Joseph Jefferson; reminiscences of a fellow player . tion 123 JOSEPH JEFFERSON so great for the skill of this Suicide of De-camps that he would be willing to have it inhis home. You see, he said in explanation, there isnothing particularly unpleasant about the manlying across the table — from a short distance ;from here it might be a rose. I did not quiteadmit this, but it cannot be denied that the skillis great. Later he said : Decamps does not horrify hissubject, he poetizes it. This poetry and mystery, he continued, Itry to give to Rip Van Winkle. If Rip wereto yawn in Act II, the effect wo
Joseph Jefferson; reminiscences of a fellow player . tion 123 JOSEPH JEFFERSON so great for the skill of this Suicide of De-camps that he would be willing to have it inhis home. You see, he said in explanation, there isnothing particularly unpleasant about the manlying across the table — from a short distance ;from here it might be a rose. I did not quiteadmit this, but it cannot be denied that the skillis great. Later he said : Decamps does not horrify hissubject, he poetizes it. This poetry and mystery, he continued, Itry to give to Rip Van Winkle. If Rip wereto yawn in Act II, the effect would be lost, fora yawn would be expressive of a nights mysteriousness in the play comes from hav-ing no one speak but Rip in the scenes in themountains. The Coming Storm, by Daubigny, he calledone of the most jewel pictures he ever begged me not to neglect to take a good lookat Fortunys Snake Charmer, one of the gemsof the collection. De Neuvilles In the Trenches, so worthilyplaced in this great collection, was offered to Mr. jT>2.^D^t^.^:£;:^ THE ALL-STAR RIVALS JefFerson in London twenty years ago for threehundred dollars; thousands could not buy itto-day. This brought about Mr. Jeffersons char-acterization of the difference between De Neu-ville and Detaille. The latter he described as agreat artist, but no genius ; De Neuville, he saidwas both a great artist and a great genius. Millets Sheepfold he thought one of theworlds greatest pictures. Millet, he said, painted from within, — that is, painted with hissoul! The picture grows as one looks at it. Sopenetrating is his poetry, so completely does soli-tude invade the fancy, one forgets the painting isbut twenty inches wide, and soon believes it asbig as nature itself. JefFerson drew our attention to the great sim-plicity of the work, which, with the poetry ofthe artist, he said, was the very bulwark of hisskill. He made a contrast between Millet and JulesBreton, describing the latters comp
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