Evening on Vineyard Sound." (1867.)

"Pinchyn Castle, North Wales." (1867.)

"Moonrise at Nahant." (1867.)

"The Lord Staying the Waters." (1867.)

"Coast Scene Near Digby." (1868.)

"Departure of the United States Fleet for Port Royal." (1868.)

"After a Gale." (1869.)

"On the Narrows." (1873.)

"The Commerce of Nations Paying Homage to Liberty" (1877)--the great
picture which came into the possession of Mr. Joseph Drexel, the
banker--an allegory suggested by the then proposed Statue of Liberty in
New York Harbor.

"Young Americans out on a Holiday." (1882.)

"Life-Saving Patrol: New Jersey Coast." (1889.)

"Melodies of the Sea." (1890.)

"South Coast of England." (1900.)

But space forbids the complete enumeration of even his more notable
works, which may be counted by the hundreds.

Mr. Moran, like all men of genius, felt his own strength, though he
never overrated it; but as a result of this self-consciousness he would
not brook depreciation, and when, in May, 1868, the Philadelphia Academy
of Fine Arts, of which he was a member, had hung some of his pictures in
an inconspicuous and detrimental position in its gallery, he resorted to
a novel expedient for showing his displeasure. On "varnishing day,"
prior to the opening of the exhibition to the public, he used a mixture
of beer and porter, combined with a dry light red, for the purpose of
"varnishing" his paintings, but the effect of which was that they were
all coated with a beautiful opaque red substance, so that none of them
could be recognized, and yet a substance which he could remove, when so
inclined, without injuring the pictures at all. This called forth a
storm of criticism from the "Hanging Committee" and the wiseacres of the
Academy, but he was fully sustained in his course by public opinion and
the press, and, instead of diminishing, it added to his fame as an
artist and certainly to his reputation for the courage of his
convictions.

Mr. Moran was not only a great artist, but a man of genial and
companionable qualities, which endeared him to all with whom he came in
contact. He, furthermore, was not only an artist who used oil,
water-color and pastel with equal facility, and painted landscapes and
figure pieces as well as marines, but was versatile in his talents. His
musical instincts were marked, and, although self-taught, he played on a
number of instruments, and he had also, through years of industrious
reading and study, beco