Original Letters and Biographic Epitomes Part 1

Original Letters and Biographic Epitomes.

by J. Atwood.Slater.

_PAINTING._

_From the_ WESTERN DAILY PRESS, _Feb. 20th_, 1901.

AN IMPRESSION OF "ECCE h.o.m.o."

_To the Editor of the Western Daily Press_.

Sir,--First impressions forced upon me by an inspection of the picture, "Ecce h.o.m.o," by Mons. de Munkacsy, would be succinctly expressed in few words. It is haply, although not highly, inspired. It const.i.tutes a work of laborious but of average ability, and descends to a lower technical state of imaginative eclecticism and expression than I had indeed expected to encounter in so lavishly-applauded a work. Let it be granted in the first instance that the theme is an onerous one; the problem afforded by the venture should have been met in a manner skilful in art, commensurate with its righteous obligations and its lofty demands by the artist. The one fine attribute conspicuously lacking in the work is its illumination, generally too yellow; the fine quality of light, naturally directing the hearts with the intelligences of the beholder to the central fact of the subject theme, "I am the Light of the World." The broad use and disposition of whitish pigment; I mean whitish, snowy light flecked, pimpled, dimpled with tints of orange and purple, like snow about to thaw, here and there, honeycombed or stippled to mark the intensity of its native regard for its own divine, suffering, martyred Lord, would have attracted the attention and won the curiosity, the sympathy, of many finer sensibilities. A dramatic and subtle sense of distance, such a powerful agent of spiritual injection in the hands of real artists is in this work absent; never skilfully employed either for negative or positive reflections of emotion. Linear perspective there is, and employed to much scenic advantage; but aerial perspective, utilised towards expressing overlapping figures, there is not, save in meagre degree. The canvas is too crowded, the sense of vision and admiration is nowhere at all lulled by repose. We may point to successful juxtaposition of individual figures, to ma.s.ses of harmonious tones, but not to masterly composition. The mind of the artist is intent upon the bitterness of turmoil; it does not reach us directly by imperishably revealing or extolling the divine nature of "The Man," "h.o.m.o;" and is throughout the field of interest usually recognised in overstrained partiality for att.i.tude and outline.

Hence the t.i.tle of the picture is almost sought for, expected in the mult.i.tude on the left, which should have been isolated. "Ecce h.o.m.o,"

briefly and emphatically, is not so suitable a t.i.tle as I would suggest, with the utmost regard for reverence, might be described, as the interval between the two cries: "Away with Him," "Crucify Him,"

such intensely dramatic particles of time finding expression and vent throughout the work in coa.r.s.e silhouetting.

The crowding of the lawless throng against the front of the tribune, on which the chief characters of the scene are portrayed, though not in a material sense wrong, must be open to much aesthetic dispute; must mar the success and the action of reflex thought, the spiritual contest waging and recoiling between the Divine, meek victim and the surging rabble. At all events, it is sad to trace no direct or secret hint at new or transcendental methods conspicuous or even dimly apparent in the painter's art. Little there is in the effort to draw our finer instincts to spiritual truths. The utmost mechanical skill of the diligent artist is discernible, labouring incessantly without extraordinary or transcendental light to the appointed end, the goal accomplished. It should be understood that as spiritual Art of its own property and nature is beset, environed on all impinging sides with a multifold range, a series of difficult corners around which the sense cannot immediately travel, but would for the 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 n.o.bility of his art, or for urgency's sake, or for the softer a.s.suaging of sensitiveness in the b.r.e.a.s.t.s 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 cla.s.sically adjusted to its position of prominence. The spare figure of Christ, "The Man of Sorrows," is well conceived; the face is wan, haggard, the att.i.tude 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 subst.i.tute for the purpose of his science a scarlet "toga." But the "torso"! This is essentially lacking in consummate understanding, skilful address.

In all that a.s.sists 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 t.i.tle. Such a figure Raphael, Leonardo da Vinci, t.i.tian, 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 a.s.suredly 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 a.s.sembled 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 att.i.tudes are telling, but over angular and rather vulgar. The populace, I may remark, are too excited; such sustained, extravagant att.i.tudes, 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, coa.r.s.e, 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 coa.r.s.e 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 h.o.m.o."

