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Lippincott's Magazine of Popular Literature and Science Volume 26, September, 1880 online

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the sword of Damocles, was covered with a mass of rich auburn-colored
hair. She is as changeable as a chameleon in the matter of her hair: I
never see her twice with the same colored _chevelure_.

The Salon this year contains at least four _good_ - one might almost say
_great_ - pictures. Of these four, the one to which popular opinion
seems to award the _grande médaille d'honneur_, is Bastien-Lepage's
_Jeanne d'Arc_. This large painting (3-15/100 mètres by 3-45/100
mètres) represents the Maid at the moment when, seeing the vision of
the Virgin, she is inspired to go forth and save her country. A
peasant-girl, strong and muscular, she leans against a tree, her face
uplifted to heaven and aglow with a noble inspiration. The cottage in
the background, the trees and weeds in the middle distance, the
distribution of light and the subdued tones of this impressive picture,
are all excellent. Some critics object to the artist's perspective, but
I fancy that is a bit of hypercriticism.

Then comes Fernand Cormon's _Flight of Cain_, suggested by Victor
Hugo's lines:

Lorsqu' avec ses enfants couverts de peaux de bêtes,
Échevelé, livide au milieu des tempêtes,
Caïn se fut enfui de devant Jéhovah.

This canvas is one of the largest in the Salon - 4 by 7 mètres. The
chief figures are grandly painted and the whole picture is very
impressive.

Alphonse Alexis Morot's _Good Samaritan_ is an exceedingly strong
picture. The Samaritan is represented holding upon his own beast the
poor maltreated Jew and walking by his side. The figure-painting is
wonderful in its vigor and _verve_.

The fourth picture is Alexandre Cabanel's _Phèdre_. The source of the
artist's inspiration was the well-known passage from Euripides:
"Consumed upon a bed of grief, Phèdre shuts herself up in her palace,
and with a thin veil envelops her blonde head. It is now the third day
that her body has partaken of no nourishment: attacked by a concealed
ill, she longs to put an end to her sad fate." Phèdre, as she lies
wishing only for death as a surcease of sorrow, gazed upon with
solicitude by her pitying attendants, is a vivid picture of
all-consuming grief. The decorative work of the bed and the wall is
chaste and classic.

Of the minor pictures, that of Dagnan-Bouveret, _Un Accident_, is one
of the best. It is indeed a rare picture in the excellence of its
execution in every detail. A boy has been badly wounded in the wrist by
some accident, and the surgeon is engaged in dressing the injured part.
The dirty foot of the boy as it peeps out beneath the chair, shod in a
rough sabot which fails to conceal its grime, the bowl standing on the
table half full of blood and water while the wrist is now being
skilfully bandaged by the surgeon, whose operations are watched with
great solicitude by the group of sympathetic relatives, - all these
features give a living interest to this painting which is unusual. The
red, grimy hands of the old mother of the boy are very faithfully
painted. The expression on the lad's face of heroic endurance and a
determination not to cry in any case is touching.

As for Mademoiselle Sara Bernhardt's _La Jeune Fille et la Mort_ - a
veiled skeleton coming up behind a young girl and touching her on the
shoulder - it would attract little attention if it had not been signed
by the flighty (and lately _fleeing_) actress. The verses underneath
the picture are the best part of it:

La Mort glisse en son rêve, et tout bas:
"Viens," dit elle,
"L'Amour c'est l'éphémère, et je suis l'immortelle."

The great names - Meissonier, Gérôme, Munkacsy, Madrazo,
Berne-Bellecour, Détaille, De Neuville, Rosa Bonheur, Flameng,
etc. - are conspicuous this year by their absence from the catalogue of
the Salon. It is whispered that the reason Munkacsy does not exhibit is
because the administration of the Beaux-Arts saw fit to place the
pictures by foreign artists separately in the Galérie des Étrangers. An
"impressionist" artist-friend of mine - Miss Cassatt, the sister of
Vice-President Cassatt of the Pennsylvania Railroad Company - says that
the reason these distinguished artists do not exhibit any more is that
they are disgusted with the way in which the Salon is conducted by
Edmond Turquet, the present sous-secrétaire aux Beaux-Arts, and the
very unfair acts committed in the awarding of medals, admission of
pictures, etc.

