The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-01-29

CruciaXion" In spite or unsatisfactory and
even unpleasant color, and the want OF that sentl-
ment OF terror and horror in nature at the crime
which has committed against the Creator, there
Is stll enough or t0ugpL and power in the work to
command our admiration. II Is true we cannot
stand before the painting and confess to ourselves
that human art can do no more. and that we
look upon the ultimate expression Of the grandest
and most appalling drama in the his
tory OF creation. But II we pause 70 examine
why tits so there Will appear, 10 those capable OF
analyzing their own impressions, other causes than
the defects Of execution or conception on the part
OF the arlist--something in the nature or the
subject and habltual way OF regarding II.
Have we not grown up with ideas in this relation
so grand,
TERRIBLE AND APPALLING
that all merely human art must fall IN realizing
that awful scene when .the rocks trembled, the
sun darkened and the graves yielded up their
dead9' TO present to the eye such picture as the
Imagination has created, and that we have en-.
shrined In our hearts and minds until 1t has become
q matter OF faith OF which we can almost believe
ourselves cognzant is absolutely beyond the power
OF art and in this circumstance perhaps dwells the
cause why so many are disappointed with Ger0me's
work. But II we pause before the picture ana allow
IL to grow upon us, with all its wonderful subtitle
power or suggestiveness we begin to feel tine force
ID
pealing to the sentiment Of horror; and che same
thought which removed the actual crucihxion out
side the picture ana merely informed us OF the
event by the shadows, no doubt Influenced the
artist to subdue
THE MANIFESTATIONS OF NATURE,
and to endeavor merely 10 convey To the mind the
coming oil " scene 10 which no human power could
do justice. the treatment adopted, about which SO
many critics and the pubic complain, Is In abs0-
lutte harmony with
THE CENTRAL THOUGHT
which pervades the composition. Christ has not
died, as we are told by the threatening acton OF
nature is not yet thoroughly aroused by
consummated act. This logical connection has
escaped the notice OF adverse critics, who,
not finding represented That which 1t would be i'm
possible to represent adequately and with dignity,
at once pass W apon be aa no
terity. The most legitimate ground Tor complaint
is furnished by those
SHADOWY CROSSES,
which lend so much charm to the composition. In
selecting this form OF expressing the death Of the
matte perception as well as exquisite refinement of
thought; and II there were nothing else whatever
would have been SUFFICIENT to merit the highest
PRAISE BY q strange oversight, however. the artist
has cast ms shadows over tne foreground. which is
broken aud jagged, as II they were cast on bowling
green, which Is impossible i'll nature, as he shadows
would have followed the INEQUALITY OF the ground,
though they had been thrown perfectly level
surface. Possibly the artist deliberately erred In this
matter III order to convey more directly the theme
OF his work, sacrificing detail to the main effect
to be sought. He has not elevated our iuea of the
sacrifice OF which he treats because that would be
impossible but least he claim to nave treated
1t with becoming dignity and If he has failed to con-
vey with adequate force the awful protest of nature
against
he has, at least. suggested the importance OF the
incident anu left To the Imagination TO supply those
elements OF supernatural horror which neither pen
nor brush can hope to describe.
BRIoN'S "5IxTH DAY OF CREATION"
Here is work with elements OF power which 1t
would be impossible for the most partial critic to
ignore. That an artist should ever nave attempted
To handle such theme excites at once our aston
ishment and admiration. That he should have
handled 1t III manner short OF our very vague and,
therefore. very wide conceptions. can scarcely sur
prise us. Unfortunately for the effect OF his
work, he has undertaken TO clothe the
Creator IN a personality. and though he
has given Him an ar OF dignity he has not been
able 90 make HIM appear otherwise than
grandeur or God are shocked by this tearing Of the
TlIH FACE OF THE ETERNAL
and revealing 10 US the form of worn old m an
floating through the clouds. The figure has been
admirably painted. and il we could reconcile our
selves TO having the Creator presented to us this
guse might applaud the artist for his execution;
but the idea Is false and ignoplc, and spoils what
TO our mind the subject would have been more fitly
treated had the attempt TO personfy God peen
omitted. But II the presence OF the Creator was aD.
| solutely necessary to the theme the artist should
have forgotten the essentially spiritual nature
Of the Creator and representa- HIM perme ating
| from this error OF Judgment the treat
| ment or the subject IS not lacking in
dark wide expanse OF the newly created world, and
above the llmilless clouds roll back into space.
Were the figure removed. and with II the floating
mass OF drapery, The effect OF the sky painting
would be
but the whole composition IL dwarfed by the at.
tempt to represent an infinite being by finite
means. Apart from this relation, aud viewed as Q
piece Of execution 1t IS Impossible to refuse to &C.
knowledge It's great merits. At present 1t Is con-
demned because we associate 1t and compare II with
dare even in imagination, to give form to our
thoughts, because we feel that 1t Is impossible for
arc s reach can then
be dlscreditable TO lall where success was abs0-
lutely impossible.
Arr Notes.
The expenditure Of the Science and Art Depart
ment IN Great Britain since 1853 to the present year
reaches the large sum OF fl.642 lbs. 1Od. sterling
when we compare this generous encouragement OF
art education with the indifference displayed In
America to this important branch OF public instruc-
ton we cannot help thinking that, in spite OF our
Wanted progress, we are left far behind in many
respects by European nations.
The number Of individuals instructed in the ar,
schools in Great Britain during the year 1870
amounted to 1S7, 918.
The number of art students attending night classes
has increased from 3d. in 2I9 classes IN 1869, to
II 49, in 352 classes, In 1870, showing how rapidly
art education is spreading among the British
people.
The development or art taste in England appears
TO be phenomenal ana If 1t continue to progress al
the same rate the nation Of shopkeepers Will be
| changed into O nation OF artists. The latest an
nouncement Is that Thornycroft has been selected
after pretty sharp competition, to model a grand
sculptural fountain to be erected IN Park lane Hyd.
Park. 1t is expected to be Of the greatest pub
| lie ornaments OF the great metropolis However
that will not require much genius on the part or thu
artist, most OF the other ornamentsn scarcely pro
duce pleasant impressions Statues of number O
the great poets, Shakespeare Milton, and Uhaucer
/ win be introduced into the composition.
/ A valuable collection OF naInfnQs hy The hes