Seattle daily post-intelligencer. [volume] (Seattle, W.T. [Wash.]) 1881-1888, 1884-09-14
An historic PAINTING.
New York Cor. Baltimore Sun. !

2N hHStOAht rAANHHNe.
New York Cor. Baltimore SUM-.
private view was acc )rded recently
to artists, critics, and persons Interested
in art, of Mr. Thomas Hovenden's his
torioal pinture, John Brown on his way
G. Execution" This important work
was only completed few weeks ago.
too lats to allow of its being exhibited
in tho National Academy of Design. It
Was painted for Mr.. Robbins Battell, of
this CITY.
The artist has chosen for representa-
tioa the historical incident of John
Brown on his way to execution, stopping
to kiss negro child in its mothers
arms. This incident also forms the
subject of part Of Whittier's poem,
Brown of Ossawotomie." The picture
saows the porch of the Jail, with parts
of the brick wall on either side. 1t is
covered white wooden porch of a
typical American character, with rather
dilspidated wooden steps and handrails.
At one side of the stair-the rights
seen John Brown, in his well-brushed,
carefully-arranged suit of snuff brown,
red velvet slippers and white stockings,
arrayed for nis death "a If for Sunday
morning in his northern home. His
arms are tied behind with ropes, and
the halter Is about his neck. He has
stopped, and the rnomentary action is
c.pitally expressed in the whole pose Of
the figure, to kiss the child held up TO
him by the negro mother, who gaz 8
wistfsliy into his faoe. His bronz-d
face, crest of white hair and lonR white
beard form a striking contrast with
tue small head of the negro baby in it's
dingy garments the figure of the
b,refoo.ed mother, in her tawny brown
ragged pstticoat and red turban, re
psits the color notes in the figure of
John Brown. Behind the negress il a
little white girl with tangled fair hair.
gazing curiously up at the old man en-
the steps above. A small Negro boy Is
visible against the background of bare
brick wall. Part of dingy blind is
seen at the extreme right. At the right
of the foreground are two soldiers, fine
looking, stalwart men, in the uniform of
the Jefferson Guards. The immedi-
ate foreground is simply strip
of light earth and stone worn
away by the tread of many feet.
At the left of the foreground st 4nds an
other soldier, probably a sergeant. indi-
eating by his attitude and the express
sion of his face that he is keeping of a
mob behiud. He holds gun trans
versely, so that it cuts across the prin-
cipal group, and virtually forms a bar.
rier between John Brown and the Sher-
Id. who stands behind him on the porch
holding the warrant of execution. This
figure forms one Of a group of men issu-
ing from the door of the jail. they are
"A -.
and features, and are strongly iudividu-
alIzed. At the left, on the ground, and
against the side Of the house, are figures
of negroes, old and Young. who have
stolen up to give parting glance of
sympathy TO the champion of their race.
Oae wsman stands with her back against
the wall of the house, and her fearful
eyes raised to heaven, evidently praying
fot the nam about to die.
The first thing that impresses the
spectat II as he gazes at this picture is
the reality of il. 1t seems less like a
work of art than a group Of living,
breathing human bsiugs, called from
mere tradition into tangible existence.
Every figure presents a different type.
The composition is good that no trace
of IL exists-the scene appears to have
been literally transcribed from actual
ity. It is an American picture from be
ginning TO end. not only in subject,
treatment and style, bat IN its pathetic
stoicism. The stolidity of the faees,
the absence of emotional expression,
except on the negro face, reveal the ma
tionality of the ssene and the figures,
and emphasize the significance OF tue
subject more powerfaiiy than a more
drsmstic-that is, a more fictitious
treatment would have done. The es
sencs OF American life and character is
in this work, and il deserves to rank
amoug the historical masterpieces of
the century.