M. Jean Jacques Henner's _La Fontaine_ is a true Correggio in delicacy
and clearness of tone. His treatment of the flesh is peculiar, and much
envied by many a Paris artist. In this picture the nymph, leaning over
the fountain, is dressed in a very inexpensive costume - in fact, the
same fashion that Mother Eve introduced into Eden. There in the placid
water the beautiful creature contemplates the reflection of her face,
and seems to breathe, with all her being, those charming lines of
Lafenestre:

Heure silencieuse, où la nymphe se penche
Sur la source des bois qui lui sert de miroir,
Et rêve en regardant mourir sa forme blanche
Dans l'eau pâle où descend le mystère du soir.

Gustave Jacquet's _Le Minuet_ is one of those pictures which fascinate
and draw us back again and again. A rarely-beautiful girl is dancing
the minuet, surrounded by a group of her friends, beautiful blonde
girls and a fair-haired young man. The costumes are perfectly
exquisite, yet there is not too much _chiffonnerie_ in the picture.
There is a remarkable effect of depth in the painting of the figure of
the dancing girl, especially at the feet and at the bottom of her
skirt. Perhaps the only criticism that could fairly be passed upon M.
Jacquet's picture is that there is too much of mere "prettiness" about
his principal figures.

A curious feature in this year's exhibition is that there are three
pictures of the assassination of Marat by Charlotte Corday, two of
which are hung in the same room. There are also three paintings
representing a scene from Victor Hugo's _Histoire d'un Crime_,
"L'enfant avait reçu deux balles dans la tête." The child is
represented in Henry Gervex's picture as being lifted up by his
friends, who are examining the poor little wounded, bleeding head. It
is powerful in composition and a very thrilling, realistic picture. The
other two representations of this subject are by Paul Langlois and Paul
Robert.

Gustave Courtois's _Dante and Virgil in Hell: The Circle of the
Traitors to their Country_, is a picture very much studied by all the
artists who visit the Salon because of its strange landscape, its
wonderful effect of the glacial formations and its marvellous effects
of color. Benjamin Constant's _Les Derniers Rebelles_ is one of the
best efforts of this artist, so fruitful in scenes drawn from Morocco
and Egyptian life. He has depicted the sultan going forth in great
splendor from the gates of the city of Morocco, surrounded by his army
and courtiers, and before him are brought, either dead or alive, all
the principal chiefs of the revolted tribes. There is much that is
noble in the composition, and the coloring is perfect.

The arrangement of the pictures this year is not altogether
satisfactory to the artists. A radical change has been made - grouping
all the _hors-concours_ men by themselves, and all the foreigners by
themselves, and crowding about one thousand pictures out of doors into
the corridors which run around the garden of the Palais de l'Industrie.
A friend of mine saw a French artist mount a stepladder and
deliberately cut out of the frame his picture and carry it away with
him, because it was so badly hung.

The _Illustrated Catalogue_ of the Salon is a somewhat remarkable work.
It is specially noticeable for the very curious English translations of
the titles of some of the paintings. For instance, the title of Gabriel
Boutel's picture, _Bonne à tout faire_ - a soldier seated with a baby in
his arms - is rendered, _Maid for anything_(!). _Prière à Saint Janvier_
is rendered _Prayer_ AT _Saint Januarious_. _Le Cabaret du Pot d'Étain_
is translated _The Tavern of the Brass_ POT (instead of _Pewter Mug_).
Ed. Morin's _Promenade en Marne_ is _A_ F_rip on the Marne!_ Our friend
from Boston, Edwin Lord Weeks, is mentioned as "LORD" Edwin Weeks! But
the best of all is _La Cruche cassée_, translated _The Broken_ PIG! The
title of another picture is (in the catalogue) _Good-bye, Swee_L
_hart!_

Out of the 3957 oil paintings exhibited, our country is represented by
113 pictures, the productions of 83 Americans. Then we claim 13 of the
aquarelle painters, and there are in addition 11 natives of the United
States who exhibit designs in charcoal, _sanguine_, _gouache_, and
paintings on either porcelain or faïence; also 7 sculptors - in all, 114
of our compatriots whose works are in the present Salon. New York
claims the lion's share of these artists, 40 being accredited to that
State. Of the remainder, 18 are from Boston, 13 from Philadelphia, 6
from New Orleans, 3 from Chicago, 2 from Toledo, 2 from San Francisco,
etc. etc.

