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In number three, “Will the Anchor out. The natural question in every Hold ?” the artist has combined the emo- heart, as the chain creaks and strains tions of fear and suspense with his pic- and snaps to the dashing power of the torial art to thrill and interest. The angry waves, is: “Will the anchor hold ?” water is green and the spray opalescent, It is interesting to learn from the painter for the sunlight is shining through the that the inspiration for this picture was clouds, lighting up the fierce wave that a scene that he actually witnessed, where, dashes amidships over the vessel. This fortunately, during a long period of frightis a Lake Ontario schooner, caught in ful suspense, the anchor did hold, and the the gale. Her sails are old and one of vessel reached a port of safety. them,—the jib,-has gone to pieces at In the painting itself there is a vividthe first rude thrust of the tempest, and ness about the water and the clouds which now hangs in tatters, flapping and slap- are heavy, thick, lowering and full of ping in the wind. The staysail is falling angry life, which led an eminent critic and a man forward is trying to stow it; immediately he saw it to exclaim: “There, the foresail is down, and other men are that 's what I call water, real, live, angry, trying to get in the mizzen and stow it surgeful water. No one can look at it snug as soon as possible. The waves and not feel the swing and go, the life and wind have forced the vessel near the and power, the dash and fierceness, the shore as is shown by the waves forming hope and despair of it all.” The rush of into breakers. The only hope of the water, though tremendous and awful, is crew is the anchor. This has been thrown inspiring; the boat hugs its anchor-chain

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as if it knew its only safety lay in its stay- along, while beyond is another small ing power. One feels the mighty force craft. To the left is a retreating ferryof angry nature combatting the works of boat, leading the eye to the tall buildings puny man.

The whole composition of of the metropolis beyond, which loom up this picture is pleasing,—the careening of mysterious, vast, peculiar in the hazy the vessel; the wave dashing up to its atmosphere. The strange color effects masts; the curling over of the breakers; of water in the winter, on a foggy day, the movement of the clouds and waves; when the sun is struggling to shine, are the active life in the sails and ropes. The well presented by Mr. Grant in this piccoloring also is effective and fine. This ture, and he has judiciously used the painting now has a place in the gallery of shadows to enhance them. At the disR. A. C. Smith, Commodore of the New tant pier we can readily imagine the asYork Yacht Club.

sembled relatives eagerly awaiting the In December or January, almost any overdue vessel; the anxiety gone from cold, frosty day, when everything crackles their faces, relief and anticipation taking and sparkles under the feet, any one of its place. To one who has either waited, the residents of Hoboken coming over to or been waited for, this picture will esNew York in the ferryboat may see such pecially appeal, and to anyone, the tria scene as Mr. Grant has painted in his umphant power of the great vessel, as it “Safe in Port.” The great transatlantic thus glides to its dock, gives a sense of liner limping into port, days overdue, glory in the marvelous achievements of with rigging, smokestack, rails, bow and man on the ocean. sides covered with ice, and smoke lazily “Passing the Light” is a picture of creeping out of the stacks, tells her own strong action and living interests. A story. She bears the scars of her battles fishing schooner under reefed mainsail, with the elements. She creeps slowly is beating her way through a fast increasalong, seemingly glad of the aid of the ing sea, past a dangerous reef, on which tiny tug by her side. The fishing schoon- a lighthouse is placed. The scurrying er to the right glides jauntily and saucily clouds, the long sweep of the waves growstill flutters in the gale, appealing as it were for help to a rocky and pitiless shore. Where is the crew ? No one is in sight. The ship is abandoned. Driven on shore in the now abating storm, there was nothing for the crew to do but seek to escape. Who can tell what has become of them? The long sweep of the engulfing waves that break in such fury over the apparently doomed vessel, however, show signs of speedy abatement. The wind, while still fierce, will give way to the gentler influences suggested by the incoming glints of sunlight, and though now evidently “At the Mercy of Neptune,” there is about the uplifted prow, the light shining amidships, the taut sail that has weathered the storm, and the still flying flag, a feeling of hopefulness, of opti

mism, that clearly says the Charles H. Grant, Pinx,

dawn will bring relief. In SHIP OFF THE STARBOARD BOW!.

the general handling of the

subject, Mr. Grant has had ing in their wildness, dashing over the full exercise for his power and he has starboard bow of the vessel, her hull produced a living picture, and therefore glistening with the wet of the over-dash- one that will live. ing waves, her lee-rail buried under the

In "Ship Off the Starboard Bow!” water, all speak of the strong conflict, in one loses so much of the power and force which, however, the boat, guided by in- of the original painting that it is only by telligent man, will win.

the exercise of some imagination that one In “At the Mercy of Neptune " the life can realize its strength and power from and strength of Mr. Grant's work is per- the reproduction. The conception is haps most vividly set forth. Here a

