The penny press. [volume] (Cincinnati [Ohio]) 1859-1860, 1860-01-19
I'HE PR ESS
THURSDAY Y.......-..-......--JANU ID
Powers's Studio and Statues.

Powers's Studio and Statues.
The New York Independent of last
week has the annexed letter from gen
tlemsn now sojourning IN Florence:
We went first to the studio of Powers.
Found it in the Via della Fornace. We
rang, and were admitted directly to the
studio. In few moments Mr.. Powers
made his appearance. He received us
very kindly, and expressed his pleasure
in seeing visitors, particularly lis own
countrymen. In conversation, he is both
communicative and interesting, although
not particularly fluent In the course Of
his criticisms and remarks, he mentioned
some reasons why Florence might be pre-
ferred to Rome as the residence of an
artist, especially student. 1t is health
Ter place. Living is cheaper. The mod
els are as good, and much easier OF
access, than in Rome. He is an older
man than | had supposed. Twenty eight
years, believe, he has lived in Florence.
Hopes to spend his last days in Amer
lea. si d,
He conducted US through the different
halls Of his studio, pointing out and ex-
planning many Of his works. He has
certainly large private collection,
models, busts, and statues. These, how
ever, constitute but small part of the
productions of his genius. Many of them
have left Florence, the place of their
birth, and have fixed their residence in
other lands-beautifnl creations of his
genius, to give joy to their possessors and
remain the lasting monuments of his
fame. The original 'Greek Slave" is in
England, believe, in possession of the
Duke of Cleveland. 1t properly belonged
to America, and should have been secured
by some patron of American Art. Among
theidealbusts were "Proserpine," "Diana,'
and Psyche last beautiful ideal
of Life. Besides these, there were the
busts Of 'Franklin" and calhoun" and
others, already finished-some Of them
soon to be removed by the purchasers.
His washington" is now under the
chisel-a work of fine promise-in
Seravezza marble: This marble, while it
is apparently as pure and beautiful as
the Carrara, is frmer, and SO more
favorable to the purpose of the artist, not
allowing the light to penetrate so easily
the thinner parts Of statue, and there
fore casting better shade, and producing
less confusion to the eye Of the observer
The selection of proper marble is an
important thing for an artist who would
succeed not only in producing a good
form, but especially in producing god
expression.
Among the statues, we motto ed his "Cal
itOrnia" "a beautiful and expressive ideal,
and most appropriate subject for an
American artist She is represented as
Discoverer of Gold, holding in one hand
a 'Divining Rod" in the othera ''Thorn."
Both symbolic-the one, | suppose, Of
the discovery, the other of the difficulty
Near her is a column off Quartz" which
is at the same time significant symbol
and support As symbol it represents
Gold and as such is novelty in the ar
tistic world. The "Divining Rod is also
new symbol. The whole is beautiful
conception, and the execution corresponds
with the design. This is, l believe, the
second California; the first has been pur-
chased by gentleman in New York at
$500. The happy selection of subjects
and the appropriate manner of treating
them, beSpeak the skill and power of
adaptation as well as the original genius
of the artist 80.
Amongthe models noticed America
tsir and free, trampling chains beneath
her feet--the artists exalted ideal of his
native land Would that the ideal were
actualized in every part of our great re
public
The original model of the Greek Slave,
beautiful, but bound in chains, stands
near by with saddened look, in striking
contrast with her free sister.
To an American who had travelled
North and South, this might be regarded
as qualification of the other, to remind
us that although America is constitu-
tionally free. she is saddened by the sight
of the CALLING chain
Another is the model "Eve," evidently
the most difficult and delicate of all ideals
(within the human sphere) to represent
truly. Embodying in the conception the
highest and purest idea of woman that
an artist ever has or can entertain-ol
woman in her holiest estate, fresh from
the hand of the Creator, dwelling in Eden,
communing with heaven, and the crown,
ing gift Of god to man-certainly the
highest type Of feminine beauty and
excellance. 1t required not only genius,
but purity and refinement of taste, to
conceive such an ideal and express it in
marble And more-courage to under
take so difficult and delicate a task.
Yet none, i think, will pronounce the
Eve" failure Still, with its acknowl
edged excellences, have been told that
the author has not satisfied his own
ideal.
A ROLAND FOR AN OLIvER.-A wag OF
fellow, by the name of Thornton, one
day got up during service and walked out
Of church, making rather O prominent