REPORT OF MR. MILLETT.
211
is dancing along the road in a peculiar manner, with his gun upon his shoulder, waving good bye to his weeping family at the door of the log-house in the distance. In the sequel, dressed in the gray, he is leaning on his gun at the door of the deserted cabin, in a pensive attitude. Very pretentious in size, and painful in color, are both of these, but yet more pleasing than Too Late, a tardy boy under the hands of the stern school-
master, or a little girl playing cat’s cradle with her grandpapa. Ihe mention of these genres may be excused from the fact that die price set upon them was higher than that demanded for first- class European work. I have yet to learn that any American was so patriotic, or any foreigner so foolish, as to invest in them. Marcus Waterman’s Gulliver in Liliput is not altogether devoid of interest. It amused thousands of children a ud nurses during the Exposition. Bierstadt’s pictures, which, With Healy’s portraits, were the only American artistic productions honored with a medal, were hung very high in the Salon d'llonneur, a position not calculated to improve them. % the Emerald Pool and the American Landscape, this artist Was well represented in all the vagaries of his impossible perspective and waut of masculine effect. The foregrounds are trivial, the distances impossible, the local color and general ^° ne as false as the perspective. For all that is visible in dieir composition or treatment, they might as w r ell have been painted in Düsseldorf. They are dry, tricky and conventional, a ud have no charms of color. In McElkins’ Mount Shasta, er e is at least a greater sense of the value of correct oppo- ^tions, and a hint of nature’s grandeur in effect and line. e remarks about German landscapes apply equally well to °se above mentioned, and besides these there were several St| aall and passably meritorious bits shown.
IP-A-HT II. SCVLPTVEE. '
^he Sculpture in the Exposition was a disappointment to ^ Ver y lover of true art; not that there were no good produc- ls ui this branch of art, but the proportion of even medi- Works to the whole mass was very small, and in this th^ ^ rea ^y exce H eu t examples may be counted on e fingers. The sculpture of the present day seems to be