Princess Charlotte of Wales ” ; in 1878, “ One of the Last Lays of Robert Burns,” several of which were at Philadelphia in 1876 and at Paris in 1878. “Many traces of this artist’s manner [E. M. Ward’s] are naturally seen in Mrs. Ward’s picture, ‘ Mary of Scotland giving her Infant to the Charge of Lord Mar ’ [R. A., 1S63]. Tliis work is finely painted, and tells its tale with clearness.’’ — Palgrave’s Essays on A rt. “ Mrs. Ward is a pleasantly gifted and accomplished painter of genre, especially in its relation to child-life. Her ‘ Little Fritz ’ and ‘ The First Interview between Josephine and the King of Rome’ [R. A., 1S71] are instances in point” — Mrs. Tytler's Modern Painters. “‘The Poet’s First Love’ [R. A., 1875], by Mrs. Ward, is an episode of child-life, painted with considerable artistic finish and care, and betokening many evidences of skill in the department of landscape-painting.” — Art Journal, July, 1S75. Ward, John Q. A., N. A. (Am.') Bom in the State of Ohio, 1830. Displayed a talent for plastic art at an early age. Studied under H. K. Brown, remaining his pupil for six years, 1850-56. He modeled in Wa.shington during the sessions of Congress for two winters. In 1857 he made his first sketch for “ The Indian Hunter,” now in Central Park, New York ; subsequently visiting the Indian country in the far West in order to study his subject in the aboriginal state. In 1861 he opened a studio in New York, ivas elected an Associate of the Na- tional Academy in 1862, Academician in 1863, and President in 1874. In 1866 he executed the group of statuary (now in the Public Garden, Boston) in honor of the discovery of amesthetics, and in 1867 he pre- sented his design for the Shakspere statue in Central Park, N. Y. Among Ward’s portrait busts are those of Alexander H. Stephens, Vice-President Hamlin, Dr. Valentine Mott, Joshua Giddings, James T. Brady, etc., and a full-length statue of Commodore Perry, erected by his son-in-law, August Belmont, in Newport, R. I. His “ Indian Hunter” and “ Freedman,” both in bronze, were at the Paris Exposition of 1867, and in the National Academy, New York, the next winter. The “ Freedman ” is now on the steps of the Capitol at Washington. In the Capitol at Washington he has also a bronze statue of Putnam, executed for the State of [Massachusetts, and he is the author of the Seventh Regiment statue in Central Park, New York. “A naked slave has burst his shackles, and with uplifted face thanks God for freedom [Ward’s ‘ Freedman ’]. It symbolizes the African race of America, the birth of a new people witliin the ranks of Christian civilization. We have seen nothing in our sculpture more soul-lifting or more comprehensively eloquent.” — Jarves, Art Idea. “ Although Mr. Ward has never practiced modeling in an academy or foreign or famed studio, he has labored with rare assiduity to master the principles of his art He understands proportion and anatomical conditions. His figure of Shakspere stands firmly and naturally on its feet, and is hannoniously true to the conditions and relations of the human form.” — Tuckerman’s Book of the Artists. Ward, Edgar M., A. N. A. (Am.) Bom at Urbana, Ohio. Younger brother of J. Q. A. Ward. He has studied in Paris, under ARTISTS OF THE NINETEENTH CENTURY. 335 Cabanel, spending the better part of his professional life on the Conti- nent. He painted in the studio of his brother in New York during the winter of 1876 and ’77. He is an Associate of the National Acad- emy, exhibiting there and in the Paris Salon. His Brittany Wash- erwomen ” (belonging to Robert Gordon) was at the Philadelphia Exhibition of 1876. His “ Sabot-Maker,” “ V enetian Water-Carriers,” and “ Washing in Brittany ” (the last belonging to J. H. Sherwood) were at Paris in 1878. “ Ward lias studied conscientiously and in a severe school, and the character of his work, in almost every liglit in which it may he viewed, will stand the test of comparison with the pictures of the leading artists represented in the Exhibition The color- ing of the works [‘ Young Housekeepers in Brittany’ and ‘ Washing in the Brook,’ N. A., 1875] is quiet and unobtrusive, and it is evident the artist has simply painted what he saw, and has introduced no sensational features to secure momentary applause.” — Art Journal. May, 1875. Warner, Olin L. (Am.) Born at Suffield, Ct., 1844. He stud- ied sculpture in I’Ecole des Beaux-Arts, Paris, under Jouifroy, and afterwards in the studio of Carpeaux, spending his professional life in Paris and New York. He is a member of the Society of American Artists. Among his more important works are a statuette entitled “ May,” exhibited at the National Academy in 1873 (now owned by Archer and Pancoast, New York), a colossal medallion of Edwin For- rest (at the Centennial Exhibition of 1876), a bust of President Hayes (belonging to the Union League Club, New York), and a statuette in marble called “ Night.” Warren, Henry. (Brit.) Born in London, 1798. He began his art studies as a sculptor, under Nollekens, about 1816 ; later, he turned his attention to painting, entering the schools of the Royal Academy. He exhibited for some years in oil, but joined the Insti- tute of Painters in Water-Colors early in its organization, and has since devoted himself entirely to that branch of his profession, and with marked success. He was for some time President of the Insti- tute, and has been Honorary President for many years. Among his drawings are, “ Cottages at Linton, Cambridgeshire,” painted in 1815, and many others, some of which have brought very large prices. He has exhibited rarely of late years. Warren, Edmond G. (Brit.) Son of Henry W'arren, a pupil of his father, and for some years an active member of the Institute of Painters in Water-Colors, exhibiting, among others, “ Summer Morn- ing on the River Arun,” “ A Water Picnic,” “ Waiting at the Lock,” “Epping Forest,” “A Rural Horae,” “Getting in the Corn,” and (in 1878) “ Summer Shade,” “ A Forest Clearing,” “ Under the Shady Beeches,” etc. Wasson, George S. (Am.) Born at Groveland, Mass., 1855. He studied at the Royal Academy at Stuttgart from 1872 to ’75, and received a medal for drawing. He paints marine views and land- scapes, and exhibits at the Boston Art Club. He has a studio at present in Boston. 336 ARTISTS OF THE NINETEENTH CENTURY. Waterhouse, Alfred, A. R. A. {Brit.) Bom near Liverpool, 1830. Received his early training in the ofiBce of an architect in Manchester, where he began his professional career. Studied for some time on the Continent, and was the successful competitor for the Manchester Assize Courts in 1859, building also in that city the Salford Gaol, Owens College, and the Town Hall, commenced in 1866. Among his other public buildings are the new portions of Baliol College, Oxford, and of Caius and Pembroke Colleges, Cam- bridge ; Lime Street Station Hotel, Liverpool ; new National Historj' Museum, South Kensington ; new University Club, and many coun- try-houses throughout England. In 1867 he was made a member of the Academy of Vienna, won the Grand Prix at the Paiis Intern, a- tional Exhilrition the same year, has been for some time one of the Vice-Presidents of the Royal Institute of British Architects, and was elected an Associate of the Royal Academy in 1878. Waterman, Marcus, A. N. A. (Am.) Born in Providence, R. I., and educated .at Brown University. He worked at his profession for some time in New York, opening a studio in Boston in 1874. A col- lection of his works was exhibited and sold in Boston in the spring of 1878, previous to his departure for Europe. He is an Associate of the National Academy, and a member of the Artists’ Fund and Ameri- can Water-Color Societies. His “ Gulliver in Liliput ” was at the Centennial Exhibition at Philadelphia in 1876. Watson, John D. (Brit.) Born in Yorkshire, 1832. He was a student of the Manchester Academy of De.sign, and, later, of the Royal Academy, London. He first exhibited at the Royal Academy, in 1853, *• An Artist’s Study,” and his pictures since have frequently been seen on its walls; among others, “Woman’s Work,” “Thinking It Out,” “ Saved,” “ The Stolen Meeting,” “ The Plague of her Life,” “ The Old Clock,” “ The Gleaner’s Harvest,” etc. He has contributed also, regularly, to the exhibitions of the Society of Painters in Water- Colors, of which he was made an Associate in 1865, and a full Mem- ber in 1870. Among his drawings in this medium are, “The Duet,” “ The Cottage Door,” “A Gentleman of the Road,” “ A Chat by the Way,” “ The Village Stream,” “ The Swineherd,” “ The Clandestine Marriage,” and many more. He received a medal at the Vienna Exposition of 1873, to which he sent “ The Poisoned Cup.” To Paris, in 1878, he sent “ The Gleaner’s Harvest,” “ Only Been with a Few Friends ” (in oil), “ Stolen Marriage,” “ Book liore,” etc. He has been successful as an illustrator of maga- zines and books, and has made drawings for holiday editions of such volumes as “ Robinson Crusoe ” and “ The Pilgrim's Progress,” which are very popular. Watson, Thomas H. (Brit.) Born in 1839. Educated at the Royal Academy, he received several medals for architectural drawings, and was awarded the “ first annual traveling studentship ” in 1863. ARTISTS OF TEE NINETEENTH CENTURY. 337 He has furnished designs for several important public and private buildings in Great Britain, and was elected President of the British Architectural Association in 1871. Watt, James Henry. (Rrit.) (1799-1867.) A pupil and assist- ant of Charles Heath. Resided in London, and executed many well- known plates after Landseer, Eastlake, Leslie, and other modern painters. Watter, Josef. {Bavarian.) An artist of the modern realistic school of Munich. Among his works are, “ In a Bavarian Stage- Coach,” “ On the Edge of a Wood,” “Ann, is it you i” etc. Watts, George F., R. A. {Brit.) Born, 1818. First exhibited at the Royal Academy in 1837. Received a prize of .£300 for a cartoon, “ Caractacus,” and £ 500 for his “ Alfred inciting the Saxons to Mari- time Enterprise,” from the Commissioners for the Decoration of the Houses of Parliament in 1843. He painted also “ St. George and the Dragon.” at Westminster Palace, and a large fresco in the new Hall of Lincoln’s Inn. Among his most successful portraits are those of Tennyson (1862), Gladstone (1865), Duke of Argyle (1860), Dean of Westminster (1867), J. E. MiUais and Frederick Leighton (1871), Rev. James Martineau and John Stuart Mill (1874). Among his ideal and mythological works may be mentioned, “The Window-Seat” and “ Sir Galahad ” at the Royal Academy in 1862 ; “ Virginia ” and “Ariadne,” in 1863; “Esau,” in 1865; and “ Thetis,” in 1866. In 1867, when he was elected an Associate of the Royal Academy, he contributed “A Lamplight Study” ; and in 1868, when he was raised to the rank of Academician, “ The Wife of Pygmalion ” and “ The Meeting of Jacob and Esau.” In 1869 he sent “ The Return of the Dove ’’and “The Red Cross Knight and Una”; in 1870, “ Daphne”; in 1873, “ The Prodigal”; in 1875, “ Dedicated to all the Churches ”; in 1876, “By the Sea, — a Study ”; in 1877, “The Dove”; in 1878, “ Britomart and her Nurse.” He has contributed several portraits and ideal figures to the Grosvenor Gallery. His “ Love and Death,” “Esau,” and a portrait of Herr Joachim and one of Robert Browning were at Paris in 1878. “ As a real master in tender coloring and admirable delicacy of touch, Mr. Watts does liis gifts better justice in the beautiful girl’s head named ‘Choosing’ [R A., 1804]. Surely a work like this, with the many charming specimens in the same style which we have received from this artist, may be admitted as evidence in what direction his genius really lies ; not force, thought, imagination, but refinement, grace, and fancy. It is his work in the latter manner which will at any rate be preferred by all the world to his at- tempts in the terribile via of life-size allegories. ’ — Palgrave’s Essays on Art. “ But whether of distinguished men, or of men and women utterly unknown to the world, the portraits of Mr. Watts stand out in strong relief from the portraits of the jiainter’s contemporaries, redeeming portrait-painting from the charge of decline in our day.” — Mrs. Tytler’s Modern Painters. " Mr. Watts has painted much, he has also thought much, and his works have come to be regarded as the exponents of a principle, and the expression of a conviction. As a painter, he has few followers, and no imitators, and yet the example he sets, if it have VOL. II. 15 V 338 ARTISTS OF THE NINETEENTH CENTURY. slight visible sign, is felt as a guiding power It is well known that the use of fresco in domestic decoration, though still a novelty in England, finds abundant prece- dents in Rome, Florence, Bologna, and Genoa. Mr. Watts has perhaps done more than any other man to domesticate high art in the homes of England.” — J. B. Atkixsos, in English Painters of the Present Day, 1871. “ Mr. Watts’ portraits are all conscientious and subtle, and of great present interest, yet not realistic enough to last.” — Ruskin’s Notes of the Academy, 1875. Wauters, Charles Augustin. {Belgian.) Born at Boom, 1811. Chevalier of the Order of Leopold. Two great medals at Brussels. Director of the Academy of Malines, where he had been a pupil under Van Bree. His subjects are religious and historical ; he has also painted portraits and a few genre scenes. Among his works are, “ Peter the Hermit preaching the Crusade,” “ The Passage of the Red Sea,” “ The Martyrdom of Saint Lawrence,” “ Giotto,” “ Dante and Beatrice,” “ Death of Mary of Burgundy,” “ The Day after the Ball,” “ The Unhappy Family.” Wauters, Emile Charles. {Belgian.) Bom at Bru.ssels. Member of the Academies of Brussels and Vienna, and Knight of the Order of Leopold. Medals at Paris in 1875 and ’76. Pupil of Portaels. He exhibited at the Paris Salon in 1877, “ Mary of Burgundy sworn to respect the Privileges of the Commons, 1477 ” (for the grand stairca.se of the Hotel de Ville at Brussels) ; in 1875, “ The Madness of Hugh van der Goes ” (belonging to the Bcdgian Government). His picture of “ Mary of Burgundy before the Sheriffs of Ghent ” was exhibited in London, and was much noticed. At Berlin, in 1876, he exhibited a portrait of Herr C. Somzee. At Paris, in 1878, three of the fore- going pictures were exhibited. Way, A. J. H. {Am.) Bom in Washington, D. C., 1826. He inherited his taste for art from his mother, who is said to have handled the pencil with no little skill. He began his studies under John P. Frankenstein in Cincinnati, at that time considered one of the strong- est head-painters in the country-. Later, he was a pupil of Alfred J. Muller of Baltimore. In 1850 he went to Paris, entering the atelier of Drolling ; in 1851 he was admitted to the Academy of Fine Arts in Florence. He spent four years in study in Europe, and the rest of his professional life in Baltimore. He was one of the four artists who organized the Maryland Academy of Fine Arts, and was for some time its Vice-President. His early efforts were directed to portrait- ure, but about 1859 he painted by chance a fruit-piece, which at- tracted the attention of Leutze, who advised him to devote himself to still-life, a branch of the profession he has since followed with marked succe.ss. He has exhibited for the last twenty years in the National Academy, and occasionally at the Royal Academy, London. Among the better known of his works are, “ A Christmas Morning ” (chromo- lithographed in Berlin, and well known in America). It was painted in 1870. His “ Appetizer ” has also been chromoed. Dr. H. F. Zol- lickoffer of Baltimore owms his “ Purity ” and “ Flora and Pomona.” ARTISTS OF THE NINETEENTH CENTURY. 339 His “ Prince Albert Grapes ” (1874) is in the collection of W. T. Walters of Baltimore. To the Centennial Exhibition of 1876 he con- tributed two panels (grapes) belonging now to J. T. Williams of New York, for which he received a medal “ for excellence in still-life.” “Perhaps Mr. Way is best known by ‘A Christmas Memory.’ It is a small picture, and represents a plate of Sevres porcelain, with bunches of grapes and raisins, an orange, some ruddy apples, etc., all resting on a crimson and blue fruit napkin. Thus it would have made a charming dessert piece ; but some sprigs of holly were twisted into a sort of wreath, giving warmth to the picture and suggesting the season.” — Wash- ington, D. C., Capitol, September 1.5, 1872. “In all qualities of form, color, texture, and solidity, his grapes are admirable. He attains these fine results by conscientious portraiture of his models. He selects fine bunches of his favorite fruit, hangs them in the light that he desires, and against such background as best brings out their beauties, and then paints, with the most loving care, every detail. His treatment of this subject is most masterly.” — Baltimore Every Satur- day, November 10, 1S77. Weber, August. (Ger.) Born at Frankfort (1817 - 1873.) Stud- ied under Rosenkranz, and, later, in Darmstadt under Schilbach. Settled at Diisseldorf, where he became a professor. His evening lights and moonlight effects are worthy of notice. Weber painted in water-colors and executed some lithographs. At the National Gal- lery, Berlin, is “A Westphalian Landscape” by him ; at the Leipsic Museum, a “ Moonlight Scene.” Weber, Paul. (Ger.) Born about 1823. Made his studies in Frankfort. In 1848 he went to the United States and settled in Phila- delphia. In 1857 he traveled in Scotland and Germany, and returned to America. In 1858 he went to Darmstadt, and was there appointed court painter. Since then he has sometimes resided in Munich. “A Scene in the Catskills” (painted in 1858) is a good example of his work, and is now in the Corcoran Gallery at Washington. One of his most important pictures, called “ Morning,” is in the Gallery of the Pennsylvania Academy of Fine Arts. A large, fine picture by Weber, “Lake Chiemsee, in the Bavarian Highlands,” belongs to Mrs. E. D. Kimball of Salem, Mass. Several works of this artist were exhibited at the National Academy, New York, in 1869. Weber, Otto. (Ger.) Born at Berlin. Killed in the war of 1870. Medals at Paris in 1864 and ’69. Pupil of Steffeck and Couture. At the Salon of 1870 he exhibited “ Springtime ” and “ Annunziata,— the Spinner and her Cow ” ; in 1869, “ An Ox-Team ” ; in 1868, “ The Deer Quarry ” aud “ La rentree du bois de chauffage ” ; in 1867, “The Plowing” and “Under the Chestnut-Trees”; in 1864, “A Wedding at Pontaven, Brittany” and “Cattle in a Wood.” At the Walters Gallery, Baltimore, are “ The Hay-Gather- ing” and a large representation of a “Fete in Brittany,” by this artist. The whole work, figures and landscapes, is worthy of praise. Two of his pictures are in the Luxembourg. “ The first picture by Otto Weber that proved his claim to high position was exhibited in the Salon of 1866, and afterward in Mr. Wallis’ exhibition, in the Suffolk Street Gal- 340 ARTISTS OF THE NINETEENTH CENTURY. lery. It was entitled ‘ La premiere neige siir I’Alin (Bavierc),* and represented Bavarian I)easants bringing their cattle down from the moiuitains. The cattle and figures were admirable for i)erfect freedom of movement and truth of design. There is a certain point in animal i>ainting which is not easily passed, but which is well known to all who liave ])ractically attempted that branch of art. You may be able to i)aint a cow or a horse quite respectably in some very common attitude, which the animal can be induced to retain for several minutes at a time, but it does not follow that you are able to j)ut the animal in one of those highly expressive and living postures which do not remain unaltered for one second. To do this you must have some memoi'yand imagination, and a knowledge of the animal far surpassing any ordinary accuracy. All the great animal-painters liave this power and continually use it, the great amount of life wliich fill recognize in their pictures being mainly due to it. Otto Weber has it in the same degi’ee as Troyon and the Bonheui*s, and he has all the other accomplishments necessary to the i^roduction of a first-rate cattle-jiicture ; his color is delicate and agreeable, though he is not a colorist in the great and peculiar meaning of the word ; and his chiaroscuro is fairly good, although he is not in any way remarkable as a master of tonality. His sense of the values of local colors, as lights and darks, is, however, exceptional, the effect of the picture above mentioned being altogether due to it, and very powerful. His landscape is always excellent, and was shown to the greatest advantage in that pic- ture, where the whole country, from the snows on the high mountains to the vegetation in the immediate foreground, was admirably studied and most faithfully rendered. The jihotograph .... is from a picture of Highland cattle just going to pass a ferry, and it will be seen that Otto Weber, in spite of his foreign origin, has entered as com- pletely into the character of our glorious little Highland breed as the best of onr native painters. I have seen seveial other pictures by the same painter, and a few etchings of hi.s, which confirm my favorable opinion, but, on the whole, consider ‘ La premiere neige sur TAliu* his most complete and masterly work,” — Hamerton’s Painting in France. Webster, Thomas, K. A. (Brit.) Born, 1800. He entered the Royal Academy at the age of twenty, receiving in 1825 the gold medal of the Academy. He exhibited at the Royal Academy as early as 1823, and among his earlier works sent to that gallery and to the British Institution may he mentioned, “ The Gunpowder Plot,” “ The Sick Child,” “ Returning from the Fair,” “ The Love-Letter,” “ Read- ing the Scriptures,” “ The Village School,” “ Anticipation,” “ Punch,” “ The Smile,” “ The Frown,” “ Contrary Winds,” “ The Dame’s School,” “ Dothehoy’s Hall,” “ The Battle of Waterloo,” “ Good Hight,” “The Village Choir,” “ See-Saw,” “Village Gossips,” etc., many of which have been engraved. In 1840 he was elected an As- sociate of the National Academ}’, and Academician in 1846. He .still contributes regularly to its exhibitions, sending, in 1869, “ Poli- ticians” ; in 1871, “Volunteers at Artillery Practice”; in 1872, “ Odd or Even ” ; in 1873, “An Interested Adviser” ; in 1874, “ The Wreck Ashore”; in 1876, “Youth and Age”; in 1877, “The Let- ter” ; in 1878, a portrait of himself. His “ Going into School ” and “ Dame’s School ” are at the National Gallery. He was placed on the list of Honorary Retired Academicians in 1877. Weeks, Henry, R. A. (Brit.) Born in Canterbury (1807 - 1877). Studied under Chantrey and Behiies. Was elected an A.ssociate of ARTISTS OF THE NINETEENTH CENTURY. 