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drying of the weekly “wash.” By this ar- folly, ignorance, simplicity, and zeal without all the epistolary literature of love there is rangement not only would all unsavory odors judgment, that one is divided between an no letter more sweet, simple, tender, and free be driven to the airs and spaces above, but inclination to laugh at it and to wonder at such from selfishness or guile, than this of the the back-yards would be rescued from their a manifestation of popular intelligence. This young Eastern fire-worshiper to his “Lan. present unsightly uses, and devoted to pur- is, of course, an extreme case; but does it cashire lass.” “I hope you will excuse me,” poses of elegant recreation.
The laundry- not accurately indicate the sort of thing he says, “ for taking liberty for writing to women, no longer tramping out the grass that female influence is lik
you, but really I cannot help it, because I with their big feet, would permit these our politics should women ever obtain the love you so much, and you must truly believe green plots to flourish; and the unsightly suffrage? That women look upon law as a that I never came across a young lady more weekly display of the family linen being sort of fetich-a something that ought to lovely and more affectionate like you. I banished to upper and invisible regions, the interpose itself everywhere and into every hope you will be happy, but don't forget me, whole space now given over to the servants thing, in order to carry out everybody's because I sacrifice my heart to you, dear. I and neigliboring visitors of the feline spe- ideas of what should be—has been repeated. always dreamed about you; I don't think cies could be converted into a handsome ly pointed out, and here we see striking you hardly believed it, that how I loved you, garden, into a bright rustic boudoir shaded evidence of this tendency. These wom- my dear; but I am at last disappointed. But by trees and vines, where in the summer en, however, have one defense : there are never mind, it cannot be helped ; but don't season the household might assemble, and so many men in this country that run forget me, because you are the only I loved. even guests be received, under conditions screaming to Congress for laws in regulation I don't think you care much about me, but I wholly refined and pleasurable. The disper- of every social question that it is no wonder did. Remember me, my dear, remember me. sion of the disagreeables that usually pertain the feminine folk should lose their bearings, i I hope you will be happy.” In a more chito the lower ward of the house would, in fact, and imagine that the shape of their bonnets, valrous time the fate of the bapless young enable us to elevate the now neglected yards the color of their ribbons, the costliness of Oriental in a strange land would have been of our residences into artistic and beautiful their ornaments, the cut of their dress, are celebrated by the odes of a Sappho or the
The wealthy inight imitate the an. all matters that Congress has power to regu- sweet lyrics of a Petrarch ; now his prosaic cient examples of marble arcades and cool. late, and hence ought to regulate them. epitaph is the coroner's verdict, “ Died ing fountains, and the humblest household
the result of temporary insanity!” could do something to give grace and charm In this practical and prosaic age of ours to a precinct which is now degraded and de- the cynic is apt to get the advantage of the There has latterly arisen in some of the famed simply because it lies in close proxim- sentimentalist. The ridicule and satire of English papers a serious complaint of the ity to the unsavory kitchen.
the one blights and crushes the pathos (or manner in which eminent counsel at the bar Our readers may smile at all this. Wait bathos) of the other. The world is too busy, sometimes treat their clients. This applies and see.
If the town-kitchen is not destined and life is becoming too short, to spend much less to the enormous fees demanded by emi. to go up in the world, set us down as false time on what is merely fanciful or tender, nent lawyers full of business than to the prophets.
which in a material sense profiteth the world custom they have of accepting a retainer
nothing Yet now and then an incident and fees in cases, and then absenting themOne of the richest specimens of the ten- occurs which, though purely romantic and selves from court when those cases come on. dency of people to run to government for sentimental, appeals strongly to the sym- This really seems a grievance, nor is it whol. the regulation of every thing that seems to pathy and pity of the sternest-hearted cynic. l ly unknown on this side of the Atlantic. It them in need of regulation occurred, accord- Such, for instance, is the story of that sim- is very well for a lawyer in request on every ing to report, recently in Philadelphia. It ple-souled, self-sacrificing, and loving young hand to charge roundly for his time ; indeed, seems that in that city of traditional de- Parsee who was recently found floating dead to get what he can for his services. It may mureness in behavior and modest simplicity in a reservoir in Lancashire, England. It is be presumed that he has fairly won this right of dress there is a “ Free-Dress League,” often questioned whether hearts are ever bro. by a long and not