Here a strong and realistic. A fishing schooner, sturdy ship with sails set has been irre- in the afternoon of a somewhat foggy day, sistibly battered to a rocky shore by the with foresail, mainsail, jib and square fierce attacks of wind and wave. Fate foretopsail set, on her way to the fishinghas seemed to fight against the gallant ground, with man aloft on the lookout, vessel. She has battled against over- is suddenly aroused by the cry “Ship off whelming odds; her sails have been split, the starboard bow!” In a moment all and now, tattered and shapeless ribbons, is excitement. The fog has compelled they flutter in the gale, speaking eloquent- both vessels to go under shortened canly of the hopes of the men who once con- vas, yet the crew of the little vessel know trolled the vessel's destiny. The flag that in the vast, looming monster just before them is destruction and death every picture is one of motion, of life, of should she yaw the least to starboard. action. We venture to prophesy that On both boats men run to and fro. The this active mood will continue in Mr. wheel of the fishermen is thrown “hard Grant for another decade or more, and down," and the captain calls out his or- then he will gradually begin to feel the ders while the men work the sheets. It is softer and more quieting influences that such events as this that make ship cap- reign on the ocean during a calm. Then tains men of promptitude. Vessels go he will become as powerful a depictor of on, they neither stop nor wait. They the poetry and gentleness, as now he is make events quickly, and the men who of the motion, power and unrestrained guide them must think and act promptly, activity, of the sea. if they would avoid danger and possible It should also be observed that all Mr. death. The aim of the fishermen is to Grant's pictures, no matter what the ’ware off, so the main and starboard scene, possess the glad optimism of youth braces of the foresail are immediately in them. Even in such pictures as “Will manned. The sheets of the mainsail are the Anchor Hold?" or " At the Mercy of hauled in board. As she clears the on- Neptune” you feel that all the chances coming monster, a cheer goes up from are in favor of the vessels. There is her crew, while the great vessel ploughs nothing that denotes despair, or letting on, pushing her irresistible way through go, or faltering. This in itself is a good the waves.


thing, both for the artist and his pictures. It will be seen from these examples of It is the optimism of healthful life that Mr. Grant's work that he is not the paint- helps others, Pessimism at best is a er of the quiet, the still, the calm of the poor prop to lean on in the day of trouble,

This mood, or poetic feeling of and Mr. Grant is to be congratulated quiet, has not yet come to him; he is still upon the fact that his optimism is natural in the full flush of fiery, active youth, and spontaneous, and, therefore, is comwhen action, motion, force, power, life, municated both to his pictures and those appeal to him. With the exception of who see them. the ice-covered steamer “Safe in Port,”

GEORGE WHARTON JAMES. which implies active strength in abeyance, Pasadena, Cal.






ITHIN the last ten years, or ever ing South America. To form an impar

since ex-President Cleveland is- tial estimate of this remarkable statesman sued his momentous message on that sub- and military genius is extremely difficult, ject to Congress, the affairs of Venezuela owing to the fact that his admirers idolized have attracted considerable attention on him as a deity and paragon of matchless the part of the United States. It is, there- virtue, while his many virulent enemies fore, befitting to give a brief biographical painted him in the blackest colors. outline of her most renowned son, Gen- A more varied and tempestuous career eral Bolivar, the liberator and Washing- than that of General Simon Bolivar can ton of the northern half of Spanish-speak- hardly be conceived. He was born in fatally lacking in military capacity. Nature, moreover, conspired in favor of the royalists, for, on the 26th of March, 1812, the most frightful earthquake that ever afflicted northern South America shook the whole of Venezuela, completely destroyed Caracas and her other cities and caused ten thousand persons to perish. The fanatical priesthood did not fail to work upon the overwrought feelings of the people, with the result that thousands deserted the ranks of the insurgents and acknowledged again allegiance to the imbecile king Ferdinand VII. of Spain. A large Spanish fleet had also arrived with strong reinforcements of veteran troops. Finally, as a crowning catastrophe, a successful uprising of Spanish prisoners confined int he Venezuelan fortress and seaport of Puerto Cabello, the defence of which had been entrusted

to Colonel Bolivar, rendered General GENERAL SIMON BOLIVAR,

Miranda's position so untenable that he THE LIBERATOR OF NORTHERN SOUTH AMERICA. was forced to conclude an honorable

capitulation with the Viceroy Monteverde, Caracas, Venezuela, on the 24th of July, by the terms of which safety and protec1783. He was of distinguished ancestry tion were guaranteed to all Venezuelans, on both his father's and mother's side. and amnesty was extended to insurgents He inherited a princely estate and for- who should lay down their arms (July tune. He went to Europe for his educa- 29, 1812). tion, witnessed the coronation of the Bolivar, who reached the rash conclumighty Napoleon as king of Italy, visited sion that Miranda was a traitor, resolved the Sacred Mount of Rome, where he to arrest his venerable commander, which solemnly vowed that he would deliver he accordingly did,

he accordingly did, aided by a few conSouth America from the intolerable yoke federates, in the dead of night, while the of Spain, married, in 1809, a beautiful unhappy general lay, at La Guayra, in a young lady, and then, as he was returning profound slumber. Miranda was thrown with her to his native country, saw her into Fort San Carlos where a Spanish fall a victim to yellow fever.

officer, sent to take over the fort, found The grief-stricken Bolivar henceforth him next day and dispatched him to became wedded to the cause of Latin- Monteverde. The latter, untroubled by American liberty. He returned, after a any scruples of conscience, had him imbrief stay in the United States, to Venezu- mediately transported to Spain, where he ela, and witnessed, on the 4th of July, was loaded with chains and confined in a 1811, at Caracas, the signing of the Ven- loathsome dark cell in Cadiz until death ezuelan declaration of independence. He mercifully ended his sufferings in 1816. enlisted in the patriot army, under the History has vindicated the name of this venerable General Francisco Miranda, saintly martyr of Latin-American liberty, who at first gained some important vic- and justly condemned Bolivar for an act tories over the Spaniards. Miranda, which must ever be a black stain upon the however, was a high-souled visionary and latter's character.

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