New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1875-05-25
NEW PUBLICATIONS.
JUNE MAGAZINES.
LIPPINCOTT.

.,Y so On regard 10 visiting picture galleries. an
duty Of the tourist but one often
nth a. little pleasure profit The writer mas a ieei
An. remembrance Of her first experience in the European
Galleries Of art and filed with compassion for the mu
,tude OF her country folk who yearly undergo the same
misery al hope they do not all know how miserable
they arc and fancy that they enjoy themselves; nut WIN
many the suffering is too great for sendeceptlon, anu
they come home look back upon those long halls hco
with the masterpieces ancient and modern art as mere
torture chambers whence nothing is brought away ou
saekache, headache, weary feet and an agoni]"s
sion of ideas Some of them avenge themselves py mar
ing fun OF the whole matter: they ten you Una.
there is q great deal Of humbug about your So
pictures and statues; that Raphaei ~
n,ueh oycrrated as Shakespeare; that IL q"
son.o Gov ooon,e 70 pretend to admire headless
trunks and dincy canvases. To them have ho'ins ~
gay they find consolation In their own ce'ernes' M
great many are left with mingled sense oi uspl'.
upent and yearning; they cannot get rn Oh inc 'nos
that they have missed great pleasure-'hat precious
seeret has remained hidden from Them ana that through
mn fanlt of theirs II is these, who have my sincere
sympathy and TO those who have the same tas peoic
them that offer the result Of three years acquaintance
with the great galleries of Europe, promising tha' nave
no technical knowledge of art have only learned 10
enoy IT,. The trouble with Americans, as we are tolu ny
the writer, is that they generally leave nome WIN o'
ant of information on the subject OF Art WIN the eA
ception of few famous pictures and statues, 'he9 A
nothing OF the history or the characters Vi "o sio'
Even aftcr SONIC Hltic eAlNiiN"NS'
servation il is very difficult thing TO form correct
Judgment of picture even to decide hohes'i! III ~
gard to the effect on our own minds.
All our familiarity with the composition OF great PIC
does not prevent our becoming The nun
size and color first beholdng tnem. me nun Jun
her OF canvases and conflict OF hues III SaleIy eo
,s corridors the immense halls the endless
sutes of rooms with growing dlslnay ds ohe euo, G W
We advance the nightmare sense Of something whchis
impossible yet must he done. begins to weigh upon US
l.,x offnr6 aNN Wit
upon the limbs the senses and the brain Gn IraI M
jury sometimes ensues After tIavershg aUss T AM
pause the great artpalaces OF Munich Brussels Ant
werp The Hague and all the minor ones on tho route on
sS"Ws had cot to the point where sat down amidst
the Rembrandts forced to declare that would TSnGI
look at much Wallpaper of good pattern ms
inter folly cardinal rule in seeking either plea
of pros not to tire ones sell Mnen te
and the opportunity may never recur the ueinP1tn
almost overpowerng this is our only chancemw nus
moi lose it, But it if overtask the perceptions
and carry away no idea with there is no gam and
positive harm. No new To galleries should loon at plo
Who and cares much about them will not wish to do
30 than double that time we ieaf DS az rst
10 90 through gallery much more rapidly tna1 az hst
for unless have adopted some pan Oh sieVo r
by looking ne at ets and get the ground
micb more quickly. though spend long tline peios
pcases YOU look at by all means, return to IT again
and again aud whether the charm works or wears
out II NAV the stariingpolnt or your Wholc ca-
rcer Of enjoyment DO not run counter to your mat nat
nr impulse if you have ANY S or no by ana inferior
book and ENJOY it as much as you can II You n
honest with yourself you hot '"iS ioi
ii he poor
It's good plan which the writer recommends, on go
ing into gallery to take one master ana LOOK only at HIS
works for day two and then at the Others OF his
school Unless his done there apt to he terrible con
fusion Of names and dates manners and SUBJECTS Inc
knowledge and enjoyment of Art never comes by Nature
INT il the fr, of udcious study This is the strong
point OF the writer and she insists upon no less forcb
shan wisely.
Some people maintain that all great works OF art speak
will make their appear il 10
person capable of approaching them without any pre-
vons experience education This is Impossible, ioI
the fine arts would be an exception TO he fes
which govern everything else IN sinus sf %
with them with other things: knowledge cultvauo
ms as in all matters individual organization will tell
powerfully; take intelligent educated person OF
picture him before one of the greatest IN the
wre from IL 1ortiori an uneducated Person who
could appreciate the first masterpiece he ever saw th
FIRST time he saw IT, would he prodigy only second
10 him who could produce wtbut preliminary study
picture which think calculated to appeal most pow
egfuily and universally is Leonardo ola Nncs Last sup
per where the grouping of the figures ana me expression
each head we'll as the disposition OF the whole can
Thought and feeling yet even here there would he 1rt
shock TO any unframed eye ron te Iaafo n oy yT
before be even seen Moeoversh III! e&-
business of seeing galleries like that of revsng them
not only should return to them daily on nri atquan
apce b should make practice OF seeing them again
after interval Of months whenever II can DE done ~ *
surprising what a hnI en "a 'H'H
Little by little. through divers proDauohS we neeh 10
likes our favOri;e masters pictures and statues which
are like old friends Instead OF WEAKNESS, veXai0n and
vain effort to comprehend delightful sense OF repose
and coming pleasure steals over us as we enter gal
Iery the lovely forms, the noble composition the deli
eious color minister To us nlnd ana pod anu sooe US
like the smile of Nature and the plastic arts
have this advantage music, that they are inperso-
a We cannot identify ourselves with what moves us in
painting sculpture architecture: on the contrary
lifts of ourselves from our gres and cares
instead of giving them intense and poignant ex-
preston. which moments is all the dvines music
xfr fnfiIl G
aud we NAV always have TO it, while the secrets
Beethoven Mendelssohn, Chopin, schuinann ne muuen
between leaves, in the keeping OF Grabbed niue Nero
glyphs and a voice. instrument or perhaps an or
cbestr needed to reveal them The pctuit the statue
the very soul and OF IL softly forth and
breathes upon yours. Oh moments OF delight when we
lose ourselves soft Arcadan mood OF Claude LoT
raine, the COOL tranquil revery Of the Dutch landscape
painters, in the giant imIetuosy OF lintoiettO ID inc
rich warm OF Titan In the glowing mystic
ry Of GiOrgione. in the calm profound devouness OF
asn. Ii needs no io technical knowledge this,
however much that may enhance our ENJOY ar IL u-
dOubtcdly must But the Inspiration OF wOlK oil art may
be felt by any one.
There are several spirited sketches in this number,
which the reader will do well not 10 overlook, as The
Blousard IN his Hours OF Ease" Eight Hundred Miles
IN al Ambulance" and A Mutiny at Sea"
sCRIBNER.
The new number opens with description
Of the Latin Quarter in Paris in which studiou local
ity the writer appears have taken degree. II de-
rves is name the custom, several hundred years
ago OF compelling the pupil 10 speak Latin as as he
entered the Sorbonne any of the other colleges in the
Quarter In class and out OF class his duty to talk
Latin first incongruous Latin then ameliorated Latin,
otherwise called congruous. His Latin went with him
into the street aud the cabaret common language
necessary 10 University. embracing several col
eges, where students from different parts OF the
civilized world,-and It was Latin In the beginning it
kitchen Latin, and In time it purified to the
quirements Of the professor The Bohemanism OF the