early and
therefore different from his commercial productions. Of the Corots,
twelve in number, we did not see an insignificant one, not a weak one.
The famous Early Morning and View at Villeneuve-les-Avignon are hung.
The first depicts a group of trees; to the right a narrow stream in
which is reflected a cloudless sky. In the centre two women in white
caps. The second is more elaborate in composition. The middle distance
is occupied by picturesque buildings dating probably from the Middle
Ages. In the foreground four persons are under the shadow of some
trees. An unusual scheme for Corot. His well-known characteristics are
present in the dozen; the tremulous leafage, the bright, pure light,
the Italian softness. And what do you say to a half-dozen Courbets,
all of his strong period, landscapes, still-life, a nude study, a dead
roe, a sunlit path, and a lake scene! Good Courbets are not numerous,
and these are good. The nude is a woman recumbent upon draperies. The
_pate_ is heavy but vital, the flesh tones glowing, and the silhouette
firm, yet delicate. The portrait of the artist by himself is massive.
It was probably painted in Ste. Pelagie.

Coutures two, twenty-five Daubignys, and one of his son Karl. Daubigny
the elder is here in all his manners, dark pictures with big
foregrounds, intimate bits of wooded interiors, sand-hills,
streamlets, moonlights, coast scenes, evening effects, sunsets at sea,
twilights, sheep, broken rocks, and a study in crayon.

Decamps and Delacroix come next in order. There are three of the
former, among the rest his Poacher, and three of Delacroix, one a
portrait of himself. Seven of Diaz, painted when his colour was most
sonorous and brilliant, are here, with a study of an undraped female
figure. La Mare is a sunlight effect in the forest of Fontainebnleau.
Dupre has seven to his account, several of great tonal beauty. The one
Fortuny is an elaborate etching of his Anchorite. The Josef Israels
are strong. Jacque pigs and sheep; Klinkenberg's view of the
Binnenhof; Mancini's bewildering chromatic blurs and sensuously rich
gamut, and seventeen in number. This painter is seldom encountered in
America. He should be better known; while his ideas are not
particularly significant he is colourist for colour's sake, as was
Monticelli. The three brothers Maris, Jakob, Willem, and Matthys (the
latter living in London), are to be seen here in unexampled states.
Mauve, too, with fourteen pictures