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out-door views and interiors of farmhouses, but his typical pictures are those of churches. Of these he has given us a great number of examples, but they nearly all belong to one or other of two types: the cathedrals of Belgium, with their long aisles and lofty pillars losing themselves in the duskiness of the pointed arches and vaulted ceiling, while the light comes in through the Gothic window and shines brightly on wall, column, and floor, burnishing the organ as it passes into rich yellow brown, regilding the golden pipes, and lightening up the fantastic carving of the dark medieval pulpit; or the simpler Protestant churches of Holland, with their grey undecorated walls, their sombre pulpits, and box-like reading desks and pews.

There are some very interesting things to be noticed about these interiors; how level and flat the floors are, for instance - only Bosboom and Israels paint them so, the secret seeming to be in the delicate gradation of colour that gives the aerial perspective, as the floor recedes into the distance; then how finely the crowd of people in the church is

indicated a broad firm touch puts each in the right place, and though they seem unfinished when examined closely, at the right distance the effect is perfect; and with what skill he hangs the brass chandeliers on their long chains down from the lofty roof, verily suspended in air. Indeed everything he paints is done with the one object always before him, to put on his canvas the interiors as he sees them, full of light and shadow, with every detail enveloped in atmosphere, and so well does he render their mystery and poetry that he has been called the "Corot" of interiors.

We often wonder what it is exactly in Bosboom's pictures that makes us like them so much. We do not specially care for architecture; there is little human interest in his interiors; the cathedrals and churches are used for services, but it is not the use of their shadowy halls by man, nor their religious side, that appeals to him, and that he shows to us. What is it then? It can only be that, no matter what he paints, the genius of the man puts into it the poetry and the love of beauty that belong to his own nature; and his great ability

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is shown in being able to delight us with what in other less imaginative hands would only be realistic copies of cold interiors of churches, or peasants' homes, with no living interest in them. Yet such ordinary material this alchemist is able to turn into pure gold.

Bosboom was of a very sociable and agreeable disposition, and was very much liked and looked up to by his fellow artists. It is cheering to hear of his remark when no longer young, "You do not know how many nice people I have met with in my life." Thus happily went by the too short years of this peaceful revolutionary.

Mr. P. A. M. Boele Van Hensbroek gives "Dutch

Painters of

tury."

a very charming account of the celebration the Nineof Bosboom's seventieth birthday by the mem- teenth Cenbers of the Pulchri Studio, a society of artists, literary men, and lovers of art, in March, 1887, in their domed-shaped room, with its wooden ceiling and carved chimney-piece, and its walls hung with sketches by the members. In the middle of the feasting and toasting there appeared through an open doorway the picture of a church such as Bosboom

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