Middletown transcript., 1874-04-11

sense Of wonder, and with that his appre-
citation of the beautiful.
How different it is With tho weary la
borer at the desk or in the workshop. or
the professional man worn with the toll Of
brain, when, for few short weeks he is
enabled to cast care behind him and, An
taeus like, recruit his exhausted energies
by contact with his mother earth! What
glories be finds 10 her presence what ex-
ceeding beauty is revealed to him in sea
and mountain, and woodland! What rap
ture in the eunaccustomed sense of Freedom.
His sensations are not dulled by safety.
He enjoys vividly what to him is rare
Much 10 said about the dissemination Of
taste by the multiplication Of beautiful
things; and to q certain extent this is de-
sirable. But even good taste may be pur-
chased at too high price, and there is
danger that If we do not keep our beauti-
full things rare, we shall vulgarizo them.
and cease to perceive their beauty alto
gether.
Illustrated papers, chrome lithography
and heliography. and casts, and even
pastes and seagliola. and such means Of
producing copies and other limitations
ought, no doubt. to be cordially welcomed
as enabling much to the beauty that was
formerly confined to the palace to be en-
joyed in the cottage.
But do We really value much the pic
ture We see repeated in every shep win
dow? Do we care for for statue, or a
vase, or an ornament, that is thrust before
eur eyes at every turn through the medi-
un, of innumerable copies and limitations
Now, is this tendency to safety sub
ject for regret or blame? We are so con-
stituted. both as regards our minds and
our outward senses, as to be unable to
bear any long-continued strain. AS the
eye may gaze upon color until it appears
faded. and in order to see it again in its
brilliancy, the eye must be allowed to rest
awhile upon an opposite tint, so the mind
requires change, if its perceptions are not
to become blunted. In Lessing' : celcbla ated
essay, known as "Laocson." the follow
ing passage occurs, speaking of La Metric,
who had his portrait taken as a second
Democritus: 1.-The first time the picture
is seen it seems to laugh; but frequently
contemplated, the philosopher becomes a
buffoon and the laugh grin"
To this law of our nature much to the
neglect in America of what is called high
art may be traced. We do not turn our
churches into picture galleries, neither
have the majority of picture-buyers gal
cries of their own. Pictures are pur-
chased to be hung in the ordinary living
rooms of the family, and it is true instinct,
perhaps quite as much as acquired taste,
that leads to the choice of simple subjects.
adding to the cheerfulness of the room,
while requiring no greater mental effort in
the beholder.
Suppose, however, these sunny land
scapes, and breezy sca-pieces, and scenes
from domestic life removed, and in their
stead, place,say Guides " Martyrdom of
st. Sebastian" Reubon's - Descent from
the Cross" or Raphael's "St. Cecilia, I"
either the continued strain upon the fac
ulties, turned to their highest pitch by the
constant contemplation of these noblest
works of art, would become unendurable,
or we should lose, by too great familiarity,
all sense of their grandeur.
A fortunate posscssor of q valuable pic.
ture not unfrequently draws curtain be-
fore it, or, if small. places it in a case to
preserve it; for. he says, by allowing him
self only an occasional contemplation of its
beauties, he retains the freshness of feel
ing, the warm delight with which be first
viewed the treasure he has made his own.
Great wisdom lies in that curtain-great
value and beauty not habitually disclosed
The rare is no less precious in another
aspect. Much of what we understand by
fascination of manner depends on variety
Shakespeare gives this crowning grace to
his Cleopatra:
cage cannot wither her, nor custom stale
| Her infinite variety"
The constant set smile becomes, after a
time, qnite as wearisome as the downward
aspect of melancholy. the soft, smooth
speech Of the habitual complainant as te-
dious as the pressing of the grumblor. 1t
is the rare smile, flashing like a sudden
CLEAN of sunlight over the thoughtful coun-
tenance. the tender shadow as from an
April cloud. darkening the aspect for a
moment and then passing away, that al
lures the bright. elastic spirit. lending it.
self with adaptability and every emotion
that charms.
To refer again to Lessing, he defines
the charming as the "transitory beauti-
full" that we wish to see repeated. 3" 1t
comes and goes" he says, land as wha,
gives US the idea Of movement impressos
US more easily and in more lively man
ner than mere form and color. So. by
the same rule, must the charming effect
US more strongly than the beautiful.
B. A. g.
Wilmington, Del, April Sd.