Page:Paintings at the University of Notre Dame, Frank William Holslag, Fine Arts Journal, 1917.djvu/6

Art in general at Notre Dame is great in both quantity and quality, and yet it is not well known. It enriches the walls of beautiful rooms, it decorates long, dark corridors, it crowds dismal, unworthy chambers, and it is packed away in sealed closets and vaults.

One might write at length on its stained glass, its wood carving; the handsome embellishments of rare, old, hand-written books, or almost any other branch of a varied collection. But this article shall be devoted to painting only.

Since purity and moral effect were first and foremost in the minds of the assemblers of this collection, the connoisseur in speaking of it cannot discuss paintings impregnated with the languid vein of semi-sensuous indolence, neither can he discuss nudes, or the bolero-dancing, guitar-twanging types of southern climes, for such are not to be found at Notre Dame.

He can, however, select most any other type, for there is an abundance of material. This is particularly true in regard to historical, ecclesiastical, mythological and portraitive subjects.

As an example of the former, there is nothing more interesting or extensive than the admirable series of frescoes depicting scenes in the life of Christopher Columbus. This Columbian Series consists of ten pictures adorning the walls of the main corridor of the Administration Building. These pictures range in size from 5½ to 19 feet in width, and all are eleven feet high. They were done by a superb Italian artist, Luigi Gregori.

Gregori was born in Bologna, Italy, in the year 1820. He studied in Palermo, Venice, Florence and Rome. His talents were quickly recognized by his countrymen, and besides being an extremely youthful contributor to the collection of the Italian royal family he was also commissioned to do work in that most magnificent of all collections, the Vatican. He was finally engaged to come directly to Notre Dame, where he remained for the greater part of twenty-one years. During this time he did a great deal of truly artistic work, the best of which still remains in the University. He died in his native land.

The first fresco of the Columbian Series, "Columbus, Discoverer of the New Continent," shows the daring navigator in the strength of mature manhood, manifested by a robust physique and a mass of black hair crowning a face of strong features. It displays superb knowledge of coloring.

The second, "Columbus at the Gate of the Convent of La Rabida," portrays the sorrow of the unfortunate sailor as he begs for bread for his little son, Diego, at the convent door. As one gazes upon this fresco, the coldness of the dull grey stones is felt, and the effect of erosion on the heavy door speaks of its age more plainly than words. The somber blending of greys, green and blues conveys a feeling more of utter misfortune than of tragedy. The lad is exhausted from a long, journey and on his face there is a serious expression of contemplative hopelessness, while every feature of the father's face is marked with compassion for the pitiful condition of his beloved son. Columbus and his child were given lodging in the convent, and while there he made his greatest friend, Father Perez, the superior, who later succeeded in interesting the queen, Isabella, in the cause of Columbus.

The third fresco, "Isabella the Catholic Protectress of Columbus," is a companion painting of the first. This attractive fresco portrays the queen advancing to present Columbus with her jewels that he might be enabled to make the precarious voyage. It is one of the most effective pieces of work in the collection. In the drapery is revealed a marvel of grace, and the splendor of the rich red robe is enhanced by bringing out with consummate skill every detail of the goldsmith's art in the jeweled breastplate and pendant of her garb. In this picture the artist has produced a royal interior, not by employing regal objects, but by creating a palatial atmosphere.

In the fourth picture "Father Perez Blesses Columbus Before He Embarks," we have one of the finest frescoes of the series. Here, the artist portrays with fidelity and simplicity the scene at Palos. The time is early dawn—just before sunrise and the departure of the