, 1876-08-06
ART.

DAVID MEALS " RIZZ10."
The only novelty in art matters during the
week was the placing on exhibition at the
Academy of Design OF David Meals great his
torica1 painting, "The First Meeting Between
Mary, Queen Of Scots, and David Ri2zlo.'' To
those who only know Mr.. Meals position in the
world Of art by his magnificent studies Of
church and cathedral intcriors,-for example, st.
Marks at Venice and St. Peters at Romc,-the
picture now On exhibition will appear rs
a revelation. Some three years ago the
artist began "laying it in and so much
pains did he take in working it up that
it was not until this past spring that be succeed
ed in putting the finishing touches to it. The
scene is laid in Holyrood Castle. The Queen,
dressed in Royal robes, rich in material but SUBJ
ducd-almost Quakerish-in color, has just
descended short flight of steps leading from
her oratory to the landing, from which the main
hall Of the palace is reached BY descent Of two
steps. Immediately behind her is the page, in
the full court dress OF the period, carrying the
Royal cushion on which her Majesty was
accustomed to bend the Royal knee
while at devotion. On the stairway stand three
gcous Of colors. to whom one Of the gen
tlelnen Of the palace is relating piece OF court
gossip. Stretched on one Of those quaint old
oakcn chests, which for centuries have abounded
in old English and Scotch mansions, is RiZzio,
fast asleep, his head, which is thrown back, sup
ported By his right hand. On the marble floor,
within reach, are q wcl1-worn leathcrn wallet
and a mandolin. Rizzio is dressed in suit OF
rusty black, silk hose, velvet trunks, and velvet
jacket, the sleeves pulled and slashcd with
is spaniel, with the traditional
blue ribbon. The spaniel has discovered the
weary stranger, and its antics hare attracted
the attention Of the Scottish Queen,
who stands. transfixed Her head is
right hand is drawn up as if she would push
away some impending danger, and the left is
thrown back Us if feeling for a support The
Court ladies in her train are perfectly uncon-
encc. The funeral black of Rizzio's costume is
pregnant with dire forebodings- The Queen is
speechless.
It has been objected that the artist has thrown
too much dramatic effect into his composition.
In one sense this is true, but is not this the
in Ill the great works Of the Greek and Roman
sculptorsz Can anything more dramatic be
found than the expression and pose Of the 'Dy-
ing Gladiator - or jax Defying the Light
ming 's Mr.. Meals .Mary'' is sclllpturesque. It
is action in rcposc. He has depicted her in the
rigidity of frightened amazement-
Mr.. Neal mas taken poetical license with
Rizzio, whom he paints as endowed with full
share Of graceful form: History describes him
as rather mean-loONng fellow, but this prob
ably should be attributed to the facial ex-
preston which is the window of the soul.
Owing to the position Of the head and the fore
shortening Of the face, it is impossible for any
but the Queen to peer into the features of him
who was afterwards SO logically connected with
her reign.
In the drawing Of the interior, the painting
Of the draperies: the rich sheen of the brocades
silks, and velyets, and the warm feeling OF
the carpets, and the broad and generous
treatment Of color, Mr. Nea1's reputa-
ton as master Of technique is fully
sustained. The little rift Of sunshine, which is
reflected through the open door Of the Royal
picture-gal forms d pleasing contrast to
the sombreness Of the ancient wainscoting OF
the apartment.
Owing to the terms on which the Academy
secured the picture, it cannot be placed on free
exhibition to-day, much to the regret Of the
managers. The main gallery will be free to the
public this afternoon from to O'Clock; but d
fee Of Is cents will be charged those who desire
to see Mr.. Neal's work.