The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-03-11
ART MATTERS.

Exhibition of SelsuS Jerusalem, in Her
Grandeur and In Her Fall.'
II would perhaps have been impossible for artist
to have selected subject for his pencil more full OF
deep and lasting interest to the civilized world than
that which Mr.. Selous has chosen. Whether we
look upon Jerusalem from the merely historical
point Of view turn TO 1t with feelings Of religious
awe. as the scene OF che awful sacrifice which was
the price Of mans redemption, 1t possesses for the
intelligent mind
AN ABSORBING INTEREST.
Our thoughts are carried back to the days when God
seemed TO concentrate all BIS love on His chosen
people. The artist has raised from It's RUNS the
magnificent Temple OF Solomon and surrounded It
with the principal edinces OF the existence OF which
we have any knowledge. In treating OF this subject
Of Jerusalem In her grandeur the artist mas been
necessarily compelled to depend very much on his
imagination, aided BY such authentic descriptions
as exist In sacred profane history. Indeed, the
authority OF archaeology and the late typographical
surveys have gwen such reliable data for the
reconstruction OF The city az 1t existed In
the time OF Christ that In all essential
particulars we may look upon Nj. Selous painting
as fair representation Of the scene. The treat
ment from artistic point OF view, Is very salts.
factory, great attention having been paid to the
perspective drawing, and an amount OF care and
industry has been displayed IN the working out OF
example, In the Temple the smallest detail Of orna-
mentailon has been palhted ~, without, however,
interfering with the general beauty OF the work.
An impression Of grandeur and richness is conveyed
winch harmOnzes well with The generally accepted
idea OF The beauty and magnhcence oil the Temple,
In which rcpOsed the visible sign Of
GODS COVENANT WITH MAN.
But we confess that, much as we are interested
In the Jewish city IN the days of Its PRIDE IL Is with
the Jerusalem Of to-day, in It's ruin and decay that
gestiveness in the Crumbling walls and dllapdated
houses, which,, somehow, touch secret chord OF
sympathy ana awaken feelings Tor which we In
ence made itself felt by the artist and The result Is
seen IN work that, looked at pctorally, Is far su
point Of view Is almost Identical, SO that
we can compare ut our ease the picturesque
years ago. As we look rom Que to the other there
comes back forclbW the history OF mat pure and
gentle lie which the wicked populace sacrificed to
their insensate hate, and the eye wanders inqulr-
ingly from the Hil OF Olives to the distant horizon
where the Jld dOlOrOSd ends at
TIE DMLY sHADOwED MOUNT OF CAVALRY.
Our thoughts revert the freely TO this subject
in picture Of Jerusalem her all because there
has placed number Of groups Of travellers.
relieve the mass Of masonry which occupies the
centre OF The composition, but though these groups
the picture tney do not necessarily add very much
10 the interest which IS naturally centred in the
the sun Is gong down, out not In one OF those
GORGEOUS FLOODS OF GOLD AND CRIMSON LIGHT
common Ill Inc Eist, Mlnuul OF the SAD history,
which more than aught else makes us love and re.
we're the crumblng walls OF the old town. the artist
has thrown mellow, shadOwful tight over the
scene; aud even the setting sun seems TO veil his
glory as mis- last beams KISS reyerently the mount
whereOn died the Son Of Man. The most striking
building III the present city Is the mosque OF Omar,
occupying almost the same ground as the Temple
di1 OF Old. A salient angie OF the wall which Is
rapidly lailiag to decay Is SAID to have formed part
OF the ancient lemple but Of this there Is abso
lutte certainty. We must compliment Mr.. SelOus
OH the remarkably effective manner In which he
has dealt with his subjects, and the evidence which
they furnish OF real artistic feeling his part.
In jerusalem In her fall the twilight which battles
the scene In half tones OF u subdued religious
character Is well IN keeping with the stale OF
ruin OF the city Over the foreground shadows are
stealing, mngling with the faint, mellow rays cast
over the landscape by the departing sun, ana lend
ing an air Of
PEACE AND MYSTERY
to the scene which accOrds well with the thoughts
which naturally suggest themselves The compost
ton Of the work Is Dod and lree with OF dis
lance and space well conveyed. What lends the
greatest Importance to Mr.. Selous work Is its
truthiulness and tile almost Typographical fidelity
which mari his drawing. On this point we have
the evidence of number OF Distinguished travel
lers VINO have dwet long In the Sacred City and
are necessarily familiar with the scene. No one
who takes interest IN the history Of the Christian
Church ought TO neglect TO visit the exhibition
rooms, the corner OF TWENTY -secOnd street and
Filth avenue, where MI. Seous' pictures have been
placed on view by Mr.. Derby, by whom they were
hrOuVht 10