The fifth picture is a profile head of a young man with delicate aquiline nose, thoughtful oval face, and artistic, abstracted air, which will be easily recognised as a portrait of Lord Ronald Gower, who is himself known as an artist and sculptor. But no one would discern in these five pictures the genius that painted the Home at Bethlehem and the portrait of John Ruskin which is at Oxford.
Then come eight pictures by Alma Tadema, good examples of that accurate drawing of inanimate objects which makes his pictures so real from an antiquarian point of view, and of the sweet subtlety of colouring which gives to them a magic all their own. One represents some Roman girls bathing in a marble tank, and the colour of the limbs in the water is very perfect indeed; a dainty attendant is tripping down a flight of steps with a bundle of towels, and in the centre a great green sphinx in bronze throws forth a shower of sparkling water for a very pretty laughing girl, who stoops gleefully beneath it. There is a delightful sense of coolness about the picture, and one can almost imagine that one hears the splash of water, and the girls’ chatter. It is wonderful what a world of atmosphere and reality may be condensed into a very small space, for this picture is only about eleven by two and a half inches.
The most ambitious of these pictures is one of Phidias Showing the Frieze of the Parthenon to his Friends. We are supposed to be on a high scaffolding level with the frieze, and the effect of great height produced by glimpses of light between the planking of the floor is very cleverly managed. But there is a want of individuality among the connoisseurs clustered round Phidias, and the frieze itself is very inaccurately coloured. The Greek boys who are riding and leading the horses are painted Egyptian red, and the whole design is done in this red, dark blue, and black. This sombre colouring is un-Greek; the figures of these boys were undoubtedly tinted with flesh colour, like the ordinary Greek statues, and the whole tone of the colouring of the original frieze was brilliant and light; while one of its chief beauties, the reins and accoutrements of burnished metal, is quite omitted. This painter is more at home in the Greco-Roman art of the Empire and later Republic than he is in the art of the Periclean age.
The most remarkable of Mr. Richmond’s pictures exhibited here is his Electra at the Tomb of Agamemnon—a very magnificent subject, to which, however, justice is not done. Electra and her handmaidens are grouped gracefully around the tomb of the murdered King; but there is a want of humanity in the scene: there is no trace of that passionate Asiatic mourning for the dead to which the Greek women were so prone, and which Æschylus describes with such intensity; nor would Greek women have come to pour libations to the dead in such bright-coloured dresses as Mr. Richmond has given them; clearly this artist has not studied Æschylus’ play of the Choëphori, in which there is an elaborate and pathetic account of this scene. The tall, twisted tree-stems, however, that form the background are fine and original in effect, and Mr. Richmond has caught exactly that peculiar opal-blue of the sky which is so remarkable in Greece; the purple orchids too, and daffodil and narcissi that are in the foreground are all flowers which I have myself seen at Argos.
Sir Coutts Lindsay sends a life-size portrait of his wife, holding a violin, which has some good points of colour and position, and four other pictures, including an exquisitely simple and quaint little picture of the Dower House at Balcarres, and a Daphne with rather questionable flesh-painting, and in whom we miss the breathlessness of flight.
I saw the blush come o’er her like a rose;
The half-reluctant crimson comes and goes;
Her glowing limbs make pause, and she is stayed
Wondering the issue of the words she prayed.
It is a great pity that Holman Hunt is not represented by any of his really great works, such as the Finding of Christ in the Temple, or Isabella Mourning over the Pot of Basil, both of which are fair samples of his powers. Four pictures of his are shown here: a little Italian child, painted with great love and sweetness, two street scenes in Cairo full of rich Oriental colouring, and a wonderful work called the Afterglow in Egypt. It represents a tall swarthy Egyptian woman, in a robe of dark and light blue, carrying a green jar on her shoulder, and a sheaf of grain on her head; around her comes fluttering a flock of beautiful doves of all colours, eager to be fed. Behind is a wide flat river, and across the river a stretch of ripe corn, through which a gaunt camel is being driven; the sun has set, and from the west comes a great wave of red light like wine poured out on the land, yet not crimson, as we see the Afterglow in Northern Europe, but a rich pink like that of a rose. As a study of colour it is superb, but it is difficult to feel a human interest in this Egyptian peasant.
Mr. Albert Moore sends some of his usual pictures of women, which as studies of drapery and colour effects are very charming. One of them, a tall maiden, in a robe of light blue clasped at the neck with a glowing sapphire, and with an orange headdress, is a very good example of the highest decorative art, and a perfect delight in colour.
Mr. Spencer Stanhope’s picture of Eve Tempted is one of the remarkable pictures of the Gallery. Eve, a fair woman, of surpassing loveliness, is leaning against a bank of violets, underneath the apple tree; naked, except for the rich thick folds of gilded hair which sweep down from her head like the bright rain in which Zeus came to Danae. The head is drooped a little forward as a flower droops when the dew has fallen heavily, and her eyes are dimmed with the haze that comes in moments of doubtful thought. One arm falls idly by her side; the other is raised high over her head among the branches, her delicate fingers just meeting round one of the burnished apples that glow amidst the leaves like ‘golden lamps in a green night.’ An amethyst-coloured serpent, with a devilish human head, is twisting round the trunk of the tree and breathes into the woman’s ear a blue flame of evil counsel. At the feet of Eve bright flowers are growing, tulips, narcissi, lilies, and anemones, all painted with a loving patience that reminds us of the older Florentine masters; after whose example, too, Mr. Stanhope has used gilding for Eve’s hair and for the bright fruits.
Next to it is another picture by the same artist, entitled Love and the Maiden. A girl has fallen asleep in a wood of olive trees, through whose branches and grey leaves we can see the glimmer of sky and sea, with a little seaport town of white houses shining in the sunlight. The olive wood is ever sacred to the Virgin Pallas, the Goddess of Wisdom; and who would have dreamed of finding Eros hidden there? But the girl wakes up, as one wakes from sleep one knows not why, to see the face of the boy Love, who, with outstretched hands, is leaning towards her from the midst of a rhododendron’s crimson blossoms. A rose-garland presses the boy’s brown curls, and he is clad in a tunic of oriental colours, and delicately sensuous are his face and his bared limbs. His boyish beauty is of that peculiar type unknown in Northern Europe, but common in the Greek islands, where boys can still be found as beautiful as the Charmides of Plato. Guido’s St. Sebastian in the Palazzo Rosso at Genoa is one of those boys, and Perugino once drew a Greek Ganymede for his native town, but the painter who most shows the influence of this type is Correggio, whose lily-bearer in the Cathedral at Parma, and whose wild-eyed, open-mouthed St. Johns in the ‘Incoronata Madonna’ of St. Giovanni Evangelista, are the best examples in art of the bloom and vitality and radiance of this adolescent beauty. And so there is extreme loveliness in this figure of Love by Mr. Stanhope, and the whole picture is full of grace, though there is, perhaps, too great a luxuriance of colour, and it would have been a relief had the girl been dressed in pure white.