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models or costumes was great. The various studio properties needed to pursue figure composition were not at hand, but the open fields invited him: there was a free range and every variety to tempt the painter. He began to yield to the delight of landscape, and was heard to say: "I leave the human trunk and take to the trunks of trees." 

In 1836, when I was a pupil under Prof. Morse, I first met Durand. Ver Bryck, then also a fellow-student, and who had made the acquaintance of Durand at the schools of the Academy, took me to the studio of the great engraver. He received us with the frank cordiality which was always his characteristic trait, and showed us some plates in progress, among others that of the Ariane, the approaching completion. We expressed our delight at its exceeding delicacy and beauty, and he asked if we would like to see the original painting. Though two rather bashful young men, we perhaps somewhat too eagerly assented to the proposal. 

He at once drew back a dark green curtain which hid the picture from the vulgar gaze. A sudden light seemed to burst on the shaded studio from the luminous and palpitating figure of the sleeping beauty. The sombre depths of olive foliage under which she reposed heightened the glow of her graceful and


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tenderly rounded form. One fancied that her calmly closed lids would open and the startled girl hastily wrap the drapery about her to hide such loveliness from profane eyes. The engraving renders the drawing, the subtle gradation of light, the luminous shadows, the sweet repose of the whole, with a skill never surpassed. 
But let us, sober Centurians, beware of the intoxication which long ago enticed the frenzied Bacchus, lord of the purple grape, to lose his senses at the feet of this bewitching goddess. 

At about the year 1836 Durand's career as an engraver ended. His reputation was established on solid grounds. His triumph was complete. His chief works in that department take rank with the masterpieces of Morghen, Strange, and Sharp, and are treasured among collectors as acknowledged examples of high art. 

For several years he was mainly a figure and portrait painter. This was a second and marked period in his life. 

A portrait of Edward Everett, who was then beginning to attract attention as an orator, was greatly admired. Durand gave to it a bold arrangement of drapery, by a cloak thrown over one shoulder in the Spanish fashion then prevailing; the broad black-velvet