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Full text of "Catalogue of a loan collection of pictures, Toronto Club, 1896 [microform]"

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TiM iMtltuta Hm atttmpMd to ubMin th* b«t 
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Couvwtim rwtMirte tt/oM paNlniMo 

□ Covirtitltiiiiiikil/ 
U titra d» fiMiwrtiirt man^M 



OCotoMMdmapi/ 
CartMitefrapliiqynan 



p-y6olOMrad ink <».•. oihar than Mm or Maek)/ 
|M Encra da coiitMir 0,«. autra qiiaiilaiM oo naJra) 



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Colourad platat and/or illiMtratiom/ 
Planahat at/ou iliuttrations an ( 



Cn Boond with othar matarial/ 
J ftali*,a«ac d'antrai documanti 



Tifht Mnding may cama thadwM or dittortion 

aldnt intarior marfin/ 

U laliura tarria pant caMNT da foMhra ott da la 

diitprsionlalonfdalaf 



□ Blank laavasaddad dtirinfl raitoration may 
vvithinthataiit. Whanavar poMiMa. diaw ha«» 
baan omittad f rom f ihninf/ 
IHa paut qop cartaina* pafai Wanehat ajoMtlai 
ton d'wnfrattauration a pparaiwant dam la laxta. 
niais, lormua eala Mait poNJiria. cat pafM n'ont 

paiMfihrntet. 



L'lnttitut a aiiarofikn* la maiHaur ammpiaira «*'il 
toi a M peMiMa da ta ptoa»ir<|r. Las dMaih da eat 
aaawpiaiiaqoi aont paot4tta aniqwa s do point da vin 
blhliupiphhiiia. qui paiwant wodWiar una imaia 
rapiodoHa. ou qui paovant axifar una modtfieation 

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Qiiality of print variM/ 
Qualiti ini i a l a da rimprastion 



□ Continuoui pagination/ 
Pagination continua 



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Comprand un (dasi indax 

titla on haadar takan from: / 
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1 ^ I Paga da titra da la livraison 



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Titra da depart da Jalivraiton ^ 

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Giniriqua (piriodi<piat) da la livraiion 










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to tHt otncrovity of: 

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HetropoUtan Toronto Reference Library/. 
Arts Department , , 

the imaaee appwaring hare art tlia baat quality 
poaaibia conaMi^ng the GondMon and lafllblllty 

of the oHgkial copy and In kaapinfl wHh tha 
ffimlng contract apaeWcatlona.. 

Original coplaa In printod papar oovara ara fllnMd 
beginning with tha front cover and anding on 
tha laat page whh a print^^ "•'•"TSl'^S'^ 
alon. or tha bacit cwrar whan appropriaM. AM _^ 
other original eoplda are fUmad beginning on tM 
firat page with a printed or IMuatratad lwP»J*-_, 
alon. and anding on tho laat page with a printed 
or illuatrated Impreeeion. 



Ilie laat recorded frame an each microfiche 

ahaM contain the eymbol -^ *"»^™"« ^SSIH" 
T1NUED"). or the aymboi ▼(mo an ing END I. 
whichever appiiaa. 

Mapa. plataa. charta. etc.. may be filmed at, 
different reduction ratioa. Thoaa too large to be 
Entirely Included in one expoeure are fHnMd 
beginning In the upper left hand corner, left to 
right and top to bottom, aa many f««"^i»^ 
required. The following diegrama Hhi^ii^tha 

method: *^ - 



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fexemplaire fMm* fut reproduh gr|ce * il 
generoaltA da: .;:. 

Metropolitan Toronto Reference Library 
Arts Department i . 

Lea Imegea tuivantee ont «t« raproduitea avec le 
piua grand aoin. compte tenu do le condition et 
do le nettet* de rexemplaira film*, et in 
eonfbrmiti avec lea condltiona du aontrat de 

fNmage*' 

tea Mimplalrae origlnaux dont la eq«i«iarture en 
papier eat Imprimie sent ftlm4a en commen«ant 
par la premier plat at an termlnent aoH per le 
demMre page qui comporte une emprelnte 
dlmprasalon ou dlMuatretlon. aolt par le tacond 
plat, aaion le cea. Toua lea autrea axemplairea 
origineux sent fUmie en commen^ant par ie 
premlAra page qui comporte une emprelnte 
dimpression bu d'iNuatration et en terminent per 
le derhlAra pege qui comporte une telie 
emprelnte. 



Un dee aymbolee tuhreiita appareitre sur la 
demMre image de cheque microfiche, sqion le 
Sn^mbole -^ algnifle "A SUIVREV le 
aymbolaValgnlfle-flNV 

Lea caitea. planchea. tableaux, etc.. peuvent Atre 
filmAa A dee taux de reduction dIffArents. 
Loraque la document eat trop grand pour Atre 
reproduit en un soul cUchA. II eat fMmA A partir 
de I'engle supArleur geuche. de gauche A drolte. 
et de heut en bee. en prenent le nombre 
d'Imegea nAcasaaire. Lea dlagramniaa auWanta 
IHuatrent le mAthode. 



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CATALOGUE 



or A 



Loan Collection 



Pictures 



TOROHTO CLUB - tS96 



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Pursuant to t Resolution pused at a Special 
General Meetinf on the sth December, 1895, the 
Loan Exhibition of Pictures will be held, commenc- 
ing on Friday, the lOth, and ending on Saturday, the 
tSth Jaifuary, upon which days, Sunday excepted, 
the Exhibition will be open from 3.30 to 6.30 p.m., 
and from 8 to \1 p.m. * 

The pictures now exhibited have been kindly 
loaned to the Toronto Club by the following 
parties: Sir Donald Smith, Sir WlUiam VanHorne, 
Messrs. R. B. Angus, James Ross, David Morrice, 
W. J. Learmont, E. B. Grcenshields, W. Gardner, 
M.D.; F. J. Shepherd, MJ>.; Mrs. Benson, Mrs. Bur- 
nett, of Montreal; Messrs. E. B. Osier, Richard S. 
Cassels, Charles Cockshutt. Wm. Armstrong, Mrs. 
Cameron, of Toronto; and Wm. BlakeSlee, of New 
York. 



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Under wme drcumstoiocei it migUt h*v« been proump- 
tuouf in the Toronto '^Oub to open iU roonw for the 
purpose of «n exhibition of louied pictures, although the 
mere departure from the ordinary functions of • dub needs 
no excuse. One of the lewling clubs of the world possesses 
A beautiful gallery used only for pcriddical exhibitions of 
this kind. It is the fact that Toronto has no public gallery 
devoted to similar high aims which has prompted the 
members of the Toronto Club to aflbrd such accommoda- 
tion as their rooms will permit to the pictures referred to 
in the annexed catalogue, and they do this with the distinct 
ho(>e that 1 oronto, with its intelligence and wealth, will not 
long suffer the reproach of not possessing a public ait 
gallery. If we consider whit the generosity Of one liberal 
citizen in each of sew^pf the'imaller dties of the United 
States has done for fpp those communiiies, and if we take 
the trouble «4ien we Vttit Montreal to enter and admire the 
beautiful gallery they possess, surely it" will not be' long 
before the broad-minded liberality of some dtizen of 
Toronto will cause the reproach to pass away from us. 
' In all periods of gmt intellectual and material advance- 
ment, the rich have bcn^t the works of great artists for 
thdr personal enjoyment, only to find that they have 
blessed the whole community by the possession of objects 
which all who hlive intelligence and are allowed to see may 
enjoy as much as the owner. The young people of the 
present generation in Montreal, who are allowed from time 
to time to see the treasures now owned by its wealthy 
citixens, have at the moment an inestimaUe adyaatpge 



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over the young people of roronto in the vastly Utger 
poMibilitiM of their art education. And this ii not merdf 
true regarding the general cultivation and power to 
appreciate good art of thorc who do not learn it tech- 
nically, but it it even more true of the art student whose 
highest aim is to design a conventional wall decoration, 
•nd who shall estimate its effect, in technical skill or 
cultivation of mind^ upon the student who hopes some day 
to paint a masterpiece. We can but hope that the superior 
advantages possessed by th« young people of Montreal will 
•oon be equally enjoyed in Toronto. 

-*— in.!! ;_ _i i . . 



Thu is an age when much is effected in eduoUlon by 
object lessons. Matthew Arnold says : "There can be no 
more useful help for discovering what poetry belongs to the 
class of th^ truly excellent, and can therefore do us most 
good, than to bare always in one's mind lines and expres- 
sions of the great mastiirs, and apply them as a touchstone 
to other poetry." There are no object lessons comparable 
to pictures. There are no touchstones of taste, so neces- 
sary as the pictures of undoubted masters. The young will 
leam with rapidity with such examples atound them, and 
even the Canadian painter whb has esUbliibM his reputa- 
tion will paint the better and rejoice in the opportunity to 
feast his eyes and reinvigorate his brain on what the in- 
dividuality and imagination of other men's brains have 
produced. 

The pictures in the present exhibition have been design- 
edly selected from various schools and periods. The pur- 
pose of art should be to create catholicity of taste, not 
4ttvoti0n to a particular cult Unless the processes of 
•ducation are arrested, they will in the end make us less 
concerned as to whether a particular picture has impression- 
istic or realistic, naturalistic or academic, tendencies, 
w^ethe^ it is bj^ an eariy, or an old, or a modem 



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uiMter, so long m from any of the many pofhti of view 
open to the individuality of the artist it is a worthy con- 
ception of his subject Nor should ire allow our perMnal 
biai regarding the subject of a picture to influence our 
appreciation of it, provided it is the earnest effort of aA 
serious artist. 

^ It is unfortunate that many men and women believe 
they have no capacity fix the enjoyment of pictures, and 
therefore they look upon the expenditure of considerable 
sums for works by great arUsts as practically a waste of 
money. But this is in the majority of cases quite untrue. ^ 
It does not require the exercise of unusual taste and judg- 
ment to realize the merits of great works of art, whether 
they take the form of the drama, or music, or painting, 

What is necessary to the enjoymeiit of great^pictures by one 
who has not made art a study is merely the possession of 
them. Once hung upon his walls the quality' of a .fin« 
picture will soon make itself felt, and the 'thing of beauty" 
will literally become "a joy forever.'* 

In preparing the notes on painters, free use has been 
made of the various dictionaries and handbooks of art, 
without any attempt to indicate the precise soun:efl of in- 
formation. M^y of the notices are copied directly from 
the Montreal 6italogue of 1893, and from other catalogues. 



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■ONVIN (f RANCOII) 



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1817— 1888. 



Fnaeab Bonyia nu bora at Vuiginurd. in iht dcpwtaMBt 
of tb* Seine, France, ia 1817. The son of «b «ti«ai| 
BoBtin received his 6nt IcaMM in drawing at a fitee 
•dkool. When be abo became a workman, Bonrin de- 
voted!^ Icimnto paintinf. Hia work* arecliieijPiiMrw 
f: pietorcfl for tlie cabinet. lie benan to exhibit in 1849, and 
cqntinaed to tend toJlw Salon ihortly before his dMth ia 

1888. :^ . i^ ,; 

i. A Jfade/ J^Mtsevi/i • "Owntr, Sir Wm. Vamll0nu 



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HOVPIM (BUOINLLOVIt) 



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EugMM-Loab Boadia mw bon at Honflmr. Fruet, in 
lias- fU««ptitiid«fcr|miatl^havlnc«ttiMt«latt«atk«. 
bt wu aoM fajr llM dly of Ham to I'Ecole xi« Bmox-AtU 
atParit,iddiaati|mid.fcrtbfMywn. laiSjghaMiit 
"flf"*" * ■Srti^.^iww.AW to the Salon. a>d ia 
tabwqaaat yaanha haaiModaoid aeooAlmble nanbar of 
HmtaaiMa and marine piaeca. He obtained a koM oMdal 
at ibc Uttimaal ExUMtion at Pferk in 1SS9} and whiWted 
at the exhibition of the "DuHdtmtt- in the Ouutop de 
Man in 1890^ . 

