Page:A tribute to W. W. Corcoran, of Washington City (IA tributetowwcorco00boul).pdf/81

and the western sky dips its rosy trail towards the earth, lighting up a little inland pool of water, from which a white horse has turned away. The foremost engrossing feature of the landscape is a group of trees, growing in such shape as to form a pleasant bower of green, and not far off is a feeble curl of smoke from some burning brushwood, wherefrom several figures are seen retreating. If in the picture of Spring by the same artist there is all the emphatic impulse and energy of a bright sunshiny day, this Twilight scene possesses not less the opposite in the stillness and sombreness that accompanies the decline of day; for it is not the hour when nature grows dreamy and hushed, when the birds seek their nests, and the only sound is that of the insect's hum, and the croak of the frogs? It is the hour besides that renders home sweet and welcome to the tired laborer, for then God throws the veil of darkness over the beauty of the world, that men may slumber and view in visions the greater light of His mercy and love. No. 60. A Landscape, by George Inness. This gives a view of some hills and verdure, a brook and a roadway—the man on horseback (followed by a boy), riding along leisurely. No. 61. A small Flemish Picture, by Laboria, 1619. Interesting on account of its ancient appearance, and the uncommon subject, viz.: a young warrior wearing all the martial accoutrements, and urged by Time to leave his lady love and hasten on to war. Old father Time displays a large extent of wing as well as a huge scythe; and his hour glass with its falling sands gives mournful sign of the flight of precious moments. No. 62. The Pets, by E. Johnson, 1856. Surely will this picture elicit praise, not only from juveniles, but adults who have not quite forgotten the days when some household treasure in the form of a dog or kitten, lay claim to affectionate