at musician's genius.
Immediately after leaving Rome, Klinger also brought to completion a
series of etchings called _Brahms-phantasie_, and intended to illustrate
the emotions aroused by the compositions of Brahms. In 1901 he made a
portrait bust of Liszt, and his drawings for the _Metamorphoses_ were
dedicated to Schumann. In the autumn of 1906 his Brahms memorial was
placed in the new Music Hall in Hamburg. This memorial monument has the
form of a powerful Hermes with the head of Brahms. The Muse of tone is
apparently whispering secrets of art into the ears of the master. His
debt, therefore, to the masters of music may be considered as fully and
promptly paid, and the impression of hero-worship conveyed by these
ardent tributes is a reminder that the artist is young in temperament,
Teutonic in origin, and untouched by the modern spirit of indifference
to persons. Unlike many German artists of the present day, he did not
find in Paris the atmosphere that suited him. In spite of his years
there and in Rome, he has remained undisturbed by any anti-German
influence. His compatriots speak with pride of the intensely national
character of his mind, and have early recognized his importance, as
perhaps could hardly have failed to be the case with powers so far from
humble, and a method so far from patient. France also has paid him more
than one tribute of appreciation, and the general feeling toward him
seems now to be that expressed by one of his German admirers in America:
"Why criticize him? He is so overwhelming, so overpowering
intellectually that the best we can do is to try to understand him."

ALFRED STEVENS

IV

ALFRED STEVENS

An exhibition of the paintings of Alfred Stevens was held in April and
May, 1907, at the city of Brussels, and later in May and in June at the
city of Antwerp. The collection comprised examples from the museums at
Brussels, Antwerp, Paris and Marseilles, and from the galleries of many
private owners. It was representative in the fullest sense of the word,
showing the literal tendencies of the artist's youth in such pictures as
_Les Chasseurs de Vincennes_ (1855) tightly painted, conscientiously
modeled, with only the deep, resonant red of a woman's cape to indicate
the magnificent color-sense soon to be revealed; or _Le Convalescent_,
in which the two sympathetic women hovering over the languid young man
in a Paris drawing-room are photographically true to the life of the