give birth to Nereids and Tritons."

Muther, art-critic and biographer, calls our attention to the
similarity between Wagner's music and Bocklin's painting. While Wagner
was "luring the colours of sound from music," Bocklin's "symphonies of
colour streamed forth like a crashing orchestra," and he calls him the
greatest colour-poet of the time.

In appearance Bocklin was fine of form, healthy and wholesome in all
his thoughts and way of living. In 1848 he took part in revolutionary
politics and later this did him great harm. Only the influence of his
friends kept him from ruin. After the Franco-Prussian war he was made
Minister of Fine Arts. In this office he rendered great service; but
because he had to witness the wrecking of the Column Vendome in order
to save the Louvre and the Luxembourg from the mob, he was censured;
indeed so heavy a fine was imposed that it took his whole fortune to
pay it; and he was banished into the bargain. From 1892 to 1901 he
lived in or near Florence, and he died at Fiesole, January 16th, 1901.

PLATE--THE ISLE OF THE DEAD

This picture is perhaps the greatest of the many great Arnold Bocklin
paintings, and it is both fascinating and awe-inspiring.

It best shows his liking for vertical lines in art. The Isle of the
Dead is of a rocky, shaft-like formation in which we may see hewn-out
tombs; and there, tall cypress trees are growing.

The traces of man's work in the midst of this sombre, ideal, and
mystic scene add to the impressiveness of the picture. The isle stands