New-York tribune., 1873-01-29
LOCAL MISCELLANY.
ART AND ARCHAEOLOGY.

assembled last evening In the south OF the Acad
emy OF Design. 10 listen TO lecture The Education
and Culture the Artist" by c. y. Cranch. Among
Others present the artists VIM. Page j. O. A. Ward
e. J. Guy, and E. Wood Perry of the National Academy
theme ablyltreated. and the lecturer by the
earnestness Of his manner easily held the attention OF
his audience 10 the close. The lecture outline "i
which will he found below, was appeal for proaoer
and deeper culture, and protest against 10" Vo"o
In art.
MI Cranch said that in considering subject OF the
artists education culture much that ne hau 10 say
would have reference TO o wider, perhaps an "e,
Gle than that occupied by those whose province "
speak OF practical details OF study, OF ne'no anu r
cesses In any branch art The education OF 'ne s'
~ not that Of the artisan The name afust mas "A"
HIGHER and wider rank than IT once held and denotes
TODAY the Towering OF the best creative enort IN usc
in poetry and in all the higher branches OF ntera'e
As wen as IN the pictorial plastic and architecture" a'
Tho problem Of the comparative value OF general and
,oecac culture the artists case Is solved more eas
necause he is drawn his profession by an Irresistible
attraction The love Of ms work is his mainspring
THIS viii determine his course and by tms ana not py
any inferior motive, Will his efforts be lnnuenced he
must then first ALL be thoroughly conscientious, ana
..t 70, truth and beauty will behind. The beau
tl IS hs element The education of the eye ana mana
,s his step and these must work together lie can
mot zee ANYTHING rightly until he draws paints it, Next
follows study OF composition. the rules OF winch are
lased on nature well art and are as widely re-
ueyod from individual caprice the one hand AS from
The dognas OF the schools the other Simple com
position often the best. Arthcalty should be
avoided.
MI Crauch illustrated the vice OF artificial compost
ton by description Leopold Robcrtss picture in the
Louvre o. the Return Of the Harvesters, in which all
the academic rules observed. but which lacks
that sentiment natural which forms the standard OF
today The artists select rather than idealze
True realism IN becomes with true ideahsm But
art Of course is not imitation IL is reproduction or as
Emerson SAVE Nature passed through the alembic OF
Tie soul"
Mr. Cranch next considered the subject OF color and
tone and pointed the distinction, often confounded
between the two Tone is pervading harmony Of tint
and may be compared keynote in music Color is
like the harnonzcd melody air the accentuatons of
which are given along line OF the dominating key
rcaies in color and imperfect scales IN
music The painter must keep 70 his Kew. and every
chord Of color sacredly held and mastered ~ his
highest light be Naples yellow, and his deepest shadow
lumber can rush into "a key with white and
his highest and lowest notes than pianist can
transition from four flats nto three sharps
The eye demands chords in color, ne the ear de
nands chords in music. The most harmonious color
s. found, when analyzed. 10 he a mosaic 'of tnts
The lecturer illustrated the value Of color and tone by
reference to exhibition in Paris, where the French
aud English schools OF painting were seen together ana
could h. compared-nuch To the advantage OF the lot
Iper lie spoke Of the indications of school OF colorsts
America and Of the good influence OF the best French
n.
