Evening Star Newspaper, October 28, 1923, Page 63

art 5—8 Pages WASHINGTON, D. Sundiny C., SUNDAY MORNING, OCTOBER 28, 1923. FEATURES Centenary of Painter of “Rock of Ages” to Be Observed Here BY VICTORIA FABER STEVENSON. November 3 Is the anniversary, but the Church of the Incarnation, where some of the artist’s work is found, wiil hold special service on Sunday, November 4, In memory of the ar- tist-priest. Pee OCK OF AGES" is sald to be the best known hymn throughout the world. The picture, “Rock of Ages,” is almost as well known, for it has made a stronger appeal to the popular heart than any other picture of modern times. Few people have ever seen anything but cheap coples of this wondrous painting that has held mankind in its grip, Even fewer are those who know the name of its originator, Rev. Jo- hannes Adam Simon Oertel, a long resident of America and a goldler in her service, though born in a little town near Nuremberg, Bavaria, No- vember 3, 1823. It is doubtful it America, far behind Europe in its ap- preciation of religlous art, realizes that in the Nation’s Capital, in the Church of the Incarnation, 12th and N streets northwest, there is an elab- orate reredos composed of large paint- ings and exquisite wood carvings, & masterplece of this artist, at one time president of the Soclety of Washing- ton Artists. Not only for Its artlstic merit has this work attracted the attention of thousands of persons, but it has been declared one of the most wonderful pleces of handiwork in the country, because it is entirely the work of one man, who was its carpenter, designer, Painter and carver. From the age of twenty-five, when Mr. Oertel came to America, until his death in his elghty-seventh year, he devoted hig time to religious paint- ings. He realized, though, asa young man, the life of poverty it would mean, as almost no patrons could be found who would buy art based on this theme. He, however, through years of adversity, self-sacrifice and extreme privation, clung to his prin- ciple that no art was worthy to be made the life work of an artist un- less it was a teaching art and not merely the making of something beautiful. Robbed even of his royalties on the work of his own braln and hand be- cause many publishers who printed copies of “Rock of Ages” failed to give him any money at all.for this privilege, he even then took satis- faction In the thought that the more coples there were made of the plcture the more sermons would be preached, perhaps, after his own volce should be silenced. And so it is today. Strange as it may seem, two chromo editions of the “Rock of Ages” had been sold in France, where the de- mand could not be supplied rapidly enough, béfore one copy was offered for sale in Ameriea, where the pio-~ ture was actually painted. The ex- planation given is that royalties were paid only on coples sold in the United States. * x ok % HEN, however, the picture was reproduced in this country the demand was enormous. Hun- | dreds of thousands of prints were! sold, not only by the authorized pub- lishers, but by the many other print- ers who made coples by every known process. In spite of the fact that the plec- ture was copyrighted. those who wished to commerclalise it found a technical flaw in wkat the artist thought was his legal protection. As Mr. Oertel had considered himself a New Yorker because of his long resi- dence there, he secured a copyright in that state, though his home at the time was in Rhode Island. The law of that day, of which he had no knowledge, required that the copy- right be taken out in the state where the artist resided or in the general office in Washingtén, D. C. Publish- ing concerns, taking advantage of this error on Mr. Oertel's part, re- produced thousands of the pictures. They were so common as to be used as premiums on merchandise, stamp- ed on leaflets of various kinds, and even put on advertising matter. Yet the name of the artist was rarely ever found on them. After waging a single-handed legal fight, in which not even his publish- ers shared any expense, through two lawsuits in New York, where Judge Cardoza declded in the artist's favor, and a third lawsult in Chicago, where the deci<lon was against him, Mr. Oertol had the disappointment of hearing his copyright declared vold.; 80 it was that “Rock of Ages” be- came public property. It 1s interesting to know that the first sketch of this subject was made in pencil in an album. Later on a small painting was made, which was presented to a friend. Afterward it put on canvas, 26x49 inches, and sold the second day of exhibition at Shaus' In New York to Augustus Storrs of Brooklyn, about 1868. In 1895 Mr. Oertel