The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-07-02

OUR PUBLIC STATUES.

OUR PUBLIC STATUES.
The necessity for public patronage Of art has been
recognized In every are and under almost every
form Of government 1t IL not therefore, to be won
dered at that the enterprsing authorities OF the EN-
pire City should initiate an example set them, not
alone by the free cities and States of the ancient
world but even by the despotie governments that
sprung from feudai barbarism. The citizen and
tyrannic lordlng alike bowed down before the magic
of the artists skill and w0rshtpped the tangible exc
preston OF beautiful idea In marble CT
breathing forth In the glowing colors Of life from the
seemingly enchanted canvas. II ia, indeed, one OF
the giories Of many despOts that they make their
reign illustri0us by the protection and patronage
accorded to art and so weave the interest Of the king
and the artist together that 80 long as the memory
OF great work remains SO long will the patron OF
the artist he not forgotten.
The destiny Of America, with her unrivalled
future. is undoubtedly to become the home and the
theme OF
THE GREAT ART or THE FUTURE,
and Is orr duty to see that the people enter on the
fulnlent Of their high destiny with the least posi-
BILE delay Hitherto the public mind has not had
the leisure necessary either to the encouragement or
production OF art; and though here and there In
quiet hooks some sympathetic minds were COM
muning with nature, and struggling In their own
wayward, weak way to give expression to the feel
tngs Of beauty that were within them, still had
no national art-nothng that we might be proud
Of except strong, honest struggles to express the
hope and the life that were In u.s. Already brighter
dawn Ia breaking, as the dull, heavy clouds are
rising we see
FAINT srREAks OF THE GOLDEN LIGHT
that is far away or in the upper regions to which
We struggle to ascend. Here In lovely city
OF Gotham at intervals there are signs portentous
OF the change tnat Is coming, and the desire which
is settling In the hearts OF the people for the
agement Of that art which gids all that 1t touches
and immortaIzes the age which It h0nors. Art Is
essentially noble and loving and universal 1t
leaf the narrow bounds Of mans prejudice and
knows no nation and no race 1t Is catholic in the
best and purest OF he word and stretches out
Its arms to embrace. without distinction OF race or
color, all who can contribute
a ONE BEAUTY OF THOUGHT
or add conceptive gem to the crown OF art. We
kneel alike in homage before the splendor Of Raphael
or the brilliant power OF MurillO's black Who
pauses to think of the black painters woOlly head
ana thick lips when standing before some beautiful
conception OF the Queen of Heaven blessed saint?
Art knows no distinction OF hue, and the crown Of
genius Will remain fresh and bright upon that
swarthy African brow as long as there are men ca
pable OF honOring whatever is touching and tender
In the works and thoughts Of men. SO 1t Is right
that the encouragement accorded to art by free
nation like America sh0uld not be crcumscribed by
any lines OF race or lineage. Wherever there rs
great soul
SHEDDING THE LIGHT OF TRUTH
and teaching us refined tenderness of feeling the
homage or America should he offered to that soul
one Of the gifts OF GOD to humanity. THIS is the
home or humanity built up by the blood and sweat
OF all races Of men, belonging 60 none and to all,
owning no exclusive race but that or man. From
this great nation Of the future must 60 forth the
message that all men are Notwithstanding the
same Ills. cheered by the same hopes and rewarded
by the same joys-and 1t is fitting that through our
encouragement Of foreign the first light Of this
great truth should break upon the world.
In the present stage Of American art the patron
age OF foreign artists Is necessity, If we would
have examples of the highest art among us; but we
hope that when the necessity has passed away
and America has taken the first rank
the production Of art works the same
generosity VIII continue 70 no exhibited
and patronage be still extended 10 every worthy
object. Bat while we would have foreign art en-
cOuraged and even fOstered because it Is good, we
intend to insist that shall not be patronized merely
because It is foreign. Az all times and under all
circumstances
REALLY GOOD ART SHALL he WELCOMED,
and received not alone with pleasure but even with
thankfulness and be set up for the instruction and
emulation OF the American youth. But care should
be taken by those who dispense the peoples
patronage that the works SO distinguished shall he
worthy Of the nations homage and not merely the
expression Of blind admiration for the reputation
OF people or course 1t Is too much to expect that
our officials should be artists, or even endowed with
imagined-but we do hold that one should be
entrusted with the patronage OF foreign or native
every reliance, from an art point or view, can be
placed.
These reflections were called up by one day ind
ing ourselves pear the Gate OF Commerce in Central
Park face TO lace with large bronze statue which
We had approached with
THE CURIOUS RzvERENrrAL INTEREST
which the sight o; an art work always calls up
within us. The statue represented Commerce"
Ar rs au sSnt IL surrested ihe INQUIRY TS S had Il
come all the why from France There was certainly,
nothing In the execution or conception OF the work
which could have prevented Its production by any
one of cur less pretentlOus American sculptOrs.
There was neither grandeur nor delicacy,
BOLDkEsS DESIGN
nor nrmness OF execution, to merit the honor that
had been conferred upon this work, which was sim:
py owarce, Sx heay,v.6raned te,oaIe sg"re
wearing urban crown. In order TO indicate the
advantages that spring from trade the artist has
placed TWO large ears OF maize IN the hair OF the
statue which ut q little distance have q curious
effect giving the idea Of a pair Of buuding horns.
Ihc statue stands posed on the left leg with the
right loot advanced the Knee being slightly bent.
The position Is strong, out absolutely wanting In
that noble. dignIned grace that we look for in an
allegorIcal representation OF 'COmmercen What
makes the want of grace more striking Ia
THE ABSENCE or CORRECT PROPORTIONS,
the figure being decidedly short and dumpy, and this
detect Is increased by the heavy masses OF
drapery which encsmber the figure anu was no
doubt put on to save the artist the trouble OF flesh
modelling. However, we can easily pardon him the
omission If he could do no better than some OF the
uars 10 which we Shall call attention further on