341 the Royal Academy in 1850, and Academician in 1863. In 1852 he received the gold medal of the Society of Arts for the best treatise on the Fine Art section of the Great Exhibition. He was appointed Pro- fessor of Sculpture at the Royal Academy in 1869. He made the first portrait bust of Queen Victoria executed after her accession. Among his works are colossal statues of Cranmer, Latimer, and Rid- ley, which form part of the Martyrs’ Monument at Oxford ; a statue of Lord Bacon, at Trinity College, Oxford ; Dr. Goodale, at Eton ; Marquis of Wellesley, at the India House; Lord Auckland, at Cal- cutta ; and one of the groups of the Albert Memorial. Weeks, E. L. (Am.) Born in Boston, 1849. He studied in I’Ecole des Beaux- Arts, in Paris, and in the ateliers of Gcrome and Bonnat, spending his professional life in his native city and in Cairo (Egypt), Jerusalem, Damascus, and Tangier's. He is a member of the Boston Art Club, elected in 1874, and has exhibited at the Paris Salon and at the Paris Societe des Amis des Arts. Among his works are, “ A Cup of Coffee in the Desert,” a group of Arabs and camels (belongmg to Ole Bull), “Pilgrimage to the Jordan” (owned in Albany, N. Y.), “A Scene in Tangiers” (in the collection of T G. Appleton), “ Jerusalem from the Bethany Road,” an early picture (belonging to Rev. E. L. Clark of New York), “A Moorish Camel- Driver” (in the Paris Salon of 1878), “Alhambra Windows” (be- longing to J. B. Richmond, Boston), “ An Arab Story-Teller” (at the Centennial Exhibition of 1876), “ They toil not, neither do they spin’’ (exhibited in Boston), etc. “ The illustrations of Eastern life bj’ E. L. Weeks are striking and full of merit. One of them — camels and their riders on the desert, with a boy marching along playing the flute — has the charm of simplicity, and much good color. The camels are drawn with understanding, and are well planted on their feet, while the figure of the boy is naive and in good action. Hr. Weeks has mode immense strides the last season, and prom- ises to rank high in the branch of art he has chosen to follow.” — Boston Advertiser, January 17, 1S76. “ The one thing to be noticed in all the paintings of this artist is the remarkable skill he displays in keeping the individuality of the colors. By this he produces most charm- ing effects of color, where a less skillful artist would fail to make the picture more than interesting. There is a decided out-of-door look about this picture [‘ Midsummer ’], too, which tells the beholders that the artist painted Nature just as he found her. ” — Boston Advertiser November 20, 1877. “ Mr. Weeks has taken up a field for study in which he finds himself almost alone, and has given everj' effort to the increase of his knowledge of the life and character of these people who toil in the field. For years Mr. Weeks has traveled in the East, filling his sketch-book with scenes with which to illustrate his experience there.” — Boston Advertiser, February 16, 1873. Wegener, Johann Friedrich Wilhelm. (Ger.) Born at Dres- den, 1812. Under the greatest difficulties and with no instructor he became a portrait-painter, by which means he supported himself, and as soon as possible took up animal painting. At length he was able to go to the Dresden Academy for a short time. He also made a student’s journey in the German mountains and Upper Italy. As an 342 ARTISTS OF THE NINETEENTH CENTURY. historical painter he has executed altar-pictures for the churches in Gross-Graehlen and Lichtenstein. At the National Gallery, Berlin, is his “ Wild Buck.” Weir, Robert W., N. A. {Am.) Born at New Rochelle, N. Y., 1803. He became a professional artist at the age of twenty. For several years he painted in New York, and spent a long time in study in Florence and Rome. In 1829 he was elected a member of the National Academy, and Professor of Drawing in the Military Acad- emy at AYest Point in 1832, a position he held for many years. Among Professor AA^eir’s earlier works are, “ The Bourbons’ Last March,” “ Landing of Henry Hudson,” “ Indian Captives,” “ Christ and Nico- demus,” “ Child’s Evening Prayer,” “ Pier at Venice,” “View on the Hudson,” “ Taking the Veil,” etc. In 1867 he sent to the National Academy, “ Heaving the Lead,” in water-color, and “ The Evening of the Crucifixion” ; in 1869, “Virgil and Dante crossing the Styx” ; in 1874, “The Portico of the Palace of Octavia, Rome” ; in 1877, “ The Belle of the Carnival ” and “ Our Lord on the Mount of Olives” ; in 1878, “ Indian Falls.” Professor AVeir is an Associate Member of the AVater-Color Society, but not a frequent contributor to its exhibitions. He has at present (1878) a studio near Hoboken, on the Hudson, in which are “ Christ in the Garden,” “Titian in his Studio,” and a nearly completed picture, “ Columbus before the Council of Salamanca.” His “Taking the A’eil ” (belonging to A. C. Alden) was in the Centennial Exhibition of 1876 ; his “ Psestum hy Moonlight ” and “ Last Communion of Henry Clay ” (water-color) were in the Johnston Collection. His “Embarkation of the Pil- grims ” is in the rotunda of the Capitol at AA'ashington. ** Weir excels in cabinet genre pictures. We recall one representing a child saying its evening prayers at its grandmother’s knee ; a most graceful, simple, expressive little work, the still-life of Flemish authenticity. Some of his landscapes and portraits are excellent.” — Tuckerman’s Book of the Artists. Weir, John F., N. A. (Am.) Son of Robert W. Weir. Born at AVest Point, N. Y., 1841. He received his education under the in- structors of the Military Academy there, and began painting in the studio of his father. In 1861 he took a studio of his own in the Tenth Street Building, New York. He was elected a member of the Artists’ Fund Society in 1864, and full member of the National Academy in 1866. He went to Europe in 1868, remaining about a year in the different art-centers. In 1869 he was elected by the Corporation of Yale College to fill the chair of Director of the Yale School of Fine Arts, a position which he still holds. In 1876 he was appointed Judge of the Fine Arts at the Centemiial Exhibition at Philadelphia, and wrote the official report of the same, which is so frequently quoted in these pages. His professional life has been spent in New Haven and New York. His first work was a “ Sunset at West Point,” painted at the age of seventeen. Among the better known of his pictures are. ARTISTS OF THE NINETEENTH CENTURY. 343 “The Culprit Fay,” “ The Christmas Bell,” “The Gun Foundry” (belonging to R. P. Parrott), which was exhibited at the National Academy, New York, the Paris Exposition of 1867, and Philadelphia in 1876. “ Forging the Shaft ” (at the National Academy, New York) was burned while in the possession of H. W. Derby. “ The Con- fessional” (belonging to Justus Hotchkiss of New Haven) was at Philadelphia in 1876; “Venice” is in the collection of Jno. W. Jewett; “Tapping the Furnace” and “An Artist’s Studio ” belong to Cyrus Butler. A replica of “ Forging the Shaft,” painted in 1868, was sent to the Paris Exposition of 1878. “ Weir’s ‘West Point Foundry,’ representiu^ the casting of a gun, is his best-known and most successful work. He has spared no pains to render it authentic, the figures are modeled from some of the athletes of the establishment, the details are exact, and the extremely difficult task of eliminating all the light on the picture from the molten metal passing from the caldron into the mold has proved a complete success.” — Tuckerman’s Book of the Artists. “ Professor Weir contributes a forest interior [Artists’ Fund Exhibition of 1S7S], excel- lent in what may be termed its ideal reality, details being not sacrificed to sentiment, nor sentiment to objective force ; excellent also in the pleasantness of the light that creeps and glows through the foliage or on the pearly bark of the trees, and in the quiet harmony and delicious purity of the tints.” — New York Evening Post, January 15, 1878. Weir, Julian Alden. (Am.) Son of Robert W. Weir, N. A., and younger brother of John F. Weir, N. A. Inheriting much of the family talent for art, he has a studio in New York, devoting him- self particularly to portrait-painting. He exhibits at the National Academy, is a member of the Society of American Artists, and sent to its first exhibition several portraits and “An Interior.” He •sent from Paris to the National Academy, New York, in 1875, “A Brittany Interior”; in 1877, “At the Water-Trough,” “Brittany Peasant-Girl,” “ Brittany Washerwomen,” and “ Study of an Old Peasant.” He sent “A Breton Interior” to the Paris Exposition of 1878. [No response to circular.] “Mr. Weir has a wonderful delicacy in the flesh tones, where the highest light graduates into tlie slightest half-tints with singular purity. An instinctive feeling has a great deal to do with the softness and purity of the colors, but his knowledge is also very unusual His heads have attracted great attention in Paris, and the look of individuality in his faces, together with his other good qualities, promises for him great success as a portrait-painter.” — Journal, April, 1878. Wells, Henry T., R. A. (Brit.) Born in London, 1828. He began his career as a painter of miniatures, in which branch of art he won decided distinction, exhibiting at the Royal Academy as early as 1845. About 1860 he began the execution of larger canvases, con- tributing regularly to the Royal Academy, and numbering among his sitters many distinguished people. He was elected an Associate of the Royal Academy in 1866, and Academician in 1870. Several of his portraits and portrait groups were at the Centennial Exhibition at Philadelphia in 1876, and at Paris in 1878. 344 ARTISTS OF TEE NINETEENTH CENTURY. “ We (ire glad to see that Mr. Wells varies the practiee of portraits by landscapes, a union of styles for which he can easily find great precedents. His ‘ Farmyard at Evening ’ [R. A., 1865] has an impressive sobriety of tone which wants more gradation to achieve the effect aimed at by the artist. The trees are well discriminated. ” — Pal- grave’s Essays on Art. “ H. T. Wells always employs sound taste in arrangement, and is often very success- ful in management of color.” — Art Journal, July, 1873. Wells, Johanna Mary. {Brit.) Wife of Henry T. Wells (ru'e Boyce). (1831-1861.) She received her art education in London, and later, for a short time, under Couture in Paris. She studied also in Italy, and was married in Rome in 1858. “ Elgiva,” her first pic- ture, was exhibited at the Royal Academy in 1855 ; *• The Boys’ Crusade,” in 1860 ; “ Bo-Peep,” “ The Heather Gatherers,” and “ Do I like Butter ? ” in 1861. Wencker, Joseph. {Fr.) Born at Strasbourg. Prix de Rome, 1876. Medal in 1877. Pupil of Gerome. A t the Salon of 1877 he exhibited a portrait of Mile. Marthe G. ; in 1876, “ Stoning of St. Stephen.” Werner, Anton von. (Ger.) Born at Frankfort-on-Oder, 1843. Director of the Royal Academy of Berlin. Court painter. Oflicer of the Order of the Crown of Italy, Knight of various orders, and the recipient of many medals. Member also of the Academies of V enice and of Caraccas (Venezuela). At the Royal Academy of Berlin, in 1876, he exhibited “The Fe.stival,” “ Schneewittchen, die 7 Raben ” (all sketches of decorative works), and a portrait of a man. Among his pictures are, “Luther at the Diet of Worms,” “ Moltke before Paris,” “ Moltke at Versailles,” “ Proclamation of the German Em- pire in the Galerie des Glaces at Versaille.s,” “Irregang,” and “Don Quixote at the Goatherd’s.” He has illustrated the works of T. V. von Scheffel. For the “ Trumpeter of Seckengen ” he made thirty- nine drawings ; these are much admired, and well represent the spirit of the time they illustrate. “Anton von Werner, although still a young man, is already Director of the Royal Academy at Berlin. He is one of the first of living historical painters. To a correct eye for color and drawing, he adds .a gmndeur of style very appropriate in an artist who is court painter for the Germanic Empire. Some of his decorative works are character- ized by a happy combination of breadth, harmonious color, and energetic action. But the work that has added most to his celebrity is a picture which illustrates the jirocla- mation of the Gennan Empire in the sumptuous Galerie des Glaces at the Palace of Versailles.” — Benjamin’s Contemporary Art in Europe. West, Peter B. {Brit.-Am.) Born at Bedford, 1833. Studied in his native city, and in the Lees School of Arts in London. V as also a pupil of his father, Robert West, considered one of the best judges of painting in the midland counties of England. He followed his father’s profession, that of picture-restorer, in New Orleans and other American cities, finally turning his attention to animal painting with considerable success. His studio at present (1878) is in Cleve- land, Ohio, where he has painted many of the fine horses of that ARTISTS OF THE NINETEENTH CENTURY. 345 section of the country. Among his works may be mentioned, “ Por- trait of Lady Kate,” a trotting-horse owned by F. Rockefellow; “ Bull- Fight,” owned by Dr. D. H. Beckwith, and “ Group of Game,” the property of J. H. Clark, all of Cleveland. To the Centennial E.\bi- bition at Philadelphia, in 1876, he contributed a genre picture, still- life, now owned by Mr. Grant of Foxburg, Pa. Westmacott, Richard, R. A. (Brit.) (1799- 1872.) Son of Sir Richard Westmacott, R. A., from whom he inherited his artistic talent, and received his first instruction in art. He entered the schools of the Royal Academy in 1818. In 1820 he went to Italy for the purpose of study, remaining six years. In 1826 he sent his first work to the Royal Academy, a marble statue of a girl holding a bird. He exhibited “ The Reaper ” in 1831, and the “ Cymbal-Player ” (belonging to the Duke of Devonshire) in 1832. About this time he executed in bas-relief, “ Narcissus,” “ Venus and Ascanius,” “ Venus instructing Cupid,” and “ Bluebell and Butterfly.” In 1838 he was elected an Associate of the Royal Academy, and Academician in 1849. Among his later works are, “ David,” “ Resignation,” “ Prayer,” “ An- gel Watching,” and busts of Earl Russell, Sydney Smith, etc. West- macott was the author of several valuable works upon art subjects, one of the most important being his “Hand-Book of Ancient and Modern Sculpture,” published in 1864. “ As a sculptor, Richard Westmacott’s works generally must rank below those of his father. Yet they are by no means without merit, graceful rather than powerful, but manifesting careful study and matured knowledge- He was learned in his art, and ac- cepted as an authority on all matters connected with it.” — Art Journal, June, 1872. Wharton, P. F. (Am.) Born at Philadelphia, 1841. Received his art education in the Pennsylvania Academy of Fine Arts, later, going abroad and studying in Dresden and in the Atelier Suisse in Paris. Many of his earlier works are in the possession of Mrs. John Lardner and Joseph W. Drexel of Philadelphia, where the better part of his professional life has been spent. To the Centennial Exhi- bition of 1876 he sent his most important work, for which he received a medal It is entitled “ Perdita at the Sheep-Shearing Festival,” a scene from “WinteFs Tale.” His last picture (1878), “ Waiting for the Parade,” belongs to D. C. W. Smith of Philadelphia. Smaller and less elaborate works are owned in New York and elsewhere. Whistler, James Abbott M'Neill. (Am.) According to the regis- ter of St. Anne’s Church, Lowell, Mass., he was born in that city in 1834, but was taken when a child to Russia, where his father was emplo 3 md as an engineer. When twelve years old this artist returned to America, and was educated at West Point. About 1855 he removed to England. Later, he studied two j'ears under Gleyre in Paris. He next went to London, where he settled. He has exhibited his works at the Royal Academy, the Dudley and Grosvenor Galleries, the Paris Sa- lons, and at The Hague. He made an exhibition of his works in Lon- 15* 346 ARTISTS OF THE NINETEENTH CENTURY. don in 1874, which attracted much attention. To the Academy he sent, in 1863 (in oils), “ The Last of Old Westminster ” and “ Westmin- ster Bridge” ; in 1864, “ Wapping” ; in 1865, “ The Golden Screen,” “Old Battersea Bridge,” and “The Little White Girl”; in 1867, “ Symphony in White, No. 3 ” and “ Sea and Rain” ; in 1870, “ The Balcony ” ; etc. In 1877 he exhibited at the Grosvenor Gallery, eight pictures, — a portrait of Mi’. Carlyle, “ A Nocturne in Blue and Gold,” “ A Nocturne in Blue and Silver,” “ A Nocturne in Black and Sil- ver,” “ An Arrangement in Black ” (representing Mr. Irving as Philip II.), “ A Harmony in Amber and Black,” and “ An Arrangement in Brown.” To the Grosvenor Gallery, in 1878, he sent “ Variations in Flesh-Color and Green,” and others. One of his earlier works, “ Mere Gerard,” belongs to A. C. Swinburne. There has been of late (November, 1878) a decision in a suit for damages brought by Mr. Whistler against Mr. Ruskin. It was grounded upon the following passage, which appeared in “ Fors Clavi- gera,” which Mr. Ruskin edits : — “ For Mr. Whistler's own sake, no less than for the protection of the purchaser. Sir Coutts Lindsay ought not to have admitted works into the gallery in which the ill-edu- cated conceit of the artist so nearly approached the aspect of willful imposture. I have seen and heard much of cockney impudence before now, but never expected to hear a coxcomb ask 200 guineas for flinging a pot of paint in the i)ublic’s face ” Iilr. Ruskin claimed this to be a fair and bona-fide criticism upon a painting which had been exposed to public view. The decision of the court gave Mr. Whistler one farthing damages and no costs. The following is a portion of Mr. Whistler’s testimony before the court : — “Before the Nocturnes entered the Grosvenor G.allery they were sold, except one. One was sold to the lion. Percy Wyndham for 200 guine;is. I had a commission for one of 150 guineas, and another I sold for 200 guineas. Since the publication of this criticism I have not been able to sell iny pictures at the old price. As to the naiue of ‘ Nocturne,* it means an arrangement of lines, form, and color, with some incident or object of nature in illustration of my theory. The ‘ Nocturne in Blue and Gold ’ I knocked off in a coujde of days. I painted the i)icture in one day, and finished it off the next day. I do not ask 200 guinea.s for a couple of days* work ; the picture is the result of tlie studies of a life- time I do not put my pictures in a place to mellow, but I expose them in the open air to dry as I go on with my work ; I think that is a good thing, and if I were a Pro- fessor I would recommend it to my pupils.** The “ Arraugement in Black and Gold,” the artist explains as a night view of Cremorne Gardens with the firework.s, — hence its name. The “Nocturne in Blue and Silver” is “A View of the Thames at Old Battersea Bridge.” During the entire career of this artist he has been in the habit of etching. He received a gold medal at The Hague for works in this manner. A collection of his etchings is in the library of Her Jlajesty at Windsor Castle, and another col- lection is in the hands of the authorities of the British Museum. The portrait of Mr. Carlyle has been engraved, and the mass ot the artist’s proofs were sold by subscription. ** ‘ Old Battersea Bridge,’ with a mud shore and a river-side group, boats ready for launching, a gray sky, a grayer river, the sidelong bridge crossed by carts and passen- ARTISTS OF THE NINETEENTH CENTURY. 347 gers, shows one way of treating these simple materials to perfection, whether composi- tion, tone, truth, or originality is in demand. ‘ Lange Lizen of the Six Marks ’ is the most delightful piece of color on the walls of the Academy this year.” — Wilu.\m M. Rossetti, in 1874. “Whistler’s freaks of coloring wei'e original, and his Tiepolo-like touch' effective ; but his pictures were rather suggestive of iiower than complete art.” — Jarves, Art Thoughts. “ Every touch here has been struck m apparently with that directness which has long made Velasquez the envy of all artists ; the colored paper labels on the right, above the figure, should be especially noticed ; and we may fairly suppose that if, in this picture Die Lange Lizen ’] and in the ‘ View of Wapping ’ near it, the figures had been free from some obvious negligences, Mr. Whistler might have obtained from a jury of oil- painters the first prize for mastery over the technicalities of his profession. ” — Pal- grave’s Essays on Art, 1864. “ Whistler is known by his etchings and his paintings ; the former receive nearly un- qualified praise, the latter have been alternately abused and lauded, but even his sever- est critics seem inclined in these days to allow Whistler exceptional achievements, however fitful or marred in color.” — Mrs. Tvtler's Modern Painters, 1873. “ Whistler as a painter has the rare faculty of true oil-sketching, selecting with cer- tainty the most essential truths He seems insensible to beauty, which is a grievous defect in any artist ; but his work is redeemable from vulgarity by strange sensitiveness to color and character. It is audacious, almost impudent in manner ; but it is not effec- tive, although it looks so at first ; and even its audacity is based on directness and sim- plicity of color.” — Hamerton’s Thottghts about Art. “The most finished and perfect specimens of Mr. Whistler’s artistic powers are to be found in the collection of etchings and engravings in di y point. For some time amateui-s in this branch of art have been acquainted with the views of the Thames executed by Mr. Whistler. We can think of no work in which genius, of a certain kind, is more de- cisively manifested. The views of shipping and river-bank reveal the closest study of the effects to be seen in and about London.” — Art Journal, August, 1874. “ ‘ The Girl in White,’ exhibited in Baltimore in 1876, is especially marked by Whis- tler’s idiosyncrasies It cannot be doubted that his mannerisms, which have the appearance of affectation, are not in miison with the spirit of true art.” — -4r( Journal, March, 1876. “ Whistler’s ‘ Nocturnes,’ ‘ Variations,’ and ‘ Arrangements ’ are all, we have not the slightest doubt, brimful of talent, but it is talent applied to the interpretation of a school of art which we confess ourselves utterly unable to comprehend. Napoleon I. said of Goethe that he was a great genius who had something to say, but who had not succeeded in making himself understood. Mr. Whistler is assurediy gifted with genius, but he has scarcely to our thinking become articulate.” — London Daily Telegraph, May 6, 1878. “ Mr. Whistler has his own abilities, his own aims, and his own admirers, and it is no use denying the one, arguing about the second, or abusing the third. He has a right to his place among the originals of his time ; and it is well he should find room and verge enough in the Grosvenor Gallery.” — London Times, May 2, 1878. White, John Blake. (Am.) Bom in South Carolina (1781 - 1859). He studied art in London for four years in the early part of the century under Benjamin West. Returning to America, he settled in Charleston, S. C., where he studied and practiced law, painting only as an amateur. He received, while still a young man, from the South Carolina Institute, a medal for the “ Best Historical Painting in Oils.” Many of Mr. White’s pictures are still in the possession of various members of his family. Dr. Octavius A. White of New York owns his “ General Marion inviting the British Officer to Din- 348 ARTISTS OF THE NINETEENTH CENTURY. ner in the Pedee Swamp ” (engraved by the Apollo Association of New York), his “Poverty and Love,” “The Arrival of the Mail,” “ Macbeth and Banquo on the Heath,” and “ The Brand of Sweet Water.” Col. T. G. Wliite of Beaufort, S. C., owns his “ Grave- Robhers ” and “ Mrs. Motte urging General Marion to bum her Resi- dence in order to dislodge the British.” A. J. White of Charleston owns “ The Taking of the White Veil” ; J. E. Holmes of South Caro- lina, “ The Interior of Old St. Philip’s Church, Charleston” and “The Burning of Old St. Philip’s Church.” Elias Ball of South Carolina owns his “ Conrad and Gulnare ” ; J. J. B. White of Mississippi, “ The Battle of Fort Moultrie.” Among his other works are, “ The Rescue of the American Prisoners by Sergeant Jasper and John Newton” (engraved by the Apollo Association), “ Massacre of American Prison- ers by the English and Indians at Frenchtown ’’ (painted in 1813), “ The Battle of Eutaw Springs ” (presented to the State of South Carolina), “ The Martyrdom of Hayne,” “ General Maiion and his Men fording the Pedee,” “ The Battle of New Orleans ” (painted in 1816), “ Death of Osceola,” “ The Capture of Andre,” and “ The Un- furling of the United States Flag in the City of Mexico” (presented to Andrew Jackson, and mentioned by him in his will). Among the more important of Mr. White’s portraits are those of Col. Charles C. Pickney (owned by John W. Chandler, New York), Dr. Matthew 0. Dri.scoll (owned by the Charleston Medical College), Hon. Keating Simmons, Josiah Smith, Edward R. Rutledge, South Carolina, and other prominent men. Mr. White was also distinguished for his literary attainments, having written several successi'ul dramas, essays, etc. He was re- garded as the pioneer of Southern literature and art, and called by Tuckerman “ the old American master.” White, Edwin, N. A. (Am.) (About 1817 - 1877.) He began to paint when not more than twelve years of age. Studied in Paris, Rome, Florence, and Diisseldorf, going abroad for that purpose in 1850 and ’69. His works are largely historical in character. Among them may be mentioned, “ Washington resigning his Commission ” (purchased by the State of Maryland for $ 6,000, and now .at Annapo- lis), “ Washington reading the Burial Service over the Body of Brad- dock,” “ The Requiem of De Soto,” “ Pocahontas informing Smith of the Conspiracy of the Indians ” (painted for General Kearney), “ Age’s Reverie” (belonging to the West Point Military Academy), “Luther’s Vow,” “The Death-Bed of Luther,” “Milton’s Visit to Galileo,” “ The Old Age of Milton ” (bought by the Art Lmion), “ Giotto sketching the Head of Dante,” “ The Evening Hymn of the Huguenot Refugees,” “ The First New England Thanksgiving,” “ The First Printing of the Bible,” “ Sabbath of the Emigrants,” “ Major Ander- son raising the Flag at Fort Sumter,” “Country Studio,” “Fisher- Boy,” “ Strawberry-Girl,” etc. By his will he left to the New L ork ARTISTS OF THE NINETEENTH CENTURY. 