made another large copy for his son, Dr. T. E. Oertel of Augusta, Ga.,, and three years later made a very large painting of the subject ‘for exhibition purposes, but unluckily the exhibitor and canvas wanished in Chicago and no trace wa: found of the painting. Mr. Oertel's fallure to receive hi reward for “Rock of Ages” did not prevent him from continuing to make paintings ‘on subjects of Christian art.” Frequently he was compelled by ‘@ire necessity to paint animal ple- tures and portraits, for which there ‘was ready sale and in which work he won distinction.. Art critics have classed his anim.:! plctures with those of Landseer and Rosa Bonheur. In his despair he declared that if peoplet wanted to turn their parlors into stables he must paint ponies and sheep In the daytime, but he added, “I shall preach 'my sermons with brush or crayon at night to keep my soul alive.” *® k% tell thd story of Johannes Oer- tel's life would be the recount- ing of how he and his family moved from city to city and from north to south and back again several times in his struggle for material success. tmn each ‘move he'hoped to be able Rev. Johannes Adam Simon Oertel, Whose Life Was Devoted to Teaching of Religious Thought by Means of Canvas and Carving, Without Adequate Compensation, Was Associated With Washington Affairs—Former President-of the Society of Artists Here—Masterpiece Ornaments Church of the Incarnation at 12th and N Streets—If Work Were in- Europe Tourists by Thousands Would Be Attracted—Story of Four Pictures Illuqtratfng Redemption of Mankind. Johannes A. Oertel, painter of “Rock of Ages.” born in November, ,1823, and, died December 9, 1909. First of ‘series of life. work. by Johannes A. Oertel, the -“‘Dispensation_ of_Promise .and the Law.” to provide his family with more com- forts. Clifford Lanier, brother of the poet, who was an enthuslastic admirer.of | life preached & sermon of “dignity and | the artist, declared his dally the divinity of humanity. With every disappointment his devoted wife, who was Julla Adelaide Torrey, gave him encouragement and shared cheerfully in the sacrifices he made both for his art and for those whom When he felt crushed and hurt by the coldness of the new world to his sacred plctures she comforted him by her own appreciation of his art. He never, during his long life), learned to meet commerclalism, When he was twenty-eight years old he decided on the plctures which should be his life work. This was about twenty years before he was ordained a minister in the Episcopal Church in order that he might be preacher and teacher to the people living in the mountains of North Carolins. - There for several years he shared - his all with those he thought less (fortunate than himself. For fifty years after his.determination t underfake his life work, his very soul was centered in carrying out the plan of making four pictures flustrating the ‘redemption of 'man- kind. He' realized that pictures of this theme and éanvases as colossal as those he planned would find no_sale. Nevertheless, he decided ~to - make them with the hope that if, when they were finished, he might, present them to some one who would be willing to build a free gallery for their display, he would have at least given an impetus to Christian art tn America. During the fifty' years that h: struggled to put himself' in a p tion so that he could paint fhis series, he was compelled from time to time to llye In out-ofsthe-way places where living was cheaper.than in large citles, although he might bave, enjoyed the assocfation: of other in the Iatter. He was foroed to split up his faculties in various directions by work as carpentdr, drchitect, musician, bank-note en- graver, animal and portrait painter, designer and sculptor. He even made Bis own tools to the days of his old ame. Though the series, which was finally finished in 1902, belongs to- gether and tells a connected nara- tive, each composition is & story in itself. All were presented by the painter to the theeological depart- ‘ment 0f the University of the South at Sewanee, Tenn. despite the fact that Washington artists considered $10,000 a Tair price for the first of the series that was finished. ! * ok x % EN this plcture, “The Dispensa- tion of the Promise of the Law,” ‘was placed on exhibition in St. John's Parish Hall of this city, Richard N. Brook, an artist and critic, expressed through The Star the opinion that no more notable work of art had been produced in America within his ex- perience. This first picture illustrates the Mosaic dispensation and covers Old Testament history. About Moses, the central figure, there are groups of patriarchs, prophets and kings, as