Morning journal and courier., 1889-01-25
SPANISH ART.
Another of the Valuable Lectures by Professor HOpPln at she Yale Art School.

The second lecture by Prof. I. M. Hoppin before the Art school of Yale university was delivered on Tuesday, Jan. g, and was pleasant continuation of the theme com- on the 18th, viz.: A graphic delinea- ton and courteous critique of the art and artists of Spain. He showed very plainly that for the understanding of the School of Painting in Spain, thoughtful discrimina- tion was required, for in art, as in literature, mere impression does not count for much. Impressions settle nothing, and opinions should be based on judgment trained on knowledge or the principles of art. One needs clear perception of the essential laws of painting. Even then one cannot criticise an old work of art arbitrarily. A painting must be looked at from it's own point of view. It must be judged from the representative faculty. The truth of science is one thing the truth of art another. Science can tell facts, but it cannot define the secret of power over the soul. Art has it's own world of dis- ciples as science has, and though often un- developed, doubtless the love of art is in all minds. There must be 8 certain advance ment in art in order to see the worth and dignity of 8 work of art.
 Because it is, and is to be found in every land, an outstanding fact, it cannot be neg lected. And the more the intellect grows and is touched to finer issues, the more it per ceives the truth and beauty of art.
 The speaker then passed to an elaborate of Spanish artists and their promi- nent or best known paintings, and only an entire reproduction of his close description and fine analyses of pictures could do his lecture justice. He reminded his hearers that the paintings of Spain have not been so well known as those of other lands, and hence must be studied at home. Velasques is beginning to be better known, and he is one who belongs to the school ot progress, and will therefore continue to be better un- derstood.
 The speaker then described picture call ed the "Apotheosis of St. Thomas Aquinas," :" and spoke of the painter as having lived dur ing the last part of the seventeeth century, and worked mainly upon pictures of monks. He made use of lay figures for costuming. He was powerful painter for simple ef- ects. "Some of his monks faces were so fine that shall always remember them" said the lecturer, 'and think better of the Catholic. religion for it." This artist was consecrated son of the church and became a monk in order to paint monks. His Apoth- eosis painting was a picture of the times, when, as 1t was said, ''God ruled in heaven and church ruled on earth" We do not know how to read Spanish history without such works of art.
 The Professor then referred to Alonzo Carno, as man of violent passions, but in spite of his personal faults, a painter of extreme care in drawing and much feeling for form and great purity in flesh tints.
 An apt quotation from Arthur Helps, here gave .he nearer to understand that painters characteristics are not always to be discerned in his paintings. Fine paintings by Carno may be seen at the Louvre, and in Dresden, but though quiet pictures they do not indicate calmness and moderation in the ar tist.
 Then came exceedingly fine descriptions of various paintings. One could almost see them, even without the help of the engrav- ings which were at hand, to be examined af- ter the lecture.
 Spain has expressed herself in color and painting, and passes often under cloud artists belong to what Agustus Hare calls the "Black Agony School" because so inclined to heavy, cloudy coloring.
 Extended reference was then made to Ri- bera, who was at first a pupil of Francisco Ribalta, and afterward of Caranaggio. Ri bera made deep mark on Spanish art. He and Ribalta belonged to the school of shadow painters. The shadows employed by this school are deeper than those of nature. Yet this shadow painting is but trick-unlike truth. Its effect for moment is very strik- ing. Chiaro scuro is magician and lends quality in painting, when according to na- ture, but may be heightened to folly. ''The drid gallery is an example. "John Baptist in the Desert" is not so strong, in the same gall lery. There is an interesting sybil there, but it has some bad drawing in it. The speaker claimed to criticise with humility, but it WAS evident that he had examined the paintings with real critics ability.
 Blood danced in Ribara's imagination. He oli~ Tod harr0ra aah% tyrdoms and the like. His "St. Mary in Egypt" is one of the most remarkable pictures in the Dresden gallery. It almost strikes one dumb as he comes upon it. Ri bera's picture of the Elaboration of the Shepherds" now in the Louvre, ;s noticea- ble. His was one of those original geniuses who are sure to make followers. His art was genuine.
 The speaker announced that we have been travelling along an undslating plain, but had now come to mountain on whose summit were Velasques and Murillo. They owe their superior height to their original genius. The former was the elder by thirty years Then followed glowing sketch of Velasques, who, as the professor declared, had the blue blood of genius. He was born at Seville and stud- jed at first with Herrera. From him he learned to use long brushes or brushes, with long bristles. He afterward became pupil of Paeheco, probably because he fell in love WILL HIS ScCOAO uduSulSI, WAOn AS married. He said he would rather be the first of vulgar painters than the second of refined ones. But it was true that epochsl genius had arisen. He commenced painting kitchen pieces and employed a servant boy as a model, and thus laid the foundation for his ability as a characteristic portrait paint CT, the test of art.
 A description followed of his colors, out lines and models, and several of his paint ings were mentioned. "The Water Carrier of Saville" was one, now at Apsley House. Philip W. declared that DO one should paint his portrait but Velasques. He seemed to find poetry in the commonest of objects. Of one of his five paintings the professor said: 'Its all-alivenesS strikes one as he sees 1t in the Madrid gallery" The realism of the Spanish school of art has not so gross an ap- prehension of human life as the Dutch. It has touch of poetry, bit of Cervantes or Shakespeare-a touch of human nature. Velasques was an original, independent art ist. His art blossomed spontaneously. He worked from the mind, or as Balsac says, "The hand of the artist is the expression of the brain" Superb Rubens came to Spain as an ambassador at this time. not leaving any perceptible influence on Velasques, but persuading him to go to Italy and study, which Velasques did.
 In Venice Velasques was attracted to Tin toretto and copied from him and from Michael Angelo.
 In Italy he painted the "Forge of Vulcan" where, in his painting of "Bucchus," only the name is classic, the representation being Spanish only-not bit Greek The figures are grand. They are regular Thros, and the artist evidently enjoyed the joke of laying the scene in commonplace, ,as Thackery often hid his satire under a mask.
 Fine descriptions of some later pictures by Velasques followed. Allusion was made to his portrait of Don Balthazar, who died at the age of seventeen. "Better,' said the Christian professor, mindful of the history of that period, "better than to live to lead men to slaughter or burn them up as heretics."
 With brief reference to some portraits of women in the royal family the speaker closed, and the unexhausted subject of Span ish art will probably be the theme of the next lecture.
 Boxes On the Pavement.
 Mendel & Freedman, the dry goods firm, on Chapel street, were arrested yesterday af- ternoon for obstructing the sidewalk in front of their store with boxes. Both gave bail.
 Iron Hall.
 The final meeting for closing the charter of the Order of the Iron Hall is held this even