Year: 1871

The picture of Mr. Church, just put on e1
hbiton is positive acquisition to art 1t WORK
which would be instantly recognized as his In Whatever
quarter OF tho world 1t seen Every nch OF tho can
Is marked by his unaing Beauties and the whoie
picture IA Liable to the objection from which his woR
exempt We know OF picture OF this artist 80
painfully elaborated detail Is this. You must night
your through crowd OF needless beauties before you
get TO the heart Of the picture and the perfection ana
symmetry OF the imposing which the painter be-
hold and transferred to his canvas


When the French the two superb Churches Of the
Exposition OF 1867 the Storm In the Tropics and the
Niagara, they said, "This Is not Art this is photo
graphy" There would be OF superficial truth IN
the criticism Of this picture II 1t were called "topo
graphy" 1t is In certain senso q map Of Jerusalem
and s suburbs. The artist has been too conscientious
In the treatment Of his rich and tempting material The
olive grove the right Of tho foreground. the sopng
hillside the left tho dry ravine through which the
brook Kidron ran the Garden OF Gethsemano In the
middle distance, all as carefully and painfully
painted tho sacred city the high plateau OF Sion
The consequence OF this is that tho eye is at first con-
fused and misled II 90 rowing about and learning
its lesson, like anIengineer officer reconnoiterng diff
cult field But IL this first movement OF hesitation and
disappointment be overcome ~ you once thoroughly
grasp and put away In their subordinate places all
these petty Details the fine strong points OF the
picture como out and assert themselves most
vigorously and successfully. The distance streches
away across tho dim spaces OF tho valley,
the windin g-roads mark tho changing grades OF
the hills hOve and monastery fall into their appropriate
places along the rolling hocks the shade OF the hover


ing clouds hangs the foreground, tonng down to
qayish olive tho tender green OF tho first grass OF
Spring, whilo aof and afar, the Holy HILL lies the
city, beautiful for situation bathed in the full efugenco
OF the ht that strikes through the rift OF the tumbed
cumu. and rests like loving conservation upon lower
and mosque. and portal the mnarets OF Islam ana the
Sopucher Of the Nazarcnc This is worth working ana
waiting for Tho picture gives up its secret and its
charm all who will seek 1t with some little diligence
Mfr. Church never painted finer sky-he has avoided
all startling effects, all scenic combinations Of atmos-
pheric eccentrces. TIE sky that overhangs Jerusa-
lom is precisely tie which necessary to throw that
strong, yet disciplined illumination upon the city NO
one has giyen u.s. OF late years better coudmass than
that in the left hand corner piled up soghty and smt-
ten through and through with the visible shafts OF sun
shine.


Altogether it is matter Of congratulaton that this
pcture has come TO New-York. Its merits OF tho
hi CHEST character and its faults not Of the kind that
possess much seduction for needless and indoent
young artists No attain the riumphs OF Church
without genius and industry, and luckily no one can im-
tate his faults without amount OF w0rk wmch WOud
make an artist out Of any copyst endowed with spark
OF talent.


BoUGHTos's RETURN OF THE MAYFLowER


Turning away from this fine canvas OF Church. you fnd
In the same gallery picture which requires no study to
read which will well repay hours of contemplation be-
fore its beauties exhausted 1t is the Return OF tho
Mayhower by H. Boughton. Here there Is no conius
son no vacilation of purpose, budding OF details
The and poised group in the foreground
the young and gazing after tho white sails
that go flying down the horizon, tell their own story
with no need Of interpreter. There Is
group OF Puritans (or Pilgrims, as we must now
call them, penalties Of accommodation
from the New-Engand Society who stand in the back
ground out OF way and the artists. They are there
because OF course the whole colony came down to the
beach TO see the Mayhower sail But they are there as


the guests Of history andre not allowed at the table OF
art The whole picture full Of that rcyerent labor hat
noble reserve which find lin all the recent work OF
Boughton who worships truth as Angelica worshiped
faith That furry vegetation sprnked over the ridgy
sands-he low lonesome stretch OF shore, "the green
dying tho sand and the sand slipping under the
sea the indefnable air OF isolation and desertion
which already hovcrs ioyer the stOutheared coonist
and which know will grow suddenly deeper as soon
as those fitting sails dip below the dim verge Of the blue
gray waters this forms picture OF the thought Of an
epoch "a vivid any chapter OF Bancroft or Motley
while II is more truthful than photograph and more
ideal than poem Boughton can say. with Paul. that
he speaks tho words OF truth and soberness.