well as figures representing historical incidents, and, above all, ‘the high lest id ministerial an ‘The Beatul sroubTaE Of 140 Asures i their historical relationships ~without line or: color marring the hnmquy He was Ezekiel's vision, “The. Valley_of Dry Bones.” Qertel.. of the picture was commented upon by art critics as marvelous. The second of the group, known as “The Redemption,” represents the Saviour, man saved by Christ, and Satan a conquered enemy. The third picture, called “The pensation of the Holy Spirit,” em- phasizes the divinity of Christ, who is pictured on a throne and adored by a host of angels. The apostles and evangelists are seen departing into all the world to found the church. Lower down in the picture ‘such mercitul “acts as healing the sick, ralsing the fallen and ministering to the orphans as well as the admin- istering of baptism are represented. The last of the series, “The Tri- umph of Christianity,” presents ‘a majestic picture of Christ riding in triamph on a white charger and leading a legion of loyal saints in ovércoming the forces of evil From the very first year of Mr. Oertel's decision to paint this series of auch elaborate coraposition, he saw the vision of each picture, but year by year worked out more de- tails by his drawings. His love for large canvases was due. to the h‘:t‘ Dis- Ak w25 28 that he painted boldly and quickly, and became energized and Inspired as he worked out his ideas. As late as his eighty-fifth year, the amount of work he was capable of doing was so0 remarkable that he painted three pictures of life-sized groups in twenty-four days, much of the time standing on a ladder. In his biography, a beautiful trib- ute to service, written' by his son, J. F. Oertel of Vienna, Va. it is stated: “Every brush of paint went where it should the first time and the work grew while one gazed.” His long life permitted him to use a wide range of religlous subjects for his numerous paintings, which today are found in many parts of the United States. His masterly wood carvings, though not so nu- merous, are highly prized in the reredoses and credence tables which he made for several churches. A HE altar and reredos of the Church of the Incarnation represegt one of the artist's masterplece. It Is a memorial to Zaidee Per Lee and Matthéw Galt Emery, jr. Not only is it entirely Mr. Oertel's design and 4 Reredos of Church of Incarnation, I?Qh and N streets, showing design, carving and painting by Johannes A. Oertel, painter of the “Rock of Ages: .A\pa}nfing by johmnes,A. creation in carving and painting, but he was Its carpenter and the one who, assisted by a friend and his two sons, placed it in its position. The author selected the incarna- tlon for the sermon of his chisel and brush. If such a plece of work were in Europe, tourists would visit it by the thousands. High in the left-hand corner is a monochrome of the na- tivity. The light shines out from thi manger upon & group of wanderin, shepards and worshiping wise men. The companion picture on the right- hand side shows Christ sinking under i the weight of the cross as He jour- neys to Calvary. of the evangelists, St. Matthew, St. Mark, St. Luke and St. John, The exquisite wood carvings of incarniation llies, calla lilies, roses and passion flowers around the frames of the pictures are symbols of triumph, purity and suffering. The carved line just above the altar represents the lion of the Tribe of Judah, while the lamb of the earth mound for an altar presents in idea the Lamb of God. Between these two a silver dove hovers, emblematic of the Holy Spirit. The intricate and yet bold carving of the grape- vine, grapes and wheat about the altar table carry the idea, *I am the vine and ye are the branches,” and represent the carved words, “My Body” and “My Blood.” Some of his most masterly carving is seen in the figures of the two adoring angels just below the alter. These cheru- bim and scraphim with crowns cast down and harp and palm branch kneel beneath the inscription, “Holy, Holy, Holy,” the song of angels. In the reredos of the baptistry there is but one large painting. It shows the ark upon the waters over which the dove flies bearing the olive branch. The rainbow in the sky also shows that the rain has stopped. This theme was chosen to typify the cleansing of the earth by the water of the flood just as the baptized arg cleansed by water. The carved fig-, ures of St. Peter carrying the keyq and St. Paul with his sword of righty cousness show the going forth or the disciples to Jew and gentile tg baptize. The two angels above berd toward the font in attitude of adors- tion, The top of the reredos resem- bles a