. The Italy of the Italians. ntempered crudeness it does with us. These words are, indeed, most true, and herein may perhaps lie the reason why that vigorous and most active school of painters which modern Naples has evoked, has not at present found sufficient recognition north of the Alps. Among these painters Edoardo Dalbono also takes a leading place. He has made Naples the town and its history peculiarly his own. One of his earliest as well as most famous pictures treats of the Excommunication of Manfred, King of Sicily, son of the Emperor ^^ Dalb^o^ * Frederick H of Germany, a figure that
. The Italy of the Italians. ntempered crudeness it does with us. These words are, indeed, most true, and herein may perhaps lie the reason why that vigorous and most active school of painters which modern Naples has evoked, has not at present found sufficient recognition north of the Alps. Among these painters Edoardo Dalbono also takes a leading place. He has made Naples the town and its history peculiarly his own. One of his earliest as well as most famous pictures treats of the Excommunication of Manfred, King of Sicily, son of the Emperor ^^ Dalb^o^ * Frederick H of Germany, a figure that seems from all times to have exercised a strong fascination over Italian poets, romance Vnriters, and painters. Who does not recall Dantes splendid description* of how Manfred in person relates to his visitor the details of his lineage, his death at the great decisive Battle of Benevento, his dishonourable burial, due to the fact that he died in contumacy of Holy Mother Church ? The other is the ? Purg. 3, 112, etseq. ~ ~. ^}. The Painters 91 Island of the Sirens, a picture that, like the Manfred,aroused fierce controversies. It was, if possible, a yet moredramatic presentation of an old-world fable. The Sirensare at home in the Gulf of Naples; we feel this painter hasseen them, has listened to their seductive song; there is anoriginality, a truth about this mode of presentation, thatstrikes the beholder with wonder and admiration. Dalbonos sketches are as remarkable as his pictures. Theyembrace every phase of the Neapolitan atmosphere and life, including the most lovely and the most Iroes*^ repulsive types of that strange population— old sailors, weather-worn and wind-dried;youthful forms, gracefvil and like bits of living bronze ; bodiesso well made it is difficult to believe they are not Greeksculptures come to life ; women fair, dark, yellow, white andbrown; in a word, types of that seething, over-populatedcorner of Southern Italy, on which all-levelling civilizationhas
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