New-York tribune., 1870-04-15

.S,,s AZ Glance brit disaproint the close inspeo-
- Having admired the bold sweep of his pencil the
80 ,rcVement of the figures, the flowing outlines the
hy,czy tone Of the conception, we come to pause
1 nresent work though less stately grandiose, and
-oic than his other well known pieces, 10 marked by
- oe general characteristics that they all share The
,t efet Of II on eye and mind is pleasing The draw
"a, ia on canvas, in charcoal, material that can be
- IN Great advantage for shading. 1t allows the com
atior OF strong contrasts with soft hues The eye Is
t n once by the beauty Of the surface which is lus
,,s and rich The accessories, the bunch of vine, the
~ ON the ground the fringe of the rug, the fold OF
- ar,nout are brilliant In color and are drawn with all
7, E,rr,sch's frnness aud deIcaov. We admire tie
sosess OF the five figures, the skill OF the posturng,
e variety Of gesture the harmonious fness OF the ar
n-meut the CHEEKY expression that annates them all
rs gives unity 30 the composition. But the piece Ia so
er venting IN interior significance that 1t might be
,red anything else in reason, and had better be called
,v another name than Charity
For m soul Of charity is not init even If we put the or
-, meaning into the word There is Interpretation
sps-tv such as our artist Gray gave TO the same
;. In his well known picture where the forms were
,.,,.cal OF very deep and fine sense. The central
~ rerreseutins Love I'm its sweetest human relations,
l5i,r o its bosom the new uusheltercd faith, giving
acr knees 10 the faith Of the Olden days and lend
-..a-e,r 70 philosophy, who introduces TO her the
. ,,,orarIe faith Of all, outcast and impover-
-, No such profound rendering as this does Kaul-
, or This charity is rot hospitality TO outcast
,Ds or beliefs it is not pity to human wretchedness
,vertv In their ordinary aspects. II is neither the
- charity Of ST. Paul the love Of the Sermon on
e Mount II docs not express either the highest com
,ssou or the lowest, either sympathy with suffering
rl. Or with suffering bodies Indeed, It expresses no
svovf feeling with suffering under any aspect 1t is not
lender vsgcd soft cycd il Is neither sad, pensiye
1or p.t.fu-
Here is larcc-lmbed, full-hreasted woman, sitting
ra q bank. fondlng and pulled upon by four lusty,
plump bright curlypaed boys, apparently her own one
stands on bank and leans her shoulder; another
,sscs her lips; third places lis round mouth near
r flowing bosom 10 catch the stream Of milk that pours
r.n it n from spring; the fourth is in her lap kept
rom falling by the strong right arm that embraces
r All four look merry aud frOlcsOme, as far removed
rlm penury and pain may be imagined-n no need OF
--essing OF pity There is something almost absurd in
c pouring Of the milk from the breast, with little
sucking babe TO be nourshcd by It, but just wasting IT
-e.f by running down the mouth of stout urcln Of
i've or six.
As we examine the work more nearly detect i'm
erfectons in the drawing The left hand is crude and
lsy as clasps the body Of the child who is display
ag his oscuatory prOpcuses and there IS indstinct
e in the Indication Of the limbs that belong TO the boy
sho is eager for the Inappropriate and untmcy milk
In a word, the work has Kaulbachs faults as well as
lis merits AS tho performance Of master who holds
conspicuous position in modern art, who, in some sense
IS refOrmer, it is interesting; but regarded as an
tic creation, il possesses no very admirable charac-
tsristics. Kaubach is now an old man. lie has made
himself felt Is thinker on the liberal side Of politics
and regio For this we owe him honor this com
mend in his productions. but our artistic sentiment
Gays homage at other shrnes.