Evening star. [volume] (Washington, D.C.) 1854-1972, 1902-06-14
A R T N @ T Els.

One of the largest and most remarkable
pictures ever shown in the Corcoran Gallery
of Art was placed on exhibition, within the
last few days, in the loan collection. 1t is
no less than 26 by 10 feet in dimension, and
almost covers the entire south wall Of the
loan room from floor to ceiling. Jose Vii
legas is the painter, and the subject is the
triunphal procession at the coronation of
the Dogaressa Foscari, which occurred in
the year 1924 A. d. 1t has been shown in
four great exhibitions in Europe and re-
ceived in three the grand medal of honor.
In Venice, the fourth, it was out of the con-
test on account of. having been previously
publicly exhibited. The painter, who, as all
know, is a spaniard by birth, resides in
Rome where he has built for himself a
beautiful home, "Pasado,' in the Seyillan
Moorish style of architecture, reminiscent
of his own Andalusian country. 1t was in
his studio in Pasado that. in 1898, this pic
ture was executed, or more properly speak
ing begun, to train the artists hand, as it
were, and prove his ability to paint that
greater historical picture which he was
mayhap some day to do for the upper cham
Der of the Spanish house of lords. Only
by taking the word in its broadest sense
however, can this. painting be called a
study, for it is thoughtful and finished to
the minutest detail and the artist spared
neither time nor pains to insure its his
torical accuracy, searching many ancient
manuscripts belonging to the Venetian
archives, well as through the ponderous
writings of the authorized historians The
picture itself presents a brilliant scene-a
page from the most glowing chapter in the
history of Venice. The doges palace forms
the background, with its plaza thronged
with personages of dignity attendant upon
the august ceremony. The dogaressa. led
by two prelateS of the church, has just set
foot upon the bridge spanning the Grand
canal. on the near side of which, in the i'm
mediate foreground the great Doge Foscari,
in coronet and royal robe of state, awaits
her. On the bridge, forming an avenue
down which the dogaressa will pass, are
two lines of fair maidens, the flower of
Venice, clad in flowing simple gowns of
white, and wearing marriage wells of tule
which float lightly in the breeze. Behind
the Doge making notable group, are the
ambassadors who represent the several Ro-
man states at the coronation, and in the
same relative position to the left stands a
page holding, on cushion, the dogaressa's
coronet, while herald and other court at
tendants in gorgeous attire crowd close
around him. The Prov of a gondola, CLINT
of blue water, banners and draperieS add
realism interest and gayety to the scene
The bridge and platform are spread with
scarlet carpet, which makes the most
prominent factor in the daring color scheme
The doge'S gown is rich maroon brocade
velvet, heavily embroidered, and around his
shoulders is a cape of ermine, yellow with
age. The manner in which the various reds
are made to harmonic and the verify with
which the texture of the material is given
are two of the most remarkable features of
the painting. The costumes, which are all
very elaborate and beautiful, were painted
from model garments made under the direc-
ton of the painter according to old pictures
and written records of the fifteenth century
Many of them cost as much as 1,200 francs
We're considered of so great historical value
that they were afterWard purchased by the
Kensington Museum and wealthy private
collectors, among whom may be mentioned
Mrs. Gardner of Boston.
A canvas of this size must needs be
suggestive of the stage, but there are Won
derfuly few of the scene painter qualities
in this great picture. The composition is
good and holds together well. The color
scheme is brilliant but not spectacular.
Each figure is well built, splendidly modelled
and individual, and at the same time
part of the whole. The groups in the fore
ground are charmingly composed and Won
derfully realistic, but stay we'll within the
frame and all are enveloped in atmosphere.
The difficulties of such a work are almost
innumerable but they have apparently
been overcome with ease, and though one
may wish that the artist had seen fit to
use less canvas none can aver that thus. he
could have accomplished better result.
x
Sir Philip Burne-Jones' picture, the YAM
pire, one of the sensational paintings
of modern times is on exhibition in the
Veerhoff gallery, where it has been viewed
this week by several hundred persons. Seen
in a darkened room beneath brilliant cleo
trio light, shielded and shaded, it Is well
nigh impossible to Judge, of the artistic
merits Of any painting, for, though such
an arrangement heightens immensely it's
dramatic effect, it often covers multitude
of defects that would be glazing in day
light. Such Is probably not the case with
this picture, but it is undoubtedly true that
its notoriety has been derived rather from
it's extraordinary subject than it's skillful
execution. The theme is at best a grue-
some one, taken from the superstitious be-
lief prevalent among the peasant folk Of
southern Europe that cruel human YAM
pires exist, who, clad in natural feminine
FORM rise from the grave at night and take
a fiendish delight in sucking the life blood
and vitality of those that slumber In the
weird light Of 1he moon, or early dawn, a
man is seen lying upon a couch, dead or
dying, while the vampire, young and
possibly beautiful woman, draws back from
her victim. his life blood on her lips and an
expression of lurid. drunken satisfaction
and delight on her soulless countenance. 1t
is strongly painted, though somewhat
harsh and hard and trife overworked.
The modelling Is good and the management
of the cold. unna tural color and light excel
lent. 1t is indeed vivid picture Of night
mare, whose haunting horror it is hard to
shake off. Rudyard Kipling read in it an
allegory which found expression in his
much quoted poem,
"A rag, and bone, and hank of hair
I'VE called her the woman who did not care);
But the fool, he called her his lady fair.
Even you and u.
1t might indeed stand for a less personal
allegorical truth, the vampire typifying
those evil passions which suck away the
lives and souls Of men. AS such 1t Is par