Norwich bulletin., 1918-01-01
(copyrighted 1918 by the Bulletin Co,

ran, ex necessitate, rather to the urac- ical than to the aesthetic views of life. l
 It must be said in passing, that an obscure tradition credits the bringing of these views from Italy to Colchester to Captain Murphy instead of Cap tain Kellogg, but we incline to give the credit due to this transplanting of work of art from a foreign country to America, to Captain Kellogg as or iginally stated, for we fancy that Mur- phys, a century and quarter ago, were rare, if indeed a single specimen
 1ouriShed in a New England village like Colchester, while on the contrary, the Kelloggs were among the earliest settlers of the town. Handwork in Sepia.
 Murphy or Kellogg, the pictures still persist, in all their beauty, and the photographer who procured the views herewith presented, himself an artist of no mean ability, gave to the writer his opinion, that the paintings, which are in water color, done in sepia,'' as he said, are largely, if not altogether, hand work, he failing to imagine any other method by which the impres- sions might have been made upon the paper background.
 Whatever the method of impression, lIl0 TSIQd1n as VlVlQ as WnGu first executed, and if some master of this and kindred subjects finds them worthy of preservation, it seems pity that they should remain in their pres ent precarious situation, subject to the various vicissitudes of the house and 1 the like, when, if worthy, they might l be removed to some permanent resting place, where their preservation from deterioration or harm of any descrip- tion might be assured.
 1 The whole work being in what is
 described as true sepia" the light background having impressed upon it the darker shade of brown, which | seems to show the various structures 1 and figures thereon depicted in high relief; we shall attempt a. description of each of the panels, which we trust may bring to the mind of the reader a view of them, which it is hoped may
 not prove an altogether imperfect one,
 and may aid in some degree, in. a more thorough grasp of the illustrations. 1 First Panel.
 On what may be termed the first panel it being one of the narrow ones stands medieval stone house, with :
 small balcony, the house having barred
 and latticed windows, with trees and
 the foliage of plants in front and or
 the sides of the structure, with the
 figures of a mother and child in the foreground. They might well be Ital-
 ian or French, and near them a figure
 of a dog on aisleasli; all of them be-
 ing near the second story entrance
 which appears to be the main entrance to the house.
 Because of the narrow. dimensions
 of the panel, very little detail clarac-
 terizes this picture. r
 Second Panel. l The next and larger panel, there be. , ing but three of corresponding size ir
 the room, is on the south side, ant upon it are pictured some twenty eight or thirty figures of men, won1er
 or children. Beginning at the left, al
 one faces the panel, a small boy, : page possibly.s as his costume migh1 } indicate, beckons to a lady and a gen , tleman, the one in the high waist ant
 clinging skirts of the period; the othel } in a dress-coat, high boots ,ant 5 ''smalls,' as Dickens might have called } them, and a low crowned beaver hat l They seem to retrace their steps ant to go in an opposite direction iron that first taken by them.
 The background at this point, is f stream of water, with a large fall run
 ming into it at right angles. a coat . house of stone, trees. of a kind un 3 known to our own country, a smal 9 boat just emerging from the boat I house and a boy fishing in the stream