# A Tribute to W. W. Corcoran, of Washington City/Chapter 4

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Chapter IV.
AVING given a summary of the uses and advantages of art, its stern requirements, as well as its gentle and poetical influences, we are glad to turn to that munificent patron, Mr. Corcoran, who recognizing fully what we have feebly attempted to handle, has presented to our nation an enduring monument to genius, a building dedicated to art, and a superb collection of paintings, statuary, &c. This noble edifice is the highest proof of the grandeur of art influencing the human mind as well as the affections, and it points not less at the generosity of the donor than his cultured taste and enthusiastic appreciation. Not only are the citizens of Washington grateful, but our whole country will honor this patron as the years glide on, adding to the list of admiring thousands. It is not alone in the contemplation of rare works that pleasure is granted, but a love of the beautiful is fostered, and the sentiments of nature are elevated and spiritualized. Such association subdues and reforms our coarse materialism. The realm of nature needs some direct pleasing influence to give it tone and character, truth and virtue, and the atmosphere of art is therefore as important to it as sunlight to earth. Our intellect and fancy must both be fed, for it is not allowed for us to live merely for creature ​comforts and indulgences. There will come to this intellectual shrine uncounted numbers of men, women and children, in the breasts of some of whom but little of the real Promethean fire or enthusiasm will sparkle; still, even a step toward the object in view is a point gained, and soon the cultivated taste may follow. We know that the ugly, uninteresting root, begrimed with dust, shoots up into the lovely flower, and may not rugged minds also put forth beauty of instruction? To those fully alive to the attractions of art, the Corcoran gallery will be a treasure house, where they must linger long, keenly sensitive to the amount of talent garnered within those stately walls. They will feel around them the breath of genius, which their slightest whispers shall fear to disturb; they will see the canvas graced by a peasant's bright eyes, adding to it the surmise of some grave, perhaps wrinkled face—this last the artist's—and praise and sympathy will go out together from their generous hearts. In a word, their own delicate taste and refinement will find a sister spirit in congeniality, and the meeting will partake of a rhapsody, so full and complete will it be. The works are well chosen, and the colors of some from that classic land across the sea, fair Italy, are like the tints of her wondrous skies, where the roses' crimson dye and the violets' tender blue are blended in sympathy with the purple of the grape and the sunlight's gold. Here is life pictured so true and beauteous that we dream many an hour away in pleasant reveries, and steep our souls in an intoxication of delight, quaffing delicious draughts from that rare and intellectual fount, the communion of spirit with art, and the oblivion of self! If our need of praise goes out abundantly to foreign lands, we are not without our loyal homage to the artists of our own country. If we ​have bestowed the flowery chaplet beyond these beloved shores, we have still reserved a dainty blossom, with the magic savor of "honor to whom honor is due." This magnificent institution has a frontage of one hundred and four feet on Pennsylvania avenue, and one hundred and twenty-four on Seventeenth street, and is of the Renaissance style of architecture. Many of us have watched with interest the laying of its stones until it was reared into a fitting structure, to meet proudly the bright rays of the midday sun, and the mellowed hues of the twilight heaven. For a time it subserved other purposes than those for which it was destined, but that was at a crisis in our country's history when inexorable war demanded not only public buildings, but the sanctuary of God.
