The New York herald., 1876-12-06
ART MATTERS.

'KIS0 LEAR AND coRpELIA IN PRISON"
There IS now on exhibition In the vest bulc OF
Booths Theatre oil painting with the above titles
by Mr. Franz veano. The moment chosen by tho
painter that when Lear startled by the entrance OF
his followers, while Cordea lies dead with her head
on his lap The scene is not IN the play, but Is implied
In tho description which Lear aiterward gives. The
situation is clearly gwen There the dead body of
the whom Lear refers when he says, II killed
the slave that was hanging thee" Tho composition
is good, though somewhat conventional and the gen.
crai treatment broad. The principal fauls is tho de-
ncency OF expression still It rs good picture, and
credablc to the artist sincere and, to consider
aoo degree. successful effort render great sub.
jcct.
great conception OF Lear has becn, SO far as
we know, placed upon canvas One reason Is un-
doubcdly that England has had no great imaGina-
tive painters and that her finest found in the
branches OF portrature and landscape. Shakespeare
was neglected by tho English painters until near
the close OF tho Eighteenth century, when Boydcl
invited thirty OF the best painters OF that period
to illustrate his plays Tho paintings wore then
engraved and form Ihe celebrated the Boydel Gallery
Among the pictures Of Lear In this collection Us
by Sir Benjamin West entitled "Lear in the Storm"
which finely engraved by Sharpe. Another by
Fusel is called .'Lcar Disinhcriting Cordelis," in
the Mino.aur Barry painted "Lear with Cordelia
Dead in His Arms" described as '.sad,y artlGcial
tho figure of the world worn King is that OF
Irish harper. and CordciA is buxom maiden. "
Reynolds wisely, perhaps. did not attempt Lear
Anerward, when Shakespeare became we'll known In
Germany, Moritz Retzsch published his celebrated
etchngs, which are, on the WHOLE tho best iustra-
tions OF Shakespeare known. Yet he failed in lear.
"rhe characters Is SAID, swear the costumes Of
HoIbcns time, and the King looks like burgomaster
OF Frankfort rather than ancient King OF
Britain" In our country httlc has been
done the illustration OF Shakespeare by artists
Tho pictures by Mr.. =. +. Rothermel VIC remember
best some Of his heads Of tho monarch are impress
sivc and two Of his successful works are clear
in the Storm" and "Lear with the Dead Body OF Cor
dclin.n In more than instance, We believe Mr..
Ro,hcrmel had tho great advantage OF having
Edwin Forrest o model. The general fail
urc to realize Lear on canvas Is thus explained
in an able article In the last number oil the London
Quarterly Reuie,o for October, in which the reader
cresed in the history and state OF Shakcspcarian illus
tration Will find much valuable information. "We
conceive however, says the writer. s'that Lear is
beyond illustration by any art which appeals TO
only Tho living voice is wanting.
Some OF the poets creations must remain
unrcazed until kindred genius shall arise to embody
them on canvas We have how inadequate have
been the attompss OF many richly gifted men trans
late the immortal poetry Of 'Loar' and Macbeth into
the language OF tho paleten 1t Is our own belief that
ideal illustrations OF Shakespeare unless OF the lrst
order Of merit far less interesting and important
than portraits Of great actors in their best
characters. Thus Hogarth's engraving OF Garrick as
Richard H., startled from his dream, "Give
mo another horsc Bind up my wounds' or Law
rence's theatrical picture OF Kemblo Rola, Rcy-
nods portraits OF Sddons Thomas Su!ly's fine por-
trait OF George Frederick Cooke In the soioquy of
Richard ILL.,. or Hicks portrait OF Edwin Booth
Iago worth much than the icebe and unsat
isfactory attempts TO realize vague conception with
Ghich the Boydc and Retzsch galleries are filed