The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-07-09
Our Public Stntues.

art At least We are led to imagine 80 from the
sudden awakening OF art taste which finds ex-
preston In the erection OF public monuments to
men who have conferred honor and benent on the
community. II would be diricult TO decide what
ultimate eject might be produced by the introduc-
non OF Yankee notions into art, which Is peculiarly
reverenttsi and conservative. walking IN paths
long trodden and marked with footprints which
THE WEARY STUDENT PILGRIMS
Kiss reverentiay as they follow at humble dis.
lance in the wake or the great men the light OF
whose genius is leading them the roai TO fame
1t would be curious subject for speculation to
trace the probable results OF Young America rush.
Ing along al railroad speed to the great goal ahead,
overturning the Landmarks OF the past and cover
ing IN the sacred footprints that have guided tine
artistic word for in the pursuit or the beaut.
iul and tender. Whatever may he the advantages
OF this strong physical energy In matters per-
tanning to the ordinary affairs OF life we fear
that III the domain OF ART II would only be de-
structve OF many
BEAUTIFUL, DELICATE FLOWERS or THOUGHT.
and OF that sedate noble dignity OF repose which Is
Swallowed forth on the canvass OF the old masters
The qualities OF people find expression In their
art, which is the standard by which an age will be
judged by posterty. Looking back to antiquity, we
have example In the Grecian republics Of how
much the reputation OF people is affected by the
quality Of their art. Who ever thinks OF Greece In
any connection but the home of highly Civilized
people, endowed with subtle tenderness OF thought
that makes them something more than mOrtals II is
almost impossible TO connect the thought of anything
mean or degraded with the nation that gave us
Apollo and Venus. Who has any conception OF what
a Greek rough would look hKeS we look inward
shall. perhaps he forced to confess that the idea
of rough has never been associated In our minds
with citizen OF one OF the Grecian republics. Such
a character seems to be entirely out of place in
nation so much devoted to
THE WORSHIP OF THE BEAUTIFUL.
that 1t never occurs to us to associate them in our
minds. No doubt We believe In the exisen OF
Greek criminals but they take the form of polished
scoundrels, who sin with such grace that we are
almost inclined TO condone their crime. This Is but
one example Of how much influence art exercises
over the opinions OF mankind And we find that in
just proportion as art has hourshed in any age or
country is the respect or posterity awarded If the
enlightenment anu civilization OF America to-day be
Judged by this standard fear that boosted in
tegence ana progress will not save us from the
contempt OK the future unless, indeed,
OUR UTILlTARIAN TRIUMPBS
to the rescue and plead for gentle Judgments:
but If We are judged by the standard OF the beauti
full, then, indeed. we stand already condemned. Nor
Will the spasmodc efforts al present being made IN
the interest or art production avail much unless
better and wiser spirit step IN to guide us In the
promotion OF true art IL is not enough that money
should be freely given 10 encourage the production
OF art works Patronage which Is not directed with
Judgment Is Just as likely TO beget bad works as
good.
High art Ike very!hing precious, is necessarily
limited in quantity, and cannot be produced to
order, like so many yards III calico. The productive
power OF the greatest artist limited within very
narrow space, and any temptation to overtax his
power generally results In Inferior work. When in.
ferior artists who have reputation to lose, know
that ney pa,ronEed not 80 much IN the interest
OF from the influence Of personal frieads, the
temptation TO degrade the pursuit of art into
MONEY -GRUBBING TRADE
becomes almost irresistible, and hence the abOm-
nations which are constantly produced unbltsn.
incy under the t!tle Of art works. The absence OF
art taste in America Is giving dangerous
development to this spurious art, which threatens
impuseible to oyer-estniate the ,nfuence for evil
when the constant pressure OF spurious art works
must have IN corruptnR the popular ideas OF tae
beautiful A public statue stands out TO the masSUf
fhs people rs
TO AvraoRrrATIvE EXPRESSION OF ART SKILL.
No matter how bad the work may be. no matter
how great its defects certain seal OF autnortyis
placed upon 1t when IT Is erected In public. Simple
minded people argue that unless the work possessed
merit OF some kind IL would never have been
selected 10 mark present approval Of some worthy
deed by men who are allowed TO know much more
about what is good and correct III arr than the
Of the community. Hence springs the great evils
false notions OF art are incucated and the public
taste becomes corrupt that 1t Is incapable or re-
cogniZng good work when 1t appears. To some
thing OF tins pass walking with hastJ strides.
A few years ago we had no ART and suddenly we
awakened 10 the necessity OF creating school VI
artists, and without more ado, with true
AMERICAN GoABEADIsM
we encourage number OF gentlemen 10 produce an
The resn, mas not disappointed any one conversani
with art ana we hope II has given satisfaction TO the
patrons. We say this chsrtably. But 80 far as we
nIrrsp lyag urn IN nm IN
express our strong dissatisfaction. We love art and
would have 1t encouraged and cultivated with the
utmost liberaltty. But for this very love we bear all
that true and beautiful In the tender Thought aud
subtle skill OF man we would eliminate all that is un
perfection pur Will be satisfied with much less
Whenever a bold or beautiful idea is presented,
though surrounded by a mass Of uDwOrthines- we
shall give IL all the praise 1t may merit, aud snail
pass lightly over the many faults IN ttankiulness for
he
or beauty. On the other hand we shall wage ruth
less, uncea ing war upon sham art which Uutragcs
| both our taste and intelligence
To-day purpose to review critically the latest
! contribution 10 the public monuments Of our city
The Morse statue. III we pause and examine for u
moment rhe Importance OF the event which the
statue Is intended 10 commemorate we shall be
struck with the immense scope which the subject
Afforded Tor the exercise the artists skill IN re-
presenting powerful and subtle thought No grander
theme w.ss ever treated by art Than
THE TRIUMPH OF MIND
the very elements, reducing the electric cur.
10 control and making Is the servant aud mes
~All time. Mere was subject worthy or the artists
thought and fl 10 call up whatever conceptions OF
grandeur, force and dignity might be lying latent IN
his soul. Bu great artist only could hope TO rise
to the conception OF the theme and concentrate the
| expression or
THE THOUSAND MOBILE FORCES or THOUGHT
In hard infexble stone The treatment Of statue
should nc in Keeping with the achievements IL Is in
tended to commemorate, and should shadow forth
The moral qualities or tie actions Of rather than
their mere physical resemblance In fact. a statue
should be the epitomiled history OF life or OF an
epoch, and convey 10 Us the ideas grandeur and ex-
celence which Is up 10 honor. The work before
us fails III every condition thai jIsiies the erection
public statue, and warns MS that 10 h becoming
necessary ON Tue part OF our CITY authorities 10 ex-
prclse closer supervision over the quality OF the
works which they allow 10 ne set mp In public
places. One essential condition should Ia all cases
I've Insisted namely that the statues erected In
/ honor oi great inen should be ~ a certain
STANDARD OF EXCBiLENCE
! 20 cntitle them 10 public recognition. We not
20 far rs the Greeks. VINO Oanisled Artist who