Elihu Vedder.

The digressions of V. online

. (page 28 of 29)
Online LibraryElihu VedderThe digressions of V. → online text (page 28 of 29)
Font size
QR-code for this ebook

a drawing, some coloured reproductions and a bas-relief,
amounting to quite a little sum.

March: Exhibition and Sale at S. P. Avery's.



1900 To Spencer Trask:
Old Cedar, Newport.

To E. A. Grozier (Boston Post) :
Lazarus rising from the Tomb.

N. B. New York made up by buying a great number of
coloured reproductions, but then Boston was first and had
the pick. Boston also has its qualities.


1901 This year was a "Number five, fat."

To Mrs. Beriah Wilkins:
Happy Thoughts (small bas-relief).

To a Mrs. H. (cannot make out the name) :
Antony and Cleopatra (drawing).

To Theo. Marburgh, Baltimore:
The Sorrowing Soul between Doubt and Faith.

To George 0. Morgan, Pittsburg:
The Sphinx, Egypt.

To T. M. Lasell, Whitesville:
Love ever present.

To Carnegie Art Institute, Pittsburg:
The Keeper of the Threshold, or An Emblem of Life.

1902 This year back to normal, prose, not poetry.

To C. B. Rogers, Utica:
Bronze Head of Sibyl.


1902 To E. B. Haskell, Auburndale:
The Eclipse of the Sun by the Moon.
Bronze Faces in the Fire.

1903 This year commenced lowery, but was made glorious
summer by the sale of nine small pictures. I have a friend
who used to say that he would do thus and so when he "sold
his dog." His picture represented a large dog, life-size, a spir-
ited animal, but he never seemed to "get a move on." For
many years this had been the case with this series of small
pictures, until a person of more than ordinary discern-
ment broke the spell.

To H. A. Thorndike, Auburndale, Mass.:
The Miller, his Son, and the Donkey.
A Young Victor.

1904 This year, a "number five, fat" would have found his coat
rather tight for him, a little abnormal.

To Mrs. James A. Moore:
The Enemy sowing Tares.

To Booth Tarkington:
The Throne of Saturn.

To the Misses Wolcott Perry:
Greek Girls, bathing.

1905 This year was a "decline and fall off" the Roman Empire,
- a very "reserved and serious year," yet upheld by repro-
ductions and royalties, the Rubaiyat still holding its own
a remarkable proceeding for an illustrated book.

1906 Came up smiling. No one was hurt in the crush, however.

To Frank R. Chambers, New York:
Greek Girls, bathing.
The original sketch Sibyl returning to Tarquin.


1907 This date marks the beginning of this present foolishness,
I mean this Book, and the end of this list, at least for the
present; I trust it may go on. There are more things on the
inside of my sleeve than have been pinned on the outside.
If the list goes on, I dare say it will be as it has been in the
past, an up and down ; and the " small but assured income "
is as far off as ever. Something to live for, you say? I had
rather live on it.

To J. W. Ellsworth:
Thatched Huts, Viareggio.

To Harold McGrath:
Ideal Head (drawing).


1907 N. B. It must be borne in mind that this list is very in-
complete. It was a compilation of scattered notes until the
good girl took hold of it; many things have been left out.
I dare say the things sold represent only about half of the
work done, things begun and abandoned, and futile work
in general. Also there are hundreds of sketches and drawings.
But what must be the record of a really industrious man, -
for I have been called idle, and I think I am. Only for an
idle man, it must be admitted I have been very busy.

Fearing this list may have been rather lugubrious, I think
a little digression is in order, and the mention above of
Thatched Huts gives the necessary cue. These huts of
Viareggio, owing to the dampness of their location, get to be
of a velvety blackness from the mingling of black and green
moss; bright green vines grow over them, with orange-
coloured gourds, and the evening sun through the trees flecks
them with orange gold. One evening, while sitting tran-
quilly and pleasantly employed transferring them to my
canvas, as they say, I witnessed a scene which filled me with
horror. All artists know how valuable and beautiful are the
cold grey-green tones of the familiar cabbage; in this case
the cabbage becomes a foreground plant; the foreground was
indeed a noble array of foreground plants, and I was about to
use them to give the singing quality to my sketch, make
it thrill, when I heard the tinkling bells and the trampling
of innumerable feet, and a flock of sheep appeared on the
scene. How describe the ferocious greed and cold-eyed ruth-
lessness with which these alleged innocent beasts fell like
ravening wolves on the really innocent foreground plants
and tore up, bit oflf, and devoured them, leaving a track of
desolation to mark their passage. Now I appreciated the
truth of the little Boston boy's remark on seeing some sheep,
"Sheep dangerous animal."