%, Landstape . . OwHtr, R J. Shepherd, M.D. 



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ONALMBIIt (QBOROB PAUL) .. # . , 

,.-...■•.-. 1836— 18^ -'.-/;. 

George Pkni CiMtaMn WW bofB «t Moatrafw. Soottuid, In 
. iSl6> iuKi dM at Ediabwfh In 1878. lib cvly yean 
«wre pamd M uapothccary'taad then M a ■hipchandlM^ 
apprentiet. He MlMeqaeotly cntend the TnoteciT School 
in iSdinbnfgb, and white learning to paint mpportad him- 
■elf bjr pottnhne. In ittj he painted and exhibited a 
^ : portrait of the late John Fettle. R. A., tad lor fifteen jeaii 
continned to prodnee bom hid eaael with great raciUty and 
rapidity a great mmber of portraits, sabftct pietilres, and 
Uodicaper. Althongh in hi* yoath Chalmert was notable 
rather Cor hb powers of drawing, he was before all things 
a colonrist. The powers disclosed by his managenMni of 
rich, warm backgronnds ta some of his pottrahs and 
--^-- interiars, and of samptnoos cokNir in Us hndscapes, with 
hapimr early training and longer ,Ufe, might have placed 
him among the first oolonrlsts of his or any other time. 
Hiswork ip general is free from elaboratkm, and k diar- 
acterised bydecUTe notca oTcokprVwhiehin Oie absence 
of a proper nnderstandinf of the artistli intentioa are apt 
to suggest cradity. Chalmers InAned into many of his 
pictures a certain weiidneas, theoatcome of an imagina- 
tion at once fertile and nniestrained. 



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Owner, E. B. Osier 



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Tb« «hol« work of CoMtkbtt, the great mlutaUat ia haii 

M^^ «t,b a pto(«M«gaiiMt the coBveationaUsm of the dgkl* 

tccalh eaatwj. A fatvcnt adairar of Claude and fauda ia 

claMieal laadacapa, Im felt that all great art wu original, 

«nd w ha palntad kit beloved SdUk locncrr aa haaaw 

it and Mt k, and in Ua own way. Thongk it waa loag 

bafci* hia work w*t apprwdalod. and although kit genial 

waa nrrer profierly reeogaiaad in kit own eountry wl^ 

k« livod, k« waa Mutaiaed bjr a firm «oovIction tk*^ 

hia work was good, and woaki eventwiljr be underatoed. 

Jlie fiunily lift waa bappf, and he had the wann regard 

«r hia rriendfc He waa not eteeted to the Academy 

V natil after tha diath of hia wMe, who had ahared the fciac 

-— ttt: y*"* of diecoaragement with U<a. On the day of hft 

;; aiectfaw ha lafai. «« It haa bean ddayud nntU I am loUtary 

' •adeaanotiapartit.'' Conatabtekaewtheviloeofinteilio 

pent erltidaa. and waa not afae(«d by tkat of the ignorant 

; V "Mir. — -,* heiayf, "calladtoaaaaaypietara,anddidndr 

lika it, « / aw smra tttrt U mmtlkini im it." " Very 

Iraa," ke aaid aaotber tinw, wkaa aboM altcratkina weiw 

; Hggeited, "bat,don'»yonaee,Iaiighttooaaadnakatha 

jdctareiogoodi^/AawMtf J»4«M/>r MAiMv." ^ Coo, 

•table ci«f ted aa inpovtaat biaence on the kndeoape art 

~ r of tUa eeritary. Id iSsi, a painting of hia waa eahiUted 

latheSakm. lUcfbetoatheartisUof tber<Mnantic nwva. 

nent in France waa laiaMdfaue, and we find Delaeroia 

>rritlng of him, "Cooatabia i» one of the gloriea of th« 

Bngiiih; haandTteaeraretme relbnacra, they havedo' 

patted fiNNB the rootiae of tha oMIaadaeapttta. Ooraehooi 

. baa greatly beaefited fay tkefar example. It kai great aeed 

* of aew lii« inioied Uto it i it k old, while theira acema 

yoa«g. They kiok at aatiBe,aadwa are occupied iaimitatx 

iagpietafefc" Tke geaiaaofCoaaUUe waafnUy adknowk 

«%ed by dw artirtaof Fiaaee^ and itacted aa aa impintkM 

Mthoaeyoaagaad cathMkutk awn wko wetetobeooBM 

. tlwfnataataehoolofflMidanitiaiea. 

Skmpttad SoMd/ils-^Stcrm Clearmg Of, 

0»t$er, CkarUs VoeksJutH 
A Ltek M tki Stout . Owntr, Mrs. Burnett 



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iAPTMTB CAMILLI) 



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1796--187S 

ThehiatoryoniuidMaipeurtbeanflMtlMttyilltofWkbikrt 
" Art Mclu the iirtiit alone 1 when he b. theie she appears 
and remains with him, and when he dies she aadiy tikes her 
flight." Visiiiof France Marly three hendrcd rears aRO» the 
reveals the great painter of stnshine, Claude Lonain | naas- 
iag to Holland she dweUs wtth Rdadi^ and Hobbenu, 
paindng the peaedU scenes ol their native land ; then she 
flies to Eniciand, inspiring the genias of Tamer and Con. 
subte { and again we ifpe her retumii^ to Prance when the 
men of iSjo appeared, yonng, stfong, and impeCnoas. carry- 
ing the art to its highest point The work of these men 
WM largely inflneneed by Constable and Tamer. The lifc 
of Corot , the lender of the school. wM a 4iwdarly happy and 
contented ou. Br%ht and chcerlid, ringing to himseir as 
he worked, generons to fi degree, loved by all, he learns a 
record of a beantilU character, plesnant to dweU npoa, *• a 
splendU evUenoe thnt a omn nwy beanartist of the greatest 
power, while he remains modest, hrrafile. and kind." Cent 
has left a wndwr of sketches whkh Aov, aado Us enrly 
paintingm the patiant training he went throi«jk. Thiscai*' 
iol stody and the knowledge acqoired enabled him to paint 
nfterwardswitkwondcrfhifirsedom and breadth. Hiswosfc 
Improved op to the end of hil life, and his klast f^imttog t^ 
"though sometimes Icm attentively carried ont in dftaib, 
an ftcher and fUler if Us great qnaUtiesof toM and 
eolomr." " He was the artist poet of the momi^ and of 
the evening, the delightJU painter of twilight, of lasydawn 
and dewy ev«. He was the man of all others 1^ nonU 
paint the a tm o s phere, and whoconU faiveM every kuMbo^ 

be prodneed with a toamnticism and dtarm wU^ an thor* 
onghly wtmderfaL" , 






5. JtaGauidt 



Ommr, Sir iPm. Vmnfftni 



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e9X(DAViP) i • 

I>iHd Gm comiiMQcwi bbi'wt amu by (Minting M«aM 

fMT Um thmtt*. and IravciUnK with Um acton from town to 

tmm. HeMMNignw tindof tiiia and took to teaching. 

: When twwljr-t^ yaara oU, h« made hit lint sketching 

, tour in Walaa. At thia'iinM he charged two guineas • 

; doaen for hia iandMpca in Sepia I Later on he got forty 

. powida for workpthat have rwmtly sold kt three thouaand 

"a. UntU about 1*37. he^painted in water coionra 

bat after that he painted in oUa aa well, taking 

MiiUer, for whoea work he had a great admir* 

he paid hie lint visit to Bettws-y-Cood, 

Rojral Oak." This bcaatifol Welsh 

jcBfite sk e tchi n g groiiad,and has ainea 

been intfanately assai^M«^ with his nanw. Cox waa an 

: 4 ndairable painter b oUai^lml his chief foote reata on hk 

water ooloua. Theae are brtwd in tnatment, have n 

wonderfnl atoMqiheric brillianqr ahd great trathfnl 

of tone, and they aeoue for him a phMB^^apoog the first 

«. Laniteap* . , , . /I . pwmtn JS. 



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John CroflM. or. M ho k bitt« koown. OM Oom. om of 
ttot««o.«of Eii,ltahta«l«p,pd»u«, —ibomta iTii,. 
For ioiiK y«n ho pwctlKd hl« art ■Oder grwi dMfcrftkfc 
boMhoM won OMRMM when hoMttM «t Norwich u • 
laOdMT or ptiadiif . HttooofMhortd roMdhlmoHttlt 
•chool or pointor*. ud Iboiidod tho Sodcty or Nonrieh 
Afilit.. which hold «iUbitioo. fron 18(4 to H33. Ho wh 
tholMdefofthoweiMyaiidittcUorKiocr. Hoooouio^ 
oily oxhiUted ot tho Rorml A«do»y,b«thliwork w..m»lo 
toowB oaliide or Norwich and in noighbouhood until i«77. 
wh««.p«i,leKhibltioaor tho Norwich Mhooi wm held 
« Bwlington Howo, which ottnctod gmt attontioo. 
Cfooie WM o ttraiig odarim of Hobbom and RaiMlael} 
Uke them he was an oaraaM hmr of natwe, portnyins 

tnilhWIy and with a pottlcal chann tho acenea among whS 
he lived and woilced. He waa an admiraUo draughtnua 
M>d lino cokMrirt, and hia aanny landaeapea by the alow 
Norfolk streama dol%ht ns with their aweet eohm and 
beaaty, and leeUng of air and apace. With Comtablo and 
Iil°!l^*^ ^"^^ l«»d«ipi*i, he ibrma a eoonectin|| 
Itok between the great Dotch artists of tho se««nteentb 
oentuiy aad the French school of itja 



w 



7. n* Waterloo Jihrm 



Owner, D. Morriei 




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OAONAN-BOUVBRIT (PAtCAL ADOLPHB JBAN) 

: . ^-r-X ;,.•■'■•".■ ■■■■:-V'-' ' - .■:■•"■■.■■.,■ 

pa 1879, at Um Salon, F»rU Mjojred th* doable pimaura of 
[' I Bdfth ittid apfilMM at a pkUm (Upicttag a inarriiV* putf 

' < ^ of the bovft'oii t^ podot in a photograplMr'b gallny to 
' ' bt pbotograpbad in oooHMmocatiaa of the momentoos 
, ' ccrtawmy Jwt ptrformad. Tba pktwra not only diaplajred 
infinite qnWt hamow and great ahrewdnaai in'graipiag char- 
bat waa Moadlr and brllUaatljr painlwL Tbe artiat 
I a pnptt of GMna. who bad «ada kfa 4Mm/ in the SaloB 
in itjT, and who, ia 1I7S, had reeeivad a Mdal for hia 
"BwUi of MaaoB JLeeoaat." CoataMndag on the 
<if fMUMrkieicai art which dMracteriaea the 
^limM;'^ Dagaaa haa created a echool of 
.. '~Woi%.iii mM t» hm wumr kXkmm*. Teaadoa^ 
, p«ttii(|IS|f|p u W i !>;a i ii g, worhiag with the tat r eaieit care, leaT- 
'-: faf aipiaffl^JHiUeat, ' hat canyiag oat each eiStet aa he 
MarirtAlioal 16 be ooaipletcd whea he bcfaa, he b at oaoe 
oaeol thatabat eoaedeatioaa and oae of the aaoetainoere 
Fieaeb artirta of the peaaeal day. Bach ptctara that he 
pradaeea ia a wwh of iaqwrtaaoe, liaee ia each he pata all 
hia heart aad aoaU waridac with a aarroaa inteaaitjr of par. 
poee ttet leaveaaothiaf aadaae, aad that eztraeta froBi the 
aal^eet aU that «tt cna aBlraet fnm it. He ie abaolately 
free ftoaa aajr of tha anaairiiaii or coamatioaalitiea of 
auiliiaiir traiai^;, and eqaaBf free Inmb aay penooal 
afiKtatioaaoftechaiqae. Baaliea-Lepafe, hiaNelf an artirt 
of a vary aiirilar type, held hiai ia the hJghaat eateea^ aad 
riaeeltha death of hia firiaad M; Dagaaa eoMa doeer to 
taUi^hia place thaa any other aitiit of the day. if. Ikg- 
aaa takea hia aamaaM, Boaver«t« boa hia awther. ia < 
to diattegairii UMeif fkoai another aitiat of the I 
deoaaaad. Ha ia a aativa of Fkria, where practically Ua 
eatiw Hfc has been apeat ia tha atadiea aad dw laboan of 
whidi hia worfca aia thaiid^ if aot aaaMroaa, fratt. 