always remunerative expewhich is composed of ladies who think that ken for love, yet it is certain that young Dorab- rience at the bar. But if a client with an reform is necded in the matters of female jee Hormusjee died for love. He went to Eng- important case resorts to the celebrated Mr. dress and adornment. Very few people land not long ago to study cotton-spinning, A. or Mr. B., pays him a very large retaining would be disposed to contend with these and intended to return to Bombay to set up fee and subsequent “refreshers," in order ladies in this respect, but if a general loose- a mill among his fire-worshiping kindred. In that he may have his influence, name, and ness of idea as to the functions of govern- England he became deeply attached to a services, and those of no other, he has an ment did not prevail, everybody would be young girl who failed to reciprocate his feel. excellent ground of complaint if the lawyer, amused and astonished at their manner of ings. She may not have liked his dark skin, being engaged otherwise, leaves his case to going to work in order to bring about the his broken language, his Oriental ways, his its fate, or sends a scarcely - fledged young end desired. Confident in the power, the pagan religion; at least poor Dorabjce, after | lawyer from his office to blunder through it; wisdom, and the unlimited scope of Con- such advances as his simple and poetic na- and, above all, if, in addition to the loss of gress, these ladies propose to address a peti. ture prompted, came to see that his cause the great man's skill, he sees no more of the tion to that body to appoint a joint commit- was hopeless. For him, then, it was just as retaining fee and the refreshers. It may very tee to settle a suitable dress for the women natural to die as to love. In his heart there well happen that the lawyer finds, when the of the country. This innocent reliance on was 110 thought of reproach for the obdurate case comes on, that he has more pressing the wisdom and authority of Congress, this
He simply sat down and wrote her business “in other places." In such an belief that a great social reform may be a respectful, tender, and plaintive letter, and event, simple honesty requires that he should brought about by a fiat of the state, this penned on the outside a request that she either furnish an equally eminent substitute, notion of free-born Americans that it is pos- would "please not show this to anybody," or return the money which he has received to sible to restore the sumptuary laws of the went up to the reservoir and tying his do what he has not so much as made a pre. despotic past, is such a rich mingling of hands behind him, took the fatal plunge. In tense of doing.
just now, and not readily accepted. They are and there are probably fewer saperlatives Literary.
founded, nevertheless, in the Miltonian canon in the book than in any other recent vol. of poetry, from which simplicity no more can ume of criticism. It is by no means cer
be excluded than sensuousness and passion. F our first impressions do not deceive us,
tain, indeed, that this caution is not carried The spirit of criticism is intellectual; that of
too far; and there is no doubt that it inwe have in Mr. Stedman's “ Victorian poetry (although our curiously-reasoning genPoets one of the most valuable contribu- eration often has forgotten it) is normally the
pairs the force and effectiveness of the style. tions ever made by an American to the de- offspring of emotion ; secondly, it may be, of
Surely it is as much a mistake on the part
of a critic to under-state his thought as to partment of literary criticism. This is high thought. I find that the qualities upon which praise; for the studies of Lowell and Whip
I have laid most stress, and which at once over-state it; and that Mr. Stedman does ple are recognized everywhere as among the
have opened the way to commendation, are frequently understate his, be would probably
simplicity and freshness, in work of all kinds; be the first to admit. At worst, however, best that contemporary criticism can show,
and, as the basis of persistent growth and of and to think of Mr. Stedman's work in con
this is but the reverse side of the cardinal greatness in a masterpiece, simplicity, and
critical virtue; and the virtue is not exhibitnection with these is to associate it with
spontaneity, refined by art, exalted by imagithe “ Age of Elizabeth” and “ Among my
ed so often that we need be hypercritical as nation, and sustained by intellectual power. Books." That it makes good its claim to such
to the particular phase which it may assume. ... The traits, therefore, which I have depassociation will be conceded, we think, by recated earnestly are in the first place obscu
Great pains have been taken to render every careful and well-informed reader of the rity and hardness, and these either natural
the volume serviceable as a reference-book, book, which takes an additional value from implying defective voice and insight, or af
and, besides an admirable analytical index, the large amount of biographical and his.
fected-implying conceit and poor judgment; there are copious marginal notes throughout, torical information which it contains in addi
and, secondly, that excess of elaborate orna- and a list comprising all the poets mentioned
ment which places decoration above construction to its purely literary features.