I think it will be generally admitted that the only really strong
pictures exhibited by the American artists are John S. Sargent's
portrait of Madame Pailleron (wife of the author of _L'Étincelle_) and
his _Fumée d'Ambre Gris_; Henry Mosler's _Toilette de Noce_; D.R.
Knight's _Une Halte_; Miss Gardner's _Priscilla the Puritan_; F.A.
Bridgman's _Habitation Arabe à Biskra_; Charles E. DuBois's _Autumn
Evening on Lake Neuchâtel_; and Edwin L. Weeks's _Embarkment of the
Camels_ and _Gateway of an Old Fondak in the Holy City of Sallée_
(Morocco) - both of which were sold immediately after the opening. Of
course there are several other good pictures by our compatriots, and
some that possess great merit. But the ones indicated above are the
only ones which (excepting Picknell's two landscapes, _Sur le Bord du
Marais_ and _La Route de Concarneau_) have called forth any special
notice from French critics or in any way attracted much of the public
attention thus far. Mr. Sargent is a surprise and a wonder to even his
master, Carolus Duran, whose portrait, painted by Sargent, attracted
great attention in the Salon of last year and received an "honorable
mention." He has painted this year a full-length in the open air,
producing a very sunny, strong out-door effect. The hands attract much
praise, but opinions vary as to the face. His _Fumée d'Ambre Gris_
represents a woman of Tangiers engaged in perfuming her clothing with
the fumes from a lamp in which ambergris is burning. The white robes of
the woman set off against a pearly-gray background, the rising smoke,
the curiously-tinted finger-nails of the woman, and the rich rug on
which the lamp stands, combine to make a very notable and curious
picture.

Miss Elizabeth J. Gardner of New Hampshire has two excellent pictures
in the Salon - _Priscilla the Puritan_ and _The Water's Edge_. They are
both well hung, as indeed are most of our American artists'
contributions to this exhibition. Out of the 111 pictures in oils sent
in by the Americans, I can recall 46 which are hung "on the line," and
there may be even more. This is certainly treating our countrymen very
fairly. Miss Gardner's _Au Bord de l'Eau_ represents two young girls
standing at the edge of a pond, the one reaching down to pluck a
water-lily, and the other supporting her by clasping her waist. There
is great purity in the tones of this picture, and, though lacking
somewhat in action, the coloring and drawing are both admirable.

The most notable piece of statuary in the Salon, the work of an
American, is Saint-Gaudens's statue of Admiral Farragut. Mr.
Saint-Gaudens, who is a native of New York, received about two years
ago from one hundred gentlemen of that city, who had subscribed the
necessary funds, a commission to make a statue of the great sailor. It
is to be placed in Madison Square, New York. The pedestal is to be of
granite, having at its base a large seat, on the back of which will be
an inscription mentioning the important events in the life of the hero.
The statue, of bronze, represents Farragut in a standing posture, a
little larger than life-size. It is now being cast, and will be ready
to be placed in position within two months. Mr. Saint-Gaudens is now at
work on a statue of Richard Robert Randall, the founder of the Sailors'
Snug Harbor on Staten Island, in front of which institution this statue
is to be placed. This sculptor has also nearly completed his cast of
the figures intended to ornament the mausoleum of Ex-Senator E.D.
Morgan (of New York), about to be erected at Hartford, Connecticut. Mr.
Saint-Gaudens intends removing his atelier from Paris to New York in
June, and will hereafter be permanently located in that city, where he
will be an important addition to the art-movement in our own country.

The catalogue numbers, names and birthplaces of the Americans who
exhibit this year are here given:

OIL PAINTINGS.


