Homer — "a blind old man and poor, sweetest he sings" by Harry Bates. 1886. Source: Magazine of Art. 9 (1886): 413. Formatting and image capture by George P. Landow [You may use this image without prior permission for any scholarly or educational purpose as long as you (1) credit the University of Toronto and the Internet Archive and (2) link your document to this URL in a web document or cite the Victorian Web in a print one.]
"Homer'" — "a blind old man and poor, sweetest he sings'" — which forms our fourth illustration. The composition of the latter is exceedingly beauti- fid, and the treatment decorative, refined, and of rare spiritual quality. The hand of the blind bard sweejis the strings of his lyre in an ecstasy of inspiration which is communicated to the eager listeners, whose rapture, though intense, is subdued, and the unity of the composition, apart from the disposition of the figures, is admirably preserved by the emotional expression. The pathetic figure of Homer is a truly intellectual conception of the poetic spirit, thrilling with jmssion and fire the liowed, infirm body of the minstrel. Recalling the spurious classicism of the past, it is in such work as this, so purely stylistio, yet in the best sense of the word so unconventional in treatment, that our present assurances in the advance of English sculpture, and our not less certain expectations of its future, possess a visible and vital foundation. [412-13]
Spielmann, M. H. “Current Art. — III.” Magazine of Art. 9 (November 1885-October 1886): 407-13. Internet Archive copy from University of Toronto Libraries. Web. 21 September 2013.
Last modified 21 September 2013