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FINE ARTS.

About five years ago, Mr. Emil Seitz, a shippers is preparing to sing Luther's noble well-known printseller of this city, imported hymn : Ein fester .burg ist unser Gott. (A a magnificent imperial photographic copy of mighty fortress is our God.) KAULBACH's cartoon of “The Age of the Several groups occupy the foreground. On Reformation," executed by Court-photograph- the right, the leaders of liberal culture proer Albert, of Munich. In every respect, claim to the world the glory of ancient art except as to size, it was an exact reproduction and literature. From the mouldering ruins of the artist's work, and gave a vivid and of the long-forgotten past, they disentomb correct idea of his sublime conception. But the works of the master minds of Greece and the interest awakened by this splendid work Rome. “The grand ideas of antiquity," says was soon lost in the excitements of the time; the German critic above referred to, “awake and when, a few weeks ago, the original from their slumber of ages and re-enkindle cartoon was brought to this city, it had for us the sacred fire of genius in the souls of poets all the surprise of a new picture, and attracted and philosophers. Philosophy and poetry, great attention. The work is generally re- bursting the fetters of scholastic pedantry, garded as Kaulbach's masterpiece, in concep- are once more free to illuminate the lofty tion and execution. The artist himself, we mountains and the lowly valleys of human are told, regards it in this light, and considers life and thought." The artists, also, feel the it the crowning work of his life. It is more inspiration of the new age; and we see them, than a picture, in the strict sense of the word in the background on the right, earnestly dis-it is the history of an era. In this grand cussing the works of ancient genius. In the composition, Kaulbach sought to portray the group we recognize the portraits of Albert working of the moral, religious, scientific and Dürer, Leonardo da Vinci, Raphael, Michael intellectual forces that culminated in the Ref- Angelo, and others who reanimated art in ormation. The conception is perhaps philo- Europe. Near them stand Guttenburg and sophical rather than artistic, but none but a Koster, to whose invention the Reformation great artist would have carried it into execu- is so largely indebted for its rapid diffusion tion as Kaulbach has done. Let us examine

among men.

On the left of the foreground it closely, following out a train of thought are grouped the early discoverers and natusuggested by a German art-critic and friend ralists-Columbus, Bacon, Harvey, and others ; of Kaulbach.

and in the aisle beyond them, Tycho Brahe, The scene chosen by the artist for the Galileo, Copernicus, and Kepler, are engaged representation of the grand drama of the new in searching out the courses of the stars. The age, is the interior of a vast cathedral. In: vastness and harmony of the universe are the centre of the background the lofty choir gradually unfolding to the human understandconfronts the spectator; on either hand opening; and the great principles of nature begin long and broad aisles, while the overarching to be dimly discerned, looming in majestic dome gives unity to the whole picture. On outline through the breaking clouds of ignothe choir, and thus elevated above the other rance and superstition. groups, stand the great Reformers of the age, The central group in the foreground repwhose work formed the central event of the resents the conclusion of the truce between new awakening of human thought and action. the Protestants and Catholics which, for a On the right of this group stands a soldier- time, put an end to the bitter religious feuds king, Gustavus Adolphus, one of the great which had desolated Germany. The advocates champions of civil and religious liberty. of peace point to the open Bible, held aloft the left may be seen Queen Elizabeth, of by Luther, on whose page we read the second England, surrounded by a courtly group, in great commandment: “Thou shalt love thy which we recognize the faces of Essex, Sir ueighbor as thyself.” Francis Drake, and Burleigh. In a semicircle In this manner, by means of these admira behind this central group, sit Huss, Johann bly conceived groups of eminent personages. Wessel, Arnold von Brescia, and other pre- Kaulbach has illustrated the age of awaken cursors of the Reformation; they appear to ing thought, the new era of mental activity, be sunken in profound meditation, as if their tracing its progress from the early discoveries souls caught the dim presage of the great in the various realms of nature and of intelevents to come. In front of the grand organ, lect, to its culmination in the religious awakenand above all these groups, a band of wor- ing of the Reformation.