103. Audra, Rosémond Casimir, New Orleans, La.
127. Bacon, Henry, Boston, Mass.
139. Baird, William, Chicago.
142, 143. Baker, Miss Ellen K., Buffalo.
193. Bayard, Miss Kate, New York.
220, 221. Beckwith, Arthur, New York.
329. Bierstadt, Albert, New York.
344. Bispham, Henry C., Philadelphia, Pa.
355, 356. Blackman, Walter, Chicago.
362. Blashfield, Edwin H., New York.
380. Boggs, Frank Myers, New York.
490, 491. Bridgman, Frederic D., Alabama.
519, 520. Brown, Walter Francis, Rhode Island.
742. Cheret-Lauchaume de Gavarmy, J.L., New Orleans.
823, 824. Coffin, Wm. Anderson, Allegheny City.
841. Collins, Alfred Q., Boston, Mass.
844. Comans, Mrs. Charlotte B., New York.
855. Conant, Miss Cornelia, New York.
866. Copeland, Alfred Bryant, Boston.
890. Correja, Henry, New York.
893, 894. Corson, Miss Helen, Philadelphia.
933, 934. Cox, Kenyon, Warren, O.
965, 966. Daniel, George, New York.
1009. Davis, John Steeple, New York.
1089. Delport, J.S., New York.
1132, 1133. Deschamps, Mme. Camille, New York.
2096. DeLancey, William, New York.
1155. Dessommes, Edmond, New Orleans.
1161. Desvarreux-Larpenteur, Jas., St. Paul, Minn.
1199. Dillon, Henry, San Francisco, Cal.
1234, 1235. Dubois, Charles Edward, New York.
1381. Faller, Miss Emily, New York.
1426. Flagg, Charles Noël, Brooklyn, N.Y.
1537, 1538. Gardner, Miss Elizabeth J., New Hampshire.
1559. Gault, Alfred de, New Orleans, La.
1569, 1570. Gay, Walter, Boston.
1614. Gilman, Ben Ferris, Salem, Mass.
1693, 1694. Gregory, J. Eliot, New York.
1796. Harrison, Thomas Alexander, Philadelphia.
1799, 1800. Healy, George P.A., Boston.
1801, 1802. Heaton, Augustus G., Philadelphia.
1835, 1836. Herpin-Masseras, Madame Marguerite, Boston, Mass.
1851, 1852. Hilliard, William H., Boston.
1853. Hinckley, Robert, Boston.
1859. Hlasko, Miss Annie, Philadelphia.
387. Jones, Bolton, Baltimore, Md.
2011. Knight, Daniel Ridgeway, Philadelphia.
2337. Lippincott, William H., Philadelphia.
2364. Loomis, Chester, Syracuse, N.Y.
2513. Mason, Louis Gage, Boston.
2556, 2557. May, Edward Harrison, New York.
2666. Mitchell, John Ames, New York.
2730. Morgan, Charles W., Philadelphia.
2738. Mortimer, Stanley, New York.
2739, 2740. Mosler, Henry, Cincinnati, O.
2741. Moss, Charles E., Charloe, Kansas(?).
2742, 2743. Moss, Frank, Philadelphia.
2760. Mowbray, Henry S., Alexandria, Egypt (of American parentage).
2780. Neal, David, Lowell, Mass.
2789. Nicholls, Burr H., Buffalo, N.Y.
2823. Obermiller, Miss Louisa, Toledo, O.
2878, 2879. Parker, Stephen Hills, New York.
2895. Pattison, James William, Boston. (Mr. Pattison exhibits also an
aquarelle.)
2944. Perkins, Miss Fanny A., New York.
3014, 3015. Picknell, W.L., Boston, Mass.
3147, 3148. Ramsey, Milne, Philadelphia.
3177. Reilly, John Louis, New York.
3284. Robinson, Theodore, Irasburg.
3428, 3429. Sargent, John S., Philadelphia.
3525. Shonborn, Lewis, Nemora.
3578. Stone, Miss Marie L., New York.
3579. Strain, Daniel, Cincinnati, O.
3584. Swift, Clement.
3606. Teka, Madame E., Boston, Mass.
3695. Tuckerman, Ernest, New York.
3697. Tuttle, C.F., Ohio.
5850. Vogel, Miss Christine, New Orleans.
3879. Walker, Henry, Boston.
3891, 3892. Weeks, Edwin Lord, Boston.
3900, 3901. Welch, Thaddeus, Laporte, Ind.
3908, 3909. Williams, Frederic D., Boston.
3921. Woodward, Wilbur W., Indiana.
3923. Wright, Marian Loïs.