8« Xm xwwm 



Ommirt R. B. AMpu 




J«AN) 



l«plMMraof 
urriac« putjr 
it's galltfy to 
I momcotiMU 
nljr diaplajred 
[rupiag chu- 
. The utkt 
liaUwSdoa 
Mdalforhit 
pint on the 
tctefiaes the 

• tdMol of 

TcaadoM, 

■t can, \m,f- 

heiiKt Mke 

, he is «t oooe 

■MStrinoera 
etan that be 
Bhhepataall 
eMityof pwr- 
■cti froni the 
I ie ataeoletely 
itlooalUka of 
■ay p etw al 
welfanartfat 

orteM^cad 

ty. ILD^p- 
thef, in order 
heBaataow 
netkallyUa 
hekbomof 
>dt. 

B. Ampu 



DAimioifT (CHARLtg rtAftcoif) . . . Iliii 

.:•.■ ,...^- 1S17— ilTt. ■■,;■'■' 

Art «aa aa h&erltaace to Datthipij. Bom la Patk ia 
1817, he eaM of a faaUy of paioten, and aU hie Mnoaad- 
hpwetaartMe, lib iMher. hk eade. and hia aaat wan 
laboann at the aaaal. and the boy ahaorbed hb fint leanM 
with hb ehildbh bnath. He becaae a papU of hia 
father, and. after a viiit to Italy aad ioaM time ipent ia the 
Mndio of De ia f oc h i, he turaed to aatera Ibc hb ioapba* 
tloa, Hb eailbr fijpiro pictana and portraila, which aia 
n c i i i i e ly rare, ahow Uai. like Cotot, to have beea a 
paiater of aqgnd aad veli^rained ability ia thb braaeh \ 
bat it was to badacape that inchaatioa aad sympathy 
dbeetad him early, aad thfre held him fast lib meaat 
were aanow, aad he sabaisted fay deaigaiag. by eopyiag 
';'■■ pictwrea, aad drawiag on wood for the eagnvers, devotbg 
an hb leisare to paiating. He duse oat at the Saloa of 
1838, aad, after a sttoggie of tea yean, foand proepetity 
and Cum. The seal was set upon hb repatatioa 
whea the Emperor, ia iSsa, pvichaled hb pletore of 
••The Harvest" for the Tolllerbs, foUowiag it. ia 1853, 
with the porcfaase of aaother for St. Cload. Ia 1859 he 
was bvcsted with the Legion of Honoar, and ia 187s 
was made aa ofieer of the order. He died in 1878, after 
having shared with the master painters of BarbiaoD the 
glory of rcgeaemtlng hb national art. aad left a legacy of 
. mastcrpieees to the worid. Daabigiqr was csseotblly a 
painter. Light, air, and ookmr were the keynotes of hb art 
He went to aatofe as a perpetnal devotee, aad hb amet 
soccessfnl works were thooe wUch he painted from hb stadio 
boat, ftootiag oo the pkdd waters of the Sdne aad the 
Ob4 In the spedalciasiofsub)ecUtowhiehhefaicliaed 
he was withoot a rival, and he has found no saoceiaor, aad 
hb inflaence 00 (he art of the eentary, like that of hi* great 
odleagnes, cannot be overestimated. Of all the painters 
ia the immortal groap to wUdi he belonged, he was, 
perhapa, the nearest to Corot, not only ia artbtk sympathy, 
but in an almoat brotherly teaderaeu of peraooal aflacOoa. 

View on the Oiu . , Owner, H. B. Ampu 



I ;./■■'. 






■'pi 



: 71 



Mlf RBOOIK (FRANX VOIf ) 



Aiu(fi«» 



i 







Bora at SlroMd^ la lb* AMtrlM lylol. lljS- ^^^XM* 
^t«r, papil at lb* Mtaiai Acadtmj mitt An»> 
fhila, thM •(■diwl Im «l|;lMMa vomIm in Ftok, spMt 
tm» fmtt la Um Tjriol.and ia 1M7 tatmd PUoly'a fdiool 
at Maatch, wkmn hm haa mitUd liaca 1871. Iloaotacy 
MMbar of tba Maakb. VIimm. aad ^arUa Aca<tomiaa| 
•Mwbtedkiill). WafatkarwasahafdworUBtaadwaU- 
to-do painant, aad tht .bojp Pnu>a— the ooly child— aharad 
till tha H[a of tWMty tba odaiaMa laboaia ot tha fiald aad 
•attbahad. Bat tha Aifaaa palatat raeoaata that " aa loog 
aa I caa maaaibar, arithia aw vaa aitroag ioipalaa towaid 
ait. WhOa j^ a chUd, I aaMla aakaala ia paata. cat 
.Igaiaa ia tanipa aad potatoaa, aad klar, arith adaaoia, 
I ftuhiooad laadacapaa ia papar. What waa aaj jojr whaa 
ffH I |ot a laad paadll My chiaT toU tOl tha afa af_ 
Iftaaa waa wtthia eattk hat% aad thii oeeapatia«laft tiM 
fcr diaiHafH which iwiMd aaak faMwa ia tha villaca that 
■7 lathar allowad aM aMM* pandla. I aow bafaa to draw 
on valla aad all othacaMfMMa that caaM withia aiyraaeh. 
Tha aaliMMian oa Saadiva eaUad ia to aaa. Uj hthat 
^a« praad of mj talaata) bat. aafiftaaataly. a thj gaMaa 
•Ota I ooplad with aach MaUty that ha waa aaawmad by 
tha BaftMaaatct to aaawar tha dmift of fMiary I A yat 
taoia aarioas aiiaibrtaac IbUowad arhaa I bad to laavrtbo 
•attla ibad to Joia ny iitbar aa aamuit t aad aow favtha 
•vaalaga, aad cvaa oa Saadays, I foood myadf too tiiad to 
ladalga aiy paMloa (m art." 

to. Tki ComseH^ft Jtiturm . Owmr» Mrs, Catmmi 



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DILAeKOIZ (FIIDINAI^D VltTOK ■ITttBNBl 

1799-iMj. s 



FrMMk 



^ 



II WM ili« MiM movimcot that gave Byroa to Englkk 
poctrf iImi bcsiovtd EtifiiM DtUcraix <m Frattch art. 
Th* cmaKgtraiion of a period of Mp«rficial elaganca and 
falM claMkiam prodiK*d a rcvabioo to lh« otbor tatmi« 
of romaniic (calUm. What Iha maaaira gmiw of OMoHilt 
btgan, the mora brilliant fMiaa of Datacroix eoatplatad. 
TIm pipil of Gu^rin, who mada Ma ddimt ia iSai at the 
ac« of lw«Bty.thr«c with hia " Daata and VifgU," Vtnd to 
•aa ia 1I63 a rtroiatiaaiaad art aad Utatatan la Fiaaoa, 
and to know that ha had baaa ia tha vaa of tka hattk thai 
prodacadit, Dakctoia bagaa aa a rlniirtH. bat abaadoaad 
tlw pravailing evit aaitf, aad hia trarala ia Spaia aad Africa 

^^ . la ttji fave him tha Ara aad ooloar which vara to raadar 

hia art aaprama. Ha fonaad hia artiatic ajrataaa «po« 
tha Bjrroaic plaa, Ihomh with a flaar (Mling thaa Bjrroa, 
aad with a Ian BMwbid MBtiaMat. With hiai ooloar aad 
aetioa waat togatbtr. Form waa aiarcly accaaaory. ■ Tha 
spirit of tha wfaiact, lavafla or aaraae, had iu raflectioa 
aad ito Mppoit ia tha aavaga forca or tho aaraao haimoay 
of hia ooloar aad hia techoiqaa. Wherever ha waa at Ua 
bait, ha waa aioat awrkad ia thia lymaMtrieal ralatioe aad 
balaaca of heart aad band | aad wharavar ha waa bappiait* 
« h waa in Mh)ccts ia which hia vigoroas aad oombativa 
nalara coald iad fraait and fulleat aapraarion. Ha dial 
loaded with hoooars, bat hia fallaat fame baa aoeraad to bi« 
liace hia itrong hand dropped the pcadl far the kat time. 
The world baa crowaad hia work with poathaaMMn laurab. 
The great galleriea and the choioe coUcctioaa of Earopa 
aad America bare made prisea of the prodoctioaa oa which 
he baa lUmped hia title to immortality, aad even the leaat 
lympatbetic critidam coaoedea him a aoique pUce aa aa 
intrepid leaider aad a creator of aMrveilooa iccnndity and 
power, to whom the world'i art owca a debt of gratitude it 
can never oveipiiy. 

II. CArist on LaJu GtnneHrat , Owner, Sir Wm. VanHorm 



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DIAC Dt LA raHA (NAKCIMtt VlftOILB) . 

A ■■■■■ilwMy p iil w| Mi IgM* la art b llMt cT DIm. 

BW» hi Itol. M ■wiMM. «f SpMkA pMWUg*. IM CM- i 

Um< lb* MMMta Unpd of M» pMMMl im «kli Om ' 

MM I [mill i|M «r ikM to wkick k« Miwuwl kf '^ 

lirtk OmI mw^mi tlM ««M,«rtppM b)rlkala««l* 

VM HI MtMM DOy MM flfMi||^ HI ft pOfiMMM ■WlOf^f 

k« HM kb ImI MtlMk ■4»Mtlwi bf oanrliv iW ': 

M tkt pottafjr. tl «M at lUt p«fad Ikal h« 
llM M^Mlal«aM of Dtifii, wk« wm alto — p hya i 
•a a paiMlala palaijw, aad Htmb ikb ikof, aAar a qaami 
vidi Mi MHMr. ka Mikad to Paria. to itarva aiad Ighl Ma 
IMf to Ihm MljHtaM. It waa a Mtlar kaltla. Ha ^ 
tmmmctA t^ f^ mmi paiatar, HiHag for a Cnr 6aaea ~" 
platataa wM^Tm llvad to aaa kaM man pfcckw* Oms :. 
■oU. la Itsi ka Uppaarad at tka Salw vbli aoM af Ma 
Im l aai w apw, aad tkwcafcrtk, altkoagk ka aavar alto- 
galkar a k a a daaa d tka paiatiag of ika igata, it waa aa a . 
paiatar af aataia ikat ka kaU Ma UghaM rata. Aidawotod /: 
adariiar of aad baliavar ki Dahcralx. Diaa. lika hia Motkar 
aMatar.maaoohMfiMorikaaMMtbftUiaattplawlow. Hia 
fa i H a g of aaloar i>, kowa^at, ia itfeag aoatraat to tka iwoa r 
aad a aa i g a U e Prfa of o h . WitkDhaeolowiiaaallMllow 
■am aad karamqr of wa ip ta ia M lapoaa, aad ao paMtav kaa 
aaaeaadad kiffvaMac Ms MMtonr of tkat JMoaa gleW of 
•aMIgM «kkk franaa Ma caa«aa as ittiiilBi^faa. 
Ha waa OM a||fca liat artists to i>^|HKk of 
PoBtalaaMaaa M aasick of sab}act>. aJHBHHIli at 
FMskaUvad aalarmof'tka ckaaJnH7wbk%dlo( 

paosparity akowarad oa Mam aad ka aaqairsd aaoraMiaa 
triM kf Msart.iiMA ka dlspawad arkkakaad ««kh 
waa tMwr daaad to aaad or distiaaa. Ha «ad ia ily« 
M a fib at IH ia t a l , wMck ka kad pairkasiil tkat ka 
«(||lj|rtkMk ia tka saai^M ka tovad ao nail, aad ooatiaaad » 
topilm alaiasl aatii tka hat 

OtMtt'f X. a. jingt$t ""T 
Owntr, Jt. 3. Affgms 




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kblm 
feMM^fll khtelMti kilt 



lilt— till. 

