, 1879-01-05

Of the esthetic limitations Of art, 1n 1oroldaln'
tne representation OF anything "nlcn ui'gn
1anlliarlzc tile senses with disaereeape anu ue
nloraitzlnS objects. The n1nctecn1n-centu..,i
Christians, in our supreme charity to evll
] stlmulatc art to take this direction as p!oo
| OF It's originality and freedom IRON convention
amy. ...
But ~ preaching On the modern "aT OF treat
| lnS otu topcs, am forgetting 10 nlWc !n1
text. It Is More1li's "Tcmptatlon OF St. An
tnon5," very trire, medieval subject, bnt no"
differently treated will show. First, let me
recall to mind the severe decorum OF the oit
arusts, and their enforced subjectlon OF nrtlsl:t
license to the fundamental motive. IT then
works became too much like religious hont|ics
their moraalty IN no way intertcred win the
simple beauty Of their execution and straight
forward simplicity and earncStness OF treat
| ment Doubtlcss some OF your readers nave
the Yale School Of Design, at New Haven, q
little tentpera picture OF Sassetta OF slena. OF
| about A. u. 1450, representing the above mo
| tive. IL SO, they could not fail to have noticed
! me purity and dircctncss Of its Symbolism as
clear and fascinating as its chaste coloring and
composition, with nothing super1uous in detail
or execution to distract eye or minn from the
fiappy harmony OF its execution with the mo-
tive. lhe companion picture OF another saint
tempted 6y devil in the form OF prudish,
lnnOcent-lO0k1ng damsel. m0uestlV clad, as she
stands with Ingenious grace facing the saint
with SO much demurc surprise in counterfeit
response to bis real, is very naive and truthful.
The d'abolica] element is entirely masked from
sight. Such temptation as the pretended yir-
tues OF pretty woman in the loneliness of the
desert Gun present to an anchorite is squarely
before him. The SAINTS themselves look agnast
at the appar1tlo!s, but their chastity is serenev
und1sturoea: Whatever struggle there be is
internal. They exhibit no dclirium tremens OF
Dutch Flemish schools, notably shown by the
YOUNGER len1ers. lie piled visionary horrors III
lmpish lmagcs OF every species OF nightmare
invention, to confound the saint. and precipi-
fatc HIM into slnniug. Although diabojistn was
rampant, it was US the frightful symbolism of
lcwdncss; hellish Characterization Of the
Nemesis OF sin, not an obscene delincation Of its
scductlons. Even nudity puts on an Innocent
aspect The excessive invention OF the ticndisn
panucnioolufn might become iudlcrous to an uil-
believing mind, but there was no effort at pan
dering to human frailty, BY making the succta-
tor forget the meaning Of the picture in its GEN.
sual scductlons.
The OLD sentiment is reversed in Morclli's
composition. Glad in heavy sackclotl, with
rocky ledge in the srecess Of gloomy cave,
half in shadow and half in BRIGHT sinister
light, pouring in from the entrance. Ills
Eaunt, bony form Is bent forward, with his
arms crossed on his breast in a .ayerful atti-
tude, while his sunken, expanded eyes, open
mouth and iurrowcd' features seem petrihed
into mute agouv OF mingled a5tOnlshnlent.
fear, and desire at vision which either his
sa!acioIs imagination has evoked or the devil
has materiallzed to his sight, At his naked,
dirty feet Is the equally foul mat which forms
his sole bed. IT,; side next to him is partly
raised BY the naked figure OF a yoluptuous
woman of mature Years. whose charms and
attitude are made rs iecherous|y beseecll-
full as mastery modelling and painting
can make them. Some delicate white
drapery on which she lies and necklace OF
jewels give curious suggestion OF artistic lux
ury to her limbs, in striking contrast with the
coarseDess of the mat from under which, by a
sinuous. blllowy movement, she approaches
the saint, burying her raven locks and all OF
her face except her large eyes intlamed with
lustful artlor under the forbiddng yestment of
the saint. The warm flesh tints seem to over
power the daylight that streams across them,
making the transparent atmosphere elfish in
tone to the darkest reccsses OF the cave. On
the opposite side Of the mat another female
head, completely visible the counterpart of the
principal one, with cleaning ivory teeth show
ing through lips swollen with passionate breath,
and eyes lapguid With lasciYious invitation,
emerges, and, sDake-like, turns toward |
her intended victim. The ragged old mat
seems to heaye with voluptuous movement
like q thing OF seduction ITSELF as the restless
forms beneath disclose themselves to the saint |
In the further background are seen other |
phantom faces of the houri, sensual type. leer- !
ing out of the gloom, and at tie extreme lett 3