Ham Wild used to tell of this boy, who was of weak intel-
lect to be sure, but who must have had lucid intervals. One
day he was sitting folding and unfolding a handkerchief and
looking at the monogram, when he finally murmured, "Fits


1907 complete." It had belonged to his grandmother, who had
the same initials. I could not help thinking that his " Dan-
gerous animal," applied to sheep, "fits complete," but also
that ruthless greed perfectly describes their chief characteris-
tic. It was also told of this boy that when asked one Sun-
day what church his people had gone to, he replied, "The
Presgipiscopal Church."

By the way, you need not think that I don't think some
people will at once cipher out how many pictures I have
averaged per year but I don't think it will be of any value,
as the painting of some of them spread over years, while
some were done in a day. However, it is one way of amusing
yourself. It is "la matematica" and to me the result
would mean nothing.

List commencing in Rome, 1867, numbering 262

Add things sold before 52

Makes in all 314

This account shows not only "vestiges of creation," but of
order, and is doing pretty well for a painter-man, who, had he
dedicated himself to business, might have turned out a suc-
cess "con reserva," as the Italian papers say when giving
an account of the probabilities of a man recovering after the
usual knife incident.

/ *<}

^ -~^



cLvct /vmcj ^ '{ i^o^Pronx <xtev>-o, - cottcx.^u'lTl<xcJv(TeL
>x,3 Tvd-t/e b<xiKw taw -.om.ei





v i-

Speculations and Contemplations

On a Sale in Boston

I CALCULATE that the thirty-six pictures forming the sale, or actually
sold, in Boston at that time would, if taken from their frames and
placed closely together, cover a canvas eight by six feet, and three
fourths of another of that size. The first canvas represents about the
size of a full-length portrait, and half of the second a half-length
portrait. The pictures were mostly small, and of all sizes, so that
the calculation is only an approximation; but the Cumaean Sibyl
by itself would account for the half-length portrait, and the others
would cover the full-length. Think of the time I spent on the Sibyl,
and contrast it with the half-length portrait, which can be polished
off, say, in two weeks, usually less. It is generous to say that
the rest of the pictures would cover the full-length canvas; properly
distributed they would have covered a large space and would have
formed a nice little gallery of pictures for one small town, and
the town might have been worse off. And to think that a fashion-
able portrait-painter would have received for his two portraits what
I got for my thirty-six pictures. Yet I was considered fortunate,
the exhibition a great success, and I received numberless congrat-

The work on these things extended over several years, and at my
rate or by my method of work would have taken me at least two
years to produce. Of course I am to blame for not being a portrait-
painter, or more prolific, or producing with more celerity; but then,
I have heard of portrait-painters taking their time also. But turn
it as you will, the thought and work required in making thirty-six
greatly varied pictures is more than is used in making two portraits.
The contrast is only in regard to the work and remuneration, and
it is assumed that the artist of the little pictures is not a fool, and
that the portraitist is not one of those clear out of sight. I wish to
note here that I have been considering these pictures without their


frames. Properly framed, with the frames getting wider as the
pictures diminish in size, which is a good rule, they made
quite an imposing appearance, in fact filled a gallery. And now the
work. The landscapes required long walks over hill and dale, and
when perspiring, getting at once to work so as not to lose some
effect, perhaps catching it and a cold at the same time. Sometimes
working surrounded by a grinning crowd and hearing their un-
flattering comments, or perchance attended by a solitary boy with a
bad cold in his head, munching an apple; this last is a fearful thing
and is as dangerous to one's peace of mind as sheep are to foreground
plants. Then coaxing people to pose, and on returning, tired out,
washing your brushes, as I have frequently done, when virtuous.
After your outing, on returning to town, the mere handling and care
of thirty-six pictures, seeing to the framing, and so forth, is hard
work. Then, in the case of figures, getting the models and making
the studies and drawings, and all the disheartening work of arrang-
ing folds that won't fall properly or stay put.

