The daily dispatch. [volume] (Richmond [Va.]) 1850-1884, 1883-06-29
ROBERT EDWARD Lev
BORN
JANUARY 10TH, 1907;
DIED
OCTOBER 18TH. 1870.

JANUARY 10TH, 1907;
| DIED
| OCTOBER 18TH. 1870.
| ............ .ssss. .ssss. s.''ss '''f''''''''
The entablature is supported mt the four
corners by fiuted pilasters.
Regarding the figure as a sculptural
achievement, when it was exhibited in
Richmond we wrote, after careful study OF
it, the following criticism. These impress
sions are now, to our mind, more than con-
firmed.
DESCRIPTION OF THE FIGURE.
The figure is over life size, and rest.
upon n heavily-draped couch in an attitude
OF easy repose, the head being elevated to a
natural position with the face turned slight
" to the right. The feet are lightly cross
ed. The right forearm lies across the
breast-the hand holding by simple weight
the blanket which covers the lower part OF
the body-while the left arm isiully extend
ed along the couch. this hand touching the
I'M. OF a sword. In its minutest details the
worn EXHIBITS the closest artistic study. In
the drapery OF the couch, every fold OF
which is rich, heavy, and graceful, The SWELL
inc contour ofthe limbs beneath the blanket,
the naturalness Of the position, the chaste
elaboration OF the sword hlt, we have a
musical scale OF harmony and the legend OF
a poetic mind, looking perhaps to the aus
Itere and phlosOphlc for the beautiful, but
developing it so rs TO impress the most
casual nevertheless. OF the iaithfulness OF
the portraiture it i not necessary to speak
that is conceded. 1t is with the idealiza'
ton as embodied in the expression we have
TO deal. 1t is not death-it can hardly he
termed sleep. Though the eyes are closed
there is the light Of a noble soul-cXi>tence
death but not inconsistent with the art
principle that reyerences the genius OF
grandeur, no matter what it, form. The
artist Ia, aimed at grandeur, true
and pure, and has reflected the rays
OF the German school in which his educa-
ton in plastic art was obtained-the
school TO which Rauch i indebted for his
style, and which was kept alive by Rietschel
at Dresden. Drake and Albert Wolf at Ber-
lin, and BlaeSer at Cologne-whose inlu-
ence was felt by SchadOw and Schwantbaler,
and whose disciple at Copenhagen was
Bessen. and at Rome Pierre CALI and
others-the school that really drew its in
spiration from the genius OF Thorvaldsen.
Taking the figure i'm its whole proportions,
Mr.. Valentine has resorted to none OF the
articles OF art; and while one may not
feel so quickly touched by it-speaking
in the accepted Isthetical sense As OPP
posed to the idea Of being impressed
its eminent beauties constantly reveal
themselves by study. A celebrated
sculptor, in comparing Canoya and Thor
yald>en, once said that before CanOya's
work he was always on the defensive fear.
ing that his judgment might be taken cap
tive by the excessive airs and grace OF the
figures and by the extreme skilfulncss Of
the execution, which often conceal faults,
and which were neither natural nor an
tique. With Thorvaldsen, on the con-
trary, he continues: ~ do not fear any
such articles; my mind is tranquil. pre-
fer him for his greater breadth OF style and
because his work is truer and more cor
rect" TO the artistic judgment in the alb
stract tranquility Of mind is expressive Of
the feeling in gazing upon Mr.. Valentines
creation. The breadth, purity, and truth
OF modelling is that OF an artist who does
not fear his own conception. His
ambition was OF the most exalted
character, and he searched for his
ideal in field OF art where the
dividing line between success and failure
lis so exact as to render the ground treach-
erous and the undertaking dangerous. Be
tween the extremes Of the medieval and
the modern .sarcophagi, it is true, there is 4
wide difference. but the art movement in
volved in the present undertaking was not
strictly to be found in the intermediate
ground. The contact was between an an
1 tique principle reflected through the solid
grandeur OF the German intellectualism in
sculpture and an immense deal OF original
ity. Had he failed to find it his failure
"Ouiu uAfc Dttu COlnpittt. nat ne
has not failed, but has achieved a most
wonderful triumph, we believe will be the
best art judgment in the country. Leaving
the abstract artistic question OF the merits
OF the figure, we can say little more Of it
without repeating ourselves. The most
casual observer must, upon viewing ii, be
filed with soemnity touched with awe
must feel that it is the creation Of great
genius; that il is a noble effort In art. II
appeals TO the strongest sense OF reverence,
and has made the reputation OF Virginia's
sculptor.
! The POSITION IN THE hAUSoLEuN.
The position Of the work In the mauso-
leum throws the head 10 the north, with
the face turned slightly towards the chapel,
thus aGordng view Of it from number
OF different points. 1t is impossible to i'm.
agine greater architectural and sculptural
harmony.
Thus were
THE CEREMONIES CONCLUDED
OF this eyer-eventiul day for Lexington.