Year: 1870

Tho excellence OF several collections OF paintings


recently offered at auction has almost efaced the


Impression left by late notorious public SALE and,


30 far anything could, has oDterated its memory.


A ban collection makes o greater AMI deeper I'm


preston than good one. And this Is natural when


one thinks what we had right to expect. The In


dignation called forth by the offer Of Indifferent


work IS proof OF the existence or an increased ap-


probation OF art and q compliment to those from


whom better work IL demanded. 1t Is true that


very poor pictures are often bought and sometimes


PAID for, more from spirit OF utiitarianlsm than


from any love OF art. The price paid for works Of


well known II not thoroughly appreciated artists,


however, indicates moro than the undue estimate


OF inferior ones.


The constant bsying and selling Of paintings to


the highest bidder seems to do away with some OF
the sentiment Of art IL IL rather a blow 10 the
young painter TO dream ana study and smoke over
picture. and then TO see 1t Knocked down at q sale
for "leas than the price Of the Frame" which, by
universal consent seems TO be regarded as neces-
sarily of less value than the picture. Why, 1t Is in


deed difrlcult to say; for we have sometimes seen
really expensive frames enclosing works Indicative
or an nifntesimal expenditure OF anything but bad
TASTE Fine frames are not TO be desplsed. They are
really OF more interest and importance than many
suppose. They have o nxed value which Ia moro
than can be said OF works OF art in general. Far
otener than one would like think the frames are


sold with pictures rather than the pictures with
frames But the loss of sentiment that arr seems to
sustain by sales Is compensated for IN different


way BY reason OF being sold every few months a


picture accumulates certain amount OF sentiment


If not OF real value, which, at the hands OF
one sole possessor, it could not have hoped
for In century. We leave out OF ques.


ton entirely the appreciation and enthusiasm


OF those Obliged TO dispose OF them at every sacri


fee by AN ingenious variety OF crcumstances-an


appreciation which, IN Its norid expression ut least,


might almost equal the painter himself. The assu-


rance that none OF the pictures In the present COL


lection have been chromoed would seem TO indicate


very different way OF thinking from that collector


who declared the work OF a well known painter 10


be rendered additionally valuable from that clrcum


stance alone.


In the present collection three large works OF un-


questionable merit are oiered-pictures which,


Whatever defects they may have are most noble


specimens Of historical painting ana valuable &C


quisitions to any gallery. Historical subjects while


they often eno an additional charm, always impose
an additional obligation. The picture becomes a


translation. The painter is no longer responsible


for the subject, but for the fidelity OF his work. Alb


soue truth becomes one Of the essential ele-


ments, and to great measure, It Is by this stan


dard the picture must be Judged.


EBMERALDA AND DALI. VAN LERIUs.
No one who has ever read that most wonderful /


book Of q wonderful man viii fail TO find deep In.


terest In this work. The subject inspires an interest


which affords test for the proof OF tue excellence


OF the picture Esmeralda with her goat Is lying on


couch IN her own room. The gypsy girl OF Hugo's


story IS scarcely more than child. In the chapter
describing her delivery TO Gudue she said to be
fifteen years DID, From the moment almost oil her
adventure Win the handsome captain the girl has
lived In him. Innocent tlmd anu half Wild by ma


ture, she dwels on this one feeling. 1t the utter
seabnegatiOn OF woman's first love. At sixteen
6ten ententlt !! This Is not the Esmeralda OF the
picture. There Is the representation OF fully de-
veloped woman in all the glory OF conscious beauty
Even In countries where women are said to develop
very yonng IL would be dicult 10 imagine her NJ
teen years old. The face and features or deli
cacy and refinement entirely out OF place in the pie
belan GIRL Beauty there should be. The chiselled


features are out OF harmony. In vain do LOOK for


the tmid, shrinking girl, aDstraced IN her absorbing
passion. IL is to no purpose that we admire q
conscious handsome woman, who has managed to
wr,gge hersef out OF all but very scanty supply


OF clothing IN position which, it IL TO be hoped.
makes up In personal c0mlorL what 1t lacks IN ar
tistic grace we look for the abandon OF distrac-
and consciousness. The goat wn,cn has really a


great deal OF expression aud character, spite of


his mistress Indifference, has been persuaded 20
l spell out Phpbus' name with not only correct
have expected either IN the goat or the ignorant
gypsy girl, aud TO aid 1t might seem, I'm the carry


Ing OUT or an idea for which she had been clearly
adequate.


II sensual beauty could supply the lack or sim
phcity and innocence nothing could ne desired.
One OF the most beautiful touches In the book IS the
portralture OF this character with the simp city OF
unconscousness ana freshness OF youth The
merit OF the picture the ideal OF handsome brl-
nette woman is quite beyond question, and az such
VIII doubtless have many admirers. IL is only with
1t as q representation Of the naive impassloned
gypsy girl OF Hugos romance that we have to do,


aud as such 1t seems that most OF the true spirit OF
the work has neither been felt nor rendered.
BoccAClo AT THE COURT or JOANNA l., OF NAPLES,
by FERDINAND PAUwELs,


lsa masterpiece OF grouping and easy, beautiful
erect. Ihe ceeDrated poet has gone 30 Naples
spired by the success OF frtrarch VINO had some
years before found such liberal patron In the
grandfather OF Joanna. The reception or Bocaccio
had been all he could have desired He was young
handsome ana talented. At tnat court celebrated
as one or the most luxurious and corrupt the world
had ever known, he fell IN love with the beautiful
Maria OF sicily, who Afterwards was famous as
Fiammetta aud at whose request the poet Is said to
have written tue ..Decaneroner The scene repre-
sents pavilion on an elevation Naples Beneath
lies the beautiful city. In the distance Vesuvi,is
OF and below are spread the blue waters OF the Won
drous bay. On the pavilion the poet IL reading


some OF his verses to the Queen Joanna and group
OF courticrs. The party seems TO have lust finished
meal, which, from the time indicated by the light,
might be cottastone The table Is still spread WITH
filled with wine. On one side, opposite the queen,
aud leaning against the parape Is the youthful
poet. lie mas paused moment, 1t would seem, in
reciting his verses TO explain some point.
His look Is turned toward the lady OF his
love- as II 1t were to her he was addressing


them. His figure is full OF youthful southern beauty
and grace; his position most easy and natural.
Seated little distance Is the beautiful and
unfortunate Joanna or Naples, whose errors have


socated her with Mary Suars and who II she sinned


twice as much as averred by her bitterest Zoe, Ger
talny explated i by her slfIering.. One arm IS
thrown around her youthful aunt the mistress OF
Boccaclo. Her Left hand, holding FAM falls
lessly by her size. She looks thoughtfuliy and


earnestly at the poet. Her face, though, and form
are too thoughtful and matured for the young and


gddy queen The beautiful Maria OF Sicily leans on
the bosom or her niece. Her lace, crowned with a
glory OF golden hair, is also turned toward the poet
| lover. with less feeling than pride. These three
figures form the main group. Their action harmony
OF lines and grouping arc excellent. The other


figures are subordinate but all distinguished by the
same careful study and sklful disposition and ar
rangelnent. The Clements OF beautiful landscape
and interest OF subject and character most
prolific. But they have been combined and worked
| up with a Judgment which merits our approval
while 1t demands appreciation for its adherence 10
| truth, ana its poetic, judicous treatment


| tbs BATTLE AT wALCHEREN, BY HENDRI OK +
| SCHAEFFBIs


IS subject in great contrast to The foregoing. The


smoke and DIN OF battle, the struggles and agony Of


the dying and the ghastiiness or death to healthy
minds are always somewhat horrible TO contem-