The Rutland daily globe. [volume] (Rutland, Vt.) 1873-1877, 1876-02-16

ne puulence At tne lecture last evening
was not as large as at the first OF the series
owing to the storm-but Baxter hall
never held a more attentive and refined as
semblage than listened to this lecture. In
the rear of the speaker, extending across
the entire width Of the hall, was displayed
twenty four large photographs from the va
rious bas-relets and frescoes described in
the lecture, selected from Mr.. Wares col
lection.
THE LECTURE.
Mr.. Ware said that he had found his sub
ject, announced as THE Last Judgment,
in Art" too large for single lecture. He
must confine il to christian Art" and,
with the exception of one or two cathedral
sculptures, to illustrations from south of
the Alps. His subject, therefore, would
be ''Some Examples OF the Last judgment
in Art"
Art, Mr.. Ware alluded 10 its mnglng of
Christian cheer and trust, with delightful
symboisms which lend themselves to the
graces OF the soul and glad things of the
Gospel. The carly Christian sarcophagi
and the paintings in the catacombs show
art inspired with joy of the glad news In
Christ. '' In pace" ls the common inscrip-
ton, and peace the effect. The subjects
are the Good Shepherd, leading forth his
flock by still waters; the Mystic Vine, run
ming over chapel arches; the Orpheus
Christ, with his music soothing the pains
of lite, and the like The time had not
come for ascetcism to Danish all pagan
beauty. The light of Greek loneliness Still
llickercd in them.
In the Dark Ages this is all put out. The
observation began in the 9th century and
was greatest in the 10th, when the official
headings Of the law-papers was since the
end of the world is at hand. Art became
leaden, darksomc and unhappy yet not
without promise, for darkness means the
day, and in the gloom there is promise of
the Sistino chapel
MIR. Ware took for his first illustration
of Early Christian Art, the Mosalcs in the
chapel tomb Of Gala Placdia, an Empress
Of the West, who died in the oh century,
still visible at Ravenna, which represent
WV OCcN PiSihs WIN SIuCc stlli
lighted by classic tradition, shown in the
comely limbs, frame justly modelled and
head of mild dignity. The next was a
TRANSPORTATION, in mosaic, over the altar
of an old church standing in the desoate
marshes outside of Rayenna, in which
Christ is represented by colossal illuinin-
ated cross. splendid with flashing color-a
work OF the 9th century, when the iewelled
cross was the sign of the Masters presence
and image Of His person.
The first painting of the Last Judgment
OF which we have any account was execu-
ted by monk, who was also missionary
and painter, who was engaged by king of
Bulgaria to paint him the frightfullest pic
ture possible, land who painted Last judy
ment and the torments of the damned SO
yividy that the king was converted to
1t is no longer in existence,
but was doubtless something in the Neo-
Greek style which we call Byzantine. Of
this aspccimen remains in wal-paintng
in church in Capua, dating from the year
1910. The next example is in mosaic in
the cathedral of Torcello-n which the
Last Judgment fills three Of series of five
parallel bands on one of The walls. In this
the Judge sits in glory on rainbow, bless
ing and cursing with nail-transfixed hands.
In other portions the earth and sea are Civ
ing up their dead-and elsewhere hell and
paradise. The mosaic illustrates the gen
erai plan OF the final judgment in art, from
winch there is little departure from first to
last Christ is represented enthroned with.
ms apostles, saints and martyrs. Mary and
John the Baptist are there as witnesses or
intercessors. The signs of the passion arr
displayed to the assurance of the saved. and
The commission Cf tha fr,,,, g
resurrection are sounded angels and arch
angels assist and lastly the joys of the
blessed and the torments of the accursed
are displayed.
After Byzantine Art had thus furnished
the plan, sculpture led off IN representa-
ton, and occupied the ground well into the
thirteenth century. he unknown archi
tects OF the cathedrals Of those cathedral
building times made their structures the
books of sacred lore for the people, and
the last things, death and Judgment
heaven and hell, were favorite subjects
with them. The place for the sculptures
representing these is commonly the TRAN
gle technically called the ty7npaau11)
formed by the curves of the arched porch
OF Gothic doorway. They take one
typical form, though with many quaint
After abiding to the sculptures in the
cathedral of Wells, in England, and others
in France, Italy and Germany, Mr.. Ware
selected for his main example in SCULPTURE
the bas-reliefs at the doors of the cathedral |
OF Orvieto. The cathedral itself. with its |
brightness OF carved marble and splendor |
of mosaics lifted into the air, he likened |
IN illuminate I tpicaal
stone. The bas,reiefs' each 25xl6 feet. |
represent the creation and fall of man
visions of the Redemption, Christ's life |
and death, the last lhings-creatiou.
prophecy, fulfllment, the end. In their
delicacy OF conception and truthfulpess |
and strong feeling we sec the pure quality |
found wherever the workman is preat |
enough to forget himself in his art, and TO |
be the artist, and not artisan. There is no |
fineness of polish, no surface beauty, like |
that of which we have plenty in the Cano-
va and Powers, but they have an inward |
loneliness which breaks through any crust
of unskilled handling. The illustrations
OF the Gospel story and the days of crea-
ton are full of winning beauty. There is
especially group of those who go their
way to the heavenly seats, led by angels,
which sings to the eye as Shakespeares
line TO the ear, when the Queen will have
Inc musicians play-"whilst | sit meditat.
ing on that celestial harmony go to-" or
like the music in Handles rapturous but
quiet song, "Angels ever bright and fair"
Opposite the quiet expectation of the good,
all Is changed. Here all is trouble. An
angel pushes the despairing souls from the
happy Reats and demons pull them in
leash to the pit. One of the figures has
been described as "the very statue of Dis
may,-bent over, with hands resting
against his knees, lock of his long, curly
hair is seized by grisly demon, who
ashes his broad back with writing
snake" At the other end of the leash is a
wretch, his head sunk on his hands, who
ooks the figure of hopelessness, yet braces
himself an instant against the hand of the
angel who drives him on. In vain A
inc of those "bonds OF iniquity" which
lie the company together has caught