davidaulloa/AmericanStories huggingface dataset:
The morning call., 1893-05-28

the church already numbers with the dead. Tor
having broken her VOWS and lied her convent
The faces of th- three judges are alike ad-
mirable The abbot of Saint Cuthber'S, hard,
as do The deaths head and cross bones carved
in stone above his chair. The poet speaks OF
the naughty abbess of Tynemouth as "a
shreuded figure" Rosenthal has taken the
artistic lic-Bse of representing her plainly and
clearly, middle-aged woman, cold and con-
demnatory, who gaZeS at Constance without
spark of emotion or w0nianly pity.
Tynemeuth>S abbesS Is an admirable foil to
the abbess of Saint Hilda's. whose beautiful
face is full of startled horror and pity as she
stands with her eyes riveted upon the unhappy
prisoner. Another of the painters licenses
and one that heightens the dramatic effect of
the picture considerably, is the Introduction of
The red-lined coat that j0val mOcking monk
has just torn from Constanc.'s shoulder.
The other prisoner, dressed In his monkiSh
garb and loaded with chains, cr0uches, as the
poet describes, like hound beneath the lash.''
His lace is mean, treacherouS ana supplicating,
and pres MS a dramatic contrast to the con.
stancy OF ms mute partner standing near"
who fearless awaits her doom.
In the background the weird figures and
cruel faces OF The monks, iliummed by the
light OF the torch, that does little more than
make darkness visible. are half seen, half sug-
gested against the low round arches.
With the exception OF The ply which the
abbeSs of Saint Hilda's Is struggling to sup
press, all the surroundings of the two prison
heroic tirmnPss with which Constance supports
her terror and the snppicating agony of her
companion IN misfortune are much thrown
away upon the baggard monks guarding the
grim entrances, and upon the meDacing judges,
as they are upon the solid masonry itself or
around tools with which The prisoners are
about 10 be consigned to living tomb.
The morning call., 1893-05-28

lean against the rough hunks. and on wooden
stool stand lin basin and towel-the primitive
toilet apparatus of miners dwelling.
The coarse deal tabl' tells its ewntale OF the
utter want of refining influences In Roaring
Camp. One dirty plate and knife, an open
bottles sand side by side with the hat, for con-
tributi0ns. and the candle-hox within when
swathed in red flannel lies The Luck himself.
The contrast between the tiny white BABY
and the strong. coarse forms and tanned faces
OF the miners who bend over him is exec O.
ingly striking.
lie child has JUST grasred the hard, black
ened foreiinger of kentuek, and the look OF
mingled delight and foolish embarrassment on
that miners face is admirable.
Stnmpy, "in other climes the putatiye head
Of two families" stands facing the men, His
burly figure is outlined more than any of the
Others and he points over his shoulder TO the
bunk. where the figure of the dead mother Is
suggested under white drapery.
He has delivered himself of the oration which
set the contributions fowing-''Them as
phan will md hat handy" ana his attitude
as b. silently points over his shoulder to The
stark fgure OF the woman, emphasizes his
appeal.
The response to his suggestion Is seen in the
races ana aitii udes of the men. Those III the
foreground are evidently preparing 10 give,
while those III the rear uncover their heads as
1gure IN the procession particularly Is diving
deep INTO his pocket, as though to find his bot
tom dollar.
Readers of Bret Harte VIII recognize most OF
his characters al glance-the greal est scamp
In the settlement, with his Raphael-like face
and profusion OF blonde hair, Oakhurst, the
gambler, who possesses the melanc holy air
The morning call., 1893-05-28
ROSENTHAL'S ode BEVERLY
AND ELAINE."

