only about a century before, Paul Jones and Decatur and Captain Reid performed the feats of daring which are immortalized in the earlier of these paintings. It typifies, as the artist himself points out in his title, our conquering arms--in the very motion of the proud battleships, as in majestic array, representing both the Pacific and North Atlantic squadrons, they seem to sweep gradually forward and onward within full view. If Mr. Moran had never painted anything else, this picture would stamp him as a surpassing genius. The grouping of the great vessels and the indication of their vast number, the brilliancy of the water and the whole coloring are matchless. It suggests in the proud procession of the ships-of-war, in perspective, as far back as the eye can reach, a gathering of almost the entire navy, and is in that respect far more than a mere photographic representation of the actual occurrence. In this picture he represents the "Olympia" as the principal object, the nearest in the foreground, her hull in gleaming white, with the suggestion of the figure of Admiral Dewey standing on the bridge, with her sister ships of like hue following in her wake; while another line, on the left of the picture, headed by the "New York" and "Brooklyn," and with Admirals Sampson and Schley on board, appears in more sombre hue, only second in importance, however, to the "Olympia." Such a picture could only be produced by an artist of the most poetic and imaginative instincts as well as a close student of the actualities; for while it is to a certain extent allegoric of the event which it records and the memories connected with it, nothing could be more real or faithful than the reproduction of our iron-clads, with all the detail of armament, turret, tackle, anchor, port-holes and even the national coat of arms on the prow. Even the signal of the "Olympia," "Remember the Maine," and the answering signal of the "Brooklyn," "The Maine is avenged and Cuba is free," can be seen flying from their yards.