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son and G. Roy Partridge.<br />

The irresistible charm<br />

of Notre Dame has been<br />

rendered by many:<br />

Meryon, Rochebrune,<br />

Goeneutte, Webster, Armington,<br />

Hedley Fitton<br />

(who did " The Rose Window"),<br />

George T. Plowman,<br />

Hornby, Vaughan<br />

Trowbridge, Simon, D. S.<br />

MacLaughlan. Mac-<br />

Laughlan offers quite a<br />

personal and special view,<br />

of a precise truthfulness,<br />

in his pictures of quays<br />

and bridges, of corners<br />

in the Bievre and elsewhere,<br />

obtaining, as<br />

Uzanne said," expressions<br />

of a mellow, balanced<br />

art full of distinction."<br />

It is the architectural<br />

aspects of the city which<br />

principally have occupied<br />

many artists. Others have seen these buildings<br />

merely as a background for the life of the<br />

city. Felix Buhot, with a style both vivacious<br />

and forcible, peopled his views of Paris streets<br />

with characteristic figures. We see the holiday<br />

crowd on the Boulevard de Clichy,<br />

on June 30 (la fete Nationale), a funeral or<br />

a moving-van wending its way on a rainy<br />

day, or a string of cab-horses shivering on a<br />

gloomy, wet winter's morning, or slipping<br />

Reproduced by the courtesy of Frederick Keppel & Co.<br />

The Place Breda.<br />

The Field of Art 261<br />

Reproduced by the courtesy of Frederick Keppel & Co.<br />

By Felix Buhut.<br />

Pont St. Bernard.<br />

By Eugene Bejot.<br />

and falling in the Place Breda in snow. To<br />

Norbert Goeneutte Paris seemed to exist<br />

mainly in combination with the'' eternal feminine."<br />

Plates such as the "Woman on the<br />

Pont de l'Europe,"or the "Woman Entering<br />

a Vehicle," are quite characteristic of place<br />

and time (the '8o's) in type and costume.<br />

However, he also showed the attractiveness<br />

of locality under particular conditions—the<br />

Boulevard de Clichy on a snowy day, or the<br />

Palais de Justice.<br />

Somewhat later there<br />

appears the freer,<br />

quivering line of Raffaelli,<br />

with which he<br />

peoples the Madeleine,<br />

the Invalides,<br />

and other places with<br />

little figures that<br />

fairly move and have<br />

their being in surroundings<br />

to which'<br />

the artist has added<br />

color accents deftly<br />

and discreetly.<br />

Quite in our own day,<br />

Edgar Chahine has<br />

drawn the people of<br />

the slums and boulevards.<br />

As different as pos-

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