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this we are indebted for speaking intellectual countenances of Larned, Milnor, Mason, Nott, Spring, Sprague, Milledollar, and Summerfield. Durand's Mason well portrays the energetic and earnest expression of that divine ; and Summerfield, who moved enormous audiences to tears, in Durand's print yet beams with evangelic fervor. Verplanck, the first president of the Century, and a man of consummate judgement in art and oratory, often spoke of those portraits with admiration.

In 1824 the city published an important work commemorative of the Erie Canal Celebration, and for this Durand engraved several strongly characterized portraits-—Cadwallader, Colden, then Mayor, also Philip Hone, Wm. Paulding, and Dr. Mitchell, manly works, now exceedingly scarce and valuable.

None of Durand's portrait engravings excel some of those small ones he executed for Herring and Longacre's National Portrait Gallery, and of these the heads of Gov. Ogden, Chief-Justice Marshall, Chas. Carroll, and Col. Trumbull, hold preëminent rank. The Marshall is after Inman, and is admirable. Gov. Ogden was done from a life-size portrait painted by Durand himself. The Chas. Carroll (preferred by some) is after Chester Harding, and represents the patriotic signer in his venerable age and calm



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dignity. The Trumbull is from the Waldo portrait in the Yale College gallery, and is truly a gem of art. While it was in progress, Trumbull gave Durand sittings for the perfection of the plate, and with those masterly yet delicate strokes of the graver he added an expression of individual life which greatly enhances its interest. Remembering Trumbull well, and often meeting him in my early years, I see in the print the very expression of the living man, the clever artist, the mettlesome soldier, and the polished gentleman of the old school.

These plates may well serve as examples for portrait engravers nowadays. We see too many cold, dry, and mechanical portrait-prints-—sooty in effect, dull in expression, and terribly like the originals, ruled off by machinery in haste for a grab at the beggarly prices for which they are ordered. There are exceptions, certainly, and among them some of the small portraits on bank-notes. The wood engravers also have given us some fine examples.

Although so much occupied with engraving, Durand took the time to paint an occasional portrait or group of figures. In 1825 he was a ringleader of that band of rebel students of the old American Academy of Fine Arts, who, disgusted with the harsh response to their request for better opportunities for drawing