to his. The part she had in his work and her influence on all that he did can not be over estimated, and truly it may be said that this chronicle of his life must be hers as well.

Four children were born to them, Mary Magdalena, November 10, 1852; John Frederick, November 3 (his father's birthday), 1856; Samuel Philip, November 28, 1859 (died Dec. 11, 1859), and Theodore Eugene, April 20, 1864.

After his marriage he moved to Madison, N. J., the home of his wife's parents, built a studio, and commenced anew to study in Christian Art to which his life was pledged.

A composition, a finished work in pencil, "The Death of Saul" (1 Sam. 31: 3-6), made at this time shows the artist working with the conventional ideas imbibed in the study of Kaulbach and the Munich school; still it is full of fine grouping and harmonious lines. The bodies of the three sons of Saul lying together are most skilfully rendered, and every line artistically placed. The form of the giant Saul, pierced by the sword, stretches through the middle of the picture, at his feet lies the corpse of his armor bearer, in the background the battle still rages around the falling standard of Israel, and in the sky appears the shade or spirit of Samuel testifying to the truth of the prophecies he had uttered in regard to the fate of Saul and which were now fulfilled. (1 Sam. 28: 19.)

No regular record of works produced was kept previous to 1854, and what became of this drawing is not known, but in later years the same subject was done in color.

During the winter of 1851-52 he made a series of designs illustrating the redemption of mankind, which he set before him as his life work. On the ultimate production of these his very soul was centered. From this date until the completion of the works-nearly 50 years-every effort was put forth to place himself in position to enable him to undertake them. Every move was made with this possible end in view. As the years rolled on and plan succeeded plan only to end in failure it seemed that it would not be permitted, and there were those who urged him to abandon art entirely and make his living in some other way.

Through it all he never flinched or quailed, always was his gaze upward and onward. When failure of a plan came upon him he was still undaunted; and, instead of having the effect of diminishing his enthusiasm or causing him to waver in his purpose, it only spurred him on to renewed efforts, and as these designs were taken as his life work so the story of his life is the story of these works-a story of unremitting effort to attain the end in view, a devious path leading over bowldered hills, over many a sandy waste and treacherous bog, a path beset by many dangers and untold difficulties, where the foot must not slip, the eye grow dim, nor courage fail. And yet this path he trod, his step firm, his eye bright and clear, his courage unfaltering, and with a sublime faith that the Almighty God in whom he believed and trusted would protect and guide him and conduct him to the haven where he would be.

And so he went on, giving his life and work to

the great principle of bettering the conditions of humanity, helping and cheering those whom he met by the way, relieving the distressed wherever found, soothing the unhappy, giving from his slender purse to those in need, pointing the way to Heaven by word, deed, and work, and giving the credit and glory all to his Divine Lord and Master whom he served.

He looked upon these designs as inspirations and his faith was firm that they were God-given and that the time would come when he would execute them.

His plan was that of an enthusiast to be sure, and the practical man may smile at it; but it was earnest and unselfish at least. It was this: He knew there was no hope of sale for pictures of this character and collossal size, so he determined that he would make them by his own exertions, and then he believed that if they were made successfully some one could be found to put up a proper building to receive them and that he would make them a gift as a nucleus for a free gallery, hoping thereby to give an impetus to Christian art in this country. These compositions are entitled :

1. "The Dispensations of Promise and the Law."

2. "The Redeemer."

3. "The Era of the Holy Spirit."

4. "The Consummation of Redemption."

In the case of the first one, so complicated and full of figures and meaning, he had been reading the Old Testament for some time seeking a subject

comprising 10 or 12 figures, but finding nothing to suit him, until, sitting and thinking of what he had read, a voice seemed to say audibly to him, "Why not make the whole Old Testament in one picture?" --and immediately this composition rose up before him in its entirety.

After he had secured it on paper in charcoal scrawls he read for days to obtain his references and authorities but found no reason to change it in the slightest particular.

The second of the series, "The Redeemer," in the same remarkable manner stood upon the bare white wall of the Methodist church during the sermon, at which place the small band of Episcopalians in Madison at that time held their services; so that on coming home he was able to note it down in all its wonderful completeness of logical thought. On returning from service that day he said to his wife, "If I can put on paper what I have seen on the wall over the preacher's head just now I shall have one of the greatest compositions ever made for its terseness, and containing so much in a few figures."

The other two followed in a similar way. His mode of thinking seemed ever to be a bringing out of the spiritual and hidden truths rather than a rendering of the outside of things, as is particularly noticeable in this series-and in all his better works.

The following description of the intention of the great series is from his own pen:

"These compositions are designed to delineate the outlines of that great scheme of Redemption,