s of Leutze, William D. Washington and
John A. Elder. Both Virginians, by birth and rearing, they had the
great advantage of Dusseldorf training, while they were thoroughly
acquainted and sympathetic with their subjects. Some of Washington's
figure-pieces were very successful; finding ready sale at prices which,
had they continued, might have made him a Meissonnier in pocket, as
well as in local fame. His elaborate picture, illustrating the "Burial
of Latane"--a subject which also afforded _motif_ for Thompson's
most classic poem--attracted wide attention and favorable verdict from
good critics. Mr. Washington also made many and excellent studies of
the bold, picturesque scenery of his western campaigning, along the
Gauley and Kanawha.

Elder's pictures--while, perhaps, less careful in finish than those of
his brother student--were nothing inferior as close character-studies
of soldier-life. Their excellence was ever emphasized by prompt sale;
and "The Scout's Prize" and the "Raider's Return"--both horse and
landscape studies; as well as a ghastly, but most effective picture of
the "Crater Fight" at Petersburg, made the young artist great reputation.

Washington's "Latane" had _post-bellum_ reproduction, by the graver;
becoming popular and widely-known, North and South. The three of
Elder's pictures, named here, were purchased by a member of the British
parliament; but, unfortunately, were destroyed in the fire of the _Dies
irae_. The two first were duplicated, after the peace; and they gained
praise and successful sale in New York.

Mr. Guillam, a French student, worked carefully and industriously, at
his Richmond studio; producing portraits of Lee, Jackson and others;
which, having exaggerated mannerisms of the French school, still
possessed no little merit. A remarkable life-size picture of General
Lee, which produced much comment in Richmond, was done by a deaf-mute,
Mr. Bruce. It was to have been bought by the State of Virginia;
possibly from sympathy with the subject and the condition of the
artist, rather than because of intrinsic merit as an art-work.

But, perhaps, the most strikingly original pictures the war produced
were those of John R. Key, a Maryland lieutenant of engineers; one of
those descendants of "The Star Spangled Banner," early noted in this
chapter. Young, ambitious and but little educated in art, Mr. Key made
up that lack in boldness of subject and treatment. His school was
largely his own;