The Cincinnati daily star. [volume] ([Cincinnati, Ohio]) 1875-1880, 1879-09-15
THE EXPOSITION.
Second Week Of the Big Show.
Features of the MaiG and Power
Halls, Art Gallery, etc.


big Exposition, and the prospects are, judg'
ing from the Gro yd that began pouring in
this morning, that the daily attendance
will by far exceed that of last week.
The turnstiles Saturday night showed
that nine thousand two hundred and nine.
ty-fve visitors entered the portals. Among
the visitors were large number of colored
people from the blue grass State and they
seemed, from their expression, to have en-.
joyed their visit. They also found great
delight in listening to the organ concerts.
Ex-Commissioner Olhaber in the evening
gave each of the employees of Redway q
Burton free ticket to the Exposition, and
the men, who were led in body to the
buildings by Brands Band appreciated the
sights as well as the kindness of Mr.. o.
haber.
At a meeting of tie Commissioners
during the evening thanks were voted to
Col Markbreit and his staff for the manner
in which he conducted the great process
sion.
Any day of this week will afford good
time for seeing the Exposition, as all the
exhibits are now in their regular places.
A catalogue Of the works in the Art De-
partment is now ready for distribution.
As this is flower day and as the premiums
for comparative merit in displays of cut
flowers are to be distributed big attend
Rnce should not be wanting
There has been considerable complaint
that a number of railroad tickets had been
detached and that they are being sold by
Bcalpers at fifteen cents. The Exposition
Commissioners have resolved that after this
Rll detached tickets shall be refused at the
turnstiles and several this morning were
accordingly taken up.
THE PICTURES.
The Gallery of Fine Arts was on Satur.
Aay thronged, making any critical exam
ination almost impossible; nor is the crowd
thinned very much this morning, although
1t is rather easier getting nearer to the
favorites. Ratterman's "Early Christian
Martyrs seems to attract the crowd more
fully and hold them longer than any other
picture in the collection. This, as before
stated, is the largest canvas in the gallery
and picture of great dramatic force
The scene represents the prison of
the unhappy Christians destined to
be thrown into the amphtheater in
the presence and for the amuse-
ment of the Roman populace, who watched
with breathless and unsatisfying interest
the savage beast rend them limb from
limb. Through the open door way leading
to the amphitheater is seen one noble fell
low vainly endeavoring to unfix the fangs
of lion from his ensanguined side. Inside
the prison two Roman soldiers have selzed
the arm Of beautiful girl to lead her, half
dead and pallid with horror to the dread
fBl slaughter awaiting her without. The
unspeakable agony of that face is rendered
with great fidelity, and the despair of the
various victims each awaiting their turn is
standing about the picture sufficiently at
tests. One mother has tainted and her
unconscious child sits smiling at her side.
Another clasps the crucifx in her trem-
bling fingers and prays. The whole scene
is intensely, vigorously dramatic, and the
story tells itself to the dullest compre-
hsnson.
NJ. 81, strengthening in the Bavarian
Highlands, by Shirlaw, is the antlpodes of
the foregoing, and still all equally remarka-
bic picture. This is a peaceful scene of
quiet, happy agricultural life picturesquely
drawn and grouped, and some of the details
rendered with extraordinary fidelity to
nature. Something upwards of a dozen
quaint figures in the picturesque costumes
OF the Bayarian peasantry are engaged
mainly in sheep-shearing, and lounging,
ard gossping to the active workers, who
are chiefly women. This operation appears
to be carried on in the basement of a barn
built as if to last forever, upon massive
arches of masonry that itself forms
one of the interesting features of the scene |
The picture viewed from distance of fif- |
teen or twenty feet is wonderful in its |
Microscopic effect. Viewed more closely |
there seems a crowding of details that mar
the story that the composition seems de-
signed to tell. The sheep are not as well |
expressed as one could desire, and the |
figures seem too crowded to be all account |
ed for except to give p;cturesqueex expression
to the composition. The shadow under
the arches in the remote parts of the room
Beems too intense but the OK that stands |
in the stall at the right hand foreground of
the picture is vigorous and superb piece
of work and is a picture in itself. The old |
fellow taking little something out of
black bottle for his stomach's sake is bit |
of what We Might be pardOned for styling |
dry humor that is happily employed by |
The artist.
No. 65 is a cattle scene by ]. H. S. De !
Haas that speaks its own excellence by the
comments made by the farmers. Two
countrvmen were standing before it to-da
and evidently studying it closely. One
remarked suddenly, 81 say, Jake, isn't
that rough kind Of an animal to put in
picture?' "Oh, them's butter CATTLE"
replied Jake; they 20 heavy on butter,
them Dutch fellows do. Jingo! I'd like
to have twenty of them and that bull"
No. SO is tiny picturesof two little chill
dren, with innocent faces of angels, playing
with dolls that they have played hush to
sleep and are about to lay into the little
cradle. The faces of the children, the
action of the picture and the bit of color
are simply delicious. The artist is II.
Werner
No. 1853, by Zieni, Venice, is a most
charming bit of color, with the glow of the
Italian sunshine shining over the palaces
and waters of her lagoons A vessel sits
like some snowy bird dreaming upon the
waves in the center of the picture, with her
sails lilly hanging from her masts, in the
midst of the gay gondolas sliding to and fro
along the ripping waves Afar the palaces
OF the city are glowing in tile MONDAY sun
I