•way fa dM awiy w bt w •! iMRi 
«f MtlMk TIlM* «M Mi «» i«i 
in IwtaifwWtaMt hi Mum' 
tkcwwid. BmalNaMMtaitis.D^F^VMMMlfAl' 
■%lity Httla MfliMi tkiM iiliiwil VtmA m Inm tka 
mUhmmm of ciMildMit m4 
H« «M bom l« • iMtaafli of 

ialai* pravkM Mai wMis 
t"'lM «M wiivtljr aUvaw Tte !■ • ■■■ ■■ ol kk «Mfy 
MiKliw pio lo iig rf ilMlf iM« lib nmtumt aft. H« «m 
> alwayi iIm Madml of Mian, wIm «atriad lite book aad kte 

paktia kMo Um iakia and fotaaU, aa4 wIm Vrnffitt himmU 
to walk wiik ait aikl Ularatara M» bjr Mt. In ilji 
D«|iftf oootri«td to iad kh wajr bafota tba pablk aa a 
paiatfr. Ob eaphal aaiaad bf pakukig ckiaa aod dock* 
fcoaa, ka fMui4 kte way to Parfa, vkai a tk« gnat *mii 
^ tpoka lo kiai at ika Lowna aot of tka aantaMM of Hob- 

baM, of RaUdacI, ani CoaMaUa. la tka Sahw of ilsi 
ka ikowad §m laaJtaapn, aa Aill af aatara, to Miaag bl 
■tfia, >ad diract ia aaptiaatua, ibat tkaf oaauaawM 
faaaMdiaU altaatioa. . FaitHaa waa Moia ktaid to kiai Ikaa 
■ka eoaNBonij, te to itoiaa. Tba Oaka of Oriaaaa, dia 
graatatt art cnnwuteaaar of tka dajr, Coand kiai oat, aad m 
ha mm aaBoinfaUy laaa ck a d . Patfoaafa graw. Ha waa 
Bot oaly abfe to aid biMaair, bat ba waa bappjr bi tba aUUlf 
to mwk oat bit baad to bte biotbcr guaia a a a. 
oarad biai macb. MUkt ;waa niataiaad bjr 
Maaddiip. It was aa if tba aoUa-baan of 
b>«ad bad aatarsd into tiM aaa. TVoacboat 
tba MUBo graat and uBMlfidi apWt added to bte hoBoaia. 
Oaa bjrona be WW bte oaaaradaa of tba daft of atiaggia 
drop away froa bin. At teat, Ib bte ootiaga at lala* 
Adaas ka laaaiaad aloaa ki a vigoraaa aaJ bfaMqr agOt 
with bte book*, bte ptctBNa, aad tba aiapo ri aa wUA ha 
aaboaoaMd to tha frcqaaBt gaaat of tba aawar gaaaiatfoa 

ia art, who alwaya foand a w alcoa w at bte boaid. 

e - 

1$. Jimriiiif : . . . Oventty W. J, Luanmmt 



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•••<•%. 




a. R oawia a 4 

r bte aaahm < ' '^--^ 
thaaataiaha »-\ 

bte loan Ufa. , f 



•■ - .» 



rdKTUNT (MARIAMO) 



SpMlak 



1S3S--1S74, 



t' 



X 



tt wu tb* v^ofOH and origiMl ityk oT Portuy which 
■pwfwdBodctaSpMUkMttoaNviralor lift. AIUmm^ 
kcdlMt twfenlMWMfMtyfwnor aft,!!* aoeiMBpliihad' 
• work thai eodd temdf Imm Immi iaipioT«l ipoa ia 
dMWf ih« tiMM allMtad to Vm. If odi oTbU lifc wm 
qwal i« RoMi^ wImm k« im vmt, ia ifjC, M a wia«w 
of Uicpiiaaaad pMHioa of tht BaiMloM Acadcay, aad 
Ml death was CBMcd Unw lijr a Cnrar cooteactod whOt ' 
printim; <wt ef dooia at a« ladaawBt naaoai. ACUalaB 
lijr Uitb. Fottaajr wu powwid e( all tba aBargr aad 
^pnVMtNBMi of UmI paopla, who ai« tba laadcn of 
■HMhtB %iaia4B hwihMH and hi art. It waa in iS6( that 
ha ifst want to fuk, ahnoat aduowa, awqit to local 
hoaow iahiaowa aaetioBi hot ZaaMcoia, who racocniaad 
and hoaoond Ua fmia% pot hi* la eoataet with tha 
hooaa of Goapil, which {amadiaialj bqpu to pash'hia 
daiiaa apoa tha pridie. Ha addad to hit icpatatioa by 
annriat the daaghtar of ^ lildtr liadran), ia kadrid. ia 
1867. TUtaaiaa,h]r«riiatiatthowida-«eachincbfluaaoa 
of the dinetov of tha Madrid Maaaam, aMda him aa iainoaa 
thraiq^Mat Spain aa tha patfoaafa ot tha Goupib did b 
Franca, Ba^had, aad Aawrica. Furtaay'a straog par- 
aoaaUty fcnatd him fetr a leader, aad gathered to him 
maajr gifted aad diMiagaidMd fallowera. Hit atndio fai 
ttome waa a aort^oT coatt, hi wftidh all Spanidi artiita 
sainted him aa moaaich. Amoag hie fricada waa Pkoldaor 
Femaodi, a paiatcr of Ifatafa, and afterwaid dliactot of 
the art adwol diere} aad it waa during a trip they made 
together to Napica that Fottnny added to the pictare ofhia 
eomraAt the figarca aad anieiated acceMories which give it 
life. Tbe jonraey was amde in the sammer of 1874. 
Withia three awaths Fortanjr was dead. Ilia name, which 
caatom' haa abttreviated )o that which' his ceaias made 

immortal, waa Mariaao Fortnar r Carbo. 

9 

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Ucraw ««7 attittie «ad OMjr, Us Impfa^ cMltat, nd 
Mb dmwiag Msttrlyi tlw faldhridMlity of m 1mi4 mI 
«4r wjr liTing ia dMuMtar, bM of • id|kl, ottntti** 
gBodl HMwr and liiadUiMM of Mediae Ma pNViiilii« warn 
biowailh tonca fioaly padaatad, and Ida tmA, tko^ 
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SWy ymnMga iWc cnttnd th* itadio of Gabriel GaMii, 

at Stiubowi, • rwric-looUaf ymng Alntfam luuMd 

HciuMr. Ht was bofa at Bcnwdlcr ia iSaj. and had 

% fbrndy develofwd a nvkcd gift far dnwiag. Afttr 

■bai «c«a0ot imdar GaMo, whicb wknoMd ia hima npM 
imptrovwocnt, be wcot to Paris, when he eMand the teole 

d«rB««ni Ana, aadbecamapapUof Ptoota«|of DrtlUag. 
IB i«jl he racceeded in wioaiag the VW* A Jttmt, which 
ptJchinfiTejmnorstady in llaljr. fellowiog which h* 
vWted aAd paiatcd ia Dmdea, aad tiavcUed ntendveiy ia 
IloUaad. Cottaicaonc as aa histotical aad portrait paiater, 
he ercatnaltr settled down to the practice of the kAier aad 
moi* feSned form of aatualisa, the idealisatioa ofhamaa 
beaaty into the jpoetiy oT art. No paiater since TlUaa aad 
Conegglo had snoeaeded ia aecuting ia the rcnditioa of the 
Bade soeb cbana of eolow aad parity of expiessioo. and he 
was aot long ia creatiag 4 niUqae ^ce for hinseir b bis 
«t. Hi»"Swaanah,» in 18*4. carried the day for him fa 
Ptois, aad was potdiaaed for the Luxembottrg Gallery, fif 
which ft isoae of the nuuterpieoes. Among bis nymphs 
aad Magdslens Heaaer prodnetfd alsoaaambcrofpafadngs 
OB religioBs sabjccts, of a graad style of ekeentioo and a 
aoWe eieraUoa of feeUng. One W his most original aad 
d^ailied works of this order is his *• Joha the Baptist," the 
head of the decapitated mint being diowa oa a salver, aad 
being a masterly portraft of one oi" the artist's fiiei^ 
Henfaert in speaking of himseli; teUs a towrfaing tale fa 
honour of his iamUy. Ilis &ther. a poor wpenter, was the 
first to appreciate and enconrage his son's Ulent, denyins 
himself that the boy might be advaacwl. When, wora oat 
with ceaseless tofl, the old maa passed away, he beqaeathed 
the dniy he had assumed to his chiUrea, and they, fa their 
tarn, laboarsd to keep up and develop the brother of whom 
they were so proud. It may be added that Henaer was 
worthy of the sacrifices, aad that the H>lendottr ol Us genlaa 
and the sobstanoe of its rewards have enriched those to 
whose onaelfith devotion he owes the caltivatioB of the 
one and the possession of the other. 



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Tin CMlr life of ChulM &BiU Ja«qa« ««p cvw bmni 
varied and bborioM thu oMud with the mMt of iSjo, all 
of whoa h« Mnrivcd, bat hap^ bi baviag inv«l««d fawv 
vidbtitadM for Mm. Dora itt ifis, he WM in early life • 
. W co^vef and « eoldltf:' Later he pracliMd enny^ 
M wood, ftOB which he raee to drawinf and etdiiag. 
The pia^ical aide of hb diaractcr enabled him to eacape 
tfaoae acven privation* whidb hatraiaed maiqr of hia gifted 
oontempotariea, and gave him opportanitiee for artirtie 
txperiaMnt. wMdi renlted in hia early acceptance aa a 
piOnter of landaeape and animala of the lint rank. Ilia 
aarlicat tsUfatta were of ctehinga and engravings and 
thoof^ he began to paint in 184S. w>d waa uMdalled for 
engraving in the Salona of 1851, 1861, and 1863. tt waa 
not nntil 1861 that he received ofidal recognition aa m 
painter. In 1867 he rcedved the Le|^ of Honoor. 
Jaeqne ia,by choice, a painter of nutic Ufe, with a predia- 
poaition to die hambler animal ride of it. Hia hobby 
for a long time waa poultry. The pig found kIw iu ihare 
of fevour at hia br<kah/ bat Us moat rq>reienUtive and 
charaeteristie pictures arc those in which sheep play a 
prominent part. {lis early trainfaig renders him a firm and 
l^iedse dmughtsman, and his handling of^oor is broad, 
decisive, and powerfuL While extremely carefol and 
accurate in detail, he never descends to over-eUboration, 
and his command of textures in the delinealion of animals 
is supreme. It has been hia good fortune to enjoy a high 
degree of deserved popularity, and so great was the 
demand for his pictures that for a nuniber of years he did 
not appear as an exhibitor at the Salon, which may 
doubtless account for his not having secured a longer lirt 
of honours. Apart from his painting. Jaeque has earned 
an eternal owed of gratitude by hb service in the rerival 
of the art of etching, and examfdes of his plates are now 
treasured rarities ta the portfolios of collectors. . 