349 Metropolitan Museum of Art “ The Antiquary ” ; “ Leonardo da Vinci and his Pupils” he bequeathed to Amherst College ; and his last and unfinished work, “ The Signing of the Compact on the Mayflower,” to Yale College. “ Wliite lias good taste, pure sentiment, industry, and a correct intellectual apprecia- tion of historical subjects. There is, however, nothing great or original in his art, al- though as a whole it is truer and more effective than much of that of his German teachers, owing, perhaps, to his studies in Italy ; as a colorist he decidedly excels them. ” — Jauves, Art Idea. “ White’s knowledge of art was very gi'eat, and he was an assiduous student. His aim was the illustr.ation of historical subjects, and if he was not always successful none can dispute the earnestness of his effort.” — Art Journal, August, 1877. Wliitehouse, James, N. A. (Am.) Born at Wallingford, Vt., 1803. He began the study of art about 1826, having no regular mas- ter, but receiving occasional instruction from Alexander Roberston, Colonel Trumbull, Professor Morse, and William Dunlap. When a student of the schools of the National Academy, in 1827, the silver medal for the best drawing from the antique was awarded him. He never had the advantage of foreign study. He was elected a full member of the National Academy in 1833, and has spent his pro- fessional life in the city of New York, painting in Washington, D. C., in the winters of 1844-46. He has devoted himself to por- trait-painting, executing perhaps a larger number of works of that kind than any other living American artist. His portrait of Silas Wright, now in the GovernoPs Room, City Hall, New York, taken after death, and under many difficulties, attracted much atten- tion when completed. He made the design for the mezzotint engrav- ing, “ Henry Clay addressing the Senate,” published by Anthony, Edwards & Co. about 1846, and well known throughout the United States. Whittredge, Worthington, N. A. (Am.) Born in the State of Ohio, 1820. He follow’ed mercantile pursuits in Cincinnati, but soon abandoned business for the profession of art. Was at first a portrait- painter in Cincinnati. In 1850 he went to Europe, studying in the galleries of London and Paris. In Diisseldorf he became a pupil of Andreas Achenbach, living in that city for three years. He studied, later, in Belgium and Holland, and went to Rome in 1855, remaining until he finally settled in New York, in 1859, being elected National Academician the same year. In 1866 he made a sketching-tour to the Far West of America, his “ View of the Rocky Mountains from the River Platte,” belonging to the Century Club, being one of the results of this trip. In 1874 he was elected President of the Acad- emy of Design, holding the office for three years. Among Whit- tredge’s works are, “ Trout Brook at Milford ” (belonging to J. H. Sherwood, seen in the National Academy, 1869) ; “Trout Brook” (belonging to H. G. Marquand) ; and “ Sangre di Christo Mountains, Colorado ” (belonging to W. B. Shattuck) ; in 1870, “ Evening on 350 ARTISTS OF THE NINETEENTH CENTURY. the Delaware ” ; in 1871, “ On the Hudson ” ; in 1872, “ A House hy the Sea” and “Christmas Eve, Italy ” ; in 1874, “ The Camp-Meet- ing,” “The Morning Stage,” and “After the Rain”; in 1875, “ Autumn on the Delaware ”; in 1876, “ Morning in the Woods ” and “Evening in the Woods”; in 1877, “Paradise,” Newport, R. I. “ The AVindow,” by AVhittredge, belongs to R. L. Stuart ; “ A Hun- dred Years Ago,” to R. M. Olyphant ; “The Pilgrims of St. Roche,” to W. B. Smith. His “ Old Hunting-Ground,” the property of J. W. Pinchot, and his “ Rhode Island Coast,” the property of A. il. Coz- zens, were at the Paris Exposition of 1867. To the Paris Exposition of 1878 he sent “A Forest Brook ” and “ The Platte River.” “ Whittredge is a progressive artist. He acqnired with the dexterity some of the mannerism of the Diisseldorf school ; hut constant and loving study of nature since his return from abroad has modified this habitude. He is more original, and applies his skill with deeper sentiment. Conscientiously devoted to his art, for manly fidelity to the simple verity of nature, no one of our painters is more consistently distinguished than Worthington Whittredge." — Tuckerman’s Bookof the Artists. “ Mr. Whittredge contributed his ‘ Rocky Mountains from the Platte River,’ ‘ A House by the Sea,’ ‘A Hundred Years Ago,’ ‘Twilight on the Shawangunk Mountains,’ and ' The Old Hunting-Grounds,’ — the latter are especially admirable exam) lies of his free nervous style, and of his felicitous treatment of wood interiors. Mr. Whittredge’s pic- tures of forest solitudes, with their delicate intricacies of foliage, and the sifting down of feeble rays of light into depths of shade are always executed with rare skill and feeling. His style is well suited to this class of subjects : it is loose, free, sketchy, void of all that is rigid and formal It evinces a subtle sympathy with the suggestive and evanes- cent qualities of the landscape. But in his treatment of the open sky this artist is less happy. There is sometimes apparent a slight crudeness in his rendering of this feature of nature that is open to unfavorable criticism. His pictures, however, always exiiress a. sincere and true motive.” — Prof. Vf sir’s Official Report of the American Centennial Exhibition 0/1876. Wichmann, Lud-wig-Wilhelm. {Ger.) Bom at Potsdam (1785 - 1859). Member of the Academies of Berlin and St. Luke at Rome. Member of the Institute of France. Pupil of Boye, Unger, and the painter Schadow’. This sculptor made a reputation by his busts, which are numerous. He became Professor and Member of the Senate of the Academy of Berlin. Several groups executed by him are seen in public places in Berlin. Wichmann, Otto Gottfried. {Ger.) Bom at Berlin (1828- 1858). Studied at Paris under Robert-Fleury. Went to Italy, where he died. At the National Gallery, Berlin, are his “ Paul Veronese at A'enice ’’ and “ Catherine de’ Medici in the Apartment of a Poisoner.” Wieder, Wilhelm. {Ger.) Born at Sepnitz, 1818. Pupil of Otto at Berlin. Has spent much time in foreign countries, England, Russia, France, and Italy. Returned to Berlin in 1873. At the National Gallery, Berlin, is his “ Mass at Ara Coeli at Rome.” Wiegmann, Marie Elisabeth {nee Hancke). {Ger.) Born at Silberberg, 1826. She received the small gold medal at Berlin. Studied at Diisseldorf under Sohn. Paints genre subjects and por- traits. At the National Gallery, Berlin, is her portrait of Earl ARTISTS OF THE NINETEENTH CENTURY. 351 Schnasse. At Berlin, in 1876, she exhibited “ A Venetian Lady,” “ A Young Girl with Roses,” and “ A French Woman of 1792.” Wight, Moses. (Am.) Born in Boston, 1827. He began the practice of art as a profession in 1845, in his native city, devoting himself chiefly to portrait-painting. In 1851 he went to Europe, spending three years in study on the Continent. During this visit he painted Von Humboldt from life, a picture which was highly praised and exhibited at the Grand Hall of the Art Union at Berlin. He made a second trip to Europe in 1860, and a third in 1865, settling in Paris, where he has since lived. Among the better known of his por- traits are those of Agassiz, Sumner, Everett, and Josiah Quincy ; and among his composition pictures may be mentioned, “The Confidants,” “ Lisette,” “ The Sixteenth Century,” “The Old Cuirassier,” “Pet’s First Cake,” and “ John Alden and Priscilla.” Many of his works are owned in Boston. He has rarely exhibited in public of late years. Wight, Peter B. (Am.) Born in New York, 1838. He studied architecture under Thomas R. Jackson, and furnished the designs for the New York Academy of Design in 1862. He is the architect of the Brooklyn Mercantile Library, the School of Fine Arts connected with Yale College, and other buildings, public and private, throughout the country, particularly in Chicago, where he resided for some years. Wiles, Lemuel M. (Am.) Born in Wyoming County, N. Y., 1826. Between 1848 and ’51 he studied under William Hart, in the Albany Academy, and under J. F. Cropsey in New York ; drawing later from nature, the only American school of painting available to the landscape-artist. He taught and worked at his profession in Washington, D. C., Albany, and Utica, N. Y., until 1864, when he opened a studio in the metropolis, where he still resides. In the year 1873 - 74 he went to Panama, California, and Colorado, where he executed a large number of painted studies, upon which he drew for his more ambitious works ; these are valuable as the only studies in color yet obtained of the old mission churches and cathedrals of those regions. He spends the summer months in Ingham, N. Y., delivering annually a course of lectures and conducting the drawing classes in the College of Fine Arts there. His specialty is landscape and figure- painting. Among the more important of his works are, “ A Bluster- ing Day” (storm with cattle, now in the possession of John C. Baker, near Montreal), “ Mt. San Jacinto ” (belonging to James L. Morgan of Brooklyn), “ The Vale of Elms ” (at Ingham University), “ Reminis- cences of Travel ” (a miniature gallery of twenty-eight pictures, belong- ing to A. R. Frothingham of Brooklyn), “ The Bridal Veil, Yo- semite ” (belonging to Mrs. E. J. Staunton, Le Roy, N. Y.), “ Long Pond, Seneca Lake ” (belonging to J. C. Lord, N. Y.), and “Moonrise ” (the property of Cardinal McCloskey). “ L. M. Wiles exhibited several pictures ; among them was a large canvas giwng a view of Washington, D. C., from the Soldiers’ Home, and taking in its sweep a section 352 ARTISTS OF THE NINETEENTH CENTURY. of the city extending from Arlington Heights to the Navy Yard. Another fine subject was entitled ' A Snow-Squall,’ which shows the figure of a woman caiTj-ing a baby, and a boy with his hands in his pockets plodding along, and apparently hurried by the cold wind. The figure of the woman is well drawn, and the action is admirable. This pic- tui'e was very attractive. ” — Kew York Evening Post. Wilkie, Sir David, R. A. Bom in Fifeshire (1785 - 1841). Educated at the Trustees Academy in Edinburgh, and in the Royal Academy, London. He exhibited at the Royal Academy, Lon- don, for the first time, in 1806, “ The Village Politician,” a work which at once established his reputation. This was followed by “The Blind Fiddler,” “ The Card-Players,” “Rent-Day,” “Jew’s- Harp,” “ Cut Finger,” “ Village Festival,” “ Rabbit on the "Wall,” “ Penny Wedding,” “Whisky Still,” “Reading of the Will,” “Parish Beadle,” “ Cotter’s Saturday Night,” etc., many of which are familiar to both hemispheres through the medium of engraving. He was elected an Associate of the Royal Academy in 1809, and Academician in 1811. He went to the Continent in 1825, spending three years there. Was made Painter in Ordinary to George IV. in 1830, and was knighted in 1836. He was also a member of the Royal Scottish Acad- emy, and the King’s Limner for Scotland. Many of his works are in the National Gallery, London. He stood in the first rank of his pro- fession. He died on a vessel off Gibraltar and was buried at sea. Willems, Florent. {Belgian.) Born at Liege, 1824. Officer of the Legion of Honor. Officer of the Order of Leopold. Pupil of the Academy of Malines. When very young he worked for a dealer in Brussels as a restorer of pictures. Before he was eighteen he found a friend and patron in Sir Hamilton Seymour, who commissioned him to paint the portraits of his wife and children. In 1842 he exhibited at Brussels “ Le Corps-de-Garde ” and the “ Music-Lesson ” (pur- chased by the late King of Belgium), and received a medal. From this time he gained a succession of medals, both at home and abroad. He sent to the Paris Exposition of 1855 “ The Interior of a Silk- Mer- cer’s Shop in 1660” (purchased by Napoleon III.) and “Coquetry” (purchased by the Empress). In 1877 he exhiliited “ Aux armes de Flandre ” ; in 1864, “ L’Accouchee ” and “Going Out”; in 1863, “The Widow ” and “The Presentation of the Future”; in 1861, “ All Roi ! ” At the Johnston sale, 1876, “ The Reading ” (26 by 21) sold for $ 1,975. At the Latham sale. New York, 1878, “ No Song, no Supper ” (24 by 19) sold for S 1,150, and “Jealousy ” (28 by 21), for S 1,550. At the Walters Gallery is his picture of “ The Health of the King.” “ In that particular department of art to which Willems has almost entirely limited his practice, he certainly takes rank with the foremost men of the modem continental schools. His pictures are much in request, and find their way into the best collections, both in his own country and in France. Subjects of a character so generally pleasing, and placed with such artistic skill and such persuasive beauty on the canvas, can never fail of finding patrons in men of taste and judgment." — James Dajtorkk, Art Jour- nal, August, 1866. ARTISTS OF THE NINETEENTH CENTURY. 353 “Men of taste have almost wom mourning for 'Willems. He made his debut with a pretty picture representing a blond woman in a white satin dress ; an amateur fell in love with the woman and the dress, — a hundred otliers wished to place in their galleries the same woman and the same dress. Tlie public who do not buy, but who judge, have ended by imagining that Willems exhibited always one and the same picture : they no- ticed it no more. Happily for us the command.s have ceased, and the artist,who is, after all, an excellent painter, has felt the need of doing something else. His two pictures of tills year [‘ L’Accouclite ’ and ‘ La Sortie ’] show a true advance. Tlie artist has not only regained his commercial value but also a large part of his legitimate popularity. He paints well, he has good taste, he possesses a faire miracvleux, he knows to the end of his tingei's the reign of Louis XIII. I should counsel him to vary the heads of his person- ages, and not to become captivated by such and such a model. It is little to paint well the frippery of an age ; if Meissonier had stopped at that he would have been only a quarter of Meissonier.’’ — Edmond About, Salon de 1864. Willenich, Michel. (Fr.) Bom in Egypt of French parents. Pupil of G. Boulanger, J, Lefebvre, and Kuwasseg. To the Salon of 1878 he contributed “ La passerelle de la plage de Granville (Manche), a maree haute ” (in oil) and an engraving of the “ Roadstead of Brest”; in 1876, “The Transatlantic Steamer, La Ville de Paris, entering the Port of Havre in the Storm of October, 1875.” Williams, Penry. (Brit.) Born in Wales, 1798. Exhibited for the first time at the Royal Academy in 1824. Went to Italy in 1827, settling in Rome, where he has since resided, exhibiting, however, frequently in England, Italian landscapes and studies of Italian char- acter, such as “ The Campagna of Rome,” “ Ferry on the Nimfer,” “ The Procession to the Christening,” “ The Fountain,” “ The Con- valescent,” and others. His “ Italian Girl with a Tambourine,” “ Ital- ian Peasants resting by the Roadside,” and “ Neapolitan Peasants resting at a Fountain,” are in the National Gallery, London. Williams, Isaac L. (Am.) Born in Philadelphia, 1817. He studied drawing under John R. Smith, afterwards practicing painting ■with John Neagle in his native city, where his entire profe.ssional life has been spent, with the exception of a visit to Europe in 1866-67. He was elected a member of the Artists’ Fund Society of Philadel- phia in 1860, and a full member of the Philadelphia Academy in 1865. Until about 1844 he devoted himself exclusively to portrait- painting ; since then he has given equal or greater attention to land- scapes, confining himself to moderate-sized cabinet pictures, which are owned in Philadelphia and elsewhere. His “ October ” and “ View near Meriden, Ct.” were at the Centennial Exhibition of 1876. “ Mr. Williams* pictures are generally in a low key, and they therefore frequently escape the notice of visitors to exhibitions or galleries filled with brighter-colored works. But carefully examined they will be found to better repay inspection than some per- formances that appear more striking at first sight. Mr. Williams excels in the rendition of the delicate pearly effects that are characteristic of some of the most poetical phases of nature.” — Philadelphia Evening Telegraph. Williams, Frederick D. (Am.) Born in Boston. He was at one time a professor of drawing in the public schools of Boston, but 354 ARTISTS OF THE NINETEENTH CENTURY. has lived for a number of years in Paris. He sent to the Paris Salon in 1878, “Farmyard at Finistere” and a scene at Pont Nien. He devotes himself to landscsipes and figtires, and has exhibited at the Boston Art Club, at the Academy, New York, and elsewhere. Many of his works are owmed in his native city, where they meet with a ready sale. To the Paris Exposition of 1878 he sent “ The Marne ” ; to the Exhibition of the Society of American Artists, the same year, “ The Shepherdess and her Flock.” Williams, Mrs. Frederick D. Lunt). {Am.) Born in Boston. Wife of the foregoing. She drew in crayon the “ Past,” “ Present,” and “ Future,” familiarly known throughout the United States by the lithograph copies, which are the same size as the originals. Since her marriage she has occupied a studio in Paris, with her husband, paint- ing cattle and figure-pieces in oil. Williamson, Daniel Alexander. (Brit.) Born in Liverpool, 1823. A landscape-painter in water-colors. He first exhibited at the Royal Academy in 1850, living for some }^ears in London. About 1861 he left the metropolis, painting since then, to a great extent, in the open air. Among his works may be mentioned “ Plowing ” and “ Broughton Moor.” Williamson, John, A. N. A. (Am.) Born in Scotland, 1826. Taken to America by his family. Resident of Brooklyn, L. I. Member of Brooklyn Art Association, and its secretary for some years. Associate of the National Academy, and member of the Art- ists’ Fund Society. Among his earlier works are, “ American Trout,” “ Trout-Fishing,” “ Summit of Chocorua, — Twilight,” and “ Autumn in the Adirondacks.” In 1867 he sent to the National Academy, “ The Hanging Hills from Wallingford, Ct.” ; in 1869, “ A Passing Shower, Connecticut Valley,” and “Bread and Cheese”; in 1870, “ Hook Mountains, Hudson River ” (belonging to William M. Tweed) ; in 1871, “The Return of the Hunters” ; in 1873, “A Reminiscence of Berkshire County” ; in 1874, “ The Daniel Drew” and “ The C. Vibbard”; in 1876, “From Glenwood, Hudson River”; in 1877, “After the Storm, Blue Ridge” ; in 1878, “In the Mohawk Valley ” and “ Sugar-Loaf Mountain.” Willis, Henry Brittan. {Brit.) Born in Bristol. Was a pupil of his father, a landscape-painter iu his native town. The younger Willis, after painting for some years in Bristol, spent a year in America, but returned to England in 1843, and settled in London, where he still resides. He is an active member of the British Society of Paintei-s in Water-Colors, and has contributed to its gallery of late years, among others, “Harvest-Time in the South of Sussex,” “A Welsh Homestead,” in 1872; “ Sheep- Pastures near Ballachulish ’’and “ Early Morning Effect on Ben Nevis,” in 1873 ; “ A Cloudy Day iu the Highlands” and “ Snow in Harvest,” in 1875 ; “ A Harvest Scene near Broadstairs, Kent,” “ Plowing-Time, Sussex,” in 1877 ; “ Group ARTISTS OF THE NINETEENTH CENTURY. 