It was irving NJ. Scott of this city who first
suggested 10 Toby Rosenthal the dramatic pos
sibtlilies of The trial scene in "Marmion" as
the subject for painting.
ROsenthal grasped the idea at once. but he
realized the difficulties that lay in its execu-
ti0n. Il was only after a prolonged perusal of
the poem that he came enthusiastic and de-
clared, 81 am sure can paint that picGure''
Alter making this prediction Rosenthal
spared neither time nor money to make MAR
mioD" his greatest worF. He studied history
an d ecclesiastical law, collected details of cos
tunes and architecture, and injured his health
by painting in The dark crypt of an ancient
monastery. But II was not enough TO be we'll
Informed respecting the customs, dress and
architecture of the age. Sir WaterScott wrote
the poem for the reader, not for the artist, and
ROsenthal remarked: "He places seven figures
dressed IN black garments in piIeh-dark
interior. That SOUNDS dramatic enough in
words but bow are You to produce beautiful
The morning call., 1893-05-28
HILLS {" YOSEMITE."

There was no miStaking from whose brush
the large picture OF Yosemite exhibited last
week at the Mechanics Pavilion emanated
Among The works of a hundred other artists it
could be singled ont from ali the other pictures
as genuine Hill.
There Is the unmistakabe impress of HIPS
peculiar aud poelical style of handling his
colors; the picture also exhibits his powerful
conception OF his subject and his usual and IN
diyidual technical treatm nj.
There are good many comneteut critics TO
whom this Yosemite appeals very strongly. and
many OF them declare 1t TO be HIPS greatest
picture. Ohers do not 70 SO far, but they adj
superior TO his other compositions this picture
produced.
In al his works of art-and the Yosemite ia
no excepton-Hlll displays not only strength
and mastery over his subject, but also renlarK-
able power OF composition.
Combined with these qualities, however he is
apt show certain weakness in the treat
ment, and the Yosemite is no exception to his
usual methods.
Perhaps the Key TO this weakness is given by
tne statement mat Hill rs an artist who paints
Ideals. His yosemite" is not th. landseape
the valley as the hundreds of pc ope who flock
ihither every year see II. Indeed his painting
is moi the Yosemite as il really exists in nature
Dut rather an dealstc Yos mite thai has its
beng principally In HIPS own Imagination.
no one WIZ deny The fact OF his Imagination
possesses TO 4 remarkable degr e the Gift of
reproducing his mental ideas on canvas
There are lameDtably few painters who could
al,empl me iiigbls mat hill attempts and exc
cute item so successfully. Crirczing i'm detail
his picture Of the Yosemite. il is impossible 10
help being struck by certain exaggerations in
me coiorine. nature herself does nol mploy
such tlats in The landscape which Hill has de-
plcied. The foreground, for Instance OF the
Yosemite consists principally of pine trees To
deplci these Hli has used all shades OF ocher.
M cd Ihaea
tints are not true tn nature; they would not be
found in pine forest. But it is not caleless-
The morning call., 1893-05-28

