The national era. [volume] (Washington [D.C.]) 1847-1860, 1853-03-03
For the National Era
lcoPYRIaHT SECURED ACCORDING TO LAwl
GREENWOOD LEAVES FROM OVER THE SEA
RnMH- Innmnrn LIZ

No %
ROME, January Is, 1853,
My DEAN J. C: In nv last letter made
some reference to the works of Raphael, which
have since feared may be misunderstood In
saying that the Madonna and Child of Carlo
Dolc which | was describing, affected mo
more than even the TRANSPORTATION, | merely
meant to say, that with its sweet and holy sen
timent it touched certain religious sensibties,
which the other grand and sublime as it il.
did not reach. | thought not Of drawing "a
depreciating comparison, for there can be no
possible comparison between the two
am just beginning to understand the source
of the strange disappointment | felt in first be-
holding the TRANSPORTATION, and certain other
renowned works of Raphael 1t results from
the coloring, which is not only far from equal
ling the excellence of the composition, but
often mars it incidentally. Many of the latest
and noblest pictures OF this great master were
painted by his pupils, whose heavy, glaring
undeal coloring is sadly at variance with their
exquisite composition and outlining and their
high and beautiful sentiment There are
masses OF obtrusive color in the foreground Of
the Transit guration which have power to dis
tract the sight from the wondrous central glory
itself. speak but simple truth when | say
light in studying fine outlines of the works Of
Raphael in America than | have felt in look
ing at the originals in the ys,ssan. Yet
except wholly the frescoes and cartoons whose
imposing grandeur is but dimly limited at in
any engravngs have yet seen. OF the former,
the School Of Athens is the object of my most
wondering and boundIess admiration or
Guido have not yet seen the grandest work
the Aurora-but in his minor pictures | take
comparatively little delight his colorlng is 70
repulsive to my eye. The flesh of many of
his female figures seems tO me cold, lvd and
OF sort OF puffy texture, the sight OF which
gives mo a strangely unpleasant sensation. His
Lucretia, for instance, could fancy had been
| fed on p0lsons or reared in the CatacOmb-
The Cenef has somewhat of this peculiar and
most dsagreeablo coloring bat you accept it
in her case a. the effect of torture impris0n-
ment, and the leaden horror of death am
aware that | am laying myself opcn to the
charge of presumption, in speaking thus freely
of one of the gods of your art bat You will
remember that give what can scarcely call
even my opinions, but merely intuitions, and
you may receive them confessions, rather
than criticisms. In truest truth, nothing can
be further from my heart than conceit, or ir-
reverence, in regard to art, in this her high
| place, and on this her holy ground. assure
you, that | never 30 profoundly felt my own
profound ignorance of her marvellous mystic
res and beautiful subtletes-but with rever.
ence and faith and conscientious study, hoTe
yet to attain to the art of deep and just appre-
citation la the mean time | must chronicle
my first steps, uncertain and often false though
they bel must tell truly what is truth and
beauty for me to-day, though Tomorrow
better light and larger want may prove its
falsehood or insufhciency. ! sometimes SEQ II
work Of art which intOxicates me with the
mere grace of FORM or seems to drown thought
and judgment in the delight springing from
mere beauty of coloring in which case ! am
sure to find on second visit that have drank
the fountain dry ut the first eager draught-
and 30 henceforth that statue or that picture
has nothing for me of inspiration or reality.
Behold my simple and sole test--onc which
cannot save me from mistakes and extravagan-
ces, but which trust will insure me against
long and content acceptance OF that which is
not nobly true, high, and pure in art
| lately visited tho studio Of Overlook and
was impressed by the peculiar spirit Of his
works. You are aware that they are in the
style Of the old masters, and Gil treat Of rcli-
gous subjects. The sentiment of the exquisite
drawings is ever tender, touching, and deeply
devout. You mark everywhere the presence
Of a sincerely religious and profoundly rever-
entail soul. His representations of our Lord
are among the finest in modern art. Meek,
yet majestic-sorrowful, yet serene-divinely
gracious, pitiful, and patient. know of none
so noble, except it be the Chrisius Consoiotor Of
Sch1fer. His Madonnas are heavenly beauti-
fal, pure, and tender, and his angel faces have
"a divine and inefabe sweetness which touches
and exalts the heart Of the gazer. But in the
powerful heads of some Of his Apostles, phari-
sees, high priests, and Roman soldiers, is his
genius best displayed.
MIR Overlook himself has about him an air
Of almost solemn earnestness, and looks as
though he had watched and prayed over his
works, aud in this reality and depth OF feeling
lies the justification Of his style. There can
be no aifectaton in his painting in the manner
OF the old religious masters, inspired IA he is
by the same devotional spirit. But hope from
my soul he may be the last Of those who have
narrowed great artist life to the old worn-out
ground--dedicatcd glowing pencil! to the thou
sand-times repeated traditions Of the Church
monk. cowled and cloistcr-shadowed genius
which should have had broad lookout and
free range over the world.
In the life Of art, saints, Madonnas holy
Popes, monks angels, prophets and apostles,
have had their day, and long and glorus day
it has been. 1t Is now time that the artist
should recognise that art should commemorate
what is high and noble, pure and heroic, in the
world OF to-day. in tho simple hunanity about
us Grand and inspiring, ay, and holy are
the subjects for the true artist in the everyday
course Of life, on the common field OF the
world. Love, devotion 10 any great truth, high
endeavor, sacri6ce, and death, for freedom and
mankind, are they not a. sublime as the costa.