New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-15

the finding of a scientific research into
truth. But it may be that the hrst'
nevertheless. influenced the second,
and that the motive has changed in
name much more than in effect. Rem
brandt has served as proof Of hun
dred and one quite different theories
Perhaps the most comprehensive col
lection OF the work of Charles Meryou
ever shown in this city is that now on
exhibition at the Kuoedler gallery. In
a foreword TO the catalogue we learn
that: The collection described ia
qualified by Mr.. Campbell Dodgson, OF
the British Museum, as the most IA
nous collection in existence of Mer-
yon's etchings, formed by Mr.. B. B.
MacGeorge, of Glasgow Most of the
impressions, we learn further on, were
selected and given by the artist to
friends and protectors, such as Mr..
Neil, Librarian of the Ministry of the
Interior; Mr.. de Salicis, former captain
and ship comrade Of the artist; Phi.
Burty, Galichon and Wasset."
There are III numbers in the cata-
logue, los of which are etchings and
the remainder drawings in pencil and
ink. In the latter class we find the
finished drawings for "L'Arche du Pont
Notre DAME" la Tour de pHorloge,"
"Tourelle de la Rue Tixeranderie," "St.
Etienne du Mont" lie Pont Neuf," lie
Pont au Change" "L'Abside de Notre
Dame" lie Tombeau de Moliere," "Rue
des Toiles Bourges" and the "Cou-
venture du Voyage la Nouvelle-Ze-
lande" But these, for the most part.
so like are they to the etchings, are of
less interest than other drawings here,
incompleted studies, which in even the
slightest touch reveal the spirit of the
omantic-realist who, living in a world
full of terrifying Authorizations, could
nevertheless render his impressions
with purity of logic and simplicity of
language.
OF Imagination Meryon had so much
that he was forced constantly TO hold IL
in restraint. Now and then we find
him letting go, as in the print Of the
"Pont-au-C Change, Paris" between the
sixth and seventh states, q unique
copy, in which he drew in lead pencil
in the clouds, or, rather, as clouds, the
forms of women and snakes, and these
perhaps despite himself The sky of
this plate went through many changes,
from a fight Of balloons TO a fight Of
birds His Imagination tells with
greater power, however, in plates like
"L'Abside de Notre Dame" and La
Morgue, Paris" where the leash Of the
transcription Of literal fact served to
place it upon Il commonly understood
foundation. The imaginative spirit
need not be linked to an inventive fac
ulty Meryon may not have been in
any sense an inventor, as in the case
Of Dickens, and with less grotesque-
ries the buildings that he drew lived in
his Imagination as significantly as the
figures or the background Of Rem
brandt The tender lines of his draw
ings, never perfunctory, bear the i'm
press Of his personality; they live his
life again, a life which only the bal
ance of discipline could have made re-
main upright. lie succumbed in the
end to the power Of an Imagination
become past bridling, but left neverthe-
less a work TO be admired in its tech-
meal judgment and artistic force. Only
few Of the etchers Of architectural
subjects. and they are the majority OF
etchers, can be said 70 approach him
in understanding Of architectural prop
critics, and not one in appreciation Of
the human meaning Of the subjects.