The sun., 1888-10-21

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sdorning their beautiful churches with such
productions OF the sculptor's chisel as are
really worthy ola place in the sanctuary.
During my lolg stay in Seville could not
help admring tie masterpieces of statuary
possessed by the Nrious churches in that city,
the cathedral in paticular, OF which the Span
iards are so justly proud. Spanish sculpture,
even amid the debaament OF the art In Italy
and elsewhere durint the seventeenth century,
had proposed to itself the realization Of high
and pure ideal. Tths came into existence
those strikingly noble fatues which the travel
ler admires in the chief;ities OF Spain.
had found the countrpart of these In tho
fifteenth century statues OF Italy-which one
loves still to contemplated the churches and
museums Of Bologna, Floence, Pisa, Sienna,
and Rome. The characteristic of these pro-
ductions Is. like that OF the Shrstian painting
Of the same century the rnpNre of contempla-
ton. The heads are full ofthe divinest ex-
preston, while the limbs and drapery are in
perfect repose.
The opposite characteristics OF disordered
movement and violeut agitation distinguish b
the statuery Of the Bernini Borrdnini period,
and are exempliled in the staues OF tho
apostles and martyrs in the nave b st. Johns
Lateran. which was restored underthe direc-
ton Of this latter architect The Statues on
the bridge Of st. Angelo, as well asthose on
the outside OF st. Peters and along tho double
eolonnade OF the piazza, may have somecxcuse
for their extremely agtated drapery IN the
circumstance OF their being placed in theopen
air and exposed to the wind and the
storm. But ths drapery of the statues placed
along the nave af St Peters has no such ,x-
cuse. and for the most part 1t seems to be blown
about by hurrinne.
/ am not now entering into the more or less
correctness OF drawing. or of the anatomical
perfection OF the hlman figure as exemplifled
in the painters and sculptors Of the medieval
;Is and P$ods do not question
ana Kaphael ,M,ieh,si Angeios genius had
Raphaels genius. too often leaned toward
pagan forms and idcul. Nothing more pure
sbsn a no 2yey was eF rrGdHGed by him
Gallery at Milan. .1heehe was faithful to the
Christian ideal Of his master. Perugino. and
But. both, in paintingaid in sculpture, Leo
nardo combined techpictl perfection with the
ioftiest ,t Christian ideal What is more radiant
Christ IN the Last supper2 Who has ever
Ss aEss the anS nna which he mpars
This repeat it, is what 'ohristian art de-
maj mapds In painting or sculptlEe-,the conception
me absence OF everything With can suggest
senspality or cause the mind i!he beholder to
uWeil on what is low and debaMG.
1t is this ideal which we In Aierica lust as
architecture and its kindred arts IRE beginning
% 70 bs called n among MS 10 tie service OF
clergy and people. And. having sal this much
On On the sort OF art which is truly heiEul toward
Christian civilization. your readers viii allow
a haA
artist whom would stimulate to crate more
works +, q beauty OF the type of that NV on Its
When first went to Rome was sown
Rhh3otIograph OF o statue Of tho Madonna and
Child by Miss Edmonia Lewis, which Struck
preston. and singularly beautiful in tea Meal
execution so%a / T. had been bought at very Md
work Of art revealed ia the sculptor a loitylnd
Rnre conception of the divine maternity. TEN
Hiss Lewis happening TO meet by accident In
struck BY 6er Appearance @ that she could nG
fest ia ull she had begun TO model her likenes!.
n IatIny gay She besouGht the object OF her admi,
end q the second she had produced bust
Snae S%nieh p ~ hlled all beholders with wonder This
snd Is pronounced by the best connoisseurs in
staY 9Ws n = b ee mast@erpece @ DnrHG my last
Romsn cahoo i a 5s
fs fdsesre to see statue Of, st, Charles Borromeo.
meg ne great modern apostle OF education. and tho
sLoot pcIlecl mOQel OF tno secular cIerCy,Wnlch
snonld body forth for our instruction and edif-
cation the sublime character OF that saint.
Wished that the artist could portray tho
plague which devastated that city. he ordered
C,am C,SpliS prayers and solemn procession o! the
headln, the suppliant multitude. in the sim
around ,IEi lis neeE. and carrying heavy erSei;
ilnscripti.n, In tho cathedral OF Milan, The pro-
ffSSssipn fSs a2pped ip the nrincipal squares. whie
Of MercS qaRs 10 The SS
Contemprary historians, Witnesses of the
Sase sss.e rsate that to the prayer q their sanity
Hsrtan Ills that the rayages OF the plague d.
Aehifsb ArehGs5b1a 1apdy from n hSt very day The
aausteriIis by his abors at the bedside Of tie
Iiy,ns; iancs oy night and by day, whe tho pesti-
tthhehi, as ht bore along the upliitcl cross amid
~ eas Gnant psalm aud litany. and tine waillng
RIIs fhs Ynf Hs s 4aFf "t s 81 sheen es Good
NJ pe mntrude remnrEed that his bare feet
roUahp p,ea hprolIey and left red stains along the
him sprpT.ed them. they had ooheid Ih,iitDi him
fttrpping hs Iaiace OF It's furniture, when ali
Rss @Sney 1Sn y0.r s EXHAUSTED and selling A. even
TTsring the Rmho accompanying the plague.
~ from I that day birth tho Cardinal Archbishop
pInn t!an bo S'ep' on 1ased boards Hedied on this
ST9h H.. wss ass st. ch'S,lo; norromso.
bs -ii-hue ol ais Lewis represents him as
Wmt Wmn ttOoa or Iaiseaplntlurn, In tho streets Of
Miiian' sr,ian' dn ing this mmorable procession. The
Spd Sris % could MT well Ive him 70 hold the large
ne holds in his right ,End. the rope around his
neck Vie bare feet. ,ththoqi thrown back, and
ca,,ses ~. eses raised to heasn IN eloquent suppl
cation tell the story irlst efiectiscly
4. This face. all radiant Nth unearIhly charity
,ne eyes, to which the ,sulptor mas impaired
sonewhat Of that Hrdoi Which pisrced the
Skies and went straight tohe heart OF God, is
ahtudy for the hrhoiar.
Iinr whole read romndSLe OF those heads Of
hlints In the painting ol tlitC.uril, yion In tbc
heioctory Ui 81 MARKS n t9rSgnn. You Sos,
you think ~ to.Lnr Int thG. heads. ali Inrt
elclleI itcdeemor. w :" W '"'
So in tho, marble head OF ihest. Charles be-
Stoov us rs. me S soul looks oai Nm behind its