Evening star., 1940-06-23

an historical painting is authentic
because it Is the work of an eye
witness. The majority Of the famous
historical paintings of the world
have been produced years after the
event took place-just as the
majority of statues erected to
memorialize heroes are produced
long after they have died. Benjamin
West certainly did not witness the
death of Wolfe, nor Gerome the
death Of Caesar. The great historical
novels have been written after the
formula that Mr.. Christy has fol-
lowed, that of exhaustive historical
research and study. But into this
garnered bulwark of fact must be
infused the spark of enthusiasm, an
infusion which only comes by ability
on the part of the artist, writer or
painter so to recreate the image of
the past that it lives again.
1t is rather singular that so few
paintings of the signing of the Con-
stitution exist. There is one-a very
handsome mural, not of the signing,
but of the signers-in the Archives
Building, the work of Barry Faux
ner, one time Fellow of the Amer
lean Academy at Rome. This is in
the exhibition rotunda at the north
end of the building, where precious
manuscripts and public documents
are placed on view for the public
to examine and enjoy. Here it was
that the Declaration of Independ-
ence and the Constitution were to
have been enshrined-and may be
some day, although there is no
thought at present of transferring
them from the Library of Congress,
where, In cases specially and beauti-
fully designed for them by the late
Francis Bacon, they are hobnobbing
with the Magma Charta, an overseas
visitor for the duration of the war.
Because of the purpose of this
rotunda at the Archives Building,
not only the trainers of the Con-
stiution, but also the signers of the
Declaration of Independence, are
pictured on its walls-both groups
by Mr.. Faulkner.
Sky Is Threatening.
1t is interesting to compare Mr.
Faulkner's interpretations with
Mr.. Christy's. He uses, in both in
stances, the exterior of the build
ing and gives the group an al
fresco setting-rolling lawns, trees
a vista; in the first instance. a
rather stormy, clouded sky. The
figures are agreeably grouped
neither too animated nor too inert
and their assemblage is used tc
lend decorative effect to the great
room, creating atmosphere. trans
lating the observer to other days
and ways. Mr.. Faulkner shows less
of the trainers of the Constitution
than does Mr.. Christy-in fact
whereas the latter introduces about
tWoscore, Mr.. Faulkner presents
only 25, of whom 6 were not sign
ers There were 38 names inscribed
to the Constitution, as drawn by
the convention and submitted to
the States, not counting the secre-
tary who attested the signatures
1t will be interesting to know, when
the key (now in preparation) tc
Mr.. Christy's painting is available
whether he has succeeded in rep
resenting all. Also there is matter
for conjecture concerning how and
why Mr.. Faulkner made his choice
In both of Mr.. Faulkner's paintings
despite the fact that they have
outdoor settings, the documents in
question figure largely. In the Dec
laration of Independence panel JEFF
ferson holds the parchment which
branded the signers as rebels in
the mother country and brave men
In the Colonies. In the Constitu-
ton mural several of the delegates
have what one may infer are copies
of the document within a year to
be adopted and, with compara-
lively few amendments, to remain in
force today. Faulkner has sue
ceeded in giving vitality to his rem
derings without encroaching toe
much on reality. These murals hold
the eye and remain in memory.
In very different style, but also
authentic" and of the same period
so far as theme goes, are the panels
in Constitution Hall, back of the
stage, which were designed by Mon
roe Hewlett, New York architect
and painter. They represent -four
scenes in Boston, New York, Phila-
delphia and Charleston which any
student of American history will
quickly identify. Painted on coarse
canvas, almost as drop curtains
they supply excellent background
and re-create atmosphere of the STIR
ring days during and following the
Revolution. Here is historical paint
ing and of an entirely different
sort from either Mr.. Christy's OF
Mr.. Faulkner's but thoroughly de-
lightful. If more history could be
learned by pictures how pleasant
it would be! Much of the architec-
ture of our city is classical because
these buildings were erected during
the period of the classical re-
vival. To the same period belong
these paintings rejecting in a
measure its charm, but COUGHING the
expression in familiar, contempo-
rary terms. Thus the old is again
made new and revivifled to our I'd.
vantage.