Original Letters and Biographic Epitomes | Page 2

fructification or sustentation's sake of its

etherealism, a process of counter argument may deduce this aphorism,
that in works of art in which the eye travels quickly round all the
corners of thought, motive, and expression, the priceless, highest crown
of spirituality cannot be awarded to it. The painter, honestly striving
with his subject, and on lines of intimate understanding, has none of his
physical reasons thrown into shade, either be it for the nobility of his
art, or for urgency's sake, or for the softer assuaging of sensitiveness in
the breasts of his academic audience, having no inclination to be stung
when in the precincts, the hands of Art; for to whom else is the pictorial
homily directed? The group of figures upon the raised tribune is
classically adjusted to its position of prominence. The spare figure of
Christ, "The Man of Sorrows," is well conceived; the face is wan,
haggard, the attitude tastefully depicted. A palpable and perilous
digression is made by the artist in ignoring the text of Holy Writ,
"Wearing the purple robe," electing to substitute for the purpose of his
science a scarlet "toga." But the "torso"! This is essentially lacking in
consummate understanding, skilful address. In all that assists most to
mature a native work of this immense importance it is sound sense,
equivalent to the gravest optimism, to express this opinion, that the
highest powers of science ought humbly, intelligently to co-operate
towards achieving a grand and triumphant finale, perfect, harmonious
in all its parts, and responsible to the academic dictates of its sacred
title. Such a figure Raphael, Leonardo da Vinci, Titian, or Rubens
would have painted and blessed our reasons with, for a certainty:
bountifully inspiring us at once and for time with their divine
interpretation of the great, the majestic omnipotence.
Any failure in Art cannot rouse us to this pitch; our sensitive,
appreciative spirits would assuredly flag unless some keynote of
resonant power were sounded.
The figure of Pontius Pilate is realistically depicted; it has not the
aristocratic air of a Roman Governor, yet the face, not caring to meet
the gaze of the people, is a work exhibiting some power. It sardonically,
satirically suggests the thought, "I find in Him no fault at all,"
possessing a semblance of three meanings. The people, deputy officers,
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 view, I
believe, irrelevantly--but with the picture alone.
The mission of art royal should, I hold, be understood to elevate,