18. IntmorwithSkteft 



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1769>— 183a 

Dora «t Brbtol. 1769; died in London,^^ iSjo. IVwtndt 
painter, sod of a Bristol innkeeper wi& had kliowB 
better days. At tlie age of ten he tooft crayon portraiti 
at OKford, and copied historical pictures, and before 
/he «a< twelve he had drawn Mrs. Siddona' in en^vos, 
|md nmde his studio af Bath a fiuhiooable nwit. 
He began to paint in oib in hk seventeenth year, and 
succeeded so well, in his own opinion, that he dcdaied 
hinueir ready to stake bis reputation against that of any 
painter in EngUnd. When, however, he first exhibited in 
London (1787) his vanity received a salutary check, and, 
fwliog the necessity of study, he entered the RiTal 
Academy. The very next year he $d)ieved a success with 
his portrait of Miss Farren, the actress, afterwards Counten 
of Derl^, and followied it up with portraits of the Queen 
and the Princeu Amelia. In 1791, through the influence 
of George III., with whom he was a Rteat bvonrite, 
Uwrence was admitted to the ^oyal Academy as sapple- 
mentary A.RJL, although under the required age, and the 
next year he became painter-in-ordinary to His Majesty. 
In 1794 he was elected R.A. At the height of bis 
reputation he received one hundred guinett fdr a head, 
and four hundred for a fuU-length portrait At this rate 
per portrait, and with /^l.ooo a year to di«w upon for 
travelling expen^ws. Sir Thomas was sent to the Continent 
by George IV., soon after the &II of Napoleon, to paint 
the allied sovereigns, «b - ^-Asmblcd at Aix-k-ChapeUe ; 
Rome to paint Pius VII. and Cardinal Goosalvi (1819), 
two of his finest works, and to Vienna to paint Prince 
Sch wartsenberg and ether Austrian genenls. He had been 
knighted>y the king in 1815, and five years later, after his 
return to England, he was elected president cf the Royal 
Academy. He was a member of the Academy of St. Lqke, 
Rome, and of many other foreign academies, and in 1835 
. wis made a chevalier of the L?gion of Honour. 

JDuke 0/ Wellington . . Owner, Wm. BMesl*^ 



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WlMtevw Btl|U« i> la ut lo-^iqr, fai tlMt art of «*"^ 

■ iTf'HH iiiinTi whkh nfccu ilUlMmoftbitkitincr 
tfM tiMt iAm llM 0«Bdi of GhMt, BfUfM, awl Aatwwp 
iHd «1M pMNf of kimM VIMM. it o»« ia itt rwM* 

^ SMMM* to BMdrili Lqpt. Bom in 1815 ** Aatw«>^; 
Lon «M«mB«ra<tfoi« iMiUt-Wo bwUiof tokw- 
D« BMMholMr. Md of Bw«« Wappon. Ho «o oho^ 
rf«,,i«krtof HolotDoHooffc«d IU«bro«lt. Hh 
fUrikff oi«jt ia Oft wofo mthet iiriutivt. olid Uo in* 
pieWNS oihUOlod MOM •ortM of oomd *«f*«^r«»» tb« <»t 
oriciMdity. At tfco ogo of tUrtyaovon. h^ipfmi,yhnim 



\nmwnffTj- *»* *■■" "^^ *" .-p— -^ m -T- ( 

iiitodJn- rt|» U luKmloder. owl Wt h«i4 akillod to tAt 

«poB it. bo bioko owoy fcow Bolgimo, ond iot oot iipoii Wo 

tn^orEorapo. Ho «Pi« Uck. ««>«»»• »»- ""^ 
"^ ofthgg«alortofGoniu«r»V«*^r»*"*«*""»'^, 

" V 1853 Uo pictaroo in Wo »ow moMict. at tlio oaWWtkw to 

Ghent, woke FIe«iili art into a fconsjrof new Kfc, He 
had won tho ifoat goM OMdal i& BnMob to 183$, and ^ 
beon niado a cawKw of tKo Older of Leopold fa ijMjfc 
Now WatroaleHhoooofnlwwoiod down upon W«. Tho 
BrfdaofPariaWiloWm fa i8s$.and again fa 1867- Ho 
reoeired the L^km of Honoat fa iMa, and the wmo year 
wa* nude a baron W »»»• o*" Wng. The f»WJe^"« 
privste gmHeriee of Earope contended for examplea of Wa 
^haod. Weahh foUowod fame. In Wa own country ho waa 
coaminfaned to execute maiterworiu ftw publk edificM. 
wWch have made W« name immortaL He ""«•«»* 
binaeU with thooe bertlaureUof anaitmMter, papUaof 
cetdne dc»«ined to abed a reSectteo of their own honour 
upon him, and when he dkd, fa i869» be itood among tho 
leadera of the taiding art of Europe, and honoured of them 
ell. His art has fixed the voloe of hia tenricea, and pm 
teritycanonfyaddtobielame. Bdgfam i« made ap««>«»d 
by Wa worka and thoae of Wa pupa*. In Eaglwd. one of 

tbeee falter baa taken hi. place at the very head and (root 
of iosnUr art. in tho peraon of Lanrena Alma Tadema. It 
baa been Jnrtly remarked of him that no European atat* 
whicb la poamaeed of an art ia without some obligation to 

Wa gesiua and ita iniaenoe. 
ao. 7* 0<mpati9»(^Antmft by tk* Spaniards ^ ^ _^^ 

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TIm moU 4l«llBfBklMd fmfli tlifo«|^ wImm Trofoa to* 
qMBlkad !• tiM — cwi jin c gtaanilliw a wh ctt oa of kk 
ewB ftaitti b AmU« «hi Mudw. Vm Mapcik* wu kMI 
•t Sinm to itsTt of utiaik steelb lit «m aaipl^od k 
the pownhin wofflu n a daoo wt ot whim h» altnctod tN 
attention of Tfoyon. Th* latter wae in the pnwtiee ef 
■akiag a vaeUy vMt to Ua l Otlw r, vko lerfded at 
84*108, and aoUha yooag daoontor and tke eUw aitkt 
««te fraqtientlf In eontaet. TW cinMtam ainnan of 
Tntyon was tlMt the gifted fBntkihonldffo to Nat«re,aai 
Iran Maadte. in the tinw aparad Ikom Ui tiade. o he yej l ' 
the injnnetian. He, howev«, bdhed the (ineJilinm to 
piodoee original «o*k vntil the eneomegeaMnt of TfOfen 
again aiMie to Ua aid, and a eattain dagioe of aneeeM 
emboldened Ma to Abandon the potlety foi a atedio fai 
Paria. Van MafdEe** eatljr pietwee hetisy Mrangljr the 
CeeUng and inlecnce pt TfOfon. While iMMe eanM la 
drawing and nMce dliihamte in detail, their colonr Md 
techniqoe abow the aaaodatlon of the aMMer. Bnt with 
incrcadag confidence and experienea, van Mardie created 
a itirle with which he is now thocM«hly identified. Hia 
ooloor became Iresbcr, Uvdier, and more brilliant, and Ua 
eileett of light belg^ter and more sparkling. He b n 
maater dravghtaman, equally a master of oompodtion, and 
the groaping and modd^ of bb cattle b alwaya pidodel 
andtiiw. Hb labdaeapea are qf an cqod degree of end* 
lencc, and are replfte with tlie charm of a jojrona and 
smiling natwre. Efftets of midsammer midday and of 
showery dries over pastnres enridied by a bamid soQ find 
partieabuly happy rendition at hb hands. Van Marcke 
appeared first at the Salon in 1857, and has been repeat- 
edly medalled in 1867, 1869, 1870, and at the Bxpodtion 
UniTeiselle of 1878 rccdved a medd of the first dus. He 
was invested with the. Legion of Hooonr in 1879, and 
reodved additiond hononrs at recent exhibitions. Died 
in 1891. 

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MARIt (MATTHVl) 

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wh» bm it. thlHr «M «f »hM «o«U Mk* k • MM !• 
li iwwIiHiii h ihT TT-" -^— Tte tMMt. Mattkmr, 

I uJiiiilmtTf. -- "- HMiMg. wMdi oenplM 

klM ftMi <«»• tOI 4uk» aad oNb Ik hrt» tM sliM. 
H««Mlwni M tkt lii«Mhi itSSt wm • pvO •* tkc 
Biy — < Atwwp At ii lm hi. w>w te«w( 
MMMM4bytkt«afk«fLqpt. He w«at to fteli hi tl 

iMJ. h te ii M" "t" — r*-"^ A^..«^ fcfa «-!»- 

iriaafc fc— * fwt fcwww to i Miim , wkmm h» mf > ny 

MttM. airf .hM Mrt .r y* pktom. iMiM at kH^ 

priM,w«tob«fRnd. 

Akka^ Ml • tofcwiii paiMT. Itate hM art «i««yB 

«i^Mi«dlr««aMHP« th« wort tta iwh t pw ^ M U af 
Ut bmk WMi •• mri illi mm* of «!"•• ht K 
ft MMlw «r gMya. His iOMpOi m OM 
i wmvmtam. H« firaki ComI ki kta 
of MlM«fakw4MMfaooat,Md faoMlite 
Mt MiMMkM «f pMHfM <• tk« Ikras of iHil« Csft. 

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At ilM CmimmU BxpMllkw ia Pkili4d|ikii. t pklM« 
wbidi wmU Hi wmik in iIm cdrfyt htm iIm NtUMtkadi 
'HMdiicaptlMFfaMHBMt.'' ItwMOMof ' 
1*4 rii^pl* «flMta at Um tfMweripIlM •# ^ 
jMtan fai wUek Dateii ut li w pwu . TIm p»iBl« 
«M AirtM Mmtp*, • MM M hMtw fci iIm fowtt of 
^fOMk, bat «f u «a«fMk aatan, aad • fimh ud ififitod 
plyk. H« WW a Mthr* of ZaMadaa, wd kad baaa * 
fu^^ P. P. VaaOa.lMH«ftdMtl)ro««4BNMtaryaart 
|D UaNdl aad aatan. Ami« Um aavHar pkiaiaa of 
Maava oaa May diMOtar tfaew of Ma M awi r , la a pa hn i; 
takiag iaiib, a iloak aad hmmUi eaaealkM. aad *f 
to r'T-ir-' floloar vkkaat Abn «« alswflk. 
I flraod yMiilf, ai4 wwt fMtli to Ma itadiw !• 
thaJaM^MeMaaaafrtiMHilaatfwityaaday. Bfaadl| 
of oaaeadaa, liMflkky of MatatU, a dooa otervatiaa «f 
lOa mriatiaM of aaMM. chaiartariari it Tka 
kavli« loaraad tba lahilaiiUal pnioMMa of I 
Oa artht, ■BMtylMili to tha flaatiag ka p wMloai of dMK 
MMOiMriftlaaMapMkl alfaag toaaaealatlMM. Ahngpt . 
wall MMlaiMd by tha Datch collaelon,^ha waa aho di«; 

taothadtkaiMdalaof tho Saka, and foaad thair plaea fai 
tkagraatooBaetiHMof Barapa and AMariea. Hkdtatkf 
fa iM» awa kMwKad aa a low to tba art of Iha awiidaa 
««a aa to that of Ua aatifa IloOaad. Ia apatar-ooloaf 
paiatiag, aa fa oil, llaava mif^ dJrt i aga ii h wl eMffUMwir ' 
and hb htar nbiacla, fa both aMdfa, aron axtfactad froM 
tha raral Ula of Holkad, aad lar|dy 6om its pastoral 
•ida. Us cattle pastans aad ibacp wafts pnvkliiiR Um 
with bis happiest material. ' ^ 



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0«M9t MidMi VMS 

■MMradoM of wtfalk cdlMtkM for Um pdbtte to •! 

