Woman in Sacred History. Гарриет Бичер-Стоу

of colors and shades of color one upon another; but the art which can thus transfer the painter's minute and painful toil to the breadth and rapidity of mechanical reproduction, making accessible to thousands the designs in form and ideas in color of the creating genius, instead of leaving them imprisoned in the single copy which only the rich purchaser may possess—this is also a true art, and claims the recognition of true lovers of art.

      Below is given a descriptive list of the subjects, pictures, and artists of the illustrations in the present publication.

      No. I. Mary, the Mother of our Lord. Fred. Goodall (England, b. 1822).

      This presentation of the Virgin, going into the temple with her offering of two doves, is one of the most delicate and beautiful of the entire series. The exceeding simplicity of design and of coloring gives it an effect of purity, while the face is tender, thoughtful, and in every way attractive. The softness of the drapery and the gentle gradations of light are especial features.

      II. Hagar and Ishmael. Christian Koehler (Werben, Germany, b. 1809; d. 1861).

      This picture is strong and expressive rather than attractive. The depth of the greenish-blue sky and the barrenness of the indicated landscape give an intensity to the desolateness of the mother, clasping the form of her sturdy and unconscious little outcast son. The original painting is now in the Civic Gallery, at Düsseldorf, on the Rhine. It was painted at Leinwald in 1843.

      III. Rebekah. Charles Landelle (Laval, France, b. 1815).

      This is one of those charming subjects which the enterprise and graceful art of the French have brought from the Orient. The original painting (1866) is entitled "Femme Fellah," and represents one of the women of the Nubian tribe of Fellahs, resting at the well before taking up the earthen jar which she has just filled with water. This lovely face and figure may well be used to illustrate the maidenly grace of "Rebekah at the Fountain."

      IV. Leah and Rachel. Jean François Portaëls (Vilvorde, Belgium, b. 1820).

      Leah the "tender-eyed" became the wife of Jacob seven years before he attained the hand of his chosen love, Rachel the "beautiful." And with this, the picture must tell its own story.

      V. Miriam and Moses. Paul Delaroche (France, b. 1797; d. 1856).

      This is one of the most famous designs of one of the most fertile artists of France. The original painting has been often engraved, but its freshness and beauty are best shown by reproducing its soft and delicate coloring. The careful sister, watching through the rushes, and the indistinct form of the mother on the bank above, are in exquisite contrast to the quietude of the babe in his basket on the waters of the placid Nile.

      VI. Deborah. Charles Landelle (Laval, France, b. 1815).

      This is one of the adaptations spoken of above. The original painting represents Velleda, the Prophetess of the Gallic Druids. The grand form, noble face, and inspired attitude of the original figure have been scrupulously retained, the background only being somewhat modified, the better to suggest the locale of the Israelitish prophetess.

      VII. Delilah. Louis Marie Baader (Lannion, France).

      A most ungrateful and ungracious subject, but one portrayed with singular strength and concentration of purpose, amid a studious interest of detail, in this effective picture. The cold, hard look of the face, and the unrelenting will expressed by the slender but steady arm and the supporting hand, half buried in the cushion, instantly attract attention, while the harmonious variety of color in the accessory draperies and furniture of the strange apartment supports the interest of the central figure without detracting from its power.

      VIII. Jephtha's Daughter. Hugues Merle. (St. Marcelin, France).

      This illustration of the stern chieftain's daughter among the mountains with her companions, bewailing the desolate fate to which she was devoted, is an adaptation from one of Merle's beautiful pictures. This artist is noted for his success in depicting young girls and children. The general expression of face, figure, and surroundings, mark the aptness of this design for its present use.

      IX. Ruth. Louis Devedeux (Paris, France).

      The author of this charming fancy of the gentle and faithful Moabite, which was painted for this volume, is one of the rising and already recognized painters of France, having taken several medals under the severe critical awards of the French annual Salon. The tender grace and modesty of both face and figure are enhanced by the delicacy of the color.

      X. Queen Esther. Henri-Alexandre Ernest Boulanger (Paris, France, b. 1815).

      Having just returned from one of his trips to the Orient, whither he had gone with his brilliant confrère Gérome, to refill his portfolio with new faces and costumes and scenes, to be wrought up into new pictures, Mons. Boulanger was fortunately able to respond promptly to the demand for two original designs and paintings for the present work. "Queen Esther" is one of these. The proud and serene beauty of the face, the dignity of the form and bearing, and the simple richness of the costume make this a notable picture. And, although the background is devoid of everything save the sombre shadow which gives relief to the figure, the imagination easily supplies the haughty king, the throng of courtiers, and the crowd of suppliant Jews behind their queen.

      XI. Judith. Horace Vernet (France, b. 1789; d. 1863).

      Artists have always been fond of this strong subject, but none have so well succeeded in rendering the beauty of the intrepid Jewess, combined with her resolution and force of character. The horror of the old woman, who holds the dreadful basket to receive the head, is finely contrasted with the superb sternness of Judith's face and action, just as the illuminated, gorgeous tapestry of the tyrant's tent is rebuked by the quiet sky and the steady shining of the stars. It is a grand composition, and most effective in coloring.

      XII. The Sistine Madonna. Raphael Sanzio (Urbino, Italy, b. 1483; d. 1520).

      Originally painted as an altar-piece for the Sistine Chapel, in the Vatican at Rome (whence its name), this grand picture is now in the Dresden Gallery. The painting has, below the Virgin's figure, to the right and left, the kneeling figures of Saint Barbara and Pope Gregory the Sixth, under whose reign both the chapel and the picture were produced. The halo about the Virgin and Infant is filled with indistinct cherub faces, and at the very bottom, apart from the main design, are the two cherubs which appear in the plate. The original design is necessarily shorn of many of these details in the combination given, but the more important portions of the painting are well shown.

      XIII. The Daughter of Herodias. Emil Vernet-Lecomte (Paris, France, b. 1821).

      As stated in the remarks prefatory to this list, the plate taken to represent the Oriental type of beauty, and one at least of the costumes of her class, is Lecomte's "L'Almée" (Dancing-Girl). Travelers in the East find by investigation so little change of dress or manners, boats, houses, tools, instruments, or modes of life in any form, from those of twenty centuries ago, that we need not go far astray in taking a dancing-girl of the present day in that ancient land, to suggest the dress which the daughter of Herodias possibly assumed, in order to please the puissant king and gain by his favor the request of her revengeful mother. The plate presents also, from the simple view-point of art, a pleasing picture. (Original painted in 1866.)

      XIV. The Woman of Samaria. Emil Vernet-Lecomte (Paris, France, b. 1821).

      This is another of that artist's admirable Eastern subjects, and has been deemed a singularly apposite illustration of the woman at the well, to whom Jesus talked. The easy poise of the figure, the steadiness of the head and right hand, and the strength of the face, indicate the self-reliance and confidence of a woman who had seen much of life; while the listless forgetfulness of the left hand, holding the water-jar, and the earnest gaze of the eyes show the awakened mind and fixed attention of the listener.

      XV. Mary Magdalene. Pompeo Girolamo Batoni (Lucca, Italy, b. 1708; d. 1781).

      This beautiful design and admirable piece of color is one of the