as belonging to the period under review. tion, until the sense of originality is lost—if, In regard to the scope of the work we indeed, it ever existed. Both obscurity and
MR. LONGFELLOW's new volume, “The cannot do better than quote the statement of
super-ornamentation are used insensibly to it given by Mr. Stedman himself. He says:
Masque of Pandora, and other Poems disguise the lack of imagination, just as a Although presented as a book of literary
weak and florid singer hides with trills and (Boston: J. R. Osgood & Co.), is a collecand biographical criticism, it also may be flourishes bis inability to strike a simple, pure
tion of poems some of which, as “The Hang. note, or to change without a sliding scale." termed an historical survey of the course of
ing of the Crane," Morituri Salutamus," British poetry during the present reigo-if not
“ Charles Sumner," etc., have already apa minute at least a compact and logical sur
It is beyond our purpose to follow Mr. í peared, while others are now published for vey of the authors and works that muinly de- Stedman step by step through his work, nor the first time. The longest poem, which mand attention. Having made a study of the could it be done usefully without occupying gives its title to the book, is dramatic in poets who rank as leaders of the recent Brit- more space than we can spare; we will con- form, and gives a pleasing version of the old ish choir, a sense of proportion induced me tent ourselves, therefore, with indicating myth of Pandora's box-relating the fash. to enlarge the result, and to use it as the ba
briefly his theory and method. As he de- ioning of Pandora by Vulcan, the breathing sis of a guide-book to the metrical literature
fines it, the dominant method which has dis- of life into her by Zeus, her fruitless temptaof the time and country in which those poets have flourished. It seemed to me that, by in
tinguished the Victorian period is the idyllic, tion of Prometheus, her successful attempt cluding a sketch of minor groups and schools,
which is a combination of an art-school, taking upon Epimetheus, and finally her opening of and giving a connection to the whole, I might
its models from old English poetry and from the fatal box, whereby were released offer a work that would have practical value the delicate classicism of Landor and Keats,
* Fever of the heart and brain, for uses of record and reference, in addition to and of the contemplative didactic school,
Sorrow, pestilence, and pain, whatever qualities, as an essay in philosoph- which had the imaginative strain of Words
Moans of anguish, maniac laughter, ical criticism, it should be found to possess." worth for its loftiest exemplar. The leader,
All the evils that hereaster
Shall afflict and vex mankind." The poets accepted as leaders of the
and to some extent the founder, of the idyllic choir, and of whom more or less elaborate school is Tennyson ; and, while in his hands
The story is effectively told, but the verse studies are made, are Landor, Hood, Mat. rhythm, melody, and the general technical
is narrative rather than dramatic, and the thew Arnold, Procter (* Barry Cornwall ''), excellence of poetry, have been carried much
lyrics, of which there are many, are quite the Mrs. Browning, Tennyson, Robert Browning, farther than ever before, its influence has
best part of the poem. These are in the form Buchanan, Rossetti, Morris, and Swinburne. maintained an atmosphere unfavorable to the
of choruses emphasizing the salient episodes Besides these, about one hundred and forty revival of high passion and dramatic power.
of the drama, and the following, à propos of the minor singers are discussed, though in many Nevertheless, in spite of this adverse influ.
remorse of Pandora and Epimetheus, points
the moral of the entire story: cases the criticism is confined to coupling
ence, a new dramatic and lyric school bas an epithet with their names. Prefixed to arisen, under the leadership of Browning and
" CHORUS OF THE EVNENIDES. the whole is an analytical study of “ The PeRossetti, and is engaged in a vigorous effort
- Never shall sonls like these riod," in which are set forth the principles to reunite beauty and passion in rhythmical
Escape the Eumenides, art. which the subsequent chapters are intended
“Swinburne, beyond the rest, having The daughters dark of Acheron and Night! to illustrate and expound. carried expression to its farthest extreme,
Cuquenched our torches glare,
Our scourges in the air Such being the scope of the book, we turn obeys a healthful impulse in seeking to re
Send forth prophetic sounds before they smite. now to a consideration of the critical princinew the true dramatic vigor and thus begin
** Never by lapse of time ples upon which Mr. Stedman has based his another cycle of poetic song.” This new
The sou! defaced by crime school is obtaining the favor of a new gen. Into its former self returns again ; judgments; and here, again, we cannot do eration, and Mr. Stedman believes that we
For every guilty deed better than quote his own words:
Holds in itself the seed are entering upon an era which will witness " These essays are not written upon a
Of retribution and undying pain. a glorious revival of dramatic poetry in Eng. theory. The author has no theory of poe
* Never shall be the loss land. try, and no particular school to uphold. I
Restored till Helios favor a generous eclecticism, or universalism,
of the more special features of Mr. Sted.
Hath purified them with heavenly fires; in art, enjoying what is good, and believman's work, the most noticeable, perhaps,
Then what was lost is won, ing that, as in Nature, the question is not aside from the ample knowledge and wide
And the new life begun,
Kindled with nobler passions and desires." whether this or that kind be the more ex- culture displayed, is its judicial and studi. cellent, but whether a work is excellent of ously temperate tone. There are no attempts "The Hanging of the Crane" has already its kind. Certain qualities, however, distin- at paradox or epigram, no pungent allusions, taken its place among the favorite lyrics of guish what is fine and lasting. The princi- no affected brilliancy, no mere rhetorical ! home; it is in Longfellow's most tender and ples upon which I rely may be out of fashion
garniture of any kind. The most anxious characteristic vein, and the verse is peculiar* Victorian Poets. By Edmond Clarence Sted
care is taken to avoid even the appearance ly finished and melodious. “Morituri SaluBoston: J. R. Osgood & Co.
