New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1851-05-10

long, soft beard, and STEPPED in heavenly lu'
ulnoOsness, as If he we're receiving divine lospi-
ration. At his feet lies the golden calf crushed
AZ his command Scion is an old man, With bald
head. surrounded BY Grecian band. He presses
sly e IhOughtfolly % bis lips, and bends in deep
meditation over the code Of Draco, which he
would fsin purge OF its ssnguinAry character A
lovely child. gay adorned with flowers and rib
bors steals toward the old mRD IN the hope that
human nature will End in him its rsdeemer from
an unnatural ystem Of oppression.
Traction, dusky female figure, crowned with
ivy sits upon q rocky cliff stony and stern Of as
pect with appraised arm m1ttering the vague
story ola persisted Time. which is whispered 70
her by bodeful ravens. Before her yawns giants
srave Titan SOULS are strewn around, and frag
ments OF weapons and golden crown.
History, beautiful mId-eyed woman OF lofty
aspect writes the World sstory in a huge volume
which winged Genius holds before her. The
winged Genius is the most modern Moment, which
would iAin hy onward. but bears too great q herl'
tsge from the Past On the groand are strewn
the unwritten leaves Of the Future, upon which
the Present though. fully gazes. Silently speeds
the work. No distraction disturbs the labor for
ever lighted by an undying amp.
Fox the great frieze the cartoons are about
half finished In q fascinating arsbesque OF
irterlaced figures Of boys and girls, the artist
hints IN humorous allegory the serious ouslne"
u the world.
A little Prometheus opens tho delicate drama
by creating men, which are, OF course, only
children of lesser degree than himself minia-
ture and comedy Minerva assists him, and from
the eggs upon which a stork broods close by, peep
sly alittle man and woman In endless success
sion all people and times begin to revesthem.
selves. Close by the she wolf, who suckles
Romuus and Remus, two boys engage in
fraiernal quarrel Nimrod. the wild h1ntsman,
| rides high upon one Of bis companions and hunts
the feet stag the wild boar the stealthy pssther.
| From lotos blossoms Isis sBd osiris arise pur-
sued BY hateful Typhon, magnifed and distorted
| by mask which he holds before him, 90 that
Osiris falls to the ground, and terrified Isis tum-
bles over him in the most gracefully comic man
ner. Apollo striking the lyre,-Leuxis painting
the corn at which the birds pecked,-Orpheus
with the msgc Of music, tanning the beasts
P. alto and ArDtot in profound philosophical con-
verse, represent Greece-whose decline is typ
fed by the box Of Pandora, and the figures Of
hate and war and drowslness and ennui, tumoling
| cut OF II.
Two races yoked together, in the form of two
weeping children, bewail the war with whose
lurid light dawns the Roman epoch. Brutus Ma.
titus Scevola, and triumphing Emperor riding
upon tanned lion. leading in bis triunphsl train
the Earth In chains, and bearing globe in his
| hand while two great tearssroll down his cheeks
indicate Rome. Finally the crisis OF Rome.
| Two pretendants 10 the crown quarrel and rage,
while through the windings Of the arabesque
above, look in, wondering and cOntemptuous, the
eyes OF the barbaric North. Lamenting Rome
wrings her hands in despair, and reels feebly
backward as the crown falls from her head.
Now rises the cross, wresthed with the crown
Of thorns, breathing away the dark Powers Of
| HeAthendom. Ate, unheathful blindness-fatsl
acknowledgements bandsged eyes, nail
| driven in the head-fearfully bowling aud wall.
| irg-the far seeing Nemesis with halter and
pheels-Anangke with yelled face.
The writer here length into critical and
steal analysis OF this design, whittier We will not
follow him. The following resume viii, however, be
| found Interesting
KAULBAcH. apart from his surprising historical
genius, stands incredibly higher in his ideal ten
dency than those religious Painters OF the time
" no work in the old manner With his rich ex'
perience he SEXES the real, historical fact, and 10
no enthusiast of the supernatural and unintellec-
tual. He SEXES the real, however, not as an OBJ
iective reality but az the expression OF his idea.
Ii is the Ide alism OF the Present that ne repre-
sents with bis wonderful artistic skill, while the
conten porary painters OF traditional religious
subjects livein the ldealism OF the Past and serve
e moribund idea