the comparatively few works of art devoted TO
this r0ct bound coast.
1t processes 10 be merely a view, painting
OF BIZ of California marine scenery, but, not
Withstandng 10 Is dramatic. almost tragic, In
the realism with which IL depicts the awful
power of the waves and the stern inhospllaty
OF lhe great rocks.
There is wide eXpanse OF ocean and a strip
OF rockbonnd coast extending pnrthward 10
the limit OF the horizon.
AT the base OF the cliffs the breakers dash
against the jagged rocks and fall in showers OF
81 ray. willie the desolate North Heads and the
waters Immediately below them come in the
foreground.
Overhead there is n storm brewing: dark
masses OF lowering clouds hang over the far
horizon and the red sun, which breaks
! through them. throws lurid light upon the
| bleak rocks the dashlDg breakers and upon
! the green waves tnat seem to heaye and swell
from the effects of recent commotinns.
II would be impossible to imagine scene in
which nature rrigns more supreme; in which
| the impOtency of man against The overpowtring e
! force OF The elements is more eloQuently set
/ forth.
! bit of broken mast and some loose snars
! sneak OF shipwreck more pow rfuily than
words could DO. The only impress of man.
/ handlwork IS In these fragments of wreck and
. in distant sail half defined on the far horizon.
In the foreground the summit of the heads is
outlined III manner that Is dreary aud trihe
hard bul The near coast lines, viewed from the
/ ocean on sueh day, would have exactly the
effect that Denny has depicted
AGy one who doubts the truth Of his picture
can verify it, fideiy 10 niture by rounding the
heads in just such wind and wea her this
canvas depicts, and if that person Is a good
sailor the view will pay him for the trouble OF
/ the jOurnry.
The distant cliffs in the picture, although
clear and well defined. are mys erious and
romantic, and this effect is heightened by The
red glow with which they are tinged. The
lulid sunlight which colorS them is also shown
in the foreground OF the picture, where il
shines through he waves and gives them The
eff CT OF being semi-iranSparent
NO one can fail TO notice the beauty of the
without any hardness.
The coioIing OF Ihe North Heads is vivid.
dramatic and true 10 nature, above all true 10
the Pacific Coast, where tue effect OF the sun
on ky and water aie. at times, truly gorgeous.
II i singular fact that Denny's maste piece
is rapidly assuming the lone and mellowneSs 0i
an old master. This may he partly owing 10
The morning call., 1893-05-28

works, requires familiarity 10 be appreciated
It's beauties are not seen at one glance, like
those of landscape reproduced by phOtog-
raphy.
The ideal qualities of impressions that lurk
within IL are hidden from the casual beholder
Those who devote more time to the study Of
THIS picture are taken by some mysterious,
strange effects which are found in all of Keith's
work and which are puZZling and nexplicable,
although exec dinghy Interesting.
The peace, the quiet, the lazy. cam OF the
sylvan landscape represented in "The Oaks''
aIe apparent al a first glance, but thes" quail
lies grow upon the beholder the longer he
studies the picture and notes the slowly drift
ing clouds and he lgt dreamiIy glinting
through the great tr es till it is almost pos
sible to imagine the stiffness of the forest and
10 wait for lis being broken by the faint rustic
oil the trees or the falling of a leaf.
or course, in picture of this type, the i'm
presSons derived from II depend greatly upon
the individual temperamenI of the beholder.
Every one can sse and admire the trees and
the landscape. with regard TO The deeper quail
ties lurking in the picture, while some may de-
light 10 regard 1t as a personihcation Of rural
peace, others may find that il appeals to them
in more thrilling aud startling manner.
To be really successful picture must not
only combine strength OF EXPRESSION with grace
OF ontine-anOtber fundamental quality is
harmonious coloring, No one can deny tina,
The morning call., 1893-05-28
picturesque effect while embodyIng it on can

vas?''
1t was this difficulty which taxed all the ar
tist $ inventive powers-ihe difficulty OF trans"
nosing "a masters work OF painting IN language
INTO work OF the same merit in color on can
yas''
& II must take" he says, "some artistic
license, as all translatOrs from our language to
another do"
comparison of Scott's poem with Rosen-
mars painting win show really how much
artistic liceuse tlr painter took. He took no
more than was justifiable; no more than was
absolutely necessary in fact to add color and
Ell ct 10 the poets picture in bacs and white.
The back ground Of the { agedy. the 81 ting so
TO speak, has been preserved by RoSentha
much as Sir Walter Scott described II. 1.-The
low, dark rounds" Of The arches "the grave
stones. rudely sculpiured oer." that formed the
pavement, are admirably represented In the
picture. The crypt is supposed to be deep
down under the EARTH Noight of day rene-
trates there Torches and " IA cressei in an
IRON chain'' alone iumIne the dieary dungeon.
III Is this lurid light which is thrown upon the
central figures of The picture and brings them
out prominently, While he monks in the b Ick-
q ound loom out more mySteriously, suggestive
OF the doom in secrecy" that Is bout TO be
pronounced.
Constance, In her pages dress. with her fair
tresses unbound, is the most prominent figure of
the group. Her attitude is one of mingled
shame. Tear and defiance. and the beautiful.
Drawn lace tells its sory OF suffering and of
wrong. lnsinctiyely one feels that she is try
ing TO force her lips to tell how
left the convent and the veil.
listened to traitors tale.
And her ecclesiastical judges gaze at their
recreant sister, Constance de Beverly, whom
The morning call., 1893-05-28