of dogmatic dicta, or final pronouncements, tamus," the poem delivered at the fistieth an.
niversary of the class 1825 in Bowdoin what other apnals are so rich as the Roman Dr. Holland is a trained workman, and College, breathes it spirit of the loftiest mel. in the representation of human character ?) whaterer he does has a certain workmanlike ancholy tempered by the resignation which are especially good ; and in this respect the finish and facility. It is plain from his comes of the sure hope of the soul's immor- present volume is scarcely inferior to the au. novels that he has no natural aptitude for tality. The poems grouped under the famil. thor's larger work. The tone of the “Gen- story-telling — that novel writing is not the iar title of “ Birds of Passage " comprise the eral History” is conservative, as becomes a method in which his gifts would naturally seek elegy on Charles Sumner, the pathetic ballad work from which critical discussion is neces. expression ; yet even here his trained skill of “Belisarius," and various descriptive rem- sarily excluded. Ir. Merivale rejects most subserves almost all the purposes of talent, iniscences of the author's European travels. of Niebuhr's theories as brilliant but vision- and his novels fuirly deserve the measure of From the cluster of “Sonnets" at the end we ary,” and admits frankly, at the outset, that, popularity which they have achieved. Their quote the following, not because it is the best, though the legendary narrative accounts for plots are coherent and well-constructed, the but because it presents in brief form the phi. the institutions which survived to the histor- narrative is interesting, the action dramatic, losophy of nearly all of Longfellow's later ic period, “there is scarcely one particular the characters tolerably life-like, the scenepoetry:
of importance throughout the first three cen- painting vivid, and the style fluent and vig. 6 A SHADOW. turies of our pretended annals on the exact
What they lack chiefly is insight, “I said unto myself, if I were dead, truth of which we can securely rely."
and that taste and temperance which are What would befall these children! What would
The volume is clearly printed on good- instinctive in the true artist. Another and be Their fate, who now are looking up to me
sized type, and is well provided with maps, more radical defect is that the author's moFor help and furtherance? Their lives, I said, chronological tables, and index.
tive and object are primarily didactic: he is Would be a volume wherein I bave read
much more concerned to point a moral than But the first chapters, and no longer see
to adorn a tale, and this leads to those pointTo read the rest of their dear history, So full of beauty and so full of dread.
In none of his subsequent works has ed contrasts of character and conditions Be comforted; the world is very old,
Bret Harte rivaled the peerless perfection which, bowever they may harmonize with our And generations pass, as they have passed, of his earlier stories; but the “Tales of the notions of poetic justice, are sadly belied by A troop of shadows moving with the sun ;
Argonauts ” (Boston : J. R. Osyood & Co.) our experience of real life.
approach more nearly than any of his recent “ The Story of Sevenoaks” (New York: They will find hope and strength as we have productions to the standard established by Scribner, Armstrong & Co.) has a moral, of done."
his first work. The seven stories which course-the moral being that the love of
the volume contains all deal with Califor- money is the root of all evil. The leading DEAN MERIVALE's General History of nian incidents and the characters of the figure of the story is that of a village manu. Rome” (New York: D. Appleton & Co.) is Argonautic period; and these so evidently facturer who, by cheating an inventor and partly a new work and partly an abridgment “condition " Mr. Harte's genius that he sel. oppressing his fellow-townsmen, becomes a of his larger work, which has long been rec- dom appears at his best in any other field. millionaire, and tten, seeking a wider field for ognized as one of the standard authorities on Nevertheless, though dealing with similar the display of his riches, comes to New York Roman history. In plan and scope, however, episodes and frequently with the same char- and enters upon a life of lavish extravagance, it is entirely new; being an attempt to em- acters, there is a real difference, not only in vulgar dissipation, and wild speculation. For brace within the limits of a single volume a quality but in method, between these later a time he prospers, but, being caught at compendium of Roman affairs from the foun. stories and “The Luck of Roaring Camp," length in the toils which he had spread for dation of the city (in B. c. 753) to the fall of “ The Outcasts of Poker Flat," etc., etc. others, he commits a crime that ultimately Augustulus (in A. D. 476). Its claims to be Mr. John Oakhurst, for example, a passage strips him of his ill-gotten gains and nearly regarded as a “General History,” aside from in whose life is here related, is a decidedly consigns him to the penitentiary. The charthe long period which it covers, are thus theatric and stagey personage, and the en- acter of this vulgar rich man is vigorously stated by Mr. Merivale : “ It is addressed to / tire interest of the story is centred upon drawn, and is not without a certain rugged po special class of readers, but rather to the “Mrs. Decker." The narrative is vivid and impressiveness ; but it is greatly exaggerated, reading public in general, who may desire to dramatic, and the character-sketches curious. and can only be excused on the ground that be informed of the most noted incidents in ly effective; but it lacks local flavor, and it is not so much a portrait as a text. The the Roman annals, the most remarkable char- the scene might have been laid with even pleasantest people to whom the author preacters which play their part upon the Roman more appropriateness in Paris or New York. sents us are the villagers of Sevenoaks and a stage, and the main course of events, togeth. So of the “Episode of Fiddletown,” the trapper and hunter named “Jim," who acts er with their causes and consequences. With motif of which is the same as in “ The Luck the part of