. Gérôme : the life and works of Jean Léon Gérôme . , against which he was placedto receive the vollej : the black figure lying quite straight on the sordid ground .were the elements of the picture, and the sentiment was preserved in itsintegrity, the picture maintained as a true work of art by the colorless self-denial ol the painter, thai would not even let him accent the blood that wasdiscoverable beginning to ooze from beneath the dishonored hero. This sim-plicity of color and propriety of color in relation to sentiment we find veryobvious in the landscape-painters of the French school as
. Gérôme : the life and works of Jean Léon Gérôme . , against which he was placedto receive the vollej : the black figure lying quite straight on the sordid ground .were the elements of the picture, and the sentiment was preserved in itsintegrity, the picture maintained as a true work of art by the colorless self-denial ol the painter, thai would not even let him accent the blood that wasdiscoverable beginning to ooze from beneath the dishonored hero. This sim-plicity of color and propriety of color in relation to sentiment we find veryobvious in the landscape-painters of the French school as compared to ours—in 1 nivnii, lor example and, among figure-painters, most admirably displayed in all the work i 1 me The Death of Marshal Ney I have described because ii was before the English public so lately; but in his Gladiators—Ave Ccesar, Imperator! morituri A salutant! it was 110 less ably preserved. During the painting ot the Golgotha, otherwise known as Consummatum Estor Jerusalem, the critic of the London Athenaum wrote as follows :. LIFE AND WORKS OF JEAN LEOA GERdMB. 207 M. Ccromc has recently been occupied in carrying oul a novel pictorialconception ol the Crttcifixion. Phis consists in rendering, with the utmost ofhis extraordinary power, the terror and pathos ol thai awful subject as thej were expressed in the features and actions Of the spectators, who, soon alter tinwere assembled at the foot of the cross. The figures of Christ and his com-p inions in suffering arc represented in the picture by shadows that fall before thespectators. The city of Jerusalem is shown in the background of the picture. Gautier devoted to this impressivi i long column in his Salon review. I le saj s It is customar] to begin a critique of the Salon by general reflections uponart. more or less eloquent, but ordinarily gloomy, from which it would appearthai we are in a state ol absolute decadence and that our best artists would hescarcely worthy to mix the colors in the atelie
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