The Marietta journal. [volume] (Marietta, Ga.) 1866-1909, 1894-05-24
THE ROCK OF AGES"
Odd History OF a Picture Which Is In Near
IL Every Hnmn.

|
Iy Every Home.
Nc picture of modern times has
taken stroagcs hold upon popular
favor or fulfilled higher mission
than that whose history is here re-
corded. 1t has been reproduced in
every form, has made its way into
the homes of the inhabitants of all
parts Of the civilized globe
The popularity of the Rock of
Ages is an open secret which ''he
who runs may read.
The painting is a symbolic repre-
sentation of the Christian faith. In
the midst of an ocean of sin the cross,
founded deep upon the eternal God
head and offering the only safety,
erects itself To 1t a female figure
clings. She is the representative of
weakness, of helpless dependence, of
affeotionate trust Her garment is
wet with the spray of daily tempta-
ton and infirmity, but her gaze is
upward, from whence streams the
light of forgiveness, of love, of hope,
of assured divine favor.
In painful contrast to this figure is
the masculine hand in the foreground
of the picture, the symbol of self de-
pendence, which, reaching out of the
waters, endeavors to lay hold of
piece of floating wreck. 1t eludes
the grasp, but if possessed would
offer no support. Thus the things of
earth, mere fragments tossed on
sea of change, can uphold a strug-
Cling, sinking soul, which must cling
for succor to the Rock of Ages"
The picture was produced first as
a small sketch in the album of a
young girl living in Westerly, r. l.,
by the Rev Johannes A. Oertel.
This aroused the attention of all who
saw it and induced Mr.. Oertel to
make painting of the subject in oil.
This second representation, measur-
ing perhaps IA inches in height, Mr..
Oertel exhibited in the National
Academy of Design, in New York,
and realizing its commercial value
Mr.. William Shans, a Broadway art
dealer, suggested that still larger
painting should be made of the de-
sign Hissuggestion was acted upon,
the artist first fashioning a small clay
model and suspending a lamp over it,
that it mightreceive the rays of light
from above. In this manner a color
study (Which is now in Mr.. Oertels
posSession) was made, and from it in
turn the finished painting, measuring
feet in height.
Before this picture was exhibited,
however, number of photographs
of it were struck off and put upon
the market, and one of these falling
into the hands of Mr.. James, a pic
ture dealer in Providence, he made
an offer to Mr.. Oertel to become the
sole publisher of all subsequent cop
les, which offer was accepted under
a written contract.
The painting was placed at the gal
lery of William Shans, but was only
on exhibition few days when it was
bought by Brooklyn merchant, Au-
gustus Storrs, for the sum of 81, 900.
The photographs got out by Mr..
James, measuring 10 inches in height,
brought without frame) the quite
phenomenal price of S. apiece, and
so great was the demand for them
that the operator found himself I'M
able to meet it. Indeed the run upon
these pictures was unprecedented in
the history of photography and COM
plants were constantly made by the
dealers that they were losing sales in
consequence of an insufficient supply
of copies.
1t then occurred to Mr.. James that
acknowledgement might be got
out with advantage (the work to be
done in Paris, and an application for
this purpose was made to the owner
for the loan of the original. Mr..
Storrs, however, was unwilling that
his picture should be carried to such
a distance, and Mr.. Oertel, who had
never parted with the copyright, set
about making new painting. This
work was done at Irvington- the
Hudson, the home of the celebrated
landscape painter, Albert Bierstadt,
who, during temporary absence in
England, had given Mr. Oertel the use
of his studio.-Philadelphia Times.