it Is more than worthy OF Tavernier, who has
been called 1.-THE Balzac" of artists.
TO the tight hand of the picture are repre-
sented "The Needles" a srrieS OF aural
rocks in Arizona, OF which Tavernter mad taken
sketches. At their base stand some buildings,
modelled upOn the hu of the Zuni Indians,
which are also PAINTED from sketches Tavernier
had drawn fiom the originals,
The rising sun which is just breaking through
the haze. gives light nd color 10 tn scene
while the outlines uf the weird-lookmg Needles
and The distant horizon are sill velled and mys
ferrous.
The priest, bearing in his hand the sacred
brand, is huuying through the street, kndling
the f'es thai await his coming, II es thai are,
many OF them built in picturesque vases of
Mexican pottery.
The eyes of all the figures are urned toward
the mysterious haze in the east. through whose
shadows they hope TO see their nero appear.
The acces ories TO the picture were articles
that TaverDer had in his possession or that he
borrowed.
The artist. C. d. Robinson. who had suggested
the subject of The American legend, posed as
he principal figure. tile priest draped IN one
OF Tavernier'S Indian blauk is. The vases
W re lent by lady who owns a valuable cOlec-
tion of Mexican pottery.
The morning call., 1893-05-28
TAvERNIER's i" MoNTEzUMA.' y

Before painting "The Coming of Montezuma,"
Jules Tavernier had been touring in the West
and South.
On his return to San Francisco he was one
day discussing the idea OF the Azlec calendar
stone, when brother artist suggested to him
" Why not paint a picture with Mexican
subjecf, the Coming OF Montezuma, for in
stance ?"
The hint was casual one, but Tavernier
grasped il like an insIiratOn, for the beauty of
the old Mexican legend. ana its originality as
the subject of a picture fired all his enthus-
iasm. He had no idea, however, when he began
TO paint MonteZuma that ii would turn out 10
be one OF his masterpieces. Indeed he was so
strictly limited for time, that he may be said to
have painted very hastily, but his heart was 10
bis work, and his mind was full of The interest
AZtecs.
Tayernier took some artistic licenses. an
Piled his knowledge of ludiau and OF modern
Mexican ne ana eoIoring 10 his subject. ana
wove in Bit OF scenery in Arizona that added
greatly to the effect OF the Picture
According To the cid legend MOnteZuma the
Aziec king who was reigning in glory when
CorteZ landed III Mexico, did not die and leave
his people forever. He was to return TO earth
again, set his nation free and restore the Aztec
rule.
"He will come in June,D SAID the MEXICAN
priest, 'at the hour of The Using OF The sun
And In the month OF June all the household
nIeS we're eXtlngul>hed No fame WAS per-
mited TO burn, save The sacred light on the
temple altar.
Then, just before dawn, the people built fires
in the dwellings, the streets and on thr house
tops, but no light was applied ill tie moment
when the sun appeared ou the no iZOn AS lhe
first rays of dawn appeared the priest selzed n
brand from the altar, and, running ranidlv
through The highways lighted the yarious
household fires and The people, turning their
faces toward the east, looked for the coming OF
MOnteZuma. -
Sueh Is the story upon which the picture ia
based. II was painted hastily in San Fran
hand and as his imagination suggested, and vet
The morning call., 1893-05-28

