Catlin, however, was far more interesting from a historical standpoint than from any artistic conception he gave to his theme. With his indifferent training, unfortunately, he lacked imagination. He recorded what he saw, then a great novelty to the public; but his work now arouses little emotion. For years, however, engravings of his drawings, colored reproductions, and photographs were the only data for reference, and as the artist was scrupulously correct in all details of adornment, local color, costume and implements, manner of life and ceremonials, his work still has considerable value. The modern men do not by any means scorn taking a hint from him. In the Centennial Exhibition in 1876, a great showing of Catlin’s work was more or less in the nature of a sensation. The next painter of the West was William de la M. Cary, who in 1861 made a trip across the plains with an army officer. There was still plenty of excitement, and the traveler had to be prepared against both wild man and beast. Mr. Cary made many sketches in the manner of Catlin, and sent home illustrations to the magazines, occasionally recording the humorous side of his adventures. His sketches were well received and appreciated. GEORGE DE FOREST BRUSH Some years ago George de Forest Brush gave considerable attention to the life of the Indian, and signed many pictures that remain classics in American art. Some of the themes were of the early Aztecs. Among the titles were “The Sculptor and the King” and “Aztec Sculptor.” More modern works were “The Silence Broken,” “Mourning Her Brave,” “Indian Hunter,” and many more, all of them works of fine imagination and admirable composition lines. Mr. Brush, who was born in Tennessee in 1855, was a pupil of the Paris government art school under the late J. L. Gérôme (zhay-romé), and is a distinguished draftsman as he is a commanding figure in American art. Of recent years, however, he has chosen other fields in which to exploit his talent; but of all the native painters, he has brought to his work on the Indian the best artistic equipment of any, and of the dozen subjects of the aborigines all are unusual, and of the highest excellence. [Illustration: Copyright by W. de la M. Cary “FORTY-NINERS” CROSSING THE PLAINS By William de la M. Cary] REMINGTON AND THE SPIRIT OF THE WEST