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46 Copley [[underlined]]The Widow Watts[[/underlined]]
Use this on purple cover. November.
print with caption
This wonderful portrait by Copley is one of the
few perfect pictures in the world.  Such absolute completeness [[strikethrough]]was[[/strikethrough]] has been attained only rarely by even the greatest of painters - by Raphael by Leonardo and by Holbein:
  This picture to an infinite degree carries out the dictum [crossed out] of Whistler that a painting [strikethrough]]was[[/strikethrough]] is not finish until all trace of manipulation [[strikethrough]]were[[/strikethrough]] are obliterated. In another way the great picture would have pleased Whistler In its color it anticipates some of Whistlers own symphonies in black and flesh.  It is [[illegible strikethrough]] likely Whistler never saw the picture for although it is nearly 150 years old it has for long been held privately in the homes of descendants of the subject.  
    The modernity of this picture is eternal.  Though the subject has been dead more than a century her personality still lives on this canvas as her type persists in the refined gentlewomen of New England.  This high bred [[strikethrough]] puritanical home ??[[/strikethrough]] sensitive woman whose virile family gave such integrity to the human state that [[several words illegible]]
  From such woman sprang the [[?]] energetic and capable race of men who, but a mere handful compared with their oppressors, threw off [[strikethrough]]the English yok[[/strikethrough]] the English yoke in 76.

    NYPL Art Room
          Die Plastik   Vol 4  1914

has fine rep of 
  Rhembrehs's classic node [[insert]] nude[[/insert]]

Tuesday Aug. 14   I went to Grace Church to Blakelocks funeral.  few were there.  The only men connected with the arts that I saw were Jim Seurity of Knoedlers and Thompson of Voses.