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"Waiting" displayed the beauties of two well-known setters, who stood anxiously as well as patiently waiting for the sound of the step of their master. The accessories as well as types were well handled, and the studies were very doggish. There could be no mistaking the purport of the picture. Every touch or stroke of the brush was placed for the benefit of the dogs. The artist's self-consciousness, if he possessed any, was not evident. This picture, later on, became the property of Mr. D. S. Hammond, proprietor of the Plaza Hotel, New York. Mr. Hammond soon became the artist's patron, was struck with the styles and decorative qualities of his work, and at once commissioned him to paint three companion pictures for the readingroom of the new hotel. The subjects chosen were, first, the noted horses owned by Mr. Hammond; these were the brown mare, "Tot," with beautiful eyes and almost human expression, "Frederica," a black mare with snappish cast of features, "Nellie S.," a white mare, gentle and amiable to look at and live with, "Corona" and "Roberta," two bright, sportive bays. These were grouped on a 4 x 9 foot canvas, in a field, the necks and heads only showing, as they gazed over a mossy rail fence, The composition, as well as color effect, was interesting; in fact, the work was of much consequence in all points. His second picture represented a full-grown lion, the

monarch being seen from the interior of the cage. There seemed to be nothing of the menagerie about the lion. The native element was evident; he was a

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caged master,- looked it, felt it. many hours of study and thought were expended upon this work none but the artist knows. He gave us the strength, coupled with the subtlety of the creature's nature; he gave us also weight, not a shell. The third picture displayed two proud peacocks, "Just from Town," brilliant with plumage. These he pictured in a country farm, and they assumed the airy strut of courtly visitors to the locality. His landscape was a fitting background, and the accessories, the wonder depicted in the faces of the rabbits, the foliage and foreground details, were important adjuncts, though not too conspicuous; they were a part of the whole. It is needless to add, these pictures are handsomely placed and deserve the praise that is daily be

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stowed upon them. They have already become one of the "sights" of New York.

Pope has painted a number of pictures well known to the world by the process of

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voluptuous throng were quite unconscious. He saw not Glaucus, who stood with his stylus, a short poniard, in his outstretched hand. He was, for the first time, intimidated. Though hungry, he has no desire for food. He surprises not only the excited assembly, but Glaucus as well. His leap from his cage, accompanied with a roar, gives place to fear, and while yet majestic in carriage, the uncertain condition of nature, the rumbling of Vesuvius's undercurrent, subdues his na

upon him, and, though still prepared for an attack, is doubtless in a more relaxed pose than when his lion first sprang into the arena. The incident was well told; the accessories, all important in general effect and impression, were equally interesting. The foreground was in sunlight; a canopy, which was out of view, threw a snadow over the background of the arena. The audience was in gay attire, and the variegated colors of mantles and cloaks contrasted agreeably with the

plastic studies in red on the façade of the enclosure. One noticed the flesh tints of the nude Glaucus, the atmospheric shadow of the lion, the evidence of previous struggles in the arena, which

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tive courage; he doubts, hesitates, delays, and acts unnatural. Glaucus, quite nude, save the cincture about his loins and the sandals upon his feet, stands with wonderment pictured upon his face. He forgets that the eyes of thousands rest

had been strewn with fresh earth, and numerous other essential things which, like a dialogue or conversation, must not be disjointed to make a complete under standing of sense as well as incident. In the disposition of light and shade, the resolute style of handling, the way in which he disposes of the things not seen, he approached the master; his grasp was manly, and inspired one to have respect for the artist's labor. His previous study in fashioning clay and carving assisted him in his work. He modelled his lion in many positions, used the forms of cats to get at the anatomical construction, before he fixed even the charcoal drawing on his canvas. He demonstrated that preliminary work must be thorough to complete finish, that "thinking out" was really "working out" his problem.

Aside from its anecdotic phases, the picture conveys an idea not noticeable

counts, graphic to be sure, impressive and vigorous, but a bit tricky; had he painted the animals out of his love for them, shown sympathy for them in the exertions they are making to win the race, as Pope did for the bewildered lion, his efforts would have been more lasting.

Pope shows his mastery over beasts, shows that he understands their natures. They, dogs especially, follow him as he follows them; one trained to chase at the heels of his master alone will, by animal affinity, be coaxed to leave him, by Pope's insight into the nature of the creatures. Possessing these traits, it is conclusive argument that he should paint them into his subjects. Affection also enters largely into his work: he caresses the dog in color; makes him laugh through his painted eyes; makes him speak his silent language, either by firmly closed jaw or by the loll of the hanging tongue, the wrinkles about the nose, the accent of

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