Savannah morning news. [volume] (Savannah) 1868-1887, 1885-02-08
guished men and other specimens of the

represents this story: Antiope, daugh-
ter OF king Of Thebes. was deceived by
Jupiter IN the form of 4 Satyr. She fed
to Mount Cith9ron, where she brOu ght
forth two sons, AmphiOn and Tethus.
Afterwards, being in fear of persecution,
she fed to Epopus, hing of SyciOn. Ly-
Gus, her nephew, recovered her and mar
rled her; but this excited the jealousy OF
Dirce, his first wife. She insLigated the
two sons of Antiope ia tie her to the ta:l
of a wild bull, but having been informed
by the old shepherd, their foster father,
Of their true relation to Antiope, they re-
leased her and put Dirce in her place.
There are other versions of the fable, il
such it be, but this appears to be the one
adopted by the artists, ApollOnius and
Tauriscus. They belonged to the school
of Rhodes, which followed that of Athens,
and arose about the middle Of the third
century before Christ.
Polycletus, the rival of Phidias. was an
Arglye, famous for the beauty of his
statues. One Of these, the dCriphOrus, or
lance bearer, made for the King OF Persia,
was so perfect in its proportions as to be
called and accepted by artists as "the
rule" to the time of Lysippus.
LYslppus lived about 325 years before
Christ, in the time of Alexander the
Great. He was 50 much esteemed by
artist to make his statue. He objected to
the proportions of the human body
adopted by previous artists as being too
much like the common form; whereas,
he represented them as they should be,
thus anticipating Raphael in his views of
what should be the practice of artists
with regard to the proportions of the
figure of men. He made the head
smaller and the limbs longer and lighter.
On this rule he made a figure of man
coming out of bath and scraping him
self with the strygll used for that pur-
pose. This was placed by NJ. Agrippa
before his great baths, and Mr.. Brandt
gives a cast of it, and also a head Of
Alexander. To Lycippus also IS at
tributed the group of the horses OF the
Place st. Marc in Venice. His statues
of the % hOrsemen drowned in the Grant
Gus were 50 valued in the reign of Au-
gusta as to be bought for their weight in
gold.
The LAGOON, Of which a copy is in the
Telfair Academy, is supposed to have
Leen product of this school in the reign
Of the Emperor Titus, between A. ID. 20
and ST. The three figures are the crea-
tiOns of the three artists, Agesander,
POlydOrus and AthenedOrus. The eX-
preston of a grand soul struggling in
agony against the weakness Of the flesh,
exhibited in the attitude and expression
of the father, is justly considered one of
the greatest triumphs of art.
OF pictorial art there are a few choice
paintings in oil, but the Photographic rep
Editions Of the works of distinguished
painters give, in all but color, very salts
factory ideas Of the peculiarities of COM
position, drawing, perspective and eX-
preston of the respective schools from
the revival of art in the Middle Ages down
to our own day. But, to appreciate these,
they must be seen, and without them be-
fore the eye all attempts at explanation
would fail. We VIII therefore con-
clude this article with a remark
upon the nature Of a picture. If
we place a transparent sheet Of glass
before us, at a little distance beyond the
width Or height Of the object, as either
eXcels in length, we have it so placed that
lines from its limits will reach the eye at
an angle of sixty degrees. This enables
the eye to take IN the whole at once, and
no picture should be viewed nearer. All
objects beyond the plane of glass within
this angle Of sixty degrees will then be
seen as if painted thereon, but an object
behind the picture will, if at the
same distance from it that the eve is be.
fore, appear Of one-half its real size, and
so on till it cannot be seen. This is what
we call linear perspective, and the in
creased indistiuCtnesS which follows its
Is called aerial perspective.
With this kept IN mind the great beauty
and perfection Of the architectural pho
tOgraphs will be appreciated.
OF the want Of perspective in come
states of the pictorial art, a good example
is offered in picture OF the manners and
customs of the ancient Egyptians. A
nOblel and his wife are represented as
iT,or in mi Il nd oVut~ 4p
the marshes. To young couples a proper
study Of this picture is suggested as pos
Sibly opening to them new source of en-
Oyment, for in this age of Woman's ri gifts
here is no reason why man and wife should
not hunt together In the old rice fields
near SAVANNAH, once so abounding in
;nipe. At any rate, it will show that we
laye discovered anew lost arG' IN the
6rfn OF an old fashion. worthy of revival
among us, as uniting the sexes by an
)ther tie, similarity of pursuits Il 0utI06r
exercises. Such was the custom of
sparta, the great rival of Athens, from
whom we have learned so much in art.
Why not, then, something from the people
If Lacedemon in mannersy
AT PRESENT THE OIL PAINTINGS
are few, being only six, but they are
rams. for the possession of which we are
indebted TO the diplomatic skill, as well
as the Judgment and good taste, of Alr.
Brandt. who detected the merits Of artists
not yet enjoying the prestige OF reputa-
ton, but to whom it came when il was
known that their works had been pur-
chased for America. The readers OF the
art Journals of London have already been
made acquainted with the first OF Mr..
Rraudt's purchases. 1t was made within
!, Joy Il nf I
from Liverpool he said: 1.-The name of the
painter was unknown to me, but he will
become famOusV Before Mr.. Brandt, in
the prosecution of his mission, had
reached Naples his prediction had been
verified. The young painter, "Heacker,"
had indeed become famous, and the art
journals of London were clamorOus in
their regrets that picture OF such extra
ordinary power should have been per-
mitted to leave England. 1t would be
difficult to place pecuniary value upon
the ,'ReIics of the Brave" The
picture tells its own story. Around
the fireplace of an old hut sit three
figures, one of whom, a young woman,
in a parOXYsm of grief, grasps her hair
with one hand and with the other brushes
the letter which tells of the fall of her
husband in battle. That he distinguish
ed himself is indicated by the Crimean
medal lying unnOticed before her. Near
by the old father sits absorbed in grief,
ana nesting at his side is seen the grand
daughter, gazing with deep sympathy
with Der mother, while the baby OF few
months sleeps quietly in its humble era
die.
The oil painting which comes next in
DOwer to the "Relics of the Brave" is the
work of the German painter Zuegel, and
was purchased by Mr.. Brandt at the In
ternationaI Exposition at Munich. 1t is
entitled "Sheep Grazing" and presents
flock of sheep, with the shepherd and his
dog, slowly moving across field. The
tone of the picture is eXquiSitely rem
dered. The realism and life of the sheep,
combined with a technique not easily eX-
celled, made the work one OF the attrac-
tions Of the exposition.
Yet another picture on study of sheep,
OF life size, by Braith of Munich, which
Mr.. Brandts discovered unfinished in the
artists studio, is a work of singular
merit, painted with great breadth and
power.
'The Protest Against the New Railroad"
by Ferdinand Bruett, Of Dusseldorf, will be
recognized by engineers and projectors as
true to the life Of lawyers, capitalists and
landowners on such occasions in America
as well as Germany, while housing the
Boar by Guido Won Matfei, will bring
vivid "reminiscences to one who has ever
hunted the wild hogs on our sea islands,
and the surgical Operation" painted by
Pandinini, a Roman artist of repute is
so true to nature that one laughs at the
orimaces OF the sufferer, in spite OF
sympathy for him. Not the least
charming of the oil paintings is a fine