The record-union., 1897-05-23


grain on his back. The mill is repre-
Sented as standing on terrace, ana
near it is a horse and cart, Whlle
group of several peasants is shown IN
the road near by.
International Studio: A caricaturlst
of great originality, prompt to note the
characteristic follies of the hour, and
give a touch of exaggeration to the re-
alities around him. NJ. Jean Weber OF
Paris has hitherto been little known as
a painter But the exhibition of his
work, which has just been opened, re-
veals him in a new light. Fond as he
is of the ugly, the distorted and the
horrible delighting in the disJolnt1ng
of his skeletons, he is nevertheless
lover of beautiful coloring and grace
of form. He has the gift of creating
an atmosphere of legend and fairyland
from out the recesses of his fancy. He
has a dual quality, half reality and re-
alism of the most modern type, half
dreaming and Imagination.
Few books will be hailed with great
er interest throughout the English
speaking world than the forthcoming
metrical translation of the "Lucifer,"
the masterpiece of the sublime Won
del, the greatest OF the poets of Hol-
land continental Publishing Co,
New York and London). The 'Luci-
fer is a tragedy, and has for its sub
ject the fall of man. 1t is after the
classic model, and, for more than two
hundred years, has been considered the
in ha Ia |
is full of spirited scenes and abounds
in passages of striking beauty and
power, while the action proceeds to the
grand denouement with a lofty dignity
that is in perfect accord with the ex-
allied nature of the subject.
1t will be remembered that Ed
mund Gosse, in a charming essay in
his Studies in Northern Literature
first called attention to this remarkable
poem by his comparison between Mil
ton and Vondel How much Milton, in
his Paradise Lost" was indebted. to
''Lucifer," ii is exceedingly hard to de-
termine; but a critical comparison of
the two poems reveals 81 much SINH
larity in manner and conception, SO
much resemblance in tone and incident,
and withal So mans figures of speech
common to both - leave one no
room to doubt tha ton. in his epic,
borrowed indusifio s. from the dra-
ma Of his great n N.~- contemporary.
Such is also tn conclusion Of George
Edmundson in has scholarly work.
Milton and Vondel. a Literary Curl
osity''
Leonard Charles van Noppen, the
translator, has in spite of almost in
surmountable obstacles, given to Eng
liSh literature another great classic.
The book will be a very handsome one
and will be superbly illustrated by that
brilliant young Dutch artist, John
Aarts The volume, the publishers
promise Will be a work of art and
worthy in every way, to enshrine such
a gem.
One Of the latest and most interest
ing acquisitions to the Museum of the
Hague is The Goldfnch," by Carel Fa-
britius. This simple, but charming
little picture, one of the five works
known as genuine by that great artist,
who was one of the best pupils of
Vermeer of Delft, is particularly re-
markable because it shows in its
blacks, reds, yellows ard whites
striking resemblance to Vermeer's col
ors. which are so strong and individ-
ual. The little picture was bought in
Paris for the museum by the energet-
&c and clever director. Dr. Bredius.
wish of large number of teachers of
literature, Houghton, Miffiin & Co. will
soon bring out a students edition of
"Bryant's Translation of Homer's Iliad"
Hamilton w. Mabie of the outlook
recently said, IF I had my way.
would make every one read the "Iliad"
and the odyssey" once a year 1t
would be an excellent tonic" Speak
ing of Bryant's translation, the New
York Independent says, AN Ameri-
can may fairly claim to have produced
the standard English translation of
Homer
When from Rubens. we'll educated
well-bred, Travelled gentleman, as we'll
as a painter of surprising genius, we
turn to Van Dyck, who was his pupil.
)r, TO speak more justly, his cola bor-
ator. the transition is a natural one
although Van Dyck possesses qualities
that Rubens never knew and lacks the
characteristic vigor of the greater mas
ter. If we compare The Descent
From the Cross" with the print of
The Dead Christ and the Holy Wom-
en- we see at once that where Ru-
bens is almost brutal in his unRinch-
ing sincerity, Van Dyck is self-con-
scious and wishes. artistically speak
ing. to appear well. He arranges. re-
fines. and drama tizes until he succeeds
in surrounding the scene With an arti-
ficial glamour that entirely DESTROYS its
poignancy. We are not surprised TO
hear of him that he achieved great
popularity among the higher classes in
England. or that his portraits We're
everywhere most acceptable from their
real beauty and from their air of fiat
tering distinction and refinement. He
had the first requirement of a portrait
painter-a keen eye for the obvious, and
he was not cruelty truthful
La Rue" Is the title and the subject
of the latest poster by that most orig
inal artist, Steinlen OF great size.
several meters square, this genuine bit
of Paris street life is thoroughly char
acteristic OF Steinlens keen observa-
ton and sense of vitality. In fact, he
has no superior in the faculty of grasp
ing the types of the great city. A
thousand times over he has depicted
them in the most striking manner in
his Illustrations for the "Gil Bias II
lustre. which have made and still