New Orleans Republican. [volume] (New Orleans, La) 1867-1878, 1876-06-11
ARTISTIC CHAT.

ARTISTIC CHAT.
By FERNANDO ARMANT, AUTHOR OF 1.-THE
PATRIoTs."
Our Saviour was born in q stable; pearls
are found in an oyster and . Rsffaelle 10
now to be seen in sign painter's shop
Such was the reflection recently suggested
to my mind, 10th to embark itself ON the
belated tide Of fairy, when, in last Sundays
paper, read paragraph clipped from the
Morning Star, and alluding to the dis
covery of . genuine Raffaelle in New Or
leans.
Whenever l come across such stirring
bit Of news, my caution is awakened to the
keenest point, and my careful examination
and ponderation of the wording and spirit
of the same are the most conscientious.
Religious subjects are quite beyond the
reach of ordinary artists, and it is very
common that they lessen or familiarize that
which is most admirable, because it is the
more distant from human conception.
Hence, a picture on sacred subject. if it
does not strike us at first sight, il generally
failare.
Surely if any painter was ever entitled
to make an attempt in this arduous ques-
tion of art pure, none could do 90 with more
ease than Raffaelle Sanzio, whose inventive,
composing, expressive and designing quail
ties are seldom surpassed in any school.
Owing to all this, lost NO time in my
visit to the happy possessor of the Raffaelle.
impressed with secret and overwhelming
feeling of awe and reverence at the mere
thought that was to behold master piece
of the Divine Rafaelle Sanzio, the illus
trious pupil of Perrugino.
Mr.. O'Hars is stout, honest-looking
gentleman, verging on fifty dare say, with
8 cOuntenance cleaning ct your smiles,
flashing at your amazement, and suddenly
dreary at any equivocal move of your head.
His earnestness is evident in every spark
that beams from under his grsyish eye
brows, and his love of the beautiful seems
to have impaired to the whole of his fea-
lures somewhat prophetical or sybilline
expression.
There, elung to the wall of the unpre-
tending parlor of the gentleman's abode,
guarded by double file of other ancient
paintings, is the "Last SUPPER" or "Piece
des Pieds" tpiece of the feet) of Rsffaelle
IL Diuino. The picture represents Christ at
table, and surrounded by His disciples. 1t
is not Rafseile. most decidedly and
candidly say it is not even tolerable paint
ing. The possess or, 1 am confident, will
not see in this denial of his claims anything
else but frank and reasoned expression
OF my opinion, found ed on the most ju-
dicious and earnest criticism, as follows:
The figure of our Sav iour sitting at that
side OF the table in the background exhibits
an assemblsge of features quite unoere-
moniously designed, and more likely per-
tanning, as far as expression goes, to an
ordinary peacesble individual, to whom no
bility or grandeur were quite foreign. This
could not look upon, nor could any respect
full Christian believer, as suitable picture of
Christ. Therefore the great power of express
sion that characterizes RafAelle is quite null
here. The design OF this figure lie. more.
over, defective in delineation, this con-
stituting another main faculty in the genius
of Raffaelle that can not find in the paint
ing.
The postures, gestures and ordaining of
the additional figures in this painting are
not only wanting in respect of design and
expression, but also combine to destroy the
idea of composition in which Raffaelle ex-
celled. In all of his paintings, and espe-
cially in those of the "Sistine Chapel" no
matter what the number Of figures he placed
in painting, the main one clearly, boldly
emanates from the whole, and imposes the
feelings and the teachings that the artist
sought to convey in his composition. With
all due allowances for time and atmospher-
ical usage, the picture as q whole is very
inferior to the school of that period in Italy,
and would readily ascribe it to some young
artists copying during idle or leisure hours.
Was the original ever painted by Rafaelle!
Some say no, others contend yes. But this,
am compelled to repeat, is not even good
copy of what might be the original
A few years ago Mr.. Theirs, then Presi-
uOAV Va tAO Z AOuoA AOpuOAoS was y6tlucO
in q manner quite similar to that in which
NJ. O'Hara has been deluded. A fresco of
RAffaelle was to be sold at Rome; the Presi-
dent deliver. an eloquent address to the
deputies on the subject, and 100000 francs
were voted for the purchase of the would. be
masterpiece. The tresco being bought,
was exhibited at the Louvre, in Par is,
where, after studied and extensive exam
ination by the most authorized critics, it
was found of very little worth and alto
gether undeserving the signature OF the
great Sanzio.
Few men in France are more conversant
with fine arts than Mr.. Tniers, and his COL
Iections and galleries are world renowned,
yet this did not shield him against error,
and l am confident Mr.. O'Hara being
deceived is not proof that he may not
Judge nor appreciate genuine art, as his
predecessor in deception does still.
So far as the tracing of letters forming
Raffaelle's signature in the folds Of the
draperies or costumes in this painting, 1 can
not admit moments discussion. The
paintings were at all times signed with q
monogram with the initials with one or with
the full name of the author, but never was
any such means resOrted to except by i'm
posters.
Considering the above Droofa orita snfi