St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1889-09-01

Ices and corners, lie pieces of armor,
swords and spears, inSeparably con-
nected in their appearance with the war
riOrs of past ages who were wont to
WELD and wear them. Costly and
artistic bric-a-brac covers the walls in
the interStices between the paintings,
while banks of rusheS, and here and
there a paper lantern in varied colorlng,
helps to give the general and indescrib-
able air of foreignness which peryadeS
the entire establishment.
Of the really wonderful works which
cover the walls of the private studio, it
may be truly said that they will prove
revelation to st. Paul art lovers. The
two largest canvaseS are copies, one
being a life-siZe copy from the original
of Lucca GiOrdanO, the Venitian master,
of "The Descent from the Cross" For
this work Segall was awarded the
highest honor comfortable by the Venice
Gallery of Art, from the fact that the
upper portion of the work, representing
a group of angels lowering above the
dead form of the murdered Christ, is
his own conception of what was intend
ed in the original painting, of which
but battered and almost unrecOgniZ-
able remnant remains, The scene is
too well known to st. Paul readers to
need description; the wonderful express
sion and equally wonderful colOrin g
of this work. upon which the art crit
iques of all European art circles have
laViShed unStinted praise, is something
to be seen and admired. Directly Op-
pOsite to, and facing tue above work,
stands one Its equal in point of size and
execution. The title of the picture is
"Chrst in the Temple" and it is also a
copy from the original of Giovanni Bap-
tista TiepolO.
Works, however, which will appeal
directly to the sympathies of the ever
sympathetic people of this SANITY City,
are several small canVaseS depicting
the dark side of lite in Paris on the
Seine. One of these represents the in
terror of a garnet in a Slum of the gay
capital. A few coarse articles Of furni-
ture stand upon the bare, cherries
floor; bare are the walls. and barren
of hope the faces of the desparing
women who crouch upon that only
article of furniture which savOrs of
comfort, the bed, watching and waiting
for the death that must come with the
fumes of deadly charcoal emanating
from a small stove in the center of the
floor. The title of the picture trans
lated is MISERY in Paris" though, for
that matter, there is little need of a
title: it tells its own story with force
sufficient to haunt the mind of the on
locker for many day. To a Partisan
the scene is one typical of Partisan
misery. The mother and daughter are
shirt sewers. The last stitch has been
given to the flimsy garment, which lies
completed on a small table near by, and
there is no more work. Starvation
stares the unhappy twain in the face.
Too proud to beg, too: weak to seek
fresh employment, death suggests itself
in the form of the charcoal fume, and
its suggestion is accepted. The artist
has cast over the whole piece tint of
sombeT gray, which, merging from the
ashy pallor on the faces of the dying
women, deepens into gruesome shadows
In the corners of the cherries apart
ment.
A relief is experienced in turning
from the scene just described, to one
entitled La Souvenir" or "a RecOllec-
ton" This work represents, with a
force that will appeal as directly to the
hearts of st. Paul's fair daughters as il
did to those of their Partisan sisters, q
young girl who has just returned from
the ball. With an abandon born of the
privacy of her chamber. she has looS
ened the fastenings of her ball costume
end lies with bust and neck exposed
and eyes half closed in a dreamy
Teyerie, coming over the events Of the