The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1880-10-21
Sappho at Mitvlane.

1t seems hardly proper that SO important
work of art as Coomans' ''Sappho at Nifty
lene'' should be passed over with but transient
mention.
Pierre Olivier Joseph Coomans was born in
Belgium in 1916. He was pupil of Won
Hesselaere at Ghent De Kayser at Antwerp,
and Baron Woppers. He passed several years
in Africa With the French army and became
noted for the faithfulness of his pictures in
representation of scenes peculiar to that coun-
try. In 1857 he made his debut in the Paris
salons with the Massacre OF Teucri and
Usipetes by the Romans" and ''Feast of the
Philstines." These pictures created great
sensation, and the latter was awarded medals
at the Hague and at Metz.
In the latter part of the same year Coomans
went to Italy and from that time the character
of his pictures was entirely changed; he be-
came absorbed in the ancient life of Hercula-
neum and Pompeii and made the ancient
classic style his constant study. His "Last
Hours at Pompeii' was purchased by Napoleon
III and honored by place in the Tuilleries.
He has been prolific artist and several of his
latest pictures have been engraved and thus
obtained worldwide renown. Among them
we may mention the Education of Young
Prince" which has attracted so much atten-
ton in this city.
'Sappho at Mitylene," now on exhibition at
Davis gallery, was purchased from the artist
by the well known firm of Knoedler & Co. of
New York, for $4,000, and is offered at an ad-
vance of $1,000 on the purchase money. The
picture is 33x60 in size. 1t represents the open
- 81.
the blue Egean. In the distance. rise the col
umns of Lesbian temples whose bases are laved
by the waters of the Archipelago. On either
side of the court ascend lofty marble pillars
whose exquisite symmetry and delicate huting
are admirably set forth by the superb treat
ment of light and shade. On the cornice,
supported by the columns. a peacock, sacred
to Juno, is perched, as well as several storks,
the bird worshiped by the ancients On the
left rises lofty marble double flight of steps,
surmounted at either end by tripods of burn
ing incense. The painting includes forty fig
ures, all gracefully and naturally grouped, and
remarkable for the individuality, character
and beauty of the faces.
At the rear of the court, with her back
turned towards the sea and facing her audi
ence, sits Sappho, the Lesbian poetess, who
has just withdrawn her hand from the Tyre at
the close Of her inspiration. Beautiful wreaths
lie on the tesselated pavement at her feet,
thrown by the indolent members of her audi
ence, who have partially raised themselves
from their touches to make the effort, while
enc enthusiastic youth, graceful in his pose as
an Apollo, bears in his hand another wreath
which he is about to bestow. B eautiful wo-
men, grave and sedate men, and brawny war;
riors, all seem under the spell Of the gifted
maiden. In one corner an Abyssinian female
slave holds the brazier which stern-browed,
muscular servant is preparing for use. Little
children are diverted by their slave nurses that
they may not interrupt the great poetess,
whose head is shielded from the rays of the
sum by an 'umbella" held by an Egyptian
mental, while her hearers are also protected by
superb "Uelarium" above them. There are
many details which we have not space to men,
ton. The costumes are all true to the period,
and the picture worthy of the closest atten-
ton as study of archaeology. The coloring,
and harmony of cooring, is superb, and the
painting is redoent with the culture, refine
ment and, we might almost say, the sensual
life that characterized the A thenians, and
their dependencies, SO many centuries ago.