color: he uses it, indeed, lavishly. but he al.
ways uses t with an object This object Is
generally 10 present some striking contrast, or
10 add III some way TO the poetical etfect OF
the painting, not 10 revel in color for its own
sake.
Critics and students who examine the music
OF some of The greatest c0mroSers iDd at
times intervals thar, considered without the
chord TO which they belong. are so ar ling 4 8
pether Win all the other int rvals that COM
pos the chord they become beautiful aud har-
monious.
The same principle might justly be applied
to good deal OF HIPS wors, particularly 10
his Yosemite.
Some portions of the picture. taken sonar
ateiy, can be accused of unreal and over-vivi1
color. but considered as whole, it is extremely
beautiful and Harmonious
The morning call., 1893-05-28

ever, leaving her chill TO The tender mercies of
the rough Adventures who formed that noisy
settlement.
"The anxious crowd of men, who had already
formed themselves into queue, entered IN
single nle TO make the acquaintance of their
ward. Beside the low bunk Shelf in which
lay The figure or the dead mother, stood pine
Ia ble.
"On this candle-box was placed and within
IL lay he last arrival AT Roaring Camp. Beside
tile candle-boX was placed hat. Its use was
soon indicated.
'GenIl men, said Stumpy. with a singular
mixture OF authority and ex ofhcio compla-
cency. Gentlemen will please pass in at the
front door, round the table, aud out at the back
door,
LAS The procession fled in comments were
audible-crliclsms addressed perhans ral her TO
Stumpy in thqcharacier of Snowman. Is hat
him?' 'Miehty small specimen. Amt bigger
nor derlinger.'
The contributions were as characteristic. A
silver tobacco box, doubloon; navy revolver,
silver mounted; gold specimen, very beau
tIfullv embroidered lady's handkerchief Qrom
Oakhnfst The gambler)."
Ii is he momrnt of the contributions that the
picture represents. while Sunny maintains "a
silence as impressive as the dead on his left, a
gravity as inscrutable as that OF the newly porn
on his rght.'
"Only one incident occurred TO break the
monotony OF the curious procession" and this
incident III painter has seized upon: kentuck
bending curiously over The eandle-boX
and the child turning and catching at his
sropng finger and holding it fast for moment,
while 'som thing like blush tries TO assert IL
self 10 his weather beaten cheek"
IL is this dramatic point IN the story that
Oscar kuuath has painted. and his picture
is a vivid portrayal of Bret Harte's characters.
as we'll as splendidly realistic rendering or all
The accessories of time aud place.
G4The background represents the rough
squalid erior of mining shanty, through
the crac and chiuks of which the yellow light
OF early dawn IS visible. The open door per
mits the same light to steal more fully into the
room and TO illumine the group OF miuers.
trOoping forward 10 gaze at the latest addition
The morning call., 1893-05-28

cry aloud to the general public that they must
not want art reduced 10 the level of phOtog-
raphy.
The public go on expecting to be told what
picture is about by looking at it, and refuse 10
exercise their wits and their magnations to
discover the ethical attributes of a painting
when they are doubtful whether IL represents
dust-storm or the heaving ocean, not TO mem
tion the fact that the light gives ground for
animated arguments rs 10 whether 1t De that OF
the sun or the moon.
No such structures as these can be passed
upon Keith's Oaks" which delights-ali G adj
mirers of the objective and of the subjective
school. Ii charms the form rby its beauty and
display OF artistic ability and the latter by It's
innate poetry.
The power of modelling displayed In 1.-The
Oaks" surprises Deholders just as much as the
richness OF beauty of the coloring charms
them.
In any forest scene painted by Keith there is
almost sure 10 be peculiarly effective fore
ground, generally of rich, uXuriant vegetation,
that Is suggestive aud beautiful.
he middle distances and the background OF
The Oaks" are also peculiarly tender ana
dreamy.
This particular picture. like all of Keih's
The morning call., 1893-05-28