355 of Cattle near Burnham ” and “ A Scene on the Wye,” in 1878. In 1861 he sent to the Royal Academy “A Rest on the Road to the Fair” and “Cattle on the Sands, North Wales,” but his name has not been seen in the Royal Academy Catalogue since that year.. Two of Willis’ water-colors were at the Centennial Exhibition of 1876, “A Group of Cattle on the Banks of the Hamble ” and “ A Group of Highland Cattle in Glen Nevis,” the latter belonging to the Mar- chioness of Lome. “ ‘ Evening Effect on the Wye ’ [London, 1877] is a very beautiful piece of cattle-paint- ing and landscape by Bi’ittan Willis, a little opaque and over-smooth, but full of light and color.” — Art Journal, February, 1877. Willmore, James T., A. R. A. {Brit.) (1800 - 1863.) He be- gan bis professional life in Birmingham under William Radcliffe, a well-known engraver there. About 1825 he went to London, work- ing for some time with Charles Heath. He executed many plates after Turner, Eastlake, Landseer, and others, and his work is highly regarded by connoisseurs. He was an Associate of the Royal Academy for twenty years before his death. Willmore, A. {Brit.) Native of Birmingham. Younger brother of James T. Willmore, A. R. A., with whom he was associated for some years. Among his plates are, “ Agrippina landing the Ashes of Ger- manicus,” after Turner ; “ The Royal Volunteer Review, Edinburgh,” after Samuel Bough ; “ The Word of God,” after H. L. Roberts ; “ The Pleasant Walk,” after J. C. Hook ; “ Old Churchyard, Bettws-y-coed,” after Creswick ; “A Calm Evening” and “A Squally Morning,” after David Cox ; “ Dutch Boats landing Fish,” after E. W. Cooke ; “ Wreck off Whitby,” after E. Duncan ; etc. Wilmarth, Lemuel E., N. A. {Am.) Born in Massachusetts. In his youth he was a watchmaker in Philadelphia, studying art from life and the antique in the Academy of Fine Arts of that city. In 1859 he went to Munich, where he entered the Antique School, then under the direction of Kaulbach, remaining until his return to America in 1862. In 1864 he went to Paris, became an inmate of the atelier of Gerome, and sent several important works to the National Acad- emy, New York, “ Sparking in the Olden Time,” “ Playing Two Games at Once,” “ Little Pitchers have Big Ears,” “ The Last Hours of Captain Nathan H.all,” etc. In 1867 he returned to New York ; in 1868 he took charge of the schools of the Brooklyn Academy of De- sign, and in 1870 he was appointed Professor of the free schools of the National Academy, a position he held for some years. Wilmarth sent to the National Academy, in 1869, “The Home Missionary” ; in 1871, when he was elected Associate, “An Afternoon at Home” ; in 1873, “ Guess what I ’ve brought you,” a picture which insured his election as an Academician ; in 1874 he exhibited “ Left in Charge”; in 1875, “Ingratitude”; in 1876, “There’s Music in all Things if Men have Ears” ; in 1877, “A Study of Peaches.” His “ Ingratitude ” was at the Paris Exposition of 1878. 356 ARTISTS OF THE NINETEENTH CENTURY. “ Mr. 'Wilmarth is one of the most painstaking artists belonging to the National Acad- emy. His historical pictures show deep thought and study in their composition ; and every detail is worked out with conscientious care. His subjects relating to every-day life are generally invested with pleasing fancy, and their story is always plainly ex- pressed. His style of coloring is brilliant, and in his manner of manipulation his pic- tures are suggestive of the French school in which he was educated, but suggestion in no wise impairs their individuality.” — AH Journal, September, 1875. Wilms, Peter Josef. (Ger.) Bom at Bilk, near Diisseldorf, 1814. Studied at Diisseldorf Academy. In 1848 he went to Am- sterdam and remained a year. At the National Gallerj’, Berlin, is a picture of “ Still-Life ” by Wilms. Winne, Lievin de. (^Belgian.) Bom at Ghent. Chevalier of the Legion of Honor. Pupil of Devigne. At the Salon of 1877 he exhibited a portrait of “ Leopold II. King of Belgium,” belonging to the King of Belgium. In 1872 his portrait of Mr. Sanford, the Amer- ican minister at Brussels, was much admired. This artist has painted many notable persons, and his pictures are characterized by simple elegance and agreeable color. Winter, L. de. (Dutch.) At the Johnston sale. New York, 1876, “ Moonlight on the Dutch Coast” (27 by 36) sold for $ 560. Winter, Pharaon-Abdon-L^on de. (Nr.) Bom at Bailleul. Pupil of Cabanel. To the Salon of 1878 he sent “ An Old Woman in Prayer ” and “ The Return of the Hop-Picker, — Saturday Even- ing”; in 1877, a portrait and “Judith” ; and in 1876, “The Prodi- gal Son.” Winterhalter, Franqois Xavier. (Ger.) Bom at Baden (1806- 1873). Officer of the Legion of Honor. Studied at Munich and Rome, where he spent several years, and settled in Paris in 1834. He also traveled frequently^ and visited Germany, England, and Spain, and left, yvherever he yvent, numerous portraits. His genre pictures are not numerous, and he executed a feyv engravings and lithographs. He yvas a favorite portrait-painter in the circles of royalty and high life. His composition and arrangement of his pic- tures yvas very happy. Among his portraits are those of Louis Phi- lippe and his Queen and all the members of the family of Orleans, Prince Wagram, Napoleon HI. and the Empress Eugenie and their son, the Grand Duchess Helen of Russia, etc. A feyv days before his death this artist made his yviU, in which he desired that tyvelve pic- tures which he had alloyved no one to see should not be given to the public until fifty years after his death. He did this in order that at last a judgment should be formed of him as an artist without the influ- ence of personal prejudice. He says : “ Many painters are praised to the skies during their lifetime, and yet several years after they have passed ayvay feyv yvill care to look at the yvorks they have left. Espe- cially is this the case yvith those painters yvho enjoy the favor of kings and emperors. It is unjust that they should be made to suffer for it. To my own lot has it fallen to be treated yvuth extreme kind- ARTISTS OF THE NINETEENTH CENTURY. 357 ness by such exalted personages. Should I he on that account denied the position in art for which 1 have striven so long and zealously 1 ” The wishes of Winterhalter were disregarded ; the heirs obtained leave from the court to open the boxes, and found a portrait of Prince Clement Metternich, walking in his splendid garden at Johannisberg; attached to it was a parchment with these words : “ I painted this portrait in 1858. I was so pleased with it that I resolved to keep it.” There were also two battle-scenes from the Austro-German war of 1866, both very spirited, four landscapes, three flower-pieces, a por- trait of Pauline Viardot Garcia, of whom Winterhalter was an admirer, and another of Queen Caroline of England, painted from a miniature in the Art Museum at Brunswick. This last was painted in 1869, and was much admired by those who were present at the opening of these boxes ; it is a masterpiece. Of the landscapes, two were views in the Isle of Wight, of which Winterhalter was A'^ery fond. One of the remaining two was called “ Stubbenkammer, on the Island of Riigen”; the other, “The Tannus Valley.” " I take first of all the portrait of the Prince Imperial. Certainly Winterhalter ought not to be considered as an ordinary artist ; the favor which he enjoys with the princes of Europe and even with the good public should not be attributed to a universal mis- take. Twenty-five or thirty millions of individuals do not agree upon the same foolish- ness at the same moment. Winterhalter has talent ; he has proved it more than once ; he excels often in rendering the elegance and brilliancy of a pretty woman. He knows how to po.se, to adjust, to dress magnificently certain models ; he has made some por- traits which can bear comparison with Lawrence and all of the most aristocratic paint- ing which England has produced ; but his exposition this year is below mediocrity. He cannot throw the fault on his models. He had to paint a beautiful child whom all Paris knows, whom nearly twenty thousand babies saw last Sunday in the garden with his father and mother ; he has made of him a cold doll, without blood, the eye dimmed, the physiognomy dull, badly adjusted ; moreover, no one walks in the costume of the city with a musket, since the bisets are excluded from the National Guard. The other ]ioitrait is not in the Salon of Honor It is the crime of treason to beauty, no more nor less. One is able, I believe, without being a flatterer to render justice to the figure of a truly beautiful, elegant, and graceful woman. What above all distinguishes the amiable model sacrificed by the brush of Winterhalter is an incredible fineness of skin, a mother-of-pearl flesh, a general tone of exquisite delicacy. One thinks, in spite of himself, of those goddesses of Homer who bled ambrosia when the sharp metal grazed their delicate members. Correggio alone, or our Prud’hon, could express in color tills fine flower of feminine sweetness. Winterhalter has taken, I know not whence, some tones of washed flesh, — rewashed anil soaked in water. His picture is almost like a painting on porcelain ; it has hot even the compensation of the freshness and the smile of enamel. ” — Edmond About, Salon of 1864. Wintz, Guillaume. (Prussian.) Born at Cologne, naturalized Frenchman. Pupil of A. Rolland. At the Paris Salon of 1878 he exhibited “ Troupeau de moutons rentrant par une barriere ” and “ Cows in a Barnyard, in Lorraine” ; in 1877, “ A Flock of Sheep”; and in 1876, “ A Pasture near Saint- Arnold, — Morning Effect.” Wislicenus, Hermann. (Ger.) Born at Eisenach, 1825. Studied under Professor Muller and at the Dresden Academy. His first work, “ Abundance and Poverty,” is in the Gallery of Dresden. The 358 ARTISTS OF THE NINETEENTH CENTURY. Grand Duke of Saxony assisted him to go to Italy, where he remained from 1854 to ’57. After his return he settled at Weimar until, in 1868, he was called as Professor to Diisseldorf. When the Academy there was burned Wislicenus lost a large part of the result of his life’s laljors. At the Roman House in Leipsic are some of his wall-paint- ings, illustrating scenes from Roman history. Some of his decora- tive works of a religious character are in the Castle Chapel of Weimar, and in other churches. At the National Gallery, Berlin, are his pic- tures of the “ Four Seasons” ; in the Leipsic Museum are some of his sketches for his large works. Witherington, William Frederick, R. A. (Brit.) (1785- 1865.) Brought up to mercantile pursuits, but early displayed a taste for art, studying diligently in his leisure moments. He finally devoted himself to painting as a profession, and sent his first picture to the Royal Academy, “ Going out in the Morning,” in 1812, con- tributing regularly thereafter to its exhibitions for over forty years. He was elected an Associate of the Royal Academy in 1830, and Academician in 1840, and was placed on the list of Honorary Retired Academicians in 1863. Among his earlier works are, “ The Soldier’s Wife,” “ Don Quixote and Sancho Panza,” “ John Gilpin,” and many views of English scenery. Among his later productions may he mentioned, “ Gleaners Returning,” “ Re.sting by the Way,” “ Harvest-Time, — Noon,” “ L)’nmouth, North Devon,” “ Harvesting in the Vale of Conway,” “Stacking Hay, North Wales,” “The Way to the Village,” etc. His “ Hop Garden ” is in the Sheepshanks Col- lection ; the “Hop Garland ” and “ The Stepping-Stones ” are in the National Gallery, London, bequeathed by Mr. Vernon. Wittig, Hermann Friedrich. (Ger.) Born at Berlin, 1819. Studied at the Berlin Academy and under Tieck. Has visited Paris and Rome. Lives in Berlin. His works are numerous, both ideal subjects and portraits. At the National Gallery, Berlin, there is a group called “ Germany protecting the Arts,” executed by Wittig after a model by Schultz. In Berlin, in 1871, he exhibited “A Lis- tening Nymph,” and in 1876, “ Mignon.” Wittig, Friedrich August (Ger.) Bom at Meissen, 1826. Mem- ber of the Academies of Diisseldorf and Carrara. Medals at Berlin and Vienna. Studied under E. Rietschel at Dresden. He has visiterosaic Meissonier gave in his studies of cos- tume and character Zamacois may be said to understand art not as a grand and noble means of expression, but as a fine and perfect and precious expression. He does with form and color what Tennyson does with words, — that is to say, he combines tliem in a studied and jeweled style, to express his i>Ieasure in intense and brilliant things. But the French painter has wit, and no one would accuse Tennyson of that Gallic trait. Therefore, to make you acquainted with Zamacois, I must say he has a suspicion of malice that must be delightful to the compatnots of Voltaire, tliat he is bold and positive in his conceptions, and fine and elaborate in his expressions. But he is a painter of character rather than a creator of the beautiful ; he is a comic artist and not an idealist ; he puts a farce before your eyes in a setting of jewels. Zamacois is kindred to Molicre. If you could suppose something of Moliere’s genius embodied in a series of sonnets, you would liave a just literar)’’ expression of Zamacois as a painter. One is surprised to find so much of the comic in a style so finished and brilliant, and it is this which is the distinction of Zamacois ; it is this which separates him from a crowd of skillful and talented French painters of genre. The purity and intensity of his color, of which I have spoken, are so remarkable that they suffice to distinguish him from all liis contemporaries, and even make him the superior of Viberf Such art as Zamacois’ comes very close to a cultivated man without placing in his mind one suggestion of the noble or the beautiful. In this respect it is contemporary, and far from Greek sculpture and Italian painting. Instead of the ideal, it gives the exqui- site ; instead of the noble the comical. It is the difference between a comedy of Molicre and a tragedy of Euripides. We enjoy the comedy; it gratifies our curiosity, — the most universal passion ; but we are impressed by the tragedy ; it holds our imagination brooding over the despotic and fatal evolution of human passion. I prefer the pagan idea of arf to the latest contemporary French idea of art, as illustrated by Zamacois, because I prefer liledea to Tartuffe. It may be said of Zamacois, that he has been more successful in treating seventeenth-century subjects than the more widely celebrated Gerome, who has repeatedly sought to i)luck artistic honors from the contemporaries of Molicre.” — Eugene Benson, Art Joumial, 1S69. Zetterstrbm, Mme. M. (Swede.) Born at Gefle. Pupil of the Acacleinie cles Beaux-Arts of Stockholm. At the Salon of 1878 she exhibited “A Prelude ” and “A Swedish Peasant-Woman ” ; in 1877, “A Swedish Song”; in 1876, “Une visite en passant, — interieur laponais ” ; and in 1875, “A Lapland Interior.” Zezzos, Alessandro. (Ital.) Pupil of the Academy of Venice. This artist sent to the Paris Exposition, 1878, “ The Pigeons of Saint Mark,” and to the Paris Salon, same year, “ El-Maznima (niouchoir du Sultan) ” ; and in 1877, “ Les saltimbanques ” and “ A Venetian, — a Daughter of the People.” Ziem, Felix. (Fr.) Born at Beaume, about 1822. Chevalier of the Legion of Honor. Studied in Paris. Traveled in the East, and made his debut at the Salon of 1849. His “ View of Venice ” (1852) is in the Luxembourg ; “Evening at Venice” (1854) was purchased by the Duke de Morny ; “ View of Antwerp ” (1855) was purchased by the government. In 1868 he exhibited “Venice, — a Party of Pleasure ” and “ Marseilles, — View at the Old Port ” ; in 1867, “ The ARTISTS OF THE NINETEENTH CENTURY. 371 Bncentaur adorned for the Ceremony of the Marriage of the Doge with the Adriatic, Venice, 1426,” and “ Carmagnola, accused of High Treason by the Venetians and beheaded under the Lion of St. Mark, Venice, 1422”; in 1866, “Venice, — a September Evening after a Eain” and “ Constantinople, — Setting Sun.” Ziem repeats his subjects over and over again. He has made some sketches, water-colors, fruit- pieces, etc. At the Johnston sale, “ Venice at Sunset, — Entrance to the Grand Canal,” from the Wolfe sale (27 by 42), sold for $ 1,510. At the Norzy sale, Paris, 1860, “ View of the Grand Canal ” sold for 3,880 francs. At the Laurent-Richard sale, Paris, 1873, “ Stamboul ” and “Venice” sold for ^480 each. At the Corcoran Gallery is “ Constantinople from the Golden Horn,” 1874. “ Ziem is obliged to conceal the insufficiency of his design in an agreeable vapor. He has grace without tirmness ; his earth and his inoiiuinents undulate in the wave : he has never known how to fix a silhouette. His pictures are like some of the works of Isabey the chatoyant, a little strengthened and refined by the example of Canaletto. It is not that Ziem is a mediocre artist. He excels in mirroring the most brilliant colors in a canal. ‘ Le moindre vent qui d’aventure Fait rider la face de I’eau ’ (‘ The least wind which perchance ruffles the face of the water ’) furnishes a delicious matter for his brush. His marines give us that delectable little shivering with which we are seized when we step on a boat. But Ziem would give us more durable and deeper pleasures if he would design only like Joyant.” — Edmond About, Nos Artistes au Salon de 1857. “ Among the artist travelers who have known how to conquer public favor, Ziem occu- pies a place apart. He sees with indifference the rocks, the plains, or the forests, and is arrested by choice in the great maritime cities which mirror in the water their edifices gilded by the sun of the South. He is a painter of architecture as well as a painter of marines, who willingly takes a siesta at noonday, and wishes to see nature only as twi- light ai)proaches. The two pictures in the Laurent-Richard Collection are among his most important works, .md are sufficient to justify the rank which he holds in art. “ Here is Constantinople unrolling itself in an amphitheater, while the sun appears like a brilliant disc which is reflected in the waters of the Bosphorus, and bathes in a luminous vajior the domes and minarets of the great city On one side we see the point of the Seraglio, the ancient kiosque of the Janissaries, the mosque of Bajazet, and the great wails which inclose the Golden Horn. On the other hand, we catch a glimi)se of the coast of Asia and the first buildings in Scutari. A white sail, and some long-boats manned with rowers, lose themselves on a ruddy beach in the first jilane. “ Lost in the midst of the lagunes of the Adriatic, Venice, the city of enchantments, so dear to poets and travelers, lias such a fascination for Ziem, that in contemiioraneous art it has become a sort of monopoly for his talent, so much so that one experiences an involuntary astonishment upon seeing a view of Venice not signed with his name. But his interpretation of Venice is so personal that one could not deceive himself long con- cerning it In the Collection Laurent-Richard, Venice appears to us in an autumn even- ing. It has rained all day ; but the sky, now cleared, is only traversed by some light clouds of an orange tint, which the movement of the waves reflects, mingling it with the purple shades of the setting sun. The grand Campanile of St. Mark raises itself in the distance above the horizon, and the edifices of the quay mark their silhouettes in a golden light, while gondolas thread their way over the grand canal, and some fishers’ b;irks are placed in order to throw the nets.” — Ren^: M£nard, Gazette des Beaux-Arts, April, 1873. 372 ARTISTS OF THE NINETEENTH CENTURY. Zier, Edouard. (Fr.) Born at Paris. Pupil of his father and of Gerome. Medal at Philadelphia, where he exhibited “ Julia.” At Paris, in 1877, were “The Departure of Judith” and “Acis and Galatea.” Zimmermann, Albrecht. (G«r.) Professor of landscape-painting at Vienna. A picture of a “ Waterfall ” is in the Munich Pinako- thek ; also, “ A Fine, Eocky Landscape, with Centaurs Wrestling.” Among his works are, “ The Mountain Precipice ” and several fine pictures from the vicinity of the Obersee. His pictures illustrative of Faust and his Biblical subjects are fine, and he succeeds in giving the warm tone to Southern scenes and the cold feeling to Northern climes with equal truth and happiness of effect. Zocchi, Emilio. (Ital.) Of Florence. Professor of the Academy of Fine Arts. At Philadelphia he exhibited “ Michael Angelo sculp- turing the Head of a Faun,” “ Benjamin Franklin in his Youth,” “ Columbus in his Youth,” “ Bacchus,” and “The Youth of Michael Angelo,” and received a medal. Zuber, Jean-HenrL {Alsatian.) Born at Eixheim. Pupil of Gleyre. Medal of the second class in 1878, when he exhibited “ Dante and Virgil ” and an “ Autumn Evening, — Ille-et-Vilaine ” ; in 1877 he exhibited “ A Flock of Geese at Seppois-le-Haut ” and “ The Banks of the 111 at Fislis, Upper Alsace ” ; in 1876, “ Even- ing on the Heath, near Dinard,” and “ Les cherche.urs de marne, maree basse dans I’anse de Dinard.” Zuber-Buhler, Fritz. (Swiss.) Born at Lode. Pupil of Picot and Gros-Claude. At Philadelphia he exhibited “ The Dew,” and received a medal. At the Salon of 1877 he exhibited “ The Birth of Venus.” Zuccoli, Luigi. (Ital.) Born at Milan. Died, 1876. Member of the Academy of Milan. A painter of scenes from popular life in Italy. He composed with taste, drew well, and showed a fine, deli- cate fancy. His works were admired in Italian, French, and Belgian Salons. In 1870 he exhibited at the Paris Salon, “ A Wedding Pres- ent” ; in 1869, “Breakfast of the Poor” and “A Wedding Banquet, — Roman Campagna”; in 1867, “A Card- Party at an Inn.” At the London Academy in 1871 he exhibited “ Peasantry relating a Dread- ful Scene of the Neapolitan Brigands.” Ziigel, Heinrich Johann. (Ger.) Born at Murrhardt, 1850. Studied at the Art School at Stuttgart, and in 1873 was for some months in Vienna. He resides in Munich. At the Berlin National Gallery is his “ Sheep in an Alder Grove.” Zuliani, Jean. (Ital.) Born at Verona. To the Paris Exposi- tion of 1878 he sent “ A Marriage of State,” and to the Paris Salon of 1876, “ The Rehearsal,” a scene in the palace of Cardinal Richelieu. Zumbusch, Caspar. (Ger.) Of Vienna. At Philadelphia he exhibited “ A Marble Bust of the Emperor of Austria,” and received a medal. ARTISTS OF THE NINETEENTH CENTURY. 373 Zwirner, Ernest Frederic. (^Silesian.') Born at Jacobswald (1802-1861). President of the Council of Architecture for the Province of Cologne, and Councilor of the Prussian Government. In 1824 he went to the Academy of Berlin to study architecture ; he was there remarked by Schinkel, who attached him to himself and his interests for several years. In 1853 Zwirner was named architect of the Cathedral of Cologne, and entered into his work with such a spirit that he inspired King William IV. and the people at large with a desire that this magnificent edifice should be completed, for which he merits, and will receive, the gratitude of this and future genera- tions. m)EX TO AUTHORITIES QUOTED. About, E., Vol. 1. 