lace-like, carved doorway of & great cathedral. The beautiful picture of the Good Shepherd has been lately elevated from its former position so that 1% may be more plainly seen. This paint- ing does not convey the idea of an earthly shepherd, but of the Great Shepherd of the sheep. It assumes that what our Lord did while on earth He is constantly doing by the same means. He still goes out in the darkness with the love of God to seei and save that which was lost. The lamb He bears on His shoulders explains the words found below. ¥Rejoice with me for I have found my sheep which was lost.” * * ok % ‘HAT the aim of Dr. Oertel's lite has been accomplished in that his paintings have taught long after their creator had passed to his re- ward is most apparent today in the Church of the Incarnation. All who enter it are impressed by its artistic beauty and by the religlous atmos- phere which the paintings help in such large measure to create. Strangers only partially reslize the comfort and peace which the pic- tures have Browght to those who have been accustomed to read their messages during the many vears they have been in place. Rev. I L Townsend, who was rector of the church when the reredos was installed, was a close friend of Dr. Oertel's and for some time en- joyed the assoclation of Dr. Oertel in his assistant rectorship. For twenty-six years Rev. Willlam Tayioe Snyder served as rector, and was succeeded about & year ago by Rev. George W. Atkinson, jr, D. D. Dur- ing the past summer the Interior of the church has been repainted and the mahogany and walnut woodwork refinished to blend more harmonious- ly with the stained gl windows and the colors of the plctures in their story of the incarniation. Diamond Drills. GO far as is known Brasil possesses the only economic deposits of black diamonds. The “diamonds” in this instance do not refer to anthra- cite, which is frequently termed “black dlamonds,” but to the amor- phous steel gray or black diamonds. unsuitable for gems, but extensively used on the cutting edge of drills for tunneling and prospecting. These deposits of “carbonadoes” in the Brazil district mean much to the members of the mining profession. who use the bulk of the stones in the diamond drills now so extensively employed in mining districts for the purpose of obtaining samples or “cores” from _the bore holes. The gem diamond and the black diamond both consist of carbon, but differ in that the former is white, transparent and possesses good cleavage, whereas the latter is black, translucent, or opague, and has no cleavage. This lack of cleavage is also an element In its favor, as it will withstand greater pressure and wears away more evenly and slowly. The interior of the state of Bahia, in Brasil, furr@ghes these stones, which are found in the stream gravel in association with the gem diamonds. Previous to 1856 these black stones were thrown away as useless, but now they are as eagerly sought for as the clear stones. The first use made of these black stones occurred in coal prospecting in Pennsylvania in 1870. Since that time the value has constantly in- creased, until now it fs from $100 to $150 & carat, with the demand far In excess of the supply. Both the black and the white dla- monds occur In a great thickness of sandstone, but so sparingly are they that they are not extracted from the e|yurem rock. The sandstone decom- | poses, however, falls to pleces and hus the stones are Iiberated and ca; led into the streams. The workers collect the gravel and wash the lighter materials away in great. wooden bowls known as ateas,” the entire process being . 1 3 The central picture of the reredos igimilar to that long uséd by the gold is a life-sized painting of the risen | geeker, the batea being similar to the and ascended Christ seated on the rainbow, the symbol of Heaven, and resting His feet on the globe, or the earth which is His footstool. With scepter in His right band He is shown as King of Kings and with golden censer- in His left as High Priest. The twelve precious stomes in His breast- plate represent the tribes of Isreal, or the universal church. The historical witnesses ,of the incarnation are pic- tured by D‘_-n‘.ll',of life-size figures an” of the miner, the dlamonds be- ing left in. the center of the bater after being rotated; the other min- erals are thrown to the side and aft- erward looked over. Nearly all. of this work is carried on by individuals working Independently, but seldom by any large company, and it is a peculfar fact that, in’ spite ‘of the other diamond localities in other parts of the world, thus far Bahla has no great competition in the these useful black diamonds. Ly