The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1873-02-23
ART MATTERS.
The Newest Studio Sensa tion-"St. An
drew Bearing His Cross.''

The Newest Studio Sensa tfOn-ssSt. An
drew Bearing His Cross.''
The article in last Sundays HERALD In reference
to very old and valuable painting by Michael
Angelo Caravaggio evoked a profound interest
In scores of art connolsseurs and psychologists,
and the result evinced itself in more than usual
influx of visitors to the ateler of Messrs Church
& Heade, in the Tenth street Studio Building in
which the work reposes. This studio, by the way
is one OF the most plcturesquely attractive this
city. The walls are hidden by diversified works of art
and various beautiful and trOpc knicknacks which
these two distinguished painters have accumulated
during their travels. Either Mr.. Church or Mr..
Heade is always to be discovered. and any one who
has enjoyed the privilege of watching these gen.
temen at work knows how finely the Celebrations
of their brushes are supplemented by their
spoken views on art and the encourage
ment that is, and that is not, given to it. 1t
accomplishments, however, to acknowledge that
the presence In their studio Of an old painting by
magnet during the past week. To the principal
merits of the picture we have already referred.
They are strong enough to be used in rebuttal Of
those who claim that the style of the naturalist Ito
which school CaravaggiO belonged) reflects savage
passion and dark criminality exclusively and ex-
presses the poetry OF the fepusive alone pro.
picture, the face of ST. Andrew being that of man
In whom all the dross Of sensualism has been purged
ship. Accordingly 1t was OF this work that Homig-
man, the artist, said, after having studied and
tested Ola oil painting q Andew
tention II is not only genuine oil paiting, but
Is really the work of an old master. Only master
strength and force, while its technical execution
and It's free and easy handling OF the brush show
tory Of this interesting chez GGupre has been It
were in vain to conjecture; but II the vicsstudes
throu~h which It passed during the first two Gen.
ffnrff No mi Nc honT Nan
parls0n with those to which 1t has been subjected
during the last lustrum its record has been roman
tiOns-those Of Chicago and BOstOn-and for many
years in the possession OF family descended
from the celebrated Earl Goodwin, its claims to
powerful artistic merit to the charm of tradition
airy romance and legitlmately sensational episode.
u VIII probably De on view ior only few days
1t Is not unlikely, may result in placing 1t among
private collection or enshrining 1t In the sacred
twilight of some church, where reverence for
medieval art Is one OF the forms III which religion
expresses itself.
Constant Mayors New Picture.
For some weeks Mr.. Constant Mayer has been
employed upon picture to which he is now put
ting the final touches. 1t Is to be entitled sHome-
less" and represents young girl standing alone,
with clasped hands and eyes riveted in deep sad
ness. She is barefoot and otherwise scantily clad,
and is at that dangerful age when virginia. unrpe-
ness is about to mellow into young womanhood.
The expression OF the face and attitude Justifes
the title. We believe 1t was Mr. Mayors intention
to use as the motto two three lines from Hoods
"Bridge Of Signs" but wise reconsideration re-
minded him that the very popularity OF that poem
was in this case disadvantage and that the faint
upon the poor wall whom Hood so touchingly i'm
mortalizes would be attributed to the lonely
but not necessarily unchaste wanderer in
Homeless" The purity of Mr.. Mayors treatment
Ia to be particularly admired: for while he has
not so idolized the face as to present the
bewildering paradox OF an angel in rags and
seraph with q torn chemise, he has not cOarsened
his conception by the presence of a single pru-
rient accessory. The girl In "Homelessv Is not one
with whom the observer Is forced to connect the
idea OF impurity II she falls we feel that 1t will
be less rom that amative wandering of the eyes'
which Is the indication OF deeply sensual tenn
permanent, than from the mistaken impulses of
generous, cOnnding but ignorant heart The ten
der bloom Is still upon the fruit, which vet may be
ripe for falling into the decorating hand. Happy
use has been made OF the means imagined by the
artist for emphasizing the situation OF the principal
figure The girl stands in shadow, on the outer
side OF wall, beyond which glimpses are caught
OF handsome homesteads and peaceful scenery;
but the contrast Is not between wealth and
poverty, but between home ana homelesness. Mr..
that happiness Is not innate In brown stone and
patrimOny, and some OF his accessories therefore,
indicate the simple enjoyments that no riches alone
can secure, and that poverty, unless 1t be abect,
work Is about the size OF "The Village Hampden,n
which left the artists easel few months ago. and
will take high rank among the more pleasing in
stances OF Mr.. Mayors delicacy OF conception and
purity OF treatment, and OF that fine poetic apti-
tude by which he expresses in q single figure
number OF valuable thoughts and ennobling feel
ings that are the c0nsequents Of repeated Observa
lions and wide generalization.