41, 91, 120, 130, 164, 178, 185, 201, 257, 268, 291, 342, 351 ; Vol. II. 7, 91, 120, 160, 195, 226, 227, 327, 353, 357, 371. Albion, The, Vol. II. 71. Aldine, The, Vol. I. 142 ; Vol. II. 103, 129. Alger’s Life of Forrest, Vol. I. 31. American Journal, Vol. I. 12. American Eegister (Paris), Vol. I. 94, 289 ; Vol. II. 90, 174. Appleton, Nathan, Vol. I. 262. Appletons’ Journal, Vol. I. 56 ; Vol. II. 52, 109. Art Journal, Vol. I. 18, 22, 23, 25, 30, 42, 43, 45, 53, 54, 62, 72, 77, 79, 84, 85, 87, 88, 93, 94, 95, 96, 99, 101, 103, 115, 123, 126, 127, 145, 148, 154, 168, 175, 187, 192, 209, 210, 216, 218, 223, 229, 231, 233, 235, 241, 244, 245, 247, 248, 253, 254, 255, 259, 265, 269, 272, 273, 274, 276, 277, 280, 286, 294, 296, 298, 299, 304, 305, 308, 309, 310, 312, 313, 322, 324, 326, 327, 331, 334, 335, 337, 339, 340, 344, 346, 347, 348, 350, 352, 354, 356, 358, 361, 363, 364, 366, 368, 372, 374, 376, 383, 384 ; Vol. II. 13, 15, 17, 25, 33, 38, 44, 47, 53, 54, 55, 62, 63, 66, 68, 72, 75, 78, 79, 84, 90, 94, 96, 98, 103, 104, 105, 106, 112, 116, 122, 124, 126, 130, 131, 132, 133, 135, 137, 139, 140, 142, 149, 150, 151, 152, 153, 156, 157, 158, 160, 164, 167, 170, 174, 175, 178, 183, 186, 187, 189, 190, 192, 194, 197, 198, 199, 200, 202, 205, 207, 210, 211, 217, 219, 220, 222, 223, 232, 233, 234, 236, 241, 246, 255, 256, 257, 259, 261, 262, 266, 274, 275, 277, 278, 285, 293, 301, 309, 310, 321, 329, 330, 331, 333, 334, 335, 343, 344, 345, 347, 349, 355, 356, 360, 361, 363, 365, 366. Art Monthly Pveview, Vol. II. 272. Art Tour in Northern Capitals of Europe, Vol. I. 27, 57. Atkinson, J. Beavington, Vol. I. 27, 54, 57, 158, 298, 317, 352 ; Vol. II. 20, 63, 89, 94, 158, 183, 338. Atlantic Monthly, Vol. I. 11, 28, 55, 56, 103, 277, 375 ; Vol. II. 259, 326. Balln, Eoger, Vol. I. 35, 40, 205, 247, 268, 345 ; Vol. II. 34, 41, 287, 327. Baltic Gazette, Vol. II. 283. Baltimore American, Vol. II. 14. Baltimore Every Satui'day, Vol. II. 339. Baltimore Gazette, Vol. II. 128, 282. Baudelaire, Charles, Vol. II. 16. 2 INDEX TO AUTHORITIES QUOTED. Baxter, Mr. Sylvester, Vol. I. 68. Benjamin’s Contemporary Art in Europe, Vol. I. 23, 45, 46, 68, 73, 91, 109, 160, 185, 191, 202, 214, 222, 239, 245, 254, 282, 298, 320, 322 ; Vol. II. 54, 55, 68, 69, 79, 100, 116, 120, 155, 157, 166, 182, 204, 256, 293, 299, 344. Benson, Eugene, Vol. I. 42 ; Vol. II. 52, 109, 370. Berger, Georges, Vol. II. 298. Bergerat, Emile, Vol. I. 53, 86. Blackwood’s Magazine, Vol. I. 327. Blanc, Charles, Vol. I. 229, 256, 297, 382 ; Vol. II. 93. Bonnin, A., Vol. I. 81, 219. Boston Advertiser, Vol. I. 52, 68, 85, 175, 193, 203, 260, 325, 367 ; Vol. II. 3, 191, 220, 227, 232, 267, 276, 293, 326, 341. Boston Globe, Vol. I. 262 ; Vol. II. 175, 292. Boston Herald, Vol. I. 307 ; Vol. II. 39. Boston Post, Vol. I. 330 ; Vol. II. 250, 263. Boston Saturday Gazette, Vol. II. 22, 129. Boston Sunday Times, Vol. I. 311. Boston Transcript, Vol. I. 15, 142, 199, 281, 332 ; Vol. II. 2, 39, 103, 123, 175, 191, 262, 293. Boston Traveller, Vol. II. 39, 188. Brewster, Miss Anne, Vol. I. 270; Vol. II. 60, 323. Brooklyn Eagle, Vol. II. 163. Brooklyn Union, Vol. II. 104. Brown, Dr. John (in Spare Hours), Vol. II. 49, 286, 305 ; (in Xorth Brit- ish Review) Vol. II. 229. Bryant’s Oration, Vol. I. 144. Buffalo Courier, Vol. II. 127. Burty, Philippe, Vol. I. 371 ; Vol. II. 109. Carr, J. \V. Comyns, Vol. I. 265, 346 ; Vol. II. 88. C. C. in Hew York Tribune, Vol. II. 76, 129. Chenier, Vol. II. 243. Chicago Times, Vol. II. 76, 174, 251. Chicago Tribune, Vol. II. 145. Chronique des Arts, Vol. I. 385. Cincinnati Commercial, Vol. I. 243. Claretie, Jules, Vol. I. 120, 122, 307, 343 ; Vol. 11. 42. Clement Je Ris, L., Vol. II. 184. Clement, Mrs. C. E., Vol. II. 64. Cleveland Leader, Vol. I. 243. Colvin, Sidney, Vol. I. 24, 79, 101, 109 ; Vol. II. 126, 192, 330. Contemporary Art in Europe, S. G. VT. Benjamin, Vol. I. 23, 45, 46, 68, 73, 91, 109, 160, 185, 191, 202, 214, 222, 239, 245, 254, 282, 298, 320, 322 ; Vol. II. 54, 55, 68, 69, 79, 100, 116, 120, 155, 157, 166, 182, 204, 256, 293, 299, 344. Contemporary French Painters, Vol. I. 189. Contemporary Review, Vol. II. 95. Conway, Moncure D., Vol. I. 8, 345. INDEX TO AUTHORITIES QUOTED. 3 Cook, Clarence, Vol. I. 133. Courrier Artistique, Vol. II. 245. Critique of tlie Brussels Exposition of 1874, Vol. II. 68. D’Abrest, Paul, Vol. II. 6. Dafforue, James, Vol. I. 280, 368; Vol. II. 27, 68, 80, 352. Delaborde, Henri, Vol. I. 13. De Saint-Santin, Vol. I. 90. Drumont, Edouard, Vol. II. 240. Duplessis, Georges, Vol. I. 202. Duranty, Vol. I. 247 ; Vol. II. 58. Duvergier de Hauranne, Vol. I. 92, 130, 190, 226, 319 ; Vol. II. 34, 65, 99, 147. Edinburgb Courant, Vol. II. 286. El Diritto, Pome, Vol. I. 243. English Artists of the Present Day, Vol. I. 24, 79. Epochs of Painting, Vol. I. 174, 181, 242 ; Vol. II. 61, 274, 305. Etching and Etchers, Vol. I. 18, 155, 172, 176, 256, 327, 364, 366 ; Vol. II. 17, 32, 161, 203, 284. Every Saturday, Vol. I. 20, 166. Figaro, Paris, Vol. I. 94. Figaro, Supplement to, Vol. II. 240. Fine Arts Quarterly, Vol. I. 105. Floerke, Gustav, Vol. I. 68. Flor, Charles, Vol. II. 181. Fol, Walter, Vol. I. 265, 329. Forest and Stream, Vol. II. 303. Fors Clavigera, Vol. II. 346. Forster, Dr., Vol. II. 145. Fortnightly Review, Vol. I. 375 ; Vol. II. 182. Francis, Dr., Vol. I. 15, 184. Fraser’s Magazine, Vol. II. 230, 306. Galaxjq The, Vol. I. 56. Galerie Contemporaine, Vol. I. 86, 226 ; Vol. II. 181. Gautier, Theophile, Vol. I. 8, 13, 15, 20, 51, 74, 92, 97, 112, 185, 221, 225, 268, 290, 301 ; Vol. II. 92, 93, 101, 108, 120, 183, 245, 273. Gazette des Beaux-Arts, Vol. I. 1, 13, 35, 40, 41, 69, 90, 97, 136, 139, 197, 202, 205, 213, 225, 247, 252, 265, 276, 289, 291, 297, 302, 329, 332, 345, 371, 382 ; Vol. II. 34, 41, 51, 55, 58, 78, 88, 108, 109, 111, 125, 160, 170, 172, 184, 197, 204, 215, 226, 239, 273, 287, 298, 299, 320, 327, 359, 371. Gems of Modern Belgian Art, Vol. II. 316. Geschichte der hildenden Kunste im neunzehnten Jahrhundert, Vol. I. 258. Gonse, Louis, Vol. I. 332. Grangedor, J., Vol. II. 78. Graphic, The, Vol. I. 350 ; Vol. IL 14, 4 INDEX TO AUTHORITIES QUOTED. Great American Sculptors, Vol. I. 151, I7l ; Vol. II. 67, 135, 162, 217, 256. Ouellette, Charles, Vol. II. 51. Hamerton, P. G., Vol. I. 70, 72, 91, 150, 189, 198, 200, 213, 252, 274, 291, 309, 329, 366, 375, 379 ; Vol. II. 5, 6, 8, 31, 51, 80, 107, 116, 148, 183, 195, 196, 200, 238, 302, 306, 307, 340. Hamerton’s Contemporary French Painters, Vol. II. 368. Hamerton’s Etching and Etchers, Vol. I. 155, 172, 176, 256, 364 ; Vol. II. 17, 32, 161, 203, 284. Hamerton’s Thoughts about Art, Vol. II. 347. Hand-Book of Ancient and Modern Sculpture, A'ol. II. 345. Hannay, James, Vol. II. 286. Hare’s Walks in London, , Vol. II. 37. Harper’s Magazine, Vol. I. 55, 263, 272. Hawthorne, ISTathaniel, Vol. II. 190, 277, 290. Herve, Alfred, Vol. 1. 1. Hodder, George, Vol. I. 216, 266 ; Vol. II. 285. Home Journal, Hew York, Vol. I. 19 ; Vol. II. 209. Hooper, Lucy, Vol. 1. 16, 94 ; Vol. 11. 364. Houssaye, Henry, Vol. 1. 47, 132, 202, 276 ; Vol. 11. 184. Hlustrirte Zeitung, Vol. 1. 46. IreniEus, Vol. 1. 168, 307, 333. Italian Letter to New York Times, Vol. 1. 333. Jameson, Mrs., Vol. 1. 316. Jarves’ Art Idea, Vol. 1. 30, 44, 62, 63, 87, 103, 137, 146, 181, 183, 238, 294, 340, 341, 366, 374, 383 ; Vol. II. 22, 30, 64, 143, 160, 162, 190, 213, 219, 220, 277, 290, 294, 314, 334, 349. Jarves’ Art Thoughts, Vol. I. 41, 74, 84, 151, 161, 164, 167, 196, 198, 200, 205, 215, 250, 257, 275, 306; Vol. 11. 33, 90, 122, 131, 136, 159, 320, 347. Jordan, Dr. Max, Vol. 1. 207, 284, 293 ; Vol. 11. 193. ' Journal des Debats, Vol. 1. 58. Journal Officiel, Vol. I. 53. Kingsley, Eev. Charles, Vol. 1. 105. Lafenestre, Georges, Vol. 1. 136. Lagenevais, M. F. de, Vol. 1. 226. Lagrange, Leon, Vol. II. 320. Larousse, Vol. I. 379 ; Vol. 11. 46, 221, 244, 302, 369. L’Art, Vol. 1. 41, 81, 104, 140, 189, 219, 237, 346 ; Vol. 11. 100, 107,295. L’Art Fran 9 ais, Vol. I. 120. L’Art Romantique, Vol. 11. 16. Lemonnier, Camille, Vol. I. 385. Les Artistes de mon Temps, Vol. 1. 229. Les Trois Musees de Londres, Vol. II. 301. Letter to New York Observer, Vol. 1. 307. INDEX TO AUTHORITIES QUOTED. 5 Lewes, Mr., Vol. II. 182. Life of Dickens, Vol. I. 105, 125, 147, 176 ; Vol. II. 49, 83. Linton, W. J., Vol. II. 35. Literary World, Vol. II. 172. Liverpool Mercury, Vol. 1. 85. Lockhart’s Life of Scott, Vol. I. 311. London Art Journal, Vol. 1. 137, 158, 193, 255, 266, 367 ; Vol. II. 20, 23, 27, 54, 80, 155, 166, 185. London Athenaeum, Vol. I. 12, 24, 88, 173, 350 ; Vol. II. 62, 66, 127, 172, 185. London Builder, Vol. I. 174. London Daily News, Vol. I. 56, 280 ; Vol. 11. 13, 43, 44, 297. London Examiner, Vol. I. 167; Vol. II. 44. London Globe, Vol. II. 333. London Graphic, Vol. II. 138. London Illustrated N ews, Vol. I. 172; Vol. II. 149, 289, 321. London Letter to New York Evening Post, Vol. I. 367. London Letter to New York Times, Vol. I. 253, 298. London Mayfair, Vol. I. 99. London Morning Advertiser, Vol. I. 135. London Morning Post, Vol. II. 157. London Observer, Vol. II. 126. London Saturday Review, Vol. I. 62. London Spectator, Vol. II. 21. London Standard, Vol. I. 12, 377 ; Vol. II. 149, 297, 333. London Telegraph, Vol. II. 347. London Times, Vol. I. 88, 109, 172, 173, 343, 350 ; Vol. II. 49, 105, 120, 298, 299, 347. London World, Vol. I. 107. Macaulay’s Life and Letters, Vol. II. 37. Macready's Diary and Reminiscences, Vol. II. 83. Magazine of Art, Vol. I. 109, 350 ; Vol. II. 45, 74, 126, 127, 176, 224. Malassis, M., Vol. II. 50. Mantz, Paul, Vol. I. 97, 112, 139, 302 ; Vol. 11. 147, 172, 203, 273. Marble Faun, The, Vol. II. 290. Martineau, Harriet, Vol. I. 233 ; Vol. II. 143. Memoirs of the Countess of Blessington, Vol. I. 311, 339 ; Vol. 11. 37, 83, 308. Menard, Rene, Vol. I. 41, 76, 81, 82, 90, 140, 162, 189, 225, 267, 276, 342 ; Vol. II. 18, 108, 215, 226, 299, 371. Meyer, Bruno, Vol. I. 287. Michel, Emile, Vol. II. 111. Millet, J. B., Vol. IT. 326. Milwaukie Evening Wisconsin, Vol. II. 251. Modern Painters, Tytler, Vol. I. 77, 176, 245, 305, 337, 341, 356, 373, 375, 378 ; Vol. II. 34, 37, 49, 66, 83, 98, 116, 140, 179, 216, 294, 314, 334, 337, 347, 367. Moniteur Universel, Vol. II. 245. • 6 INDEX TO AUTHORITIES QUOTED. Montaiglon, Anatole de, Vol. II. 125. Montegut, Emile, Vol. I. 75. Montrosier, Eugene, Vol. I. 226. Moscow Gazette, Vol. II. 283. Munich News, Vol. II. 282. Mtintz, Eugene, Vol. I. 69, 252 ; Vol. II. 88, 212. New York Arcadian, Vol. I. 249 ; Vol. II. 45. New York Citizen, Vol. II. 71. New York Evening Express, Vol. II. 165, 209. New York Evening Mail, Vol. I. 247 ; Vol. II. 123. New York Evening Post, Vol. I. 56, 98, 123, 227, 313, 322, 336, 377, 383 ; Vol. II. 75, 96, 132, 162, 198, 261, 270, 343. New York Graphic, Vol. I. 350 ; Vol. II. 14. New York Herald, Vol. II. 14, 259. New Yoik Independent, Vol. II. 287. New York Leader, Vol. II. 249. New York Morning Journal, Vol. II. 291. New York Nation, Vol. I. 232; Vol. II. 236. New York Observer, Vol. I. 168. New York Round Table, Vol. II. 122. New York Sun, Vol. II. 303. New York Telegram, Vol. II. 151. New York Times, Vol. I. 12, 79, 94, 233, 296, 328, 335, 336, 383 ; Vol. II. 13, 105, 117, 206, 210. New York Tribune, Vol. I. 133, 170, 207, 248 ; Vol. II. 76, 121, 129, 249, 253, 291. New York Turf, Field, and Farm, Yol. II. 291. New York World, Vol. II. 30. North American Review, Vol. I. 55. North British Review, Vol. II. 229. Notes on Art in Horae Subsecivae, A'^ol. II. 230. Obermayer, Eugen, Vol. II. 88. Old and New, Vol. I. 131. Old New York, Vol. I. 15. Ottley, Henry, Vol. 1. 3. Palgrave’s Essays on Art, Vol. I. 19, 23, 48, 49, 83, 115, 153, 175, 186, 209, 231, 239, 245, 279, 293, 339, 347, 372, 373, 375 ; Vol. II. 46, 54, 66, 78, 94, 96, 98, 138, 142, 152, 155, 166, 179, 187, 194, 233, 247, 295, 333, 334, 337, 344, 347, 366. Pall Mall Budget, Vol. I. 170. Pall Mall Gazette, Vol. II. 72, 74. Paris Correspondent of Appletons’ Journal, 303. Paris Figaro, Vol. I. 94. Pecht, Fr., Vol. II. 257. Philadelphia Evening Bulletin, Yol. I. 40, 270 ; Yol. II. 128. Pliiladelphia Evening Telegraph, «Vol. II. 353, 359. INDEX TO AUTHORITIES QUOTED. 7 Philadelphia Journal, Vol. I. 328. Pietsch, Ludwig, Vol. I. 46. Portfolio, The, Vol. I. 70, 76, 81, 82, 92, 136, 162, 180, 252, 253, 265, 327, 342 ; Vol. II. 5, 31, 51, 88, 89, 306, 307. Portland Transcript, Vol. I. 102. Proth, Mario, Vol. I. 47, 180, 197, 332 ; Vol. II. 42, 134, 170, 220. Publica Opinione, Naples, Vol. I. 243. Redgrave’s Century of Painters, Vol. I. 373. Revolution, The, Vol. I. 260, 270; Vol. II. 66. Revue des Deux Mondes, Vol. I. 47, 75, 92, 130, 132, 201, 203, 226, 276, 319 ; Vol. II. 34, 65, 93, 99, 111, 147, 184. Richmond Enquirer, Vol. II. 290. Robinson, Henry Crabbe, Diary of, Vol. II. 305. Rosetti, W. M., Vol. I. 105, 372 ; Vol. II. 44, 49, 265, 347, 368. Ruskin, John, Vol. II. 61, 65, 139, 148, 305, 346. Ruskin’s Modern Painters, Vol. 1. 126, 167, 172, 176, 275, 375 ; Vol. II. 37, 70, 161, 196, 197, 216, 284, 305. RuskiiTs Notes of the Academy, Vol. I. 10, 12, 22, 71, 110, 145, 147, 153, 177, 308, 326, 364, 376 ; Vol. II. 70, 74, 94, 157, 178, 187, 192, 224, 293, 300, 338. Ruskin’s Notes on the Pictures of the Year, Vol. II. 62. Sainte-Beuve, M., Vol. I. 371. San Francisco Morning Call, Vol. II. 127. Sargent, J. T., Vol. II. 175. Saturday Review, Vol. II. 37, 74. Scott, William B., Gems of Modern Belgian Art, Vol. II. 316. Scribner’s Monthly Magazine, Vol. I. 55. Semper, Dr. Hans, Vol. II. 2. Silvestre, Theojjhile, Vol. I. 195 ; Vol. II. 120. Smiles’ Self-Help, Vol. II. 305. Springer, Anton, Vol. I. 258. Springfield Republican, Vol. I. 271, 330 ; Vol. II. 253. Staats Zeitung, New York, Vol. II. 185. Stedman’s Victorian Poets, Vol. 11. 224. St. Louis Globe, Vol. II. 106. St. Louis Journal, Vol. I. 321. Sunday Bulletin, Baltimore, Vol. I. 38, 72 ; Vol. II. 8. Swiss Times, Vol. II. 306. Taine’s Notes on England, Vol. 11. 230. Taylor, Bayard, Vol. L 207 ; Vol. 11. 121. Taylor, Tom, Vol. 1. 116, 126, 266, 360 ; Vol. 11. 62, 138, 276, 365, 366. Thackeray, Vol. 1. 176 ; Vol. II. 49, 306. Thackeray, The Humorist, Vol. 11. 286. Thaekerayana, Introduction to, Vol. 11. 286. Timbal, Ch., Vol. 1. 197, 213, 289, 291 ; Vol. 11. Ill, 170, 298. Times, New York, Vol. 1. 12, 79, 94, 233, 296, 328, 335, 336, 383 ; Vol. 11. 13, 105, 117, 206, 210. 8 INDEX TO AUTHORITIES QUOTED. Treasury of Art in Great Britain, Vol. II. 305. Trollope, T. Adolphus, Vol. II. 297. Tuckerman’s Book of the Artists, Vol. I. 11, 29, 31, 44, 52, 62, 64, 67, 79, 87, 93, 121, 123, 125, 135, 137, 144, 148, 151, 169, 171, 184, 215, 236, 238, 255, 260, 270, 286, 296, 313, 322, 327, 334, 337, 339, 340, 341, 346, 354, 362, 370, 378, 383 ; Vol. II. 12, 22, 38, 47, 61, 100, 115, 135, 143, 160, 162, 190, 210, 212, 213, 219, 225, 227, 251, 263, 268, 279, 334, 342, 343, 348, 350, 360. Tupper, J. L., Vol. II. 288, 361. Tuthill, Mrs., Introduction to Beauties of Euskin, VoL II. 230. Twice-Told Tales, Vol. II. 289. Tytler, Mrs., Vol. I. 77, 176, 245, 305, 337, 341, 356, 373, 375, 378 ; VoL 11. 34, 37, 49, 66, 83, 98, 116, 140, 179, 216, 294, 314, 334, 337, 347, 367. Unsere Zeit, Vol. II. 295. Vapereau, Vol. I. 73 ; Vol. II. 8, 20, 85, 89, 281. Vernet, Horace, Vol. I. 291. Viardot, Louis, Vol. II. 239. Victor Hugo, Vol. I. 35, 82. Voyage au Pays des Peintres, Vol. I. 47, 180, 197, 332 ; Vol. II. 42, 134, 170, 220. Waagen, Dr., Treasury of Art in Great Britain, Vol. 11. 305. "Wallis, H., Vol. II. 120. Washington Evening Star, Vol. II. 106. Weir, Prof., OlRcial Eeport of the American Centennial Exhibition, Vol. I. 12, 17, 56, 62, 64, 94, 98, 101, 116, 138, 139, 148, 174, 192, 203, 227, 245, 253, 260, 275, 276, 286, 295, 296, 300, 303, 313, 322, 335, 347, 357, 361, 363, 370, 375, 377 ; Vol. II. 12, 30, 54, 100, 105, 111, 117, 142, 164, 174, 195, 207, 210, 222, 247, 252, 256, 278, 292, 301, 314, 328, 350. Westminster Eeview, Vol. I. 176. Wolff, M. Albert, Vol. I. 94. Wornum’s Epochs of Painting, Vol. I. 74, 181, 242 ; Vol. II. 61, 274, 305. Yriarte, Charles, Vol. II. 99, 197. Zeitschrift fiir bildende Kunst, Vol. I. 46, 49, 70, 191, 217, 251, 287, 355 ; Vol. II. 6, 69, 88, 110, 137, 145, 193, 212, 246, 313. Zola, Emile, Vol. II. 89. INDEX OF PLACES. Aix. Council Chamber, Vol. 11. 206. Albany. State Capitol, Vol. I. 374. State Library, Vol. I. 238, 340, 377. Alen^on. Museum, Vol. II. 42, 50. Amiens. Museum, Vol. I. 35, 73 ; Vol. II. 59. Palace of Justice, Vol. II. 233. Andover. Phillips Academy, Vol. II. 275. Angers. Hospice of St. Marie, Vol. I. 184. Museum, Vol. I. 184. Annapolis. Picture at, Vol. II. 348. Antwerp. Church of St. George, Vol. I. 318. City of, Vol. 11. 311. Hotel de Ville, Vol. II. 67. Museum, Vol. 1. 89. Arezzo. Cathedral, Vol. 1. 57. Arras. Cathedral, Vol. I. 187. Assisi. Church of St. Agnes, Vol. II. 158. Avignon. City of, Vol. II. 317. Museum, Vol. I. 20 ; Vol. II. 317. Gallery Vernet at, Vol. 11. 318. Avranches. Gallery, Vol. II. 50. Baltimore. Peabody Institute, Vol. II. 102, 201, 213. Basle. Museum, Vol. I. 68 ; Vol. II. 133. Berlin. Belle-Alliance Platze, Vol. II. 133. Campo Santo, Vol. I. 157. Castle Bridge, Vol. I. 66. Cathedral, Vol. II. 296. Chateau, Vol. I. 217. Hotel de Ville, Vol. I. 353 ; Vol. II. 246. Menagerie, Vol. I. 217. National Gallery, Vol. 1. 3, 4, 6, 13, 46, 47, 48, 49, 53, 54, 60, 65, 66, 67, 71, 89, 90, 98, 114, 115, 125, 157, 172, 178, 191, 206, 207, 217, 224, 234, 239, 243, 252, 254, 270, 278, 283, 284, 287, 288, 289, 292, 293, 294, 308, 309, 315, 316, 320, 336, 343, 345, 351, 352, 353, 354, 360, 364, 370, 372, 376, 384; Vol. II. 3, 4, 9, 17, 18, 19, 23, 24, 26, 27, 28, 29, 40, 63, 68, 76, 85, 87, 89, 102, 110, 112, 113, 114, 124, 133, 143, 158, 163, 165, 176, 186, 193, 206, 211, 212, 231, 240, 241, 242, 243, 244, 246, 248, 255, 263, 265, 270, 271, 279, 301, 313, 314, 326, 328, 329, 339, 342, 355, 356, 358, 359, 372. 10 INDEX OF PLACES. New German Parliament House, Vol. II. 247. New Museum, Vol. I. 308 ; Vol. II. 20, 163, 242, 243. New Theater, Vol. II. 296. Opera House, Vol. I. 353. Querlialle of the National Gal- lery, Vol. I. 243. Eathhaus, Vol. II. 279. Eoyal Bridge, Vol. II. 246. Eoyal Museum, Vol. I. 279. Salle des £tats, Vol. II. 296. University Library, Vol. II. 25. Beziers. Museum, Vol. II. 42. Bombay. Statue of the Prince of Wales, Vol. I. 71. Bonn. Statue at, Vol. I. 324. Bordeaux. City of, Vol. II. 302. Museum, Vol. I. 62, 143, 228, 343 ; Vol. II. 240, 284. Palace of Justice, Vol. II. 10. Theater, Vol. I. 80. Boston. Art Club, Vol. I. 55, 102, 230, 254. Athemeum, Vol. I. 10, 102, 144, 170, 204, 306, 371, 382 ; Vol. II. 1, 20, 144, 159. Central Club, Vol. I. 292. City Hall Square, Vol. I. 314. Faneuil Hall, Vol. I. 341. Herald Building, A"ol. I. 306. Great Organ, Vol. I. 63. Horticultmal Hall, Vol. II. 122. Marine Insurance Company, Vol. II. 39. Museum, Vol. II. 279. Museum of Fine Arts, Vol. I. 21, 159, 164, 166, 170, 230, 240 ; Vol. II. 119, 125, 245. Music HaU, Vol. I. 63, 170. Public Garden, Vol. II. 277, 334. Public Library, Vol. 1. 16, 21, 30 ; Vol. 11. 122, 191, 367. Shoe and Leather Association, VoL I. 248, 249. Soldiers’ Monument, Vol. 11. 122. Somerset Club, Vol. 1. 146 ; Vol. 11. 262. Trinity Church, Vol. II. 30, 40. Union Club, Vol. 1. 146. Boulogne. Museum, Vol. 11. 47. Sculptures, Vol. 1. 197. Brecon. Statue of Wellington, Vol. 11. 288. Bremen. E.xchange, Vol. 11. 8. Brescia. Museum, Vol. 1. 250. Brookly'N. Mercantile Librarjq Vol. 11. 351. Prospect Park, Vol. 11. 81. Bruges. Gallery, Vol. 1. 208. Brussels. Church of St. Jacques, Vol. 11. 188. Hospital of St. John, Vol. I. 288. Hotel de Ville, Vol. 1. 267 ; Vol. 11. 338. ^luseum, Vol. 1. 328 ; Vol. II. 67, 99, 143, 257, 273, 310, 315. Eoyal Theater, Vol. II. 188. Senate Chamber, Vol. 1. 280. Wilson GaUerj’, Vol. 1. 205. Buff.alo. Academy of Fine Arts, Vol. I. 7, 61 ; Vol. 11. 173. Natural Science Eooms, Vol. 11. 249. INDEX OF PLACES. 11 Caen. Cathedral, VoL I. 22. Museum, Vol. I. 241 ; Vol. 11. 9. Calcutta. Statues at, Vol. I. 71 ; Vol. II. 341. Cambrai. Museum, Vol. I. 196. Cambridge, England. Caius College, Vol. II. 336. Fitzwilliam Museum, Vol. I. 36. King’s College, Vol. I. 24. Museum, Vol II. 191. Pembroke College, Vol. II. 336. St. Mary’s Church, Vol. I. 23. Cambridge, U. S. A. Harvard Library, Vol. I. 306. Carcassone. Museum, Vol. I. 206. Cardiff. Statue at, Vol. II. 288. Carlisle. Cathedral, Vol. I. 4. Statue of James Steele, Vol. II. 360 Carlsruhe. Gallery, Vol. II. 63. Museum, Vol. I. 278. Cassel, Gallery, Vol. I. 234. Castellani. Church of, Vol. II. 131. Celle. Monument at, Vol. I. 336. Certaldo. Picture of Boccaccio, Vol. I. 57. Christiana. . Gallery, Vol. I. 234. Christiansborg. Gallery, Vol. 1. 57. Colmar. Monument to Schongauer, Vol. I. 36. Cologne. Cathedral, Vol. I. 6 ; Vol. II. 271. Museum, Vol. I. 53 ; Vol. II. 244, 271, 313. Statue of Frederick William III., Vol. I. 66. Concord. Battle-Ground, Vol. I. 271. Library, Vol. 1. 306. Constance. Government Buildings, Vol. II. 329. Copenhagen. Gallery, Vol. 1. 320. Royal Castle, Vol. 11. 10. CORKHAM. Church at, Vol. I. 24. Corte. Cathedral, Vol. I. 33. COURTRAI. Museum, Vol. 11. 22. Crefeld. Hotel de Ville, Vol. II. 8. Dalecarlia. National Monument of Mora, Vol. I. 359. Detmold. Monument at, Vol. 1. 32. Dijon. Church of St. Peter, Vol. 1. 201. Museum, Vol. 1. 1, 113, 206, 301; Vol. 11. 50, 147. Douai. Museum, Vol. I. 134, 158. Dresden. Bruhl Terrace, Vol. 11. 241. Court Theater, Vol. 1. 360. Gallery, Vol. II. 198, 357. Hospital of St. Maternite, Vol. II. 250. Museum, Vol. 11. 249, 326. 12 INDEX OF PLACES. New Theater, Vol. 1. 234. Royal Castle, Vol. I. 54. Statue at, Vol. 1. 324. Dublin. Art Union, Vol. I. 82. National Galleiy, Vol. I. 266. Dunkeld. Cathedral, Vol. II. 269. Dusseldorf. Art Union, Vol. II. 63. Gallery, Vol. II. 136, 295. Maximilian Church, Vol. II. 250. Eagleswood. Art Pottery, Vol. II. 266. Edinburgh. Cathedral of St. Mary’s, Vol. II. 247. National Gallery, Vol. I. 9, 98, 136, 218, 224, 355, 378 ; Vol. II. 41, 166, 171, 271. Eoval Scottish Academy, Vol. I. 210 . Elberfeld. Council Chamber, Vol. II. 135. Erfurt. Hotel de Ville, Vol. II. 9. Eton. Statue at, Vol. II. 341. Eaenza. Picture at, Vol. II. 123. Feurs. Church of, Vol. I. 74. Florence. Cathedral, Vol. II. 163. Church of San Lorenzo, Vol. I. 56, 247. Gallery of Jlodern Paintings, Vol. I. 124 ; Vol. II. 140, 186, 808. Iconographic Galleiy, Vol. 1. 60. Loggia dei Lanzi, Vol. 1. 250. Medici Chapel, Vol. 1. 56. Museum of San Marco, Vol. 1. 39. Palace of Mme. Favart, Vol. 1. 283. Palazzo Vecchio, Vol. 11. 168. Piazza Santa Croce, Vol. II. 168. Pitti Gallery, Vol. 1. 37, 60, 223, 226. Pitti Palace, Vol. 1. 56. San Donato Gallery, Vol. 1. 279. Santa Croce, Church of, Vol. 1. 226, 247 ; Vol. 11. 234, 312. Villa Oppenheim, Vol. 11. 181, 250. FONTAINEBLE.AU. Palace of, Vol. 1. 134 ; Vol. 11. 50. Foth. Church of, Vol. 1. 64. Frankfort. Imperial Hall, A’’ol. 11. 271. Museum, Vol. 11. 67, 177. Staedel Institute, Vol. 11. 158, 237. Geneva. Museum, A^ol. 1. 206. Town Council of, A^ol. 11. 314. Genoa. Hospitals, A^ol. 11. 214, 312. Ger.a. Soldiers’ Monument, A'ol. II. *246. Ghent. Museum, Vol. I. 82, 320 ; Vol. 11. 67. Glasgow. Art Union, A^ol. 11. 364. Cathedral, A'ol. 1. 352 ; A*ol. II. 269. Statue of the Queen, Vol. 11. 94. University, A’^ol. 11. 247. Gleiwitz. Monument at, A'ol. 1. 336. INDEX OF PLACES. 13 Gotha. Museum, Vol. I. 292. Grafenegg. Castle, Vol. 11. 184. Geexoble. Gallery, Vol. I. 341. Museum, Vol. 1. 134. Grieeswald. University, Vol. I. 5. Geopello. Statue at, A'’ol. II. 97. Geoss-Gmehlen. Church at, Vol. II. 342. Haarlem. Museum, Vol. II. 113, 144. Hague, The. Museum, Vol. I. 82; Vol. II. 143. Hal. Monument at, Vol. I. 303. Hamburg. Church of St. Nicolas, Vol. II. 250. Museum, Vol. I. 287 ; Vol. II. 253. Hanthem. Church at, Vol. I. 288. Harrisburg. Capitol at, Vol. II. 225. Hartford. Bushnell Park, Vol. I. 37. Clark Family Monument, Vol. I. 37. Colonel Colt, Monument to, Vol. II. 218. New Capitol, Vol. I. 386 ; Vol. II. 219. Wadsworth Gallery, Vol. 1. 