_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 h.o.m.o," 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 h.o.m.o," 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, to raise the public taste, to cultivate or correct a wrong line of popular impression; that of pictures of the like of "Ecce h.o.m.o," being to enlighten the current interest for whose delight moreover art, from a social point of view, is justified in its mission, having a yet higher motive, the kindling of rapture in the heart of the creative artist.

Pictures since earlier times have been vehicles as well as ventilators of popular belief. It is for this cause, and in instances where it is proven, painful to touch or shake the const.i.tutive elements of other people's faith; an acute sense of this compunction on the whole restraining the weight of my recent remarks. But, conjecturally speaking, in a world wherein all things are so public, it must be conceded that strong light should at stated times fuse the impinging points of understanding, that truth and common sense may scrutinise their sound bearings; moreover, also, that academic science may arraign itself with dignity.

Your correspondent's remarks with reference to the colour of the robe are, upon the whole, useful, purple and scarlet being synonymous terms; preponderance of mention, rests though with the former.

Pictures cannot be considered too much as books; such truth, Art, by the concurrence of testimony, has manifested in its destiny from time immemorial, confirming afresh benefits on man. Open discussion will not only add to, magnify, or deduct from their l.u.s.tre, but cause their aims, in short, to redound to the public weal. Such being so, it is rational to expect an expression of opinion thereupon. They are not, universally, to be regarded as graven tablets, to be gazed at, nor to be received as infallible oracles of law. They are--at the same time, barometers, charts, and weather-gla.s.ses--chronicles towards the fine ends of justice, peace and mercy.

Your correspondent has stated that my remarks are ambiguous. They may have been technical and recondite, but, as such, are excusable, and, in their sphere, just.

J. ATWOOD.SLATER.

4, Hill Side, Cotham Hill, Bristol.

_SOCIAL SCIENCE._

_From the_ WESTERN DAILY PRESS, _Aug. 1st_, 1901.

LOCOMOTIVE STEAM WHISTLES.

_To the Editor of the Western Daily Press_.

Sir,--It is essential, and, according to my instincts of decorum, necessary, to call the attention of those charged with authority in such matters, and the public generally, to the growing misuse, in the hands of engineers, of the locomotive steam whistle, the employment thereof having especially in town districts, grown to be out of all dimensions of private service, injurious to those whether officially called, or who, pending the pleasure of mercantile circ.u.mstance, are publicly obliged to pursue abstruse mental occupation, necessitating labour and much concentration of though[t]. A reasonable use of this means, or instrument, of signal and alarm, must be conceded to those in whose hands resides its use, but at the same time a firm directorship or jurisdiction ought to repress its extravagant or wanton employment.

To warn pa.s.sengers of the starting and of the approach of trains only a moderate application of the whistle is needed, whilst for the diplomatic the discreet purpose of practical manoeuvre, namely, to draw the attention of signalmen to the pa.s.sing of points by trains, extra power is requisite; but the gruesome display, I maintain, of vocative sounds tuned to an intellectual point of mood is needless.

Those daily engaged upon manual work only are not in a like manner affected, though for all reasons of civil and common honour the supercilious cry referred to should be deprecated. Rather tune and sound the whistle to two simultaneous notes in sharp, brief accent than that the chambers of the minds of the hearers of those sounds should be so continuously, remorselessly entered. Anything lengthy aggravates the auditory crisis. The stream of daily occupation with the set purpose of sedentary exploit is competent to regulate itself without an articulate "voice" from the railway companies.

I am, Sir, faithfully yours,

J. ATWOOD.SLATER

4, Hill Side, Cotham Hill, Bristol,

_July 29th_, 1901.

_SCULPTURE_.

_From the_ WESTERN DAILY PRESS, _Nov. 16th_, 1901.

ALFRED STEVENS, SCULPTOR.

ADDRESS BY MR. J. ATWOOD.SLATER.

Sir,--I send you with the thought that you may wish to publish them the precise substance of my remarks verbally delivered at the meeting of the Bristol Society of Architects, November 11th, on which occasion a refreshing paper upon the works of Alfred Stevens was delivered, a man of high artistic repute, whose fame in this district is but dimly recognised, being of another parent soil.

Yours faithfully,

J. ATWOOD.SLATER.