Let me give a glance at the trouble in getting up a little exhibi-
tion, and the expense, while "temporarily living abroad." Aside
from your travelling expenses in making your landscapes, you have
materials, models, and framing a big bill. Then invoices paid in
gold to our paternal government, on which occasion you have to
inform the friendly consul on oath just what work you have
done, your prices, in fact tell him just how you are getting on,
which you feel is none of his business. Then the bill for packing and
transportation to New York, and your own fare, and duties on the
frames on arriving. You then express them on to Boston and back
to New York, and have ten or fifteen per cent taken off the sales;
and then the left-overs, the shop-worn, injured remains, are packed
in ambulance-like cases, pretty well filled after a defeat, and sent
back to Rome, where you arrive finally yourself, only too glad to have
a remnant of profit, and sadly think of the proverb, "Much cry and
little wool, as the man said when he shaved the pig."

In the meanwhile the portrait-painter sits in his comfortable
studio and his models come to him, bringing with them costumes as
fine as money can buy, and instead of his paying them they pay
him, and that handsomely, sometimes. That single thing marks

the superiority of portraiture as a business; that, instead of paying
your models, they pay you. I admit the portrait-painter has his little
troubles. He can never satisfy the family or friends, and no lady
unless he flatters her. On this I stand pat; the ladies may, to use
a vulgar expression, "grin and bear it " if the painter is a very fashion-
able one, but they don't like it. However, I am not going into
his troubles. Sitters, like purchasers, do not grow on every bush, and
the getting them is a business of itself quite "another story." Did
I say story? That reminds me of a story in Punch, of the portrait-
painter's man who, on being asked what were his duties in the
studio, said, "Why, sir, I stretches the canvases for 'im, sets
up 'is pallette, harranges 'is heasel, and hall 'e 'as to do is to
shove 'em on." Happy portrait-painters!



Abolitionists, early abhorrence, 46.

Adoption home, E. V.'s investigation,

Adrian, Mrs., school, 60.

Adriano, Sor, in exile at Palo, 345.

Adventures, E. V. on having, 319, 320.

"Adventures by Land and Sea," 59.

Allston Club, Boston, founding, 278.

Altamura, in Florence, 165.

Ames, Emmie, 256.

Ames, Joseph, 256.

Amulet, made by E. V., 110; Stillman
on, in.

Animals, attitude of E. V., 28, 56, 57,
65, 66, 73, 76, 82, 85, 90.

"Another pair of sleeves," origin of
phrase, 283.

Antiques, E. V.'s fad, 317.

Antonio, traits, 214.

Appleton, Tom, jokes, 274.

Architecture, jig-sawing period, 7; E. V.'s
experience, 8i; Egyptian, 451453.

Arnold, George, traits, 227; on newspa-
pers, 388.

Art and business, 271-274.

Artichokes, eating of, in Rome, 340.

Astronomy, E. V.'s fad, 316.

Athenaeum Club, E. V. in, 201.

Aviation, E. V.'s fad, 316.

Babcock, William, as artist, 277.

Baker, as musician, 235.

Bancroft, on Bicknell's pictures, 277.

Bankers, E. V. on, 166,407.

Banti, traits, 154; and E. V., 171.

Barrett, Lawrence, E. V. on, 395.

Bassanello, blue-eyed inhabitants, 438; E.

V. at, aspects and life, 438, 441-444;
road to Viterbo, 444.
Baths of Caracalla, in 1856, 134; sketch,

Beecher, H. W., Tilton affair, 390.

Bellew, Frank, drawings, 217.

Benasses, art student, 131.

Bianchi, traits, 154.

Bibliophile, E. V. as, 316.

Bicknell, A. B., and models, 257; at
Turner, Maine, 267; letter on art in
Boston (1866), 277-279; success
with flower pieces, 277; in Allston
Club, 278; fate, 279.

Bicycle, E. V.'s fad, 316.

Blake, William, sanity, 61, 41 1 ; tempered
rage, 313; character, 409-417; illus-
tration of Job, 410, 416.

Bland, 366.

" Blind Fiddler," E. V.'s copy, 105.

Blue eyes in Italy, 438.

Bonaiuti, traits, 151; great painting, 152.

Books, E. V.'s childhood favorite, 21,
23, 52, 59.

Booth, Edwin, E. V. on, 395.

Boston, art life in the sixties, 256266,
273, 277-279; medals, 257; society,

Botta, Mrs. Anne C. L., 200.

Botta, Vincenzo, 200.

Bric-a-brac, E. V.'s fad, 316; E. V. on
buying, 422, 441, 446.

Brigands, Italian, 444.

BrinkerhofF, school, 60; buys picture from
E. V., 105.

Brittany, E. V, in, 294-301.