On

The picture is worthy of the closest study. pencil in her mouth, and encouraged by his Observe how faithfully and conscientiously all friends, resolved to make the attempt. He the details are wrought out, without disturb- began by copying pictures of flowers and ing the grand harmony and unity of the com- butterflies in water color, but, soon gave this position as a whole. By the magic of his up for a different and more expeditious pencil, the artist has recreated for us the men method of working. On a desk placed almost of the age, as they lived and labored among perpendicularly over the couch on which he their fellows. These faces are veritable por- lay, was fastened the paper on which he drew, traits, only so far idealized as to conform to so near that he could easily reach it with a the requirements of art. The groups are brush held between his teeth. His wife or beautiful, taken separately; while the promi- sister, both of whom waited on hiin with nence given to the central group connects unwearied love and patience, would fill the them all in the unity of one grand idea,- brush with India-ink, and place it in his that of the angelic song prophesying peace mouth. With a peculiar motion of his lips on earth and good will to men.

and tongue, he would then whirl the brush T'he Ratcatcher and his Dogs.—The story round until he had thrown off all the superof Joan CARTER, whose most celebrated work fluous ink, and brought the hairs to a fine is now on exhibition in the picture gallery of point. He would then, by the action of his Mr. Schaus, gives an interest to his pictures neck, execute the finest and firmest touches which, with all their acknowledged merit, they on the paper, rivalling the dexterity of the do not in themselves possess. He was the most expert draughtsmen. In this laborious son of a common English laborer, His fashion he continued to work till his death. schooling was brief and imperfect. Up to Compelled to pause and rest after every the age of twenty-one, he led a wild and stroke, he of course produced very slowly. dissipated life, consorting with , bad fellows, Every touch had to be considered beforehand, and proving a terror to peaceful neighbor- as once made it was unalterable, He found hoods. One night in May, 1836, with a few many friends and patrons, and his work companions as reckless and dissolute as him- became very popular. But five of them are self, he went to the seat of a well-known Lon- known to be extant, four in England, and don banker, to steal young rooks from the

one,

“The Ratcatcher and his Dogs,” in this rookery. While in the topmost branches of city. Had this work been the production of a tall fir-tree, he lost his hold and fell to the an artist who enjoyed the full use of his ground. He was picked up by his comrades hands, it would have deserved very high and carried home, in an insensible condition. praise ; what shall we say of it as the proThe doctors pronounced his case hopeless, duction of a man without the use of his and were positive he could survive but a few. hands, and who had never studied drawing

hours at most. He disappointed them by until he learned the art by holding the brush : living fourteen years after the accident, but between his teeth! The composition and

in a physical state which was little less than grouping are excellent. Nothing of the kind death. In falling he had sustained an injury could be finer than the attitude of the old to the spine which deprived him of life and ratcatcher as he sits watching his dogs. motion in every part of his body except his Landseer, a high authority in these matters, is head and neck. He could speak and hear, said to have bestowed warm commendation but he could not move an arm, nor a finger, on the drawing of the white dog, and that of nor a leg, nor could he even sit upright. The the others is strong and decided. Not a misfortune that deprived him of the use of stroke is wasted, every line and every dot his limbs, awakened a new life in his spiritual tells. It makes one's neck ache to think of nature. He became docile, devout, and re- the many hundred strokes, painfully made, signed ; and when, after some months of through days and weeks of patient applicaweary inactivity, a plan was proposed where- tion, required to execute this exquisitely by he could pass his time with pleasure and finished drawing. How many of our artists profit, he eagerly embraced it. This was who enjoy the full use of their hands could learning to draw. To become an artist, we produce such a drawing as this? should think, would have been the most Under Table Rock.-Mr. Girnoux has just unlikely thing for a man without hands, and completed a large picture called “ Under unable to raise himself from his couch. But Table Rock," a winter scene at Niagara Falls. John Carter, encouraged by the example of a The point of view is from the Canada side. lady who had learned to draw by holding the The spectator looks directly under the overhanging mass of rock into a sort of cavern hunter resting near the edge of the cataformed by huge icicles and pillars of frozen ract. spray Only a small portion of the cataract Mr. Knoedler has also an exquisite flower is shown, in the upper left-hand corner of the picture by Robie, beautiful in composition painting, and the depth into which it plunges and color; besides works by Carl Hubner, is suggested by whirling clouds of spray and Colman, Zamacois, Gerome, Gifford, and other mist, in which the plunging waters are lost. foreign and American artists. The picture is broad and simple in treatment. Drawings by Peter Kraemer. There is at We believe it is to be sent abroad to be WEISSMANN & LANGENFELD's an interesting chromo-lithographed by the same house that India-ink drawing by PETER KRAEMER, a Gerhas succeeded so well with Mr. Bradford's man draughtsman resident here, representing “ Crushed by Icebergs."

