New-York tribune., 1901-03-15

and in London during the autumn. The entire
series will be completed and sent to America at
the close of the year.
Among the panels which are now receiving
the finishing touches is n spirited battle scene
before the castle The Red knight is in combat
with seven antagonists representing the seven
deadly sins. His back is turned and his face is
to the foe. One Knight lies dead from the stroke
Of the flashing golden sword, and the remaining
black and steel gray figures are joining in ter
rible onset upon the victor. The whirl of this
maddening onrush is something which can be
fairly felt spirited is the action; and the 1.-THE
figure of the Red knight in his golden armor is
drawn with splendid force and realism. The
color scheme is a combination of reds with
blacks and grays and the chain armor is again
painted with great skill. 1t is a picture of weird
beauty and sombre majesty. The panel illus
trating the voyage to Sarras offers a fine con-
trast to the battle scene and the welcome from
the beautiful maidens. The antique boat with
dark brown sail is heading from darkness tow
ard the light breaking close to the horizon
over storm swept white angel is in
the PROV holding the Grail by which the boat
is steered Alright. Galahad in red with two fol-
lowers is seated astern and is looking out with
eager intensity over the reaches of dark water
toward the rift of light. There is good water
painting in this picture. and the cooring is soft
and beautiful. Another fine panel illustrates the
meeting OF the Red knight with the mysterious
damsel of the hermit's chapel and the spring.
She is seated on a white mule, richly capari
soned. Her face is veiled. and in her left hand
she holds in her lap the head of knight. while
an attendant maiden runs by her side
The Grail series is brought to a close by tho
meeting of Galahad with Joseph OF Ar thea
and the ecstatic vision of the sacred We The
s6 Rptv noe baap In
he has been praying for his hearts desire-the
beatifc revelation. At last his hour has come,
and angels to be the witnesses of his ineffa-
BILE JOY and peace. a golden tree Of life and
knowledge spreads its branches and foliage TO
right and to left. A long line of angels with up
lifted wings stand by to watch the marvel The
Red knight. with face already glOrified by faith
and purity. kneels before the mystic yelled fig
ure uplifting the blessed Grail. The battles are
ended; the quest is won, and the knights soul
will be borne to heaven by the angels. while the
Grail is caught up into the clouds. never again
to be seen by mortal eyes. The sequel is left
TO the imagination, but there is a revelation of
ineffable glory with glowing radiance bright as
midday, with the golden sheen of the mystical
tree and with the ecstatic Knight beholding the
Grail under the eyes of company of angelic
witnesses and ministering spirits. The Twelfth
Century romance writers We're not in agreement
respecting the privileges impaired by a glimpse
Of the Grail. The golden tree suggests limitless
knowledge and indefinite proongation of life.
as the invulnerability Of purity is the theme OF
the weird combat with the Seven Sins More
significant than any details of symbolism is the
reward for the highest knightly virtue and this
is clearly denoted by the rapt and reverent face
of the perfect knight his mystical quest is
ended by the transcendent revelation of things
unspeakable."
Mr.. Abpey's studio theatre where the Ar
thurian romances are staged with warmth Of
color and spendors of imagination may be a
corner Of dreamland for the casual onlooker:
but behind the scenes everything has a work.
aday air and there is practical evidence of
American energy, system and organization He
has become an archaologist and a man of learn
ing, and large library is required for his re-
searches in all details Of costumng and metal
work. When he has caught his gimpses of
archaic costume and armor from tombstones
and illuminated mssals. he designs his prop-
critics; and these then made to order for
use in his studio The Shields swords helmets
and other weapons in his Grail panels are at
hand whenever the models need them; and the
costumes of the beautiful maidens have bean
patterned from his designs and put together bv
sewing women under the direction of his wife
who co-operates with him in every branch of
his work Historical accuracy in the most mi
mute details he considers Indispensable and II
can only be secured by panstaking care and
unremittipg labor. The wardrobe of his studio
is like the property of a London theatre
except that everything is in it's right place when
it is needed. His lumber rooms are filled with
casts armor and mechanism for Arthurian ro-
nance and Elizabethan drama. He can pro, ice
the Sword Excalibur for a royal joust at Cam
elot, or Venetian lutte of the right period for
Portia, or an earlier one for the trouba dour's
love making The studio where all these fri
umphs of stage management are achieved Is
probaby the best appointed one in England for
work on large canvases; and there is Yankee
inventiveness in some of the stage carpentry
When Mr.. Abbey received his commission
from the Boston Public Library ten years ago
he was an illustrator who had not painted in
oils. He has succeeded in mastering the tech
nique of the art in a single decade in winning
admission into the Academy and rapid promo
ton TO the front rank. and in producing a series
OF Shakespearian canvases which have given to
him unique distinction among English and
American painters. At the same time he has
been working steadily upon his Grail panels
for Boston. and enrichng them with learning
and research we'll with eieries of color