Brown, Henry, I 20,



Bull, Olc, E. V.'s walk to hear, 118,

200; E. V. meets, 200.
Bull-fighting, secret of the trade, 175.
Bullard, Laura C., buys E. V.'s pictures,


Burdell, Dr. Harvey, murder, 236.
Business and art, 271-274.
Butler, George, apothegm, 149; wound,

2 33-
Butler, Samuel, 364; and a Scotch story,

3 6 4-

Cabianca, traits, 155.

Cabot, E. C., in Allston Club, 278.

Cadiz, E. V. at, 172.

Caffe Greco, Rome, 332, 333.

Caffe Michelangelo, Florence, 151.

Caister, Mr., traits, 55.

Caister, Evaline, traits, 55, 82.

Campbell, D. D., homestead, 5. .

Canoeing, E. V.'s fad, 316.

Caricaturist in Florence, 153.

Carving, E. V.'s early, 75.

Gary, William, and E. V., 248.

Casimiro, art sale, 288; imitation of a

rage, 338.
Cat, E. V.'s, 56.
Cathedral, E. V.'s first, 127.
Cavara, Dr., on hunting truffles, 447.
Centerville race course, Long Island, 46.
Century Club, 395.
Chinese professor, speech by, 392.
Cigars, smuggling, 184, 186; Toscano,


Circus, E. V. on, 388-390.
Civil War, life in New York during, 1 90,

232; E. V. and enlistment, 233; war

pictures, 234; Draft Riot, 234-236;

celebration of fall of Richmond, 255.
"Clairvoyant," traits, 213, 223-225,


"Clara," grisette, 132; sketch, 132.
Clemens, S. L. See Twain.

Clute, Eva (Vedder), character, 40.

"Coast on a windy day," sale, 303.

Coffin's Beach, and " Lair of the Sea-Ser-
pent," 264, 265.

Cole, J. F., as artist, 278.

Coleman, C. C., portrait of Landor, 162,
163; wound, 23 3; with E. V, in Italy,
262, 304; in Paris with E. V., 294;
in Brittany, 294, 295; dinner on credit,
302; in the Keats apartment, 334.

Collet, Long Island family, 66.

Columbus, Christopher, E. V.'s improve-
ment on the egg trick, 339.

Comic valentines, E. V.'s work on, 198.

Conversationalists, E. V. on, 169.

Corinthius, Carolus, traits, 218, 224,

Corinthius, Sol, traits, 218, 289.

Corot, J. B. C., slow recognition, 292.

Costa, Giovanni, as artist, 372-374.

Cottorita, E. V.'s parrot, 76, 116.

Cousin, art student, 130; fight with E.
V., 131; goes to war, 131.

Couturier, art student, 133.

Crispino, slave child, 22; sketch, 23.

Cuba, E. V.'s father in, 13, 18, 19; E.
V.'s first trip to, 20-22; E. V. in,
22-28, 33, 73-76, 97-105, 109-1 14,
183, 184; treatment of dead Jews,
28; Spanish Government, 100, 102;
family life, 101; slavery, 102-104;
fishing, ill; smuggling, 184.

" Cumean Sibyl," origin, 238; pedestal
of bronze head, 240.

Gushing, W. B., anticipation of his tor-
pedo boom, 206.

Cushman, Charlotte, character, 375; and
Rogers' s mimicry of her, 375.

D , traits and companions, 363-

Daly, Augustin, theatre dinners, 395-



David Brown, clipper ship, wreck and

rescue of crew, 179-184.
Davies, William, pig story, 424; at Orte,

43 5-43 8 -

Day, Benjamin, and E. V., 71, 193;
E. V.'s portrait, 105; letter on boy-
hood experiences with E. V., 1 1 4-1 20;
sketch, 115; takes up art, 1 1 8 ; voyage
to Europe, 118, 119, 124; in Paris,
119, 127, 132-134; and his father,
206, 207; inventions and success, 206.

"Dead Alchemist," origin, 8.

De Courcey, art student, 130, 131.

Denassit, art student, 133.

Depolletti, antiquarian, 110.

Deruta, E. V.'s trip to, aspects and life,
446-45 1 .

" Devil on Two Sticks," legend, 1 1, 12.

De Wolf, Dirk, and Harmon Vedder, 5.

Dinan, E. V. in, 294.

Dodsworth Building, E. V.'s studio in,

Dog, E. V.'s, 56, 57, 65, 66, 82.

Doll, F. A., as art dealer, 277, 279; in
Allston Club, 278.

"Dolores," E. V. and, 99; sketch, 99.

Doremus, Dr., as musician, 200.

Draft Riot, 234-236.

Drawing, E. V.'s early work, 62.

