Year: 1871

TnUUSo1o Nlo8oro wy Soeeos.
"Nagara ~ Sunset" is An ambitious effort TO pro-
duce painting which should embrace both the
American and the Canadian Falls. The difficulties
attending such an undertaking are very great. and
the artist deserves Q good deal OF credit for his
enterprise in attempting TO overcome them. Espe
cially SO as he has


DISPLAYED CONSIDERABLE JUDGMENT
both In the selection of the and It's treatment
When we consider how mucn labor and thought
II costs to paint little stream with no other
effect than CLASSY lowing water we shall be able to
realize how mucn careful study and thought was re-
| quired to convey even o faint idea OF Niagara
| Falls. Here we have not one condition OF wafer,
but an endless variety. from the Deep dark waters
OF the river the foreground TO the cloud OF spray
| ana


| SILVER MIST


tina: rises In front OF the falls In choosing the soft
| twilight hour when the shadows begin TO steal
gently from the east the artist has shown an appre
ciation OF the mystic hour in throwing charm over
the imagnatlons and awakening all that Is poetic in
our souls At this hour the flower gives forth its
sweetest perfumes, and the heart. that human
nower, seems TO expand its every petal and to
breathe In an atmosphere OF love and harmony.
Our best thoughts and sweetest memories come TO
us with the gray


GOLDEN TINGED CLOUDS OF EVENING,
ana the sentiment of repose and peace with all
ana with ourselves is Intimately connected with the
gentle lights In the sky, gold amber and CRIMSON
fading into tender gray shadows and disappearing
in the DARK nignt as into tomb.


AS we have said, "Niagara by Sunset' embraces
q complete view OF the Canadian ana American
falls, taken from a point on the new Suspension
bridge, near the American SIDE The foreground Of
this picture is IN shadow. and the high lights pro-
ceed from


LUMINUus CLOUDS





OF the departing sun, now bathing the vaporous
clouds IN all the glory Of his richest smiles before
sinking to rest. The left foreground is occupied by
large moss-covered bank that slopes down some
what abruptly to mass OF rock, which rises boldly
| from the water, and Immediately behind we the
| American Fails, with


| CLOUD OF WHITE FOAM


rising from the river On this portion of the paint.
ing the artist is still at work erecting some I'M
| prOvement which have appeared TO him desirable,
| and which we think will add TO the force OF the
painting. In work Of this KIND 1t / impossible to
expect that artist viii paint all the Details for
| 10 do so would be


THE LABOR OF LIFE,
and the artist has wisely confined himself to gener
| alizing the most slrikng effects.
In the case Of the foreground however, q differ
ent policy Is desirable and attention required to
be given TO the most minute details Of local color
and vegetation, because this part OF the picture
seems more Immediately under observation. This
fact, recognized by the artist, has decided him TO
somewhat remodel his foreground and TO finish
fully the rock study and The MOSES on the bank,
throwing forward the Jutung piece OF rock so as TO
increase the depth OF the picture and give the effect
OF greater distance to the mass OF foam rising IN
front OF the American tails. in the middle distance
Luna and Goats Islands, which are thickly wooded
ana from this point OF view seem to be almost one
| break the


MoNoToNY OF TBE WATER LINE
The mass OF trees are IN SHADOW, ana the artist
the tree forms. which no doubt, at the distance
represented would appear so IN nature TWO minor
G M wan ~ 9 roeS IN ne left
Lending round to the right we have the Horseshoe
Falls on the Canadian side In the background, and
extending round to the right, we see low range of
Canadian hills, covered with trees, clothed in the
rich autumn orown and standing out boldly from
behind them. The water painting Is good, and the
hight


GREENlsH HUE OF TIE WATER
falling over the great Horseshoe is well rendered
A greenish tint Is again seen as the water in the
| basin leaves the influence or the white foam, but
gradually deepens IN color until 1t becomes almost
back in the deep shadow on the river In the FORE
management OF the shadows on the wafer aie very
fine, and give us the eject OF nowlng river VigOr
has been Shown in the way The foam and spray
been rendered, and one might think that he hears
the roar OF the waters as they


TUMBLE INTO THE PRTNCIPICE,
and are lost IN the dark, silent waters that now


Great care has been bestowed on the composition.
and the strong temptations TO seek sensational
erect hasbeen rrmly rejected. Except where the
lghs from the sitting sun IN sheds glowing Ins over
quiet and ceol Much OF the pleasing effect oi the
painting is due to


and the manner IN which the various co!ors blend
into one another. The care tnat has been paid 10
ble II we contrast the brilliant light in the sky with
the deep shadow on the river IN the foreground,
ana mark how nsensibly the intervening lights are
made to mlngle into one general tone. The same


ARRANGEMENT OF LIGHT
serves to give great depth 10 the painting, which
will he further increased when the changes we
have spoken Of have been effected In the fore
ground
Clear northern skies, with their well.defined
forms, AFFORD ample scope Tor artistic treatment,
ana MI Thursion has turned his opportunities TO
the best account and given US sky where the tints
are natural and The lower clouds possess form and
luminous transparency. There Is In the LETT sky
foreground patch Of sky which we consider some.
what


and wanting in the lightness and immateriality
which Is so Important feature III Clouds But this
httle patch Is, alter all, very small anu scarcely
nent In the central sky foreground large
masses OF crimson tlnged clouds are floating, and
are boldly and rmly drawn. The SKY form Is
well modelled, and conveys The impression OF real
cloud with well defined form and cOor. From the
right OF the composiuon, where an immense field OF
luminous GOLDEN cloud extends, away into space,
the high lights proceed away on the risb. where


Al SEA OF GOLDEN GLORY
INTO which we peer, and see only Indications o! i'm
mensity Beyond. Towards the centre OF the picture
the cOlors gradually change 10 crimson, and at last
fade tie cold grey clouds the lett which an.
noLnce the coming night.
Through the whole sky painting there IS |
well rendered sense Of atmosphere even where the
dark grey clouds OF evening are stealing westward
from The left OF the picture, put IN the luminous
clouds on the right this sentiment Of atmosphere has
been most successfully rendered. Everywhere IN |
this painting we meet evidence OF careful study
conscientious work, well as right feeling Tor |
what Is beautiful In nature


THE YELLOW FEVER.



Prevalence Of the Epidemic in Savannah and |
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