The New Orleans daily Democrat. [volume] (New Orleans, La.) 1877-1880, 1877-02-14

i probation OF striking historic attitudes, thai
could evolve out OF the history OF this warrior
and hero nothing but this player king and two
pages, are truly source of wonderment There
was scarce day of his life that would not have
made picture, and get this was al Comus could
do for him. Did he forget how he crowned him
self with the iron crown Of the Lombards, after
that siege OF Pavia, which has furnished a
synonym for utter desolation7 Or how he was
crowned by Leo the Emperor Of the West, In st.
Peter's3 Or what grander scene coald have been
presented than his acceptance OF tho homage
and presents of the Christian King Of Spain, Che
Mussulmans of Feg, and the Caliph OF Dagdad,
the great Haroun al Rasehid7 We fear Comus
had some special spite against the great son oil
Pepin.
The Crusaders Of the Eleventh Century.
This was the era OF the first crusade, that
preached by Peter the Hermit, and brough !
about by Urban H. Pope OF Rome. We failed
to notice in the breast of the Royal warrior who
repre- sented the crusader, the cross, crosse,
| which all assumed who went to the Holy Land,
and from which their name OF crusaders came.
In the rear Was feudal castle, with turrets,
donjon, moat and grange. Leaving 1t was the
| crusader, some prince OF high degree, for ON
his head was q Royal crown, moented on steed
| richly oaparisoned. In front Of him was man
| at arms, clad In that heavy-plate arrnor that
was found so burdensome on the burning plains
| of Palestine Behind, followed two other men-at.
arms, in the same cumbrous harness, the moon
| venienee and unitness Of which Scott describes
In the Craftsman" and specially in that wonder
full picture Of the meeting by the "Dismon OF
the Desert" of saladin and the Knight OF the
Leopard"
CAR X.
Court of .yusticc-~Twcfth Century.
This scene represented The trial by combat, an
appeal which was permitted TO every ltigsnt
who, dissatisfied with judgment, might offer
the gage OF personal conflict as the last appeal
either to his opponent or even The judge himself.
In this representation the two ecmbatsnts are in
bloody pen, that looks more like the shambles
OF some butcher than the lists in which these
encounters were had. Presiding over the combat
IL mitred bishop, VIII oh looks to ne like an in.
consistency, as The Canonical law did not reoog-
nise the trial by combat, and ~ the church, by
The Introduction OF the civil law OF Rome. finally
did away with them. Eve1 in the countries where
this feudsl custom prevailed The people were
allowed to choose under which dspensation OF
Justice they would prosecute their litigation, and
among churobmen and civilians this trial was
seldom or never resorted to. Shakespeare in tho
FIRST act Of Richard II, gives o magnificent dis
cription Of an appeHf Of this kiaa, nffared by
Bolingbroke to Norfolk but this was In later
day than that assigned In the repr sentation.
CAR x1
Domestic Enjoyment, 18th Century.
This scene represents lord and lady, with
jester ct their feet, listening to the gay trouba-
dour." Beyond the costumes. and the two typi-
cal characters, the fool and troubsdour, there 10
nothing of meaning or suggestivenesss meant or
expressed.
Hunting Party, 14th Century.
The particular period in which this scene Ia
located is to this prossic age what the poetic was
to the historic age Of Greece, time of misty
OF tradition and legend rather than of
rigid and exact statistics. It has been, and 80 II
will ever be, q vast Mesdurus from which poesy
and romance have drawn their sweetest inspira-
ton. Among MI its many picturesque situations |
there Ia none that could have been more effective
than that one which was selected as the theme Of
this scene.
Scott tel uB in one OF his sweetest passages
how one Of his youthful heroes dreamt,
"As youth will dream,
OF hawk, of hound, of ring, of glove,
Or lighter yet, OF lady's love-"
Let us see what Comus has given to illustrate
his fruitful source Of inspiration of 90 many
,oets and artists.
In the foreground are two mounted figures. q
sdy. with her hooded falcon on her wrist, and o
his hunting spear, his plumes and
'oating cloak. the light and graceful continue
hat one sees in those twin paintings, "gomance"
nd the " Fslooner's Brde7' No; he ia In com
lete plate armor, with his fitting lance, bearing
pennon on which are the three balls of Bur ,
INDY. Behind these mounted fgures was q
er' with : crosg-bow.
OAR XIII. =
Dinner Party-1ath Century. "
In front Of = dresser, or cabinet, laden with o
ate. was gathered dinner party, consisting OF
70 ladies' and gentlemen, dressed in tho peculiar
'stumes of the age. Tho soene had no other q
,rpose than TO show the costumes Of the time. d
CAR XIV. 10
Republican venice-lAth Century.
Venice wsre not Venice without . gondsln
erefore we have ono here. In which In party
ladies aud gentlemen in the fashion Of tho
y.
OAR XIV.
Fashionable Call-I1th Century.
gentleman and lady are receiving at their u
or some friends. On the left Of the door ..
q Ia pressing hard against his chain. Another N
istration Of the evolution Of fashion. ps
CAB XVI.
To the Tournament, 10th Century.
We are somewhat At less to comprehend why m
IS scene should have been located ct this par
ular opooh. when tho tourney was really In its
cline, having been finally abolished In all parts
Europe in consequence Of the trsgioal death OF w