prodigious breadth of shoulder, makes him one of the best known men on the streets of New York. Modesty and good morals characterize the man.

W. H. Powell was born in the city of New York in the year 1820. When seven years of age, his parents emigrated to Cincinnati. He was instructed in art by James H. Beard. At fifteen he produced an ideal picture of Roderic Dhu, the Scottish chief to whom Scott has given immortality. A year later, his "Blind Bard," from the "Lay of the Last Minstrel," attracted very general attention. A group, suggested by Byron's "Siege of Cornith," and four allegorical pictures for the Cincinnati theater, were also completed in 1837.

In 1838 Mr. Powell became the pupil of Henry Inman, and exhibited in March of that year, two portraits in the Academy of Design, New York. In 1844 his "Pawn Broker;" a picture of undoubted power, received much praise, and was sold to the family of United States Senator Cheves. The following year Mr. Powell visited Europe, remaining in Paris, Florence and Rome for three years, fitting himself for the higher branches of historical painting. Among the fruits of the years following his studies in Rome, were "Salvatoa Rosa among the Brigands," "The Cattle Driver of the Roman Campagna,” “A Woman of Calabria," "The Young Shepherd" (given as their first prize by the Art Union of Cincinnati), "A Neapolitan Fisher," "A Mother and Child."

An historical picture, "Columbus before the Council of Salamanca," warmly commended by Washington Irv

ing, caused Mr. Powell to be given the commission, by the national government, for the Capitol Rotunda picture, "De Soto Discovering the Mississippi." Armed with this ten thousand dollar commission, he went abroad a second time in 1848, and painted this popular historical work in paris. In Paris he enjoyed the friendship of Horace Vernet and Conture, the Duke de Morny, and other artists and celebrities, and executed portraits of Eugene Sue, Dumas Pere, Lamartine and Abdel-Kadir. Before returning home Mr. Powell painted the "Burial of De Soto," engraved by Goupil, and "Washington taking leave of his Mother." turn to Washington was followed by many orders from senators and other public men, for portraits. His next important work was the "Battle of Lake Erie" in the rotunda of the state house, at Columbus. The same work enlarged, was ordered for the National Capitol, largely through the influence of General Robert C. Schenck. This latter picture was painted in New York, where Mr. Powell established himself about 1870. He here painted portraits of General McClellan, Major Anderson, Commodore Powell, General Schenck and many others. His last work was a full length portrait of Miss Emma Abbott. He was an associate member of the National Academy. Mr. Powell was a generous liver during his prosperous days, but died poor. A friend says of him, "I can say that a more polished and agreeable gentleman could not be found in New York. He was not a great artist, but a most industrious one."

No one of our painters is more distinguished than Worthington Whittridge, who was born in Springfield, Ohio, in 1820.

As soon as he was of age he went to Cincinnati to go into some kind of business. He failed in almost everything he engaged in, and finally determined to become an artist; putting himself under instruction, he soon began to paint portraits. At that time there were a number of artists residing there, and there were a number of citizens who were interested in art and artists; among them were Mr. Nicholas Longworth, Mr. John Foote, Mr. Charles Stetson, Hon. Judge Burnet, and Griffin Taylor. To these gentlemen much credit is due for so many artists springing up in Cincinnati, and for the lead Cincinnati has taken as an art centre in the west. Whittridge soon left Ohio and went to Europe, studying in the galleries of Dusseldorf, Belgium, Holland, Rome, London and Paris, and finally settled in New York in 1859. We remember to have seen in the Paris exposition, in 1878, two of his paintings, "A Trout Brook," and "The Platte River," which attracted much attention, and were among the best in the American exhibit. He is a great lover of nature.

His most successful pictures have been "Rocky Mountains from the Plains," 1870, owned by the Century Club, "Trout Brook in the Catskills," in the Corcoran gallery; "Old House by the Sea" and "Lake in the Catskills."

Mr. Whittridge retains a warm interest in Ohio. Mr. Whittridge says, that the general judgment of artists is that Quincy Ward's "Washington," on the

sub-treasury steps, is a noble and imposing work. He thinks that Ward, a half century after his death, will be classed with Canova and Thorwaldsen.

Whittridge is a gray-bearded, dignified-looking artist, who seems scholarly and broadly cultured. and broadly cultured. He ranks in the first class of landscape painters, but there is nothing sensational about him. His social standing is high. He is a special admirer of Leutse (pronounced Lightze), who painted a superb head of him in one hour and forty minutes. Leutse's head, which has been extended into a full figure, Whittridge considers one of the best works of art in the United States.

