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That Russian mujíks should gaze delightedly upon the Yeruslán Lazarévitches, on pictures of Phomá and Yerema, of the heroes of their tales and legends, was quite natural; the objects represented were adapted to popular taste and comprehension; but who would buy those tawdry oil-paintings, those Flemish boors, those crimson and azure landscapes, which, whilst pretending to a higher grade of art, served but to prove its deep degradation?
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