and supernumeraries assembled upon this elevation
are somewhat stiffly grouped, and the architectonic embellishments--no
unimportant feature--well conceived, as they form the framework of the
drama, and must be considered well painted. Let it be observed that
the basket capital of the arch is out of perspective; a like error is
to be observed in the roof of certain of the houses on the left;
the blue of the distance, although luminous and atmospheric, is too
opaque. The arches forming the left-hand middle distance are finely
depicted; correct as far as local traditional art will inform us,
and of considerable value in such a work as ballast, substance, in
steadying the erratic fancies or emotions of the painter. Criticism
must justly deal with the figures of the Jewish rabble. The attitudes
are telling, but over angular and rather vulgar. The populace, I
may remark, are too excited; such sustained, extravagant attitudes,
whether in a picture of large or small scale, but particularly in the
former, are upon canvas rarely satisfactory; they mock with littleness
at a Providence that made Art, and become puppets in the hands of
artists. The heads of not a few of the spectators are too large,
coarse, and expressionless. Here and there, in the distance for
instance, amongst the living panorama, there appears a figure hinting
at a better type of gesture, with a human heart, suggesting an
acquaintance with refinement, but the breadth of awe, the girdle
of salvatory redemption, even in coarse brutality is not even here
apparent. The work is a mute exposition of gesture. The higher, the
acute, the really more intense connection of poetry is absent.
J. ATWOOD.SLATER
4, Hill Side, Cotham Hill, Bristol.
_From the_ WESTERN DAILY PRESS, _Feb. 25th, 1901_
"ECCE HOMO."
_To the Editor of the Western Daily Press._
Sir,--A correspondent whose letter is to-day published, calling
attention to my remarks upon the celebrated picture "Ecce Homo," of
February 20th, cannot, I suppose have understood that the motive which
impelled me in my previous letter was that the enlightenment of the
public having the interest of art might follow; next to whom, as
derivees of fresher, newer light, the spectators of the painting
"Ecce Homo," impersonally and politely apostrophised as "his academic
audience," may now be mentioned. Neither fault nor question was found
with any of such for so being; your correspondent introduced this side
v
|