The Houston daily post. [volume] (Houston, Tex.) 1886-1903, 1897-08-22
q. . p..ce esesps just such a gay resort


Upon its exhibition the picture aroused |
such a coninotsor that II was removed |
from tne SAXON, for Dorc's love OF the |
ss e.t.uc md lel him to pfotray the real |
OF them were mobiles OF the highest rank.
the reason of its removal can be plainly
seem u was exhibited In Chicago last
Other members o. the gallery" are
They Day Drean." 1.-THE Neophyte," Ia
mtEne" and the Death of David Razxto."
of course. THE Bgbhcaf Colciction,' which
has made Dore famous Most of the pic
cures are very largc, and the number of
people ,ntroduccd IN single painting
One of these shows the triumph Of
Ssnr rs over hesthenisu II
Iet y inches In hetwht, 8 feet 10 inches in
width and signed IN red.
Christ Leaving the Praetormm" Is one
Bibiical patntrgs, being 26xso feet in a.
fore dts. completion tho Franco German
war broke out. and during the siege Of
Paris the picture lay buried. so, not uuali
scene. as the Subject cndicatcs Is depicted
m the Prantorium. The solitary figure OF
the SAVIOR stands midway down the broad
which He appears to be descending. On
either side against the balustradc, as
though forced by some supernatural agon-
cy from contact with His sacred person,
dignitarics OF all ranks Enes the way. To
the right, so neor that they could almost
touch Him, stand Caicuphas and the chief
priests of the temple. In the distant back
ground above HIM, clearly seen through
the path opened In the dense crowd for
the passage of Christ, arc the figures of
Por,ius PLATE and Herod-thc latter with
his cruel, hooking face, the former re-
pentant and arxious--as they stand con-
versing apart, while all about them.
through the halls. In the balconies. under
tthe balconies, or the balustrades, under
the steps. pushing, wrangling, swaying.
crowding, the multHtudGpous. soothing
mass OF humanity fills every. available
nook or space, save where the crowd.
parted by the divine presence as the Sa-
vior passed through their midst, have left
| a path through the Praetorium down the
Roman ssoldery are rapidly opening with
| mob beneath.
less spears are forcing back the wrangling
mob. the delicate form of tho half FAINT
| ing Virgin Is visible. while close beside
her, wildly clutohing the shouldr OF a
| crushing weight of a spear forces him
| their feet.
looking characters. with base just resting
| On ,hc steps. tie cross awaits Its bearer,
| hilc. almost within its shadow, the hood
| drawn closely about the miserable face,
stands Judas the betrayer of it's victim.
| 1t Is wonderfully beautiful picture.
| the lore figure completely enveloped in
| the seamless garment OF royal jewish
| light. which fails to hide the piercing
crown OF thorns beneath 1t. He, the
| Christ. descends alone, SOLITARY In the
| midst of lthousa nds
Here and there, scattered among the
| throng. the prlnc!ral characters connected
| with liis h.siory are so wildly portrayed
| that the verest amateur could not fail
to recognize them almost at glance.
"Ecce Homo. a picture which never
falls to attract great crowds of admirers
TO its shrine. was to the writer the favor
lite of the BibliCa, collection. Mot so large
| as the 'Chrst Leaving the Praetorusn,'
| being 20 feet In hight and 13 feet Inches
In width. Like the above named picture,
the scene transpres on the marble steps
leading from that part of the Praetorium
frequently called the Pavement" from
tho beautiful cclored maj BILE mosaics OF
which 1t IS constructed
I'm the background, In his judgment seat
Of wrought ivory sits PLATE. surrounded
en- the one hand by the Roman guard on
the other by the chief priests of the tenn
ple. W lmle In the foreground a mob of pie
belan rabblc--whose cold heartless. cruei
faces make ones blood run cold so true
surge tp the steps almost to the feet Of
Christ: but here the relentless spears o.
the soldiery hold them at bay. One car
almost hear tne vile o0ths issuing from
the hard. cruel lips as they threaten Hin
ard taunt HIM with His divinity, callinl
unto PLATE to cruelty him. white lie
Christ the central figure. stands arraye
in the royal robe of mocksry, holding II
one hand II fragile reed, on His head
living crown of torture, whose shar
thorns. buried In the soft,mnss of shin'n
hair. cause tears of blood to flow over tn
half closed ewes enhancing with thel
dark hue the deathfl agony Of the palli
face. Hazel Ashton.