Beechey, Allan Ramsay, Lawrence, Raeburn, and Romney. The last four are
especially well represented. In this room, too, is the bronze replica of
Weinmann's figure, "The Setting Sun," here called "Descending Night."

American "Old Masters."--Following logically the English portrait
painters, the American historical section begins with Rooms 60 and 59.
The former is mainly filled with the work, much of it admirable, of the
early American portrait painters. Here are Gilbert Stuart's lovable
"President Monroe," Benjamin West's "Magdalen," and portraits by Peale,
Copley, West, Sully and others. In Room 59, the antiquarian interest
predominates, with a few fine portraits by Inman, Harding, King, and S.
F. B. Morse, who, besides inventor, was an artist. But nothing here
surpasses No. 1719 by Charles Loring Elliott, a canvas that is
irresistible in its vivid setting forth of personality. Room 58 brings
the story of American painting well past the middle of the Nineteenth
century, with typical examples of Bierstadt, Eastman Johnson and other
fading names. Room 57 contains a number of Edwin Abbey's finely
illustrative paintings, the most popular of which is his "Penance of
Eleanor," and a collection of his splendid drawings; also important
canvases by Theodore Robinson and John La Farge. Room 64 covers a wide
sweep, from Church's archaic "Niagara Falls" down to Stephen Parrish,
Eakins, Martin, the Morans, Hovenden, and Remington. Edward Moran's
"Brush Burning" (2649) is capital. Room 54, the last of the American
historical rooms, is perhaps the most important, finely showing Inness,
Wyant, Winslow Homer, Hunt, and other American masters.

Modern American Painting.--We come now to the great and splendid
representation of present-day painters. In noting these, the artists
achieving grand prizes, medals of honor or gold medals will often be
mentioned; but a full list of such honors will be found at the end of