When those dark days were past, Mr. Corcoran inaugurated his splendid gift by a grand ball, given on the anniversary of Washington's birth, its proceeds being devoted to the Washington monument fund. The cost of the entertainment was in accordance with his most liberal and munificent ideas. The time was propitious, the event occurring two years since, during those brilliant days of the carnival, which have left a pleasant memory in the minds of thousands. There had just been celebrated the progress of vast improvements at the National Capital. Our broad and beautiful Pennsylvania avenue had been repaved, and on this grand thoroughfare, vieing with the Champs Elysées, were splendid equipages, gaily caparisoned animals à la Tournament, wheelbarrow and goat racing, and what not, to add to the hilarity of a carnival scene? Nothing was left undone through the generous enterprise of the citizens to make it a complete success, in which they were not disappointed. In conjunction ​with these efforts of the people, was "the ball" at the Corcoran Art Gallery, which par excellence bore off the palm of the evening, although the masquerading spirit had its share of glory at the National Theatre, the civic at Masonic Hall, and the tournament at Marini's Academy. Besides these brilliant assemblages, all Washington was a blaze of light and beauty with fireworks, transparencies, calcium lights, torches, illuminations, etc., whilst from the proudest edifice of all—the Capitol—streamed the all powerful electric light; worthy, indeed, to lend to the scene its radiant effect. It becomes us now to allude especially to the Corcoran fête, which opened as it were by fairy touch the grand gallery, and gathered together the fairest of women, and bravest of men. They met beneath its roof, a delighted company to pay homage to the host, who stood to receive them with gracious, modest dignity—the peer of nobles, and a true specimen of American chivalry and grace. The event will long be remembered, and the walls that now glow with the artist’s colors, were unadorned save where the draped banners and national flags threw their folds against the white background, unless we except with pride the portraits of three men whose names live fondly in American history—Washington, Jackson and Clay. At the head of the magnificent stairway, covered with crimson velvet tapestry, and flanked with exotics, was also a portrait of Washington, with the words, "Pater Patriæ;" a title so well deserved, that the Old and the New World rejoice at its mention. In the octagon room, the guests were all attracted to the superb painting of Mr. Corcoran by Elliott, that very eminent and worthy artist. Delightful music floated through the saloons, and sweet flowers—the camelia and violet ​predominating—added a tender charm; the faint notes of canary birds mingled with the clarionet, and the happiness that reigned was like unto their trillings. But now a different scene presents itself. The bright-eyed belle is no longer flushed with the excitement of the dance; the grave men of letters and the statesman are not wondering at the intricacies of Strauss' fascinating waltzes; the military hero who has returned to his tactics, enters these halls with more solemn tread, for he and they stand before some of the grandest productions of genius that tell of the earnest purpose of life, the hours of toil, pleasure and pain. The goddess that ruled that gay and festive scene sits now in dignified repose, for where the bâton waved, is spread out the glory that attaches to art.
Mr. Corcoran has selected as a board of trustees for the gallery some of our most valued citizens, and we recognize in the following names, gentlemen of culture and refinement, and in every way worthy of the calling, to wit: Jas. M. Carlisle (President), who has worn the legal mantle with honor and brilliant success; J. C. Hall (Vice President), the distinguished physician, whose name is a household word with the people of Washington; George W. Riggs (Treasurer), the former partner of Mr. Corcoran, the popular banker and possessor of a princely fortune; Anthony Hyde (Secretary), the intimate friend and confidential agent of Mr. Corcoran, and noted for his high-toned character and genial manners; Henry D. Cooke, former Governor of the District; Charles M. Mathews, an elegant and polished gentleman; Prof. Joseph Henry, the distinguished scientist; Jas. C. McGuire, a patron of the fine arts, and a wealthy and respected citizen; and Mr. Wm. T. Walters, of Baltimore, to whose superior taste and ​judgment in matters of art the gallery bears evidence. The recent choice selections he was deputized to make in Europe, cannot fail to delight the most fastidious connoiss ^eurs. Mr. Wm. MacLeod has been appointed curator, and Dr. Barbarin, assistant, both gentlemen being admirably fitted for their responsible positions. In May, 1870, Congress passed an act of incorporation, and also authorized a liquidation of the indebtedness of the government, for the use of the ground and edifice during the war. The exterior of the building is of fine brick, ornamented with Belleville freestone. There are various designs appertaining to the arts, niches waiting to be appropriately filled, fluted pilasters and columns, the monogram of the donor, and not least the simple yet significant words—"Dedicated to Art." A Mansard roof surmounts the building, adding to the general stateliness. The interior is most admirably planned and reflects great credit upon the New York architect, Jas. Renwick. The ground floor contains the furnaces