his letter. The board of trustees will of course make a formal acknowledgment at its meeting in August.

"Assuring you of my cordial regard, and with affectionate greeting I am,

"Most sincerely, yours,

"THE REV. J. A. OERTEL,

"Bel Air, Md."

"THOMAS F. GAILOR.

CHAPTER XV.

On receiving Mr. Oertel's letter in regard to the possibilities of exhibiting in Boston, Mr. Hyde immediately began to investigate and found the man H. Jay Smith mentioned before in connection with the "Rock of Ages." When Mr. Smith heard of the large works Mr. Oertel had recently painted he became very much interested and at once made arrangements to go to Bel Air to see them.

Before he could do so Mr. Oertel had another accident, which again for a time put a stop to art work. He had been repeatedly warned not to ride a "wheel," yet he persisted in doing so and had both bicycle and tricycle.

A letter written by Mrs. Oertel to her son in New York (May 4) tells the story.

"We certainly have become the record 'breakers' of Hartford County. Don't you remember, long ago, when Papa first got 'wheels in his head,' you said to me, 'If Papa ever attempts to ride a wheel he will break that right wrist over again'? You were a prophet. He has done it. Here he sits with his arm in splints, suffering like a dog, and— the wheel is for sale. He was about ready for it. Had just finished the big picture ("The Redeemer'), taken down the ladder, and cleaned out the room, so if Mr. Smith comes he is ready for him."

Mr. Smith arrived some days later. He was very much pleased with the pictures and at once made a proposition to take them for exhibit. He believed that in New England, Boston especially, they would be appreciated and attract attention.

Mr. Oertel was very skeptical as to the results of such an exhibition. "He is like a stag at bay," writes Mrs. Oertel. "He has had so many failures and disappointments that he is out of all sorts with the business world." However, he consented in the end to let Mr. Smith take the pictures provided the vice chancellor of the University to which he had given them was willing to have them go before they finally were sent to Sewanee.

This permission was given and the three large canvases, "The Dispensations," "The Redeemer," and "Jesus or Barabbas" were forwarded to Mr. Smith at Boston.

After Smith had placed the pictures on exhibition he wrote that as he was advertising them as by the painter of "The Rock of Ages" he wished he could have a copy of that famous picture to exhibit with them.

Mr. Oertel at once offered to paint one for the purpose, and did so, at the suggestion of Mr. Smith, making the life-size painting before mentioned. This was completed August 20 and sent on.

Mr. Smith was so sanguine of results, looking at it purely from the standpoint of a financial venture, that it seemed possible some degree of success might attend the undertaking. Mr. Oertel's style had greatly changed in the last years, and what he

now offered was vastly superior to the works of former times.

"You do not know how he paints now," writes his wife to "Edward". "The old brown style of the past is all gone; he has become a first class colorist. Don't think it partiality in me-for he calls me his severest critic-but if you could see his present works you would be astonished. "The Gethsemane" and "Expulsion" are gems. He is just finishing a grand lion picture, and if he saw an opening for his paintings he would work like a steam engine. He executes most rapidly and has ideas by the score waiting the time when they can be painted, and new ones keep crowding on."

Smith had also for exhibition at the same time "the most extraordinary nude ever exhibited in America" ("Rona") and crowds flocked to see it, but the exhibition of the Oertel pictures did not prove the success that Smith expected and at first he said he thought it was because he did not know how to handle that class of work. After further efforts had been made he wrote:

"When I wrote you I had failed because I did not know how to handle the paintings I should have written, instead, because I did not know the New England people. I find the vast majority of people in this section care very little for orthodox ideas, and want subjects either of the nude, mirthful, or startling and sensational. People will not pay to see a painting unless sensational in some way. " On receipt of this letter Mr. Oertel immediately ordered the "Dispensations," "The Redeemer," and "Jesus or Barabbas" forwarded to Sewanee. It

appears that the latter painting was also presented to the University at this time, though there is no record of the action.

During the early part of this year he was busy making studies for the third of the "Series," "The Dispensation of the Holy Spirit," and began to paint on it in August. He writes: "I am working down from the top and for over a week have been among the angelic host; now among the Apostlesexalted company to be sure-and I have to use very pure color to express it. This picture will be my witness for Truth and a protest against modern unbelief." On August 8, 1899, he was notified that the degree of Doctor of Divinity had been conferred on him by the University of the South. This honor was accepted in the following characteristic letter: "BEL AIR, MD., August 12, 1899.

"B. S. WIGGINS, D.D.,

"Vice Chancellor, University of the South, Sewanee, Tenn. "MY DEAR SIR: But from Sewanee, I would not accept the honor the board of trustees has been pleased to confer on me by the degree of Doctor of Divinity, being conscious of neither scholarship nor learning sufficient for such distinction.

"It must have been offered, I must believe, as an indorsement by the board of the scriptural doctrine in my pictures being trustworthy interpreters, and as such I accept the great honor thankfully from the University that has my love and service, and let it be to me a stimulus more truly to deserve it.

"Yours, very faithfully,

"JOHANNES A. OERTEL."

During the fall he repainted the "Ezekiel's Vision," destroying the original copy made some years before. His experience since the first one was made had taught him that a large canvas, where