New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-07-04


the chapter.
But we have made long dgresson, ana mus
On hack 20 the red room. This hast OF Mosier De
an inter want OF knowledge as TO the essen
49,. ,.h;-h constitute the ideal character OF the
c., ~. Nor 10 this strange. Years OF Sc
S.-,,,dv concentrated upon these works is IN
a;.,epssbIy necessary to their comprehension
30. through uninterrupted toll from youth up
,h,oueb manhood that Michael Angelo and ia
v;rci endowed ms they were by nature with pre-.
s,opept genius, attained the degree OF power a"a
excellence which render them great and II" ni'''a-
We can then Justly excuse the utter wan' u ~"
ouslities In person who begins the iaD0f VI W
middle life, having used its bud and Hover IN Pu'.
,uits Of wholly alien character hao 'i's D''
been closely copied from It's model II "ouia '"en
do,htleas have good points Of imitation, but depart
a. Ten, ,.tu,e in the endeavor 10 ideaize, and
.-;,bon, the guidance oftbe laws which govern ideal
a,,r,. the re,ultiss work containing neither the
simplicity Of nature nor the excellence OF hne AT
n IL by PATTI seems well modelled head
M X .Bu,t Of Gen Scott" by ]. b. iyEs, good
work, expressing in great degree the character
istics Of the General
Avery wise precsution is displayed in the ca'a-
loeue. in giving written explanations oil the series
of bss.relefs, by Mr.. Brown, representing the
"donble alegory Of human existence, as well as
that Of the seasons.
As for originalityin this idea Of "an alesory OF
the seasons we simply state our behei 'ns' sDe
thing mas been done before, and win mu'" W.. W.
same symbols as in the present instance
Bgu,es employed in expressing this conceplo" "o
-. .n.o mo have seen in divers Places-a"'Ne
-. hs.,eliefs. Greek and Etruscan vases
:, -. drawings or etchings from thenl' vi IL
Illustrations, particularly in the outiines
,",O-., socb plaeiarisms are, however, 70 DC
,--s,.IIv overlooked. because We know that OIL
.'S;oo,s modern sculpture 10 made up in this way
end because in this department oil the FINE Arts,
more tbau in any other, II we may except Arcni'
,scture. upquestionable genius Is Indispensable 70
..,.;n,ltv. Therefore we come at once to the
.-son,;oy mr. mere mechanical excellence. What
ove, unitv there may be in the idea, one thing is
nc ,smeIv. that Summer follows Spring. Autumn
Summer Winter Autumn and thus far there is
continuity. II not in thought at least IN order but
IN the execution there is woeiul want oil equal
excellence thing unfortunate for the artist IN any
work of Art, because it stands an admission, by bis
own hand and will, Of either indifference to1ame or
inability on his part In most instances throughout
hi, series the drsperies are well arranged ana
sxecuted; some Of the extremities also show
dispo,ton tow ard careful finish. But to have done
these things extraordinarily well, would not have
hae, difficult. surrounded as the artist was they
were executed in Rome by many oil the finest
,pecimens Of modern Art, well as by the glorious
relics OF the ancient.
M Q repres SCENTS autumn" The left hand OF
the female holds cluster Of grapes, and Is joined
10 the forearm with no indication OF the capus or
wrist. forming a straight and disagreeable line
from the frat Joint Of the thumb down to theangle
Of the arm. The child is ungracefol, not child-like
in the least degree, but made up OF dsproportloned
and ugly forms the man also rests lsmely on his
.tsa. and tie head wants dignity and elevation of
character In No. c." Winter'-the old mans
face IT, perhaps, the best OF oil in the series. 1t
has acme natural markings Of old age, but the ear
il placed too low, and there is some mystery about
the relation of the head, neck and shoulders
The head Of the boy is disagreeably unhandsome'
and that Of the woman gross in feature and dis
s,n.,;pelv vuloar in character The hands are bet
ter but seem to belong to person younger 'nan
the head would Indicate No. 10, Spring, s
the most successful Of these pieces because IL
the simplest. The position and swaylnB Vi Tue
figure are frsueht with beauty, grace and move
mept How far the sculptor is indebted to Julian
Autograph AFTER Lehman and to Flaxmah '0f 'n'
iden and simplicity of treatment tnose VINO Aro az
ouainted with the works OF those artists may ue
termine for themselves. The wheat grams are u
nronortiou TO the other objects about as large as
.nsrt sized bean. No. II, "Summer' In Till
~. xoune man 10 a sort Of distorted Antinous
nth n very large left hand, the head vulgar anC
tho forms of the face expressionless, but is no
worse In these respects than the head and face
the young female. Her right hand is lad upoi
the chords of a harp. with any feeling but that o
delcscy or grace. In subjects OF this character
sculutor has choice of but two methods of treat
ment Either bis forms and expressions OF charac
ter must be highly ideal and divine, or simply ma
tural and human because In sculpture any inter
mediate means, or confusion OF those two, Is incom
patible with excellence. In painting it is differ
emit. for picture may be radically bad, both in the
choice Of forms and the character Of their expires
sions, and still charm The spectator by its chiarO
seuro and color. To those who discover poetic
thought in this series Of bas relefs they are vaua
BILE TO that extent
No l6 ruth" Here again, the upper portion
OF the drapsries are managed with great skill ant
beauty, while the lower portion, particularly a
the sides, is stiff and unmeaning the face is prett
and seems to express hesitation. We take tn
liberty Of suggesting to the artist to re-baptize
"A young Ceres" the wheat viii then deud
many into the idea that it is fine likeness for il
deed, 1t bears no resemblance to the passiOnat
impetuous, womanly Ruth, dsughterinlaw Of N
omi widow of Chillion after ten years marrsg
and who became the mother of the long line Of Il
house of David, and so Of Joseph and Mary. B
aides we believe the Bible speaks Of harvest
barley not Of wheat. No. s. "Statue Of Hope