The sun., 1902-02-23
ABBEY,S TRIAL OF QUEEN
KATHARINE."

| II TO the Corcoran Art Gallery in Washing
ton, where 1t Is being publicly exhibited
for the first time In this country.
in point Of size II Is the greatest work.
outside OF decoration, that Mr.. Abbey
has yet undertaken; the canvas measuring
seven feet in height by twelve In length.
It Is the greatest also, when one considers
the magnitude Of the conception and Of
the work involved; the scholarly research.
the high and serious feelings and the ar
tistio dignity. Indeed, 1t represents
noble elimination to his long study Of
Shakespearean themes.
The subject Is from King Henry VIII.
Act H.. scene 4, and follows very closely
shakespeare's verbal picture. The scene
is a hall in Blackfriars a Gothic interior
with stained glass windows, some escutch-
cons and triptych on the stone wall and
leaning against 1t little flags on slaves. bear
ing the royal arms; red and blue quarter
ings, the three lions Of England on the red
and on the blue three feur de Lis for Eng
lands pretenslons in France OF which
Calais was then the only tangible asset.
Further to the right the work Is pierced by
a screen formed OF little pillars and tre-
foiled arches. sumounted by crocketed
canopies; the interior gloom being family
4 iuuliluleu Dy Some tdpers. hRdlrrt tfs
background Is drawn up line Of halber-
diers; the poles with crimson tassels on
them forming an irregular hedge OF bold
vertical lines, the steel blades flashing
diversely in the light. In front Of them
stand few Of the dignitaries Of the court. in
costumes Of dull crimson, purple and black.
some Of them with jewelled chains around
their necks, and one on the left bearing a
| fta a. h,r h.. hat ~ hn ,.r4
OF Grifiths, gentleman usher 20 the Queen.
Below them at table. piled with parch-
ments and books. sit the secretaries, alb
sorbed. very Enthusiastically, In their
own inferior importance. Then between
ourselves and them Is the dais rising in
four steps, covered with crimson carpet
decorated with the golden monogram Of
H. surmounted by crown. within a
strapped border Of deep blue. The dais
rises TO the left where the King sits. his
figure seen In purple. while at a lower level
beside him sit the Cardinals Campeius
and Wolsey. with their retinues standing
behind the chairs; ON the opposite side Of
the carpet being the Queen and her ladies.
| 1t was no single issue that was TO be
decided across that carpet. rather, a COM
\ plexity Of issues, personal and national.
There was the Kings infatuation for the
beautiful Anne Boleyn; his indifference
| for a wife ten years older than himself,
| who had already been his brothers wife,
thrust upon him by an imperious father
| with special sanction of a Pope, against
the canons of the Church; behind that wife
the shadow Of the greatest power in Europe,
that OF Spain and Catholic. whereas the
genius Of the English was making for Prot
| estantism. which the Anne Boeyn faction
| represented feeling its way also toward
national manhood, desiring a male heir to
| the throne, which Katharine had failed 70
| give rebelling, moreover. against the un-
| constitutional rule Of Wolsey And he,
too, English TO the core, yet hungering for
! the ultimate dignity Of the Papacy; divided
between his fear Of thwarting Henry and
of alternating the support Of the Spanish
| King. Lastly, Campeius, eager TO keep
| England within the pale Of Catholicism
| and trying TO manage the King, as one
would a restive colt, by giving him the
rein up 10 a certain point. Such were some
| Of the irreconclable antagonisms that were
arrayed. one against the other, in that
| memorable trial; a wonan's honor on one
| side, and on the other personal passions
and ambitions and a nations hopes and
fears. make no apology for this depression
| since this issue, on the one hand simple,
on the other involved. is at the bottom of
MIR. Abbey's conception. On the side OF
the King he has introduced a oomplexity
OF forms and color, while reservIng for the
other pronounced simplicity; true paint
er's way Of EXPIRE ssing the significance.
Turning TO the complicated group on the
| left let US note first two accessories which
| help to create the character Of the group
| III tIan tla Individual figures n hT..fa
principals, Henry, " olsey and Campeius:
| though hasten to add that this is not the
way IN which the picture will attract you.
| In that the emphasis l. Of course upon these
| three figures and that Of the Queen. inn
mediate and pronounced. But this is pre-
| osely one Of the ways in which the painter
| mas an advantage over the literary man
He can surprise you with his main point at
| once, creating a profound impression in-
| simultaneously and arranging that the ac-
| cessories shall later on iortly and deepen
| il; whereas the other unless he would RISK
an anti-climax must begin by suggesting
| the environment
over the Kings chair a roee-colored
| drapery is suspended 30 as TO form high
| canopy, on the back Of which the royal
| arms are embroidered Behind the canopy
and partly hidden by it is a white-haired |
| Knight in full armoT, and to his right |
| stand Gran mer. Archbishop Of Canterbury,
and the Bishop Of Ely, both in cope and
mitre, with an acolyte betN cen them,
| holding the Patiiarchic Cross, It's two paral- |
lei golden arms being studded at the ends
with red and blue jewels This cross,
| presumably. is the symbol Of the Holy See.
| represented in the person Of Campeius, |
| the Cardinal Legate, Among the atten- |
| dants at the back are two who bear the |
croziers Of the English prelates. and in the |
| left foreground are the two gentlemen,
mentioned by Shakespeare. as CARRYING |
silver pillars. symbols Of the Church that |
is -the pillar and ground Of the truth
and recalling the fact that the court is |
an ecclesiastical one. They are dressed |
Ia the beautiful costume Of pursuvauts- |
white silk hose and doubets over which is |
a deep blue velvet tabnrd, having on its |
back and front the arms Of the premier |
See Of Canterbury while the large shoulder |
q pa carry the same arms united with those |
OF the See Of York.
The two Cardinals are in roee-colored |
csesocks and capes; Campeius, leaning |
forward, his hands folded one over the |
other near the chin, and the thin, narrow
face fixed in "A penetrating gaze upon the |
Queen; Wolsey, on the other hand, fleshly, |
erect and robust, the train Of his cafsock |
heaped upon the floor in sumptuous volume,
one hand resting on the high arm of tho |