The daily Cairo bulletin. (Cairo, Ill.) 1878-1???, 1884-08-26
Christ Before Plate.

Before Pllate:'
OF the original painting. Meissonier,
the greatest among the living French
artists, is said TO have remarked that,
since Rembrandts "Ronde de Mutt"
no other painting of such Importance
has been produced; and of the etching
by Waltner it may be said, without fear
of contradiction, that it is the most
mastery of translations, giving all the
force and power of the original paint
ing. Simplicity is sure indication of
the genuinely classic in art. In this
picture the arrangement is simplicity
itself, and so natural that it seems to
the spectator as if it could not have
been otherwise. PLATE sits in an open
hall on an elyated seat Next to him
the Pharisees and Scribes have posted
themselves. At a convenient distance
from him stands Christ with fettered
hands--a noble human form, tall and
erect the body and limbs almost con-
cealed by plain, flowing white gar
ment, the head with long waving curls
falling down upon the shoulders, the
neck, the breast--this is all we see of
Christ But what depth and fulness
even in this little! How noble the face,
with its high and finely deiineated fore
head! And what an inimitably gentle
and yet infexibly reproachful look in
the eye The whole Christ is in this
eye-Munkacsy's whole Christ-and all
who look upon or rather into this
picture are spell bound by it. The
fanatical crowd press about the males
tic form Of the Savior, and are kept
back by the Roman soldier with his
horizontally extended spear. Plate
hears the accusation. meditates-with
bent head aud fingers set as in argu-
ment-on Christ's words, apparently
endeavOring 10 solve the question:
What is truth?' A second tigure-that
of the accuser-iS gesticulating de-
monstratively with both hands, his head
raised and mouth open. He expresses
q PhariSee's self-conSciousness, fana-
tics resolute prejudice. Interesting is
3 third tigure-tAat Of scribe-perch-
ed on high against the marble wall OF
the Pre- .or!um, his arms crossed behind
his back, his uplifted head expressing
the curiosity Of q pubic chronicler,
and throwing piercing and malicious
glances toward the defenseless sufferer.
The rich Sadducee sits with provoking
defiance on the judges bench, and with
an sir Of safety he rests his hands on
his rounded thighs. At the feet of the
governor two judges are sitting; one of
them is looking with the penetrating
glance Of a scholar Of the law, toward
the disturber Of faith; the other glances
with unsteady looks towards the medi-
tati,lg procurator. The eye Of wild
fanatic, who has pushed himself TO the
front, tries likewise TO read the ex-
preston 0! Plate face. How fine are
the shades OF distinction in another
group Of discussing, gray-bearded doc
tors Of the law 10 the left OF the tribunal.
They are carefully weighing the words
Of Christ: Il have come TO bear wit
ness unto the truth. - This group,
consisting q three heads, Is charact-
er.suc tab.cau in itself, speaking vol
umes. Prominent among these numer-
Gus characters, and leaning agaius.
column. ) Young woman who holds
an infant in her arms. She is charm
ing.y beautiful; her attitude has
grace worthy Of Raphsel; the calm and
pure sweetness Of her features con-
trasts with the turbulence Of the faces
which surround her; she is Madonna,
who has strayed into the Sanhedrim.
In the artists mind she no doubt was
intended 10 represent the dawning Of
Christianity. Beyond these groups
comes series Of inexhaustible grada-
.ions which mark the interest display
ed ~ the crowd. At the entrance Of
the PrUlorium throng the most striking
figures. The Roman legionary soldier,
posted behind Christ, is using all his
energy to keep back the mob An
idioIic youth pushes himself forward
toward the accused. Behind the lat
ter, rutlisnly looking individual cries,
with all his might, and with his arms
outstretched, Cruelty
him. just as he is pushed back by the
lance Of the Roman soldier A street
boy on the left has pressed quite near
the sufferer, and, leaning forward, is
diabotically in the face Of
Christ. Behind this most sublime of
men stand the sophistical usurers de-
to each other the untimely
zeal Of the founder Of religion. Fanati-
cal believers climb onto the columns.
How finely grouped is this multitude!
The various feelings which agitate It
are all well represented in the changing,
but, at the same time harmonized i'm
pressions produced on the mind by all
these figures, which, in the diversity
Of their expressions, all converge TO-
ward Jesus, whose calmness stands
conspicuously forth in the midst Of the
tumult. About this Christ there is no
halo, no artificial exaltaton, no celestial
background. Nothing has been added
to the scene that might not actually
have existed, trait for trait. No at
tempt has been made to represent a
being, a divinity; Christ
appears before the court as a suffering,
prosecuted man, in whom is represent
ed the whole ideal Of humanity. Out
of this Christ speaks the majesty of
humanity in its struggle for moral
progress.
-
She Didn't Take the Ring,