exquisite delicacy and airiness of line which is the
language of etching in its most modern expression. A Demidoff Rembrandt,
a Lucrezia, reproduced by the needle of M. Koepping, is an example of
the naivete of an art which gave itself no thought for archaeology.
Lucrezia is a simple Dutch maiden in the full-sleeved, straight-bodied
Flemish costume. Her innocent, childish face tells of real grief, but
not of a tragic history. It is interesting to compare the type with that
of Raphael's Lucrezia, with its clinging classic drapery and countenance
moulded on that of a tragic mask.

The most striking etching in this volume is that of M. Edm. Ramus, after
a portrait in this year's Salon. The name of the painter, Van der Bos,
is Flemish, but if his picture had any qualities not distinctively
French the genius of the etcher has swept them away. The conception, the
character, the pose would all pass for a work of the most advanced
French school. Its qualities belong to Paris and to-day. A young woman
of a somewhat hard, positive type, neither beautiful nor intellectual,
but _chic_ to her finger-tips, jauntily dressed--hat with curling
feathers, elbow sleeves, long gloves--standing in an erect and
completely unaffected attitude,--that is the subject. The execution is
simply superb. Every line is strong and effective: the modelling, the
poise of the figure and the breadth of the shadows in dry point, are
masterly. The Salon articles, five in number, are from the pen of M. Ph.
Burty, the most radical, incisive and original writer on the
staff--champion of the Impressionists, bitter enemy of the Academics and
warm admirer of any fresh, sincere and individual talent. In his short
review of the work of American artists in the Salon his sympathies are
frankly with those who have ranged themselves under unofficial
leadership in their adopted city. He has warm eulogy both for Mr.
Sargent and Mr. Picknell, refusing to believe that the excellence of the
latter is due in any way to his instruction at the Ecole des Beaux-Arts.
M. Burty concludes the notice of American pictures with a "Hurrah pour
la jeune ecole Americaine! hurrah!" which will be gratefully responded
to by those of us who are proud of our growing school.

The "Silhouettes d'Artistes contemporains" are continued in two papers
on De Nittis, accompanied by some exquisite reproductions of etchings by
that artist; and there are a couple of articles of great interest by M.
Veron