36, 144. Haverhill. Public Library, Vol. II. 191. Havre. Museum, Vol. II. 42, 132. Hixgham. Monument at, Vol. I. 306. Konigsberg. Museum, Vol. I. 89, 172 ; Vol. II. 244. Town Gallery, Vol. I. 172. University, Vol. I. 308 ; Vol. II. 241. Konigsbrunn. Church at, Vol. II. 329. Kreuzberg. Monument at, Vol. II. 296. Langres. Museum, Vol. I. 76, 158. Laon. Church of Notre Dame, Vol. I. 71. Lausanxe. Museum, Vol. I. 206, 302. Leghorn. Church of the Soccorso, Vol. 1. 199 ; Vol. 11. 186. Statue at, Vol. 11. 192. Leipsic. Museum, Vol. 1. 5, 50, 54, 60, 106, 114, 191, 239, 283, 284, 289, 318, 324, 351, 352 ; Vol. 11. 7, 26, 69, 76, 186, 193, 194, 206, 222, 240, 243, 244, 246, 248, 263, 267, 284, 304, 326, 328, 339, 358. Eoman House at, Vol. II. 358. Lemberg. Hotel des Invalides, V ol. 1. 303. Lexixgtox. Town Hall, Vol. 1. 306. Lichfield. Cathedral, Vol. 11. 260. Lichtexstein. Church, Vol. 11. 342. Lichterfelde. Cadet House, Vol. 11. 178. 14 INDEX OF PLACES. LifeGE. Museum, Yol. I. 279. Lille. Museum or Gallery, Vol. I. 40, 62, 75, 226, 359 ; Vol. II. 47, 53, 147, 240. Limeeick. Roman Catholic Cathedral, Vol. I. 331. Lisbon. Royal Palace, Vol. 1. 217. Liverpool. GaUery, Vol. II. 250. Lime Street Station Hotel, Vol. 11. 336. Royal Exchange, Vol. II. 361. St. George’s HaU, Vol. I. 4 ; Vol. II. 287. London. Albert Hall, Vol. 1. 23. Albert Memorial, Vol. I. 24, 50, 259 ; Vol. II. 287, 341. Art Union, VoL II. 165. Battersea Park, Vol. II. 171. Buckingham Palace, Vol. I. 231, 316 ; Vol. II. 171. Charing Cross Hotel, Vol. 1. 36. City Club, Vol. 1. 331. Co vent Garden Theater, Vol. I. 36. Crystal Palace, Vol. II. 94, 361. Dudley Gallery, Vol. I. 169, 246, 247 ; Vol. II. 17, 321. Euston Square Railway Terminus, Vol. 1. 331. Exchange, Vol. II. 76. Fine Art Society, Vol. II. 292. Foreign Office, Vol. I. 50. Garrick Club, Vol. 1. 140. Goldsmith’s Hall, Vol. I. 330. Greenwich Hospital, Vol. I. 49 ; Vol. 11. 82, 287. Grosvenor Gallery, Vol. 1. 169, 326; Vol. II. 17, 125, 147, 269, 337. Guildhall, Vol. I. 50, 229 ; VoL II. 359. House of Commons, Vol. II. 333. House of Lords, Vol. I. 365 ; Vol. II. 287. Houses of Parliament, Vol. I. 23, 50, 154, 230, 232, 257, 365; Vol. II. 82, 83, 95, 139, 337. India House, Vol. II. 341. International Exhibition Build- ings, Vol. 1. 266. Lincoln’s Inn, Vol. 1. 331 ; Vol. II. 337. Lloyd’s, Vol. II. 76. Mansion House, Vol. I. 228, 229, 271. Marine Gallery, Vol. I. 55. Middle Temple, Vol. I. 228. National Gallery, Vol. I. 36, 83, 141, 152, 154, 231, 233, 236, 241, 269, 274, 303, 324, 351, 365 ; Vol. II. 14, 15, 32, 33, 35, 36, 48, 61, 69, 71, 83, 137, 155, 180, 202, 216, 268, 304, 308, 333, 340, 352, 353, 358. Royal Acaderiiy, Vol. I. 139, 194, 209, 234 ; Vol. 11. 54. South Kensington Museum, Vol. I. 266; Vol. II. 36, 207, 288, 336. St. James’ HaU, Piccadilly, Vol. II. 15. St. Katherine’s Docks, Vol. 1.330. St. Paul’s Cathedral, Vol. I. 49 ; Vol. II. 95, 272, 287, 360. Temple Church, Vol. II. 260. Temple Hall, Vol. I. 24. Universitj', Vol. I. 229 ; Vol. II. • 171. Victoria Park, Vol. II. 171. Westminster Abbey, Vol. I. 4, 23, 49 ; Vol. II. 95, 287, 361. Westminster Hall, Vol. I. 365 ; Vol. II. 285. Westminster Palace, Vol. II 285, 337. INDEX OF PLACES. 15 Louvain. Museum, Vol. II. 99. Louisville. Statue at, Vol. 1. 333. Lynn. Soldiers’ Monument, Vol. I. 2. Lyons. Museum, Vol. I. 60, 74. Madrid. Museum, Vol. I. 124. Magdebourg. Church of St. Jacques, Vol. II. 270. Francke Monument, Vol. 1. 66. Manchester. Assize Courts, Vol. II. 336. Owens College, Vol. II. 336. Salford Gaol, Vol. 11. 336. Statue of Sir Eobert Peel, Vol. II. 95. Marienburg. Castle, Vol. II. 25. Statue of Duke Albert, Vol. I. 66 . Marienwerder. Cathedral, Vol. 11. 186, Marseilles. Cathedral, Vol. 1. 221. Museum, Vol. I. 158, 196, 328, 330 ; Vol. 11. 179, 196, 264. Meissen. Church, Vol. I. 370. Eoyal Castle, Vol. 1. 234. Metz. Museum, Vol. 1. 158. Rabbinical School, Vol. 1. 71. Milan. Piazza San Sepolcro, Vol. I. 162. Theater of La Scala, Vol. 11. 278. Mons. Museum, Vol. 1. 82. Montauban. Cathedral, Vol. I. 381. Museum, Vol. I. 301. Montpelier. Statue at, Vol. 11. 106. Montpellier. Museum, Vol. 1. 58. Promenade, Vol. I. 25. Montreal. Victoria Square, Vol. 11. 359. Moscow. Peter-Paul Church, Vol. 11. 329. Mulhouse. Museum, Vol. 1. 301. Munich. Basilica of St. Boniface, Vol. 1. 352. Church of Maria Hilf, Vol. I. 352. Church of St. Ludwig, Vol. 1. 157. Glyptothek, Vol. I. 157, 206 ; Vol. II. 76. Kbnigsbau, Vol. I. 207. Maximilineum, Vol. 1. 319 ; Vol. 11. 182. Museum, Vol. 11. 29, 193, 242, 244. New Residence, Vol. 1. 260. Niebelungen, Grand Hall of, Vol. 11. 7. Niederwald, National Monument at, Vol. 11. 241. Pinakothek, Vol. I. 2, 157, 278, 337; Vol. 11. 53, 182, 207. Munster. Cathedral, Vol. I. 3. Church of St. Algidius, Vol. 11. 271. Nantes. Museum, Vol. 1. 40, 90, 184. Naples. Chapel Royal, Vol. 11. 132. 16 INDEX OF PLACES. Church of St. Severe, Vol. 1. 126, 127. Conservatorio, Vol. I. 22. Nakbonne. Museum, Vol. I. 97. Nevees. Grand Place of, Vol. 11. 59. Museum, Vol. I. 330. Neuchatel. Museum, Vol. I. 299. Neuss. Old Church, Vol. I. 157. Nevers. Museum of, Vol. 1. 330. 17 e'wcastle-on-Ttne. Statue at, Vol. II. 76. New Orleans. Statue at, Vol. I. 332. Newport. Statue at, Vol. II. 334. New York. Apollo Association, Vol. II. 348. Arcadian Club, Vol. I. 369. Art Union Gallery, Vol. II. 21, 46. Astor Library, Vol. II. 135. Bar Association, Vol. I. 330 ; Vol. II. 125. Belmont Gallery, Vol. I. 61, 78, 192, 296 ; Vol. II. 111. Booth’s Theater, Vol. I. 306. Central Park, Vol. I. 30, 170, 251 ; Vol. II. 2, 81, 291, 334. Century Club, Vol. I. 64 ; Vol. II. 21, 47, 96, 349. City Hall, Vol. I. 238, 354, 377, 382 ; Vol. II. 99, 125, 159, 189, 279, 349. Greenwood Cemetery, Vol. I. 100 ; Vol. II. 242. Historical Society, Vol. I. 26, 144, 377 ; Vol. II. 1, 134, 159, 168, 289, 330. Law Library, Vol. 11. 81. Lenox Library, Vol. 1. 376 ; Vol. 11. 189. Lotus Club, Vol. II. 278. Metropolitan Museum, Vol. 1. 151, 170 ; VoL 11. 312, 349. National Academy, Vol. 1. 56, 78, 137, 149, 180, 183, 233, 238, 266, 286, 309, 321, 327 ; Vol. 11. 10, 45, 46, 96, 134, 145, 153, 343. Old Diisseldorf Gallery, Vol. 1. 337 ; Vol. 11. 193. Palette Club, Vol. II. 309. St. Luke’s Hospital, Vol. I. 55, 377. Trinity Church, Vol. 1. 365, 371; Vol. 11. 230. University, Vol. I. 377 ; Vol. 11. 289. Union League Club, Vol. 1. 377 ; Vol. 11. 101, 247, 275, 335. Nimes. Vol. I. 60. Niort. Vol. 1. 76. N0KNE>r\^'EP.T. Church of, Vol. 11. 176. Nuremberg. Madonna of, Vol. I. 5. Ntmptsch. Church of, Vol. 1. 49. Orleans. Museum, Vol. I. 20. Statue at, V ol. I. 220. Orvieto. Cathedral, Vol. I. 33. Osborne. Vol. 1. 17, 137, 231 ; Vol. 11. 169. OSNABRUCK. Cathedral, Vol. 1. 217. Oxford. Baliol College, Vol. 11. 336. Bodleian Library, Vol. 11. 176. INDEX OF PLACES. 17 Mart)’rs’ Monument, Vol. II. 341. New Museum, Vol. II. 139. Trinity College, Vol. II. 341. Paris. Arc de Triomphe, Vol. I. 77, 240 ; Vol. II. 94. Avenue de I’Observatoire, Vol. II. 172. Bank of France, Vol. II. 289. Barriere du TrOne, Vol. II. 154. Bourse, the, Vol. I. 228. Calcographie (the Louvre), Vol. I. 114, 268 ; Vol. II. 282. Cemetery du Nord, Vol. I. 303. Chamber of the Council of State, Vol. I. 222. Chamber of Deputies, Vol. I. 201, 223. Chamber of Notaries, Vol. 1. 163. Chamber of Peers, Vol. I. 182. Champs Elysees, Vol. I. 201, 228. Chapel of All Saints, Vol. I. 352. Chapel des Baptemes in I’Eglise de la Trinite, Vol. I. 268. Chapel of the Madeleine, Vol. I. 143. Chapel of St. Fran 9 ois de Sales, Vol. I. 353. Chapel of St. Genevieve, Vol. I. 203. Chapel of St. Joseph at St. Sul- pice, Vol. II. 34. Chapel of St. Sulpice, Vol. II. 298. Chatelet, Theater of, Vol. I. 134. Church of Blancs-Manteaux, Vol. I. 301. Church of the Madeleine, Vol. I. 77, 163, 228, 241 ; Vol. II. 57, 87, 94, 253, 301. Church of Notre Dame des Champs, Vol. II. 42. Church of Notre Dame de Clig- nan court, Vol. I. 222. Church of Notre Dame de Lorette, Vol. I. 203, 228. Church of Notre Dame de Paris, Vol. I. 343. Chui-ch of the Sarbonne, Vol. II. 243, 298. Church of St. Ambrose, Vol. II. 73. Church of St. Augustin, Vol. I. 31,74, 316; Vol. 11.18,51, 59. Church of St. Bernard, Vol. I. 184. Church of St. Clothilde, Vol. I. 80, 319 ; Vol. II. 51, 52. Church of St. Denis-du-Saint- Sacrement, Vol. I. 188, 243 ; Vol. II. 172. ^ Church of St. Etienne-du-Mont, Vol. I. 220, 258, 292 ; Vol. II. 39. Church of St. Eustache, Vol. I. 31, 166, 196. Church of St. Genevifeve, VoL 1. 271 ; Vol. II. 196. Church of St. Germ.ain-l’Auxer- rois, Vol. I. 31, 163, 297 ; Vol. IT. 18, 57. Church of St. Germain-des-Pres, Vol. I. 31, 158, 257. Church of St. Gervais, Vol. I. 297, 343 ; Vol. II. 10. Church of St. Jean, Vol. II. 57. Church of St. Joseph, Vol. I. 197. Church of St. Louis, Vol. 11. 52. Church of St. Louis d’Antin, Vol. 1. 222, 301. Church of St. Louis-en-lTle, Vol. II. 52. Church of St. Marguerite, Vol. 1. 258, 302. Church of St. Martin des Champs, Vol. 1. 290. Church of St. Merri, Vol. 1. 187, 297 ; Vol. 11. 52, 57. Church of St. Nicolas des Champs, Vol. 1. 143 ; Vol. 11. 114. Church of St. Nicolas du Char- donnet, Vol. I. 201. 18 INDEX OF PLACES. Church of St. Pierro du Gros Caillou, Vol. I. 201. Church of St. Protais, Vol. 1.297. Church of St. Severin, Vol. I. 31, 257, 258, 290; Vol. II. 210, 211 . Church of St. Sulpice, Vol. 1. 217, 353 ; Vol. II. 51, 58. Church of St. Thomas Aquinas, Vol. I. 58, 317. Church of St. Vincent de Paul, Vol. I. 257 ; Vol. II. 181. Church of the Trinity, Vol. I. 31, 97, 251 ; Vol. II. 41, 47, 65, 73. Coliuun of the Place Veridome, Vol. I. 37, 223. Column of July, Vol. 1. 221. Court of Cassation, Vol. I. 221. Ecole des Beaux-Arts, Vol. I. 223, _ 381. Elysee, the, Vol. I. 129, 206 ; Vol. II. 34. Exposition, 1878, Vol. I. 1, 22, 23, 24, 25, 28, 33, 39, 42, 52, 56, 64, 68, 71, 77, 78, 84, 88, 93, 94, 98, 108, 111, 116, 117, 124, 127, 137, 142, 148, 149, 153, 154, 155, 169, 172, 174, 179, 185, 186, 189, 192, 197, 209, 219, 222, 233, 234, 239, 242, 246, 247, 253, 254, 255, 266, 267, 274, 277, 279, 280, 287, 288, 290, 294, 298, 305, 306, 309, 310, 317, 319, 320, 321, 322, 323, 324, 338, 345, 347, 348, 350, 358, 362, 369, 377, 378, 379, 383, 384, 385 ; Vol. II. 7, 12, 13, 14, 16, 17, 18, 19, 22, 25, 29, 31, 47, 58, 61, 63, 68, 69, 72, 73, 77, 79, 84, 85, 87, 89, 92, 93, 100, 104, 105, 110, 113, 114, 116, 117, 124, 125, 126, 131, 133, 138, 141, 142, 148, 150, 165, 166, 170, 171, 175, 179, 182, 186, 191, 194, 198, 207, 209, 212, 214, 221, 222, 232, 234, 235, 237, 242, 243, 248, 253, 256, 257, 264, 265, 268, 270, 271, 272, 275, 276, 278, 279, 282, 284, 285, 291, 292, 299, 300, 304, 308, 313, 315, 321, 328, 333, 334, 335, 336, 337, 350, 352, 354, 355, 360, 363, 365, 366, 367, 370. Fountain of Saint ilichel, Vol. I. 186 ; Vol. II. 5. Fountain of the Theatre-Fran- gais, Vol. I. 284. Fountain of Victory, Vol. II. 5. Grande Chancellerie of the Le- gion of Honor, Vol. I. 237 ; Vol. II. 312. Home Department of the Council of State, Vol. I. 257. Hotel Drouot, Vol. II. 118. Hotel des Invalides, Vol. I. 4, 381 ; Vol. II. 255. Hotel Pereire, Vol. I. 80 ; Vol. II. 226. Hotel de Ville, Vol. I. 201, 206, 243, 258, 381 ; Vol. II. 34, 254. Louvre Museum, Vol. 1. 1, 4, 27, 31, 38, 39, 70, 77, 163, 182, 184, 187, 201, 203, 206, 218, 220, 223, 230, 243, 385 ; Vol. 11. 86, 114, 254. Louvre, Palace of, Vol. 1. 113, 143, 218, 228, 319, 376, 381 ; Vol. II. 50, 59, 120, 181, 255. Luxemhourg Gallery, Vol. 1. 2, 3, 8, 12, 15, 20, 35, 38, 40, 45, 50, 51, 53, 55, 57, 58, 59, 60, 62, 65, 66, 70, 72, 74, 79, 90, 91, 92, 112, 113, 126, 129, 134, 135, 136, 1-38, 156, 158, 163, 166, 170, 177, 179, 184, 187, 188, 193, 196, 198, 200, 201, INDEX OF PLACES. 19 203, 212, 218, 219, 220, 223, 226, 230, 237, 241, 247, 252, 258, 261, 267, 271, 275, 289, 290, 292, 297, 300, 301, 302, 306, 316, 318, 319, 328, 329, 332, 342, 343, 345, 353, 359, 372, 384, 385 ; Vol. II. 4, 7, 8, 9, 18, 24, 33, 34, 39, 40, 42, 45, 47, 49, 50, 52, 53, 57, 58, 59, 60, 64, 65, 73, 86, 87, 91, 99, 106, 111, 118, 120, 124, 130, 134, 136, 142, 154, 157, 163, 167, 170, 172, 178, 185, 186, 201, 203, 204, 211, 212, 215, 221, 226, 228, 230, 245, 246, 248, 253, 255, 280, 288, 298, 301, 302, 307, 321, 327, 339, 361, 370. Luxembourg Garden, Vol. I. 74, 140 ; Vol. ir. 86. Luxembourg Library, Vol. II. 254. Luxembourg Observatory, Vol. I. 119. Maison d’Or, Vol. 11. 46. New Opera, Vol. 1. 40, 82, 197, 281, 284, 317 ; Vol. II. 121, 172, 243. Palais des Beaux- Arts, Vol. 1. 197, 301. Palais des Cham brcs, Vol. I. 288. Palais des Corps Legislatifs, Vol. I. 385. Palais de Justice, Vol. I. 22, 75, 131, 221, 223, 228 ; Vol. II. 39, 52, 112, 172. Palais Royal, Vol. I. 228 ; Vol. II. 317. Palais Trocadero, Vol. 1. 197. Pantheon, Vol. I. 359 ; Vol. II. 42, 87, 196. Pavilion de Rohan, Vol. I. 206. Pavilion Turgot, Vol. I. 206, 319. Pere-la-Chaise, Vol. 1. 223. Place de Rivoli, Vol. I. 271. Salle des Seances of the Institute, Vol. I. 223. Salon of Constantine, Vol. II. 318. Tuileries, Vol. I. 114, 129, 184, 187, 196, 197, 376; Vol. 11. 45, 50, 73, 86. Pauma. Gallery, Vol. II. 97. Pau. Museum, Vol. I. 134. Pesth. Museum, Vol. II. 329. Philadelphia. Academy of Fine Arts, Vol. I. 10; Vol. II. 61, 135, 144, 168, 277, 279, 339. Actors’ Home, near Philadelphia, Vol. I. 30. County Jail, Vol. II. 331. Exposition, Vol. I. 2, 5, 17, 22, 24, 28, 29, 30, 32, 36, 39, 43, 47, 51, 52, 55, 56, 64, 66, 68, 71, 76, 77, 78, 82, 83, 93, 94, 95, 98, 100, 101, 102, 107, 115, 116, 117, 118, 123, 124, 125, 133, 138, 141, 146, 148, 149, 151, 152, 156, 158, 167, 168, 172, 174, 177, 180, 183, 18.5, 192, 193, 210, 219, 225, 226, 227, 231, 232, 238, 240, 246, 247, 249, 253, 255, 256, 260, 261, 267, 270, 274, 276, 278, 280, 283, 287, 289, 290, 292, 296, 300, 303, 304, 30.5, 308, 309, 312, 314, 317, 321, 323, 324, 328, 330, 332, 335, 337, 341, 348, 353, 356, 362, 370, 372, 373, 377, 378, 385, 386 ; Vol. II. 4, 7, 9, 11, 12, 13, 14, 16, 17, 18, 21, 22, 26, 27, 29, 30, 31, 34, 38, 44, 56, 61, 66, 68, 69, 72, 74, 75, 80, 86, 87, 91, 93, 96, 100, 102, 20 INDEX OF PLACES. 103, 105, 110, 111, 112, 114, 116, 121, 124, 126, 127, 128, 129, 130, 132, 134, 139, 140, 144, 147, 148, 149, 150, 151, 152, 154, 159, 162, 163, 164, 167, 169, 171, 173, 175, 178, 185, 191, 192, 194, 195, 202, 207, 209, 211, 217, 218, 219, 222, 223, 225, 230, 234, 236, 237, 239, 240, 247, 251, 252, 253, 256, 257, 259, 260, 261, 263, 264, 265, 268, 269, 275, 277, 278, 279, 281, 282, 284, 288, 292, 297, 299, 300, 301, 303, 304, 305, 306, 307, 309, 310, 312, 313, 315, 320, 321, 325, 327, 328, 329, 332, 334, 335, 336, 341, 342, 343, 345, 353, 355, 363, 372. Fairmount Park, Vol. 1. 29. Girard College, Vol. II. 331. Independence Hall, Vol. I. 29 ; Vol. II. 144, 279. Permanent Fine Art E.'diibition, Vol. I. 88. Union League Club, Vol. II. 1, 144. Pledighotta. Vol. II. 8, 9. Pisa. Monument, Vol. II. 312. Pietro Leopoldo at, Vol. II. 163. University, Vol. I. 199. PiSTOIA. Hospital, Vol. II. 307. Plymouth. Pilgrims’ Monument, Vol. I. 63. Poitiers. Hotel de Ville, Vol II. 196. Porte-Maurizio. Cathedral, Vol. I. 143. Portland. Exchange, Vol. I. 6. Prague. Univereity at, Vol. II. 324. Ratisbox. Cathedral, VoL I. 6 ; Voh II. 244. Eemagen. Churches at, Vol. I. 191, 385 ; Vol. II. 136. Rheims. Cathedral, Vol. II. 87. Monument at, Vol. I. 319. Richmond, England. Star and Garter, Vol. I. 36. Rome. Academy of St. Luke, Vol. I. 5. Art Union, Vol. 1. 102. Borghese Palace, Vol. 1. 60. Campo Verano, Vol. 11. 123. Casa Bartholdi, Vol. 1. 157. Church of La Trinita de’ ilonti, Vol. 1. 381. Church of St. Louis des Fran 9 ais, Vol. 1. 223. Church of St. Peter’s, Vol. II. 281. Doria Palace, Vol. 11. 123. Quirinal, Vol. I. 22 ; Vol. 11. 123. Salon of the French School, Vol. 1. 223. Torlonia Palace, Vol. 1. 117. Vatican, the, Vol. II. 122. Rouen. Church of Hotre Dame de Bon Secoure, Vol. 11. 45. Museum, Vol. 1. 129 ; Voh 11. 132, 254. Salem. Normal School, Vol. 11. 367. Salisbury’, U. S. A. Colling Memorial Vase, Vol. I. 37. INDEX OF PLACES. 21 Savannah. Convent of tlie Sacred Heart, Vol. I. 212. Savona. Basilica of, Vol. I. 143. Hospital of, Vol. I. 33. Sebastopoi,. Monument at, Vol. I. 303. Sens. Catliedral, Vol. II. 87. Siena. Campo Santo, Vol. II. 235. Catliedral, Vol. I. 33 ; Vol. II. 140, 235. Church of the Servites, Vol. I. 57. Fonte Gaia, Vol. II. 235. Palazzo Publico, Vol. I. 124. Silesia. Church at, Vol. II. 198. SOLESMES. Church at, Vol. I. 196. Spoleto. Cathedral, Vol. II. 89. Stagheno. Cemetery of, Vol. II. 214. Staglieno. Monuments at, Vol. II. 312. St. Louis, Mo. Custom House, Vol. I. 271. Forest Park, Vol. II. 81. Public Library, Vol. 1. 366. St. Malo. Statue at, Vol. II. 121. Stockholm. Museum, Vol. 1. 57, 359 ; Vol. II. 197. St. Omer. Museum, Vol. 1. 223.* St. PetePlSeurg. Heimitage, Vol. 1. 26, 27 ; Vol. 11. 145. St. Isaac’s Church, Vol. II. 241. Winter Palace, Vol. 1. 27 ; Vol. 11. 283. St. Quentin. Churches at, Vol. 11. 41. Strasbourg. Cathedral, Vol. 11. 271. Museum, Vol. I. 237. Stuttgart. Gallery, Vol. I. 251. SWANTON. Statue at, Vol. 11. 174. Tenby. Statue of Prince Consort at, Vol. 11. 288. Tergernsee. Castle of, Vol. 11. 225. Toulouse. Hotel of, Vol. II. 289. Museum, Vol. 1. 384 ; Vol. 11. 42. Tournay. Cathedral, Vol. I. 279. Tours. Museum, Vol. 11. 47. Trieste. Church of Saint-Antoine, Vol. I. 315. Troyes. Monastery of Visitation at, Vol. 11 . 10 . Museum, Vol. II. 10, 254, 255. Turin. Monument to Cavour, Vol. I. 225. Eoyal Chapel, Vol. 1. 267. Royal Gallery, Vol. I. 273. Ro3-al Palace, Vol. 1. 22, 27, 338 ; Vol. II. 312. Twickenham. Orleans House, Vol. I. 381. Valence. Museum, Vol. 11. 47. 22 INDEX OF PLACES. Vendome. Museum, Yol. I. 134. Vejsdreuve. Chateau of, Yol. II. 254. Y EESAILLES. Gallery, Yol. I. 3, 16, 22, 31, 45, 60, 51, 65, 138, 143, 163, 182, 187, 203, 223, 228, 241, 250, 279, 281, 297, 299, 318, 343, 384,, 385 ; Yol. II. 4, 33, 39, 101, 114, 178, 181, 186, 215, 221, 253, 254, 276, 318, 332. Yienna. Arsenal at, Yol. I. 303 ; Yol. II. . 184. Belvedere Gallery, Yol. I. 65 ; Yol. II. 87. Belvedere Palace, Yol. I. 267. Cathedral of, Yol. I. 64. Exposition, 1873, Yol. I. 22, 33, 39, 234, 317, 348, 376 ; Yol. II. 2, 19, 58, 125, 165, 177, 207, 328, 336. Museum, Yol. I. 64, 117, 315, 379 ; Yol. II. 124. ■VYarsaw. Cathedral, Yol. I. 303. ^YASHINGTON■. Capitol at, Yol. I. 100, 131, 171, 249, 314, 341, 376 ; Yol. II. 64, 106, 122, 128, 189, 202, 218, 255, 331, 334, 339, 342. Congressional Library, Yol. II. 331. Corcoran Gallery, Yol. I. 17, 28, 38, 78, 89, 92, 112, 119, 135, | 137, 150, 200, 202, 238, 249, | 272, 290, 330, 355 ; Yol. II. 9, 18, 47, 59, 60, 136, 168, 188, 189, 194, 231, 238, 245, 314, 339, 371. National Museum of Education, Yol. II. 267. Old House of Representatives, Yol. II. 190. Patent Office, Yol. II. 331. Post-Office, Yol. 11. 331. Soldiers’ Home, Yol. II. 367. Treasury Building, Yol. II. 331. IVar Department, Yol. II. 191. IYaterloo. Church at, Yol. 1. 288. AYatertown. Keep Monument at, Yol. II. 327. Y''eimar. Castle, A’'ol. II. 296, 358. AVieland Hall at, A’ol. II. 193. AVellbergex in AA^estphalia. Church at, A’ol. II. 176. AA’est Point. Military Academy, Yol. II. 279, 348. AA’^ INDSOR. Castle at, A’ol. I. 17, 71, 98 ; Yol. II. 184, 247, 287. AVurtzberg. Kunstverein, Yol. I. 288. York. Minster, Yol. II. 260. Ypres. Halls at, Yol. I. 316 ; A'ol. II. GENERAL INDEX Abbott, J. G., Vol. I. 123. Adams, Abram, Vol. II. 264. Adams, Alvin, Vol. II. 113. Adams, ilrs. Alvin, Vol. I. 102 ; Vol. II. 10. Adams, Mr., Vol. II. 32. Adams, Fletcher, Vol. II. 297. Adams, McGregor, Vol. II. 103. Agnew, Messrs., Vol. II. 17. Aignette, M., Vol. II. 365. Aiken, A., Vol. II. 208. Akers, Paul, Vol. I. 102. Albert sale, Vol. I. 189. Alden, A. C., Vol. II. 342. Alford, Lady Marian, Vol. II. 95. Amberly, Lord, Vol. 11. 297. American Art Union, Vol. I. 83. Ames, Mrs. Charles, Vol. II. 218. Ames, Mrs. Oakes, Vol. 1 1. 139. Ames, Mrs. Oliver, Vol. II. 139. Ames, Oliver, Vol. 11. 10. Amherst College, Vol. 11. 164, 349. Andre, M., Vol. 1. 263. Andre, Mme. Ernest, Vol. 1. 204. Andrew, Mrs. John A., Vol. 1. 306. Andrews, W. L., Vol. II. 267. Angell, Dr. H. C., Vol. 1. 230; Vol. 11. 218. Anthony, S. J., Vol. 1. 231. Appleton, Samuel, Vol. 1. 366. Appleton, T. G., collection of, Vol. 1. 56, 94, 102, 103, 190, 254, 286, 324 ; Vol. II. 100, 122, 157, 341. Appleton, W. S., Vol. 11. 255. Archer and Pancoast, Vol. II. 335. Armadale, Vol. 11. 289. Arnim, Baron Von, Vol. 11. 270. Arrowsmith, Dr., "V^ol. 11. 1. Arthaber sale, Vienna, Vol. I. 284. Artists’ Fund Society, New York, Vol. 1. 56, 66. Ashburton, Lady, Vol. 1. 140, 146 ; Vol. II. 297. Ashmun, Hon. George, Vol. 1. 330. Astor, John Jacob, Vol. 1. 294, 384 ; Vol. 11. 261, 315. Astor, William, Vol. 1. 347. Attwood, Mrs., Vol. II. 214. Aube, Vol. 1. 86. Austin, G. W., Vol. 1. 43. Austria, Emperor of, Vol. II. 29. Avery, S. P., Vol. 1. 46, 80, 108. Avery sale, Vol. I. 370. Baccelli, Prof., Vol. II. 123. Bacon, Henry C., Vol. II. 250. Bailey, N. T., Vol. II. 44, 248. Baird, Matthew, Vol. I. 307 ; Vol. 11. 129, 225. Balmoral Castle, statue at, Vol. II. 287. Baker, C., Vol. 11. 175. Baker, W. S. G., Vol. II. 214, 258. Baldwin, Mr., Vol. 1. 66. Baliol College, Oxford, Vol. 11. 336. Ball, Elias, Vol. 11. 348. Bank of France, Paris, Vol. 11. 289. 24 GENERAL INDEX. Barbee, W. R., Vol. I. 33. Baring, Mr. M. P., Vol. II. 199. Barlow, H. N., Vol. I. 102. Barnes, Demas, Vol. I. 306. Bartol, Miss, Vol. II. 153. Bartolony, M., Vol. I. 80. Barye, anecdote of, Vol. I. 38. Batchelder, S., Vol. 1. 330. Bates, Martin, Vol. II. 250. Baudry, Paul, Vol. 1. 282. Baxter, Charles, Vol. II. 163.- Beckwith, Dr. D. H., Vol. II. 345. Beecher, Rev. H. W., Vol. I. 102, 382 ; Vol. II. 1. Bell, Jacob, Vol. 11. 155. Bellini, sole portrait of, Vol. I. 22. Bellini, tomb of, Vol. II. 94. Belmont Gallery, Vol. I. 61, 78, 192, 296 ; Vol. II. 111. Belmont sale, Vol. I. 73. Benedict, Judge, Vol. I. 370. Benevieni, Jerome, famous bust of, Vol. I. 39. Bennett, J. G., Vol. I. 94, 210. Bennett, James Gordon, Jr., Vol. I. 192. Bennett, "William, Vol. I. 356. Bergholz, Mrs., Vol. II. 103. Berry, Duke of, Vol. II. 316. Best, W. J., Vol. II. 254. Bigelow, Horatio, Vol. I. 149. Bird, Mrs. Edward 0., Vol. I. 143, 192. Blacas, M. de, Vol. II. 317. Blackie, Dr., Vol. II. 331. Blair, D. C., Vol. I. 369. Bliss, George, Vol. II. 290. Blodgett, D. C., Vol. II. 214. Blodgett sale. New York, Vol. 1. 3, 73, 96, 137 ; Vol. II. 209. Blodgett, W. T., Vol. 1. 183, 266, 325 ; Vol. II. 247. Bloodgood, John, Vol. II. 144. Blossom, Charles, Vol. II. 281. Blossom, James B., Vol. II. 281. Bolton, Colonel, Vol. I. 172. Bonheur, Raymond, Vol. I. 72. Bonheur, Rosa, school founded by, Vol. I. 72, 74. Bonnat, Vol. II. 56. Bonnel, M., Vol. II. 29. Booth, Edwin, Vol. I. 173, 294, 345. Booth, Miss Mary L., Vol. II. 174. Borghese, Prince P., Vol. I. 240. Bosio, Baron, Vol. I. 77. Boston Central Club, V ol. I. 292. Boston Shoe and Leather Associa- tion, Vol. I. 248, 249. Boston Somerset Club, Vol. I. 146 ; Vol. II. 262. Boston Union Club, Vol. I. 146. Boucicaut, M., Vol. I. 80. Bouilly-Mensdorf, Count of, Vol. II. 244. Bowdoin College Chapel, Vol. II. 40. Bowl ing, Sir John, Vol. I. 238. Brackett, G. C., Vol. II. 286. Brackett, S. L., Vol. II. 220. Bradford, W. H., Vol. I. 369. Bradley, J. H., Vol. I. 88. Brady, J. R., Vol. II. 248. Brassey, Thomas 51. P., Vol. 1. 