The aegis & intelligencer. [volume] (Bel Air, Md.) 1864-1923, 1906-06-08
The Man Who Painted "Rock of Ages. -
BY SUSAN II. WALKER.

Ii from the score or more of trolley lines
that diverge from Washington to her
various suburbs, the visitor to the ma
tional Capital should select that running
to and through the village OF Vienna,
Virginia, he passes close to the home and
studio of man unique in he art history
of America. If he steps from the car be-
fore it makes its detour to the town pro-
per and makes his way to the frame stu
do, he will make the acquaintance of as
striking a personality as he has probably
ever met. The man referred to is Rev.
Johannes A. Oertel, the artist priest" of
America, the painter of the most widely
known picture of modern times, THE
Rock of Ages" That canvas was given
to the world in 1867, and while it repre-
sented the zenith of the artists earlier
work, it was also the cause Of his many
subsequent financial vicissitudes Those
who are old enough to look backward
thirty-five or more years can remember
the vogue of this picture and its countless
reproductions in every possible medium.
Secure of his future independence through
the sales of the thousands upon thou
sands of copies of his painting, which
went out to every part of the world
where civilization had in any degree pene-
trated, Mr.. Oertel discontinued system
attic work with the brush, and the coop
Grafton in work and study of his fellow
artists in New York. 1t was then that
he took orders in the Episcopal ministry
and went forth to his first labor of love
in the mountains of North Carolina
But his famous painting was his pecuni-
airy undoing. He had not properly Sc
cured its copyright, and while waiting in
vain for promised returns, unscrupulous
engravers detected the flaw and made
fortunes, while the artist received moth
ing.
If the traveller will stop at the studioin
Vienna, the venerable artist-priest will, if
in his wontcd mood, greet him genially,
and if he inquire regarding the great pic
ture, he will tell him its story. He will
take him within and show him the large
photogra phic copy of the original paint
ing, which is all that has been left to him
of his greatest work. He will tell how
through it he tried to give to the world
a pictorial message of Gods plan Of sal
walton that could be read by the most
unearned He will tell him that he
sought no particular model to personate
Faith cliuging to the Cross, but that the
Beautiful face was his own conception of
the character.
The old man will not dwell with much
regret upon the loss of promised wealth.
Silver and gold have little value in his
eyes, but the loss to this nation of its
earlier art ideals will prove pregnant
topic in his hands, if touched upon.
He himself does not regard the Rock
of Ages" as his chef d'oeuvre. He has
done much since then that is of far greater
value in his own eyes. His work has
mission and he will tell you that his later
pictures are finer and more potent teach
ers than the Crock of Ages" of the relig-
ious ideas they are intended to convey.
A slight accent will reveal the Bavarian
birth of the artist priest, and he will
show the interested visitor his first
sketches, made as boy of twelve, in his
home town, historic and artistic Nurem-
berg. His is a commanding figure and
personality. The picturesque white head
will be thrown back, and the clear brown
ewes will flash with the feryor of his dis
course. He talks well and iluentiy, and
his ideas, though not of the world OF to-
day, are original and forcible, and, for
the time at least, the visitor will be con-
WINGED that he agrees with him regard
ing the lost ideals in modern art.
The large and attractive studio is
crowded with pictures old and new, and
to himself his latest production Is al
WAYS his best. His is a labor of love,
and meals are many times forgotten and
home neglected in his absorption in his
work. A couch stands in the corner OF
the room, and here he throws himself
when WEAKNESS finally overcomes him in
the still watches of the night. His medi-
ums are oils and the brush, and he works
rapidly, though with infinite detail. He
uses no models, considering his knowl-
TroSTINIrEn IN EOIrRTU PACE