New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1871-01-23
FINE ARTS.
w,pp,s Static OF SHAKESPEARE.

Central Park was lately exhibited TO The public at
the artists studio The work has engaged the scuptors
best thought for nearly five years The first sketch IN
miniature was made in 1850 The present statue was set
min clay about eighteen months age, and is in all es-
scptia respects of enlargement and compile
hon OF the sketch which presented to the Committee
who undertook the erection OF the statue and which met
with their approval.
The feature that first attracts attention is the graceful
ness Of the FORM easy elegance, not without power
in fact owing much Of its charm 10 quiet strength but
suggesting rather harmony OF proportions and Guilt
waited dcmoanor. The next impression is OF extreme
smpcity not % costume alone. but OF air and attitude
The dress IS in every point true the fashion OF the pc
rod when the poet lived, and has all the necessary ap
pcuiaccs; hut IL is rs plain the style permitted
having excuses of ornament whatever broad lace
collar which the artist designed at first having been re-
moved OF keeping with the almost negligent attire
the Of letters short cloak hangs from the left
shoulder carccssy, and should perhaps, have been
allowed 70 depcnd freely; for the slight but unnecessary
effort 10 draw IL partially round The person with the
right arm calls attention to it than IL deserves ana
for an instant distracs the mind from the sweet dignity
Of the figure itself This is the only matter we feel ike
criticsng: the particular that suggests fugitive
departure from the scupt0rs admirable rule that noun
ing should done that strictly necessary 10 the
production Of the grand effect This hanging OF the
cloak the right arm, though evidently unconscious
and dctractinC nothing from the complete seapSofp-
Of the figure, which is profound as that OF the
celebrated statue in the Medc chapel in Florence, sug
gests nevertheless, to the bebOlder possible side
thought Of drapery that is irrelevant. But this is al that
deains the eve for much Instant Attention Is
Immediately commanded and held by the figure.
It'll of noble proportions and bearing. Wards shake
spcare is no pale, thin-hlooded sender-mhed man of
mind wasted by the action Of thought hut sturdy,
robust frame broad-shouldered and sfrnly knit lie
stands well on his feet ana easily, II il was no idtguc
10 stand His limbs strongly modelled like those OF
man who walks abroad in the world OF nature and so
oety ana finds himself more at home in the street than
IN the library volume in the night hand indicates ms
calling as a man Of letters his left arm placed akimbo
gives an air If eisury meditation. 80 those naturally
stand who are intending their minds
Mr.. Wards conception of Shakespeare and is eeti
mate perhaps the only Just conception Of him. is evil
deuty that OF OF the world in the best sense
that can be given that abused term. That to say
man who is recluSe, ideas dreamer no specu
ative philosopher who constructs the universe out OF
materials that eXtant in the depths of his conscious
ness who lives in the world. observes it., stu
dies it, reflects on IT, takes il inst it H. ana tries TO get
al the moral laws that make it He is first Of all
an observer; theorst thcolOsian, scholastic
philosopher. no preacher morast, no apOlogst or
accusCr of mankind; hut creature endowed with eX-
traordiuary powers OF impH ih discernmcnt healthy
person. therefore. well organized and equipped for
practical eucrg. nccs, al home ia all scenes, and hos
ritahe to alI characters The power of this frame
speaks OF endurance, OF participation in the affairs OF
common life the ELEGANCE Of it tells of familiarity with
people Of culture. lie IS not awkward He has no
thought Of his clothes.
some VIII be surprised 40 the apparent vouth'uness Of
the figure and will Judge il 10 he mistake that so few
traces Of thought are indicated the lines of the face
But tins, too NAV be explained the theory inst men
toned The men whose faces marked with burrows
and holows by intense thinking, are men whose think
iugis speculative and interior. Ncaphyscians theo-
locaus students who pass their days IN libraries anu
burn the midnight lamp. such have the din eye, the
suukcn check. the skiHke PARCHMENT. But the man
whose mind however active, works in sympathy with
IuarEiud and in harmony with nature, may put forth
urolirors intellectual efforts and Stn preserve an I'M
worn look. This Shakespeare is clearly man OF
1hovrht: literally a thinking man. and not thinking
bru merely He thinks all The head large fully
developed, aluiGcct dome OF mind hut 1t is not III
lie least out Of proportion with the frame; indeed, ct
1hc first glance it looks too small. ii j. live head
placed on live shoulders he Is presented as Tla; the
old Bible calls ga living soul"
And tLs rings us directly the head and face which
are sure 90 Dec the most commented on ana criticised
These the only points that presented 1.-THE sculptor
any pccuar ocuv II is unnecessary 20 say that the
0neulfy wa IaGy faced, duly estimated, and met With
patient consideration. careful Judgment. and most
faithful Use OF all the existing means FOR arriving at
sound CONCLUSIONS No portrait Of Shakespeare com
uaads such entire confidence that the artist would have
been Justified i'm copying il. While al have certain
points 81 common. they differ from one another IN
incidental aud iu some cardinal respects No one Of
ITEM entitled 10 authoritative prominence before the
others. They may all he genuine, aud yet an
D. untrue. Tho foolish ? looking bust of wood
that stands near the poets tomb in the church
81 S.ratford is supposed, the best authority,
10 have been carved ia imitation Of cast which was
taken from tie face OF the poet ne lay deadaaEd dates
back therefore q remote period. The carver being
imaginative. ualprcciatyt aud unskinrd, made 10 is
coHecrod poor Of Dbl, tools in al The expressive
parts Of the face cutting of the end of the for III
stance, lcnrtheHg the clu and upper lip. mi,shaping
the eyebrow and cycsockets, and making heavy tn
Jaw hut preserving the fundamental traits the head
The plaster mask from which the bust wa, taken was
until recently supposed To have been destroyed by the
ignorant workman, who had thought knowledge OF
it, value We say until recently mask, purpOring
to be this very one, was discovered Germany q few
years ago, AND exhibited at tie British Museum TO tle
curious in such matters The story of This mask; wLc!
lanndi lie told here was 30 consistent and plausible that
many believed in It's commences, somewhat inclined
thereto doubtless hy IN. noble character Of is H.,
aud the grand intellectual expression That il
wore, The photographs OF ill., with which
We on our side OF the Atlantic, must TIE
content. disclose head ana face altogether worthy u
genius ike that OF shakespeare Not at all mousrous
exa~pctla or suggestive OF prodigy, hut developed
in the orcons where Ms supreme excellence did mques-
t.oraIy dacl 20 Aaa0uloJs and yet vitAai 50 like in
certain aspects 10 the S,Iat,Oid bust, that it very
easy TO ACCEPT the proGcred evidence that declared it 10
lie tbc authentic mold taken from the poets face That
the cast OF very noble dead face and was taken
near siakcspcarcs tine certain. To receive It as
The exact lieuess OF Shakespeare not difficult FOR
admirers of the poet who resented tho injustice they
fct was rendered Inn ly the painters Of ms time.
To Mace this fine head on The shoGdcrsiof h figure
was temptation that Mr. Ward had 10 resist Photo
graphs representing the cast ia different aspects were
in Ii, hands, from them the mask might have been re-
produced and in conformity with il the structure Of the