152. Breadalbane, Duke of, Vol. II. 117. Brewer, Gardner, Vol. II. 281. Breysse, 51., Vol. I. 158. Brimmer, 5Iartin, A'ol. I. 103 ; Vol. II. 119, 297, 313. Bristol, Lord, 5'ol. I. 117. Brookfield, IVilliam, Vol. II. 292. Brooks, Noah, Vol. I. 296. Brooks, Peter S., A^ol. 1. 146. Brown, J. G., Vol. 1. 192. Brown, Walter, Vol. 1. 295. Brown, W. E. (Cal.), Vol. 1. 56. Bro\\’ning, 5Irs. E. B., 5'ol. II. 190. Browning, 5Ir., London, Vol. 1. 367. Brownlow, Earl, Vol. 11. 95. GENERAL INDEX. 25 Brunswick, Duke of, monument to, Vol. II. 314. Brussels sale, Vol. II. 273, 323. Bryant, William C., Vol. II. 289. Buchanan, Eev. E. S., Vol I. 100. Buckingham, Duke of, Vol. II. 264. Bull, Ole, Vol. II. 341, Bullard, Mrs. J., Vol. II. 11. Bullard, Mrs. Laura Curtis, Vol. II. 66, 287, 313. Bunco, Miss, Vol. II. 174. Bunce, Oliver B., Vol. 1. 369. Burdett-Coutts, Baroness, Vol. I. 2, 87, 98, 345 ; Vol. II. 133. Burdick, Dr., Vol. I. 64. Burt, J. M., Vol. II. 288. Bute, Marquis of, V^ol. II. 66. Butler, Cyrus, Vol. I. 97 ; Vol. II. 104, 163, 254. Butler, Richard, Vol. I. Ill, 294, 325. Butler, Theron R., collection of, Vol. I. 20, 42, 80, 96, 143, 240, 290, 328, 338, 354, 370 ; Vol. II. 11, 25, 26, 113, 149, 160, 185, 194, 217, 328. Butterfield, William, Vol. II. 251. Caird, James, Vol. II. 281. Caius College, Cambridge, Vol. II. 336. Caldwell, W. A., Vol. II. 128. Camp, W. A., Vol. I. 128. Careno, Mme. Teresa, Vol. II. 139. Carey, Alice, Vol. I. 64. Carey, H. C., Vol. II. 168. Casilear, J. W., Vol. II. 248. Cassin, Mme. de, Vol. I. 264. Castellani, Count, Vol. II. 240. Castle of Prince Albert of Prussia, Vol. II. 242. Centurj' Club, New York, Vol. I. 64 ; Vol. II. 21, 47, 96, 349. Cercle Artistique, Vol. II. 145, 196. Champfleury, M., Vol. II. 50. Champier, Victor, Vol. I. 237. Chandler, John W., Vol. II. 348. Chandos, Marquis of, Vol. II. 264. Chantrey Bequest, Vol. II. 54. Chaplet, M., Vol. I. 85. Charles X., Vol. II. 317. Charles X., Museum of, Vol. II. 318. Chailes Albert, Vol. I. 273. Charles Theodore, Duke of Bavaria, Vol. II. 225. Chasrel, T., Vol. I. 104. Chateau of Blois, Vol. II. 7. Chateau of Compiegne, Vol. I. 217. Chateau of Heltorf, Vol. II. 135. Chateau of Meudon, Vol. II. 50. Chateau of Neuilly, Vol. I. 256. Chateau of Schbnbrunn, Vol. II. 32. Chateau Reineck, Vol. II. 271. Cheney, Dwight, Vol. 1. 128. Cheney, John, Vol. I. 306. Chesneau, Vol. I. 188. Chew, Samuel, Vol. I. 347. Chickering, George, Vol. I. 356. Childs, G. W., Vol. II. 359. Christie’s sales, Vol. I. 236, 275 ; Vol. II. 24, 68, 111. Church of Notre Dame de Bon Se- cours, near Rouen, Vol. II. 45. Church of St. Nicolas at Hamburg, Vol. II. 250. Cisco, John J., Vol. II. 11, 75. Civil List, Vol. 1. 256, 297 ; Vol. II. 4. Claflin , William, collection of, Vol. I. 63, 102, 130, 373 ; Vol. 11. 262. Claghorn Collection, Philadelphia, Vol. 1. 63 ; Vol. 11. 168, 225. Claghorn, J. Raymond, Vol. 11. 81. Clark, Edward, Vol. I. 66. Clark, J. H., Vol. II. 345. Clark, Miss Jane, Vol. 1. 231. Clark, Mr., New York, Yol. 1. 292. Clark, Rev. E. L., New York, Yol. II. 341. 2G GENERAL INDEX. Clarke, H., Yol. II. 1. Clarke, Mr., of New York, Yol. II. 2. Clarke, William J., Yol. I. 171. Clarke, William J., Jr., Yol. II. 217. Claymont, Lady, Yol. I. 102. Clement, Dr. G. C., Yol. II. 176. Clement, J. H., Yol. I. 52. Cleophas, Mr., Yol. 1. 158. Cleveland, Duke of, Yol. II. 189. Clift, S., Yol. II. 280. Coale, G. B., Yol. II. 102. Cochran, Dr. D. G., Yol. II. 72. Cochrane, Alexander, Yol. II. 153. Colgate, ]\Ir., Yol. I. 340 ; Yol. II. 198. Colman, Samuel, Yol. II. 236. Colonne de Juillet, Paris, Yol. I. 223. Colt, Colonel, monument to, Yol. II. 218. Colt, Mrs., Yol. 1. 137. Colton, D. D., Yol. I. 111. Colyer, Yincent, Yol. I. 144. Conder, F. R., Yol. II. 229. Confederate States, Seal of, Yol. I. 259. Congressional Library at Washing- ton, Yol. II. 331. Constantine, Salon of, Paris, Yol. 11. 318. Convent of the Sacred Heart, Savan- nah, Yol. 1. 212. Cook, Edward, Yol. II. 153. Cook, Mr., New York, Yol. 1. 325. Cooke, Jay, Yol. 1. 92 ; Yol. 11. 264, 310. Cooper, A. R., Yol. I. 56. Cooper, H. P., Yol. 1. 64, 192 ; Yol. 11. 164, 254, 288. Corcoran Gallery, lYashington, Yol. 1. 17, 28, 38, 78, 89, 92, 112, 119, 135, 137, 150, 200, 202, 238, 249, 272, 290, 330, 355; Yol. 11. 9, 18, 47, 59, 60, 136, 168, 188, 189, 194, 231, 238, 245, 314, 339, 371. Corkhill, Colonel, Yol. 1. 248. Cottier k, Co., New York, Yol. 1. 288. Cottier sale, Yol. II. 40, 89, 93, 100 . Cottrell sale, London, Yol. 11. 188. Cowles, Edwin, Yol. 1. 242. Cozzens, A. M., Yol. 1. 144 ; Yol. 11. 21, 350. Cracroft, Bernard, Yol. 1. 375. Cradle presented to the Prince Im- perial, Yol. 1. 31. Creswick, T. R., R. A., Yol. 1. 18 ; Yol. 11. 132. Crocker, Charles, Yol. 1. 356. Crocker Gallery, Yol. 1. 111. Crocker, T. D., Yol. 1. 242. Cro.sby, W. H., A^ol. 1. 61. Crnikshank Collection, Yol. 11. 216. Cutting, Francis, Yol. 11. 144. Dahlgreen, the hanker (Gothen- burg), Yol. 1. 224. Dalhousie, Earl of, Yol. 1. 234. Daly, Judge, Yol. 1. 111. Dalzell, John, Yol. 11. 43. D’Aubigny, Jlr. (New York), Yol. 11 . 11 . Davis, Janies, Yol. 1. 159. Davis, Morris, Yol. 1. 277. Davis, William H., Yol. II. 291. Day, Dr., Yol. 1. 55. Day, F. 0., Yol. 11. 149. De Forest, Henry G., Yol. II. 105, 162. Delano, Edwai-d, Yol. 1. 296. Delaplanche, Yol. 1. 86. Delessert sale, Yol. 1. 197. Demidoff Collection, Yol. 11. 107, 109. Demidoff, Prince, Yol. 1. 37, 80. Demidoff sale, Yol. 1. 90 ; Yol. 11. 189, 226. De Mount, Mrs., Yol. 1. 67. Denny, John F., Yol. 1. 325. GENERAL INDEX. 27 Denon, II., Vol. I. 37. Derby, H. W., Vol. II. 115, 343. De Tretaigne sale, Vol. I. 113. Devonshire, Duchess of, Vol. I. 5. Devonshire, Duke of, Voi. I. 37 ; Voi. II. 345. De Wolf, Mr., Voi. I. 128. Dickens, Charles, collection of, Voi. II. 268. Dinsmore, Mr., Voi. II. 264. Diorama Montesquieu, Voi. I. 371. Ditson, Oliver, Voi. II. 10. Divatiap, Vol. I. 33. Di.\', Morgan, Vol. I. 168. Dix, Mrs., Boston, Vol. II. 325. Dodge, William E., Vol. I. 382 ; Vol. II. 248. Dodge, William E., Jr., Vol. II. 248. Dolan, Thomas, Vol. II. 225. Dole, J. H., Vol. II. 251. Donelly, Edward G., Vol. II. 102. Donizetti, tomb of, Vol. II. 314. Dorman, E. E., Vol. II. 173. Dorr, Charles H., Vol. I. 286. Douglas, James, Vol. II. 219. Douglas Monument, Vol. II. 327. Douglas, William P., Vol. II. 261. Draper, Dr. W. H., Vol. I. 369. Drasche, Princess, Vol. II. 27. Drexel, A. J., Vol. II. 25. Drexel, James W., Vol. II. 345. Drexel, Mr., Vol. II. 129. Dreyfus Collection, Vol. II. 177. Dudley, Earl, Vol. II. 189. Dudley Gallery, London, Vol. 1. 169, 246, 247 ; Vol. II. 17, 321. Duff, John, Vol. I. 32, 373. Dud'erin, Earl, Vol. I. 84 ; Vol. II. 14, 359. Duke d'Aumale, Vol. I. 195. Duke de Morny, Vol. IT. 370. Duke of Bavaria, Vol. II. 225. Duke of Cleveland, Vol. II. 189. Duke of Edinburgh, Vol. I. 95. Duke of Marlborough, Vol. I. 153. Duke of Orleans, Vol. I. 158, 194. Dumas (fils). A., Vol. I. 135. Dun, R. G., Vol. 1. 1 ; Vol. 11.254. Duncan, J., Vol. I. 152. Dunraven, Earl of, Vol. 1. 61. Duran, Carolus, Vol. II. 192. Durfee, B. ]\I. C., Vol. I. 52. Durfee, Mr., Fall River, Vol. II. 20. Dutcher, Mr., Vol. II. 131. Dwight, George, Jr., Vol. II. 252. Eagleswood Art Pottery, Vol. II. 266. Eden sale, Vol. I. 331. Edinburgh Free Presbytery, Vol. I. 355. Edwards, Anthony & Co., Vol. II. 349. Eggers, M., Vol. II. 29. Egypt, Khedive of, Vol. I. 208 ; Vol. II. 308. Elementary Perspective, Vol. II. 293. Elliot, Colonel, Vol. II. 156. Elliott, C. L., Vol. I. 321. Elliott, L. A., Vol. I. 123. Ellesmere, Earl of, Vol. I. 246, 296, 301. Elting, Robert, Vol. I. 248. Elton, Mrs. John P., Vol. II. 11. Emperor Napoleon 111., Vol. I. 153, 158, 208 ; Vol. II. 10, 107, 195, 242, 314. Emperor of Austria, Vol. II. 29, 184. Emperor of Brazil, Vol. I. 208. Emjieror of Germany, Vol. I. 117, 254 ; Vol. II. 119, 182, 270. Emperor of Russia, Vol. I. 222 ; Vol. II. 187. Empre.ss Eugenie, Vol. I. 73, 329, 342 ; Vol. II. 352. Empress of Russia, Vol. I. 217. Empress of Russia, portrait of, by Veruet, Vol. II. 316. 28 GENERAL INDEX. Erhardt, Col. Joel B., VoL II. 248. Erskiue, John, Vol. I. 358 ; Vol. II. 190. Essex County Bar, Vol. I. 373. Evarts, William M., Vol. I. 369. Everett, Edward, Vol. I. 314. Everett, Mrs. E. B., Vol. II. 367. Eyries, M. Gustave, Vol. II. 254. Fairbanks, Governor, of Vermont, Vol. I. 102, 325 ; Vol. II. 131. Fairchild, Mrs. Charles, Vol. II. 265. Falconer, J. M., Vol. I. 144, 309 ; Vol. II. 134. Falshaw, Sir James, Vol. 1. 234. Farnham, Dr. H. P., Vol. II. 150, 286. Farragut, Loyall, Vol. II. 248. Farrobo, Count of, Vol. I. 260. Farwell, Hon. Charles, Vol. II. 164. Faulkner, F. A., Vol. II. 287. Faull, John A., Vol. I. 357. Faure sale, Vol. II. 118. Fawsett, Godfrey, Vol. II. 44. Fay, K. S., Vol. II. 169. Fenno, Isaac, Vol. I. 306. Ferdinand I., Vol. I. 267. Ferdinand II., Vol. II. 89. Fernandina, Conde de, Vol. I. 143. Ferrin (fils), E., Vol. I. 271. Field, Benjamin H., Vol. I. 227. Field, David Dudley, Vol. II. 250. Fields, James T., Vol. II. 227. Fields, Osgood & Co., Vol. I. 19. Fish, Hamilton, Vol. I. 170 ; Vol. II. 161. Fitzgerald, Mr., Vol. I. 92. Fitzwilliam kluseum, Cambridge, Eng., Vol. I. 36. Flagg, Augustus, Vol. I. 103. Flagg, Thomas J., Vol. II. 218. Flower, Mrs. P., Vol. II. Fodor, M., Vol. I. 77. Forbes, James Staats, Vol. II. 282. Forbes sale, Vol. 1. 91, 385 ; Vol. II. 24. Force, John C., Vol. II. 145, 281. Foster, Birket, Vol. II. 13. Foster, C. 0., Vol. II. 250. Foster, John, Vol. II. 218. Fould, M., Vol. II. 67. Fould sale, Paris, Vol. I. 195. French, Hon. E. B., Vol. I. 249. French, S. L., Vol. II. 10. Frith, W. P., R. A., Vol. II. 178. Frodsham, Mm., Vol. II. 103. Frothingham, A. R., Vol. II. 351. Gallery of Bruges, Vol. I. 208. Gallery of Capo di Monte, Vol. II. 131. Gallerj' of Grenoble, Vol. I. 341. Gallery of Modern Paintings, Flor- ence, Vol. I. 124 ; Vol. II. 140, 186, 308. Gallery of the Trianon, Vol. I. 188. Gallery Vernet, at Avignon, Vol. II. 318. Gandy, Shepherd, Vol. I. 78 ; Vol. II. *21. Gamer, W. T., Vol. II. 254. Garrett, J. W., Vol. 1. 346. Garrick Club, London, Vol. I. 140. Gavet, 51., Vol. II. 118. George IV., Vol. II. 137. Gerrard, ill's. William H., Vol. II. 11 . Gibbs, ilaj. Theodore, Vol. I. 173, 192. Gibson, ilr., Vol. II. 240. Gibson, Mm., Vol. II. 290. GiUott sale, Vol. I. 241, 272. Gilsey, ilr. Henry, Vol. II. 153. Girard College, Vol. 11. 331. Girard, 51., hotel of, Vol. I. 237. Gladstone, Mr., Vol. I. 293; Vol. II. 139. Gladstone, statue of, Vol. I. 4. GENERAL INDEX. 29 Glasgow Fine Art Loan Exhibition, Vol. I. 25, 135 ; Vol. II. 55. Goddard, William, Vol. I. 294. Godwin, Edward W., Vol. II. 272. Godwin, Parke, Vol. II. 102, 331. Goldthwaite, Joel, Vol. I. 271. Goodrich, F., Vol. I. 255. Gordon, Robert, Vol. I. 101, 247, 248, 294, 295 ; Vol. II. 86, 104, 117, 335. Gorfounkel, M., Vol. I. 75. Goupil, Vol. I. 264, 302, Government buildings at Constance, Vol. II. 329. Gradinger, Mme. de, Vol. II. 73. Graham, J. L., Jr., Vol. I. 56. Grand Duchess Maria of Russia, Vol. I. 82, 106. Grand Duke of Carlsrulie, Vol. I. 251. Grand Duke Wladimir Aleksandro- witsch, Vol. I. 222. Grant, Mr., of Foxburg, Pa., Vol. II. 345. Graves, Robert, Vol. II. 127. Gray, Bryce, Vol. 11. 164. Gray, David, Vol. II. 249. Gray, John A. C., Vol. I. 340. Green, Mrs. John C., Vol. II. 297. Green, W. S., Vol. I. 146. Greene, Copley, Vol. II. 102. Greene, Gen. Colton, Vol. I. 321. Gregory, Charles E., Vol. I. 347. Groesbeck, William S., Vol. II. 282. Grosbeak, David, Vol. II. 278. Grosvenor Gallery, Vol. I. 169, 326; Vol. II. 17, 125, 147, 269, 337. Gsell sale, Vol. I. 166. Guichard, M. J., Vol. I. 57. Guiffrey, Vol. II. 4. Haddock, D., Jr., Vol. II. 359. Haden, Seymour, Vol. II. 50. Hall, Alvah, Vol. II. 14. Hamilton, AV. H., Vol. II. 260. Hamlin, Mr., Vol. I. 311, 356. Hampton, John W., Vol. II. 43. Hardwick, Earl of, Vol. I. 111. Harper & Brothers, Vol. I. 1, 19. Harper, Fletcher, Vol. II. 360. Harper, Fletcher, Jr., Vol. II. 206, 248. Harper, J. Abner, Vol. II. 206, 248. Harper, J. Henry, Vol. II. 164. Harper, J. W., Vol. I. 1. Harper, Joseph, Jr., Vol. I. 362. Harriman, Oliver, Vol. II. 75. Harriot, S. J., Vol. I. 334 ; Vol. II. 209. Harris, Edward, Vol. I. 26. Harrison Collection, Philadelphia, Vol. I. 63. Harrison, Mr., Vol. II. 359. Hart, James M., Vol. II. 281. Harvard Library, Vol. I. 306. Harvey, A. F., Vol. 11. 250. Plaseltine, Arthur, Vol. 11. 77. Haskell, E. B., collection of, Vol. I. 56, 309, 315 ; A^ol. 11. 87, 100, 313. Hatch, Rufus, Vol. 1. 210. Haverraeyer, Charles F., Vol. 11. 261. Haviland faience, Vol. 1. 25, 85, 86 ; Vol. II. 69, 152. Hawk, Mr., Vol. 1. Ill, 202 ; Vol. II. 7, 301. Hawkins, Col. RushC., Vol. 1. 101, 335. Hawkins, Judge W. G., Vol. 11. 43. Hay, Col. John, Vol. 1. 294, 296 ; Vol. II. 265. Hay, R., Vol. 1. 231. Hayden, Albert, Vol. 1. 64. Healy, Aaron, Vol. 11. 2. Hearne, George, Vol. 11. 258. Hede, M., Vol. 11. 248. Hemans, Charles J., Vol. 11. 1. Hemenway, Mrs. Augustus, Vol. 1. 270. 30 GENERAL INDEX. Herman, Mr., Vol. 1. 158. Hermann, Prince, monument to, Vol. I. 32. Hermon, E., M. P., Vol. I. 345. Herrinian, Mrs., Vol. II. 60. Hertford, Lord, Vol. I. 90. Higgins, Robert, Vol. II. 77. Hilf, Maria, church of, Munich, Vol. I. 352. Hilton, Judge, Vol. I. 61, 210 ; Vol. II. 127, 281. Hitchcock, Dr. E. W., Vol. I. 149. Hitz, John, Vol. 1. 249. Hoag, Daniel T., Vol. I. 296. Hoe, Mr., Vol. 1. 67, 378. Hoe, Robert, Vol. I. 313 ; Vol. II. 21, 105. Holcombe, Dr., Vol. I. 64. Holland, Dr. J. G., Vol. I. 247. Holland, Queen of, Vol. I. 67, 279, 385 ; Vol. II. 176, 310. Hollis, G. W., Vol. II. 14. Holmes, J. E., Vol. II. 348. Holmes, Oliver Wendell, Vol. II. 139. Holt, Henry, Vol. II. 105. Hooper, Miss, Vol. I. 230 ; Vol. II. 30. Horne, R. H., Vol. II. 95. Horton, F. N. D., Vol. I. 238. Hoschede, M., Vol. II. 170. Hotchkiss, Justus, Vol. II. 343. Houghton, Lord, A'ol. II. 61. Houghton, Mr., A^ol. 1. 183. Houghton, Osgood & Co., A'^ol. 1.1, 19. Howard, George, A’’ol. 1. 179. Howard, Sir George, Vol. 11. 50. Howe, George D., Vol. 1. 103. Howe, J. C., Vol. 11. 250. Howell, H. C., Vol. 11. 236. Howes, Miss E., Vol. 1. 103. Howitt, AVilliam and Mary, Vol. 11. 164. Howland, H. E., Vol. I. 111. Hoyt, Edwin, Vol. I. 312. Hugo, Victor, Vol. 1. 371. Humbert, King of Italy, VoL 1. 39, 53. Humboldt, Baron, A^ol. 1. 355. Humphrey, W. H., A''ol. 11. 10. Hunnewell, Mr., Vol. 1. 254. Hunt, Dr. E. K., Vol. 11. 303. Hunt, S. V., Vol. 11. 21. Huntington, C. P., A'ol. 11. 75. Hutchinson, C. L., Vol. 11. 251. Huth, Louis, Vol. 11. 44. Illinois State House, Vol. 11. 327. Industrial JIuseum, Scotland, Vol. 1. 266. Ingei-soll, James H., A'ol. 11. 143. Ingi-am, AV. AL P., A"ol. 11. 124. International Exhibition of London, lonides, Air., A^ol. 11. 51. buildings of, Vol. 1. 266. Irwin, AAhlliam D., A’^ol. 11. 261. Ives, Brayton, A'ol. 1. 97. Jackson, Andrew, A^ol. 11. 348. Jaffrey, John, Vol. II. 13. James, F., of Philadelphia, A'oL I. 40. James, Henry, A’’ol. 11. 105. James, Airs. John W., A'’ol. 1. 240. Jameson, J. A., Vol. 11. 254. Jarvis, N., A’’ol. 11. 208. Jefferson College, A^ol. 1. 232. Jenkins, A., Vol. 11. 208. Jerome, L., A'ol. 1. 238, 384. Jessup, Alorris K., A’^ol. 1. 137, 144 ; A^ol. 11. 21, 227. Jewett, John AAL, A'^ol. 11. 343. Johnson, Eastman, Vol. 1. 133. Johnson, Air., of Philadelphia, A’ol. 1. 55. Johnston, J. H., A’ol. I. 2S7. Johnston, John AT., A’ol. 1. 173. Johnston, John Tajdor, A’ol. 1. 44, 52, 192, 334, 337, 339, 378 ; A’ol. GENERAL INDEX. 31 II. 64, 105, 129, 209, 242, 245, 263, 277, 297, 305, 342. Johnston, Mrs. Honry E., Vol. I. 100 . Johnston sale, Vol. I. 3, 10, 17, 42, 46, 53, 71, 78, 80, 91, 94, 96, 123, 124, 129, 134, 137, 139, 144, 159, 184, 188, 195, 197, 200, 205, 212, 215, 225, 227, 230, 231, 235, 238, 240, 252, 265, 272, 290, 293, 294, 296, 302, 322, 329, 335, 337, 344, 346, 348, 360, 362, 370, 376, 382, 384, 385 ; Vol. II. 12, 18, 21, 24, 26, 34, 57, 59, 85, 107, 109, 112, 113, 136, 139, 162, 165, 170, 185, 186, 193, 198, 217, 231, 239, 251, 256, 302, 305, 311, 313, 314, 315, 322, 352, 356, 361, 369, 371. Jones, Mr., of Brooklyn, Vol. II. 104. Jordan, Eben, Vol. II. 139. Judson, Dr., of St. Petersburg, Russia, Vol. II. 254. Judson, W. D., Vol. II. 164. Jupiter Parhellenien Temple in Greece, Vol. I. 281. Kearney, Gen. Philip, Vol. II. 281, 348. Keep Monument in Watertown, N. Y., Vol. II. 327. Kempton, Mrs. Jenny F., Vol. II. 251. Kendall, AV. B., A^ol. I. 95. Kennard, T. AV., A^ol. I. 61. Kensett, J. E., A^ol. II. 30. Kensett, Thomas, Vol. 1. 95, 149. Kent, Duchess of, statue at Frog- more, Vol. II. 287. Ketchum, Morris, Vol. I. 122. Khalil-Bey sale, A’'ol. I. 90, 140, 290 ; Vol. II. 109, 304. Khedive of Egypt, Vol. I. 208; Vol. II. 308. Kidder, H. P., collection of, Vol. I. 58, 75, 80, 159, 192, 225, 270, 324, 342 ; Vol. II. 328, 369. Kimball, Frank R., A"ol. II. 245. Kimball, Mrs. E. D., A"ol. I. 102, 184, 358 ; Vol. II. 264, 339. King George, Vol. II. 103. King, Henry AA^., Vol. I. 231. King Louis, Vol. II. 243. King Ludwig, palace of, Vol. 11. 19. King, Mrs. AVilliain IL, Vol. 11. 11. King of Bavaria, A'ol. 1. 77, 117, 260. King of Belgium, Vol. 1. 208, 228, 279 ; Vol. IL 257, 273, 352, 356. King of France, A^ol. 1. 297. King of Hanover, Vol. 1. 117. King of Holland, A'ol. II. 257. King of Portugal, Vol. IL 257. King of AAT'stphalia, A"ol. IL 316. Kncedler, M., Vol. 1. 25. Knowles sale, Vol. 1. 73. Knyfl', Chevalier de, Vol. IL 27. Kolbacher, Herr, Vol. IL 177. Laderell, Count, Vol. 1. 53. Lamont sale, Vol. 1. 43. Landi.s, Mrs., A'ol. 1. 40. Lane, Miss Harriet, Vol. 1. 100. Lanthier, L. A., Vol. IL 11. Lardner, Mrs. John, A'^ol. IL 354. Latham sale, Vol. 1. 25, 44, 46, 73, 80, 90, 112, 139, 153, 193, 205, 279, 290, 329, 353 ; Vol. IL 18, 24, 26, 49, 67, 84, 107, 113, 149, 231, 245, 273, 301, 304, 315, 323, 326, 352. Lathrop, D. J., Vol. 1. 287. Laurent-Richard sale, Paris, Vol. 1. 194, 205 ; A"ol. IL 226, 302, 371. La A^alette, Count AVelles de, Vol. 1 . 200 . Lawrence, Abbott, Vol. 1. ISO. Lawrence, Henry E., A''ol. 1. 295. Lawrence, Mrs. H. E., Vol. IL 128. 32 GENERAL INDEX. Lawrence, James, Vol. 11. 139. Lawrence, Mrs. T. Bigelow, Vol. I. 151, 168. Lawrence, Sir Thomas, Vol. 1. 181. Lee, Mrs. Gideon, Vol. 11. 252. Lehon sale, Paris, Vol. 1. 188, 190 ; Vol. 11. 109. Lenox, James, Vol. 1. 61, 144 ; Vol. II. 62, 134. Leopold 11. , Vol. I. 249. Lessona, Sig., Vol. II. 131. Leupp Collection, Vol. 1. 227, 235, 382. Lewis, Arthur, Vol. 1. 385. Lewis, F. W., Vol. 11. 259. Library of the Luxembourg, Vol. 11. 254. Library of St. Genevieve, Vol. 1. 201 . Liebig, Baron, Vol. 11. 177. Lille, Museum or Gallery of, Vol. 1. 40, 62, 7.5, 226, 359 ; Vol. II. 47, 53, 147, 240. Lincoln, D. Waldo, Vol. 11. 156, 240. Lincoln, Mrs., Vol. 1. 100. Lindsay, Sir Coutts, Vol. 1. 179. Litta, Duke Antonio, Vol. 11. 314. Livei-more, Mrs. George, A'’ol. 11. 367. Livermore, E. B., Vol. II. 248. Lizardi, M. de, Vol. II. 103. Lockwood, Le Grand, Vol. I. 337. London sale, Vol. I. 197, 272, 280, 323, 331, 342 ; Vol. II. 23, 67, 84, 109, 111, 304, 305. Longfellow, H. W., Vol. 1. 102, 212, 270 ; Vol. II. 290. Long.street, Sirs. A. C., Vol. 11. 174. Longworth Collection, Vol. I. 92. Lord, George De Forest, Vol. 1. 369. Lord, Samuel, Vol. 1. 294. Lorillard, L. L., Vol. II. 261. Lome, Slarchioness of, Vol. I. 87 ; Vol. 11. 355. Lome, Slarquis of, Vol. 1. 326. Lotus Club, New York, Vol. II. 278. Louis I. of Bavaria, VoL II. 76, 207. Louis Philippe, Vol. 1. 256 ; Vol. II. 318. Louvre Sluseum, Vol. I. 1, 4, 27, 31, 38, 39, 70, 77, 163, 182, 184, 187, 201, 203, 206, 218, 220, 223, 230, 243, 385 ; Vol. II. 86, 114, 254. Low, A. A., Vol. 1. 94 ; Vol. 11. 163. Low, J. 0., Vol. II. 287. Lutkins, Dr., Vol. II. 165. Luxembourg, Gallery of, Vol. I. 2, 3, 8, 12, 15, 20, 35, 38, 40, 45, 50, 51, 53, 5.5, 57, 58, 59, 60, 62, 65, 66, 70, 72, 74, 79, 90, 91, 92. 112, 113, 126, 129, 134, 135, 136, 138, 156, 158, 163, 166, 170, 177, 179, 184, 187, 188, 193, 196, 198, 200, 201, 203, 212, 218, 219, 220, 223, 226, 230, 2-37, 241, 247, 252, 258, 261, 266, 267, 271, 275, 289, 290, 292, 297, 300, 301, 302, 306, 316, 318, 319, 328, 329, 332, 342, 343, 345, 353, 359, 372, 384, 385 ; Vol. II. 4, 7, 8, 9, 18, 24,33, 34, 39, 40, 42, 45, 47, 49, 50, 52, 53, 57, 58, 59, 60, 64, 65, 73, 86, 87, 91, 99, 106, 111, 118, 120, 124, 1-30, 134, 136, 142, 154, 157, 163, 167, 170, 172, 178, 185, 186, 201, 203, 204, 211, 212, 215, 221, 220, 228, 230, 245, 246, 248, 253, 255, 280, 238, 298, 301, 302, 307, 321, 327, 339, 361, 370. Luxembourg, Garden of, VoL 1. 74, 140 ; Vol. II. 86. Luxembourg, library of the, Vol. II. 254. Luyiies, Duke de, Vol. 1. 126, 218 ; Vol. II. 9, 254. Lyman, Theodore, Vol. 11. 230. GENERAL INDEX. 33 Maclaggan, P., M. P., Vol. I. 234. Maclay, Mrs. Marcus, Vol. I. 143. Madeleine, the church of the, Paris, Vol. I. 77, 163, 228, 241 ; Vol. II. 57, 87, 94, 253, 301. Magee, George, Vol. I. 64. Maghee, J. H., Vol. I. 323. Maison d’Or, Paris, Vol. 11. 46. Maison du Eoi, Vol. 11. 316. Majoribanks, Sir- Dudley Coutts, Vol. I. 39. Mally, Mr., Vol. I. 211. Manzoni, Count, of Forli, Vol. I. 5. Marcelle, Camille, Vol. II. 92. Marchioness of Lome, Vol. I. 87 ; Vol. II. 355. Margetson, John, Vol. I. 106. Maria, Grand Duchess, Vol. I. 82, 106. Maria Louisa, Vol. 11. 316. Marks, Henry, Vol. 11. 43. Marlborough, Duke of, Vol. I. 153. Marquand, H. G., Vol. 11. 64, 349. Marquis du Lau, Vol. I. 195. Marquis of Lome, Vol. 1. 326. Marsden, Mr., Vol. 11. 116. Martin, Moms, Vol. 11. 266. Mason, Robert M., Vol. 11. 10. Matthews, Mr., Vol. 11. 369. Maximilian L, Vol. 1. 182. Maximilian 11., Vol. 11. 233. Maximilian Church at Diisseldorf, Vol. 11. 250. Maximilian, Duke, palace of, Vol. 11. 19. Maximilineum at Munich, Vol. I. 319 ; Vol. 11. 182. Maxwell, A., Vol. I. 343. Mayer, C. L., Vol. II. 102. Maynard, E. D., Vol. 11. 12. Maynard, Mrs. H. E., collection of, Vol. I. 15, 27, 96, 97, 130, 150, 184, 205, 225, 230, 252, 254, 273, 383 ; Vol. II. 33, 78, 111, 113, 167, 210, 214, 222, 245, 285, 298, 311, 315, 32^, 369. Mayo, Miss, Vol. I. 168. McAlpine, D. H., Vol. 11. 292. McCoy, J. W., Vol. I. 97, 369 ; Vol. 11. 102. McHenry, James, Vol. I. 61. McKay, Gordon, Vol. 11. 2. Means, Mr., Vol. 1. 55. Mechanics’ Fair, Boston, 1878, Vol. I. 44, 75, 76, 240, 278, 287, 305, 309, 315, 324, 325, 326, 342, 373, 383 ; Vol. 11. 5, 12, 72, 84, 87, 93, 100, 156, 169, 210, 288, 303, 313. Mecklenbourg, Duke of, Vol. 11. 244. Meiggs, John G., Vol. 1. 111. Melcher, John L., Vol. 11. 117. Mellen, Abner, Jr., Vol. 11. 12. Mellen, Mrs. Abner, Vol. 11. 64. Merrick, E., Vol. 1. 64. Men'ill, Moody, Vol. 1. 292. Messenger, T., Vol. 1. 296. Middleton, John, Vol. 11. 96. Mieville, M., Vol. II. 51. Milbank, Jeremiah, collection of, Vol. 1. 16, 130 ; Vol. II. Ill, 202 Millbank, Joseph, Vol. II. 297. Miller, C. H., Vol, I. 358 ; Vol. 11. 264. Miller, E. H., Vol. II. 290. Mills, D. O., Vol. 11. 106, 144. Ministry of the Beaux-Arts, Vol. 1. 113, 156, 196, 371 ; Vol. 11. 192, 196, 233, 322. Ministry of the Interior, Vol. 1. 273, 297. Ministry of Public Instruction, Vol. II. 196. Ministry of State, Vol. 1. 258, 371 : Vol. II. 7. Mitchell, Mrs. A., Vol. 11. 