deus ex machina to the rest of the this object directly in view, the writer has po of Roaring Camp”-namely, the purifying characters, and divides with Belcher the honoccasion to load his pages with references, and elevating influence of a child upon a or of being hero. His shrewd and homely wit or justify his statements by notes and criti. corrupt and criminal nature. In the “ Epi. furnishes the amusing element of the story, cal discussions, for which his prescribed lim sode,” however, it is a woman who is thus which, if over-long, is interesting throughout. its would allow him no room. It is for the reformed, and the story loses in effectiveness orator, says the great critic of antiquity, to more than it gains from the greater subtilty argue and persuade ; the historian may con- and elaboration of the study. Mr. Harte's fine himself to narration; but, in cutting my. | method, in short, has lost something of its self off from the resource of notes and refer. terse objectivity, and he seems to be passing ences, I must at the same time refrain from
TWO disquisitions and speculations which cannot local conditions the study of human nich artist, Hans lately be conducted safely or fairly without them. nature for its psychological interest. His
attracted a good deal of notice at Kurtz's These I must leave to the critical inquirer moral point of view has also changed, and Gallery. They are both called “Abundanand the professed student; my pages are ad- we look in vain in these later stories for the tia ;” one of them represents the rich prodressed, as I have said, to the general reader, easy optimism of his earlier ones.
ductions of the earth, the other of the sea. who will be content to accept the conclusions Perhaps the pleasantest novel feature of On entering the gallery, the visitor sees which I present to him.”
the present collection is the introduction of spread out before him two very large, long Dean Merivale's style, though deficient in John Chinaman, who, in the persons of Wan canvases, covered with bright men and womvigor and the rhetorical graces of composi- Lee and Ah Fee, develops unsuspected ca- en so full formed and rich in color, that for tion, is always simple, lucid, and pleasing; pacities for humorous treatment.
an instant he might suppose he was looking and, when dealing with the more striking in- thor's genius for animal-painting also finds upon some of the showy historical paintings cidents of Roman history, presents more than expression, and "Baby Sylvester" is without by Rubens that hang upon the walls of the one excellent example of animated and pict. doubt the very drollest and most irresistible Louvre. But, on proceeding to analyze these uresque narrative. His portrait-pieces (and “bear-story" ever told.
pictures, he finds them curiously confused in
from the study of human nature dun de hecat Tocharge decorative pictures by a deur
motive, with an ende: vor, either conscious or flesh in the back of the woman in the barge. a striking work of art this man whose general not, of reproducing the ideas of Rubens, It is the same, too, with his use of rich col. appearance was the antithesis of his character mixed with ordinary, we might say common- He glazes and lays in superb body-col
as developed by the war, was no easy task for place, thought. ors because he likes to see them in the pict
the artist. It may be safely asserted that he
has succeeded : skillfully avoiding the tame Seen against a gilded background, which ure, and apparently from a keen relish for
without touching the over-dramatic. The gleams in many points and masses between such tints, but not from any real knowledge face is self-contained and noble in expression; the men and women, and among the great how to use them.
the eyes evidently fixed on something of moboughs and leaves of the trees, the Abundantia The result of this richness of conception ment; the head turned to the right. The of the earth is represented by a black haired, and imperfect fulfillment of the idea bas been line of vision is somewhat higher than the southern-looking woman, with two large in- to produce a dazzling effect in both instances, eye, and the chin slightly raised in consefants clinging to her lap. Rich clothing is but the paintings are at the same time en- quence. The hair and beard are handled perdraped upon her, and fruit and flowers in tirely without repose either in the composi- fectly, exhibiting, as do all the details, a nasgreat masses droop from baskets borne in tion of form or in light and shade. These
terly technique. The weiglt is upon the right the hands and on the shoulders of a crew pictures have been said to recall Titian, but
leg, and it evidently bears it, without, hoswhom the artist apparently designed to be
ever, any of the exaggerated bowing back of no painters could be farther apart than the
the leg or protrusion of the calf so often used half satyr and half human. Dark faces of painter of the "Entombment” of the Louvre,
to give the sense of firmness. The arm on men pale upon the gilded sky with big, cun- with its absolutely perfect relations of line the same side is akimbo on the hip, and so ning eyes and black locks of hair. One of and color, and light and shade, and the man managed as to assist the feeling of solidity; these men is dancing with a blond, innocent- who painted the “Abundantiæ." That Mar- while the gloved hand, in crumpling the looking child, he in shadow and she in a full kart resembles Rubens, with his flowing forms, gauntlet which it holds, assures us that the light that takes away from her face and form big lights, and superfluous colors, is quite ap
attention of the owner is fixed on some tense nearly all shading; and she stands before the parent; but it is Rubens in his pictures in the and absorbing matter. The leit leg is in adspectator about as a good reproduction of Louvre, and not with his chasteped powers
vance of the other, and, from the knee down, the manner in which Rubens might have exhibited at their best, in the mature and
nearly parallel with it. This gives additional
firmness to the figure-the necessity of bendtreated such a subject, or as if the figures had well-balanced “ Descent from the Cross," at
ing it to obtain a change of line being obbeen executed by a direct pupil of that mas- Antwerp.
