The proposal, made originally by whom we know not, of opening an exposition of religious art at Rome during the sittings of the council, was immediately taken up with enthusiasm. His Holiness assigned the garden of this noble cloister as the best adapted site to be found in Rome, except at a large expense. The Cistercians withdrew temporarily to other buildings close by, and gave up their own beautiful place to architects and workmen. The cloister, or broad open arcade, which runs round the square garden was chosen to form the outer gallery or halls, altogether about twelve hundred feet long by twenty broad. Within this outer gallery, and just touching each side in the middle, is a series of sixteen rooms, all of the same size, and of the same irregular, or rather rhomboidal, shape, forming, as it were, a broad polygon of sixteen sides. Within this polygon is the central portion of the garden, still unoccupied, with its gravelled walks, its green sward, its rose-trees and flowering plants, its ever-gushing fountain, the ample basin receiving the water, the glistening gold-fish, and the majestic cedars of Michael Angelo. The arcade has, of course, its own covering. The sixteen rooms of the polygon are roofed with glass, to let in the flood of light, and a few feet below the glass is another roofing, or awning, to soften its intensity and to mitigate the heat of the direct rays of the sun. Large openings in the partition walls allow free passage from room to room, all around the polygon; and where it touches the arcade or outer halls, other doors allow you to pass to them, or by opposite doors you may pass out to walk in the garden.
The exposition was opened on the 17th of February by the pope himself, in the presence of the commission for the exposition, a number of cardinals, some three hundred of the bishops, and a large concourse of clergy and laity. He made an impromptu discourse, touching chiefly on the true progress which art has made under the inspiration of religion and the patronage of the church, and in illustration referred to some of those unrivalled works of religious painting and sculpture which are found in Rome.
Nothing could be more appropriate to the assembling of so many bishops and priests and pious laymen in Rome, drawn by the council, than this exposition. Go when you will, you will find many of all these classes spending hours in studying a collection of religious works of every kind, such as most of them have never seen. In size and extent this exposition cannot, of course, compare with those vast ones of London and Paris. They sought and received objects of every kind. This admits nothing that is not devoted to, or in some way connected with, religion. It would correspond, therefore, with one section of the Paris Exposition of 1867. Considered in this light, it does not, as a whole, fall below it; in several respects it is superior.
We have not the space now to enter into a detail of the many and multifarious objects offered for examination. Every art seems represented. For what is there that cannot be made to give glory to God? Still, we may glance at a few of the chief groups.
The exterior arcade is chiefly devoted to sculpture and paintings. Of the former there are here and elsewhere in the exhibition over two hundred and fifty pieces, in marble, in plaster, or metal, or wood. I do not count the hundreds of sweet little things in terra cotta, nor the many objects in ivory. Tadolini, Benzoni, Pettrich, and a hundred other artists from Rome, and other parts of Italy, Germany, and France, have sent the work of their chisels. As a whole, this group of subjects stands far higher in point of good art than was looked for. Some of the statues are of a high order. We may instance a group of heroic size by Tadolini, representing the Archangel Michael overcoming Lucifer, after the painting by Guido, and two life-size Madonnas by Pettrich, all of which, we understand, will be forwarded to the United States. There is in one of the French rooms a plaster copy of the statue of the holy Vianney, curate of the village of Ars, near Lyons, in France, who died a few years ago in the odor of sanctity, and who, the Catholics of France are confident, will in due time be canonized. He is robed in soutane, surplice, and stole, and is kneeling in prayer, his face turned upward toward heaven. I do not speak of the style and execution, which are good; but of the face, which attracts every one. It is said to be a perfect likeness. Thin, gaunt, with features sharp and exaggerated by the lack of flesh, rather ugly than otherwise, there is an expression of simplicity, of piety, of kindness, of earnestness, which makes it far more than beautiful, a face that grows in sweetness as you look on it. And yet study the individual features, forehead, eyebrows, nose, mouth, chin, cheek-bones, the chief lines and wrinkles. They are precisely the same as on the repulsive face of Voltaire! What different expressions were given to the same features by the calm piety, the love of God and our neighbor, the spiritual peace dwelling in the soul of the saintly priest, and the pride, and envy, and passions, and the bitter, hopeless or despairing unbelief of the apostle of evil.
As we examine these statues, so good in their execution and so truly religious in their type, one cannot but feel a regret that in the United States we are such strangers to the use of them in our churches and chapels and oratories. Here and there are found, indeed, casts in plaster of Paris, sometimes in papier-maché. But how few real works of merit in materials and in style! If the clergy who are at work building our churches, and some of the laymen who are seconding them in this work, could only see those statues of our Lord on the cross, or bearing the cross and sinking under its weight, or healing the blind, or blessing little children; or those sweet ones of the Mother and Divine Child, in various positions; or of the Blessed Virgin, of St. Joseph, of Saint Cecilia, Saint Agnes, and of so many other saints and groups representing religious subjects; surely among them, in marble, in iron, bronzed, silvered, gilt, or illuminated with polychrome, and such a variety in size and in cost, they would understand the void in our churches, and would each do his part to supply it.
Especially would this be the case with the stations of the way of the cross. No devotion is more tender and consoling, and at the same time none more strengthening to true piety and the practice of virtue, than this pilgrimage of faith, in which we accompany our Lord, and, as it were, stand by his side, during the several scenes of his sufferings down to his death on the cross and his burial. No devotion is more popular, because none better suited to the faithful of every condition and class. Would it not be well if the engravings of those different scenes, so often found—we had almost said, disfiguring the walls of our churches, could give way to some of those basso-relievos and alto-relievos of France, of Italy, and of Germany, such as we see here? The love of the beautiful and striking is innate in man. Even the child feels it; and in manhood, use and education but develop and increase the satisfaction it gives. While we smiled, we could not but sympathize in some measure with the Italian sculptor who, on his dying-bed, pushed away a crucifix which a pious attendant wished to place in his hands. "Not that, not that! it makes me angry," he said; "it is horrid! Give me the other one; it is well made. That will excite devotion." Let children be taught, in a way they will love, to think often, to know, to realize, even from their tenderest years, what the loving and merciful Saviour suffered for man. Lessons well learned at that tender and innocent age seldom fade from the mind and heart in after years. And no way of teaching that lesson is more effectual than the one we indicate.
There are more than five hundred paintings in the exposition. Of these perhaps two hundred are by the old masters, and have been placed here by their owners.
These embrace paintings by the divine Raffaele, as the Italians call him, Domenichino, Annibale Carracci, Correggio, Maratta, Carlo Dolce, Salvator Rosa, Murillo, Leonardo da Vinci, Guido Reni, Rubens, Vandyke, Ribeyra, Del Sarto, and a host of other old masters, Italian, German, Flemish, and Spanish, whom we need not name. There we may gaze with rapture on the excellence of art inspired by religious thought. It is a fact not to be overlooked or forgotten, in these days of irreligion, that the best paintings which the best artists ever painted were all produced when they brought their powers to represent a religious subject. In painting, and in other things too, he works best who works in the spirit of religion and the fear of God.
The larger number of the paintings are of later date, many of them by living artists. To our eye, certainly not trained to criticism, many of them appear worthy of high praise. But we believe the general verdict is not so favorable to them as to the statuary. Still, we must remember that here they have to compete side by side with those old paintings of the highest order. The contrast between their freshly laid colors and the colors of older paintings, toned down by age, if not somewhat faded, is so strong and striking that this very difference, often no real difference on the part of the painters, is set down as a defect to be censured. The portrait of the pope, by our American artist Healy, is undoubtedly the best likeness of the Holy Father in the exposition.