New Orleans Republican. [volume] (New Orleans, La) 1867-1878, 1876-10-18
NEW ORLEANS WEDNESDAY OCTOBER l8, 1876

), EUN ESDA1, OCIOf
Especial Correspondence Of the Republican,
CENTENNIAL NOTES. II
PHILADELPHIA. October 13. 1876.
The present indications arc that the COM
mittee appointed to collect the money for
the purpose Of purchasing the Main build.
ing and arranging to have it remain per-
mauent fixture will not succeed. 1t 10
claimed that the sum Of $5O0, 900 will be
sufficient to purchase it, but some OF the
Park commissioners are not favorable to
the project, - the main edifice would over
shadow and crowd Memorial Hall, with it's
granite walls and substantial structure.
It 10 situated short distance north, and
BY allowing this it would be completely
hidden from the approaches to the Park,
and as . receptacle of art treasures no
place could be more desirable or more en-.
during. It would not serve the purposes,
however, for which the Main building is
designed.
Strangers and citizens both express
great regret that the principal ediices can
not remain as they are, and if the consent
of the commissioners, both Park and Gen.
tennial, can be obtained, think that the
Main building itself may be converted into
regular museum. The State buildings are
beautiful and ornamental, and display many
styles of architecture, but would scarcely
be OF any use if dismsntled and removed
from the grounds. There are very few Of
the commonwealths that would not consent
to have their cottages remain, but no active
steps have yet been taken to secure them.
A picture in the Russian department, on
titled Blessing of the Bride" has oc-
casioned considerable comment and Q good
deal of curiosity, and requires an explsna-
tion to make it intelligent to the majority of
visitors. 1t is considered ono of the best
specimens of paintings in the Russian COL
lection. The bride, beautifully dressed in
white satin, ID on her knees in the centre of
IN elegantly furnished room, and her face
10 hidden in her hands. Her attitude in
dicates the depths of despair, and many
visitors suggest 1t being styled ''The Forced
Wedding" An old man, who appears to be
the father of the bride, turns away from
her as, though angry, olutching in his hands
. casket. Tho mother stands near the sor-
rowing bride with loaf of bread and
salt-cellar. 1t 10 the custom of breaking
bread when strangers enter the premises of
the Russians, and it eignifies welcome,
and perhaps the artist intended to use
these symbols - blessing in this instance
In the background, standing near half
closed door, is the groom and Q bridesmaid.
They both seem to be alarmed at the atti-
tude the bride has assumed. Although
this picture Is the best in the collection, it
is mystery, and many are disappointed at
not being able to interpret the meaning or
to reconcile the name given in the cata-
logue to one who appears to be anything
else but willing bride.
A very prominent picture is the scene at
the English railway station, in the depart
ment devoted to Great Britain. A large
crowd has assembled to take the departing
train. Here is . blushing bride just start
ing on her wedding trip, accompanied by
her many friends, wishing her godspeed.
There is . mother dragging her children
with her, and fairly loaded down with boxes
and bundles. Here is q boy bringing in
haste forgotten package All the details of
. departure from great depot in America
are faithfully reproduced, with this differ
ence that all the faces, costumes and manners
of the people are 80 faultlessly represented
that one can not fail to recognize the Eng
lish features. The most expressive of al
tho groups is that of thief whose face is
closely mufiied, and tolerably we'll dis
guised under his Ulster, and who has just
placed his foot upon the step of tho plat
form, and is about to enter the car and
make his escape, when Bow street officer
presents him with pair of handcuffs, and
claims him - his prisoner.
The only piece Of art from the hands of .
colored woman is the dying Cleopatra"
by Edmonia Lewis, of Philadelphia. She
has spent several years in Rome under tho
patronage OF . few wealthy citizens, who
have given her this opportunity to develop
her remarkable talent, which she early OK
hibited, and is 90 stlikingly manifested in
her Cleopatra. The figure is life size, and
is carved from . very pure piece of marble.
The Egyptian fea lures and all the surround.
ings are we'll represented. Cleopatra is
seated on high-backed chair, dressed in
loosely flowing robe, with girdled waist.
Her head inclines slightly to her left shoul
der, her eyes are half closed, and in her
right hand is the poisonous asp, from the
effects of whose sting she is yielding up her |
life. The left arm hangs carelessly by her
side. The ornaments and all the details dis
play not only careful research ON the part |
Of the sculptress, but delicacy of manipula.
ton in the execution of her work which is |
scarcely surpassed by more noted artists in
this vast collection.
One Of the most conspicuous Of the por.
traits in the French department in Memo
rial Hall is likeness OF Mile. Croisette, the |
famous Partisan actress, seated on . mag.
aiioent bay horse, pausing after . canter
along the sea beach. The pose of the lady is |
graceful and natural, and her face is lit up
Dy bright smile. She is clad in Z long
black velvet riding habit, high silk hat !
md light kid gloves. ANXIOUS.
An Irish Creole On the Tramp.
EDITOR REPUBLICANS: