The Donaldsonville chief. [volume] (Donaldsonville, La.) 1871-current, 1877-12-29
Our Washington Letter.
National Art GsaElcr.y-POwers
SsGreek SRave's-eaerOme's Cae.
sar EDensh ''-Statuary, Paint
ing, Bronze Pottery. etc.

WASHINGTON, d. c., Dec. 90, 1877.
EDITOR CHIEF:
l find myself hesitating to begin an
article on the institution of which
we are justly proud and in possession
of which we deem ourselves happy;
because know my space will bid me
stop before have fairly begun writ
ing and my descriptions must of ne
eessity be so very short. The build
! ing, of brick with Belleville freestone
trimmings and slated Mansard roof,
cost $600,000 and was presented to
the National Government with a fine
nucleus of contents by w. w. Cor
coran, a wealthy retired banker who
has, besides this donation, done much
for the Capital City in benevolent di-
rections. The entire building is ad-
mirably fitted up for the purpose it
serves and, having said that much, it
is needless for me to enter into details
concerning various galleries, skylights
and other arrangements.
Perhaps the most notable work of
art in the Gallery { | might say in the
whole country is the world renowned
"Greek Slaven by Hiram Powers
the original statue from which Pow
ers afterwards copied five others. The
figure is that of a maiden, standing
erect and perfectly nude, hen delicate
wrists bonnd together by chains. 1t
stands in the, centre of an octagonal
room built expressly for it, the walls
of which are hung with maroon drap-
cry and which is lighted from the top.
The perfect form, grace and purity of
expression in this marvellous work can
not be described. It was designed
from the following facts, according to
the accounts Of Powers himself: Du-
ring the Greek revolution, the Turks
took many prisoners, among them
beautiful girls who were sold in the
slaves market of Turkey and Egypt.
These were Christian women and it is
not difficult 20 agine the distress and
despair of the sufferers while ex-
posed to be sold to the highest bid
ders. But az there should be model
in every kind of art, | have given to
the expression of the Greek Slave
what trust there should still be 10 a di-
vine Providence, and in a future state
of existence, with that despair for the
present. mingled with somewhat of
scorn for all around her. She is too
deeply concerned to be aware of her
nakedness. 1t is not her person but
her spirit that stands exposed.
In the hall of antique sculpture,
Venus of Milo must be mentioned
frsG. This, like the other pieces in
this Ga llery, is plaster cast of the
original statue. Beautiful of face,
perfect of figure, destitute of arms,
this Venus is known as the f." Pride of
Paris and is the admiration of the
world. Venus di Medicis Anande
Deserted; Last Days of Napoleon !;
The Dying Gladiator: Group of the
LAGOON; busts of Nero, Ajax, Aris-
tides, Socrates, Homer and Jupiter;
and scores of other casts are here and
may be studied with both profit and
pleasure for days. The majority of
visitors, however, better enjoy the
modern statuary of Powers, RinelIart
and others. Penseraso; The Yelled
Nun Proserpino and other ideal fig
ures of great beauty and suggestion
are seen, but after the Greek Slave,
those attracting greatest attention are
"Forced Prayer which represents a
tiny boy with folded hands, the un-
der lips protuding III suppressed grlef
and the bright tears overt1owing the
. full eyes; and "The First STEP" a
child and chicken taking their first
start in life together. The tightly
pressed down toes and Outstretched
hands of the former and the empty
nest and egg shell of the latter tell the
tale.
In the Gallery of Painting, filled as
it is with rare and beautiful pictuI les,
three or four catch the eye at once
and rivet the attention. One of these,
among the very first to be placed in
position, is Cesar Dead" gloomy,
dark and silent story, depicted upon
a canvass 7x10 in extent. A chill
| comes ac1os the heart as we lnok at