297. Mitchell, Vance & Co., Vol. I. 37. Monastery of Visitation at Troyes, Vol. II. 10. 34 GENERAL INDEX. Moncke, Lord, Vol. II. 164. Montaiglon, Anatolede, Vol. II. 55. Monument de Juillet, Paris, Vol. I. 221 . Moore, Jolin M., Vol, I. 231. Moore, K. E., Vol. 11. 128. Morehead, W. G., Vol. II. 1. Morgan, E. D., Vol. I. 192, 335 ; Vol. II. 189, 230, 313. Morgan, George D., Vol. II. 297. Morgan, James L., Vol. II. 351. Morgan, William F., Vol. II. 220. Momy, M. de, Vol. I. 73. Morrill, Mr., Vol. II. 13. Mosher, Dr., Vol. II. 96. Mouchy, Duke de, Vol. I. 119. Moulton, F. D., Vol. 1. 121. Mount Auburn, Vol. I. 84, 371 ; Vol. II. 277. Munger, A. A., Vol. II. 251. Munson, E. A., Vol. II. 11. Murger, tomb of, Vol. II. 121. Murthley Castle, Vol. II. 117. Musard Hotel, Vol. I. 129. Museum of Alen 9 on, Vol. II. 42, 50. Museum of Amiens, Vol. I. 35, 73 ; Vol. II. 59. Museum of Angers, Vol. I. 184. Museum at Avignon, Vol. II. 317. Museum of Bale, Vol. I. 68 ; Vol. II. 313. Museum of Bordeaux, Vol. I. 62, 143, 228, 343 ; Vol. II. 240, 284. Museum of Boulogne, Vol. II. 47. Museum of Brescia, Vol. I. 250. Museum of Brussels, Vol. I. 328 ; Vol. II. 67, 99, 143, 257, 273, 310, 315. Museum of Caen, Vol. I. 241 ; Vol. II. 9. Museum of Cambrai, Vol. I. 196. Museum of Carcassone, Vol. 1. 206. Museum of Carlsrube, Vol. I. 278. Museum of Charles X., Vol. II. 318. Museum of Cologne, Vol. I. 53 ; Vol. II. 244, 271, 313. Museum of Courtrai, Vol. II. 22. Museum of Dijon, Vol. I. 1, 113, 206, 301 ; Vol. II. 50, 147. Museum of Douai, Vol. I. 134, 158. Museum of Dresden, Vol. II. 249, 326. Museum of Frankfort, Vol. II. 67, 177. Museum of Geneva, Vol. I. 206. Museum of Ghent, V ol. I. 82, 320 ; Vol. II. 67. Museum of Haarlem, Vol. II. 113, 144. Museum of The Hague, Vol. I. 82 ; Vol. II. 143. I Museum of Hamburg, Vol. I. 287 ; Vol. II. 253. Museum of Havre, Vol. II. 42, 132. Museum of Kbnigsberg, Vol. I. 89, 172 ; Vol. II. 244. Museum of Langres, Vol. I. 76, 158. Museum of Lausanne, Vol. I. 206, 302. Museum of Leipsic, Vol. I. 5, 50, 54, 60, 106, 114, 191, 239, 283, 284, 289, 318, 324, 351, 352 ; Vol. II. 7, 26, 69, 76, 186, 193, 194, 206, 222, 240, 243, 244, 246, 248, 263, 267, 284, 304, 326, 328, 339, 358. Museum of Liege, Vol. 1. 279. Museum of Lille, Vol. 1. 40, 62, 75, 226, 359 ; Vol. 11. 47, 53, 147, 240. Museum of Louvain, Vol. 11. 99. Museum of the Louvre, Vol. 1. 1, 4, 27, 31, 38, 39, 70, 77, 163, 182, 184, 187, 201, 203, 206, 218, 220, 223, 230, 243, 385 ; Vol. 11. 86, 114, 254. Museum of Madrid, Vol. I. 124. GENERAL INDEX. 35 Museum of Marseilles, Vol. I. 158, 196, 328, 330 ; Vol. II. 179, 196, 264. Museum Metropolitan of New York, Vol. I. 151, 170 ; Vol. II. 312, 349. Museum of Metz, Vol. I. 158. Museum of Mons, Vol. I. 82. Museum of Montauban, Vol. I. 301. Museum of Montpellier, Vol. I. 58. Museum of Mulhouse, Vol. I. 301. Museum at Munich, Vol. II. 29, 193, 242, 244. Museum of Nantes, Vol. I. 40, 90, 184. Museum of Narbonne, Vol. I. 97. Museum of Neuchat el, Vol. I. 299. Museum of Nevers, Vol. I. 330. Museum of Nimes, Vol. I. 60. Museum of Niort, Vol. I. 76. Museum of Orleans, Vol. I. 20. Museum of Pau, Vol. I. 134. Museum of Pesth, Vol. II. 329. Museum of Rouen, Vol. I. 129 ; Vol. II. 132, 254. Museum of St. Omer, Vol. I. 223. Museum of San Marco, Florence, Vol. I. 39. Museum of Stockholm, Vol. I. 57, 359 ; Vol. II. 197. Museum of Strasbourg, Vol. I. 237. Museum of Toulouse, Vol. I. 384 ; Vol. II. 42. Museum of Tours, Vol. II. 47. Museum of Troyes, Vol. II. 10, 254, 255. Museum of Valence, Vol. II. 47. Museum of Vendome, Vol. I. 134. Museum of Versailles, Vol. I. 3, 16, 22, 31, 45, 50, 51, 65, 138, 143, 163, 182, 187, 203, 223, 228, 241, 250, 279, 281, 297, 299, 318, 343, 384, 385 ; Vol. II. 4, 33, 39, 101, 114, 178, 181, 186, 215, 221, 253, 254, 276, 318, 332. Museum of Vienna, Vol. I. 64, 117, 315, 379 ; Vol. II. 124. Napoleon I., Vol. I. 37. Napoleon III., Vol. I. 153, 158, 208 ; Vol. II. 10, 107, 195, 242, 314, 352. Nash, J. F., Vol. II. 278. National Academy, New York, Vol. I. 56, 78, 137, 149, 180, 183,233, 238, 266, 286, 309, 321, 327 ; Vol. II. 10, 45, 46, 96, 134, 145, 153, 343. National Gallery, London, Vol. I. 36, 83, 141, 152, 154, 231, 233, 236, 241, 269, 274, 303, 324, 351, 365 ; Vol. II. 14, 15, 32, 33, 35, 36, 48, 61, 69, 71, 83, 137, 155, 180, 202, 216, 268, 304, 308, 333, 340, 352, 353, 358. National Museum of Education, Washington, Vol. II. 267. Natural Science Rooms, Buffalo, Vol. II. 249. Neill, William, Vol. I. 345. Nelson Monument, London, Vol. II. 360. Nevins, Mr., Vol. 11. 2. Newton Theological Seminary, Vol. II. 367. New University Club, London, Vol. 11. 336. Nickerson, Samuel, Vol. 11. 144. Nicolas Church, statues at, Vol. II. 146. Niebelungen, Grand Hall of the, at Munich, Vol. II. 7. Niederwald, National Monument in the, Vol. II. 241. Noel, Vol. I. 86. Norcross, Miss, Vol. I. 254. Norton, Charles E., Vol. II. 227. Norzy sale, Paris, Vol. I. 197 ; Vol. II. 302, 371. 36 GENERAL INDEX. Oakey, Daniel, Vol. 11. 153. O’Brien, John 0., Vol. I. 122. O’Brien, S. W., Vol. I. 111. O’Brien, William, Vol. I. 122. Odio, M., Vol. 11. 317. O’Donovan, Mr., of Baltimore, Vol. II. 23. Oetgelt, M., Vol. II. 177. Ogden, Francis Barbour, Vol. I. 369. Olyphant, R. M., collection of, Vol. I. 56, 123, 144, 173, 294, 312, 370 ; Vol. II. 21, 64, 131, 280, 350. Olyphant sale, Vol. II. 21. Opera omamentale pubblicato per cura deir academia di beUe-arti de Venezia, Vol. I. 76. Oppenheim, M., Vol. I. 342. Oppenlreim sale, Vol. I. 75, 96, 195, 205, 240, 265, 275, 290 ; Vol. II. 67, 84, 92, 177, 215. Organ, the great, Boston, VoL I. 63. Orleans, Duke of, Vol. I. 82 ; Vol. II. 317. Osborn, John, Vol. II. 281. Osborne House, Isle of Wight, Vol. I. 17, 137, 231 ; Vol. II. 169. Osborne, Mi-s., Vol. I. 296. Osgood, James R., Vol. I. 345 ; VoL II. 360. Osgood, James R. & Co., Vol. I. 19. Otis, Dr. F. N., Vol. I. 113, 296, 339 ; Vol. II. 96, 214. Otis, Mr., Vol. I. 55. Padelford, Ex-Governor, Vol. II. 290. Palace of Justice, Paris, Vol. I. 22, 75, 131, 221, 223, 228 ; Vol. II. 39, .52, 112, 172. Palace of St. Cloud, A’'ol. I. 184. Palais-Royal, Vol. I. 228 ; Vol. II. 317. Palazzo Vecchio, Florence, VoL II. 168. Palette Club, Hew York, Vol. I. 211 ; VoL II. 309. Palmer, Cortlandt, Vol. II. 11, 254. Paris sale, Vol. I. 139, 140, 178, 188, 194 ; Vol. II. 68, 177, 204, 302. Parker, Henry D., Vol. II. 139. Parliament Houses, London, Vol. I. 23, 50, 154, 230, 232, 257, 365 ; Vol. II. 82, 83, 95, 139, 337. Parrott, R. P., Vol. 1. 168. Pascault, M., Vol. I. 75. Paschkoff, M., Vol. I. 342. Pasteur, M. E., Vol. I. 65. Peabody Institute, Baltimore, VoL II. 102, 201, 213. Peake, W. J., Vol. I. 294. Pembroke, Lord, Vol. 11. 318. Penfold, William H., Vol. 1. 106. Penn, John, Jr., VoL 1. 367. Pereire, Hotel, Paris, Vol. 11. 226. Pereire sale, Paris, Vol. 11. 215. Perkins, C. C., Vol. I. 170. Permanent Fine Art Exhibition, Philadelphia, Vol. 1. 88. Perrier, Paul, Vol. 1. 204. Peto, Sir Morton, Vol. 1. 340 ; Vol. 11. 268. Phelps, G. D., Vol. 11. 214. Phelps, Mrs. A. R., Vol. 11. 214. Phillip, John, R. A., Vol. 11. 80. Phillips Academy, Andover, Vol. 11. 275. Phillips, John C., Vol. 11. 245. Phillipps, Sir B. S., Vol. 11. 144. Piazza della Stagione at Ravenna, Vol. 11. 168. Piazza Santa Croce, Florence, Vol. 11. 168. Pieri'epont, H. E., Vol. 11. 163. Pinakothek, the, of Munich, Vol. I. 2, 157, 278, 337 ; Vol. 11. 53. 182, 207. GENERAL INDEX. 37 Pinchot, J. W., Vol. II. 105, 350. Pitti Gallery, Florence, Vol. I. 37, 60, 223, 226. Pitti Palace, Florence, Vol. I. 56. Platt, Isaac S., Vol. II. 292. Plint sale, London, Vol. II. 68. Plutarch. Kestored, Vol. 11. 362. Poland, Vice-Governor of, Vol. I. 319. Polhemns, Henry D., Vol. I. 52 ; Vol. II. 281. Pond, Hon. Charles M., Vol. 11. 303. Ponti, banker at Milan, Vol. I. 248. Portugal, King of, Vol. I. 330. Post, Mrs. E. K., Vol. I. 345. Potter, Clarkson, Vol. I. 97. Potter, Sir Eichard, Vol. I. 84. Pound, Mrs., Vol. I. 55. Pourtalfes sale, Vol. I. 197. PoweU, Robert Hare, Vol. II. 127. Powerscourt, Viscount, Vol. II. 44. Pre-Raphaelite School of Painting, Vol. II. 116. Preston, Miss Harriet W., Vol. II. 139. Prevost sale, Paris, Vol. II. 92. Prime, William C., Vol. II. 303. Prince Albert, Vol. I. 155, 156, 176, 323 ; Vol. II. 27, 107, 154, 169, 180, 288. Prince Albert of Prussia, Vol. II. 242. Prince Albert, tombof, VoL II. 301. Prince Esterhazy, Vol. II. 281. Prince Heinrich XVIII. of Eeuss, Vol. II. 282. Prince Hercolani, Vol. II. 281. Prince Napoleon, Vol. I. 183, 267. Prince Royal of Prussia, Vol. I. 73. Prince of Wales, Vol. I. 102, 326 ; Vol. II. 53. Princes of Lbwenstein at Heubach- sur-Mein, Vol. II. 271. Princess Albert of Prussia, Vol. II. 10 . Princess Christian, Vol. II. 10. Princess of Lichtenstein, chapel of, Vol. 11. 184. Princess Marie de Lichtenstein, Vol. II. 271. Princess Mathilde, Vol. I. 194 ; Vol. 11. 226. Probasco, Mr., Vol. 1. 333, 335, 355 ; Vol. 11. 20, 91, 107, 182, 239, 265, 282, 332. Putnam, Rev. A. P., Vol. 11. 286. Queen Christine, Vol. 1. 263. Queen of Holland, Vol. 1. 67, 279, 385 ; Vol. 11. 176, 310. Queen Marie- Amelie, Vol. 1. 256, 258. Queen Victoria, Vol. 1. 87, 96, 98, 135, 151, 156, 209, 274, 323, 326, 339, 347, 361 ; Vol. 11. 80, 83, 166, 179, 184, 289, 301, 310, 332, 346. Ralston, W. C., Vol. 1. 111. Ravenet, M., Vol. 11. 245. Raynor, W. H., Vol. I. 347. Read, Matthew, Vol. 11. 127. Read, Mrs., Vol. 1. 100. Reed, Lyman, Vol. 1. 144. Reese, William A., Vol. 11. 280. Regnault, V., Vol. 11. 204. Regnet, Carl Albert, Vol. II. 247. Rensselaer, Eugene Van, Vol. 11. 254. Rhodes, John, Vol. I. 172. Rich, Isaac, Vol. 1. 292. Richards, W. T., Vol. I. 78. Richmond, G. B., Vol. 11. 157. Richmond, H., Vol. 11. 12. Richmond, J. B., Vol. II. 341. Riggs, George, Vol. 11. 102. Riggs, G. W., Vol. 11. 168. Riggs, Mr., Vol. I. 345. Riker, John L., Vol. I. 369. Ripley, Joseph, Vol. 11. 133. 38 GENERAL INDEX. Riston, John A., Vol. II. 64. Ritchie, A. H., Vol. I. 321. Robaut, Mr., Vol. I. 158. Robbins, H. W., Vol. II. 214. Roberts, H., Vol. I. 88. Roberts, Lewis, Vol. I. 61. Roberts, M. 0., collection of, Vol. I. 29, 56, 78, 101, 137, 144, 238, 295, 312, 321, 322, 335, 378 ; Vol. II. 114, 135, 168, 189, 279, 297. Robertson, Touro, Vol. II. 259. Robinson, Nelson, Vol. I. 122. Robinson, W. F., Vol. II. 250. Rookefellow, F., Vol. II. 345. Rogers, C. B., picture of, Vol. I. 27. Rogers, Charles, Vol. II. 278, 290. Rogers, E. L., Vol. I. 144. Rogers, Fairinan, Vol. I. 346. Rogers, John, Vol. II. 248. Rogers, the poet, Vol. I. 211. Rohan, Duke of, Vol. II. 318. Rone, M., Vol. II. 177. Rothschild, Baron, Vol. I. 119, 265, 296. Rothschild, Baroness Nathaniel de, Vol. II. 82. Royal Academy, London, Vol. 1. 139, 194, 209, 234 ; Vol. 11. 54. Royal Association for the Promo- tion of Fine Arts, Vol. 1. 235. Royal Exchange, London, Vol. 11. 76. Royal Palace of Lisbon, Vol. 1. 217. Royal Scottish Academy, Vol. 1. 210 . Rudersdorff, Mme., Vol. 11. 139. Sage, Mrs. Dean, Vol. 1. 95. Saint-Cloud, Vol. 11. 276. Salem Independent Cadets, Vol. 11. 367. Salem Normal School, Vol. 11. 367. Salford Gaol, klauchester, Vol. II. 336. SaUe des Etats, Berlin, Vol. 11. 296. Salon of Constantine, Paris, Vol. 11. 319. Salon of the French School, Rome, Vol. 1. 223. Sand, George, Vol. I. 73. Sandeman, J. G., Vol. 11. 151. San Donato sale, VoL 1. 197. Sands, Philip J., Vol. 1. 295. Sankenau, Mr., Vol. 11. 175. Saraceni, Count, Vol. I. 124. Sargent, Winthrop, Vol. II. 139. Sarony, N., Vol. 1. 295. Sartain, Mr., of Philadelphia, Vol. 11. 306. Saville Collection, Vol. 11. 260. Saxe-Coburg of Gotha, Piince of, Vol. 11. 311. Say, M., Vol. 1. 290 ; Vol. II. 109. Sayles, H., Vol. 1. 164. Sayles, J., Vol. 1. 146. Schack, Baron, Vol. 11. 58. Schack, Count A. von, Vol. 1. 68. Schaus, IV., Vol. 1. 46, 152. Schefifel, T. V. von, Vol. 11. 344. Scheffer, S. M., Vol. 11. 103. Schiller Monument, Vol. 1. 49. Schlesinger, B., VoL 1. 159; Vol. 11. 93, 100. Schultz, Jackson, Vol. 11. 254. Schuyler, Montgomer)^ Vol. 11. 96. Schuyler, Philip, A^ol. 11. 261. Schuyler, R. M., Vol. 11. 363. Schwabacher, M., Vol. 1. 75. Scott, John, Vol. 11. 43. Scott, John B., Vol. 1. 7. Scottish National Gallerj', Vol. 1. 9, 98, 136, 218, 224, 355, 378 ; Vol. 11. 41, 166, 171, 271. Scottish National Memorial, Edin- burgh, Vol. II. 269. Seal of the Confederate States, Vol. 1. 259. Sears, Frederick R., Vol. 11. 139. GENERAL INDEX. 39 Sears, J. M., Vol. II. 150. Sedelmeyer, M., Vol. II. 177. Sedelmeyer sale, Vienna, Vol. II. 24. Seure, M., Vol. I. 76. Sharpless, Charles, Vol. II. 127. Shattuck, W. B., Vol. II. 349. Shaw, Quincy A., Vol. I. 159. Shaw, Theron, Vol. II. 2. Sheepshanks Collection, Vol. I. 127, 152, 15.5, 171, 224 ; Vol. II. 36, 48, 61, 202, 358. Sherman, General, Vol. I. 261. Sherwood, J. H., Vol. I. 294, 321, 335, 362, 384 ; Vol. II. 45, 251, 264, 270, 335, 349. Shimmin, Mr., Boston, Vol. I. 324. Sidman, John E., Vol. II. 281. Simpson, Sir Walter, Vol. II. 77. Sinderman, Dr. G. B., Vol. I. 83. Skene, A. J. C., M. D., Vol. II. 286. Slack, Mrs. E. E., Vol. I. 240 ; Vol. II. 210. Sligo, Marquis of, Vol. II. 297. Sloane, William D., Vol. II. 261. Smillie, James, Vol. II. 259. Smillie, William M., Vol. II. 258. Smith, Bryan, Vol. II. 11. Smith, Charles H., Vol. I. 294. Smith, Charles S., Vol. II. 127. 360. Smith, Collingwood, Vol. II. 199. Smith, D. C. W., of Philadelphia, Vol. II. 345. Smith, Eustace, Vol. II. 50. Smith, Governor, Vol. I. 130. Smith, Mrs. Lee, Vol. II. 290. Smith, Boswell, Vol. II. 129. Sneff, C. H., Vol. I. 56. Societe des Amis des Arts, Vol. I. 207, 256. Society of American Artists, Vol. I. 230, 233, 266 ; Vol. II. 30, 56, 72, 84, 104, 153, 234, 291, 327, 354. Soldiers’ Home, near Washington, Vol. II. 367. Soldiers’ Monument, Boston, Vol. II. 122. Somerset Club, Boston, Vol. I. 146 ; Vol. II. 262. Somerset House, London, Vol. 11. 171. Sommerard, M. Du, Vol. 1. 284. SommervUle, Dr. J. M., Vol. 11. 129. Southejq monument to, Vol. II. 76. South Kensington Collection, Vol. I. 266 ; Vol. II. 36, 207, 288, 336. Spencer, Mrs. Lorillard, Vol. 1. 122. Sprague, Amasa, Vol. 11. 218. Sprague, William, Vol. II. 218. Sprea, Dr., Vol. 1. 118. Stackpole, F., Vol. II. 207. Staedel Institute, Frankfort, Vol. II. 158, 237. Stamford, Governor, Vol. I. 111. Stanford, Hon. L., Vol. 1. 357. Starr, Mrs. Walter S., Vol. 1. 182. Staunton, Mrs. E. J., Vol. II. 351. Stausse, V., Vol. II. 129. St. Clair, Mr., Vol. II. 266. Stearns, John N., Vol. 1. 149. Stebbins, Mr., Vol. I. 290 ; Vol. II. 322. Stephens, F. G., Vol. 1. 363. Stephenson, Robert, Vol. II. 268. Stevens, Mrs. Paran, Vol. 1. 212. Stevenson, J., Vol. II. 221. Stewart, A. B., Vol. 1. 135. Stewart, A. T., collection of, Vol. 1. 33, 55, 263, 264, 290, 296, 335, 378 ; Vol. II. 107, 164, 189, 361, 368, 369. Stewart, Charles M., Vol. II. 264. Stewart, Sir W. D., Vol. II. 117. Stewart, W. H., Vol. 11. 298. 40 GENERAL INDEX. St. George’s Hall, Liverpool, Vol. 1. 4 ; Vol. II. 287. St. George’s Society, Philadelphia, Vol. II. 279. Stillman, James, Vol. II. 261. Stiner, Joseph, Vol. II. 103. Stirbey, Prince, Vol. I. 119. St. John, Mr., Vol. II. 75. St. Luke’s Hospital, New York, Vol. 1. 55, 377. Stoddard, E. H., Vol. 11. 12. Stokes, Anson P., Vol. 1. 378. Stone, Mrs. A. B., Vol. 1. 295. Stone, Mrs. J. O., Vol. 11. 286. Storrs, Dr., Vol. II. 163. Storrs, Charle.s, Vol. 11. 297. Stoughton, Hon. E. W., Vol. II. 189. St. Paul’s Cathedral, London, Vol. I. 49, 95 ; Vol. II. 9.5, 272, 287, 360. StrogonolT, Count P., Vol. 1. 240. Strousberg sale, Paris, Vol. 1. 3, 90, 205, 225, 280 ; Vol. II. 26, 226. Stuart, Ale.vander, Vol. I. 173. Stuart, Joseph, Vol. 1. 67. Stuart, R. L., A^ol. 1. 78, 101, 227 ; Vol. 11. 12, 21, 38, 114, 209, 350. Stuart, Sir AVilliam Drummond, Vol. II. 297. Sturges, Jonathan, Vol. 1. 144 ; A'^ol. II. 134. Sturges, Mr., A^ol. 1. 67, 227. Sutton, E. K., A’^ol. 1. 97. Sutton, Mrs. Eliza, Vol. 11. 240. Suydam Collection, A^ol. 1. 56 ; Vol. 11. 32. Suydam, James A., A'ol. 11. 104. Sweden, King of, A''ol. 1. 359. Sweeney, Captain, Vol. 11. 260. Stvinburne, A. C., A'ol. II. 346. Szorvady, Air., Vol. 1. 158. Tabourier, M., A’^ol. 11. 170. Taft, Richard, A"ol. 11. 11. Taylor Gallery, Oxford, Vol. II. 228. Taylor, Air. Harry, A’^ol. 1. 345. Taylor, Airs. E. AV., A"ol. 1. 345. Taylor, Thomas, Vol. 1. 253, 345. Taylor, AATlliam C., A'ol. 1. 271. Temple Church, Loudon, Vol. 11. 260. Temple HaU, Inner, London, A^oL I. 24. Temple, Et. Hon. Cooper, A'ol. 11. 17. Thatcher, J. B., Vol. II. 77. Thayer, George L., A’ oh II. 128. Thayer, AV. H., AI. D., A'ol. II. 286. Theater of the Scala at Alilan, A’ol. II. 278. Thiers, AL, A'ol. II. 301. Thomas, G. C., A'’ol. 11. 359. Thomas, J. B. (pictures), A’^ol. 1. 27. Thomas, Al'illiam, Albany, Vol. 1. 286. Thompson, Launt, A’'ol. 1. 335. Thompson, Airs. Elizabeth, A’ol. I. 121 . Thoms, John B., Vol. 11. 198. Ticknorand Field.s, A’ol. 1. 19. Tietjens, Alme. Teresa, A’ol. 11. 139. Tiftany, L. C., A’ol. 1. 295, 296. Tilton, Theodore, A’ol. 11. 159. Tirrell, Air., A’ol. 11. 1. Tomb of Napoleon at the InvaRdes, A’ol. 11. 59. Tosca, Count, A’ol. 11. 131. Toucey, J. AL, A’ol. 11. 45. Tower of Saint-Germain-P Anxerrois, A’ol. II. 73. Tower of Saint-Jacques la Boucherie, Paris, A’ol. I. 281. Townsend, John P., A’ol. 1. 1 ; AM. 11. 153. GENERAL INDEX. 41 Trafalgar Square, London, Vol. I. 29, 232 ; Vol. II. 95. Traversi, Antonio, Vol. II. 282. Tribunal of Commerce, New Palace of the, Vol. 11. 215. Trinity Church, Boston, Vol. II. 30, 40. Trinity Church, New York, Vol. I. 365, 371 ; Vol. II. 230. Trinity College, Oxford, Vol. II. 341. Trison, H., Vol. I. 369. Troyon, mother of, Vol. II. 302. Trumbull Gallery, Yale, Vol. I. 26. Tuileries, Vol. I. 114, 129, 184, 187, 196, 197, 376 ; Vol. II. 45, 50, 73, 86. Turner, Charles, Vol. II. 220. Turner, Mr., Brooklyn, Vol. II. 232. Tweed, William M., Vol. II. 354. Uffizi, Florence, Vol. I. 56, 199, 226, 247, 250, 273 ; Vol. II. 140, 163, 192, 234, 308. Uncle Tom’s Cabin, Vol. II. 289. Union Club, Boston, Vol. I. 146. Union League Club, New York, Vol. 1. 377 ; Vol. 11. 101, 247, 275, 335. Union League Club, Philadelphia, Vol. II. 1, 144. University of Pisa, Vol. 1. 199. University of London, Vol. 1. 229 ; Vol. IL 171. Valette, Count W. de la, Vol. IL 195. Van Arden, Isaac, Vol. IL 103. Van Brunt, Mrs. D. B., Vol. IL 139. Van Cuyck, M., Vol. IL 177. Vanderbilt, William H., Vol. 1. 321 ; Vol. IL 220. Vanderpoel, J., Vol. IL 214. Van Deuzer, S. E., Vol. I. 56. Van Doren, Dykeman, Vol. 1. 313. Van Valkenburg, A., Vol. II. 259. Van Valkenburg, P., Vol. 1. 321. Vassar College, Vol. 1. 238. Vatican, the, Vol. IL 122. Vendome, Column, Vol. 1. 37, 223. Venier Voldo, Vol. 1. 143. Verdi, Vol. II. 131. Vernet Gallery at Avignon, Vol. IL 318. Vernon Collection, Vol. I. 141, 152, 154, 236, 269, 304, 324, 351, 365 ; Vol. IL 14, 33, 61, 69, 137, 180, 216. Vernon, Eobert, Vol. 1. 233 ; Vol. IL 358. Vickers, Hon. George, Vol. II. 282. Victor Emmanuel, Vol. 1. 379 ; Vol. IL 80, 181. Villa Massimi, Vol. I. 277 ; Vol. IL 158. Villa Oppenheim, Florence, Vol. II. 181, 250. Villa Warschauer at Charlotten- burg, Vol. 1. 344. Virtue, James S., Vol. IL 208. Viscount D’Opia, Vol. 1. 210. Vblcker, M., Vol. 1. 77. Voykerstoot, Baroness, at Brussels, Vol. IL 310. Wadsworth Gallery, Hartford, Vol. 1. 36, 144. Wagner, Consul, of Berlin, Vol. 1. 117. Wagner, Senator, Vol. 1. 287. Waldo, George C., Vol. IL 254. Wales, Mr., Vol. 11. 290. Walhalla, the, Vol. IL 76. Walker, Mr. Theophilus, Vol. 1. 14 . Wallace, Sir Eichard, Vol. IL 177. Wallack, Lester, Vol. IL 261. Wallis, H., Vol. 1. 138, 258. 42 GENERAL INDEX. Walraff-Eichartz Museum, Cologne, Vol. 1. 46. Walters Gallery, Baltimore, Vol. I. 29, 38, 60, 72, 78, 89, 91, 114, 129, 137, 166, 197, 199, 200, 205, 230, 238, 252, 275, 290, 319, 354, 370 ; Vol. II. 5, 8, 12, 64, 111, 117, 147, 185, 245, 298, 311, 313, 339, 352, 369. Ward, Capt. William, Vol. II. 43. Ward, J. Q. A., Vol. II. 153. War Office at Washington, Vol. I. 261. Warren, Burges, Vol. I. 83. Warren, E. B., Vol. II. 278. Warren, G. B., Jr., Vol. II. 13. Warren, G. H., Vol. I. 45. Warren, Mrs. S. D., Vol. I. 130, 164 ; Vol. II. 119, 232. Warren, S. D., Vol. I. 286, 305 ; Vol. II. 1, 13, 231. Warren, AValter P., Vol. I. 231. Warren, William, Boston, Vol. II. 367. Wartburg, the, Vol. II. 145, 221. Waterloo Place, London, Vol. I. 50, 71. Watson, M. P., Vol. I. 137. Watson, Mr., of New York, Vol. II. 1. Wayland, C. N., Vol. II. 11. Weeks, James H., Vol. I. 12 ; Vol. II. 160. Weeks, Mrs. J. H., Vol. II. 321. Wehrstorfer, Vol. 1. 6. Weimar, Grand Duke of, Vol. II. 7. Welles de La Valette, Count, Vol. 1. 200 . Welling, H. J., Vol. 1. 52. Wellington, Duke of, Vol. 1. 310 ; Vol. 11. 144, 288, 332. Wertheimber sale, Vol. 1. 73, 225 ; Vol. 11. 92, 109. Wesleyan College, Vol. 1. 292. AVestern Union Telegrajih Office, Vol. 1. 143. AVestminster Abbey, A''ol. I. 4, 23, 49 ; Vol. II. 95, 287, 361. AVestminster Hall, A'ol. 1. 365; VoL 11. 285. AVestminster, Marq^uis of, A'ol. 1. 179. AVestminster, Palace of, VoL II. 285, 337. AVestphalia, King of, Vol. 11. 316. AA^'estphalian Art Union, A’ol. 1. 48, 53. AVetmore, G. P., A^ol. 1. 276, 369. AVheatland, George, A^ol. 11. 139. AA'^hidden, Mr., A'ol. 11. 1. AVhite, A. J., Vol. 11. 348. AA’hite, Col. T. G., A^ol. 11. 348. AA’^hite, Dr. Octavius, A’ol. 11. 347. AVhite, J. H., A'ol. II. 260. AVhite, J. J. B., A'ol. 11. 348. AVhite, Mrs. S. F., A’ol. 1. 130. AVhitney, Asa, A’ol. 11. 25. AA’hitney, George, A^ol. 1. 78 ; A’oL II. 12, 209, 359. AAliitney, AV. H., A'ol. 11. 130. AA’hittaker, G. AA’., Vol. 1. 83. AA’liittier, J. G., A’ol. 1. 102, 121. AA’ickham, AA’illiam H.,A’ol. 11. 134. AVidner, P. A., A’ol. 11. 130. AA’ieland Hall at AA’eimar, A’ol. 11. 193. AVigglesworth, Thomas, A’ol. 1. 128, 164, 240, 278, 383 ; A’ol. II. 156, 157, 220. AA’illiam II. of Holland, A’ol. 11. 22 . AA’illiams, J. T., A’ol. 1. 207, 247 ; A’ol. II. 86, 339. AVilliams, S. T., A’ol. II. 258. AA’illiams, Thomas, A’ol. II. 1. AVilson Exhibition, Brussels, A’ol. 1. 30, 64, 77 ; A’ol. 11. 185, 208. AA’ilson Gallery, Bnissels, A’ol. I. 205. GENERAL INDEX. 43 Wilson, M., Vol. I. 202. Wilson sale, Paris, Vol. I. 225. Wilson, W., Vol. II. 259. Winch, Mr., of London, Vol. I. 245. Winter Palace, St. Petersburg, Vol. I. 27 ; Vol. II. 283. Withering sale, Paris, Vol. I. 279; Vol. II. 68. Wolfe, Miss, Vol. I. 112, 200; Vol. II. 240, 322, 361. Wolfe sale. New York, 1863, Vol. I. 3, 46, 89, 96, 134, 272, 317, 337 ; Vol. II. 23, 24, 26, 239, 371. Wolsey, Mr., Vol. II. 208. Woltniann, Alfred, Vol. I. 49. Wolverton, Mr., of Philadelphia, Vol. II. 306. Woods, Charles G., Vol. II. 328. Woolsey, C. W., Vol. II. 153. Wright, Mr., of Boston, Vol. II. 232. Wright sale, Vol. II. 21. Wright, Samuel V., collection of, Vol. I. 5, 52, 78, 108, 295, 325, 334, 335, 362, 370 ; Vol. II. 115, 153, 173, 237, 261, 288, 297. Wright, William P., collection of, Vol. I. 3. Wiirtemberg, King of, Vol. I. 106, 365 ; Vol. II. 125. Wyman, S. G., Vol. II. 102. Wyndham, Hon. Percy, Vol. II. 346. Yale College, Vol. I. 10, 376. Yale School of Fine Arts, Vol. II. 351. Young, Mrs. M. B., of Fall Biver, Vol. II. 208. Younglove, Mrs., Vol. II. 174. Zollickoffer, Dr. H.F., Vol. 11. 338. »/-' ' c-/' W V • ^ •it/ f f t. ) ■ . ’(■ 0 ,