The sun. [volume] (New York [N.Y.]) 1833-1916, 1893-01-01

efciaries OF their common Intimacy. but Col
eridge was the senior and In a sense tho leader
Of the trio. In talk he naturally would be the
first. for IL may be questioned whether thore
hns lived his superior In the oral use OF Ian
guage. in captivating luency and brill
liancy OF speech. Allston has himself re-
corded: ITO no other man do I owe so much
intellectually rs to Mr.. Colerldge. with whomI
became acquainted in Rome, and who has
honorod me with his friendship for moro than
nve-nnd-twcnty years. He used to call Il me
the silent city. but l could never think OF 1t rs
such while with him.. for. meet him whom and
where / would. the fountain OF his mind was
never dry. but, like the far-reaching aauo-
ducts that once supplied this quondam mis-
tress OF tho world. its living stream seemed
specially to flow for every classic ruin over
which we wandered: and when l recall some
OF our walks under the trees OF the villa Bor-
chose l am almost tempted to dream that l
have once listened to Pinto In the groves Of the
Academy"
Irving's influence also was genial and benef-
icent In all directions. His admiration for
the young artist was profound. and yet his
comprehension OF him was searching and
exact. Speaking OF Allston. he said: THE
pleasure he derives from his own thoughts is
SO great that he seems to forget that there is
anything to do but to think" Tho author OF
this narrative recognizes that in this brief som
tence9rving gave the key TO Allston's inner life
and character. Tho painters mind, filled as
it was with images OF beauty and constructive
plans. did. as 1t were. feed upon Itself. appar-
emily well satisfied to while away In reverie
the hours that might have boon devoted to
more tangible work.
In 1900 Allston returned from Europe to
Boston. bringing with him no inconsiderable
distinction achieved by his work In England
and on the Continent. The great praise
awarded him by Coleridge and Irving had
found its way across the ocean and prepared q
cordial reception for him in the city OF his
adoption. Mr.. Flagg does not fail to remind
us that the regard in which even at this time
Allston was held for his ability as an artist Is
not to be accounted for by the assumption
that there was no one in America qualified 10
compete with aim. There were strong men in
art even then In the United States: Stuart,
Nanderlin. Jarvis. and Trumbull are names OF
eminence. Tho author OF this biography con-
ceives that it Is in the reflex OF Allston's Eng
lish reputation and in his pleasing personality
that we must look for the secret OF apprecia-
ton in which he was held in Boston ut that
early date. During this visit Allston was mar
ried to the lady. Miss Ann Charming. 70 whom
he had long been engaged. Miss Charming
WhS ~ I'LL tlIuC u SShIo u dsos jig 20 cdlu
to have been O woman OF pleasing manners
and personal beauty. Her influence upon her
husband during her short married life was un-
doubtedly beneiicent. and the effect OF her
early death was certainly disastrous. She died
in 1915 in London. whittier she and her hus-
band had removed from Boston some four
years before.
We cannot undertake to follow Allston
through all the stages Of his interesting ca
reer. and we proceed at once to note what Mr..
Henri Greenough has said OF the technical
side OF Allston's art, and we shall then indi-
cate the view taken by the present bioGrapher
of his subjects rank in his profession. Tho
letter from Henry Greenough which is printed
in THE volume was written at the request OF
K. H. Dana. ST.. as q contribution to his pro-
posed life OF Allston. We pass over that part
OF this letter. which may be regarded aa a
handbook Of instruction for tudents in paint
Ing. and reproduce a passage OF more general
interest. Il was" writes Greenough. pres
emit one evening at o conversation between Mr..
Allston and o young artist. in the course Of
which he made several remarks which strike
me as worthy OF preservation In connection
with his art. I have frequently been told said
Mr. Allston. by friends OF yours. sir. that
they were afraid you were running after the
old masters. Now II that frightens them. I
would make every hair on their heads stand on
end: for you may depend upon it that you can
not go to better instructors for your art. From
them you will learn tho language Of your art
and to see nature as they snw 1t. The old
masters are our masters. and there is hardly
an excellence In our art which they have not
individually developed. With regard to pre-
p~aratory studies ] should warmly favor your
devoting n portion OF every day to drawing. for
this reason. that II an artist does not acquire a
correct design while youn0. he never will. Sir
Joshua Reynolds always felt conscious that
his powers were very much limited and his
works incorrect for want OF the early habit OF
drawing. A painter NAY be blessed with every
gift Of nature. but unless he has acquired the art
Of design he can never cypress himself. II you
would not be tormented by a consciousness OF
having noble and beautiful conceptions to
which you cannot give birth. you must give
much OF your time to drawing. For this pur-
pose ] should recommend u course OF study
somewhat different from what is generally
pursued. should devote my attention prin-
cipally to outlines: my own practice Is to make
q finished outline always before touching
the brush to canvas. draw the outlines even
OF such figures as I intend to drape. making
out the figure as nicely as II 1t were 70 be
painted naked. I take q large. rough piece Of
omn,on chalk. which makes q broad mark.
and then with my finger or a bit Of bread l can
rub out O portion. and thus get a little more or
little less much better than by using q fine
point When ! have arranged the contour OF
my figure. or head I trace the final outline
with amber. would recommend your study
ing your outline as highly as II 1t were not to
be disturbed. but when you paint use your
brush as freely as il you had no outline 10 90 bV.
This is the only way to avoid the hardness Of Of
feet which is apt to arise from too close study OF
the outline. frequently paint my figures over
the outline and let my BACKGROUND encroach
upon the contour OF the figure again several
times In the course OF the painting ALI
ston added that the drawings OF the
old masters. which are now preserved
with SO much care, are almost all
studies in outline and pen sketches l cannot
see how the modern deviation from this prac-
tice can be attended with any good. i would
adopt for my model that OF Tintoret. the de-
sign OF Michael Angelo with the coloring Of
Titians Rnt yrnnld ~odtfv ~ ~ opbotitpti,p