John Q. A. Ward, America's first sculptor, was born in Urbana, Ohio, in June, 1830. His father was William Ward, a farmer, and owner of about one thousand acres of land. His mother's maiden name was MacBeth. He received his first instructions from teachers in the family, then in the village. schools, and lastly, from John Ogden, a good scholar and worthy lawyer, who is still living in Urbana. An old series of the Encyclopedia Britannica' proved a great storehouse of knowledge to him. From childhood he worked images in clay of dogs and other animals, of objects as men on horseback, etc. He invented various contrivances, such as a miniature saw-mill, etc. The first work of art he ever saw was a copy of a head of Apollo in terra cotta, by Hiram Powers, which was owned by John H. James of Urbana. From sixteen to eighteen he suffered from malaria and general ill-health, and was depressed in

spirits. At the latter age, Mrs. Thomas, a married sister living in Brooklyn, New York, said to him: "Quincy, would you really like to become an artist ?" His reply being a bashful "Yes," he was taken to New York in his eighteenth year, but for many weeks could not muster up courage enough to enter the door of Henry K. Browne's studio, although he was a friend of his sister's family. Finally he ventured to approach Mr. Browne and to timidly ask him if he would take him as an art student. Browne told him to go back home and model something so that he could see what he could do. He shot across to New York, bought a copy of the "Venus de Medicis," and lugged home a bag of clay over a distance of two miles, and went to work. He took his clay "Venus" to Browne and was accepted at once as a student. He worked over six years with his master, very hard. He executed a wolf's head for a fountain in Mexico, for which Browne paid him. ten dollars, the first money he had ever earned. In this studio he learned all the minute details of the sculptor's art. The Frenchmen employed to assist in the mechanical expert work in connection with the erection of the equestrian "Washington," in Union Square, having "struck," Ward told Browne to discharge the whole lot, as they could complete the statue themselves. Ward says he passed more days in the bronze horse's belly than Jonah spent minutes in the belly of the whale.

The greater part of 1857 and 1858 Ward spent in Washington city, modeling busts of John P. Hale, A. H. Stevens,

J. R. Giddings and Hannibal Hamlin. He came to Columbus early in 1861 with a model of a statue of Simon Kenton, hoping to obtain a commission from the state. While here he executed a bust of Governor Dennison.

His next effort was the now famous "Indian Hunter," in Central Park, which had an enormous success from the first. Six copies in bronze, reduced in size, were sold on highly remunerative terms. Then followed the execution of the principal of Ward's works in this order:

"The Freedman;" Bust of Dr. Dewsy, in marble; statue, colossal, of Commodore M. C. Perry, in New York; "Seventh Regiment Soldier," bronze, heroic, in Central Park; "The Good Samaritan," statue of General Reynolds: "Shakespeare," in Central Park; "General Israel Putnam," heroic size, in Hartford; "William Gilmore Simms,' bust in Charleston; General George H. Thomas," esquestrian, in Washington; "The Pilgrim," heroic, in Central Park; "Washington," bronze and colossal, in Wall street; "William E. Dodge," in New York.

Mr. Ward is now engaged on a bust of William H. Vanderbilt, and on a colossal statue of "Garfield," to be placed in Washington city by the Army of the Cumberland. He has also just completed the model of a gigantic soldier's monument for the city of Brooklyn. This last work will probably be the masterpiece of this sculptor. It illustrates our whole military history, from the Revolution to the Rebellion, including the War of 1812 and the war with Mexico. Washington, Jackson,

Scott and Grant appropriately represent the four periods.

It is by the universal judgment of American artists and art critics, Quincy Ward is placed first among American sculptors. H. K. Browne once said that "Ward had more genius than Greenough, Crawford, Powers and all the older American sculptors combined."

Eastman, Johnson, James H. Beard and other eminent artists have affirmed that Ward has passed beyond Story, Ball, Thompson and all other rivals, and is now without a peer as a sculptor. He is unquestionably the greatest artist that this country has yet produced. Numerous commissions for forty, sixty and a hundred thousand dollars now await his execution.

Ward says that George Hite, a native of Urbana who painted miniature portraits in Cincinnati and through Ohio, all over the south and in New York, was one of the best miniature portrait painters we have had. He painted an excellent portrait of Ward's wife. He died at Morrisania, near New York, in 1880. Ward executed, without charge, a bust of Mr. Hite, which is now over his grave.

