A very characteristic example is the “Westchester Hills,” because it is at once so powerful and so free from any of the small and perfectly legitimate devices to attract attention; a picture that in its sobriety of mellow browns and whites (for such, very broadly speaking, is its colour scheme) makes no bid for popularity; in a gallery might escape the notice of a careless visitor, and grows upon one’s comprehension only gradually. In the gathering gloom of twilight we are confronted with a country road crossed by a thread of water and bounded on the right by a rough stone wall. The road winds away from us, skirting the ridge of hill, which slumbers like some vast recumbent beast against the expanse of fading sky. The dim foreground and shadowed mass
From the collection of Daniel Guggenheim, Esq.
WESTCHESTER HILLS.
By Homer D. Martin.
From the collection of Louis Marshall, Esq.
THE SUN WORSHIPPERS.