The New Orleans daily Democrat. [volume] (New Orleans, La.) 1877-1880, 1877-02-14
Feast Of Isis, II. q. 1xOO.

HUN0WlnE tnis calhs
t. CAR II.
Feast Of Isis, II. q. z1OO.
This presented 10 us the porch, with columns.
/, ot an Egyptian temple. Here We might lavish
any quantity OF learning TO chow what were the
peoularities Of the Egyptian architecture. We
will content ourselves with merely pointing out
lite ruling characteristic. The art of building
had lie origin in tie effort 10 procure protection
from the elements. Each tribe and people neces
sariiy used such materials as were nearest at hand
and most convenient. With the Egyptians, the
palm tree was the material ird Gated by nature
for this purpose, and the most easy TO be
adopted, the rough body OF the trees making the
supports and the great leaves the roof OF their
primitive dwellings. These stately columns OF
their temples, whose nts we're but imita-
tiona OF sheaves Of the palm leaves. owed their
popularity to this circumstance. just as we saw
them In this representation. In front OF this |
semple sat colossal figure Of Isis, Glad in her |
robes Of linen: in her right hand a sistrunt, and
on her head head-dress representing an ibis |
The sacred bird. At her feet Milo lilies are bloom
ing; before her q pliest with bras head, |
(which ought to have been dogs.) is making
sacrifice. Behind the priests are two helots, one |
with Tho Offering OF bird, the Q! her of fish.
OAR Ill.
Greek Tragedy. II. q. 400.
In The back ground was Greek portioo, in |
front OF which stood Venus with tho apple OF
siiscord In her hand-the direful source OF all
Greek tragedy-on either hand Satyr. and Pan,
the three figures in statusry. In front of these
were female, sitting, who might have been
Helen herself, aud by her stood warrior, who
lnokad too young for Menelsus, but might have
been Diomede. Before these were two ohtrae-
ters with tragic masks, from which we infer that
these only were intended IA the representatives
OF the theme illustrated, though the costumes
indicated that the drdmutis peasong aad the
audience were all Of the same era, of the poetic.
or prehistoric age. By tho presumption that
they we're all intended as representatives Of the
Greek Tragedy, which was created by Eschylus
% years before the date ascribed to this repre-
sentation, an anaohronism is avoided
OAR ".
Republican Rene.
AS Dundreary would remark, "This liz one OF
those things no Teller can find out" In the GEN.
ire of an enclosure, about which IL a email, white
washed fence, stands big stump with soup
tureen on ii. Against it leans bald-headed
,hap with blue blanket about him, who might |
DO the head cook of q hash house, but we will
sBsume, from his reckless air, that he is pom
ferrous Roman Senator. In front youth, In the
amor OF Roman soldier, is leaning over the
pallngs, evidently notifying lot of plebs on the
outside, who have come for their hash, that
hey can't got into that corral without tickets
Over The gste-posts in the rear is the legend |
Roma CoCC.' which explained tho whole sf-
air TO everybody's satisfaction.
OAR V.
Imperial Rome, nth Century. t
In front Of n long oolonnade, fashioned after =
no Roman architectural style, IL spread ban.
uet, the table covered with dishes and urns OF ~
ntique shape, and about II the feastipg couohes Il.
ocular to that time and people. 1t may have u u
cen intended to represent the "Domus A,seous" u
Nero. whose ceilings were made to rovolve In "
IMITATION Of the heavens, representing tho ses- ~
rms Of the year, which changed with every SER
ce, while from them fell upon the guests show. u
70 OF roses. The host was some goutv Cmser, %
srhaps Nero, and his guests were oongenial
mi, ID may have been vtellius himself, and two
males. Here we have Republican and Impe-
81 Rome, but we see neither the Senate, where pl
eser died, nor q gladiatorial contest, the two tw
ost marked institutions OF either epoch. Why 90
Iould these obscure representations, devoid OF pu
cturesque effect, have been selected when the
perb pictures Of Gerome offered such subjects
! the death Of Caesar and The "Poltce verso.
ID the "Moritw'i, te Sdluta'n,1r tb
CAR VI. OF
Entering the Dark Ages, "a
This scene is ststuesque and represents War,
personated bya Vandsl warrior, dominating
ience an aged man, and Are and Literature,
! -, t,N-., ,,,' ~ o""'4'' Aae o."" dol
present ruins, broken statuary columns, which
arked those footsteps in which grew no blade
grass. y
CAR VII. "
baptism of Clovis. mi
Clovis was the founder OF the Frnukish mon- s.
Thy. in the fifth century. He became. from =,
} chief Of a small tribe, one Of tho powerful r.
noes OF Gaul, and was courted assidususly BY ~.
Catholic bishops of that country, who saw 49, Nv.
aim the future defender Of their faith. They
ceded in marrying him to Clotilda, tho only any
,.sa -. - s. NV ". a1 o"A CONVEX LAZY
WAS sioW anu secureu at isSt py q miracle. hor
. Alemanni had crossed the Rhine and were wv
rching on the rich plains Of Gaul. Clovis p''
tened to repel them, and in the battle of To- n
they were already raising the shout OF VIC a.,
when Clovis, in despair, thought Of the God ss
his wife, and throwing himself on bis knees, .a
laimed: "God of Clotilds, give me assistance w.
This hour OF necessity, and confess Thy lna,
ie." The course of victory was instantly s"0
ned, saith the chronicle, the Alemsnni fled, ali
le the flower OF their forces and their king
Q slain. Within the same year, Clovis, true r.,
is vow, was baptized at Rheims by Bishop i
~. 1t was this scene that Comus selected as Id
of the spirit of the fifth GEN. :.
!, in which began the conversion OF Western -,
,,xo g. .,;atSep;lr / ~