Nashville union and American. [volume] (Nashville, Tenn.) 1868-1875, 1872-04-30

= nrarniacent Palntlng.

Among the most fascinating OF Magua-
lenes-stories that draw human nature out
ofthe depths of despair and elevate 1t to the
proud heights of moral grandeur-is that CT
st. Margaret, drawn by heartless step
mother from her home at the dawn Of wo-
manhood. With nothing save her matches
beauty sat once her glory and her Dane,"
was she thrown upon the cold charities of
the world. Then follows that old, sad
story, so sadly familiar with its burning
anguish, even to this day, whether the list
ening ear of philanthropy hear it
whispered in the quiet vale
near the humble cottage or from
its pale victims silently moving mid the
glittering throng of the city. A lover is
murdered and gle is led by Lis little dog 10
his corpse IN a deep, wild glen, and its
CHASTITY sight terrifes her into penitence.
She seeks her fathers house, in which, nev-
er again her home, she tearfully implores an
asylum from her shameful life; but the doors
are closed against her--a fathers love is
turned from her; in the field she spends the
night In prayer, and is miraculously direct
ed TO 90 to the Convent of the Franciscans
at Cortona. Here her life Is so serenely
beautiful in her humble obedience and ex-
allied faith that it is said the image of the
Redeemer on the crucifix bent its head in
compassion and forgiveness.
After this she became the local saint of
COrtona, and Pietro di Cortona made re-
markable drawing of her at the foot of the
crucifx, which picture is preserved in the
"Goethe collection at Weimar." This is,
by some thought to have suggested the
scene Of Margaret,s Penitence in Faust,
where Margaret Ia represented as pleading
before the image of the Mater DolOross:
''Incllne, OF maldeB,
Thou sOrrOw-laden,
Thy gracious countenance on my palm"
The drawing is the subject of the now
renowned Meyer, Of Bremen, whose achieve
ments in art have placed him along side
of Correggio, Lesuer, Poussin, Reubens,
and others who have illumined the world
with creations of the beautiful. The pic
ture, IS by ~ inches, of which &e speak,
was imported four or FIVE years ago by VIM.
Shsus, of New York city, where it was pur-
chased for 1000 by Mr.. W. G. Stone of
No. 1853 North Cherry street, this city. He
values it highly and no amount of money
would induce him to part with its owner
| ship. The picture, as above stated, Is
woman sitting by table, her elbows resting
on the table and her chin supported by her
hands which are clasped. The eyes, Of
dark brown, are looking upward. The head
is slightly poised to the right; the sunlight
falls gently on the right, giving pale tinge
| to that part Of the face the lefG arm and
shoulder. The light of the lamp gives glow
| ing tinge to the left cheek, arms and the left
side Of the forehead. The harmonious
blending of these lights is astonishingly
perfect-net the slightest defect is made by
| the different light, which blends as grace
! fully and invisi6ly as the colors of the rain
bow. The color of the picture is deep, rich
and softly transparent, making the form
stand out in relief from the background,
and reminding one of Corr ggio. A more
| brilliant colJring is not desirable and the
expression has something of the divine-in
that We behold the painting as a work Of
| art, and behOlding soon see and realize the
grandeur belonging to the old masters, for
| its design is replete with nobleness and
truth. What graceful, tender and almost
natural poise is there of the head, with its
dark auburn hair-how pure in its repent
ant look and beautiful in its sincere human
| ity is that face. The face as an ideal-creatiCn
IS one of such exquisite loneliness and
heavenly purity, that 1t is only by fascina-
ton of arts pervading enthusiasm we can
believe 1t the face as it is intendedto be, of
who comprehends the divine benefit of hui
man forgiveness, sustaining her grief by this
thought in calmness and resignation-the
one from virtue born of repentance, the
other from the seemingly UDthought purity
of innocence.
! If the heart of her in the spring time of
life, when the face was touched by no tear
of sorrow, spurned or disregarded, as the
/ shepherdess in Poussin's mighty work, the
| lecture given to beauty, youth and love,
only to feel in future anguish TIE stroke of
passion, no trace of its subdued expression
| is seen on the face, whose eyes are turned
! from earth, as if rapt in the faith Of
Heaven. But we think at times this SEEM
| ing innocence is tiDctured of virtue itself,
uy the thoughtful sadness, the pathetic
beauty, observed when viewing more close
| " the picture, carrying, as it does, the
character of profound and subdued emo
ton, While cOnnoisseurs of cultivated taste
may find this less admired because the eye
| Is not fattered 50 much as in other master
! pieces, we should not forget 1t has not the
/ grOssness of some others, but conveys to
the appreciative more Of truth and sublime
morality. There is no one of talent more
natural and refined force and moral eleva-
ton than Meyer. Ibis picture is one Of
the truest types of art, for it is the express
ion of the beautiful. We only regret there
are not more Of such works in our State,
and trust Mr.. Stone may be induced to ex-
hibit- this picture a: the Exposition, so that
the public can see one of the few works OF
Justly celebrated painter.