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MONS P. A. J DAGNAN-BOUVERET, the famous French painter, has made for the Journal a reproduction of his [?] painting "Christ and the Disciples at Emmus," for which H. C. Frick, of Pittsburg, paid $100,000. It appears on page 14. An extraordinary feature of this picutre is the production of the three figures in modern dress.

    This is the first reproduction of the magnificient painting that has ever been made and published. Although since the first exhibition of the original many publications have endeavored to obtain some reproduction the painting has been most jealously guarded by the artist and the owner. The Journal has the honor then of presenting not only the first reproduction of this marvellous work, but one made by the artist himself, exclusively for paper.
    The picture was only recently finished, and was purchased by Mr. Frick, when the artist was just commencing work on it. In August it will reach this country and be exhibited in New York. 

BY DAGAN-BOUVERET, WHO PAINTED THE GREAT PICTURE. To the Editor of the Journal: 73 Boulevard Bineau, Neuilly sur Seine.

    Now that America possesses my new picture, "Christ and the Disciples at Emmaus," it occurs to me that a few words of explanation respecting it may not be out of place. In these latter times various painters have desired to modernize religious subjects accordign to their taste; and a section of the public has been grviously scandalized by these very free interpretations. There is reason to fear that they may now be disposed to pass without examination in a painting in whcih are to be found holy figures in association with personages of our own era.
    Such a proceeding would be unjust, for surely it cannot be intrinsically blameworthy that in a work of art realm beings should be found in company with figures purely ideal. In the Middle Ages, and while the Renaissance prevailed and flourished, the artists of Italy, France and Germany represented the patrons of their works on their knees at the feet of the Virgin or the saints. And to this pious and ingenious practice we owe many chefs d'oeuvre of touching grace and beauty in frescoes, pictures, sculptures and painted glass, wherein for many ages man was enabled to see his prayer graciously received by the celestial personages whom he familiarly approached.
    For the text of my picture I have taken the narrative as given by St. Luke of the apparition of Christ to the two disciples at Emmaus. "And they drew night unto the village whither they went: and He made as though HE would have gone furhter. But they oconstrained Him, saying, Abide with us: for it is toward evening, and the day is far spent. And He went in to tarry with them. And it came to pass, as He sat at meal with them, He took bread, and blessed it, and brake, and gave to them. And their eyes were opened, and they knew Him." I have followed the text literally, even in endeavoring to translate by the gesture and expression of the kneeling disciple what his transport of heavenly love prompts him to say, "Mane nobiscum Domine quia advesperascit."
    But on the right of the scene, separated from the action, I have placed three personages, wrapt in prayer and devout meditation. Has any one already asked you what they may mean? To that question you could not reply, "It is a mere fantasy of the painter." To say so woul dbe irreverent and inexact.
    We have at the Louvre, as you, of course, know a beautiful and celebrated picture by Paul Veronese representing the very subject which I to-day depict, "The Pilgrims of Emmaus." Beneath a rich portico, around a little table, Christ and disciples are seated; servants are in waiting, carrying plates; on the right, clothed in rich apparel, are grouped the numerous members of the artist's family. By the joyous expression of the faces, and by the sportive action of the children trying to curb the eager movements of the big and little dogs around them, it is apparent that the time is "l'heure de la promenade" - the hour for taking a walk. These people are at home, but certainly it is not for them that the Divine Guest has come, and that the miracle (of his marvelous vanishing) is to be accomplished.
    But I run no risk of being prosecuted and imprisoned, as was teh great Veronese master. Thank God, the times are changed. But if you are asked for whom the three personages on the right of my canvas represent, teh reason for the question is, perhaps, that my conception has been but inadequately expressed. If so, it may not be inexpedient that I should try to explain it in a few words.
    During one-half of the last, and throughout the whole course of the present century, philosophy and science have, one after the other, entered into a struggle against religion. Have the scholars and philosophers succeeded in giving satisfaction against teh human soul? I don't believe it. THe figure of Christ remains, then, after 1,900 yeras, as effulgent as ever; His rule of morals as sublime as ever. To receive His word, woman still kneels down without discussion, and her child, without understanding it, kneels also by her side. But man, after all these troubles, after all these doubts and all these denials, can no longer kneel as once he did. His brown is careworn, anxiety has desolated his heart. Nevertheless, he still turns toward woman, because her radiance is sweet as brilliant - because it brightens, and because it soothes.
    Too much! Yet at last not enough. You can easily understand how embarrassing is the position of the artist who attempts to talk about what he has done. Yours sincerely,
    DAGNAN-BOUVERET
    Officier de la Legion d'Hnoneut, Membre du Champ de Mars.