Morning journal and courier., 1889-02-15

or demurrer overruled, the trial or hearing shall be had before a jury at the request of either party to the suit. The House tabled bill for printing, however.
 The House passed the resolution to allow the Meriden, Waterbury and Connecticut River railroad to issue $400,00 in bonds, but ! afterwards reconsidered the vote, as it was thought the assets were not sufficient to war rant such an issue.
 FRENCH ART.
 Prof. HeppIn's Valuable Lectures at Yale Art School.
 Prof. Hoppin's lecture on art in France ! was one of peculiar interest, and a synopsis ! is herewith given.
 After pleasing introduction, crossing the Pyreenes and coming out of Spain into a
 land in many particulars sntagonistic, the ! lecturer referred to French art as differing | from that of that of Spain as the character | istics of the two nations diverge. The deli- | cacy and grace not SO commonly found in Spanish is seen plainly in French art. French art as we'll as French history is | life-like on board steamship. All may be pleasant and comfortable at first, and in & l few hours the ship may run into storms and scenes most serious if not tragic. So French art is cheerful and serene at times, and st others represents license, blood and violence, as if there was something still barbaric in the French nation. French art is distinguished in historical paintings more than in any other I line; but not so marked as picturesque or l profound as that of Italy. French artists ! have genius for imitation and not produce tion; more of talent and less of genius. Prof. Hoppin devoted much time to the study of French art in Paris, and stated that | the study of French art is really that of mod \ f -G-- Germany is that of scholars. The Parisian | school is the center of modern art, both for good and evil. It represents the peculiar coloring which this age gives. Each age rep resents it's own ideas, manners and senti- | ments. The past had art peculiar 10 itself, l and modern art beats with the life-blood of \ the present. To continue to use old methods
 would be digging grave for art Students | and lovers of art to-day go to Paris as in an- | cient times they used to go to Athens. The | art of to-day, however new, is the child of yesterday, and owes its origin much to for | eign influence and importation.
 The lecturer then referred to the magni6- | cent paintings on glass, the windows of ca- ! thedrals, and spoke also of the architecture | which was the product of French genius. No school of French painting existed be- ! fore the time of Francis 1. There was the l school of Fountainebleau in the time ofLouis- | XIII. All French painters of the first cen I I Nicholas Poussion, the first great name of 1 modern time among them, was nutured in | Rome. He was pupil of Dughet and was a philosophical painter of landscapes, whose 1 pictures are widely scattered throughout the | galleries of Europe. His paintings in the | Louvre very attractive and full of | power. The "Arcadian Shepherds was de- ! scribed as fine illustrating the expression
 "And I, too, am in Arcadia" Nicholas l Poussin is one of the foremost, as well as the
 earliest, painters of the French school. | A little after came Claude Lorraine, who
 represented more of Italy than of France. | All know who nave Read Ruskin how that \ writer depreciates Claude Lorrain beside his British rival, Turner which is entirely un- I necessary, for both were great artists. Claude painted his own thought, true or false. He
 has been called the painter of the golden
 age.
 Here followed fine description of Claude's
 work-his perspective, coloring, composition \ and exquisite finish. They make Turner's pictures look a little muddy in their dull | brown.
 | Other French painters and their works were also described out more briefly, and l then reference was made to the middle of the Eighteenth century, when different class of painters arose-the gaudy butterflies I of the reign of Louis XIV. They were spirit uelle, but not spiritual, and finally few \ painters were mentioned as closing spark ling and gaudy period.
 Then came an entirely different school, | menaoing in style, reactionary, masculine, positive; a bringing out of French genius, | according to antique ideas, and under the in- 1 fluence of the political revolution in France. There was evident freezing of spirit from
 all bonds, even of those which were salutary
 and representation of this in paintings mil | itary, philosophic and artistic.
 | The leader of this reactionary movement ! was Louis David. Modern life was express ed by him in @ form two thousand years
 back. He was friend of Robespierre, and lived like him in world of Roman thought.
 Graphic mention was made of several of \ Dsyid's pictures in the Louvre. David's ] career extended unto the time of the first 1 Napoleon, and he painted the Coronation ! of Josephine" As one sees Davids picture ! of ''The Revolt' he thinks of Greek and Ro-
 man warriors, though the figures are clad in | modern habiliments. "It is magnificent, but
 it is not war;" was said of one of his pie
 lures. It was the grand artist painting the grand hero.
 Other pictures and artists were then de- ! scribed, and then the lecturer spoke of g
 manifestation of French art, which might be | termed modern Roman art. And again fol. lowed fine allusions to artists and descrip-
 tions of their paintings. Among the
 paintings described were "The Wreck of the ! Medusa, [" "Apotheosis of Homer" "Christ \ Delivering the Keys to Peter," "The Virgin ! with the Concealed Wafer," "Joan of Arc'
 and others well known to visitors in the gal leries of France. Some artists were also men, tioned as distinguished men who commanded
 respect for themselves, but not for their the ory of art.
 The professor then spoke of the founda.
 tions of French art; of principle reduced tc
 practice. Art is composed of two elements,
 sentiment and science. If all scientific, ii
 ceases to be art. In respect to rules and
 formulas the school of France is the greatest
 of modern times, far more 50 than the mod
 ern schools of Italy and Germany, having az official and, so to speak, national existence.
 One of the startling features of modern
 Paris is the assembling of thousands of young men and young women for the study of art
 The ''season" in Paris is regulated by the opening and closing of the ''Salon." This government institution has its advantages
 and drawbacks which the lecturer proposes | to point out in future lectures.
 The French are a scientific rather than ar ] artistic people; they classify knowledge rath. CT than mould ideas; but the place of France in art is foremost.
 After showing this with mention of exam
 pies, the lecturer closed with the remark that the best of American artists have received
 their education in Partisan schools.
 Ringing Noises
 in the ears, sometimes 8 roaring, buzzine sound are caused by catarrh, that exceedingly disagreeable and very common disease. Loss of smell or hearing also result from catarrh Hoods Sarsaparilla, the great blood purifier is peculiarly successful remedy for this dis
 ease, which it cures by purifying the blood If you suffer from catarrh try Hoods Sarsa Iparilla, the peculiar medicine.