The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1874-05-04
Legitimate Help In Art Work.

Much discussion has been caused by letters
written to o contemporary from Italy charg-
ing American sculptors, in wholesale man
ner, with fraudulent practices. Names that
have achieved even q worldwide reputation
were not spared in the sweeping assertions
put forth. Although we did not admit the
charges into our columns we felt that it was
due to the high character of many of the
artists assailed to publish the refutation that
was made on behalf Of Mr. Story and Miss
Hosmer. At the same time we fear that,
though the accusations were made too broad
and sweeping, they were not, IN some in
stances, at least, wholly without foundation.
We are led to form this opinion by the de-
fences put forward by some among the &C
cused. For instance, one gentleman makes the
statement that with his own hands he has
produced in four months 'two life-sized
monumental statues and finished four marble
busts'' That is his own showing in answer
to the charges made against him, and any
thing more damaging we can hardly conceive.
Now, most sculptors would consider that they
had done very excellent work in designing
and modelling one life-sized statue in three
months. Men eminent in their profession and
reputed rapid workmen would be likely to
look on three months as an insufficient time
to devote to the conscientious modelling
of one figure. What, then, must be thought
of this American artist whose wonder
full executive ability allows him to execute
four marble busts and two life-sized statues
in the space of four months. This array
quite takes our breath away, and we pause in
wonder before this sculptural giant, whose
prowess is absolutely appalling. There is a
misty tradition that great art secrets of the
Greeks are lost Before the bdS-reliefs of the
Parthenon we have heard sculptors whose
names are familiar wherever the English Ian
guage is spoken confess to on inability to
understand how one mans hand could have
in lifetime wrought even small portions Of
that exquisitely grand work. Perhaps this
modern American has found 'sthe lost secret. !"
Certainly no other sculptor in Europe could
produce two public statues and four marble
busts unaided in four months and impart to
them the correctness and finish which
art work claims-the thing is impossible.
The real question opened up by this
discussion is, what aid sculptor may receive
without forfeiting his right to be considered
the creator Of works which bear his name
On this point there can be no doubt whatever
in the minds of persons acquainted with the
system of working universally adopted by the
sculptor. The design and execution of the
original model should be purely the work of
the artist The transferring Of the work
afterwards into marble or bronze may be in
trusted to other hands, being chiefly mechan-
ical but if the sculptor be thoroughly edu-
Gated he should be able not alone to direct
but execute the final finish Of his model in
marble or bronze. Many sculptors are unable
to do So and in so far their professional training
is deficient. 1t is to the lack of this thorough
training that may be traced many OF the
charges made against American artists. AS
they are more dependant than European
sculptors on the work of their assistants they
are open to the suspicion of receiving other
than legitimate aid. This does not apply &c
all cases, but it certainly does to the majority.
! The cure for the evil ia not in attempting tc