International studio . t times tooseriously, approaching her in a formal man-ner, without ever attempting consciously tounmask her or unveil. They waited for thething to happen, while her evening shadowswere gathering on their palettes. They didnot trifle with her,—they would not make asport of paint. Their deep sense of religion,in an age when the reaction against Voltair-eanism was setting in, would not permit ofany levity. Rousseau, the author of TheConfession, was very evident in Rousseau,the painter. Romanticism, sentimentality, a posture ofexclamatory joy, somewhat forced, somewhattheatr
International studio . t times tooseriously, approaching her in a formal man-ner, without ever attempting consciously tounmask her or unveil. They waited for thething to happen, while her evening shadowswere gathering on their palettes. They didnot trifle with her,—they would not make asport of paint. Their deep sense of religion,in an age when the reaction against Voltair-eanism was setting in, would not permit ofany levity. Rousseau, the author of TheConfession, was very evident in Rousseau,the painter. Romanticism, sentimentality, a posture ofexclamatory joy, somewhat forced, somewhattheatrical, these characterized more or less thework of Daubigny, of Diaz, of Rousseau, andeven of Corot. They informed nature witha poetry, a spirituality to which still clung thecobwebs of the church aisles, in which stilllingered the incense fumes of the altar,through which still echoed the solemn strainsof the canticle of sorrow. They themselvesworked, no doubt, in joy; but their canvases hands cape Painting in America. LAXDSCAPE BY CHILDE H ASS AM are more or less lugubrious. Which provesthat their subconscious heritage could not becvercome in a generation Take, for example, the Sleep of Dianaof Corot. What is it but a pagan version ofthe Annunciation. The paganism of the art-ist is cloaked in a deep religious feeling,which shows itself, not only in the subject,but in tlie manner of treatment as well. Corothas painted this canvas in the sombre tones ofthe ancient masters, and, I dare say, in thesame superstitious mood. A pagan subjectdone in a Christian-Italian technique. Themasses of black in the picture are balanced by a stream of dull amber light, which seems toiilter through an unseen stained glass how remarkable, how miraculous thatnot a ray of it gets into the foliage, but flows,as if through an insulated medium, downupon the two cupids who are lifting the veilof the sleeping goddess—quite like the lightin the old masters illumining the faces onlyof the sain
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