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.
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