The weekly democratic statesman. [volume] (Austin, Tex.) 1871-1883, 1877-05-31


which / stood and drank in sunshine
and shadow, beauty and grandeur,
and glories of which / have no words
to tell.
Chief among these was q land
scape with cattle, by August Bonheur,
an immense canvas covering nearly
the entire western wall, and so perfect
ly and peacefully ife-like that, stand
ing at the other end of the room, you
could. scarce persuade yourself that
you were not looking far away
into the deep woods; that the sleek
cattle, with the suHbeams slantlng
through the trees and fecking their
sides, do not crop the rich heritage, and
drink at the shadowy pools, and lie
down upon beds of brown MOSES and
of sweet content. Rosa Bonheur's
"Horse Fair" which occupies the
eastern wall, is q picture evincing
equal genius with this one, and has
won far more celebrity. 1t shows more
labor and patience, and also more force
and vigor, but to me is not so pleas
ant or SO productive of calm, contem-
plstive thought. "Homer and his
Guide" by Bonguereau, is an inspira-
ton. 1t represents the Old man led by
young Greek boy. On hillock in
the background two half clad boys are
laughing in derisIon and bounding on
brace of dogs to attack them. In
front stands q noble mastiff locking up
into his masters face as saying May
I set onl" The young guide is look
ing backward, his clear-cut Greek
face, piercing eye and bold, free air
beautiful in their defiant intensity;
while the blind poet moves quietly on
ward with the calm command of
monarch in his mien and figure, the
sublime simplicity of Christ upon MS
face. devoUred the picture with hun
cry ayes that were never satisfied, and
even the memory of it brings tears.
Church's Niagara" is there-the
| original. Last October saw in the
Loan Collection, in the Metropolitan
Art Museum, what 1 then supposed
was the original Niagara" that had
lowered our countryman with immor-
tally. was then fresh from weeks
contemplation of the sublime reality.
! lookea-and turned away in impa-
tient disappointment, saying, "What
stupendous assumption! A man might
as we'll try to paint God" But as l
looked upon this one, and saw the bat
tie of the demons among the rapids, the
rush of the cataract, the marvellous
green, flecked with Snowy foam, and
the disphanous colors of the rainbow
that dances over the ruins of old Ter
rapin Tower, cried out IN glad sur
prise, 81 take back every word-surely
this man could paint God, for he has
wrought a miracle" Some msgnifi-
cent paintings from the Dusseldorf col
| lection chained me to their neighbor
hood until threatened to take root.
Among the finest of these were clear
and Cordelis," most gorgeous in color
ing, most tender and pathetic IN ex-
pression-and Diana and her Nymphs
Surprised ct the Bath" The broad,
cool shadows, the limpid water, the
perfect grace of figure, and tlmld de-
tendency in the faces of the nymphs
as they crouch in startled fear around
the goddess; her glorious beauty and
free, defiant air, and the lambent light
of the star above her forehead, are all
beauties to be seen, but not described.
Mr. Stewart did not extend much
aid and patronage to American artists,
| but has filled lis gallery from the
easels of France and Spain. Two
Bierstadts, one Church, one Hart, one
Huntington, one Beard, one TAFT, one
Peters Grey, one Alfred Stevens, and
portrait of the late owner by LIE
Clear-painted since his death-com-
prise all the pictures by American ar
lists. In sculpture his countrymen
found more favor in his sight. There
arr three by Power-the original Greek
Slave and two "Eves," called the
Temptation" and the "Regret." OF
course, the figures are exquisite in their
graceful perfection, but, to my thought,
Power is lacking in expression. For
example, in the Temptation" see
the snake-he is very large snake,
and looks az disagreeable as possible
and see the woman, but sea neither
in figure, attitude, nor expression any
evidence of the one tempting or the
other yielding. In the ''Regret" see
! a splendid woman, not crouching or
leaning with detected mien, but stand
ing upright, with q calm, placid face,
| no expression upon it of regret or any
| other emotion, save a serene conscious
ness of physical health and strength.
Were 1 allowed to christen it should
call it the Coming Woman" mar,
BILE embodiment of the ''brilya." Pow
er's forms are perfect; but Story has
found the secret hiding place of the
god within his marble, for he brings
the soul to the surface and sets its sig
net on the face. His "Medea" tells
the whole wild, sad, fierce history at
glance, and his "Semiramis" is the
grandest statue have ever seen, not
alone IN beauty of face and perfection
of form, but in its calm repose, its
matchless strength, Its sublimity of
power.
1 saw picture the other day at Lea
vett's-paiHted by Coomans and called
Surprise" 1t was perfect picture
of Marian Vavasour; surely he must
have painted it after reading strath-
more. 1t is a half-length figure. She
has been nude, and, hearing a sudden
noise, has thrown some fleecy drapery
of purple and white across her bosom,
leaving exposed one shoulder and arm
and part of the bust. A mass OF wayy
golden hair floats over her shoulders to
the waist, EMBEDDING her like cloud,
and thrown upon 1t sidewiGe, as if in
careless play, is a wreath of Ivy leaves
and scarlet fuschias. (Who that has
read Strathmore does not remember
Marian's second appearance before the
clark and silent knight" with her
dead gold hair crowned with scarlet
camelliss0 Here, too, is the slight,
slyph-like form, so lovely in its perfect
grace, the chiseled, statue-like features,
the soft, antelope eyes, the skin, like
red and white rose leaves, so free from
every tinse of coarseness, yet SO win
ningly, seductively, diabolically SEN
suous-so child-like, so angelic in its
outward seeming; SO boundless in its
capacities for evil. It was a marvellous
face. gazed upon it with fascina-
ton that was half fear, and no longer
wondered at Strathmore's mad infatua.
ton and criminal career.
"But OF the wonderful pictures that hang upon
memory's wall,
There's. one Of dun old prison, that seemcth |
the best Of all"
"The chief among ten thousand is |
Muller's "Roll Cali of the Last Vic
Tins of the Reign of Terror" It's a !
very large canvas, and contains at least |
forty figures, all full length, and painted |
with startling distinctness of detail. |
Through the dim, murky light an open
door is seen in the background,