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lining contrasting with the lucid color of the flesh and the flashing eye of the senator. 

During this period appeared the cabinet group of "The Pedlar," the "Capture of Major André," and the "Wrath of Peter Stuyvesant." The latter, an illustration of Irving's "Knickerbocker," and "The Pedlar," painted for Luman Reed, are now at the Historical Society. Three artists sat for heads in the group of the "Wrath of Peter Stuyvesant," somewhat caricatured to suit the story. Stuyvesant, it was said, was a portrait of Luman Reed. The tall, frightened attendant Durand painted from himself, and General Cummings acted as trumpeter. His next picture, the "Capture of Major André," was engraved by Alfred Jones for the Art Union. He was careful to tell the story truthfully, and has portrayed the self-possessed ease and military bearing of André, as well as the quiet determination and honest patriotism of Paulding and his companion. The engraving was so well executed as to establish the reputation of Alfred Jones, was widely disseminated, and has been reproduced in signs and banners. 

In 1838 appeared "Rip Van Winkle with the Crew of Hendrick Hudson," imbued with the weird mystery which Irving has thrown around the legend. 

The portrait of Bryant was a much later work--

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painted after Durand had ceased to exhibit figures or portraits. This belongs to the poet's family, while the Century has a duplicate, and is a faithful likeness of the then middle-aged poet, though few can now recall his appearance at that day. The admirable engraving of this portrait by Alfred Jones was worked upon by Durand by request of the engraver, and was the last time he took the graver in hand. Some time before biding a final farewell to his practice as an engraver, he was stealthily indulging his love for landscape in a room adjoining his engravers studio. On one occasion the writer was admitted into this mysterious sanctum, and on his easel was a picture which Durand modestly spoke of as a "doubtful experiment"--a scene in the Catskill region, in which a river flowed calmly through fields an past forests, leading the eye towards a distant chain of mountains, over which floated a silver haze. And in 1838 he exhibited a twilight, which rendered with much feeling the solemn glow and deep-toned richness of the hour. 

In 1839 and '40 he had given himself heartily to landscape, and two important pictures, "Morning" and "Evening,"--painted for F. J. Betts, and now in New Haven,--held crowds of visitors in admiration. Soon there was exhibited another large picture,

Transcription Notes:
black-velvet lining