Weekly national intelligencer. [volume] (Washington [D.C.]) 1841-1869, 1853-10-01

CANYONS OF ART-CRITICISM,
.Sketched ciM particular reference 10 Sculpture

national sculptures and the and extraordinary
criticisms OF the works of art in the Crystal Palace hay
seemed to call for correct and systemic statement of thu
principles TO be regarded in arcritcisn The articles
which contributed to your paper would have proved
satisfactory to my respondent mad he possessed
knowledge of the capabilities and principles OF sculpture
If he had not been profoundly ignorant of them he
could have penned his final communication, and most
espeoolly would have known how uncalledfor the
discourteous aspersion with which he closed it. trust
that he and others viii find these brief the foun-
dation of an intelligent criticism Though they are
hastily written they not hastily formed or arrang-
ed but are the results of years of artistic experience
and the careful and deliberate study of art. They
not written for controversy and have therefore not
tempted prove my positions to the satisfaction of those
who may be disposed to object to them. There is at pre-
neither time my part, nor presume, space on
yours for complete exemplifcation Of the subject
These presented to earnest seekers after TRUTH
in the confidence that they will find here the explanation
of many things that have troubled Them and that they
may extend these principles to the performance of other
uses than that to which they specially addressed
must however claim that they be not measured by the
principles Of the metaphysicans the hand the
phrenologsts the other from any preconceived
theory but that they be permitted to stand by their
strength, and enter the Of judgment with fair
prestige any For the appropriateness of the terms
used do not hold myself responsible, las for Of
them have merely snatched such as were at hand and
commonly understood,) but for the correctness of the
principles pledge myself fully have not time per-
haps not the ability, to prepare and prove
clature for the mental and artistic philosophy but
tanly the work ought be performed The elaboration
Of the system here propounded IS for the present left
to those who find it worthy Of study. The principles
garded in what is here stated applicable the fur
ther development and subdivision of the matters
ed Of The character of subdivision degree lower
is limited the illustration of each degree by three
works of art.
l. Works of art composed of qualities that may be
properly arranged under three main heads SPIRIT his
head governing all matters of emotion and thought y
PHYSIQUE this head governing all physical and substan
almatters and SPHERE head governing all the uses
that be performed by such works. and all the effects
that be produced by them These heads derived
from the triune that exists in man-sou body and ac-
ton This triune division may considered arbitrary but
is It will be found that includes all the Qualities
of manhood and of art that it places and preserves
them all in their proper relation and above all that it
makes exactly the division that has existed in man and
nature from their creation and necessarily exist in
any art derived from and related to nature
The of work Of may be perceived and claim
True the and constituent qualities of works Of art
coincident but it is impossible TO make those uses
the subject Of intellectual treatment except in orderly
sequence The logical mode would be to treat the
spirit and physique and sphere of art alphabetically
according TO the order Of their action but it is pro-
verbally easy to build the foundation first and the
superstrucure afterwards and the physical qualities
are the sensitive base of the spiritual ones shall treat
OF the physique first and the spirit afterwards leaving
the statement Of the true object and of art for the
hnal inquest Ii win be obvious that the highest quail
ties of work Of art the result Of the action of the
highest mental powers and spiritual devoted to the
formation Of the work. We cannot expect to receive
high and spiritual work from mind which does pos
high order Of intellect and seriousness any
than from vessel to which hold goblet
to receive wine when II is known 10 be filed with
water.
. The physique Of an artistic work is composed Of
physical form, aspect, and proportion. Two things may
have the aspect without the same form. statue
viewed from the proper point has the aspect that
we see in picture Of IT, though the has the full
FORM and the other only the deneation Of the
a fat surface.
BY form is meant the three kinds of extension longi.
tudinal, lateral, and vertical.
by aspect the three kinds of shape continuous,
trasted and containent.
And by proportion the three kinds VITAL constructive
and discrete.
All Of these qualities are absolutely necessary to the
existence of any physical object The other physical
qualities color weight locality, and matter do not
fine art, (color excepted in some eases
g. Dscrete proportion may be called unity OF sequence
In matter this is the unity Of communicable forces in
any continuance Of effects upwards downwards and
in spiritual creatures it is their own constant building
mp no dscrete degrees OF life and knowledge higher
spiritual states This frstfand ultimate is Of de-
grees therefore Thus the relation Of superior and in
ferior in beauty character and function and in form and
shape comes from It, IL is from it that in human face
one feature is as il were the type Characteristic
the face the forehead Of Socrates the eye and brow
of Napoleon and the mouth in the faces Of the most
pure and lovely And the other features
lated it and 10 each other in the degree in which they
convey the expression and character OF the face In
equestrian dscrete proportion determines tie
laton Of the rider the horse and the ornamental aces
sores in point Of Importance and attitude. Thus, IL
chapeau become Of Importance than the person re-
presented discree proportion is violated IL determines
the relative position Of Characteristic shapes contrasted
and gradaed giving the former more basic and the
latter superior position
Constructive proportion is distinctly subject OF
intellectual analysis 1t is that proportion which exists
between subjects or qualities that are related TO each
other for the sake Of function to be discharged by
Of their existence in right relation negative
illustration is apty furnished by reference 10 Baron Ma
rochetts statue Of Washington now in the Crystal Pa
lace. The horse is paving" with one Of his fore feet
and trotting apparently with Of his hind feet These
variant actions destructive Of the functional unit,
that should exist in any horse for il obvious tina
one part of the horse cannot stand still paving Will
the other part Of him is trotting The tail is aynp GU
in agreement with the rotng action Of the rear Will
the head is reined back 10 agreement with the action
the fore feet while the is thrown back as IL foI
forward motion Moreover the figure Of the rider look
If the horse had been moving backward and had
denly stopped IL is constructive proportion that make
the difference in form between a Hercules and Heb
Correctness Of anatomy is required by constructive pr
portion, else all the parts would not possess the unity
due functional relation. All the requirements Il
result much Of the relation Of the different par
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