viated by the accessories. The left hand ter. On the other side of the painting jolly Markart has power and imagination, but clasps the sword - hilt, the knuckles to the children are loaded with the fullness of the the “Abundantiæ " cannot be regarded as front, at once giving an easy turn to the wrist, harvest, and grapes, poultry, and goats, are more than pictures showing great though im- and a chance for nice expression in the anatomixed up with them in free and careless pro- mature talent.
my. The military cape has fallen into the fusion.
hollow of the elbow, and thence drapes to the The other picture represents a scene in a
section of stone-wall upon which the point A CORRESPONDENT, whose art-training en.
of the naked sword rests, and which rids the galley whose golden prow breasts the waves,
titles his opinions to respect, sends us from composition of gaps and the spindly look so and whose big sail flops in the breeze, green
Richmond the subjoined description of Fo. often the defect of single figures uprelieved and blue and golden as a peacock’s plumes, ley's statue to Stonewall Jackson, recently by accessories. As to the likeness, the figure over the heads of a band of men, women, and erected in that city, and unveiled on the 26th
is said to be too full and round. It may be children, who load down the great barge. ultimo :
that the artist knew this, and sacrificed the Here, as in the companion painting, a mother
matter of fact to the matter of art, rather than and her offspring give the key of the subject
6 Amid the ferwid enthusiasm on the occa- imitate meagreness which would have of the picture. Besides these figures, half a
sion of the unveiling of the General Jackson marred his work and remanded it to the lindozen in number, composed of the woman,
statue, probably not one in ten thousand bo of slouching figures which disfigure our
looked upon the effigy otherwise than subjecbabies, and two or three little girls, a mass
streets and galleries. But it is said that the of others fill up the scene.
tively. The glamour of the past rose up and widow of General Jackson considers it an esOne fair, blond
intervened, and the bronze shone through it cellent portrait. girl, with heavy contours to her pink flesh, as the personification of the deeds of Stone
The best view of the statue is from its sits with her naked back turned toward wall Jackson the successful chieftain, rather
left, with the nose just cutting the line of the the beholder--a truly Rubens type of fig. than as a work of art representing the man in
cheek. This aspect will expose both limbs ure, both in its feeling and treatment. An- his habit as he lived. When the excitement
and the right arm, and mass the composition other girl, with bare legs, is stretching out had died down, it was curious and interesting
very effectively. The figure is about eight into the waves to catch in a shell the sea
to note, as was the fortune of the writer, the feet high.” weeds and shells cast up from the water.
calmer criticisms of the crowd as they pressed
forward for a nearer view. It was the old All these figures, as well as the boat itself,
MR. William Hart is now engaged upon story; and had the Stonewall Brigade and the are bound together by splendid colors of all : other veterans that thronged the vicinity been
a painting entitled “A September Morning textures that are filled with rich tones, from furnished with chalk, as was the Athenian
in the Keene Valley.” The view, however, the peacock-colored sail to the woman's splen- populace of old, in the well-known legend, is more of a suggestive character than illusdid skirts, and the pink and crimson lining one day to mark the excellences and the next trative of a real study from Nature; or, in of the sea-shells scattered so freely everywhere. the defects of the work, the result would have other words, it is a composition of a pastureSuch are the main features of these two paint- been exactly the same as in the classic story- field, surrounded by hills resembling in form ings.
the bronze would have been whitened by their those which are found in Essex County, bor. Markart, who is a pupil of Piloty, appears
dering on the Adirondack region. The land.
“ The sculptor who has to manage a single to be a man of great but irregular sources
scape is partly obscured by the fog which is of imagination and power.
