R. H. Ives Gammellrnson’s poem. “Eventuallv I decided thatrnit would involve only a slight change inrnterminology to consider ‘The Hound ofrnHeaven’ as a history of the experiencerncommonly called emotional breakdownrnrather than as the story of a specificallyrnreligious conversion.” He was unwillingrnto traduce what he believed was Thompson’srnintention, but this interpretationrn”brought within range a quantitv of pictorialrnideas which had haunted mvrnthoughts for many years but for which Irnhad never found a connecting link capablernof giving them artistic unity.”rnFor Gammell, the link was providedrnby C.G. Jung’s The Psychology of the Unconscious.rnJung’s demonstration of thernclose relationship among myths, symbols,rnpoetic imagery, and “the perpetuallyrnrecurring emotional patterns of humanrnlife from which the’ evolved”rnenabled Gammell to relate his pictorialrnconceptions of the poem that he hadrnstored in files and to begin “The Houndrnof Heaven” cycle. In all there are somern12 folders directlv related to the paintings,rnwhich Gammell used during thernnearly 12 years he worked on the sequence.rnThe fourth painting in the cycle, forrnexample, as it appears in the 1956 catalog,rnis printed opposite some of the filefolderrnmaterials. The page begins with arnphrase from Thompson’s “Hound”: “Irnfled Him, down the labyrinthine ways /rnOf my own mind.” Gammell followsrnthe Thompson passage, which may servernas a title to the painting, with touchstonernpassages from Jung’s The Psychologyrnof the Unconscious and Modern Manrnin Search of a Soul as well as fromrnAeschylus, Shakespeare, and Shelley. Inrnmost cases, the contents of the touchstonesrncan be identified with ideas andrnthemes in the paintings to which they refer.rnThe 20th painting in the sequencerntakes its title from Thompson’s phrasern”Rise, clasp / My hand, and come!”rnGammell’s corresponding file folder containsrnpassages from Eliot, Baudelaire,rnWagner, and, again, from Jung’s Psychologyrnof the Unconscious: “At this time,rnwhen the sun has set, when love is apparentlyrndead, man awaits in mysteriousrnjoy the renewal of all life.”rnAll of this is in the tradition of classicalrnrealism, and a far remove from thernavant-garde. Gammell’s conservative position,rnin opposition to the multitudinousrnglitter of modernism, “embodies,”rnas Richard Lack writes, “a reverence forrntradition, a resistance to wanton andrnsenseless destruction of past accomplishments,rnand the carrying forward ofrnhard won achievements and noble endeavorsrnthat characterize the best of anyrncivilization.” By temperament, Gammellrnwas not an impressionist but belongsrnrather to that broad class ofrnpainters who draw their inspiration fromrnliterature, history, philosophy, theology,rnpsychology, symbol, and mth.rnWhen Gammell died in 1981 at thernage of 88, he had painted for nearly 70rnyears, mostly as a spectral figure whosernideals, attitudes, and objectives were inrnstark contrast to the “modern art” establishment.rnIt IS not difficult to conceivernthat isolation was as much a “heartperturbingrnthing” for Gammell as wasrnthe “sad and doubtful questioning” ofrnFrancis Thompson.rnOn Sunday, September 5 at 7:50 p.m..rnthe Sage Center for the Performing Artsrnofficially inaugurated the R.H. IvesrnGammell tour. The program in the SagernCenter’s Markel Auditorium included arnspecial performance of Professor Ralphrnvon Sydow’s musical adaptation ofrn. Thompson’s “The Hound of Heaven,”rnfollowed by the first of Professor Boardman’srnlectures: “The Hound of Heaven:rnThe Poem and the Poet/The Paintingsrnand the Painter.” The DaughtreyrnGallery is open to the public weekdays,rn8:00-4:00; Saturday, 10:00-5:00; Sunday,rn12:00-5:00. Additional information canrnbe had by calling Daniel James Sundahl,rn516-437-7341, extension 2443.rnRachel Heise is a junior at HillsdalernCollege. Daniel James Sundahl is arnprofessor of English and the director ofrnHillsdale’s American studies program.rnh^^’mrnR. H. Ives Gammellrn48/CHRONlCLESrnrnrn