, 1866-12-09

centre, they make Il The Nt-centre for tho
whole county, 1abb d LONDON u ios Eos
nnd' fafis iof f.anee, Berlin for hosthaFn
ocfnAnSt anu 310oaen 4of eeutnesu eef@
many,
uous HoA. III. "4sa AueA uhaot 'u1
'Aoolus, ~ tlme " qua1!e1 VIII Inc"
ana tnose people, VINO arc 10 fortunate as 10
nave snn1e'eat means 10 support ast, sbons
Inc uh'etaA encoalsseHent. Inc 1uskome
praise, ACCORDED 6seEyth'ne With and without
pfeten6lons 10 merit, eaFofs mora OF tugcn-
lous advertising than Of trne criticism. and
uttefiy 1aals 10 ga" Inc distinctions necessary
20 discriminating culture Of the fne arts.
NO p'oanaeaoas way ~ "n'cn men OF means
olss1aoote tnef money among painters, with
ses@1u oMy 70 e11ens o1 CANVAS and ofna-
ncntation oi ua"es' seens 10 place tha
atust OF aoa'ty upon Psf with tho dauber
and makes eolofaag Inc ooly e1penslvc fea-
ture IN tno pEoaucsion OF the work With
1T, - Win DOCKS, tor some time past, much
more consldefatlon has been given to guam
tlty than 70 qnaEtJ. ann II u not an unusual
occurrence TO knock down vast collections Of
v1FiouaiJ eolored canvas under the hammer
oY the piece. It should be sold by the yard
Ihe trouble is that American art assumes
proportions altogether at variance with its
age. Like Topey. "at never was born; 1t
jrat proved" We arc not lacking in me-
tcrial. either for subject-matter, OF for abil-
ity IN execution, or for appreciation. The
fault Is to be found In the development aud
education.
As TO subjects, We have everything Of y
primitive character, which Is all that can be
oes1eo 1of poet or painter. and 1t Is notice.
"se enough 10 asah themselves or this ad-
'aoeage, na7e IN every instance been most
~ ss.a. ssn.':..1n 1us'ss o,s'euat ana enofea.
aue tcpu@a.'p" u enea Attsn l. not con-
.ucu w ci'J VI country. II extends 10
tnosc eluea anu countries whefe hvorable
cnuenn o. muea more value, where
cultivated ta4te ana educated Judgment lend
tAngao1e and durable worth to
AZ tnat Is pronounced good Prtmitveness Is
'ne oest nela 1of ORIGINALITY. and originality
Is Luz n'eneet elis Of an hfhst' True art Is
sseause' Aoa II - not onl9 In the ~tlds OF
s"NO. soueu Ame1le", VI .ae 1auaeuf o. tne ROCKY
.oeo.At.s' VI 1ae oe@u'y ol toe daoson. tnat
.us ptnussuese o1 our country Affords ad-
'anaEs " eue htAe'' 10 muen IN the
suai .,.t iast " "9a people anu tne Eenins OF OUT
.nsti'ata"ne' ~ ~ In everything which con-
| .A4ns ~ nAeu Inc germ o1 ouapsing. For
t, tue,Ans' po.'s1s Palnt'ng one OF the
nlsasst oioes1 y. att' anu tue painter,
no w. Hn.,.,a a appusat.oo WIN ta,ens' mss A.
~. ueuu s,'.,u - pot.'a!t p1lntns' Us ensi-
a es;' Aau s9,l una a4'45o ~ u any otass o!aneh
axaaatnt ns,.,..IM.. s.. -. W. si.s' ~ IN
49, .ss.s.&,.n t, esan' wnesneF a. 10
~ ~ >oAe =. p@.uu AZ. "a ,no ~ofAs " III ne e1eeu-
asa, ~ n sne eu4oiins, . me'at ~nlen
most aWAys .nsuFc" SUCCESS as In tae case
u neo,se noess.
.sApeuicue5 VI onise'sa. encourage
a.,'s. e.ns % ~ " iouna a'hons painters snem'
tha a.oot.st ssl sa.asa..a, osa oJsE mAa WIN
soAA4In.e N, noas s'nAp.e lakes tue
s.a eanaaas ~ ,,I,r nao so4uts, wuo saoa4o nave
49, a...,,...s I..sem ~ p'an "h''e aug laoaef.
~. na,n t. sssn.. ~ me " 9It eoanlsy anu a..
ss1s. 80 .l. ~ tae very aec1oeo
$50 80 eeu'pioss AaFe At
- - eowl'a.ee WIN aneficsn painters.
:. 10 tae samc p.'msi'eacsS "n!en produced
nuen gt1nu VOTE oi III IN marble among the
Aue'sal6' wnle 1nei1 paintings were 50 unas-
so"lne' Inc enisci ociofo the pencil. We
nass aiseaoy hoSefss whose wonderful doors
70 .ne eapf'o4 pave oeen compared with the
soo'' s' ~ ~ tas eAee,stS o1 'ne f!ofence catne-
at "n.eu ~ ai4elei auEeio sa1o, tney
vas I.t. -. ~ oe sne ka.cs ~ tasau17e row
80 s,'u ".tn , VIZ o'eeA 1l4se Anu n'lg "oFHs OF
na4uty aee7 AeHt mar, "lto uls ingenious,
'aoosaho-Po'hieo machlnc lot taxing all the
points ana perfect dimensions Of head and
ousl Meade. the young Vermonter, who be-
gan oy building images In snoW; Story,
Mills and others, who Would do credit to an
older country.
The Ja'hto' OF encouraging art develops
merely an ambition 70 spend most money
upon IT, without In reality educating the
taste OF the people. Taste Is susceptible OF
education. and particularly In the ane arts
talhtlnE and the lore OF painting arc sup
Pheo rom outward observation The art
consists In splrttuAlixiug painting, In giving
It htonl. And Is the workings Of the mind.
the essence Of spiritual being and all that Is
eupersensible in the composition of man, are
understood, II at al, only by and through
education, SO the art Of painting can only be
appreciated through culture. It Is very
book, but he will enjoy an album Of family
pictures fully ~ much As = portfolio Of
aehantt2osss taken from the Dresden
Gallery or Roman Vatican. That child
grown will take moro intcrcst In turning
the leaves OF popular illustrated
paper than in the contemplation Of the
TRANSFORMATION, If he has always been With
ou, advantages Of observation and culture,
The national love for painting Is crude and
seeks simple qualification for the sensc oi
sight. To be discriminating and apprecia-
tive, 1t requires education. This can GER
tn'nly never b arrived ut BY unqualified
psano o1 al .nat 10 American In art. 1t, too,
enou'o paF'&ke o. Tue comparatively pFiml-
aise nature OF Things, among which 1t finds
us place. excellent WAter-coiors arc prefer
asle to e1cerable colorlngs IN oil. Success.
lo' and original dcllns Of humor are
superior 10 base attempts ut something
grander. Natural scenery, character in por:
traits, smaller pictures and fewer of them.
substantial encouragement to real art, bus
positive diseou'agement to Wholesale daub'
.pe, $40" ont sseady progress, viii prove to
oe nlofe oenenefa4 70 American srt than the
'ap'o way IN "hlca We accomplish most
'n'ns'' -..-
7,.A L11EnA1tnR
AAy 'A'uos-on ~ sue tla4e q
"ooh h-uaa A1nE, We saouia cay That the literary
.enoencS oi tne aay' oeth IN England and al
nome, VIZ to"ATa perf2d'c'' "'..l'cations
| q lE.( (1SfE a n