The national era. [volume] (Washington [D.C.]) 1847-1860, 1851-02-27
THE NATIONAL ERA.
~ ,s,aNsroN, FEBRUARY 81, 1851.
For the National Era.
PAIN A Prophecy, AND A PICTURE.

or picture for the new times Artistsah" afc"i-
teeis politicians and thcoiogians, study asid toi'
,s the OLD masters, for tho very sufficient reason
ts,t.SorkS when last beyond Their own age Dc
long as we'll to the times into which they survive
&C 10 the Av Of their birth and occupy, OF right
,he whole period which is covered by their proph,
eos. bat time, at last fui6lls them, and the Old
lisoensation gives place to the new when the
Past has lost it's power to teach it loses IFS right
10 rule and The Future, under new dynasty,
claims inauguration. Novelty in mechanics does
not shock. for the genius Of material force has
nothing of sanctity, nothing of the superhuman
in it's tone but high Art has the character OF a
-syirtua revelsticn its authority isfeit like re-
i;gioo and the generation due to its established
JolAas feels in reformation and change something
Of irrevcreuce, which requires even more than
their justice TO justify them.
Eolhermels picture strikes at first view with
the startling freshness and unfamiliarity Of its
method and meaning it breaks almost rudely
noon the habitudes of taste-it challenges the
understanding hike an allegory problem, or
philosophy; but the significance, high and clear,
10 whole and in detail, instantly restores the
startled sense of harmOny and beauty by the dis
tipCtniuidings Of every feature-their symmetry,
dependency, suggestiyeness, which deepen and
brighten as the thought swels from point to point
in the progress, from stanza TO stanza of the
painted poem, till the meaning and the emotion
issue together like n sun-burst revealing world
Some ono has labelled the piece, "The La
borers Visionn | can find. no name or phrase
which sufficiently describes it, but this one may
stand for & hat Of its character, The canvass is
about four feet in breadth by five in height. The
painting 8dmits Of division into three compart-
mens, which helps equally in the analyses aud
The description. Ia the lower of these parallclo-
grams we have, on the left hand background, a
rocky hud, separated by a deep gorge from its
fellow ridge on the right la the foreground, left
l,ul, are jhe principal 6guree-a laboror stand
ing erect, firm, robust in muscle, and earnest in
expression his right hand pressing upon the
handle Of his seige, bis face up-turned and look
intent upon the group that fills the upper region
IN the field OF his excited vision. The nipple
meuts Indicate the rudest labor, aud his clothing
the hordest condition Of the toiler. Before him
sits his wife, weak With vant, ard faint and eb-
ject with hunger and dcrptir on ner zap ncs a
sick child which adds the last drop to the foil
cup Of sorrow. The morning sun is shooting bis
hest rel beaas ever the olf the feeble sufferers
are darkencd by the shadow; the hopeful hardi-
hood OF the strong struggler glares in the rising
Light The corrcspondences, mental aud material
are perfect to q thought
The middle division, on the left, gives space to
the atmosphere, grand and deep, and appropriate
pitch and altitude to the cloud scene on the right
iyull castle, with crumbling turrets, whose
base is upon the mound or ridge Of the lower
background scene, serves at once to carry the eye
from the principal figure below to the point in
which the interest Of the picture and the hope Of
its subject issues, and to symbolic the despotism
which has hitherto oppressed him, and give the
promise Of its downfall and his ultimate deliver
once. The towers which presumptuously pierced
the sky are tumbiiDg as the skirts of time sweep
OYER them, and even already in the actual and
outward we have au earnest Of the expected re-
demption but, thought higher a look deeper,
discovers the dream-region, where the hearts
fond visions clothe themselves with spiritual
iorms-where the ideal is realized in the very
substance OF the things hoped for" and the re-
hlity of things not seen," appears TO the eye of
iuth. figure of Time, finely executed, half
concealed, halt disclosed delighting and surpris-
log by its disinctness when once detected and
defined, lies floating, rs in motion, iu the firma-
men' OF the picture. He bears cloud of light
spread abroad upon his ample form, aud sweeps
INTO view, the bearer of apocalyptic panorama,
bringing tho consolation and the hone by autici.
patton into the prospect Of the rapid gazer.
Three groups occupy this uppermost compart-
ment OF the picture. They stand distinct in the
clear mild, front-light without losing their
proper distance or dream.like softness of outline
and abstraetedness Of expression. The Cross
marks the centre and crowns the pyramidal form
tho field into which a figures are cast. The
red light of tho rising sun gilds the lower face Of
OF the traverse beam with the glory that intma,es
An earthly millennium, and interprets the symbols
'"'o promise for the present lfe The group
around the cross is the Christ, with his RIGHT
"'r' upon me shoulder ola laborer-the isborcr
y '"' iirsi scene tran .ured, and his wife hold.
"S usC'H The lar eel fraternzipg labor in
- '"up'c lOrin OF man aud woman welded in
"a 'nh suffering and nov redeemed and tri-
'"pni"g together On the left. the child radiant
WIN heagh and happiness, nm open volume and a
urh'gnant female teacher, forms An expressive
'uc',lcn group, which finely illustrates and ar
supports the central symbols. The right
I'M oi the division exhibits Satan kneeling. with
io I've toward The feet Of the Saviour, his wings
"''e" IKE veil above HIS head, Offering his
''"n end scAptre a serpeBt ia coiling. falls dead
''on has arm Behind him, figure of War
'."'frndrrs his sword, hvarioe tenders hs boarded
-aAur' and The domon Of Slavery holds on, his
'pNeh ch1ins The Christ benigoly extends hi.
'''ih coward them IN accept aud pardon
ne iorm OF the upper &Nision is very bcauti.
'l linear harmony and Symmetrical balance O,
rs parts satisfy the eye with elegance of conaz-
''ti"ni ani give feeling of geometrical perfect.
hrfs which cannot be surpassed. The middle re.
sl,n opens with n sense Of vasncss AMI depth
which adds the sublime 10 the beautiful and The
over u RIGA TO repletion with variety, strength
"'l contrast In the whole, the eye Gnls land
cope, an atmosphere that suggest an ocean aud a
NySoens, each complete, and all blended into
1'ty ani beauty. The canvass Is full without
iV"dinR, the scheme complete without imper,i-
m'nc'Fi the design vast without complexi.y, and
'e ne'ail iriniie without obtrusiveness or con
aaS'oh The ooioriug, too, is hsppy achieve
%ent-lhe light aud shade stand exact exponents
=, me gloom aud Clog, AMI all their tones are .,
Ivy tempered TO the conditions Of the subject
NAV Tho demands Of poetry are answered TO
so.i m ny It's sister art OF painting Nothing
o'nii he more vivid, robust, and natural thar m,
s,"Ss OF the E,rth Scene The air has tb.
eaness, depth, and purity, which the mineljn.
o,s and fincieu Ark for their expression and Al.
gnt OF the cloud scene IL as chsste aud spiri,u.
:, devotional service, while IL has, nevertheless
'' e'sarness and gertrude OF a hope resting upor