The Austin weekly statesman. (Austin, Tex.) 1883-1898, 1888-07-19

in a death grapple with a Mexican
standard-besrer; a struggle in which both
are going down along with the banner
which its bearer had vainly attempted to
plant. In that area Crockett, too, actually
died: and there We behold nim. with
dubbed rifle barrel. dealing death to all
within his reach, and dismay to others
who shrink into safer distance.
Bowie, as we'll known, was slain in his
bed, bot, Ly license ps poetical as it is
allowable, the artist brings him out of it,
through half miracle or expiring energy.
According 10 the painters conception,
the roar IF battle came To the dying SOL
der like the last trumpet note to the dead
and brought resurrection to the couch of
anguish. In habilimeuts like those of a
corpse, he tosters forth amid the storm
of lead and steel, to four,sh for the last
time the terrible knife he gave name to-,
and seek the death Of warrior. That
boon, however, for the moment eludes
him, for the near a-sailaLts recOil IN ter
ror before the supposed apparitlon'
Evans, the master of ordinance, accord
ing to tradition, when he found that all
was lost, all save honor, rushed with
blazing torch 10 the magazine 10
fire it, but fell before his object could be
accomplished. In the painting, that torch
which lads to bring distinction to all,
serve. win its lurid glare to light up the
group Just described, giving vivid reVe-
laton 70 the ghostly figure of Bowie and
ifz surroundings of carnage aud horror.
4 was ar admirable thought of the
artist 10 . gle that torch where he did, and
thus intrC.ace in way so natural aud
historical ne light go needful for the eff
lcctive character of the scene. Above this
group, and the fearful complications
around II, the last unsilenced gun of the
garrison, on he fiat roof of the long
barfack, is giving its discharge. This
preserves ire historical fact that, after the
iargcfg unsiof the fort had been taken and
turned against the inner works, smaller
one ul nigh platform continued to fire
tin iis CauuOneer5 fell around it. In the
various groupings occur some fine cases
Of contrast which cannot be detailed in
this article, but / must not omit to men.
tiou noble allegorical conception, en-
bodied in the aspect of nature as then re-
yeoed. The sun, as it approaches the
horizon, brings not only light, but the
morning breeze, and the flag of 1924, on
the top OF the chapel, is just giving its
farewell waiting, while among the eastern
clouds o biaok and red the morning star
then rising, is still visible. 1t is the Lone
Star OF Texas" struggling through the
clond5 Of blood and darkness which beset
it, advent. The star of independence APP
pears as the Aag of Mexican liberty is
about TO 70 down forever on the last spot
where IT. ever waved. As the closing scene
% tho tragedy, where the last hero fell,
was eugc, ed within the chapel walls, it
tic possibilities can afford no glimpse
OF what there occurs, but in every grand
picture something ought to be left to i'm
aginAtiOn-if only some visible tokens can
indicate the nature of what is
hi ldeU. famous PARTING of an
tiquity represented Agamemnon's sacri-
flee OF his daughter, but the artist ex-
heusted his skill in depicting the woe in
other faces, without attempting that of
the father, which Is covered by his mantle.
Now, in the proposed painting, the walls
of the chapel must do the office of the
mantle over Agamemnon's face, but an
outward sign gives an inkling of the terri
BILE unseen. A group of scalers have
the parapet of the chapel, while
a hidden column of attack have charged
into the building below; aud, from the
top of the wall, the visible few are looking
down upon the unseen many, looking
down into the roohess fabric as into the
,rater of fearful volcano.