younger painters The study Of the old masters may be
garded of liberal education for the artist
The lectures OF Joshua Reynolds we'll worth pc
TlSal contain GOOD deal of TRUTH although ne mas
chiefly reference the grand style OF Michael Angelo
and Raphael aud is not emphatic the necessity OF
studying nature the teachers OF today Or low tone
muri might be said and analo1es might be traced be-
-. poetry, storytelling, dramatic representation,
.rcbitecuIrc. DC. Low tone is the reserved
force Of Tub-ihe quality that does not oversep the
oGesty OF nature. II IS what the old masters wen un,
dersoo and is OF the most useful lessons for us an
tO in America Hence the value Of gallery IKE
The Metropolitan But there wider range OF culture
for the than his technical training. He must not
subdued by his Instruments Skill or power IN eAecu-
tion all There is soul as well as body IN art
The symbol If only alive when vlvined by Thought feel
ing conception The artists limit themselves too much
10 the FORM the BODY Of art Hence the endless
succession OF lnsd or srnss,iona pletutSS M ,S ttS' %
shcud Ii is the tune of our eaten played oy the PIC
that bosets ar always the fascinau lg maeri
Tbe lecturer spoke of the opportunities aud tempta
t,ons OF studo-iife of the profit that might result
RON criticisms emanating from artists themselves
of tie lows ard satistactOns OF painting from nature
IL connection with painting he spoke IN hgh
praise John r. Kensett both as an artist ana
man; and IN conclusion dwelt the Importance OF
breathing the of Art all the noble thought
pressing As words but sound ink 80 all Art Is
heless symbol til hlled with qgek,enng @ sp3Tla. Th
artists their part the great chorus chaned
by the great bands of progressive spirits who ada
ILeir contributions 10 the ages.
ANCIENT MONUMENTS OF AMERICA.
wcll-attended meeting of the American
Geographical Society was held, last evening at the
eor,oty's rooms in the Cooper Union. Augustus Le
JioLcoon VI. D.. IL D. read interesting land alu-
1bIo paper ON Tue Condolences between The Monu
ments Of Ancient America and Those Of Assyria aud
Egypt."
Tae lecturer described the high state Of civilization
which the ancient Peruvians enjoyed before the advent
Of the Incas who endeavOred TO suppant II by subst
tutnc for another and poorer form These ancient
PeruYlaus understood the formation Of the dome and
arch Vases made by them might easily be mistaken
xfgup plV
Wan and Assyran were in many respects simi
lar Tie rope-wrting OF the Peruylans was IN
uee among the Chinese 5000 years ago. There
were also many remarkable condolences in pictorial
representations From the remotest antiquity the IN
habtants of Peru like the ancient Aryans, had arrived
nj the sublime conception OF the Unity OF the Supreme
Being It's worship universal throughout the coun
try but IL seems 10 have particularly honored at
lie CITY which bore his aud where magnificent
temple which to-day presents the appearance OF
mass Of nnburned bricks. was eonsecrSted
r. hun. They called him Pachacamac Ohe
creator q! the world)-the Ahuramazda OF the
Ayyans The Assyrians likewise conceived the idea
a, The unity Of God called bin Asshur, and wOrshped
him throughout Assyra- The existence of Nara, the
divine ana eternal spirit which pervades the universe
taught IA the tne o hhooo @
isws OF Manu- The Egyptians also recognized one
snrrerne tod who had beginning and would nave no
fuc and called him MIX pu Nuk q am that aihl. inat
tuIs was the original worship OF Egypt the temple Oh
Kiue shaire, by It's freedom not only from ido: Dut
even from symbolic decorations, admits OF DO doubt
ihe Is,yrans had triads. The first triad was Of
.osnogOnc character persOncauons OF the pfimordai
chaos of the power that reduced II 10 order, ana OF the
intelligent spirit the universe The second trad con
ssted of Hurki~hanas and Iva. IL was or an astro-
noical character and pcrsouhed the moon, the SUM-
Aid the atmosphere.
The Egyptiais likewise had several triads, but the
most reyoTed was composed OF Osiron Isis ana Horus
THIS WOrshped throughout Egypt Ii ie said thst
Tho Egyptians inherited this idea Of the tads IRON the
HiuuOOs who held that PaIabrdhIDa, the supreme GOd
Il trIune being formed OF B~aha, Nishnu ana SNa
but whence did the nhabitant VI Peru derive thelt
the -ea)f
TIE worship Of Pachacamac general throughout
Hahn ff-S fyu flef fYugo of he ADJ O