Dreams, E. V.'s, 112-114, 1 ^9> I 7'

Drew, John, 395.
Dusseldorf Gallery, New York, 105.

Egypt, architecture and life, 451454.

Ellis, E. J., story, 324; and Omar Khay-
yam, 403 ; and Wm. Blake, 409, 413;
sketches, 417.

" Emeline," and E. V., 44, 45.

Emerson, R. W., E. V. and his dictum
on art, 263, 269 ; and Alcott, 263.

Englishmen, E. V. on, 367, 368.

Enoch Arden, E. V.'s illustration, 199.

Erie Canal, fishing in, 35.
-Eucalyptus, Syrup of, 376; on Roman
Campagna, 376.

Fads, E. V.'s, 314-317.

Family life in Cuba, 101, 102.

Field, Kate, and E. V., 149, 190, 242-

246; and Landor, 162; advanced

views, 245, 246; on lemonade at sea,

Fields, J. T., and E. V. and portrait of

Pope, 263.

Fiesole, E. V.'s lost picture, 164.
Fishing, E. V.'s father and, 1 8; E, V.

and, 35, 91, in, 117, 267.
Fleas, stories, 446.
Fletcher, as artist, 278.
Florence, E. V.'s first stay in, 141 171;

his associations and atmosphere, 141-

1 49, 171; literary circle, 1 46, 1 47 ;

overthrow of Grand Duke, 149, 150;

artists (c. 1856), 151-163; Mugnone

walk, 163.

Flowers, E. V.'s favorite, 13.
Foote, Samuel, anecdote, 53.
Forbes, Edwin, as war artist, 234.
Foreground plants, 241.
Forum of Rome, result of disinterring,

Foster, Mrs., shipwreck and rescue, 179,

182, 183.

Frank Leslie's Weekly, war pictures, 234.
Frere, P. E., orphan pictures, 271.
Fulano, Dr., of Guanahai, 98.
Furness, William, 256; portrait of E. V.,

257; and lady models, 257.

Garret, E. V.'s experiences in his grand-
father's, 52-56; sketch, 53.
Gascoigne, Long Island family, 66.
Gay, W. A., in Allston Club, 278.
Genealogy, Vedder, 4.
Gergerson, Jamie, 256.


Ghosts, E. V. on, 444.

Gibson, John, 334.

Gilbert, Mrs. G. H., at Daly's dinner,


" Girl with a Lute," sale, 303.
Girls, E. V. and, 44, 45, 69, 81, 97,

99, 105, 114, 115, 120, 193, 256,


Glen, Sander Leendertse, 5.
Gortigiani, traits, 154.
Graphotype, invention, 204207.
Gray, David, 289.
Green, at Florence, 156; E. V.'s visit to,

292 ; later work, 293.
Griswold, C. C., on eating artichokes,

Groot, Simon, brewer, 5.

Guanahai, E. V. in, 98-105; life, 98-
100; family life, 101; sketches, 101,

Gubbio, E. V. at, aspects and life, 145,

-, rise as picture dealer, 2 1 6.


H., W. D., on Hell, 43, 44.

Hair, stories on, 353.

Halenbeck, Jesse, 1 1 .

"Hannah," E. V.'s flirtation, 106.

Hart, J. T., traits, nephew's portrait
machine, 157.

Hasselingh, Dirk, land, 5.

Havana, E. V. in, 183, 184.

Haviland, traits, 344, 345.

Hay, Mrs., in Florence, 165.

Hay, John, and E. V., 289.

Hell, E. V. on, 42-44.

Henner, art student, 133.

Hermit of Mohawk River, 36.

Hitchie, D. C., and the graphotype, 205;
traits, 205, 207, 213; kleptomania,
208 ; investigation of an adoption home,
210-213 death, 214; practical joke
on E. V., 227.

Home, D. D., E. V. on portrait of, 263.

Homer, Winslow, and Mullin's treat,

Homes, E. V.'s, 6, 7, 12, 18, 22, 77,
1 1 8, 193, 225, 404 ; E. V. on Amer-
ican, 8i; E. V.'s search for his old,


Horse-racing on Long Island, 46.

Horseback riding, E. V. and, 58, 73,
246, 296-298.

Hosmer, Harriet, 334.

Hotchkiss, in Florence, 1 60, 1 6 1 ; art, 418,
429; andRuskin, 418; character, 421;
and E. V., 422; sketching with E. V.
in Gobbio, 423-429.

Houghton, H. O., and Omar Khayyam
drawings, 407.