a scene at the last Arion Ball. Mr. Kraemer Easter Morning. But if Mr. Prang con- draws with great dash and boldness, and his tinues to produce such beautiful chromos as pictures lack finish and refinement. A that of Mrs. Hart's “ Easter Morning,” our sketch of his called A Cavalry Charge," artists will not be compelled to seek the aid also at Weissmann & Langenfeld's, shows how of foreign establishments for the reproduction much may be accomplished with a few touches, of their pictures. Mrs. Hart's picture, as our provided those touches are made by a master readers may remember, is a marble cross, on Marshall's Portrait of Grant.--Messrs. which hangs a beautiful wreath composed of TICKNOR & FIELDS have published Mr. Marfuchias, pansies, roses, heliotropes, orange SHALL's steel engraving of his excellent porblossoms, and other flowers. The great va- trait of General Grant. The General's most riety of tints rendered the reproduction of intimate friends declare it to be the only the wreath in chromo-lithography a task of satisfactory likeness of him that has yet been extreme difficulty ; but it has been accom- made; it is certainly very characteristic, and plished by Mr. Prang with marvellous deli- is engraved with great skill. cacy and fidelity to the original. We con- Artists going Abroad.--McExtEE and Gifsider“ Easter Morning" to be the best chromo FORD sailed on the 27th of May for the old he has yet published.

world. The former will visit Egypt and the Landseer's Connoisseurs.—No one should Holy Land, for the purpose of studying the fail to look at the engraving of LANDSEER'S grand monuments of ancient Eastern civilizaportrait of himself entitled “The Connois- tion, and his stay abroad may be prolonged for seurs," now at Schaus'. It is interesting not several years. Mr. Gifford will spend most only as a beautiful picture, but as the only of his time in France and Italy. A few portrait of Landseer in existence, the great evenings before their departure, these gentleanimal painter having refused to sit to any men were entertained by a select party of artist. He represents himself, in this picture, friends at a farewell dinner. We unite in as sketching. Two splendidly-painted dogs the friendly wishes and regrets expressed by are looking over his shoulder, watching, with those who were present at the dinner, and immense gravity and show of sagacity, the trust that our friends may enjoy a good time progress of his work. The picture bas been abroad and a safe return. very beautifully engraved on steel by Mr. We hear that Mr. James Hart still conSamuel Cousens. The original is now the templates making a trip to Mexico this property of the Prince of Wales, by whom it Summer. The field is a new one for artistic was purchased from Sir Robert Peel.

enterprise, and we bave no doubt that Mr. Pictures at Goupil's.—Mr. KNOEDLER has Hart will make the most of it. lately added very largely to his importations The Jarves Collection at Yale.—Mr. Rusfrom Europe. Among the new paintings is SELL STURGIS, Jr., has prepared a manual of a large one called “Norwegian Mountain the Jarvis collection of early Italian pictures Scenery,” by Professor Hans GUDE, a picture deposited in the galleries of the Yale School of much power.

The rugged sides of the of Fine Arts. It comprises a catalogue of the mountain are partially veiled by gray mists, pictures, with full descriptions, together with that creep and twist among the jagged pines. biographical notices of artists, and an introA rapid stream plunges down through a nar- ductory essay on early. Italian art. Aside row gorge towards the foreground, obstructed from its connection with the Jarves collection, by rocks and the trunks of fallen trees. The this manual contains much information of in sentiment of loneliness and desolation is very terest to readers in general, respecting Chris. foreibly expressed in the figure of the solitary tian art in its earliest stages of development,

TABLE-TALK.