H« WM bora ia PMb ia 176J, aad bcvot ««Mt <fMthw 

ffOM ila io«f lb«i dM kOk wi4 pUiw of MoiMifairtn 

UU k« tflMl, la 1I4S. TW «baa4iitiM of Ml jS^lt M) 

be Ibaa4 la IIm Datch ■>■!» vaa Ooyta, jplp to* 

wllh MM Mraiglb «a4 iaii ariiaM7. MkM Wfu 
kit art Ufc yoar, nd M a if riir af attacU of (ha 
l ipa w bo H of a aoMwua «ha 1mi4 a vaaiiy to fit*** 
ai a paiatar, aad wko ilgaad tha pfetarn ha paid tha aaif • 
(oteg yoaag Ptt Waa yt maoata far Vmu TIm Boaaoc ti oa 
«ai ^fofhaUa to MidMl, aad wiia It Mdod ha waaabia t^ 
Mt ap a llttla carioiity ih^p fat l|yiia. Tha mm dyiag. 
tha fathw aad hh laeoad wifai^iMtlfeMd tha tuitai, 
Daily at a ontala hoav thay-Aat tharfMp'ap aad tfavalM 
off to Moataaartfa, vhwa thi aitiit paintid whatavar nb- 
Jaet Knek hfaa ia Mi bckivad diitckt, which wai Umv a 
■paiathri wfldi nwi i of leattffod gra«at^f|id qvafiy- 
Hi! aari^ pktarai diipkf a ovtaln tlch- 
B«i of eoloar aad dabontioa of datall, bat ia hii latar aikd 
iatr Mjria ha ilaiplllad hii tyitaa aad pfo d aoid thfpM 
auMlTt eoaiporftloaa, traM pUai aad loikl hiUfi aad« 
•kin qaivariag with aaqaiilta grafi aad rolUq( wi^ itona, 
thfough whkh ha hai baeoaia to hii eooatiy what CoMUbla 
wai to Eaglaad. Maglacitad by tha pabUc, at a period 
whaa art gaoarally ai^oyad little favoar. Midid in kk latter 
yean BMule ao tflbrt to dkpoae of Ma wotka, aad a gnat 
•oeamahitioa of tkaai waa dbtribated after kla death. Of 
8 eoovirial and kaaity aatvie, heteBghedattbe worid whidi 
neglected Un, left oMiat of hia pictoraa nnaigned becaaaa, 
aa he aaid, there waa bat ooe Michel and woukl not be 
another, and havingSibid oat faia ihop woand np Ua Ufa ia 
hamble ^omfort, and died eooTinced of the inaiortality 
wbidi, after nearly half a century, caiaa tardily bat Jutlf 
tohbBMmory. 

, *: Owntr, E. B. Oskr 



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Tkt ««t iMTOic praMM* ia Modara Fraaoh Mt, « I 
■MwtMUd by a life uf airaiih Mid tha ffraiidMHr of u o«w< 
povaria^fayas. h UmU of MittaC A paaMM boy. ] 
oftlMnUtkat Itova Ma and of tka paofla lo wboaa 
ha baiaagad, ha fivalo thaai iha battar part of Ma life aad 
thabaatofhiaait. Bora la ili4.habaitfi'artaaaatBdaiM 
aadar a pfoviadal aaalaff, oooUaaad it ia Paria aadav Dak- 
locha aad at tha Loavn, aad lai%. t^Hetkg thaaeaaptod 
aad popalar aoavaatkiaa aad h Aioai, opaaad ap a aaw 
worid aftaraauuuMr aatinly eiigiaal aad ahofaihar part 
af biaMatf. Ha ww aaiaiag a iwaaty Uviag paialiag rfgaa 
aad poctiaita aad BaUag daaigaa, whaa, te ii40» ha aaat 
to Iha Saloa bb flrat pktMM-a portiail oT hit friaad MaroUa. 
Abaotate aad Rriadii^ porailr c oa rta atly o p pf aw ad hiai, 
bat ha waa rich ia Iha artaaai of aoaa oT tha aMMt diatia- 
gaiahad of his ariisdc biathrae, who pacoaivad ia hiai a 
genitts rapariof to advafaa feta. Tha aoddaat of Iha ra«o- ■ 
lotion of 1848 and tha eholara gava hit art tha Hiraetiea for 
which it waa destinad^ la ^oapuy ^t^ Chailaa Jaoqaa, 
ia 1849. Milfet >^ I'uK thaa ia tha doaUa shadow of 
political trovblaa aa^ paatilaaoa. aad soa^t rafega ia Iha 
calm ratiraBMBt «f tha Potasl of Foa ta fai ab laa a . At BarU- 
SOB, oaa of tha riUagaa of tha district, ha anada hia hoesa/ 
Hara, aaiid rnstie soanas that lacallad Us boyhood, ha 
fboght his battia of life aad woa tha graat victories of his tet. 
Ha had as assodataa tha feUow-revelatioaiata of Fiaach 
art* Roossaaa, Jaoqoe, aad Dacaaipa waia his B aig ^b oaia. 
Dias, Daabigny, and Dnpr< wara his risitocs and his friaada. 
Tha stoty of his poverty aad hia triala has beooma old by 
mach racapitnlatioB, bat fakhis slaiple way of life aad hia 
coesplata devotion to bis art ha aairivad adveisity that 
would have biokaa a lass taaolata aad eaiaert bmu. 
Apptadatioa of hia pictaiaa grew slowly. Ia 1168 h* 
taeahrad tha Legion of Hoaoar, aad whea ha died ia 1875 
ha was aajbying a oomibrtabia popularity, though ha was taf 
BO flseaaa wealthy. 



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'V'; wiMB Im iw^ ia oolow for tiotow't Mka, "pdadag 

■wte." gl<fcit ^wy to y« ntnoMmuy i mfgim Hm , woM 

; ' . ' * lW«kik«tU w-««iM»y ••«■*-» •'•"■•^ •*~»* 

fclkNr«oriv«* Y«t Mdi h« »M. m4 • 
of gnat ahiMt^ Bat ooaiac mi4m tiM iaiawi 
workioriMMeNlaaad Dka, Im ahaafad kta «• 
Mttand oa tka IM( pariod «f Ma wt Ufa, loilat ya 
drawkv, bat pMt^ la biaadtk af ityla airf ia bacy, aad. 
abo«aall.laaoloar. Ilaa ka paadaaad tkaat 
wyeh kava aMMla yai luaaas aad wMeiilM»ft 
tMr ewa. Michttaf tlM bahoMar whk tlMlr 
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pupa a< OUbttt d« CfMrrufw , aftMwwdt • rtadMl !• 
llM AMJif •! AM««rp, N««lMiy« pMiMMi llM 
■Mrila aad tka IkniUliaM of Um Aalwwp sdMML Hk 
ptetwH tppMl to IW poopto, Md Imvo ikolr ramid ki 
popiriultT. Om of kta pktima kMfi la Um Rp*- 
■iMMM at AaMtMdMB. H« k wkMy kaova m tka 
pdatar ol Datch doiwHc piMMi UadMkblo m h kia 
AlU la ooloM. MMkaya k ooatnaaod kjr tka aali- 
UiOTmry critlM oa Ik* graaad of Mt HbMrrtMM to adMi' 
■Mat wd kk pmiMat pwMattttoa of tko Datch kaky 
■ad tko Datck < 



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ORCHARDSON (WILLIAM QUILLBR) . . Scotch 
WilliMi Qnillcr OrdiwdwMi «M bora at Ediabugli la lt44> . 
OrdMidMa b • cbmplcd fom of UiqahMtMNl, xthtwiBM 
«f « Hlghhad Sept* to liwifMhiM. Ioi8si>.Uif«tlMr, 
«bo 1MW to bufadH to Edtoborgh, MPt hta> to Um, 
ThwtMii' Aeadoqr* «lMm, iik« Gwwft PimI ChatoMn, 
Peter GntouD, Joha PMlk, and othm, he ctuae nikUr 
tltt toitoMwc of the OMMw of the Mhool. Robert Seott 
Luder, Lwider had himclf been a papU of Au/tnm 
WilaoB, BO OMMUi aittalk aaeeatrjr. The ichool which gmw 
ap aader Lander beeaae fcaons throngh Cameraa, Me- 
Tagiput, and MaeWhicter, who are itill'nUvn, aa well aa 
thoae alrandy nentioeed, who an dead. Dnrtog the paM 
fifty ywn art to Soottoad haa nndertooe many a cba^e, 
hnt tHe^MB oT that early day ware aad are nearer thoae of 
t he kter day than have been many of the totenrento(_ 
"iRMph Thetoloenoeof thiapottkmorhiatratotag Qpoa 
Oiehardaon nwy perhapa be beat wen to hia managenient 
of eokNur. Dedahre diawtoc, which became duwaeteriatic 
. of hia work in later dayi, he oonid not owe to Lander, nor 
Indeed t» any of tboM) with whom he then came toto con< 
tact. In 186a, Orehardno went to London. Pettie and he 
IWed and worked toccther, and doobtleaa influenced eadi 
other. later, when the manner of eadid«vekipedi|tdepea> 
dcntly, the one Rained to giaoe and rapier«like dexterity^f, 
whik the other aetflcd more and more into, the common* 
place of itage eflccta. Althoog^ Orc^furdaon waa far a few 
montha of the anmmer of 1870 to Venice, the time waa 
^ent rather to agreeable ▼acation than in work. He ban 
not duet hvin abroad, mn With the aame object, to that It 

> b pitrtiabty ,tmo^ aa Mr. Armatroag mggeats, that he haa 

lematoed hogeiy nninfloenced by Frei^ and German art. 
By i878,Ofehardaon had alfcady patotcd maiqrof the pietwria 
nponwhiehhbfiunereiat "Tis Qutim t^ tit Swtrdt," in 
t877> tot inatanoe; bat hb reaUy great worka hwre bee» 
done ainee then. Aa b often the caae, a draaMtie hbtoiical 
pictnre waa thefirat of Ordiardaon'a definitely to atrike the 
pnbUe iarngtoatlon. The Napoleon craae had hardly ba> 
gnn to 1881 {bnt Oiehaidaon aeema to have retained hb 
yonthtol attitude towarda NapolMa aa hero, and be entered 
toto (he idea with hb whole aonL " Om Bttnl Ot B*ak. 
n^«bw''(i88i)nt once plaeadhbatothepubifcmindaan 
painter of the.fint rank ; " K«ftdir»'' (188s). " 7%tSaOk if. 




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Maiami Jthtmitt" (1885). and " 7^ YtmitiDm»$ " {i^), 
■track tha mum Mta villi aqoal, if not with mora, mn 
Acda ibilowiag tha Mlhod of Ilofktth, OfdModM 
paittod a novai. the "UmrUii$ A C mwmm n ," 
"J/ttr," with iha iaeUciila or exoiniaiu, **A StHai 
A*^," *'Uanl Bit," ^*Htr Pint Z>««r«,'' etc.. ate Of 
Ofchafdmi'a portraiia parbapa the aoat DolaUe aad indi- 
vidual an yaJMr WmlUr GMpr, andtbe portrait of Mia. 
OfdiaHaon known aa '*Jr««rr Bafy-** The aaU-Utaraiy 
eritie who to MMnetiaMa apt to makm himMlf a nriranet 
■00ft at all of Ocehanlaon lave hta paint, and bto 
linea. and hto auutariy spaces { but even he wonU ad- 
ait that UteniypafaOerap he isi OcehaidMn to befcn aU 
thii«i a painter ; that tedttkaUj hto dist inct io n of atjie, 
hto rctkenea, and hto naenffioent case and difirity, 
al&e aa NfBida eoionr and Una, entitle him to he reeointaad 
m one who has iaifilled the precept— seek first to know how 
to paint, and all other thinfi shaU be added vnto fon. 
For the icat, Otehaidson to'or rather wasbhto ]fo«tfi an 
exeeDent rkkr, following the hoands regntorlr I to a de«e*ae 
of the aadcnt and royal game of tennis, not the modem OM 
of the lawn ; and to n devoted angler, coaxing the eegr tnwt 
in some Hightond^strcam every summer. 

tS. TktLittritf DunMUyhttmndJtaiiUDtam 

Owner, Jt. J^. Angus 



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KBYNOLDS (SIR JOSHUA) 



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lb* life of Sb Jodm ReyBokb to too wdl known to 
nqdn npttilkm. Ho wm tbt fint and giwtnt PnridMt 
of the Rojnd Andniiyi mrything tinwri oat wdl for 
litB. AsnpofatcrhewMtt thohMd oThto prafcMiaai 
fend of loctotr. the cmttart ud wtont aM of hb tim 
«m Us fiteadt, ooMMg thoa l|r. JokoMn and Edmnnd 
Bufkfe Ornra^dtopgoUoaiadaariiloannnmbowaa 
a cMMfal fefoofke. and pnapmM Uamlf ka nwrar foffot 
ImfcttuMtenMn. Hh rival RoMnajr lald of Ua in lOa 
iapttaona way, " Ho to the gnataH paHar ihatomliTod. 
I MO in kb pietana an oaqafailo Adm wMdi I mo in 
MtaN, bnt in no othor pktn«i" As an aittot ha had 
peat SfMtnaUtf and inai|ht into chaiaetort im fnintod 
aaon. vooMn, and dddnn with oqaai fno* and dtslfaMtion. 
y.,^ M» eonaidatskia **onooftlw a««cn ooloaiiats of tho 
worid," andealbhiadw "priaoaorportialtpaintan." 



