, 1874-05-17

to overflow with tears. But como upon the1
some day when life has gone hardly with you
when you ara somewhat weary Of salf-suf6cien
takers and brilliant Batitists, aud you will fms
] something cu1ious1y winning and sympathcti
| in these sad. tender faces. They suggest tn
! painters birthplace; the pathetic faces Of til
] UmbIian women, go we'll described in the ex
| pressive Italian proverb: "That which makes
| Roman woman angry makes An Umbrian womA1
cry"
THE "LoSa GALLERY"
| contains IN immense and varied collection oi
old paintings illustrating the early Italian, Fiem
| ish, and French schools, with some specimens O
| tho German and 6psuish. Hare ase tho quaint
from their mouths curious heads OF Holbein
and individual, strongly marked countenances il
sombro tones by Renbrandt.-the latter LOOKING
out from the deep shadow OF broad, Flemisi
beavers !; here are CavalierA OF Van Dyck ant
Velasquez, beside tavern-inteiors by Tenie1s.-
jolly peasants draining foaming beer-glasses an6
smoking pipes around rough little tables vhils
not far off are landscapes With figures BY Cupp
and historic scenes by Iouasin. 4 hurried in
spection OF this room gives far less satisfaction
than tho same time in the Square Room for
while the number Of separate artists represented
is inmeasurably larger, the works themselves
are, in most instances, rather characteristic
specimens Of the paintera in question than
great masterpieces. Now, il you are a tourist
Of q certain conventional type, aud desire to
come home
D1EApFCLLY LEARNED AND ACCOMPLISHED.
to nnnihilate your best friends and awe society
in genera1, you will 60 through the Long Gallery,
gulde-book or at-manual In hand. You will
lind out what every we'll educated person is az
pected to think Of each painting, what merits
and dement's Mr. Roughshn and the rest OF the
art-crit1cs have found in each picture, and what
Impression it ought to make Oh every weil-dis-
ciplined mind and you viii do your best to see
what you ought to see, to think Hhat they have
fA1r1 11Af II tsrf1f Aa ttxr ,n+4
sometimes, aud harder upon your minds. But
you will persevere faithfully to the end, aud will
be able to talk Of tone and chiaroscuro, to
cEtlcise all the great artists in Wall-turned aud
appropriate phrases long after the original pic
lures have become dim magnificent kale,dos-
haunted by vague impression that Art Is lit
tie drehry IS we'll as long, you will sternly ignore
Its existence and proclaim, on every occasion,
how, unreservedly you delight, rejoice,-nay,
rerel,-in the old mAsterB.
But, II you are
from the broad prairies or the deep woods of
the Northwest, you will enter tho Long Gallery
unhampered by any such obligations or desires.
loug stare Of eager curiosity. You will 60 up to
group OF willows by farm house, in front of
whose gate ho1seman has alighted, towards
whom his companion, still mounted, bends to
speak, his bride falliug loosely on his horses
neck $50 that is Cuyp!" you say to yourself.
You remember how often, in novels, poems, and
biographies, you have como across this artist
with the unpronouuceable name, have vou-
dered what his pictures wera like, and whether,
after ali, you should think them 60 fne; and
long time, and confess that you don't know what
to think Of it. You notice, indeed, that there ia
4 somewhat curioas effect OF the light falling
through tho wlllons and on the grhss; you ere
conscious OF faint desire to hear what tbs
riders are saying to each other their figures
sway little, nor do the horses stand quite still
in the mild spring sunshine. And so you will
saunter down the hall not having the fear Of the
critics before your eyes ag you indulge in All ir-
reyerent little laugh over some prim Madonna
Of Lucas Cranach's, or confess that Poussiu
seems to you somewhat mopotouous in his
groups Of figures, and his subjects far-fetched
and obscure. BIZ tho time yon have come to the
end Of the gauery,--which will not be in ono
visit, if you are wise,-you will ind that you
have not a decided and settled verdict upon
every artist, but that tho pictures themselves
stand out
WONDERFULLY CLEAR AND VIVID
in your memory. You will think your Own
thoughts shout them; and when, afterwards,
you come across the opinions OF the great
analysts in Art, it will seem delightful thing to
gou to find that some of those Thoughts cor
respond With thelrs. Later, in some English
aobleman's collection, you will fasten upon some
peculiar Little landscape, and aay to yourself, II
IN sure that ia carp;" and it will please you
) good deal to find that you are right. or some
. Giaude7 Then I don't think much OF
lim!" And you will long to say. "Oh! but that
loes not give good idea Of him ut ALL You
must not judge him till you have seen picture
n the Iouvre;' when all at once it will CONS TO
7ou that you are not without standards any
ore,-you have been among the great masters,
md q part Of their treasures you have brought
way.
Nevertheless Of many Of the old painters the
Iouvre will convey but partial and incomplete |
dea: |
GUIDO, FOR INSTANCE. !
Here his large nude figures, harsh in outline |
nd dull in coloring, are not likely TO preposess,
ou. It is with great thrill Of surprise, as well |
8 pleasure, that one afterwards roeetg II Rome |
is radiant Aurora. his large-eyed Slbyl and his !
BEATRICE Cenci. So Andrea del sarto cannot be
D the room adjoining the Long Gallery, ia
oble pic:ure,-a beautiful woman with children |
4 her arms. There ia something ample and I
owing in the outlines. pure and harmonious iu
he color. In this room also 1s the face Of the
oy Raphael at "A, painted BY himself. He leans
is head on his hand in a muhing attitude; tue
ounteuance is fair, the hair Light brown, the
yes OF clear, Blush gray. Altogether it ia
uite contract to his portrait st &c, in Flor
nee, where the tint is clear olive, the eyes
rQNu 8uu A41uUua-au&FbQ. NosI4us 61Aa LII LQ15 |
pom is so noticeable es = picture by Titan
hich bears the simple title, Portrait OF
oung Man." Who he was you do not know,
ut you do not see how with that face ho could
ave helped being famous. Equally sure are |
on that it was an excellent likeness, for it at-
acts arresistlbly, it Awakens interest, it does !
.erything but speak. None OF Tirian's larger
orks afford more incontestibfe proof OF his
over. Tie Long Gallery is completed By Ru-
8n's famous series of pictures representing
TIE LIFE OF MARY DE .sEDIc1.
To tho subjects themselves not much interest
n attach. There is an amusing blending OF
personnges and emble1ns with the
al incidents OF the heroines lfo; nor arc NO
,uerally much attracted to Mary de Modici
,rself, - large, Juno-]ike woman, Of superb
tslty and torid beauty; but, as studies Of
lor, these works are magnificent. They must,
fact have constituted school for art1ats
ring many years End their effect oaa be
ainly eeen by passing from the Long Ga:.eEy
to the great hall, with its adjoining salons,
hich contain wha. is after Ill, the great glory
ID distinctive feature OF the LOUVRE
THE MODERN FRENCH SCHOOL |
are are tho classic pictures Of David. With |
eir intensity OF dramatic action; the dignifed
mpositions OF his great pupil, 1ngres historic
poetic in subject, serious and elevated in
ne among the latter, none is SO securs Of
neral interest as his uoble Joan Of Arc.
,opold Roberts Italian scenes are fuu