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"The land forces are beaten let us turn our attention to the French fleet. After Waterloo, Trafalgar. You're having some fun for your money, eh, my lad? Oh, how good: listen to them knocking at the triptych now! It's too late, my children. But hurry along, Beautrelet!"
This picture, called the Last Judgment, considering the remote age in which it was painted, is truly a remarkable production. The boys, however, were less interested in tracing out the merits of the work than they were in the fact of its being a triptych that is, painted on three divisions, the two outer ones swung on hinges so as to close, when required, over the main portion.
The "Rajah," eight hundred and thirty feet, and at a breadth of fifty-six, shoots silent and sheer over an uplifted lip of rock in the bed of the stream, casting a dark shadow behind him when faced by the sun; the "Roarer" makes noise enough in its headlong rush to vibrate the strong, stone-built travelers' bungalow on the heights above; the "Rocket" is straight in descent, and, as a commentator has already remarked, as much like a rocket as anything else; and "La Dame Blanche," a triptych of rhythmical flow, spreads a dainty, silky, sheen of white, whispering, glistening, softly falling water over a slightly shelving width of rock, touched here and there with prismatic color and strong light.
<b>BOULANGER, MME. MARIE ELIZABETH.</b> Medals at the Paris Salon in 1836 and 1839. Born in Paris, 1810. Her family name was Blavot, and after the death of M. Boulanger she married M. Cavé, director of the Academy of the Beaux-Arts. Her picture of "The Virgin in Tears" is in the Museum of Rouen; and "The Children's Tournament," a triptych, was purchased by the Government.
In this church there were super-altars, candles, triptych, and also a painted window; organ, choir, and six bells; so that for those days it was considered a very complete thing. "The priest of Baldhu," with his cassock and square cap, was quite a character in his small way. He preached in a surplice, of course, and propounded Church tactics, firmly contending for the Church teaching.
The interior had little that was remarkable, for it had been repaired early in the last century, and spoilt of course; but an old triptych is still hanging in a chapel beside the high altar. It is painted on wood, and dates back beyond the invention of oil-painting, and represents the Virgin and some saints and angels.
We may add that not one of these so-called Van Eycks recalls in all their native delicacy and richness the real Van Eycks of Bruges, Ghent, and Brussels; though the Virgin Reading, given as Jan's handiwork, is of a charm. The altar piece is excellent. But there is a fine Memling, glowing in pigment and of beautiful design, The Adoration of the Kings, a triptych, like the one at Bruges.
"Thus, regarding this whole front as a triptych, we find that in the left doorway we have the Ascension framed in the signs of the zodiac; in the middle, the triumph of Jesus as described by the Seer; on the right, the triumph of Mary, surrounded by certain of Her attributes. The whole constitutes the scheme to be carried out by the architect: the Glorification of the Incarnate Word.
One corner-piece represents the first Abbots of St. Claude building the Abbey, and comical little devils perched on trees pelting them with stones. The whole is a wonderful piece of work, full of originality, strength, and real artistic feeling. The triptych, imputed to Holbein, may well be his work.
The only occupant of the library was the hunchback's friend and protector, the abate Crescenti, a tall white-haired priest with the roseate gravity and benevolent air of a donator in some Flemish triptych.
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