The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1853-07-28

tnemseIVeB on 6Voi WIN the Frencn In the indus
trial arts-the qualities that have obtained for
the latter such an acknowledged superiority being
developed, in a remarkable degree in the Austrian
contributions Unless checked by political causes,
the opportunities of observation and comparison and
the stimulus Of competition afforded by exhibitions
like the present, must inevitably exercise powerful
influence on their relative positions.
Turning to the objects exhibited in New York, let
us follow that group of Ewes fair daughters rho by
their eager inquiries after some particular object in
the collection add an additional incentive to our
| own curiosity. The Yelled Statues 2" every
beautiful they are, my sweet little lady, and we'll
worthy Of the admring regards of those bright bue
| eyes which we devouty trust you may not take it
into your head to obscure from under the cloud of
similar fashion, SO, so! you blush! As live, down
goes" Another yelled statue is added to the group
The first of these yelled busts that comes under
notice is distinguished by the classic beauty and
calm devotional expression Of the features whilst the
freedom grace, simplicity and transparency of the
drapery impart to them still greater interest. The
arrangement Of the veil gives clue to the charac
ter Of the subject there being analogy between it
and the head dress worn by religious communities
The sculptor is Giuseppe Croft of Milan, one of the
largest contributors to this section Of the depart
ment. The other veed head, although very pleas
ing, we consider inferior in respects. The CON
tour of the face is comparatively meagre and the
features less beautiful; but the other hand the
drapery is more transparent and its arrangement
more natural. This being the object principally
aimed at by the sculptor, we are bound to say that
ne has accomplished it very happily. This work is
by Giuseppe Radios, of Milan. Owing to the novelty
OF the idea-for We have had but few, if any, works
of sculpture here in which this great difficulty of
representing transparency by such opaque media
has been overcomethese two busts attract great at
tenton and are the first objects soaght after in this
department.
In The First Steps of Infancy" by Pietro Magn,
we recognize one OF those home groups that speak
directly to the heart How exqusitey natural is
the figure and expression ofthat young Italian mother
as she bends over her child and partially support
| ing, partially leading it, and by her smiles
coaxing it forward, teaches it by degrees to
find its own feet Who can look upon that
calm, happy countenance without recalling some
| familiar scene endeared to us by early assoca-
tons! The costume, simple and graceful in its
! arrangement, has been rendered still more pleas
ing by the taste Of the artist who has availed him.
self Of all the advantages which its natural elegance
| and variety afforded him. In this work we realize
the superiority of genius, which to happy concep-
ton unes the power Of execution. 1t is one of the
conditions Of successful work of this sort that 1t
should speak independently for ITSELF telling COM
plete story or relating incident without borrow
| ing any commentary or collateral assistance.
We have already alluded to piece Of sculpture Of
miniature size, representing cage full Of Cupids
1t is to be regretted that man should employ his
| time in such unmeaning work; but we must say
that the execution is very good though we find fault
| with the artist in employing his time so unproGt-
| ably. 1t is by Gaetana Motelli, of Milan, and
| represents group of some fifteen or twenty little
| amOnrS, imprisoned in wire cage. from which
they are vainly endeavoring to escape, evincng in
their impotent attempts every shade of impatence
from the most ardent desire to the extreme of vexa
ton and disappointment whilst to add to their NOR
ti6cation one Of their mischievous little comrades
who has avoided the snare, is malciously enjoying
their struggles and tapping his wings exultingy at
his own immunity. 1t would have been better if
some more appropriate metal than brass had
been used as o material for the bars of the
cage. We can readily conceive the difficulty
OF using marble for this purpose, the pie ,es
having to he fitted in separately after the COM
pleton OF the groups, but surely some other metal
presenting less violent contrast might easily have
been substituted Although the coloring of indie
pendent parts in statuary has some precedent;
amongst the ancients, modern taste rejects the in
PRODUCTION Of single color in contradistnction tC
white as q violation of its rules.
The bust of lady of Chozzota, by Ignazio Mi
cott Of Milan, displays just sufficient local character
both as regards costume and the deneation of the
in view. The head is evidently portrait, though
soened and generalized by the conventional ideas
beauty existing III the artists mind. The combined
expressions Of archness and modesty, which seem
1 IN ctr anIn for In faafrr md
most effectively carried out constitute the chief
merit of this bust The fall of the drapery
from the shoulders, though in keeping with the
costume, gives rather contracted appearance to the
figure, an effect perhaps natural enough, when we
consider the position Of the right hand gathering the
folds Of the cloak close to the neck The successful
treatment of this part of the subject perhaps the
predominant idea in the mind of the SCULPTOR II il
af the most difficult attitudes that can be select
cd, and we have rarely seen it happily treated. AL
that can be said in this instance is, that the effect il
not near SO clumsy as that Of most attempts of th
description.
One of the gems Of this collection is the "Bust o
Prayer" by Antonio CALI more perfect ant
beautiful incarnation of fine conception it would bt
difficult to find To the meek and holy abstraction
of young ard innocent soul from the external world
is united purity and deicacy of features that form
an exact index to the mind within. The other de.
tails of the subject are in perfect keeping with the
exquisite treatment of the Rgure-a charming air Of
grace and simplicity pervadng the whole.
The shepherd" by Professor Kahszmann, o
Vienna, is noble conception, and in the treatmen,
of most of the details is emnently successful The
head seems to u.s. however rather small for the pro
portions of the figure, and its position slightly
constrained. Strange to say, the defect strikes
one in the figure of the dog which lies crouching at
his feet The relative positions of the two figures
are in other respects natural and graceful. The high
reputation of this gentleman is fully borne out by
the sculptures which he has contributed to this col
lection. 1t is easy to Judge from them that he has
been close and enthusiastic student Of the Grecan
school.
Croifs "Leda and the Swan is less voluptuous
embodiment Of this favoritc myth, than most others
that we have seen, and is consequently more in ac-
cordance with those ideas of propriety which prevail
among us. The conception of this statue is exceed
ingly happy but in carrying out his ideas the sculp-
tor has not wholly succeeded In attaining that beauty
Of outline and expression which is so essential to
subjects of this description. This remark applies
more particularly to the face and head. Those who
examine attentvely the former will see that this able