DOI Page / Citation link:
https://doi.org/10.11588/diglit.36582#0225
68
THE DO RE GALLERY.
PLATE LXX.
JESUS WALKING ON THE SEA.
The passage here illustrated occurs in the sixth chapter of John. Jesus, to avoid the
solicitations of those who would by force make him a king, departed into a mountain
by himself, and his disciples went down in the evening to the sea. They “ entered into
a ship, and went over the sea towards Capernaum ; and it was now dark, and Jesus was
not come to them. And the sea arose, by reason of a great wind that blew. So when
they had rowed about five-and-twenty or thirty furlongs, they see Jesus walking on the
sea, and drawing nigh unto the ship : and they were afraid. But he saith unto them,
It is I ; be not afraid. Then they willingly received him into the ship ; and immediately
the ship was at the land whither they went” (verses 17—21).
The subject is naturally a favourite one with artists ; and it is here treated with a
sort of rough power and simplicity which will recommend the plate to many.
PLATE LXXI.
THE NIAGARA ABOVE THE FALLS.
It may be doubted if M. Dore has ever drawn a landscape equal to this exquisitely
beautiful illustration from “Atala.” Certainly it would be impossible to surpass it. We
seem to look out upon a piece of nature itself. The river is alive with motion and glitter
as it hurries on towards the terrible leap. Its fluent curves recede into the gloom of
night, and the shores stretch vaguely away, with soft suggestions of shadowy wood and
watery lowland, ending in a dim blur of distance—if end there be at all where the artist
has so wonderfully contrived to carry on the eye indefinitely by the absence of any sharply-
drawn horizon. Towards the foreground, a number of clearly-cut fir-trees rise into a sky
tenderly troubled with cloud and moonlight. This sky is, perhaps, the most extraordinary
part of the picture. It is full of the sense of infinity. The moon seems actually withdrawn
into it, and one or two stars look out from the very altitude of air. On the testimony
of this print alone, M. Dore might claim the reputation of a great landscape-artist.
PLATE LXXII.
THE DEATH OF SAMSON.
The well-known incident of Samson pulling down the house of the Philistines at Gaza,
by which he and his enemies were crushed to death, is here energetically delineated.
THE DO RE GALLERY.
PLATE LXX.
JESUS WALKING ON THE SEA.
The passage here illustrated occurs in the sixth chapter of John. Jesus, to avoid the
solicitations of those who would by force make him a king, departed into a mountain
by himself, and his disciples went down in the evening to the sea. They “ entered into
a ship, and went over the sea towards Capernaum ; and it was now dark, and Jesus was
not come to them. And the sea arose, by reason of a great wind that blew. So when
they had rowed about five-and-twenty or thirty furlongs, they see Jesus walking on the
sea, and drawing nigh unto the ship : and they were afraid. But he saith unto them,
It is I ; be not afraid. Then they willingly received him into the ship ; and immediately
the ship was at the land whither they went” (verses 17—21).
The subject is naturally a favourite one with artists ; and it is here treated with a
sort of rough power and simplicity which will recommend the plate to many.
PLATE LXXI.
THE NIAGARA ABOVE THE FALLS.
It may be doubted if M. Dore has ever drawn a landscape equal to this exquisitely
beautiful illustration from “Atala.” Certainly it would be impossible to surpass it. We
seem to look out upon a piece of nature itself. The river is alive with motion and glitter
as it hurries on towards the terrible leap. Its fluent curves recede into the gloom of
night, and the shores stretch vaguely away, with soft suggestions of shadowy wood and
watery lowland, ending in a dim blur of distance—if end there be at all where the artist
has so wonderfully contrived to carry on the eye indefinitely by the absence of any sharply-
drawn horizon. Towards the foreground, a number of clearly-cut fir-trees rise into a sky
tenderly troubled with cloud and moonlight. This sky is, perhaps, the most extraordinary
part of the picture. It is full of the sense of infinity. The moon seems actually withdrawn
into it, and one or two stars look out from the very altitude of air. On the testimony
of this print alone, M. Dore might claim the reputation of a great landscape-artist.
PLATE LXXII.
THE DEATH OF SAMSON.
The well-known incident of Samson pulling down the house of the Philistines at Gaza,
by which he and his enemies were crushed to death, is here energetically delineated.