American art and American art collections; essays on artistic subjects . courts are still as the grave,Once so joyous with hunting horn, When the princely hunter, eager and brave,Rode to the chase at the first of morn, The grand old courts of Francis the First, 37Q AMERICAN ART but the forest: — What pen shall paintThe gates of brickwork, solid and quaint,Which opened on it from every side ;And the sweeping circles whose vistas wideNarrow away to a point of space,Like the rays of a star from its central you turn it is just the same,Whither you go or whence you came,To the right,
American art and American art collections; essays on artistic subjects . courts are still as the grave,Once so joyous with hunting horn, When the princely hunter, eager and brave,Rode to the chase at the first of morn, The grand old courts of Francis the First, 37Q AMERICAN ART but the forest: — What pen shall paintThe gates of brickwork, solid and quaint,Which opened on it from every side ;And the sweeping circles whose vistas wideNarrow away to a point of space,Like the rays of a star from its central you turn it is just the same,Whither you go or whence you came,To the right, to the left, behind, before,An ocean of trees, for six leagues and the brow of the rocks (all purple and green,Or damply shining with silver sheen)You see what looks like a mystical floor,A glorious level of green and gray,Till the uttermost distance melts away. Fontainebleau, palace and forest alike, has had much to do with artists, from the days when Fran-cis I. royally employed Benvenuto Cellini, Primaticcio, Niccolo dell Abbate, Rosso Rossi, and other. Little Sailors. Drawn by Peirce. Italian masters in beautifying his stately house, to our own time, when Diaz, the great French land-scape painter, is perhaps the artist most intimately associated with its sylvan beauties. Cranch, ourAmerican painter-poet, wrote some verses wherein he recalls the — calm, deep clays when labor movedWith wings of joy to the tasks beloved,And art its own best guerdon proved ! For such it was, when long agoI sat in my leafy studioIn the dear old Forest of Fontainebleau, and Robert Louis Stevenson says, The forest of Fontainebleau is the great al-fresco school of art ofmodern France. Winthrop Peirces salon picture, exhibited in 1882, showed a February effect in the great forest;and he has painted much at Barbizon, on the edge of the wood, where Millet and Rousseau livedand worked so many years. Peirces exhibition, in addition to the February picture, containedhis October, from the S
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