Humphrey, death and the " Dead Al-
chemist," 8.

Hunt, Enid, character, 295.

Hunt, W. H., on Whistler, 162.

Hunt, W. M., traits, 257-259; lost
Millet, 261; and Emerson's dictum on
art, 263; in Allston Club, 278; in
Brittany, 294, 295, influence of Millet
on, 294; in Rome, 371.

Hunt,. Mrs. W. M., traits, 259, 295.

Hunting, E. V. and, 33, 56, 90; his
wodchuck story, 268.

Hyde, school bully, 62.

Hygrometer, primitive, 27.

Ibbotson, Marshall, and E. V., 117.
Indian mounds, E. V.'s search in sup-
posed, 1 1 6, 119.
Italians, " highfalutin " language, 202.

Jack, E. V.'s dog, 56, 57, 65, 66, 82;

sketch, 66.
Jackson, Jane, and the "Cumean Sibyl,"


Jacobson, Rutger, house at Bevernwyck, 5.
Jamaica, Long Island, school, 59.


Janin, Jules, 119.

Japanese objects and prints, E. V.'s fad,

3 '6.

Jewett, Sara O., and E. V., 264.
Jews, treatment of dead, in Cuba, 28.
Jig-sawing architecture, 7.
Job, Book of, E. V. and Blake's illustration,

410, 416.

Jonciere, art student, 133.
Josephus, "regiment," 213; play, 213;

practical joke on E. V., 227; letter on

the "Boys," 288-290.

K., S., as picture dealer, 216.

Lacquer, E. V.'s work in, 77, 116.

La Farge, John, sketch of a South Sea
Island, 112; as painter and writer,

"Lair of the Sea-Serpent," price, 239;
nickname, 241; Artemus Ward on,
242; and Coffin's Beach, 264, 265.

Landor, W. S., and art, 162; Coleman's
portrait, 162, 163; character, 163.

Lang, Louis, hair, 353.

Larch, inventions, 204; and graphotype,

Lassoing, 366, 367.

Latin-Americans and Anglo-Saxon Amer-
icans, 103.

Latin Quarter, Paris, 132.

Leighton, Frederick, Lord, on idea and
result in art, 140.

Le Roux, art student, 130; fate, 131.

Letters, E. V. on reading old, 287, 311.

Levy, art student, 133.

Liesgang, sea-captain, 20.

Loblolly hole, 231.

London, charm to an American, 363.

Long, George, and E. V., 260; his
double picture, 260.

"Lost Mind," nickname, 241.

Lynching of a negro, 62.

Macaroni, reason for hole in, 436.

McDonald, Jock, 333, 334.

McDonald, Lawrence, 333.

Manchester-by-the-Sea, E. V. at, 264;
monopoly of the shore line, 264.

Marks, Stacy, 364.

Martin, Homer, traits, 240.

Matanzas, E. V.'s childhood in, 22-28,
33; later trips to, 74-76, 109-114;
art in, 74.

Matteson, T. H., E. V.'s teacher, 82;
as painter, character, 92, 93.

Memory, E. V.'s, 8, 124.

Michel, art student, 133.

Michelangelo, anecdote, 400.

Mignati, E. V. and portrait of Home, 263.

" Miller, his Son and the Donkey," de-
signs made, 173; offer for, 304.

Millet, Frank, unsent letter to, on " Di-
gressions," 312, 313.

Millet, J. F., lost picture by, 261 ; sketch
of it, 261; slow recognition, 292.

Modelling, E. V.'s fad, 316.

Models in Boston, 257.

Mohawk River, fishing near Schenectady,
35; hermit, 36.

Mono Grande Island, Cuba, 112.

Monte Cologniola, E. V. at, aspects and
life, 429-435.

Montie, as artist, 344.

Morgan, snake-charmer, 246.

Moriches, Long Island, E. V. at school
in, 84-91.

Mortalman, Capt., 119.

Mosquitoes, E. V.'s and, 86.

"Motherless," origin, 270.

Mullin, Edward, traits, 218-220.

Music, in New York during war time, 200.

Mycology, E. V.'s fad, 316.

Negro, lynching of, 62.

Newspapers, and privacy, 12; E. V. on,



New York City, E. V.'s early recollec-
tions, 7-20; Bohemian art life during
war times, 189-249, 288, 289; gaiety
during war times, 232; Draft Riot,
234-236; celebration of fall of Rich-
mond, 255 ; E. V.'s visits to, 383-398.

Online LibraryElihu VedderThe digressions of V. → online text (page 28 of 29)