Edgar M. Ward, brother of Quincy, and a native of Urbana, has had very marked success in New York and in Paris as a genre and figure painter. His pictures indicate the possession of rare genius, and give promise of high future distinction. He is now about thirty-three. Witt says "Edgar Ward is a strong and original figure painter, and may in time become as eminent as his brother Quincy."

William P. Brannon came to Cincinnati about 1840; he became a portrait painter of decided ability. During this early period he painted a life-size head of Dr. Lyman Beecher, which, with many others of that day, showed great promise of future eminence; but an indolent nature, and a spirit thoroughly Bohemian, prevented him from reaping the reward of his early promises. About 1860, he became a contributor to the daily press, and wrote some verses, which since his death have been published in book form entitled: "Vagaries of Van Dyke Brown," the latter his nom de plume. He died in Cincinnati about 1864-5.

James Cookins was a native of Terre Haute, Indiana. After studying in Munich for a couple of years, he returned to this country and opened a studio in Cincinnati, about 1861. He showed positive talent as a landscape painter, and a wonderful talent in illustrating fairy tales--his ideality invention

knew no bounds. About 1865 he married a Miss Cora Donnelly of Terre Haute, and returned to Munich, where he remained some five years. Since his return to this country, he has made his home in Chicago.

Jasper Lawman was born in Xenia, Ohio, in 1825, and went to Cincinnati when a lad of fourteen years of age. He painted a great number of landscapes of Ohio river scenes. He moved from Cincinnati to Pittsburgh, where he has since resided. Many of his pictures represent some of the finest scenery in the west, and are in possession of some of the leading citizens of Pittsburgh.

A. S. Wyant was born in Tuscarawas county, Ohio, just fifty years ago. His father was a farmer who was somewhat ingenious. He remembers as a child having marked barn doors, walls and everything with charcoal and pencil sketches of improbable animals. He went, late in boyhood, from the place of his nativity to Defiance. When twenty-one years of age he sailed on a canal boat from Defiance to Cincinnati, where he arrived with one dollar and eighty cents in his pocket, and spent one dollar of this for Ruskin's Elements of Drawing.' He received his first aid and encouragement from Emile Bott, a clever German artist, who lived six or seven years in Cincinnati and then removed to Pittsburgh. Bott gave him. the use of his studio free of charge, although he was himself poor. He then thought that Bott painted good pictures.

Wyant passed a year in Lexington, Kentucky, and two years in Louisville, painting portraits. Came to New York from Cincinnati twenty-three years ago. Since then he has had fair success, has had pictures in almost all academy exhibitions.

Wyant's Irish landscapes, from sketches made while in Ireland, are honest, meritorious pictures, and much admired by the discriminating. As a painter of wild and rugged scenery, Wyant excels.

R. S. Duncanson, a landscape painter of some promise, died in Cincinnati about 1876.

William Young, a native of Cincin nati, studied at Dusseldorf and Munich. He opened a studio in Cincinnati about

1860. Devoted his time and talents to painting landscapes. Died there about 1877.

T. C. Webber, portrait and genre painter, has been for thirty or more years one of the leading portrait paint. ers of Cincinnati. His latest and mos ambitious works are three large paint ings, whose subject is "Rip Van Winkle,' as illustrated by Jefferson. One o these pictures has lately been bought to find a home in the Art Museum, Wyant speaks highly of him as an artist who painted good pictures. One of his paintings is the McCook family in Washington, and there is a small exquisite landscape in quisite landscape in the Corcoran. gallery

Thomas Lindsay, landscape painter, opened a studio in Cincinnati about 1856-7 He showed marked talent in his early years. His numerous works are well known there.

Henry Kemper, landscape painter, is a native of Cincinnati. He studied a couple of years in Dusseldorf, and opened a sudio in Cincinnati about 1858. His early works gave promise of a brilliant future, but these promises have not altogether been realized.

John J. Ennekin was born in Minster, Ohio, in 1841. He received lessons in drawing in St. Mary's college, Cincinnati. Went to Europe in 1872. He now resides in Boston. His paintings are often seen at the rooms of the Boston Art Club.

John R. Tait was born in Cincinnati in 1834. He showed great artistic talent when a child, and went abroad in 1852 and again in 1859. In 1871-72 he