Public ledger. [volume] (Memphis, Tenn.) 1865-1893, 1873-12-31
ssThe shadow OF Death, by Holman
HuuI.

From the London Saturday keVieW.l
The picture admits of easy descrip-
ton; the characters are but two-Chrlst
and the Madonna; the scene is laid In a
carpenters shop hung with tools and
strewn with shavings. The accessories
have been studied on the spot. Thus
we are told that I" the tools on the rack
are from collection of ancient carpen-
ters' implements bought at Bethlehem.
In like manner the rounded arch OF the
windows, the draperies ard the design OF
the box supposed to contain the gifts OF
the Three Kings are substantiated by ex-
tant examples. Nothing is the creation
of the imagination; historic truth IS
reached through selection of still ex-
isting facts, process which is all the
more trustworthy from the known per-
manence of Oriental forms. This car
penter shop was indeed in part painted
lin carpenters shop and the figure
and head OF Christ were studied from
living models in Palestine. The char
acters introduced are, as we have said,
only two. The Madonna is the reverse
of conspicuous; she is crouching down;
she terms her back on the spectator; her
face is not seen. One advantage OF this
unusual arrangement is the prominence
gained for the principal figure. Christ,
a full grown man, at least six feet tall,
stands in the midst of small workshop;
the day is done, and long toll brings
weariness; the arms are upstretched as
if in relief from long tension, and the
down.going sun which fills the room with
light and illumines the face with radiant
glory, casts the figure in shadow upon
the wall. The arms are uplifted, the
shadow is the figure of the cross" The
Shadow of Death.
The head OF the Savior and the fig
ure. The greater part of which is un'
draped. have evidently, in common with
every other part Of the picture, received
anxious thought And the result is an
independence of treatment which will
throw the world int lgntroversy' In the
first place we may remark iysi, though
The idea of the existence Of any trnst'
worthy portrait Of Christ has long been
abandoned, yet there is, as we all know,
type which for centuries OBTAINS &C.
ceDtance. Mr.. Hunt, throwing aside
the traditional form, goes to nature ana
makes for himself new type. To this
there can be no objection, proYlded only
he realizes the fundamental idea OF TIE
character, which iR the divine residing
in the human. We beiieEs that two or
more models have been employedJ 3
practice for obvious reasons hapltla!
with both painters and seulptorsi the
defects of one model are thus recuneo
bv the others. Ia the present instance
the torso and limbs have been studied
from a mau in Syria, better known for
his physique than for hie moral attri-
butes. The artist has sFtcli2ted the
form firmly; the anatomy. mas
nerye and sinew; the modelling IS
sbarp and even severe; the style
and mauipulatiop rre somewhat be-
tween the early Italian aaa fhe early
German; the color is warm to crudity.
fhs physical frame is that of man
we'll pfoBosGcped, strongly and com.
pactly knit in bone ana muscle, htted
bv nature for skilled manual iabog, end
so Ear the artist gains what he aims at.
Yet, Judged by the highest standard,
moro might be desired. Mr..
HINT. Il Is understood, met with an ac-
tusl head WHICH Fith notifications,
served him for model, Just rs Leon
ardo is sad to have used the stnqy frem
the life now in ;he Brera, Milan, for his
consummated wall picture. The Italian
artist, it is stated, could not sas'siY MN
self for a long time-a story which may
well be believed when we contemplate
the generalized ideal of the ultimate
product. It is obvious that Mr.. Holm9n
Hunt has adhered more closely to indi-
vidual nature; hence his type has more
of the actual, and less Of the ideal.
The head is crowned with auburn hair,
which falls in diserdered curls upon the
shoulders, the beard is short, the mouth
open, showing teeth white as ivory; the
ewes, liquid and lustroGs as gems, are
turned upward. 1t is often written,
" And Christ looked up to heaven the
artist has seized on such a moment, and
ia his appraised face we read, not only
the weariuess Of the flesh through labor,
but the anguish Of she spirit and prayer
for divine aid. The conception Is truly
Christian.