n his
business enterprises. Possessed of a lively imagination and a keen sense
of humor, he is never at a loss for a source of fun. He is as generous
as he is mischievous, always willing to share his good things with his
companions. Altogether, he is an interesting and attractive figure, and
it is no wonder that he has long since made his appearance on the
canvas.

[Illustration: CASTLES IN SPAIN.--JOHN G. BROWN.]

Probably the most conspicuous painter of American street subjects is
John George Brown, of New York. A resident of this city for more than
forty years, Mr. Brown has made it his life-work to study the character
and customs of the poorer classes of children. Newsboys and boot-blacks
are his special friends, and among them he finds many fine examples of
the best characteristics of human nature.

The Wounded Playfellow shows how easily the street boy's sympathies are
touched by the suffering of an animal. A little urchin carefully holds a
dog in his arms, while another deftly binds a bandage about the poor
creature's broken leg. A third boy and a small girl are the interested
spectators. The intense and eager interest with which the entire group
regard the operation is admirably portrayed.

The natural bent of Young America towards politics and oratory is seen
in the Stump Speech, an oil painting which was exhibited at the
Columbian Exposition.

Mr. Brown uses water colors, as well as oils, for a medium of
expression, being the president of the Water Color Society, which he
helped to found. An example of this kind of work is his picture called
"Free from Care." A bright-faced boot-black stands leaning against a
wall, with one thumb thrust in his trousers pocket, and a general air of
having thrown aside business responsibility for a good time.

Equally "free from care," and happy in this privilege, is the boy,
seated on a box, blowing soap-bubbles. His simple delight in this
innocent pastime, and the almost dreamy look with which he watches the
fairy bubble, show a hitherto unsuspected vein of poetry in the
street-boy nature.

The boot-black appears ordinarily in the most prosaic light, as a
practical individual, whose chief concern is the struggle for daily
bread. But this is only half the truth. Under his rough exterior he
hides a heart keenly responsive to beauty. His youthful imagination is,
in Lowell's happy phrase, a veritable Aladdin's lamp, with which he
transforms the meagreness of his surroundi