All his people
pedestrian portrait figure must tind himself in
drifting slowly up the rugged hill-sides. In show a great want of thoroughly good draw. avoid imitation on the one hand or bald com
the foreground there is a group of cows ing, and the legs, arms, and torsos of nearly monplace on the other. The possible per
browsing as they move along to the richer every one are inaccurate and impossible. mutations and combinations of the members pasturage in the distance. The cows are in But nobody accustomed to study works of of the human frame have been wellnigh ex- the shadow of the trees which line the road this character can fail to recognize the re- hausted. The lamented Foley not only had on the right, but come out strong against a markable freedom and power with which this common difficulty to contend with in
bright area of sunshine in the middle ground. his figures are sketched upon the canvas. dealing with the figure in question, but the
There is no suggestion of autumn colors in He does not hesitate to draw one of his greater one of artificialiy presenting a subject
the foliage of the trees, which are yet fresh whose externals were so entirely dissociated children in full light with a bent body and
and green, but tbe ferns and weeds in their from the picturesque. Jackson's career was full twisted limbs, in an attitude that would have
shade show some rich, brown tones, indicatof dash, yet he was slow, one might say ploddaunted many a more mature painter than ding, in his habit. His demeanor was of
ing the approach of frosty weather. In the he; nor does e doubt his power to suc- that quiet sort that excluded any suggestion background, obscured by the early morning ceed in filling in the great masses of bright of the military hero. In short, to convert into fog, there is a suggestion of a mountain-peak.
The sky is covered with light cloud-forms, forest-vegetation is more sparse, and the view scene with the Ghost he is more thrilled with and its tone is delicate and expressive. As is diversified by rocky hill-sides and other terror than touched with that fine spirit of yet, Mr. Hart has given but little attention natural features which are peculiar to the re
yearning tenderness that made Booth's cry to the detail of the work. His main object gion. The sky is partly covered with rolling
"I'll call thee father!” so exquisitely pathetic. has been to get the composition in form, af- masses of clouds of a semi-transparent text
But nothing could be finer than the gesture
wherewith he flung aside the restraining hands ter which be will finish it at his leisure. The ure, which cast tenderly - defined shadows
of his companions and turned to follow the group of cows is the most advanced part of here and there over the landscape. The rug.
spectre, in grand scorn of death or of terror. the picture, and its treatment already well gedness of the view is toned down by the in
Like Booth, he falls prostrate as the Ghost disworthy of the attention of lovers of fine paint troduction of a delightful atmospheric effect, appears, and in the “wild and whirling words” ing. During last summer Mr. Hart made a which also adds greatly to the harmony of wherewith the act concludes we catch a glimpse large number of studies of Alderney cows, the scene.
of the catastrophe that this awful revelation and several of these have been reproduced in
of the hour has brought to pass-Hamlet is this work. There is a dun-colored cow, with MR. CASPAR BUBERL, a German artist of
mad. Like some stately column overthrown a head almost as delicately moulded as that this city, who executed in marble Valentine's
by an earthquake, his noble mind lies shat
tered before us, wrecked by the convulsion of a deer, and the red and mottled animals recumbent figure of General Lee at Rich
that has hurled the moral world around him are equally noticeable. mond, Virginia, in so thoroughly an artistic
into chaos. Henceforward throughout the Another picture, a work of cabinet size, manner, bas sent to that city a statuette of tragedy in the wild eyes, the pale, baggard by Mr. Hart, bas also, as its leading feature the general which has excited the most favor. face, the speech that varies from mirthless of interest, a group of cows resting at noon- able opinion of the artist's skill. The figure mockery to fiercest passion or deepest woe, day on the bank of a meadow-brook. There is about two feet high, in military costume. may be read the story of his distraught brain. is a grove of trees on the right, and the left The pose is very artistic, and the grouping Read by this light, “ To be or not to be” begives a perspective view of a pastoral land. of the cannon, saddle, etc., as accessories,
comes the wail of a tortured soul, seeking scape with great force. This picture is near- are happily introduced. The artist is spoken vainly for rest and willing to rush forth to win ly finished. It is charming in tone and sen
it, even through the dread portal of suicide. of by the local press in connection with the
In the words “ To die-to sleep—" might be timent. proposed equestrian statue of General Lee.
heard the passionate yearning of the breaking
heart and burning brain for the slumber that One of J. G. Brown's latest pictures is
knows no wakening, but with the utterance entitled “ Pitching Pennies," and shows a
of the line “ To sleep--perchance to dream—" group of boot-blacks, ranged in front of the
came the swift shuddering recoil that showed street-door of a tenement-house, engaged in
what manner of visions haunted the restless
OUR PARIS LETTER. that familiar sport. There are seven boys in
couch of the hapless prince. His interview
October 19, 1875. the group, and all have made their cast ex.
with Ophelia is touched with intensest pathos.
