Daily inter mountain. [volume] (Butte, Mont.) 1881-1901, 1900-12-01

TloH 'eilldly MIS-. ringer turned 70
France, finding some interesting paral-
@ls in the art history of the century.
She compared the work of Feandrin to
that of Overlook. taking up Schaffec
next. She spoke of his three greatest
works. The Temptation" Christ Weep
ing over Jerusalem" and the Christ Of
the Reed His representation of the
face of Christ comes nearer to the ideal
of Leonardo da Ninci than does that of
any other modern painter. Another
painter of sacred art subjects spoken Of
was Dagnan-Bouveret, as follows: at
has been said by some enthusiasts that
he is the only living painter who can
give us a true Madonna, and it was
through pictures of this subject hat he
first entered the field of sacred art. His
Madonna standing with the Babe under a
leafy arch created d perfect furore among
critics when first exhibited, and has
since won popular favor by innumerable
print reproductions.
The latest stir in French art as re-
CARDS sacred subjects has been made by
James Tissot. For this work the artist
prepared himself by two journeys to Pal
estine and by prolonged studies of the
manner and customs Of it's various
classes Of people. The result IS a very
remarkable series Of pictures now being
shown in New York consisting Of a great
number of pen drawings n some $50
in aquarelle. About tWo-thirds of these
We're exhibited in 1894, and they have
since been reproduced BY process work,
and published with text as an illustraat-
ed life of Christ.
"Tissot is not the first artist to value
the study of Syrian archaeology. Hunt
had long preceded him., setting up his
easel in Palestine and faithfully study
ing the historical customs of the coun-
try. His Christ Found in the Temple is
a good example as the result of his
work"
Mrs. Ping,al closed her paper with an
account OF the archaeological movement,
considering it an interesting outgrowth
of the nineteenth century tendency TO
historical and scientific Investigations; of
the hold it has taken in Germany,
France and other countries. She closed
with an interesting little history of
American artists, past, present and fu-
ture.
Mrs. Ada A. Buckles had a paper en-
titled art Rambles." She commenced
as did Mrs. Pringle. with the %rennais-
sance, as follows: 1T is interesting to in
quire for a moment, why the art of the
Renaissance has assumed such proper
lions in the public eye as to dwarf its
other claims to glory. Why it is that the
presidents of italian students in the in
v~estigation of political economy is less
prominent in the public mind than the
f~rescoes of the Vatican or the tombs of
the Medici. m
The paintings of Raphael and the
statues of Michael Angelo can be seen.
Every traveller in Italy makes acquain-
A~&,. .,sA - 49, NO ~ - Il:
art are familiar to every picture gallery
of Europe. 1t is partly because pictures,
statues and decorations last, and are Wis.,
ible to every eye, that Italian art holds
a place in the history of art which only
the specialist is able to concede to Italy
in the history of civilization. How many
pilgrims have murmured See Rome and
die: to artists of every class it is the
center of the universe. Considering the
general interest in the early renaissance
for modern history it lis a great point
that We are able to so closely revive
the memories of this time through the
medium of pictures which so faithfully
portray the facts of their own life, al
though, generally speaking, biblical in
subject" z
Mrs. Buckles took up the names of the
painters themselves, la:~Tg stress o.
those who We're teachers and masters to
the great artists of the next generation.
She spoke particularly of Michael AM
gelo, and his work in the Sistine chapel
which took him five years, and contains
over 200 figures. She described his pic
ture, THE Last Judgment painted at
the moment the Judge is laying: DE
part from me We cursed into everlasting
fire" E
The whole scene is pervaded by hor-
ror; rage, terror, doubt are alike rem
dered in this awful scene. 1t took four
years to paint. 1t almost suffered deface-
tment at the hands of Paul ~, who, in a
fit of prudery, wished to W'hitewash the
whole picture, but with difficulty was
dissuaded; he afterward employed an ar
fist by the name of da Volterra to paint
draperies on the mud figure. This was
during the life of Michael Angelo, and
though of a gentle and retiring nature
he resented the insult by painting the
man who first suggested to the pope
that the nude figures We're indicate, as
Midas in hell, and with asses'ears."
Raphael was the next painter taken
up, and his ability as a composer of de-
signs in and for architectural surround
ings described. The history of his most
famous paintings was given. She drew a
realistic picture of his grandest work,
1.-THE Transformation" which was
! scarcely finished when he died, at the
age of 81; how it hung Yer his death
bed, and was carried in his funeral pro-
c~ession. the upper part only having been
completed. \ brief description of the
work of Correggio was given as a con-
temporary of Raphael. She described
his great work, The Meeting of Christ
and Mary Magdalene After the Resur-
r~ection." r
From the old world, Mrs. Buckles came
to America, taking up the first artist
who came to this country from the old
world, Gustavus Hesselius, who came
from Sweden and settled in what is now
known as Wilmington, Delaware. She
described his father and four brothers,
who We're preachers and the early life