New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1871-02-11


treat master lac q personal study, In when,
losing nothing OF his ownl Individuality, 10
anayze and appreciates the corresponding qusD'oSor
art In his equal superior; as Rubens Velss4uch A
Andrea del sarto not to menton more names fePe"""
Leonardo vinci, Tanor Raphael These copies ns'o
a compound original value, and should only h. 700
happy TO possess them.
Engrayings, photographs autotype fac simllos an"
similar copies OF works OF art beng indispensable 10 'he
student should be arranged by Themselves eaeh depart
ment by itself in chronological sequence OF Development
for reference books library o which they are tho
proper adjunct There should he attempt 70 sxhbit
them the aesthetic principles OF gallery because thcr
specific object instruction They affect the mind on"
ferenty from real art and 70 be MISTAKEN
for it than a face in a mirror for the true person ~
dgemens pts forms, records OF eOmo-
sition and processes they offer essential aid 10
the artist and amateur Chromo- autographs further
remove from real To printed design they try 10 f
the sensuous principles OF color iby similar mechancst
process which Of necessity scan give only erudo
| and unharmonious reflections OF the nnts
copied Wholly failing jtbe province Of ART,
| there is no place for them among liza real onecr.
But photographs OF the unatt nable specimens Of the
minor arts could be proftaby placed in connection with
the that be obtained "a order 10 $40" h shs'
progress in that particular brafch
The same rule far as il reflects the INABILITY 10 a.
eouately represent the original edihce in it, proper
aesthetic aspect applies all models scientific drawings,
and plans OF architecture. Thqe have their approrS
place in colleges Of technology; ~ do ke"isf inc
minor arts devoted domestic articles, coming unaer
the head Of servceableness matter how highly ora-
mental II beauty itself be merely accessory Ia some
things il may be difficult 10 the dividing line be-
tween purely aesthetic and utlarian objects. But when
suhty intermnge, II Is better In choosing ior an
art lean to the side OF absolute inutty, re-
jecting those things which display only ingenuity hne
finish mechanical dexterity. To note only one OF
many instances that will 10 those who arr faniaE
with the arts OF the past which, beside being ~ nstui
as the most homey example Of s kind IL renarhahia
a. fine art, and worthy Of place Ia the mol
fastdiOus collection, there II the gem Of medieval aud
renaissant ironwOrk the common house or chest hey
while there are aud medals lees conspicuous Tor
arti,c excellence but which account Of their parcr
lar relation chronology and biography are better kept
in libraries in company with illuminated manuscripts
and illustrated works in general By keeping sirtt IN
view the prevailing principle OF dclectauon OF Ihfo"
ton OF lany article its properi position can be readily
chosen under of the great ntelectuadc pafrnebH
which they represent.
DIvIsIOSs.
The legitimate contents OF "A systematic museum
De divided twoigeneTal classes the fine arts
OF painting and sculpture ana Gie ornamental and deco
ratiye or those minor which fail under the category
OF unsery ceableness. Here would repeat that the
eTownng virtue OF this sort Of ak precisey the quaJ
which would be- a runous vice Ia objects exclusively IN
tended to be useful in practical IL If con-
trary established habits Of mind to get full ooy'
OF art pure and Fsipple a. for instance Tho
| Jopanese, that We fail toe appreciate the finest
| objects independent Of any consideration "a
10 their material seFyiceablencss. But until do the
highest function OF artlis lost upon In advocating
what hold best interest in relation to art, MY
argument based on this Indispensable principle un'
less we fully accept IT, shall originate fine art
| even rightly comprehend and arrange what
| cure OF the past.
None OF the great gallereslof Europe yet or,r 10
America perectle xamplc The old notion wa to Oh
tlgtrf
manner, with little regard Encouragement or bght
ing in rooms originally designed for other purpose aud
either ornate in themselves wholly destitute 81
appropriate decoration. In general the exeenc"s OF
their architecture more consued than the Ieqnto
ments of the pictures and sculpture for being suitably
shown Moreover the contents Of these galleries
mostly confined local But with the spread 81
| knowledge and taste the provincial feeling has gwen
| way to o cosmopolitan desireifoI universal AIT. Every
and epoch claims its place ia themuseum OF to-day
The problem 10 solve is 10 arrange all thcs
diversified objects to produce their most beautiful
effects sngy and in the the eye while guiding
the intellect Alright in the comprehension OF their
tiyes and the study Of their technical processes pc
RODS of time Even now, however, some critics nj.
tain that a gallery has nothing 10 do with this lstes
purpose should conhne lts aim solely the eAhr
ton OF master-wOTks which crafty the taste But
is impossible TO fix rule Of taste for ali men
select enough examples OF all styles OF eminent
artists Of all schools ~ fairly sepresent them leaving
each spectator In his appreciation Of their beauty t. ta
| guided by his standard OF culture. Above all
Others, American museums Of art for all men, auG
ike libraries must have works adapted every class -
cultivated mind, although some should enter which do
not in strkingidegree represent some special artistic
| phase OF thought or quality OF execution.
Had we, for example the galleries OF Florence e. re-
arrange, ought to give separate "a each Of
the great representative artists, bringing their works
together and hOnoring the pieces by conspicuous
places. Artists OF inferior grades should be hung ia
larger galleries in the order and sequence OF the,
schools. This would emphasize the fnesti works and
prevent their being, as now COMPOUNDED with tia
crowd, while 1t would obviate Earring contrasts
Of designs, motives and cOlors In general every school
Obeys particular local impulse law OF progress
each nation has generic likeness similarity OF aspect
and feeling following dehnabe epochs chroDo.og.
| icaly TO maintain prevailing harmony OF tone aud
unity OF purpose anording in cosmopolitan museum
instructive and enjoyable contrasts and balancing q
masses joined 10 INFINITE variety OF detail. One hall
Of the real beauty Of the pictures in the Pitt paac,
now lost the public by crude arrangement and bad
lights America cannot hope 10 enough master
pieces OF any OF the masters OF the old schools "a
Europe to require distinct fokhem but the above
rule could be followed far keep schools apart,
and put together into hall OF honor the finest speS
mems Of the greatest men that could be procured.
| CLASSIFICATION OF EuoCHs.
For general classification the great art period. ar, as
| follows:
First: The Pagan, in which the senal0us ldeasuo ho
Creek and the vigorous realistic Etruscan principles
| most obtained; the human body being the supreme
| motive.
Second The Christian. beginning rs life in the ca,a.
combs and containing the end OF the medieval epoch.
ascetc ecstatc and religious; embracing all European
schools in which the human soul was the supreme
motive.
Third: The so-styled Renaissance, or mixture OF tho
preceding motives with sensual procvities; an arsto
cratic intellectual pride and pleasure in life being is