Daily globe. [volume] (St. Paul, Minn.) 1878-1884, 1883-10-04

Half-past seven, p. m =, missionary meet
ing addressed by Rev. DR.. Reed, of New
York, and others.
FRANCESCA DI RIM[NC.
The Great Painting Placed on Exhibition
in this City Yesterday.
There was placed on exhibition at Ste
vens & Robertson's art rooms East Third
street, yesterday, the celebrated painting,
in oil, of Francesca di Rimini," work
of art as remarkable for its beauty as for
the manner in which the artist has grasped
the subject, and the bold and mastery way
in which he has succeeded in placing his
thought upon the canvass.
The painting IS from the studio of Frank
Russell Green, and was purchased a little
over month ago by Miss Margaret Math-
er, the tragedienne. The theme on which
the subject is based is historical, and it
has been treated time and again by the old
masters, the story being as follows:
About the year 1900 A. D., two wealthy
and powerful italian mobiles, who were
also related by ties of blood, sought for
reasons of state to further unite their
houses, and to strengthen their respective
powers by fostering union of their ter
rltories. One of these, Malatesta, Lord of
Rimini, whose eldest son Lanciotto was
distinguished as a general, sought the
hand of the other lord, Guido di Polenta,
his daughter francesca, a beautiful wo-
man, as wife to Lanciotto, who though
brilliant in mind, was deformed and re-
pulsive in form and feature. Fearing on
account of this deformity some treachery
on the part of Guido, or failure of his
plans, Malatesta sent as an ambassador
his younger son Paolo, who was of hand
some presence and winning address to
bring francesca to Rimini. At her first
meeting with Paolo. she, supposing him to
be her destined husband, is won by his
noble bearing, and rejoices till she is IN
deceived by her maid Rita, who informs
her that he is not Lancietto. Paolo,
though faithful in reciting the manly and
generous qualities of his brother, has not
| the heart TO tell her of his unfortunate de-
| formity, though he Is strictly charged to
| do so by Lanciotto himself. Arriving at
! Rimini, francesca nearly faints with hor-
Tor at the sight of the one she is to marry,
but finally recovering from the shock, and
summoning fortitude to carry out her
fathers wishes, is married to him with
fitting pomp and ceremony. In the midst
of these ceremonies courier brings q
hurried summons to Lanciotto calling him
away to war, to repel sudden invasion.
Consigning his new-made bride to the
care of his brother Paolo, ct the palace
the general hastens to the camp. TIL is
thrown by fate into leach others society
a mutual love springs up
between Paolo and Francesca, and
their days are passed together
in the gardens Of the palacs, in reading
the works of poets, and in learning q sub
tier love. The jester of the court, a faith
ful servant of Lanciotso, furious at the
betrayal of his masters honor, hastens to
the camp and informs him Of it. At once
returning to Rimini, Lanciotto surprises
the lovers in the palace, where francesca
bends to kiss Paola just at the moment her
husband enters the chamber. Reproach-
ing them with insulting his honor before
his very face, he is answered by Francesca
with this daring question: "Why not? I
have kissed him in the sight Of heaven.
Art thou greater?" He then asks them
what they deserve. Both make the same
reply: "Death !" Drawing his sword he
| kills them both, in accordance with the
decree their own lips have pronounced,
and then, casting his sword upon the pave
ment, repairs to another part of the pal
ace and ends his own existence.
In treating the subject the artist siezed
upon the moment after the tragedy, the
| scene being laid IN an apartment of
the palace, the time being daybreak. The
accessories are perfect, and the opulent
fancy of the painter has paid marked at
tention to details, in which the work is
| faultless.
spirit lamp in the back ground throws
a faint glow on the rich and beautiful sur
roundings and Eenhances the grim splen-
dor of the scene. The guilty lovers are
seen in the foreground, cold in death.
Partially incumbent, francesca lies on the
sumptuously furnished couch; she is at
tired in role of heavy white
satin, the right arm being
deftly thrown across her breast.
The expression on the face is inimitable;
there is the ashen pallor of death and
there is nothing painful in the faint, soft
smile that seems to haunt the per-
fectly chiselled and beautiful mouth.
At the side of the couch at full length lies
the form of Paola. His face is seen in
profile relief and the shading is very dark,
giving a grusome expression sto the
mouth and chin.
He seems to clutch at Francesca with his
left hand as if in the endsavor to impart
dying caress; the right hand is hidden in
the folds of his cloak. sword lies on
the floor, the point being stained with
blood. The scene is intensely realistic,
and as only seen by the writer for few
minutes yesterday, no attemp will be
made at criticism, the study being one
that requires thoughtful and quiet con-
sideration. AS said, the details are per-
feet, notably in the symmetry of the mar
BILE column, the tesselated floor, the bronze
figure and plaque and the draperies.
The mounting by Mr.. Rice, is sump-
tous and harmonizes in such a
manner as to bring out the full
tones of the picture. 1t will be on exhibit
ton from a. m. to p. m. each day this
week, and as tickets may be had free of
charge, toproper applicants, no one should
miss the opportunity of seeing it.
CHANGES IN THE POLICE FORGE.
Five New Stars Added to the Galaxy of
geIrIa Coats