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man the public is indebted for an opportunity to admire Millet's admirable "Turkey-keeper." Mr. D. C. Lyall has Delacroix's splendid page of romance, "The Abduction of Rebecca," and among the numerous paintings which come from Mr. George I. Seney's gallery, is the same artist's well-known "Convulsionaries," a crowd of self-tortured fanatics wildly rushing through the white-walled streets of Tangiers. There are several other works by Delacroix, including examples of his vivid renditions of lions and tigers, and Mr. Slater has here his "Christopher Columbus," Mr. Potter Palmer, of Chicago, lending the "Giaour and Pacha." Gericault is represented by but one picture, a noble couchant lion, but in addition to the "Suicide," there are several other Decamps, notably the magnificently colored "Turkish Butcher's Shop," which, with a splendid Rousseau, the "Forest of Fontainebleau," comes from the collection of Mr. Henry Graves. The gorgeous blues and crimsons of Diaz's "Coronation of Love," which Mr. Brayton Ives is fortunate enough to own, glow in a corner of one of the galleries--a bouquet of living color. It was pleasant to meet again a familiar picture in Millet's "Waiting," which the writer recalls often seeing at the Boston Art Museum when it belonged to Mr. Henry Sayles. It is now the property of Mr. Seney, and will be at once remembered by any who have ever seen its homely but touching figures of the old mother looking down the road for the coming of her absent son, and the blind father stumbling hastily over the steps to the door. I renewed my acquaintance with the inimitable cat which arches its back, elevates its tail and miaows on the bench outside, its ginger-colored coat relieved against the cool blue-grays of the stone wall. It is the apocryphal story of Tobit and Anna, with the waiting parents made into peasants of Millet's own country, and when it was exhibited at the _Salon_ of 1861, the public, of course, passed it by to gaze at the "Phryne" of Gerome. Millet has doubtless painted better pictures, but for direct simple pathos it would be hard to surpass this. Boston, through Mr. Quincy Shaw and other gentlemen, sends to the exhibition some of the best paintings shown. Mr. Shaw exhibits his "Potato-planters," to me the most beautiful in its rosy tones of any example of the artist here; of the same size, a fine "End of the Village of Greville," walled with graystone, its little street monopolized by geese and
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