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Yet the delight of sense, because its emotional effect is diffused, does not interfere with the contemplative serenity of art, as unbridled passion does; it even quiets passion by diverting the attention to itself; hence may always be employed by the artist. A good example of the aesthetic fascination of sensation is Von Stuck's "Salome" in the Art Institute of Chicago.
It was covered with dirt. Jacob Stuck blew his breath upon it, and rubbed it with his thumb. Crack! dong! bang! smash! Upon my word, had a bolt of lightning burst at Jacob Stuck's feet he could not have been more struck of a heap.
But as there are in those same tubes of oozy paint horrific visions like Franz Stuck's "War," or portraits of plutocrats by Bonnat, and as there are in ink-bottles sad potencies of tailors' bills and scathing reviews of this very book, so it is possible under the name of music to write fugues and five-finger exercises, and yet more settings of "Hiawatha," or "Du bist wie eine Blume"
Thereupon everybody began closing their doors and windows, and, as it was with the others, so it was with Jacob Stuck's house; it had, like all the rest, to be shut up as tight as a jug. But Jacob Stuck was not satisfied with that; not he. He was for seeing the princess, and he was bound he would do so. So he bored a hole through the door, and when the princess came riding by he peeped out at her.
No heroine could look picturesque in bloomers, and feeding chickens, but as Isabel came towards him waving her hand hospitably, her white clear-cut face resting on its black goita of hair might have suggested Stuck's Sünde, in the Neue Pinakothek of Munich, had there been an evil glint in her light cool blue eyes.
But, clever as she was, the Genie of Good Luck was more clever still. He saw what the princess did; and, as soon as he had carried her home, he went all through the town and marked a cross upon every door, great and small, little and big, just as the princess had done upon the door of Jacob Stuck's house, only upon the prime-minister's door he put two crosses.
Its chief feature is the exhibit of German art. Franz Stuck's "Summer Night" , Heinrich von Zugel's "In the Rhine Meadows" , both winners of the medal of honor; Curt Agthe's "At the Spring" , and Leo Putz' "The Shore" , gold-medal pictures, are worthily characteristic of Germany's best art. The bulk of the pictures under "International Section" are in the Annex.
Jacob Stuck lived with his princess in his fine palace as grand as a king, and when the old king died he became the king after him. One day there came two men travelling along, and they were footsore and weary. They stopped at Jacob Stuck's palace and asked for something to eat. Jacob Stuck did not know them at first, and then he did. One was Joseph and the other was John.
His eyes are gleaming with infernal malice it is the most diabolic face ever drawn of his majesty; not even Franz Stuck's Satan has eyes so full of liquid damnation. Scattering miniature female figures, like dolls, to the winds, this monster passes over Paris, a baleful typhoon. The moral is not far to seek; indeed, there is generally a moral, sometimes an inverted one, in the Rops etchings.
In the morning all the town was in a hubbub, and everybody was wondering how all the men came to have their hair clipped as it was. But the princess had brought the lock of Jacob Stuck's hair away with her wrapped up in a piece of paper, and there it was.
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