DESIGNS, AQUARELLES, PORCELAINS, ETC.


4101. Berend, Edward, New York.
4182, 4183. Boker, Miss Orleana V., New York.
4187, 4188. Boni, Mrs. Marie Louise.
4370. Chauncey, Mrs. Lucy, New York.
4399, 4400. Clark, George, New York.
4462. Crocker, Miss Sallie S., Portland, Me.
4474, 4475. Dana, Charles E., Wilkes-Barre, Pa.
4578. Dixey, Mrs. Ellen S., Boston.
4586. Donohoe, Eliza, Buffalo, N.Y.
4686. Faquani, Miss Nina, New York.
4688. Faller, Miss Emily, New York.
4855. Goodridge, Miss S.M.
4867. Greatorex, Miss Eleanor E., New York.
4868, 4869. Greatorex, Miss Kathleen, New York.
4927. Hardie, Robert G.
4953. Heuston, Miss Emma L., Sacramento, Cal.
5384. Merrill, Mrs. Emma F.R., New York.
5396. Mezzara, Mrs. Rosine, New York.
5562. Pering, Miss Cornelia.
5914. Tompkins, Miss Clementina, Washington.
6008, 6009. Volkmar, Charles, Baltimore.
6015. Walker, Miss Sophia A.
6028. Wheeler, Miss Mary, Concord.
6029, 6030. Whidden, W.M., Boston.



SCULPTURE.


6081. Bartlett, Paul, New Haven.
6136. Boyle, John, Philadelphia.
6276. Donoghue, John, Chicago.
6312, 6313. Ezekiel, Moses, Richmond.
6371. Gould, Thomas Ridgway, Boston.
6534. Mezzara, Joseph, New York.
6661, 6662. Saint-Gaudens, Augustus, New York
- J.J.R.




A PLOT FOR AN HISTORICAL NOVEL.


In Hawthorne's _American Note-Book_, among his memoranda, into which he
conscientiously put every scrap and detail which might be useful in his
writings, is an allusion to the "Grey Property Case," a lawsuit which
held the Pennsylvania courts for more than half a century, and turned
upon a curious story which will be new to some readers and may have
slipped from the recollection of others. It belongs to the history of
Mifflin, Juniata county, first settled by Scotch-Irish colonists in
1749. Two of the four men who claimed some land and built a fort had
the name of Grey, and the narrative concerns the younger of these two
brothers, John Grey. One morning in August, 1756, he left his wife and
children at the fort and set out on an expedition to Carlisle. He was
returning when he had an encounter with a bear, and was detained on the
mountain-road for several hours. This probably preserved his life, for
when he reached the settlement he found that the fort had just been
burned by the Indians, and that every person in it had either been
killed or taken prisoner. Among the latter were Grey's wife and his
child, a beautiful little girl of three years old. Grey was an
affectionate husband and father, and he was almost heartbroken by this
catastrophe. Fired with longing for revenge, he joined Colonel
Armstrong's expedition in September against the Indian settlement at
Kittanning on the Ohio, with some hope that his wife and child might be
found among the captives whom, it was rumored, the Indians had carried
there. Colonel Armstrong's onslaught was successful: he succeeded in
burning the village, killed about fifty savages and rescued eleven
white prisoners. Grey gained no information, however, about his family,
and, sick and exhausted by the disappointment and the fatigues of the
campaign, went home to die. He left a will bequeathing one-half of his
farm to his wife and one-half to his child if they returned from
captivity. In case his child should never be given up or should not
survive him, he gave her half of the estate to his sister, who had a
claim against him, having lent him money.