A landscape. against which, In the art cata-
logue, may be written the lime of day and the
place. is 10 him an abOminatiOn He does not
seek TO reproduce nature, to transfer the colors
aud the outlines of the thing itself to his
canvas.
1t is the sentiment of the view he tries to
grasp, the sense of innocence in a pastoral
scene, OF majesty and terror in storm, or The
dreamy poetry and reverie suggested b. tn
rising moon.
Indeed Keith is essentially prophet of the
subjective school-not the school that seeks the
reproduction of the thing, but of The sentiment
it embOdieS.
To such painter, as TO WordSwo ortn the poet,
a primrose is something more than mere
primrose; it is one of natures poems, and tells
Ias that not every one who runs can read.
Many critics consider that The Oaks Is
picture which gives the best evidence OF The re-
markable qualities possessed by this we'll
known California artist
Ii Is picture that satisfies those transcen-
dentalisis who demand that a landscape painter
should leave something TO the Imagination of
the peholder. At the same time IL is clear and
defined enough for the most untutored critic 10
know and recognize at a glance what it repre-
sents. In the opinion of nlnetenths of the
peonle who visit picture galleries this is great
advantage ana enhances the value of a paint-
ing.
In vain do prophets of the subjective school
The morning call., 1893-05-28

ness nor ignorance that made the artist employ
them. On The contrary he Threw vermllion
tints on The canvas with deen opIecl ID view.
In vain does the carping C ritlc declare that
in the whole of Gods grand creation neither
be, nor any one else, ever bebeld those coiors
combined he cannot deny that. as Hill uses
with The ulcIure as whole. And after all,
what makes a great coIorisi ?-noihlng but his
peculiar over of observing, contrasting and
blending colors and tints that are passed over
unnoticed by the everyday beholuer.
The ordinary eye is incapable even OF behold
ing, much less of contrasting or blending, what
gifted artist can see AT "a glance.
Hillis Yosemite show distinctly bis power as a
coorist, by the vivid and dramatic contrast
they present 10 the blues and grays OF which
he has made use In representing the middle
distance ana the background.
Hill can never be accused OF being afraid OF
The morning call., 1893-05-28

and intellectual abstraction of a Hamlet, and
Kentuck, who is initiating that friendship with
The Luck" which even death itself did not
sever.
The picture is painted in a very subdued and
yet vigorous key of color.
The rough red and blue of the miners shirts,
seen in the dim interior, are quiet In tone. The
only vivid bit OF coOring Is the crimson fan
mel in which ''The Luck' Is enveloped.
he dark background OF the interior of the
shanty is strikingly suggestive of the time of
day, and also serves good foil for the
mems faces, upon which the light from the
open doorway falls.
The Hight Is not the crimson glow of the con-
Ventional dawn, but the first yellow beams of a
sun thai is just appearing on the horizon and
has not been up long enough to have warmth
and color ID his raYS.
The morning call., 1893-05-28
DENNY's "NoRTH HEADS"

Perhaps no country in the world has more
grand and magnificent marine scenery than can
be found on the coast of California.
Not only are the rocks irregular and pictur-
esque in their outline and Of sufficient height
to be powerful and imposing, but this coast
offers wonderful effects of transparent, Italian
Ike almos pbele and also of creeping, insidious
fog, not to speak of the gorgeous sunsets that
have TO be seen in order TO be realized.
1t is surprising that with such sc merry, fresh
from he hand OF nature and unhackneyed by
previous artists, so few painters should have
immorialized themselves by transferring it to
canvas.
Denny's North Heads" is not only fine
picture, but it is remarkable as being one of
The morning call., 1893-05-28
TAvERNIER's "MoNTEzUMA."

The Coming of Montezuma" may be called an
inspiraliona picture, painted in very high and
brilliant key Of color. The UNITS were first laid
on IN water-colors, and over these the oils were
placed in series OF glaZes. This method of
painting is supposed 10 have been one practiced
BY The ancients.