The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1877-12-05
Art and Artists.

William M. Hunts summer work promises
a feast for art lovers, judging from half doz-
en pictures exhibited. One is Of the CLASSY sur
face of hsrbor (Gloucester) rejecting the
feeting, unearthiy color5 of twilight, strange
yellows vibrating between golden greensh
shadows, 10 which gimmer the distant fishing
shipping and wharves There is spring scene
which little children are playing about
iswing under tree epveloped in a ROSY mist
of blossoms while the sky is flooded
with the genial sunlight OF that season
A rich summer twilight with heavy
tant water against a sombre clouded suSset is
in very different vein. A WOOD interior with
saddle-horse spiritedly drawn and lighted up
with gllnts of sunshine has wonderful effect
OF reality. There is wonderful head Of a boy
IN rough hat and clothes, strongly but carefully
painted, with an intense and sustained truth of
detail; aud full length of q bright-eyed
swarthy youth. picturesquely dressed uD in tur-
ban aud flowing robe of a rich, changeable
green. Together, the show embraces an extra
ordinary range OF styles, yet 10 each tine talent
seems that Of q specialist
Those of our readers who are lovers of art
mag feel interested in the following curious an-
ecdote: In the earlier part Of the present Gen.
tury, when tbs late Sir George Kayter was in
Paris--attracted thither by the magnificent col l.
lection of art treasures the first Napoleon had
amassed during the wars he waged with most
of the countries Of Europe--he found, to his
very great disappointment. that he would be
prevented inspecting one Of the chiefest gems
in Raphael's famous 10 Spasimo de Stella -
which had been brought from the Madrid Gal
lery, as it was in the hands of q well-kuown
French picture res torer, one BOunenlaison. nm
dereong the process If removal to fresh pan-
Ell. To those unacquainted with the work it
may be mentioned that it represents Christ
bearing his cross, under which he is sinking:
and whilst with his right hand he holds tbe
cross, his lett is stretched ont with infinite ax-
preston, AS sadly foreseeips the destruction
coming upon Jerusalem. The Virgin Marv. in
sappliesting posture, integcedes with the sol
diers and others for her Son. who ia well-nich
borne down with anguish The figures of st
John, Mary Magdalene and holy women arc
introduced, absorbed ia grief, and endeavorina
TO console the mother OF the Saviour Sir
George HaYter found tue picture restorer, with
the painting face downwsrds, busily engaged in
t tae dlihcoIt aad delicate operation OF removing
the painting from the panel itself. Bonnemai-
son, however, politely offered Sir George every
opportunity OF getting peep at portions of tbs
picture where possible, and the srtisk also he'd
tbs opportunity Of seeing the very curious mo-
cess this invaluable work was undergoing
been removed by planning and scraping, so that
the printing or ground on which the artist had
lald his col0rs was reached, even Raphaeps
chalk outline OF his design might be traced
from the Back OF the picture; and Sir George
hayter, TO hls astouishment, counted no less
than eleven outlines of the Virgins arms in diff.
re rent positions before the one had been settled
upon which appeared in the finished picture
This fact is curiously illustrative of the care
and labor Raphael bestowed upon his works
int bo
ton given to them in the picture; but the. last
thing one would have expected is that the great
master should have sketched them in nearly a
dozen times before attaining the desired pos
ture and expression. This grand work was one
OF those which, after the entry of the allies into
Paris and subsequent peace, was restored to its
rlghtful owners, and replaced in the Madrid
Gallery.
In the earlier part of this century an Eng
lish artist of eminence, and member of the
Royal Academy, gifted with marvellous facility
as copyist, having copied a picture by Sir
Joshua Reynolds, whose works he greatly ad-
mired, determined to take the COPY to James
Northcote, who was Reynolds old pupil and
friend, and gee, for sake of the joke, if be
could induce him to think his copy was work
actually executed by Northcote's master, Rev.
nolds. In presenting bis picture to Northcote
the artist expressed no opinion, but simply
asked him as one SO well able TO Judge whether
he thought the painting was by the late presi-
dent OF the academy. Northcote, then getting
an aged and infrm man, examined the work
fer long time critically and most carefully.
He hesitated, exp ressed the opinion that there
were parts of the painting that could only have
been done by Reynolds; and finally asked as a
favor that the niptura rnIo ha Iaft It'll II
for few days for further and even mere care.
full examination. His wish was complied with
and IN few days the artist called again ask
ing for his decision. Northcote was still unde-
c,ded, but disposed to lean to the opinion that
some portions of the picture must certainly
have been by Reynolds 1t was considered
that che joke had then been carried far enough
and Northcote was Informed that the author of
the work stood before him. At bearing the
facts he was 80 delighted that he asked per
mission to retain tie picture in his possession
until bis death, and his desire was sccsded to-
Now. here was an instance of a COPY of pic.
ture-by famous master, whose style was as
defined and original as possbe--snbmtted TO
the deliberate opinion of his own pupil and
follower, who was intimately acquainted with
his style, and manner of work, the result he.
ing that had the matter been carried beyond the
limits OF joke, and the painter pressed for
Definite opinion, he would probably have de-
c1ded that the work was an original and 70
copy. Il nObn6E instance IS Ll&E OF skflful
Italian artist who shall bs nameless, well
known as an able copyiss ia the Florentins
galleries, who some years ago proceeded TO
copy III the Pitt Palace at Florence RapbaePs
famous Madonna del Gran Duca The COPY
was to be the same size, and was painted on an
old worm-ea panel. there bsing bat ons alter-
alton made unlike the original, viz, a slight
difference in the Arrangement Of the back
ground. The copy Is very iBe one) was COM
pleted and taken away. After lapse of some
years, it became matter of talk 10 Hrt circles
snd reached the members of the Floreptipe
Academy, that fine picture. Msdonna.
apparently by Raphael, had been discovered
ia country mansion or castle. The matter
aroused curiosity, and the word was at length
sent up to the academy at Florence for inspec-
ton, Alter considerable discussion and con-
sideratoD, the work was adjudgsd to b. an
original Raphael; and il was proposed to pur-
chase the picture at one hundred thousand
francs, the price put upon it. Before, however.
the matter was irrevocably settled, the picture
CHANGED to be seen by a gentleman who had
actually seen it painted, remembered The
painter, and, notwithstanding the altered back.
ground, was able fully to identify the painting.