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Thooch htalif* WIS tpeat in Italy. Rilyn bekwciby lii9 bbth 
and hii paodiarlj wuioi^ ityle to the paintcn of Sp^. 
SMt by Us paicnto to acqdra daariod hmniaf at ValMida. 
he iMt Rifaaka awl itadiad ait aadn'tbat wMter. H« 
than ««at to RoiBa and baeama one of dM owat diatia' 
gnUicd itiidanu of Canvaobl b* want aftarwaidato 
Parma and Naplas, baeoaBing tba laadarof tba "Matoial- 
fati,'* tb« adMol o( fcalktk paiatai*. Hiapaiatfaiti Ibaa 
bceaaaa omx* aarbad by extnTagaaea of faiwy and vigoor 
ofaMcatioa. Hia woihs an ranarbaUa far tbair eoatnurta 
ofUgbt and ilMdc, aad far tbair atroag oolow. 

Ommr, D. Morriet 



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Ja^mtSm TWodirit Rllnt «*• bom in iSsj. H« «Hfljr 

tanat*pqa«niM«lteOUM. In 1861 htbiVMto 

«dAlt at th« Pluto 8«iaik At tkt SkloM oT 1M4 a^l 

iS^ iH Momd Mdito. Md at tka I}ni««iari IihiUdo^ 

' M< at IMitt.ilyl,knebldMd»MU«lof tlMtkM 

• „ d««. H«lM«bMa«lMto4Mn*<Jww''«ttktSalM« 

X^^ hilvnnailMrortlapMtbHiuqrollMruttot. ~ 


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KOUSSBAU (PIERRE iiTlENNE THEODORE) f leneh 



The eancr of RooMMa wm uMbgom to that of Unkl fai 
iU protiaetad and paiafel Mnggle. Bon at Vuk, in 
itis, poor, Kiuiiiivc, and of Ite h%|mt ■onuoi otgnin* 
Uon, tbt jmnf wUrt bogta, wi^i tbt wMbUom of tk« 
SiOoa of Iiii6, hb kMK lilt of odgiwd ofbtt, htm by 
Uooldo aad dovpoir. Ho mi 6om tho inl 






i«Mdt. at Om 



hands, of Salon J«ii«, floauQUad Iqr dfadpiat of tho dairir 
«al mImioI, to whici hfa art was a pw poti l challrtmd 
aad-Hofianeo. H«r ww obo of tho int bom to aottl* 
the now Cunooa artiatic edonj at Baitiion, and, with 
iCorat, baabignjr, Dial, and Dapr^ atanda at an I 



fonndcr of the nMN^kna adhool of French landae^M paintiaii. 
Hii art waa an ait of deep tedinib and nMws than uj ot 
bis ^Uoscaos did he posssH tlw powsr of kndfaig to 
kndscapo a strong dnunatic 4}aaUt]r. In e(l%ts of ataioa> 
phero and Ugbt ho eudl^d, and as a oohMuiit ho stood' 
snpteil^ Ro M Hs a n and Millet w e r on dg^bonisat BaiblaoB 
close friends, and, when poverty pw iasd the kttor 
hardest, it is rsooidod of the fanner that he faond oat of 
bis o«a need snasthint to sparo foe his less fcrtoaatn 
associate. A tondiint roaaanoots aiaodatod with Rowssan^ 
&lo- His wUe lias safaject to a nMntal aflictioa whiA 
WMld hfevo jaftttitd her sedasian in an fantitation, bat. in 
bis deep dcvothm to her, her bosband rafaasd to pnt bar 
awair from biin, and dartag all his Ufa aaflsiod the torsaent 

Bjr a asoteheiy ^ fete, ha died befw« bar, fai a condition of 
diJMay simyar to* bat awMa deader than, bete, and' 
«hkb ptaloded hk end With wmtba of aataiA. lili 
death pocurrad in it67« 

'dtr «f fltnst^ Fomttdn^hm 



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lioYBBT (VICTOR lAoN FERDINAND) 



French 



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Wlwii, at ttM S>lM or ilM. llM ^jMter of Italy IIL" 

won Cor hi {Minter hb fint mtdal, FniMS hailod ia Rojrbet 

• fw pniphat )• eatvna art. The oovbiMtioa <rf a trae 

ftaHag fat edow mUk viforom atpMtion of form atttfcor. 

net doeocathro Uatiiict was tlMa aa ■ncomnoo quality in 

tht atwHa Kojrbtt paintwl with a natnialiitie poEwtr, ytt 

Witk abo a pfetorial qrapathy which did not parnit of the 

doettfaa or tho fCfJirti that anjpthiac that eoold be painted 

waa ^ MMNvh to patot. Ua r«|dfad that his Mbject 

•honldbaaaattmctivaaa'itsmdidan was aocuratc. I^ 

kdiest hb ftonpa and cavalcadasf war* not 

0% pfabnaqne in thcaMaivM and laaliasd wUh renuthahlc 

^vidntas aad vitality, hot tbay w«« pr^entad hi pietnr- ' 

fed swnMadiafi. Tha paintar isa'nathra 

^Wtha Gaida, and wm bor« in 184a Ha had 

thaatndy of ait at tha teok dot Baanx AfiM, at 

MdsaltladfaiPluisMtkaghafetehisitfMat tha 

,, An ianMdkta flnonr fBilowod tl|s warm oritieal 

MMptkliof hia flat wofka, and ha antand span a euaar of 

BIS h««« only addad to, aad lAieh has 

hii naaw Guidliar thmi«haat tha d^riliaad world. 

To situiHiii — hiWtinnsha ajnt a splandid aatias of can- 

lantinc aoaini and Uatorieal cpindiirpf the ' 
past, ia each of idriA his powais fMdid stnngar aad cm 
on t aad ia tha ait wofld Uself, and ia that 
of tha a|l bMit whoaa oSUacUaaa Us braah has aariehad, • 
ha ai^ora Mtitoaai wyehiscoMMawate withhisfaaias, 
a^oa«4a»hiilUaat,<iri|iaal,aadaiBesi«. An aihibitioa 
of Wi ooUadad wwka ia FMis hat year was th* oeeasiba of 
aa aathaaiasB.wUA has baaa aialy aioasad hy My display 
ia'lhat dty of tha pradnctioQS of a riaila hai^ 

ji, JDMditfg Oe Cfam * y OwHtr, /aim Rm 

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RUI80ABL '(JACOB V 



i) 

Vtiy UtUtIk known of tlM lift oT RaiadMl, the fomMrt 
Undacnpe fuinitt oT Hotiaad. H« Uv«d b Hurl«n 0ad 
AoMteidam. Hit fittfier mm • Menaooite, sad hti wh 
HiaudfaMiMed in hit <rfd ac* ^ >><• Meumilt* fcknda. 
who pUoed Um in the Iloqiitsl at Haarinn, ware he died 
withoet near frienda oif lelationa. He painted a nnaaber of 
momtabi aoenca with wild tocrcnts, and he ia thoi^^t to 
have itadied this aapect ol natnre b GefaMttjr, aa it ia haidlf 
likely he ttaTclled to Norway, aa aone npp««c No record 
of hia travebcxiata. Hia ttoet vdned worka arit tboaeb 
whidi he abowa 08 Ua native /Ut ptaiw and nudf duea 
with ehwdiea and wbdmOb, or bndacapaa with iae old 
trees ininilt^bly {H^tcd, which iaipreaa us with a feeliac <>' 
ioUtnde and poetic nwlancholy. In the worka of no other 
do we find that fcelingfor the poetry of Northern natare 
and pcrfeetkNi of rcpreientadoo waited b the aaaMdecraaa. 



34. Landfcap* 




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if (JAN) . .::*4^v . ,. Dutch 

tfa6— i6r9> 

feon Ib l«ydM. i/(a6, likd libii*, 1679. , Qtmn 
I»iat«r,olittiMd liii tnt l«wiiiag froii NieoUa Kavpte, 
■ad kt«r frtfa Ju vu Gojrw, IrhoM <k«i^l«r he ^bmtM. 
lUotivad iaio lb* Guild *t Lejrdto, aad tpait bk lila 
■MlBlyat HMurlMi. T|m Hagnt. Ujifi^ waA DtUI. 

' CurM M • bikwwy at Otifl abovt i^i>-5a;W wa« «a- 
laeoMrfiil, and ktt maaj yaws waa alwaya ii^ dUkaltlaa 

, with bia cndUon. Hia finM wiia awl fiubar botb dylag 
about ft<9, ba obtaiaad a ikaiuia to baap a taran at 
Haariam, and aafaaaqaantly aurriad a" widow, Marina 
Haicnlana, wbo at>paan bi aoaia of bia pictnrea, v As 



• axtraordinarj fenioa for painliag, waa anfortoiiatd^ o»^ 

axktent \a, Jan Staen with Jovial babiu of no moderate Idod. 

w Tha poaitkm of taTera-kaeper gave botb the opportonity 

of indulging bia propcniitiea, md alao of depicting ^f 

pleaaniea of eating and drinking, of aoag, card-pkying, and 

love-nkUng, directly fron natnr*. ' , 

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36. The Innkuper's Dattghttr Owner, Richard S, Casuls 



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tWAN (JOHN MACALLAN) . 