The rumor was true that the Indians had first carried Mrs. Grey and her
little daughter to Kittanning, but afterward, for greater security,
they were given over to the French commander at Fort Duquesne. They
were confined there for a time, then carried into Canada. About a year
later Mrs. Grey had a chance to escape. She concealed herself among the
skins in the sledge of a fur-trader, and was thus able to elude
pursuit. She left her child behind her in captivity, and after passing
through a variety of adventures returned to Tuscarora Valley, and,
finding her husband dead, proved his will and took possession of her
half of his property. Grey's sister was disposed to assert her claim to
the other portion, but Mrs. Grey always maintained that her little
daughter Jane was alive, and would sooner or later, after the French
and Indian wars were ended, be released and sent back. In 1764 a treaty
was made with the Indians enforcing a general surrender of all their
white captives. A number of stolen children were brought to
Philadelphia to be identified by their friends and relations, and Mrs.
Grey (who in the mean time had married a Mr. Williams) made the journey
to this city in the hope of claiming her little daughter Jane. Seven
years had passed since Mrs. Williams had seen the child, who might be
expected to have grown out of her remembrance. But, even taking this
into consideration, there seemed at first to be none of the children
who in the least respect answered the description of the lost girl.
Mrs. Grey probably longed to find her daughter for affection's sake.
But there was besides a powerful motive to induce her, inasmuch as she
wished to get possession of the other half of her husband's property,
which must otherwise be forfeited to his sister, Mrs. James Grey. One
of the captive children, apparently about the same age as the lost
Jane, had found no one to recognize her. Mrs. Williams determined to
take this girl and substitute her for her own, and put an end to Mrs.
James Grey's claim. She did so, and brought up the stranger for her own
child. The Grey property thus passed wholly into the possession of Mrs.
Williams. The girl grew up rough, awkward and ugly, incapable of
refinement and even gross in her morals. She finally married a minister
by the name of Gillespie.

Meanwhile, the heirs of Mrs. James Grey had gained some sort of
information which led them to suspect that the returned girl was no
relation of their uncle John Grey, and in 1789 they brought a lawsuit
to recover their mother's half of the property. By this time endless
complications had arisen. Mrs. Williams was dead: her half of her first
husband's farm had been bequeathed to her second husband's kindred, and
was now in part held by them and in part had been bought by half a
dozen others. The supposed daughter, Mrs. Gillespie, had died, as had
her husband, and their share had passed to his relations. It had become
almost impossible for the most astute lawyers to find beginning, middle
or end to the claims which were set forth. Plenty of evidence was
collected to show that Mrs. Williams had substituted a stranger for her
own child, and the decision finally rested on this, and the property
was given up to the heirs of Mrs. James Grey. This did not happen,
however, until 1834, when few or none of the original litigants
remained.

The real little Jane Grey, so it was said, was brought up in a good
family who adopted her, and afterward married well and had children,
residing near Sir William Johnson's place in Central New York. - L.W.




THE MISERIES OF CAMPING OUT.


My dear cousin Laura: So you are thinking about camping out, and want
my opinion as to whether the spot we chose for our trout-fishing in
June is a suitable place for ladies to go? I should give a decided
negative. My brother takes his wife and his sister usually, although he
fortunately left them at home last time. I think they must have to
"make believe" a good deal to think it fun. I am certain that had they
been with us they would have been forced to exercise their largest
powers of imagination. We set out in fine weather, but entered the
woods in a driving snowstorm, and enjoyed a forty-six-mile drive over a
road that has, I must say this for it, not been known to be so bad for
years. We came back in a pelting rain. We made our camp in a snowstorm,
and the wood was wet and would not burn, and our tent was damp and
would not dry. We fished in a boat on the lake, swept by cold winds
until we were chilled to the bone and our hands were so stiff we could
not hold the rods. My brother had a "chill" the first night in camp. I
had indigestion from eating things fried in pork fat from the first
meal until I got a civilized repast at Frank's house in New York. I was
bounced sore. My nose was peeled by sun and cold. My lips were


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