Washington sentinel. [volume] (Washington [D.C.]) 1853-1855, 1853-11-20
Houdon,s Washington.

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Washington" feels constrained, reluctantly, te
encroach once more upon your patience. He
acknowledges the ability which characterizes
the reply to that appeal, and freely comedies
that it is production very creditable to the
literary merit Of its author. If" Amateur" is
liable to the charge of "impulsiveness, at
least" the author of the reply is also somewhat
hasty in Judging of the calibre, character, and
motives of his opponent. 1t is not always well
to stamp an adversary with the brand of igno.
rance without knowing whether he makes any
very great pretensions to knowledge.
In signing himself " Amateur" the author
Of that appeal certainly arrogated nothing to
himself; the word simply means, a /" lover" or
Especial admirer." " Amateur" certainly
did not mean that he amused himself by max.
ing statues, or that he was a sculptor. The
whole article, as well as the signature, tended
to show this fact, and what is termed "the
travellers fuss about well-authentcate artists, .
&C.. was but sort of apology to the public for
his directing their attention to particular
statue.
Fortunately, Amateur" has nothing to do
with the art; his occupations are far different
and whilst living abroad for another purpose,
and visiting the studios Of sculptors, he could
not avoid the sentiment of admiration, which,
however, very often was not confined to the
works Of well-authenticated artists.
So far from that, if the author of the reply
should produce anything worthy of praise,
"Amateur" would most cordially acknowledge
it, and use all his humble efforts to bring the
artist before the public for commentator and
reward. Amateur is not malicious; he would
not harm Mr.. Hubbard for the world; and, if
such result could possibly occur, he would
forever regret it. He has too often had occa-
sion to notice and regret the mutual illiberality
of artists to indulge in it himself towards one
Of that fraternity. Nor can he admit that an
effort to save an historical statue, of the first
merit, from dilapidation, when the process to
which it is to be subjected is dangerous, ought
to be adduced as an evidence of illiberality, or
contracted spirit Alas, how men differ
Amateur Rugged the fond delusion to his
soul, that for once in his life he had tried to
be patriotic; but he is aroused to the sad re-
atty that he is only ignorantly malicious and
of contracted spirit. Ii he is, he did not mean
to be so, and is therefore somewhat pardon
able. The occasional reference to "authority,n
was to one deservedly dear to the nation-suf
fciently high too, indeed, to have gained the
admiration ofthe civilized word, HAmateur,"
unfortunately, has not seen this gentleman for
nearly nine years, and thinks that he has not
been in America for nearly twice that space Of
time.
It is said that poor saddler once made the
best criticism upon famous statue; therefore,
il knowing artists all his life, and a witness of
their processes, amateur" should venture an
opinion, let him generously be pardoned for it,
if only on the ground of the old maxim-ta
cat may look at a king" Amateur learns
that Mr.. Hubbard has acquired some reputation
as painter, and recalling to mind only Michael
Angelo, and perhaps another of his stamp, as
alone able to exchange the pencil for the
chisel, he might indulge some such feeling as
me sutor ultra crepidam.' "Amateur" will
not, however, make such an application, hut
simply take tito himself
Justice has not been done Amateurs" for
he admitted the propriety Of taking one mould
from the statue, if this could be done without
injury to the valued original. At the same
time he said, and repeats, that if one good
mould could be made, that is sufficient and
under no circumstances should any man be
permitted to touch dilapidated original for
any such purpose. The proposition is almost
selfevident; if from mould you can get t,co
plaster casts, or even one successfully, there is
no necessity to mould again from the original
How often does it occur that circumstances do
not admit Of o second moulding from an oripi.
nal? A sculptor models a statue in clay; this
original is covered with plaster of Paris, which
is either removed piece meal or the clay dug
out from the interior Of the mould, dest,ovin9
The original Into the mould thus made other
plaster is poured and when il is set, the mould
is Clipped off from the included cast and utterly
destroyed. The sculptor thus gets a plaster
cast in place Of his original clay model, and
considers it quite the same thing. Now, upon
this mould from the clay original the future
statue depends only one can be made from
the nature Of the substance and If It fails, ruin
must result to the artists labor, and yet no one