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|riM Maaillaa Swu «m bora at OM Brfalfonl, EoflMid, 
fa lt47. H« iMfu to stady at tb« WormIot School oT 



Art, tad piiiii to Mr. Spukot M LuobeUi, and latar to 
.|k« Rofri Awd— y, at a atodant. la 1I74 ,ha traat t» 
FaiK wbara Im laaialaid aboot iva jrtara. Dariag thaaa 
y«an ha panaad aa aclaetk eoanai ha vorkad with 
Oktmm, with Fiaaiiat. with Baatlip U Paga, Humkn, 
■ad D i^pia a B na T a i i t At thia tiaM ha wai abo iafla- 
•aaad bf Baiya, IMaeraix, aad Millat.''Latar ha waa 
pebaUy talaaaead hr tha Mariaaa, aqiodallf bjr Matthaw. 
la itl4 Mr. Swaa waa alaataAa aMaibar ol tha Datch 
-Watar-Coloaff Sodatjri ia ills waa awaidad hoaoaiabfa. 
at tha Paiia Saloa 1 aad la 1I94 waa alaetad aa 
of tha Royal Aeadaaqr. With Baryf aad Dal*> 



imb, Swaa haa dovotad Mavalf aapadally to tha atady of 
lilii laiain'- Datiag hia Fhria daya ha apaat aaMh of Ma 
tfaM fa tha Jaadfa daaPlaataa,a*daowfaLaBd«ahabto 
ba faiad alawat aaaiy diqr fa tha Zootoglcal Qafdaaa. To 
ooamlMea aa a aafalar ha adda iatiiaata loMwIadgaaf 
eoaapamtl** aaatoaiy, with daa racopdtioa irf tha liaks> 
tloM of tdt^e fMt, aad tha aaad, (or pwpoMa of tha 
a(tiit,ofalwayan|Bidfagit fa itaartiatkialUfaM. Itk 
aapadaHytoUowtfartSwaahaadiiactadUaattaalfaa. Tha 
dig^y of Baa fa dM Moa, varialy of poM daa to tha 
MthMaaa ol tha body, aad Mtabiy tha eoloar^hatra attiaetad 
tha aitirt, m> laaa dtaa tha latkaat atiaaglh of tha boail^ 
fa whkh bat ha iaaad a ayaipathatk iMax of Ua (pfufa. 
ptofalltag aoad. Tha aodptaiaaqaa alaa i aat (a Swaa%^ 
palatfaf aifav froaa Mi atadka fa dqr> rivallfag, aa thaf ' 
do, thaarofha of Baiya fa kaowladga of aaatmaieal atiaetaiik 
Swaa woaM eartafaly ha^o mMmd iu|M aa a aealptoff 
had ha aot baaa a mtutm fa colaar. By ae aMaM 

I with tha faiaath of Hie, aad givaa to hia backgiooad 
fraqaaatly a giavt chani, whkh b tki 
of a hurga faMgiaadoa. iifaaaalf a Ban— 
of tha daaarti huga, rvgt^,9tha penodf* 
of viriBty, paagaaafadty, aad CMCtiva amebe of 
f Swaa "hi aUkd rathar to RafiMHe" thaa to 
Dalacrafa, lathar "to MidMfaa Poaaafa thaa to 

37. Siikbig tk$ Eveniiig Meal , 



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(TiMMr, E. B. Oskf 



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Cn|ll«ll 



THOLIN (WILLBM BAStlBN) . . V r Dutch 

' MsfiAU t— BraoM, BapMidoa UairwMlk, Pute» lll9t 

Gold, m dM, Bipoiitioii lataiMUlaMU 4« B«u» Alts,' 

Mmkb. il9«. 
: A iWag 9«MC D«teb utkt of wmIi Mttt. LOm Mwly 

«ll of Ihk Mhool, h* iMlalt aqMlly wdl ia «(1 ud 



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Igk AQttitt Evtming . <ta«fn W. Omntmr^ MJ)^ 



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TROYON tCONSTANT) 

iti»~tUs 



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French 



> of nulk MUMv, bhiff ud bold, wIm mifftu haMt 
■ of tiM fBBMkMpcn or h«r<laaB«a wboai km 
painlad— Mch «u ConUat Trajroa. Trofoa ««a bora «t 
S^nw fai itio, sad workod In Om porc«l«la auiv/Mtory, 
M Ua IfUlMr bMl doM bcfert Wai. Rtocfwix,' Um llow«r 
paiatM Ikon, tmofkt bim lo draw, *Ad al twenty jmu% 
Trajroa wu • MiidMit of Uodanp* p«iating fraoi aaiara, 
wiib umm adTtn ukI <BCowfig— n ot iran RoqMplaa, 
whoa b« Btt oa om of hk tkotchiiig tours, aad wbo 
bwMM laMnttad is hi*. It wu m a kndieapt paiat«r 
tbat Trojroa mtOm kk Mmt ia ibo Saloo of itj}. aad ia 
Ihit walk k« dfepkyad a MnliaMat lor llgkt aad coloor Of 
tk« (int ordOT { bat in 1S47 k« aatonkk a d lb« Saloa, wtbm 
a trip to IloUaad. wk«r« k« kad ■tad^l tka qid Datdi 
laaatara doaaljr, «iik>afatll« piaot ao aplcadkl ia spirit aad 
•0 powarM ia oolaar aad vivid raaliMi tkat hb fiuM waa 
aat a bim »a<^at a itatfm stroka. Ia ilf9 ka wm daooratad 
witb lb« Lagioiiaf Hooor, and tbaaagOMntatioa b tkaprieas 
aad tka popalarity of bis works aiade Mia impidljr ri^ TlH ^ 
graal sckool of FrMidi cattle pakitia( wkoaa foandatioa 
Btataa a a t kad kid Trojron Wit ap. Ha gava to tb« 
brtrtas ba paiotad lift aad smbL Hk oica bave tbe grand 
■Mnreasaal of nalatt, hk cows ramiaata tbc cad aad watcb 
iron witb tbair soft ayaa, hk shaap blaat aa appaid oak of 
the caavas, aad tbe dog which gnarda tha flock or travds 
al tha haal of the poaehar ortha gaawkaaper only neoda to 
bask to ba aMat. Poatty aataiataa hk art— tha hnasble 
malic poaUy wbkh becoaiea nuijaatk throai^ its vary 
siBBpUdly. Trayoa's ooloar, hk appreelatfea of light aad 
tha ripaMM and hMnaumy of toaa arfalch ekaiaetariaas hk 
pietana. were sastaiaad to tha hut. Like Corot, ha 
nmaiaed anoaaniad, oontaat with hk art, aad helpAd of 
tha fn ai n ii takala whoai hk timim attractad to hiai, 
aad apoB whoai ha aHide aa iaipwioa which oae aaii 
laAectad still fai Fraa^ art. Sixty oiaatcrpicccs liraa Ui 
VMh gnoad the Satan batwaan 1833 and 1863, ia which 
kttar year hk splaMlkl mm passed faito a spteadM 
HMBory. 



39. La M*rt (Tkt P9oi) 

m 



Ommrt/0mis Rat^ 



M 






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French 

nlffht Ihi«'c 

wboai k« 

v«a bora ■! 

Bira/actoff, 

llM flOMT 

WBI7 ]r«ut 

0« ■■!■(•, 

RoqMpUa, 
, ud who 



Icolovr 01 
ialoa, aft* 

I spirit ud 



dMontad 
BthcpfioM 
ridk TlM^ 
fonndatiM 
!«• to d» r 

tb« grand 
and watch 
;Mal oal of. 

or travdt 
\j Dtada to 
Im hnaible 
I Ha v«iy 

light and 
ttriaaahii 
Corot, ha 
halplU of 
i to hfan.' 
I one aaii-,. , 
I firain hiir 
.{•which 
I qrioMiid 



7- 



-■/ 






WILKIB (SIR DAVID), #.^ . V . ,. Scotch 

Sir David Witkic'i whok life waa girati up to Art. From 

y/ oaily life ha carad far aotUag alaa ) h« laya hianttf thai he 

/ •oaU ** draw balaro Im coatd raad, and paint btfora ha 

, cunld ■pall." At twant)r-OBc. hia paintlag, " The Village 

^ PoUticiaaa," waa ■ant to the Acadaaijr, and was the picture 

ol tha jraar, making ila aathor at onaa fMBOiUi From this 

,/ tlma he waa ceotinaonaly at work aniU ita4f wh«n hi* 

health began to feU 1 In 1S40 haatarted 00 that pilgrimage 

- tothaEaat, ftomwhich ha waaaavtrtoratwm. Onhiawajr 

. ■ ■■ home he took suddenly ill after laaving Malta, and diad on 

1st June, 1841 1 the solemn bnrial at sea has been com- 

mcmoratad by Tarnar in bis praat nicturc, '* Rest, Burial 

ofWilkie." Bttlwar, HiatitiagkljoutUm. says: "Wilkia 

is the Goldamith of pdaeers, in the amiaUe and pathetic 

humour, in the vomliioalion of smiles and tears, of tho 

familial and tha baa«Ultal } but be haa a stronger hold over 

tha mora aaOMt qttopathiea and tha springs of a broader 

Uttghter thmi Goldsakith himaaif." 

40. A group from " Th» Vtllagt Fkstnmt* 

Own«r% D. M9rru» 



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WILSON (RICHARD) vv.'«: V- • EnfHA 

RfcbudliraiM'iMslbfM U ilbotiaa^^ 

dM la ifte. i K 1719 fed IiUmm a piipU, and i««uatMd 

• ib fwrt* wMk'TlnWNi WriKMlA Lbiiddii, » pottnll paint* . 
<«■ ' at of litti»«Ulfty; -Halliai^ted pbrtiaits'tMi bia ow« 

«ceo«at,haflBg'i>»aBg'MiiittHattaPttoce o^Wakl i»ad 

> tk« I>ah««f YMb • Ik 17^ ria vUfted ttafy, whoa, ha re. 

■alMd far.ab.9Mn. "Htf'IM allbU^'doM aoaa* work jp 

• biidaea|Mai'«a4 aow tiM MMea- oTZti^eardU and JoMph 
VarMtdtdWad>linlB'<ili>i»liiyliMiinit»aptfntii^to tba.ex> 
anOenoljmfietkfdefiMmihiidtkn. Ha'paiatadcomider- 
ably in Roma and iliMlklAbMbadd^, Mody^ 

- Poaidn, y»t *ndaat <i i ai lBt<i^Mlaa(t>iafa<|lgtWclaMkal»tyi)i .. 
to ftJMPftiW oma UdMMMtft ■ ki ftaa becomas a (»p- 
aactinf UnkbMwvepUia Bnijllih hiMl tlie Latin paintara of 
-^ — -^-thatiaM. 1 :i;-.-- • ,, 1 '■*-^- 

Ahlnu|;boBaori>llwiMHtaat'f)^i^'nuatelr8of Und< 
I • aeapa, ha haa mflilrad' • pMtiid kdiplM (Uron^ iba pfater 

brilliant tt- Tanar and CntaUMk. ' fint . undovbtadlj 
aach of thft latter owai tnacH to hit laadcr^p j aafl 
*CaaaUbla,^fiAadaa'ke lira* -id pdrtrajfing wida panorwnan 
* ' of paitoial Bafllaad'-^wlth all tha incident of field, hedge- - 

'' tow, ^(>lf.al«,and'piir^diatkaee— watnot 4lie fi(»t t9 
■ea their baaatj,<far h'aM ilrtth'Jusi! racb theojies t^at; 
Ridiaffd WilioBwaa doqneiit lliif foniul cU^ 
PMiarinhadiliad-ita'dair, uid the Bafttihrnah waiooeoC 
tha first to thi««off«hoiMeM«antiMiaIit)aa)irliiicb made it . 
impentivet^intiodoce iMo'all landteapAp t^ heroes of 
Greek niyth«daf]rr*beiAiehls, o» notodakript. personages ^ , 
the garmentasf the «ncicnts. Probabljr he was 9ne. of t|ie ,. 
earliest revolatieaarics'whoiraitarifed to prodnoe a. scene, in. 
the imaediai*. IbatgKWttA' of «Hilch 'the fragqtenU ^ a 
elassie nUn iBerp-easitted;' ' 8okn« of the 6ld"fonnaliai)B re-, 
mained with \imv bat^hik #01^ Ick^ Bjr'a natural gn^tion 
totbafreeraadBtoreexperiiBealiUcBiMrts.of ^s soccessors 
^ iniheartofleadscapepaihtli^ - ' ; ; 

41. Lemdut^, ,:. .4/' .• Owner, W^:Armsirotig 



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ttnllpsint* 

MB bia OWQ 

Waiefl W 
rime, he t9' 
Ml work in 
•iid JoKph 
ijl^to tbe.cx* 
idoomider- 
Ckade iud 
lutical ftjrle . 
Dmes a cop- 
fwintera of 



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the greater 

r^pj u4 
I panoraouMi . 
iield, hedgV- ' 
4be finrt t^ 
Jienjies tl^: 
lasndtA of 
Was ooeof 
Icb made H .- 
le heroes of 
irsonages ^ , 
i^oe.of t)ie ,. 
e a scene, in. 
;n;ienU ^ «' 
> nnaHsi |i> ,re-. 
ral gn^ticm 
Is successors 

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