and storage rooms, and the other two stories are devoted to the exhibition of sculpture and paintings. Facing the grand entrance is a superb staircase of freestone, ten feet wide, with an iron balustrade leading up to the main gallery, and on each side of the stairs are handsome passages, with marble tilings. At the right of the entrance are the apartments of the janitor, and facing these is a large room, richly carpeted and furnished, for the use of the trustees, back of which extends the library. The sculpture gallery on this floor, at the rear of the building, measures in length 96 feet 4 inches, by 25 feet wide, and is lighted by ten windows. Two rooms connect with this gallery, and will be used for a school of design. All the columns about the building are white, ​with Grecian caps, and the wainscoting, doors, &c., of black walnut. The grand picture gallery above is also at the rear of the edifice, and is 45 feet wide by 96 feet 4 inches long. The skylight produces a beautiful effect upon the paintings, and can be regulated as to quantity, and at night 285 gas jets suddenly flash into brilliancy by means of electricity. The cornices and ceilings of the galleries are ornamented with panels and mouldings, to represent American foliage. The octagon room, with skylight, is appropriated to the Greek Slave, by Powers. The walls are covered with a rich crimson to enhance the purity of the marble, and afford a decided contrast. The other rooms on this floor are of fine proportions, and connect with each other so as to form an unbroken passage. The books or registers of the gallery, are very complete in their several uses, and will furnish the names of visitors, of artists, and their works on exhibition, and of paintings belonging to the gallery, the contributors, &c. The crowning specimen of sculpture is the Greek Slave, and now its value seems to increase tenfold, in that the hand that fashioned it is as cold and pulseless as the marble. The beauty of the following stanzas by Robert S. Chilton, will doubtless lend a new interest to the faultless stone, and invest it with life that else were not thought of in its mute repose:
The direct history of this statue by Powers (or the circumstances attending the modeling), has been given to the "New York World," by a correspondent abroad. It points to one of our countrymen about thirty years ago, whose domestic sorrows and poverty in a "strange land," were relieved by the faithful love of a daughter, him otherwise than by consenting to become the model for the "Slave." Beauty of form and features fade into insignificance compared with a filial love that even surpassing that of the Roman daughter who nourished her starving father in prison, felt no sacrifice nor duty too great or painful. Why is it that such an incident brings more potently than ever to our minds the truth of the allegory, "no cross—no crown!" for certainly to this faithful child, grief and ​poverty brought the burden of a cross that many would have sunk under, rather than to have risen from. But faith was the stepping stone, and duty the goal, and through her brave struggle for relief, the sorrow of earth made the promise of heaven the brighter. Mrs. Caroline Lee Hentz has beautifully defined "no cross―no crown!" when she says: "It is the slogan of life," the victor-anthem of death; the chorus of "eternity;" and truly to those who have borne the one, and shall claim the "coronal that endurance wears," the words are singularly adapted. In the Greek Slave there is real poetry of pose, and sweetness of facial expression. In the beautiful and graceful arms there is great symmetry, and in the no less perfect hand, there lies a world of expression. Altogether the extreme purity and chastity would impress one with the ideal style more than the natural. Flaxman makes a distinction between the two, in this wise: The natural is defined thus—"a representation of the human form, according to the distinction of sex and age, in action or repose, expressing the affections of the soul," and the ideal has this addition—"selected from such perfect examples as may excite in our minds a conception of the preternatural." Calmness, gentleness and modesty all speak in this statue, where sorrow, fear and despair might each contend. It is the exemplar too of those heroic qualities of which our sex are capable under distressing circumstances—the same courage and resignation with which martyrs met the flame or tortures the keenest and most cruel in a word, it is spirit prevailing over flesh, and subservient to the decrees of fate. In this same octagon room are also fine marble busts of Shakspeare, the veiled nun (copy), Il Penseroso, by Rinehart, and Bacchante, by Galt. A fine collection of Barye bronzes, numbering 60 pieces, recently purchased in ​Europe, has been arranged in the library, besides a Majolica vase of large proportions, elevated on a pedestal; also several exquisite vases from Sèvres, and still another of a rare tint of green from Berlin. Some other rare works of art consist of plates, dishes, vases, cups, &c., and are the reproduction of articles discovered at Hildesheim, Saxony, on the site of a former Roman camp. The workmanship on metal is worth a close study, and the revival of such pleasing designs in these days, would certainly find admirers and purchasers. There are two marble busts of Commodore Morris and Vice President Breckinridge, to add to the attractions, and near the grand stairway in the hall we find a colossal bust of Napoleon, by Canova, and one of Humboldt, by Rauch, of Berlin.