ve in imitations, or in adopting the latest style from Paris, and he set himself against the popular hue-and-cry somewhat to his personal disadvantage.
Charles Perkins and the other art scholars who founded the Art Museum in Copley Square were all on Cranch's side, but that did not seem to help him with the public.
They cannot bend the bow of Ulysses, said Cranch in some disgust.
He preferred Murillo to Velasquez, and once had quite an argument with William Hunt on the subject in Doll & Richards's picture-store.
Hunt asserted that there was no essential difference between a sketch and a finished picture,--he might have said there was no difference between a boy and a man,--that all the artist needed was to express himself, and that it was immaterial in what way he did so. Cranch thought afterwards, though unfortunately it did not occur to him at the moment, that the test of such a theory would be its application to sculpture.
He wondered what Raphael would have thought of it.
setts, have formed a sort of constitution by which the policy of all lifeinsurance companies is still guided.
His name deserves a place beside those of Horace Mann and William Lloyd Garrison.
Apart from this, his biography is one of the most interesting, one of the most picturesque, when compared with those of the many brilliant men of his time.
His grandfather was a sea captain, and his father, who was also named Elizur, was a farmer in Canaan, Connecticut.
His mother's name was Clarissa Richards, and he was born on the twelfth of February, 1804.
In the spring of 1810 the family moved to Talmage, Ohio, making the journey in a two-horse carriage with an ox-team to transport their household goods.
Their progress was necessarily slow, and it was nearly six weeks before they reached Talmage, as it was generally necessary to camp at night by the way-side.
This romantic journey, the building of their log-cabin, the clearing of the forest, and above all his solitary watches in the