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