Vermont phÅ“nix. [volume] (Brattleboro, Vt.) 1834-1955, 1876-08-18
aonELIN TAPESTRY,

| ship upon painted ocean'-an Egyptian
vase with figures mosaic.ed upon thati
aonELIN TAPESTRY.
There are only three of these wool pic
lures in the gallery, and all one can say of
them is, that they as far exceed in delicate
tinting the beautiful tapestries of the Main
Building, as they surpass ordinary wors-
| ted work.
ANTIQUITIES IN THE CAsTELLAN1 CoLLEC-
TIoN.
Conspicuous among these is draped In
dian Bacchus, heroic size, minus an arm,
found near Naples in 1875. Two beautiful
marble heads of Cupid and Psyche, said 10
be of the school of Praxitiles, surprise one
with their high foreheads. Her hair, like
that of several Of the antiques, is ribbed
from front to back like a melon. Under
| glass are a number of perfectly preserved
| specimens of largo bronze cystd (toilet cas-
kets) from the tombs of Palestina near
Rome. Another case is full of plates as
large as platters of the Gibbs majolica,
with strange, fitting, mother-of-pearl
hue permeating the original blue of the de-
| sign school of Andreoli in the 10th GEN.
tury. Other majolicas by the Arales in
Sicily were made as early as 1900 A. ID.
Scattered around are any quantity of small,
beautifully carved heads with a certain pa
thetc expression in their perfect little fea-
lures. Illuminated missals seek TO be-
guile you, some of them wholly of music
with flag shaped notes an inch long. Be-
witching Greek and Egyptian gold orna-
At
senting grape leaves and fruit-tempt the
eye. Italo-Greek funeral ornaments come
from period as remote as $50 B. c. And
a fascinating case of Etruscan, Phenician
and Greek engraved gems from Ninevah
and Persepols, illustrate the progress of
the glyptc art from its beginning TO the fif-
teenth century b. c.
sTATUARY.
An Italian artist represents the "Flight
of Time" by a statue of the Relentless One,
his muscles standing out like whip-cords
in his efforts 10 escape the despairing grasp
of a lovely maiden whose fnger-tips are
buried in the flesh of his giant shoulders.
Blu: vain is the unequal struggle, for he
still sweeps pitilessly on and the whir of
his mighty wings Is ever sounding in her
ear.
A "Young Mother and Child" The work
of FTaikin, a Belgian artist, is too simply
beautiful for words. Near this, by the
same artist is a charming child bent for
ward, with earnest, eager face, the one lit
tic garment raised in both hands to pounce
upon bee which has just settled at his
feet. Somewhere in the Gallery is a bronze
Othelo gazing at a white marble handker-
chief culched in his hand, with head and
shoulders covered by drapery of the same
material. No one passes the statuette of
the Forced Prayer" without n laugh at
the poor little fellows sobbing face and
trickling tears. There is more than one
"Veilcd Head where the texture of the
drapery Is SO marvellOusly reproduced in
marble as 10 be almost a deception; wrin-
kles, folds, transparent places, all are there,
the features dimly showing through. But
of all the "slun picturs" the cunningest is
that Off "wee bit BARN" who at the First
Touch Of Cold" probably upon springing
out of bed on a frosty morning, sbvers,
shrugs her shoulders, clutches her short
night gown and smiles, all so contagious
ly that We shver. shrug and smile with
her.
PAINTINGS.
Suddenly turning, through the vista oftwo
open doors, we catch an almost startling
view high up ON the distant wall. of
magnificent white horse Juggling at his hal
ter with all the strength of his powerful
frame, his launches bent and eye wild
with terror to escape the FIRE whose lurid
glare is all around him. One would think
the dead level of swamp with foreground
of bare, stunted cypress trees, about as I'M
promising subject for art as could be
chosen; but the artist has conquered all
difficulties and made fine picture of it,
by flooding the whole with the deep Grim
son after-glow of a sunken sun.
The best point in the much admired
"Christian Martyr" Of the Belgian depart
ment, is the single bar OF light falling
through a crevice in the doorway across
the recnmbent form of the martyr. "Does
not that look like real sunshine9" said we
TO our companion. A look of surprise,
quick, upward glance at the glass roof, and
she answered, "Why, thought it was !"
On the wall before us is the head of a white
horse with so gentle and human an ex-
preston that we quite sympathize with the
"colored brudder" who stands at his side,
one arm thrown over his neck with an air
of fraternal affection delightful to witness.
A smaller specimen of the darkcy race,
ragged, his bronze face dulled with Dirt
lies at full length on the ground. A cup,
saucer and some grapes are before him,
NJ A
sual luck, seem TO say "Dis is too good to
be true"
The Austrian "RlEpah" is a powerful
CHASTITY, repellant picture of an Amazon
with fierce face and brawny arm, standing
guard-against the vultures-over the
hanging bodies of her dead sons. One of
the Austrian rooms is nearly always
thronged with admirers of the great pic
turs of Catherine CanarO." 1t Is of i'm
mense size and card attached informs us
that the lady inherited from her father the
city of Venice which she presented TO the
Venetians, and at her first visit there was
welcomed by them in great state in the
plaza of st. Mark. The artist represents
her sitting on a throne, a canopy overhead,
receiving the homage and offerings of the
people. The general tone of the picture is
rich in the extremei the drapery, of which
we are ashamed TO speak first, only that it
is the most conspicuous thing in the paint
ing, being really gorgeous and effective.
A little girl at the right near the queen
might be gorgeously apparelled china
doll for any expression there is IN the face,
and one wonders why the grateful Vene-
tians brou ght no more valuable gifts than