He craves her prayers as one lost in an abyss cept one little fellow who stands in the fore- THE greatest art event of the past week has
been the first appearance of Signor Rossi of hopeless misery. He bids her " go her ways ground, and is poising his penny in his hand as Hamlet at the Salle Ventadour. It has been to a nunnery
" as a refuge from a world that and measuring the distance with his eye be
said that no Italian, or, in fact, the native of is but one scene of anguish. He has, indeed, fore making his throw. It is evident that he no southern clime, could ever adequately per- forgotten that he ever loved her. What have is acting with caution, and his movements sonate the melancholy Dane. Something of such fair visions as love and tenderness and are watched with interest by the boys who the Teutonic or Anglo-Saxon element appears wedded joys to do with the world of horror have joined in the game. The leading figure to be necessary to the pature of him who would wherein he dwells? He has truly wiped away among the boys who are looking on is a
fitly embody this greatest of Shakespeare's all “ trivial, fond records” from the table of bright fellow whose hands are deeply insert- characters. Still less does it appear probable his memory, only to inscribe there one alled into the pockets of his trousers as if in that he who can personate Othello grandly consuming remembrance. In the play-scene,
would succeed as Hamlet. The two characsearch of pennies; but he is “dead broke,"
he crouches at Ophelia's feet, toying with her and his face tells the story of bis bankruptcy.
ters are, in fact, the antipodes of each other. fan and peering from beneath it at the King
One is the man of reflection, the other is the and Queen, and in the last grand outburstThe serenity of his mind is also disturbed by
man of action, One is dreamy, poetic, genthe boy standing by his side, who holds up a
“Why let the stricken deer go weep !" tle, tortured by doubts, and shrinking even penny in a most tantalizing way. Another from Heaven-commanded deeds; the other is
he shivers the frail toy of ivory to splinters in boy on the right is seated upon the door. ¡ fierce, frank, credulous, and rash. One is a his convulsive clasp. The scene with his step, and his face, too, shows that fortune is fiery Oriental, the other a philosophical North
mother formed one of the grandest points in against him. These boys were all drawn erner. Therefore, the very greatness of Ros
the whole personation, though his cry after from life, and are strong and spirited studies.
si's Othello filled me with doubts respecting slaying Polonius of “Is’t the King ?” lacked his success as Hamlet. The result merely
the fierce, triumphant tone of exultation whereThe diverse expression thrown into the faces,
showed how false such preconceived ideas in Booth used to give it. But the frenzy of of pleasure, hope, and despair, is a noteworthy
may prove. I have never been so fortunate his terror at the appearance of the Ghost, and feature in the work.
as to witness the Hamlet of Signor Salvini. the pathetic tenderness wherewith he be
But with the refined, poetic, and scholarly sought his mother to repentRICHARD W. HUBBARD is painting a large personation of Booth I have long been famil
. . Confess yourself to Heaven ! canvas illustrating an Adirondack lake-scene. iar.
Repent what's past; avoid what is to come,” The view is not strictly from Nature, but is Nothing could be more unlike Booth's con
were beyond description. In the scene with more of the character of a reminiscence of ception of the part than is that of Rossi, and
the grave-diygers and the struggle at the grave the wilderness than a real scene. In the fore.
yet both bear evidences of the closest and ground, from a rocky bluff, the view overmost thoughtful study, and both are fully jus
of Ophelia we prefer the gentler Hamlet of
Booth. But in the last act Rossi was grand looks a little lake toward a
tified by the text, thus proving how complex narrow and
beyond the power of rivalry. With the and many-sided is this perplexing and fascirugged valley, which terminates somewhat
shadow of the coming doom darkening over nating character. The Hamlet of Booth is a abruptly at the base of a picturesque moun- refined, dreamy, philosophical personage, deli
him, he makes ready for the encounter with tain in the middle.ground. A swift-running
Laertes. Profoundly mournful was the delivcate in nature to the verge of effeminacy, nerstream flows through the valley, and at the
ery of the wordsvous even to hysteria, sheltering his excitable, head of the lake unites with the latter in a sensitive nature behind a feigned madness
" Thou wouldst not think how ill all's here about series of cascades. The current of this that becomes half reality. But the Hamlet of
my heart; but it is no matter," mountain-torrent is felt for some distance in
Rossi is really and pitiably insane. He comes and from the very depths of pathetic prophecy.
before us in the first scene bowed beneath the the quiet water of the lake, and forms eddies
he utters the famed and beautiful speechweight of a woe too deep for words; he scarce of white fo:m upon its surface. The back
“If it be now, 'tis not to come,'' etc. finds greeting in the listless depths of his ground is rolling, and is covered with an un
misery for his friend Horatio, and only the His fencing is a very model of grace and skill. broken forest to the horizon-line. Near the tidings of the appearance of the Ghost have He changes foils with La rtes in a swift, gracelake, and following the line of the valley, the
power to arouse him from his apathy. In the ful way, that renders the substitution a per