The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-02-02
PENNsYLvANrA ACADEMY Elk.
HINTON.
second ..

Ayssf
Il -
Second Notice.
Among the important figure subjects
at the exhibition Of the Pennsylvania
Academy is Dagnan-B ouveret's 'Conso-
latrix Afaictorum,' seen at the recent
Universal Exposition and now the property
OF MIR. II. G. Frick Of Pittsburg. Being a
large canvas surrounded by a massive
Renaissance frame, II Is rather unfortu-
nately displayed on this occasion In one OF
the small galleries though q distant view
Of II may be had from the adjoining corridor.
For 1t is a picture that needs distance to
adjust 1t TO the eye and In a Measure also
TO the understanding. since Its delicate
symbolism demands for its appreciation
some degree at least Of isolation.
The painter has represented the Madonna
seated In a woodland glade with three
angelo behind her playing upon instru-
ments OF music. Against the green OF the
grass and trees her velvet mantle OF a
deeper tone Of green spreads from her
shoulders TO the ground In wide diagonal
curves; and beneath the folds Of It on one
aide couches a fawn In perfect fearlessness,
while on the other side a man nude to the
waist kneels PROSTATE In the anguish OF
his soul. Upon her lap covered with a
pale-greenish robe the Infant sits, extend
ing his hands TO some little birds that hover
close to the mothers bosom. In the fore
ground a snail Is traversing the grass.
1t Is q picture upon which one Ands one
self suspending Judgment. I saw 1t many
times In Paris and IL seemed to grow upon
ones imagination.
The painter. II appeared. conceived Of
Our Lady Of Consolation as a maiden
upon whose face Is no trace Of passion. Of
pleasure or Of pain. but In their place an
expression Of rapt. imperturbable inno-
cence and peace. The vernal purity OF
nature surrounds her and her robes par
take Of It's coloring. Maiden forms, angels.
infant and fawn are her companions. Only
the man has brought from outside into this
retreat OF absolute purity the faint OF worldly
knowledge. He has eaten Of the fruit
Of the tree OF knowledge Of good and evil
and its pains are within him. In his other
picture, Christ Appearing to the Disciples
at Emmaus,' the painter has represented
his vito and son, kneeling to one side OF
the group, she In alteration and the hoy
in wondering awe, while he himself stands
a little aloof, as II unable to en.1- into their
feelings, yet conscious Of the beauty OF
their belief. And l wonder whether the
same despair of belief and yearning need of
it may not have prompted this concep-
ton Of the CONSIDER Of sorrows. as the very
antithesis of knowledge and of passion.
For it is a conception very different from
the usual one that they who have suffered
much have most sympathy with suffering
and Is akin TO the motive Of those who seek
aIIa,iatl1a - tkatr a,r~,-. a., Tie nA-ostx.a
In personal sympathy Of nature.
On the other hand, when / saw the pict-
ure again at Philadelphia, / was disagreeably
conscious Of the prevalence Of green; and
not OF a soothing scheme of color, but one a
trihe cloying. moreover smooth and CLASSY
In its quality. The faces Of the Madonna
and the angels seemed unfortunately ex-
pressionless, the latters' even a little trivial;
and then one found oneself mentally COM
pairing the character and quality OF this
picture with the altar pieces Of the great
Italian days. Those old artists. however
they represented their subjects. whether
with devout conviction or in Difference 10
the dictates OF their ecclesiastical patrons.
kept nearer 10 the fiesh-and-bloo sig
nifcance Of the sacred truth. its spiritual
reference 10 men OF like nature with them
selves; and they grasped the dignity and
meaning, which In the present day OF in
teLectual analysis eludes the Imagination
as well as the understanding. To many
the only consider OF sorrows Is Time, and
they can find no solace In symbolic alb
straction, least Of all In ono that appears
In the guise Of negative innocence. So one
halts upon a judgment Of the picture. which
perhaps needs constant companionship
with itself 10 become appreciated.
For a third time one had "a chance OF seeing
Edwin A. Abbey's The Penance Of Eleanor.
Duchess Of Gloucester which Is now the
property Of the Carnegie institute. Il Is
pleasant 20 find how the picture grows upon
one. A. one time the central figure Of the
lady In white seemed 90 cut the nch-toned
composition In two; but as one becomes
Intimate with tho picture one finds such n
depth Of yearning and Of sadness Ana It's
gesture and expression that II seems 10
draw all the otlsr cmcnts Of the oonpo-
fition into the fllness u lie own signihcAnoe.
Here again, aH in the previous picture. We
have an -embOdiIneut ~ ~lnnOoenoe, but n
g. 81 the human, w0mAnly kind. knowing
Of Elm and therefore conscious of rcoftiude,
and ~ ~touchinEly plainuNo la IT, s1prus-ion
81 o-ou-oOuSnsrs. willing 10 sunof shame
n only u may bo pchoned u~ghteousns,-s
With him slls loyrr an innoceno" Of fragrant
blossom that hAs he roofs dep down in
human passion. And hos finely the pot
ure IL paiutrd' With ruou skill ~ tech
iiaps and generous f8ros ~ ooloH
While tho mood ~ thla picture b. un Va,
W may turn 10 MiusloN nouIors "A NOR
easter q ssst Glide ~ water bfsaklnE
upln IA. pu~rplsHbfosn T0cks lu q bufst ~
Fpray Tho sk4llslts illus 81 the .atsf
With is marble iko winnings add liotcllrs
- White loan and ths majesty ~ Ne nl0sr-
msni, is dupih AID ISsef, anv - NJ 10.
nlur . hl.uf ulafalrf ~cunflnUlnTly rNal and
~imasllausuly napru@iss b. md d
dihAauli o. reasu 1ui usa ap1aruut uiaquf
n.-s a ua BALBOA - Epfay A. ia tlo
ful tsHllrd afHsafauiu ~ q Nuut 10
lusssm ts a~efaisn - saiuf Wal rnH1ufs
u .hits sHd i~srisala uau - na = hufui ~
spfaY bsi a. uldnsi sats I~EIHusisa
fhfuUsh snd thfaAFn Hth aH - NJ
lluu.ul A. an aftiaf ~ ~ dftullHlsrd utasH
fsfltH fhsi sssH uaaf lHrftf nairlF sasId
~ nlfuflf Nur a. iHalHlF rtHN aHiiHfiauIHn |
- 49, -lassHIts o. ale eaads aantas a
sld darks nYhs m . iHr sHfue tae nanif
laaal guHN dAIaa HNh tnH NlHE uHal
D. AZ faruHafd iNr aaa 49, IaIt
l. fHN "a Hn a~nHHHtku llsuNH q |
A. Il.a II.HH H~HHHHaIHr. NHH Ma I'D i