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 composition, the eye is struck by his lack of dramatic gift, the poverty of his imagination, and the schematic character of the faces.

Closely related to Semiradsky is V. Polyenov, who deserves the attention of the historian of Russian art, as a socially spirited leader and as a man of unusual refinement and culture. The best that he created are unassuming, but poetically conceived Russian landscapes. Much poorer are his celebrated Oriental sketches, which strike one disagreeably with their mawkish colours and amateur painting. Least comforting are his historical compositions, which, while having all the defects of Semiradsky's paintings, are inferior to them in colour and technique.

Mikyeshin (1836–1896), to be considered with K. Makovsky, is one of the most gifted Russian artists. He entangled himself in his own talent, so to speak, and his bootless imitation of Zichy turned him into a disagreeably dashing, trivial and superficial mannerist. A few drawings and sketches and some of his modest aquarelles—are the sole title to a place in the Pantheon of Russian painting of this monument-designer and "historical" painter. This cannot be repeated of Iacobi. The whole of his œuvre with its wardrobe of insipid masquerade costumes, and all its badly drawn puppets,—would have been relegated to the archives,