It is certainly creditable to Michigan, that important paper is spoken of, and Mr. Bra. in establishing her State University, the Legis- dish himself is spoken of, and the lectures are lature should have stipulated that there should spoken of, in terms of the most egotistical be established a professorship of the Fine vain-glory. We do not write this paragraph Arts. Every university ought to have an for the sake of breaking a butterfly on a wheel, established professor of the Fine Arts, with a but because we so heartily approve the action good working collection of casts of sculpture, of the University of Michigan, and so cordially copies of pictures (where the pictures them- grant that action to be an honorable step forselves cannot be obtained), collections of en- ward, that we regret it should have, at the graving, drawings, and photographs, and very beginning, entrusted the direction of the models in cork or plaster of famous buildings, Department to hands so plainly incompetent with casts of the best details of such build- -so incompetent, by his own naïf confesings. A gallery of this sort need not be large; sion—to the task he has undertaken. When it only needs to be well selected; and by bear- we remember that John Ruskin gave fifteen ing this in mind, a good deal may be accom- years of hard and unremitting study to the plished with a comparatively small sum of theory, and history, and practice of the Fine money, Such a collection would be a great Arts, before he began to write his monumental addition to the resources and opportunities book; and when we consider that the field of a university, even without any professor at to be surveyed is indeed, as Mr. Bradish says, all, provided it were so arranged that the stu- “wide as the thoughts and civilization of dents bad free access to it; and we are sorry man," so that, even in fifteen years, a student to say that, judging from a pamphlet recently as diligent and unwearied as Mr. Ruskin does sent us by a Mr. Alvah Bradish, who appears not pretend to have exhausted it—we may to be Professor of Fine Arts in the University well smile at the pretensions of a man who of Michigan, that institution of learning ap

tells us that he has devoted the better part pears to have gained very little by the estab- of twelve months to a course of historical and lishment of the professorship, whatever may æsthetical subjects to render himself compebe the result of the founding a Department tent to fill the chair of Professor of the Fine of the Fine Arts. The pamphlet consists of Arts in a State University. Why we speak the republication of a certain “Memorial” at all about this matter is, that in one way addressed in 1852 to the Board of Regents, in and another the Fine Arts are getting this which the necessity for the establishment of a sort of treatment in many parts of our counFine Arts Department in the university is en- try. A professor at Yale, who does not preforced by very commonplace arguments and tend to any greater knowledge of the Fine unfortunate illustrations, and a plan of studies Arts than a trip to Europe has given him, is marked out very inadequate to the end pronounced the pictures in the Jarves Collecproposed. This “Memorial," however, crude tion worth very little, and his verdict had and commonplace as it is, seems to have authority enough to risk the success of the moved the Board of Regents to appoint the negotiation by which Yale College has become writer off-band, to fill the chair of Professor possessed of a collection better than that of the Fine Arts. Mr. Bradish, who, with all which any great gallery in Europe north of the his want of culture, seems to have a laudable Alps had when it was founded, Writers for enthusiasm, determined at once, that a series the newspapers and magazines feed our na. of Art Lectures would be a proper termination tional vanity by exalting the praiseworthy but of a student's course in the university, and he necessarily incomplete attempts of young accordingly“devoted the better part of twelve American artists into masterpieces for the months exclusively to a course of historical study and admiration of mankind. A young and ästhetical studies to render himself com- artist studies water-color drawing for a year, petent in his own opinion to fill such a chair and, straightway, a “critic” says that his proin a way its high importance demanded. For, ductions, "for all that is admirable in the art, it must be remembered that art-literature will bear comparison with the best of English covers a field wide as the thoughts and civili- work." And so the work goes on, and more zation of man.” We give Mr. Bradish's own and more the growth of a really genuine art words, taken from his preliminary“Remarks” in America is hindered. What we need is upon his own “Memorial,” in which that un- criticism, not flattery; criticism for the sake

easy to find.

