Greek, yet glowing, type, which not even the pencil of Stuart adequately portrayed in the exquisite portrait that he wished might be buried with him: not yet on his other canvas which, with its dainty head in triple pose of loveliness, still smiles in unfading witchery.” Whether or no he painted her as lovely as life, he produced a canvas that has great individuality and charm.

ELIZABETH BEALE BORDLEY

MRS. WM. JACKSON

FRANCES CADWALADER

Women’s portraits by Stuart.

THE GIBBS-CHANNING PORTRAIT OF WASHINGTON

By Stuart, in Metropolitan Museum, N. Y.

THE CULTURE OF ALLSTON

Washington Allston had a great reputation in his day; but his product was inconsiderable and not of a quality to justify the standing he then had. He had greater culture and a finer intellectuality than perhaps any other artist in the United States in its first century. His was a sensitive nature. He lived in the spirit. For the high, the lovely, the perfect, he strove all his days. Yet that high ideality and that earnest striving had little effect on the art of his time. He was honored by his literary contemporaries; but his work was not emulated to any extent by his fellow artists. His work was an intellectual expression. Its tradition was continued by Thomas Cole, who painted landscape as an allegorical message.

Allston was born near Charleston, South Carolina, spent his youth at Newport, where he became intimate with Malbone, and after graduating from Harvard went abroad to study. The Italians attracted him; but he found his way to London, where he associated with Coleridge and other literary celebrities. He was made an A. R. A.; but returned soon thereafter to Boston, working there from 1818 to his death in 1843. He laid much stress on his technical processes in painting. His pictures had none of the spontaneous quality of his sketches and studies. His was an art totally at variance with the mode of the present day. We feel in Copley’s canvases a very modern quality, and in most of Stuart’s, but not in Allston’s.

ELIZABETH PATTERSON, MME. JEROME BONAPARTE

By Stuart.

VANDERLYN AND SULLY

A more modern man, though not so celebrated, was John Vanderlyn, a native of Kingston, New York, who spent many years in Paris. He had aspiration after beauty for its own sake. His Ariadne, owned by the Pennsylvania Academy, was really the first important nude painted here. Such subjects in those days caused much protest. This artist’s life was a stern struggle against adverse conditions; though he greatly deserved success. In the rotunda of the Capitol at Washington is his Landing of Columbus, a work that does not well represent his ability. His portrait work carried through the traditions of the Revolutionary days to that period of the early half of the nineteenth century when Thomas Sully and Henry Inman were the leaders. The latter was born in Utica in 1801, and lived but forty-five years. His work was uneven, but at its best, as in the Henry Pratt portrait in the