. The Open court. 656 THE OPEN WAR ON WAR. 657 cities, such as Berlin and Paris, the first places he would frequentwere the morgues, and whenever there was opportunity of seeing asuicide or the victim of a murder, he hurried to the spot. It is true that Verestchagin named the series of his picturesof the Russo-Turkish war with the significant title War on War,but he also painted other scenes of horror, as the Nihilists on theGallows and Blown from the Cannons Mouth,^ the executionof Brahmins by English cannoneers. In the nineties Verestchagin painted many pictures of NapoleonI in his R
. The Open court. 656 THE OPEN WAR ON WAR. 657 cities, such as Berlin and Paris, the first places he would frequentwere the morgues, and whenever there was opportunity of seeing asuicide or the victim of a murder, he hurried to the spot. It is true that Verestchagin named the series of his picturesof the Russo-Turkish war with the significant title War on War,but he also painted other scenes of horror, as the Nihilists on theGallows and Blown from the Cannons Mouth,^ the executionof Brahmins by English cannoneers. In the nineties Verestchagin painted many pictures of NapoleonI in his Russian campaign and had them exhibited, with manyothers of his paintings, in almost all the large cities of Europe andthe United States. His canvases are now scattered over the civilizedworld, but the richest collection is contained in the Tretjakoffgallery at Moscow. We here reproduce a number of Verestchagins pictures of theNapoleonic War, a monument of the artists Russian patriotismand his accusation of French cruelty. The French h
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Keywords: ., bookcentury1800, bookdecade188, booksubjectreligion, bookyear1887
