Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1912-05-13

served To decorate the apse. Within its
light frame of yilded wood, divided into
panels by pillars, or leaf-scrolls or
carved mcneaux, Bible characters stand
in a row. their hands fixed in the ira
ditional gestures. In the centre we see
the most Important picture--a Virgin
of Compassion" "Crucifixion." a "Pi-
eta" an "Annunciation." To right and
left, angels, evangelists, local saints
sometimes the donor: below and on the
sides, predelles with scenes from the
life of The saint to whom the work was
dedicated.
Such subjects present little variety
or movement The artists taste and
individuality could show themselves
only in the character and expression
of the faces, the dignity of the gestures
the management of draperies, the tech
nique of accessories, and especially In
pthe modelling of the hands. Nevefthe-
less, color and to a certain point COM
position, remained. They revealed the
artists tenperament-albei feebiy
Within these limitations, the Nicois
masters display all that could be ex-
pected of an isolated school. hemmed
In among the mountains. living upon
its own resources and developing it's
genius by sheer force of will and its
sincere and naive love of beauty and
goodness.
/ am not denying that outside inhu.
ences had their effect. Art lives by
imitation and tradition In the Pro-
vince of Nice. which was in constant
communication with France and Italy
and even Germany races mixed where
roads crossed From Giotto. who
doubtless visited Provence to the great
Memmi whom the popes summoned to
Avignon. and the Franciscan travellers
who brought with them the art of AS
sisi, and such other foreigners as Top
pa and Hugo Won der Goes. how num-
erous are the great names suggested
by these modest artistsi
They borrowed from whom they
could. Ludovic Brea most penetrating
of them ali. If not the best. worked in
Genoa, in Rome. and In Perugia at the
close of the Fifteenth Century: he
knew Peruginio; he must also have
known the young Raphael.
Still. the primitive local character of
these palnters-Miralheti. Durandi
Brea. and the rest--is essentially
French. 1t declares itself in their keen
=
their finely reserved meditation of feel
ing and expression. Many of their pic
lures of the saints are evidently por
traits. Greolieres's astonishing work
has three figures executed with superb
skill and striking realism. Lieuche's
"Annunciaton' adds to its charming
freshness a glory almost ideal IL II
was to guess who we're the masters of
~ I'D fot, 10 80
direct descendants of Lerins and Mar
settle. | should point to the men of
Avignon
So when you go 10 Nice. you VIII
make It a point to visit the Exposition
des Primities Ncois. You will pass a
pleasant hour among those fiat pictures.
And If you can tear yourself away
from the Casino, and want to rest your
eyes when they are too dazzled by the
April sunshine. ! advise you to make
an art pilgrimage to Cimiez. There In
the quiet ard dim light of the Francis
can church you will linger to enjoy
two lovely pictures by Ludovic Brea--
'Crucihxion'' and an "Entombment.
Grouped about the Christ you will see
women weeping You will not regret
leaving the Promenade des Anglais
Ard then. you will walk through the
cloisters. You will enter the garden or
the Capucines. 1t is "disaffected now'
but in all it's misery 1t retains the Ro-
man form it had originally. You VIII
look down, across olive-groves and cy-
presses. to the flashing Mediterranean
At the foot of Mont Boron. you Will see
Nice the Beautiful, stretched out pc
tween the blue sky and the blue sea.
Antique grandeur, Christian piety'
the modern joy of living-all this pull
safes in the perfumed air around you.
Nice is not Florence. certainly, pu.
Nice, too, has its old paintings, ana
Clmiez is every whit as charming as
-Fiesole--Le Figaro.