The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-03-06


cG mA9nihcsnce which In turn eaforced
generalised treatment OF the departed
Pope Bernini was called upon in his
icieAliRsd types 60 evoke an lmAGinart
portrait with majestic and awe inspiring
presence: and he usually succeeded.
though the equestrian portn " Con
stAntire 10 pronounced a failure by Raj
carres. who. ON the other hand. PRAISES
the portrait Of the Empress Matilda In
NJ. Peter'sas embodying more successfully
the idsal of Dosihumous portraiture than
analogous work On the cAnvases II Guido
REM and tho Bologne~e painters. some
u Bernini'a saints may be included In this
category: Santa BibbianA. Santa Ludovica
Alhertoni and santa Franceaca Romano.
Lord BalcaTres declares that Beruini's
genius was too robust and he was endowed
with too much common sense to fall into
excesses. hut none the lees he was living
on the edge Of precipiee when portraiture
became Inadequate and when sensation
alism and defamation replaced mora
abiding moods. We are grateful for this
qualification by the author. because much
81 Bernini has seemed 20 us pompous
and rhetorical OF else turGidly extravR-
giant IL was Nietzsohs who called
Wagner the -Bernini of music. and this
inappropriate phrase has been applied
inappropriatsly to the later work Of
Richard Strauss The truth IL that Der
mini was a romantic before the officially
recorded entrance % romanticism.
There were always romantics aimee the
birth 81 civilization and heforeD setting
aside the series 81 tonAbs. IL was in por-
A. ~. a -.
tn exagxerate his technical skill Here
We heartiIy concur with Balcarres After
Bernini have come others who outrival his
dextsrity. hut few have ever matched
his perfect mastery OF material; few
besides Bernini could give marble the
look and texture Of skin-he died 1851
or. IL may be added. set up with such con-
summate ease a group. A master Of many
rhythms surely, and brilliant figure
~ the Decadence.
In Chapter TX. entitled -Baroque.- the
critic explains with clearness the mean
ing % the term. Originally a nickname.
il has become a term % abuse like that
innocent word 'decadent." which in a
literary sense merely means the pre-
dominance OF the parts over the whole
in compoeition): in modern parlance
'baroque- means a work of art, h u
sculpture. architecture or music, In which
discordant elements are freely united,
whose Heterogeneous parts are combined
into whole which 10 at once trivial and
preteutious BAlcarres. whose definition
We quote says that we are apt Co misuse
the word. much as vaHaTi and his con-
temporaries treated the word Gothic AZ
-compendious epithet 81 displeasure.
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