The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1878-04-21

MURILLo's "FLAoELLArIoE OF CHRIST.
The advent in this city Of SO important painting
as .Ths Fagellation of Christ" BY Estaban Nurilo
is an OF the highest Importance aud interest
This magnificent production, now he property OF the
Countess n. de Prlschon, OF Paris. ~ present ro-
siding this city. have lately had the pleasure OF
examining several times At the studio Of Mr. August
Schoeirt. Hungarian artist. where II now Is Inc
picture. about whose authenticity there seems to be
ittie doubt both on account OF tie complete history
to the presens day the earlier part OF which Is well
known the world OF the opinion OF several Parissn
experts, among whom cite II. Lazsrges. n. Sano
and DR.. Lachaixe and OF that mastery execution and
evidence OF sou in the work which Is found alone IN
originals, and which NO copy can reproduce. the
Counts Mersey and Neuerkerke, ex-Ministers OF Fine
Ars and NJ Jules Andre. director OF tho manuactsfy
Sevres also, is said, convinced oil its aenu-
ineness.
The history given OF this very interesting work 10
as foows:-Ths daughter OF Murillo, 10 avoid mar
riage, which her father desrous OF, with his
favorits pupil and which she objected 10 - account
OF supposed slight faint Of colored blood, in 1865
entered the convent OF Madre dc DOS Of Seville
aud Jaen. The lady abbess asked Nurillo to paint
picIure highly pious in subject in COMMUNICATION OF
me event. With y sorrowing hcatt NJ ths loss Of his
child, and animated by the desre Of painting work
worthy OF ths object, the painter produced "fbe
Fagciation." 1t is said that the Abandoned iathcr
In bitterness OF his sorrow sym ,olizcd u IN that
depicted OH Inc face Of the suffering Redecmcr,
which is stated be good likeness
OF himself Tho painting after ii had been
some time in tho convent OF the order ~
Seville was transferred 10 tnaI NJ jacn. In this place
II Is sald 10 have remained undisturbed tor over Us
years, until the opening Of the Peninsuiur war. During
the Jaon The story that as the paint
ing was held IN gresl veneralion no copy WAS allowed
be maue alter H. rhe account further states that
when, during the war-presumably In 1905. ON tho
sackiDg OF tho town by the French tine convent
IN flames the priest who mad charge OF ~ cut 1t
OF the frame to save II from robbery Or the hrs
and kept in his possession Al his death the paint
ing passed. by inheritance 10 his Drotner, school
,nnster IL next fell into the hands OF NJ. Kcnac, OF
Lille Bourbon VINO leaving Tor that island, about
1888 soiu u 10 Senior jose Gst0phre, VI AAlrid his
gentleman disposed Of zoe painting 70 an hnsiish
IL Provence. From tins last person Tho CoMtesse
pruschcn obtained tho paintinS. which huAg ior
loLg time IN ner gallery III Paris
ihe large caLvas. which the three figures are OF
life SIZE Is, considering the vlcissitudes has under-
gone, g0od state vi preservation The marks along
.ne edge Of the frame, where new canvas Wac peceu
on 10 replace that wnca Was cut OIL, arc distinctly
visible inc painting evdenty u4d moro .hAn It's
share OF vanishing Out careful cleansing and tne
OI restoration Will remove THIS and
riy. - Il more Of It's or .ginal purity vi color.
Tue suffering say our, nakcd with the exception OIL
ION cio,n leans Forward on HIS righl iool AM WIN
His lower arms on low pii.arcu stand, 70 which HIS
uands tied Win small c0ru and WIN a suffering,
saiuened. yet very sweet lace looks upward No
the cruel blows rain down on HIS tender
back. One vi his brawny hagellHnts stands
nis rignL, WITH vigorous uplited rsAt arm holding
tue scourgs anu cleucned cft hand about 70 stfike
whic snau0w the other, VITA hs lace dstor.ed
ny passion and nate, 10 ALSO preparing lor Oiow
Tho nsur0 IN inc shaaow Is ciotnsd Dut The uscuaf
hard brown skinned Douy OF the hrst man, naked Ike
Christ with inc exception Of Inc cotn, stands
forward Ia Tue iish, ormin3 masterly Toll ana con-
the inc, clean wnlse skin, slight muscular
development delicate extremlLIcs O thc Christ,
wnicu that no was unused " manual labor
Tue ciotning OF the saviour, OF that peculiar purple
winch Muriiio always painted, lies on stand 70 mo
rignt hvor behind tue fAaeliants 10
wooden Tub Tue Doou of the back VI The sui.
ferIng one heu lie ungody Task Ia dvue.
Tue craving ana noacins VI the hsure OF Christ
are rennea and pure anu tue leiike, luminous coll
oring OF The flesh Is . striking point Inc pose ls
easy and nAtura, ana the uptuThva mead, wilh rs
hafcpened, panca mouth and weiine, sOrrowiul eyes,
is gwen in most mastery and sympathetic manner
Tue very soul oil the stricken iaLher who painted Vt
seems 10 have gone into tue work Of depicting the
anguish on tne face OF Jesus as AZ offering 20 the
See with what assured strength ana delicate
nnoaeiiing Tue chest with lue collar bones
ana delicate. ioag fingered hanas. as ,n.y iaae,
sun into Inc shadow, and note the lae draw
stanus The whole gure is painted with thai siren an
dash kept well Ia hand which shows the master.
the pure wne drapery ABOUT the loins 10 also 80 be
noted tor lis hne treat nienL
rur. 6pw 10 the nglre VI the powerful the
right OF the Christ what action and what superb
modelling, moulded IN vigorous, aeodcd manner, IN
strkine contrast 10 the more easy, GRACEFUL lender
sly suitable 10 tie delicate figure oil the man-gou
a small point, note with what skin tho clenched
right hand ~ gwen, with Inc iight ginning ON The
ends Of the Nails As bold line OIL the drawing
have the crAnk-liko acii0n Of The righI
arm, raised, while The lett Is rigid 10
opposite direction, showing admirably the
muscles OF Inc ssrong back. The harmony OF the
color composition is very nno The srasts,
ranging IRON the almost white hgure Ia the ceutre TO
the darker one ny ITS side and thence 10 the Dolaly
indicated man IN inc shadow. are admirable. Ono
Interesting point rs That TINS picture 10 very Inc ex
ample OF nude drawing Tor Muril.o, VINO usually
draped his figures Through :ho color here there,
the shadows on The ncsn, the red paint OF
tho background showing through, giving great trans
parency. fnis Is also al dlereuL parts IN
out The picture. and, where entirely overiaId with
the coors In the shadows gives that excess oil DARK
ness which oil tue faults OF this later method
OF the master. This manner Of painting his canvas
entirely over with dark red before commencing his
work Murilio adopted IRON Ludovici ana AnnIbal
Caracc IL gives great harmony OF tone, but the
shadows have as just stated, the Tendency TO become
Aart