pottery.  His curiosity is insatiable.  He is a mural decorator who in a frenzy could cover miles of space if some kind civic corporation would but provide the walls.  As the writer of the graceful preface to the Wunderlich catalogue has it:  “He gets the character of his theme.  His art is itself full of character.”  Temperament, overflowing, passionate, and irresistible, is his key-note.  In music he might have been a Fritz Delius, a Richard Strauss.  He is an eclectic.  He knows all schools, all methods.  He is Spanish in his fierce relish of the open air, of the sights—­and we almost said sounds—­of many lands, but the Belgian strain, the touch of the mystic and morose, creeps into his work.  We have caught it more in his oils than etchings.  It is not singular, then, that his small etched plates do not hold the eye; they lack magnetic quality.  It is the Titan, rude and raging, dashing ink over an acre of white paper, that rivets you.  The stock attitudes and gestures he does not give you; and it is doubtful if he will have an audience soon in America, where the sleek is king and prettiness is exalted over power.

DAUMIER

Mr. Frank Weitenkampf, the curator of the Lenox Library print department, shows nineteen portfolios which hold about seven hundred lithographs by Honore Daumier.  This collection is a bequest of the late Mr. Lawrence, and we doubt if the Bibliotheque Nationale at Paris surpasses it; that is, in the number of detached examples.  There the works of the great artist are imbedded in the various publications for which he laboured so many years—­such at La Caricature, Les Beaux Arts, L’Artiste, Les Modes Parisiennes, La Gazette Musicale, Le Boulevard, and Masques et Visages.  The Lawrence lithographs are representatives, though not complete; the catalogue compiled by Loys Delteil comprises 3,958 plates; the paintings and drawings are also numerous.  But an admirable idea of Daumier’s versatile genius may be gleaned at the Lenox Library, as all the celebrated series are there:  Paris Bohemians, the Blue Stockings, the Railways, La Caricature, Croquis d’Expressions, Emotions Parisiennes, Actualites, Les Baigneurs, Pastorales, Moeurs Conjugales, the Don Quixote plates, Silhouettes, Souvenirs d’Artistes, Types Parisiens, the Advocates and Judges, and a goodly number of the miscellanies.  Altogether an adequate exhibition.

Honore Daumier, who died February 11, 1879, was almost the last of the giants of 1830, though he outlived many of them.  Not affiliated with the Barbizon group—­though he was a romantic in his hatred of the bourgeois—­several of these painters were intimate friends; indeed, Corot was his benefactor, making him a present of a cottage at Valmondois (Seine-et-Oise), where the illustrator died.  He was blind and lonely at the end.  Corot died 1875; Daubigny, his companion, 1878; Millet, 1875, and Rousseau, with whom he corresponded, died 1867.  In 1879 Flaubert