San Antonio daily light. [volume] (San Antonio, Tex.) 1886-1907, 1895-01-15
The Morning of the Cruclfixlon.

Written for the LIGHT:
This painting now on exhibition at
Kypfer & Seng's claims to be master
piece. 1t aSsuredly shows much evidence
OF study Of anatomy, of expression Of fea-
ture, and combination of cOlorS, to make
it effectual. 1t is, moreover, very clean
piece of work. But even here we may re-
mark that this quality is out OF place
Indeed the personages appsar as faultlesS
in dress as though they were just setting
out from their homes to take part in the
horrible scene of leading or following the
innocent Savior to death, rather than of
witnessing, in diSorderly and dusty attire
consequent on the uproarious march
through the turbulent streets of the city,
the final act Of the great drama OF saliva
tion. This may pass as not demanded by
realism. But where the artist fails in the
desired conception OF the ideal in real bib
lical and historical truth, is when dealing
with the Savior and His Blessed Mother.
1t would appear that the artist aimed at
giving Christ more manly appearance
than his brother artists have so far done
when treating the same subject. In this he
has succeeded, bat at the sacrifice OF what
art could do in beStowing on ChriSt'S feat
ure the Divinity which is His. Surely
the uplifted eyes In denOting Supplication
do not help towards this effect, and the
square face is not typical of the Jew.
Again, eue SdCIeu UOuys Hdu UeeD
torn and covered with gaping wounds
from the cruetieS in the court, exhibits
only few blood spots on the face and
the shoulders. In fact his breast is as
free from marks of injury as the soldiers
close by, which is also bare and who may
have been one of the iloggerS at the pillar.
Mr.. Cooper may have feared to disturb
the extreme nervous sensibility Of modern
spectators, but he has not depicted the
real condition in which Christ allowed
His body TO be treated and he has con-
cealed very valuable lesson from sin
nerS.
His portraying Of MARY, the Mother
of Jesus" Is "hors d'Ruvre," for which
Catholics will hardly forgive him. Mary
is fainting," saws the circular found in the
exhibit room, showing complete relaXa-
tion Of all the nerves and deathly pallor
o. the face with the dark circles around
the mouth and eyes" No, Mary did not
faint: never tainted Painting may be in
ordinary human beings, the natural con-
sequence of overwhelming grief; or the
late society or unintereSting girl may
have learned how to faint for effect, or the
actress may Swoon away because paid for
IL; but Mary Is the extraordinary woman,
the most perfect OF women, the ipmacu-
late.
Now discarding as impious the last two
suggestions to her fainting, even the eX-
CTuCldIlDg JOrme0JS ana uedJD OF neT only
Son did not deprive her Of her command
over her emotions and nerves, for she was
perfect by nature, and her great gifts OF
grace gave her complete control Of the
faculties OF her soul. "She stood by
the cross" and as Father FaOre
says: Foot of the cross MARY
displayed no signs of feminine
weakness, no flaming, no sobbing.
no cutlery. no wild gesture of uncontrOll-
able misery. Mary stood upright on her
feet the whole way while leaning on no
one, and not so much as an audible sigh
accompanied her silent tears. 1t is
difficult to take this thought in. We can
only take 1t in by prayer, and by hearing
or reading" 1t follows then that in repre-
srnting the Blessed Virgin as he has done,
Mr.. Cooper has inflicted deep wound in
the hearts Of Catholics who love her as
the model Of fortitude as well as the
Mother of Christ. He has lowered her
prerogatIves and dignity before the thou
sands who will gaze upon her in that
humiliatinQ posture. Mr.. Cooper may
love his art and do his best to present to
the world great fruits of his really gifted
talents, but here he has shown little appre-
citation and conception of the supernatural
and the Divine, and one leaves the eKhie
bit room displeaSed with the artist for not
giving from his canvass that wholesome
instruction which Christ and Mary IL
truly presented would give. 5.