, 1874-06-07

| face young m An in the first fush OF youth, I
! majestic figure, ivy-crow0ed, glorious one Will
starry eyes, bending over a harp,-whst need t.
reproduce them, e1actly7 TO no two wht
Of Of Child Childhood, 3d. and with them ths
lovely hopes and beliefs that made life seem 9
door opening Into vast, enchanted Hereafter.
There is the harp with which you onoe thought
to charm tho world the hero Of your first
enthusiasm the great poet or the grand
preacher who seemed, to you to stand high
enough to reach tho sacred fire OF Heaven And
hand it down to mortals,-they are all there,
asinS .way fo1evsF 1hsfe pthas y .as
ship: there Theon, is the That's to whom you
vowed an eternal loyalty. Another Damon,
another Thais moves in your life, 5ostlea you
suddenly III the street; but the real man and
ing ship, fading sway. All griet for what we
have lost admits Of consolation, but who can
measure tho infinite pathos, Of the lament for
that which has noy0r existed It IL difficult to
describe this picture without incurrlng the i'm
putation -of scntimontslity no bare descrip-
ton conveys idea Of its power. Even
the most cynical Pariaian standing before it for
geta bis airy mockery, and murmurs t. Test pas
NAL. ca" The treatment il in harmony with the
subject the coloring, with it's soft gray and
violet tones aud luminous effects; romiuds ono
Of tvllight-mists aud shadows, and the Indian
summer hazo.
A thorough acquaintance with tho galleries Of
the Louvre and Luxembourg, added to brief
survey OF the studios and tho latest Salon, will
give one
VERY JUST AND COMPLETE IDEA
Of what the French have accomplished in tho
art Of painting. In manual doxrerity and fine
uess Of finish, in the triumph over all difficult
ties In the representation OF the human figure,
in warmth and transparency Of coloriug, they
are almost unapproached in modern times, and
certainly lead the advance in that art. Ths
great blemish Of modern French painting Ia its
rampant materialism. its deifcntiou OF the senses
btemleh Of modern French life. But the great
galleries have, to very great extent, escaped
this ininence; thu picture in tho Luxembourg
entitled ~ Wealthy Greek En Market Of Circas-
sian Slaves" by Victor airaud. purchased by
the Government in the last days Of the Empire,
is ono Of the few exceptions; and gave stronger
testimony Of the deterioration OF national sasta
than would have done hundred similar pictures
in studios and private salons. In this brief
sketch Of the Luxembourg, I description Of such
works has been omitted; partly In tho belief
that school in bess judged from it's most admir-
able productions, and partly in tho hope that
these EVIDENCES Of an unhealthy influence In Art
may be permitted to die cut With the stato Of
hocisty which suggested and approved them.
Az the fneat school Of color and mechanical
address in the world, thu Paris stadios are tho
constant resort Of
AMERICAN STUDENTS
In tho art OF painting. Will they win to their
complete command this gifted Ariel Of the brush
and pnlstto, and employ it in nobler labors, to
express the best thought OF their native land7
OF, dazzled by meretricious splendors, will they
become tho slave Of unhallowed genG, import
ing into the New World poison which, in tho
Old, has so nearly destroyed brave and artis-
tic people? On the answer to this question,
from tho student who studies. tho tourist who
visits, the connoissour who acquires French
pictures. it depends whether moro intimate ao-
quaintancc with them shnll be Of exceeding nd
vantage or inoalculab1e injury to American Art
snd life. CHAhLEs LAHDoR.