New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-11-07
TIE COR0NATIJN PICTURE
Dir. Abbey's Masterpiece of Cere-
monial 1rt, lrith OUer 100 Portraits
London, October 10

LONDON OCTOBER ~
The King has described Mr.. Abbeys new work
as the best ceremonial work he has ever seen.
II has one element which is ordinarily lacking
In paintings OF large groups on occasions os
stately splendor. This is the pulse Of dramatic
movement. Sir George Hayter's picture Of Queen
Victoria taking the coronation oath vas a
ceremonial parade at dead halt; and Mr.. Lock
harris Jubilee Celebration while most i'm
pressive interior view of Westminster ABBEY
as without action, for it portrayed tee thanks
giving service at the most solemn moment With
Queen Victoria kneeling, and princes. prelates
statesmen and ladies' of the court standing
with bowed heads in attitude OF reverence
Mr. Abbey has chosen the actual coronation
function at the supreme moment of the medieval
conservation of the sovereign to the service OF
his subjects; and, since every coronet is raised
in recognition of the crown. there is a vision OF
stateliness in action rather than stateliness IN
reposs. The impulse of movement begins in the
foreground. where two peers have their coronets
uplifte6 high, and IL is carried along the main
group In one direction 70 the Earl Marshal and
the Lord Chancellor, anl in the other to Lord
Spencer. Lord Rosebery and other Knights o.
the Garter ana, beyond the coronation chair, ths
Prince OF Wales. The Duke OF Connaught and
the Duke OF Cambridge are honoring the King.
and behind them in the transept tn. peers
recognizable but the coronets remaining dis
tinct glints OF color and CLEANS of brightness.
that there is a sense OF motion even In the
remotes- reaches There is life in the painted
spectacle. because Il Is astir with movement
from end 10 end.
Mr.. Lockhart painted the Jubilee celebration
splendid incident in the history Of West
minister Abbey. His point OF view was the
centre of the altar. or coign OF vantage di-
reetiy above it; and he looked into the choir
and at the great west window above the organ
screen the mighty columns the grand arches
and the majestic vauIting of the roof provided
an environment so magnificent that what was
going on below seemed OF minor consequence Mr.
Abbey has not diverted attention from the cere-
monial to the architecture of the stored tempIs
He reproduces the historic tableau by itself
with sections OF four columns and a background
adapted TO hts purpose and in accord with the
color scheme. Westminster Abbey comes IN IL
cidentally at the angle required by the point OF
view at the north wall OF the sanctuary. The
south wall, with the royal box and the lower seq
ment of the box above it. Is in full view. aud
In diagonal line there is glimpse OF the
south transept and of the two galleries on its
west wall. Neither the north transept where
the peeresses sat in their coronation robes. nor
the choir. where the foreign Ambassadors and
colonial Premiers were highly favored specta-
tors, come into the picture. The main tableau.
with such Encouragement OF figures as Is neces-
sary In order 10 bring all the principal actors
into view, is timed for the supreme moment
when the Archbishop Of Canterbury placed the
crown upon the Kings head ard the peers raised
their coronets. The south transept. where the
rsers were assembled. is the natural back
ground and 1t is filed with air and gIoriied
with color and slants of sunlight Possibly the
ed on single vertical plane, but the effect %
rising tiers is admirably produced in the nearer
gallery. and the perspective OF the transept with
It's receding faces and glinmsr Of coronets, IS
marvellously managed Perhaps the best paint
ing OF the picture IS in the duSiy reaches OF this
transept and in the background Of the royal
box. Mr.. Abbey. from his habit as an Illus
TRAITOR, painted dat surfaces when ne began 70
york with oils: but now there Is no lack OF at
mosphere in his pictures. There is also mastery
composition in his groups. and the color is beau
tiful alike in blends and contrasts.
When Mr.. Abbey received the commission 20
paint this picture for the King some OF his COL
leagues In the Academy wagged their heads and
predicted failure in likeneSses. He VIII stage
manage the show we'll they remarked, 'and hs
viii have 3. color scheme of his own, whatever
may be the combinations and denominations OF
official decorators; but he cannot paint por-
traits and nobody will know who's who"
recall these comments for the cake OF eTnphasiz-
ing the fact that he has succeeded where he was
expected to fail The portraits are excellent
and In many Instances striking ukenessss-
There has perhaps never been a better picture
Of the King than the stately, well posed fgurs
FL the robe of cloth Of gold. He Is seated in the
coronation chair, and there IS royal dignity In
face and figure. The legs are shown IN white
stockings with the blue garter at the knee; tbs
bracelets ornamented with roses and feur-ds-
lis are on the arms. and the matchless mantls
with its golden sheen lights up the centre Of the
picture. The Queens portrait is full OF charm
and grace. and the likeness is extremely close.
She stands in front Of the royal box, with gold
plate shimmering behind her. and her indian
robe of cloth OF gold. with covering OF uebu-
lous white silk dotted with gold flowers. Is OF
dazzling magnifcence. The train of gold bro
cade is half concealed. for the cope Of the
Bishop of Norwich takes up a great deal OF
space: but the Queen has no cause for COM
plant. for there is potency IN contrast. The
bishop is a stout venerable man With a Ions.
flowing gray beard and the medieval vestmsnts
have been painted with minute care. and how
fresh. defeats and youthful IS the Queens tacs
beside the grim visaged prslate and what
foil Ia the portly figure in the dark cope for
her grace and beauty! The Prince OF Wales
stands at a greater distance from the King. but
the pose is Iifelike and the likeness good. Ths
Duke OF Connaught is also a striking ngure.
with characteristic soldierly qualities. and tina
bent form OF the Duke OF Cambridge per-
haps the only survivor OF the preceding coro-
nation In the group OF princes and courtiers.
suggests patheticaliy the infrmities OF age. IN
the royal box there good portraits OF tbs