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 gifted stage manager. This is a matter of no little importance in art. But even in the purely pictorial respect, Vereshchagin, despite his failings, is not entirely valueless. In his time he was a pioneer, and many of his light and colour discoveries have retained their value until our own day. Some of his Indian sketches are indeed all fire and glow, and some of his costume studies are dazzling.

Alongside Vereshchagin must be placed I. E. Repin, as the biggest artist of the generation of the seventies. When he entered the Academy Bruni was still its director, but, in reality, Repin was the most brilliant pupil and follower of Kramskoy. It is curious that Kramskoy, in his artistic endeavours, kept aloof from the movement which he encouraged. He was too intelligent and open-minded to devote himself soul and body to the naïve artistic programme of his times. But he was fully aware of the relative temporary importance of this programme, and he strove to secure the assistance of all those who could be of use to it. It is with particular zeal that he undertook the education or re-education of these recruits, heedless of the damage he might cause by forcing on them a narrow æsthetic formula.

One of Kramskoy's victims was Repin, undoubtedly a splendid talent, vigorous and broad, who,