of art and the people, earnest and straight- The spirit of these verses is in the last forward, written by men who have given their couplet of Pope's well-known quatrain in the lives, and not the better part of any mere Essay on criticism : twelve months to the study of art, and who “ When Ajax strives somo rock's vast weighć to are above all national and individual preju

throw, dices. But such criticism in America is not

The line, too, labors, and the words move slow;
Not so when swift Camilla scours the plain,
Flies o'er th' unbending corn, and skims along

the main." How far back in our literature can the fancy be traced which Tennyson has en- THE barefaced dishonesty and shameless shrined in this verse of his “ Talking Oak ? " swindling of the officials who govern (by the “But, light as any wind that blows

consent, and with the approval, of the majorSo fleetly did she stir,

ity of the citizens), the city of New York, is The flower she touch'd on dipt, and rose,

so serious a subject to the minority, that any And turn'd to look at her."

thing which enables us to laugh at our misThis is Scott's,

rulers instead of anathematizing them, is to Even the slight hare-bell raised its head Elastic from her airy tread,"

be looked upon as a godsend. Some club in

New York, composed of gentlemen with with an added fancy. Tennyson's flower,

more money than they know what to do "turns to look at her.”

with, has presented Mr. Supervisor Tweed It would seem that Shakspeare with his

with very costly, and, we may say, a Elizabethan taste for conceits must have hit

very ugly service of plate. On this plate apupon this one, but unless it be the

pears everywhere as an ornament the head of “–Ye that on the sands with printless feet

a griffin or like monster, of the heraldic speDo chase the ebbing Neptune,"

Tempest, V. I., cies, and on each piece, in addition, is elaboror the

ately engraved a coat-of-arms, purporting, of «-01 so light a foot

course, to be the arms of Mr. Tweed, bearing Will ne'er wear out the everlasting flint: the motto, "Spare not,” which motto, conA lover may bestride the gossamers

sidering that this person never does spare That idle in the wanton summer air, And yet not fall; so light is vanity.”

any thing he can lay his hands on, appears to Romeo and Juliet, II. VI., be very appropriate. It now appears that

the whole of this heraldic paraphernalia is we cannot remember any passage that contains it. But the beauty and delicacy of the right to the coat-of-arms, the crest, or the

stolen goods, and that Mr. Tweed has no more "printless feet” is better than a dozen lines

motto, than he has to the name of Jenkins. of elaboration.

The arms are those of the Hay family of ScotThe conceit occurs in Ben Jonson's “Sad Shepherd” in a passage that deserves to be land, a member of which family was made Mar

quis of Tweeddale in the time of George II. quoted. It is the opening speech in the

The arms of Hay are quartered with those of poem.

two heiresses who married into the family, “Here ! she was wont to go ! and here ! and here !

and the whole shield, quarterirgs and all, is Just where those Daisies, Pinks, and Violets

gravely copied on Mr. Tweed's pieces of silgrow : The World may fird the Spring by following ver, as if he had a right to it, as he, doubther :

less, thinks he has, having bought it, as he For other print her airy steps ne'cr left:

probably did, from some one of the so-called Her treading would not bend a blade of grass ! Or shake the downy Blow-ball from his stalk !

“heralds," whose business it is to gull rich But like the soft West-Wind, she shot along, nobodies who want to pass for somebodies. And where she went, the Flowers took thickest 'Tis a small comfort, but, to weak human naRoot,

ture, it is a comfort, that if Mr. Tweed as As she had sow'd 'em with her odorous Foot.

Supervisor has raised a great fortune at our Perhaps the original of this fancy is found

expense, we can raise a great laugh, if nothin Virgil's description of the warlike virgin ing more, at bis; and the joke is such a good Camilla in the seventh book of the Æneid :

one, that we doubt if the unfortunate Demo"-prælia virgo

crat, and would-be nobleman, will ever hear Dura pati, cursuque pedum prævertere ventos, the last of it. Illa vel intactæ segetis per summa volaret Gramina, neo tencras cursu læsisset aristas : Vel mare per medium, fluctu suspensa tumenti,

We congratulate ourselves on having found Perret iter, celeres nec tingeret æquore plantas."

two blunders into which our countrymen

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