MEN I HAVE PAINTED
prairies, the "cry of the wild" comes forth, the cry that, once heard, is never silent in the heart of him who loves the virgin soil, untouched by the heel of man—the cry that comes only out of the solitudes of America. With that cry ringing softly in my ears, I painted and I dreamed, and often at my side a soft and gentle voice breathed this song[1]—
Friendship from its moorings strays,
Love binds fast together;
Friendship is for balmy days,
Love for stormy weather.
For itself the one contends
Fancied wrongs regretting—
Love the thing it loves defends,
All besides forgetting.
Friendship is the morning lark
Toward the sunrise winging,
Love the nightingale, at dark
Most divinely singing!
The reign of Mr. Coates at the Academy marked the period of its greatest prosperity. Rich endowments were made to the schools, a gallery of national portraiture was formed, and some of the best examples of Gilbert Stuart's work acquired. The annual exhibitions attained a brilliancy and éclat hitherto unknown. Two of the greatest masterpieces of American Art were produced—The Clinic of Doctor Gross and The Clinic of Dr. Agnew, by Thomas Eakins—rare works that carry on the best traditions of the masters. Unfortunately, it may be said in parentheses, these pictures are hidden away, one in the University of Pennsylvania, and the other in the College of Medicine,
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