New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-12-04
dnct,on O, a nictnrial design There are few ex-

duc,,on OF a p,ctorial design There are few ex-
pedients of painters now living when aie "'.'
admirable than that which he has made pec"'a''
his own, the modelling In clay of hgure peio'
placing 1t upon canvas. But 1t must be cohiess'u
that the two chroniclers of these mysteries are
ecl,psed utterly by the wealth of illustration with
which this magnificent volume Is PROVIDED
word Of communication for the good judgment or
Mr. Rhys and Mr. Stephens in matters of fact anu
the reader may turn with a clear conscience 10
SIR Frederic himself
One thing alone In spite Of the jeers on ART
for arts sake. would save Leighton from ooiN
ion II he had no other merits. He has ideas an"
he handles them with imaginative power Inc
pictures in this book, all Of them oeautiiuy
reproduced appeal to the spectators on hlsh
grounds Now It is the tragic spectacle or Her
cues Wrestling with Death for the BODY OF
Alcest;s" Again II Is the roble pageantry OF
"The Daphnephorla. Still again 1t Is the
strangely poetic picturesqueness of Cymon gazing
upon the sleeping Iphigenia. under the last ten
DERBY fading beams OF the sun. or 1t Is some
such scene Of classic beauty as that in whlch
the painter has shown two girls OF Athens play .
ing at ball on some high marble terrace The
scene is always classic, the art is always acao-
em,c but the beauty Of both is always alive,
instinct
be controlled by an intellect. but is directed just
as surely by an imaginative inspiration.
It is the fashion among artists and many ANA
teurs 10 find Sir Frederic a man Of arid. infertlie
victories. And it is not altogether without
reason. His color Is very thin. entirely made
ouate to the dignity Of his worl, in other direc-
tions But when you have reckoned with this
defect once It Is not easy to come back to IL.
He has so much else he IS designer OF such
mower such originality SO much distinction. His
drawing which is sometimes fnical. like his
color is on the whole. the drawing OF 4 mas
ter There IS 10 other painter living to-day who
could surpass II he could equal, the linear charm
and strength Of Leightcn's pencil study for The
Dead Romeo And there is no one who mas
a greater mastery over the most splendid OF all
the arts the art composition. A design or Lelgh-
toms is a masterpiece Of symmetry. What more
could be asked? Fire. perhaps. nervous force'
tcmpestuous vigor. the prerogatiVes or the ro-
mantle school They seem indispensable 10
romantic taste. But to a taste when IS hel'her
romantic nor classical, which is content tha'
thing is beautiful. irrespective OF It's "school'
the art of Leighton has something to say Wnich
In its intrinsic charm is no more to be neglected
than the charm of Whistler Of Sargent. OF any
other painter whose genius lies whole leagues
and leagues away frOlr that Of the President OF
the ROYAL Academy. The essential point Is that
the latter has genius. and that OF a high order'
that ne has a remarka BILE sense OF sculpturesque
beauty and an equally remarkable gift for It's
INTERPRETATION IN pictorial design. The student
who is fortunate enough 10 possess both these
volumes. the one on Velasquez and the other on
Leighton. may put them at opposite ends OF MS
book shelf. but If he is wise he will g as often
20 the one as to the other