Yet the very magnitude of canvas and of problem impairs somewhat the intimacy of feeling in the picture, and for all its abounding skill we shall not reckon it among Tryon’s choicest work. In that he gives us, when he wills, the sense of spaciousness within a much smaller frame, and, compassing it around so discreetly, makes its subtle appeal by so much the more insinuating. These comparatively smaller pictures are too numerous and different in character to allow of detailed allusion, yet one may single out a few such gems as “The Rising Moon” and “Sunrise,” owned by Mr. Charles L. Freer; “After Showers--June,” owned by Colonel Frank J. Hecker; “The Meadow--Evening,” owned by Mr. A. T. Sanders; “Springtime,” owned by Mr. George [Illustration: From the collection of J. J. Albright, Esq. EVENING--AUTUMN. BY DWIGHT W. TRYON.] A. Hearn; and a “Winter Evening” and “Early Spring,” the property of Mr. N. E. Montross. These are masterpieces,--and the list is incomplete,--pictures that you may study from the strictest standpoint of technical excellence, and that exert an influence upon the imagination which one may believe will be felt by those who come after us as fully as by ourselves. In considering American landscapes, there is more than a little tendency to dwell upon the names of the painters who are dead, regardless of the fact that the traditions which they established are being maintained. Among those who are maintaining them, Tryon is conspicuous, and in a way that is, perhaps, more distinctive than theirs. He represents much more closely the kind of contribution that the American temperament may be expected to make to the progress of painting. For unless painting can continue to reflect the evolution of human progress, it is, after all, only a “dead language.” But it is landscapes such as Tryon’s that prove its vitality. They represent the combination of qualities that differentiate American civilization in its worthiest form from that of other countries and of past times. They combine a largeness of outlook with alert sensibility to impressions; being, at once, big in character and minutely subtle. XII HORATIO WALKER Upon his first appearance last year as a contributor to the exhibition of the British Institute of Water Colours, Horatio Walker’s picture, “The Potato Pickers,” was prominently hung, and he himself was elected a member. Considering the fine record of the Institute and its high rank among water colour societies, such instant recognition of a newcomer was very notable.