The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1868-10-19
The "AtIantic."

The November number of the Atlantic has
the following list of articles:-"Co-operati
Housekeeping, first paper; "What Five Years
Do," by L. II. Appleton; "My Darling" by
Alice Carey; "Foreign Faces" by Eugene
Benson; "My Visit to the Gorilla" Sculpture
in the United States;" "The Face in the
GLASS;" Part III; "Bacon," second paper, by
L. P. Whipple; "Sea-gulls;" "rhe Traditional
Policy OF Russia" by Karl Blind; "Calco
Printing in France" 'Mayden Valley, Spin
sterland,' by Adam S. Hill; ''The Land of
Paoli," by Bayard Taylor; "The Harvester"
"Kentuck's Ghost" by E. Stuart Phelps;
reviews, literary notices, etc. This number
of the atlantic is the best that has been issued
for some time.
The author Of the article on Sculpture in
the United States," after expressing his
opinion about the propriety of Congress giving
a ten-thousand- dollar order to Miss Winnie
Ream for statue of Lincoln, discourses as
follows:-
If modem sculpture, by patient following of
the antique. could attain its marvellous periec
ton in the representation of the human figure,
could the art by such means hold rank IN our
culture equal with that which it held ia Greece?
II subjects worthy of such vast science and nice
laudiwork cannot be found, the acquiIement
OF tbs branch of technal power is useless. BY
repetition OF antique subjects, sculpture cannot
re'establish its proper relation to the people.
Statues OF the gods cannot in form the American
mind, except through its sympathy with the an
clent creeks and their mythology-a remote
and vague influence. The masses regard such
marbles as workmanship or ornamentation, and
art is more than that. Something must be
done to carry the mind beyond eXternals.
Ieus was, vital force to the Greek,
nnl n1Dnv 20
The, sncients saw the ruling god; the
Moderns, only the historic representation.
These themes belong to literature This may
also be said of subjects chosen from the COM
mon life of the ancients, 1t was no more
worthy than our own, and our people care mi
nitely less about it, There is at Newport, Rhode
Island, splendid copy in marble OF the Dying
Gladiator, very beautiful and significant; bat
its presence in this country is known by bat
very few, and it is not likely to be appreciated
by more than few connolsseurs. The fine col
lectlons OF casts from the antique in the large
cities experience something OF the same neglect;
the artists study them, but the people look at
them curiously, as they regard objects in the
galleries of Natural History, and often with a
real or affected horror OF their nudity.
Those who desire the encouragement of classic
art sometimes assume that it is folly tor the
artist to try TO maintain direct relation to the
general public, which cannot appreciate fne
art, snd that he should model or paint only for
those whose culture and taste fit them to be
connolsseurs. Here direct issue may be
stated; for the realtsts who also clam the best
culture, believe that il is van to model or paint
tor any body else but the people. They say that
If art Is but the language OF the learned, or the
toy of the rich, it may well die utterly, having
become useless luxury. History susta1ns this
position. No really great art has eX sted which
did not in some deglee reflect the inner life OF
the people; and no art can help US in America,
unless it IS based upon the sympathy aud crit
csm of the public. Had there been only half
dozen Atheniaus who knew what was hUung
and bC autiful in a statue of Zeus, 1t is imDIoba
bic that phidlas would have given his time and
toll to the great Parthenon statue for their
pleasure. 1t is even less likely that the splendid
figure OF athletes, 0one by the brass-casters OF
that period were wrought for the appreciation
Of select few when the games had m ade the
people so familiar with the human form that
every man OF ordinary perceptiye power must
have been a true critic. The best Greek work
LETT TO us is from the exterior buildings, where
IL was placed ior the instruction and delight
OF the nation That magnificent school OF art,
so far eXcelling all Others known in the history
OF the world, though refined to the utmost by
The wisdom of the learned, had its foundation
IN the hearts OF the people. Happily, our artists
are not often forced to decide between the sup
port Oh their wise and wealthy patrons and tnat
vi the masses; but where such a choice becomes
necessary, There can be little hesitation In the
minus ol lnose who respect their calling. To
mou9l OF paint ior person of wealth Is com.
iortaDie anu 10 oe conscious of the sympathy of
lew ch0lce SOUS u very pleasant; but 10 model