Mower County transcript. [volume] (Lansing, Minn.) 1868-1915, 1874-04-30
Art IlllOroSsiOl,R.

Art Impressions.
l. Tho chief impression which q
work of art makes upon the solid mind,
whether of a savage or of an unsuscep-
tible child, is that of surprise. To tie
unc,lltured person picture of the
strains of music is q mere curious
thing, something odd, apart from the
familiar order. He stares aud wonders,
but does not legitimately enjoy: his
Impressions belong to a lower level
than that from which the art-faculty
builds itself up, and SO do not concern
the present purpose. One grade above
this dumb sentiment the capacity for
culture begins: it begins when the mind
gets M impression of beauty, rather
than Of oddly, from the art-objoct.
Nenrly NIL sensitive children commence
their agriculture in this way. An ele-
mentary delight seizes the yonng soul
i'll the contemplation of work Of art;
sweet strain of sound or brilliant flash
of colors thrills the child. The sounds
of ON eolian harp, the wandering har-
monies of nh nnstopped pianoforte
string, the glowing hues of some in
different painting, are enough to awak-
en- in such mind the master-passio
for the beauty of mans handiwork-
a thing more lovely than aught which
that fresh dewlrop, the soul, has yet
reflected in the shining world of enter
prise.
This love of arts beauty is common
~ mn earlier love than that of Nature.
Art draws the child more strongly than
skies or landscapes; it facinates him
with its usually less habitual influence;
it gives him new joy in color, sound, or
form.
But soon this love leads the growing
mind back to Nature, teaching it to
find delight in the grandeur of bays
and mountains, in mystical-colored
sunrises, in the winds blowing hoarse-
ly amoug the hills, in the silence of
vast plains or forests.
Does aesthetic growth necessarily
pass beyond this admiration? BY no
means! the art-cultnre of large part
of the public stops with the aquisition
of the sense of beauty.
Far from making any further advance
in intelligence, people lose the crude
but vivid perceptions they had once
acquired. The intrinsic charms of
form, sound, color, play upon their IN
glutted senses yet their keen CESSATION
of their pleasures lessons their with
experience, like other enjoyments.
The natural fondness for music is per-
haps retained the longest. We hear
persons say that they enjoy music bet
ter than they should if they knew more
abont it, and as regards that primitive
enjoyment the remark is probably true.
If it were also true that knowledge and
culture are only to be valued by their
power to give pleasure, we might advise
all such persons to remain ignorant,
and not to disturb their Pierian spring
of feeling with little knowledge. But
without the higher complex pleasure
there can be no intelligent enjoyment.
2. But this love Of beauty, when it is
deeply planted, leads to other things
than delight. Those in whom it is
vitality rooted grow by natural law Of it's
growth. If they have opportunity of
study, of access to works of art, they
soon reach a second stage of develop
ment-the point at which art-produo-
ton and sound criticism first become
possible. The developing art-lover
begins to see that love and enthusiasm
are not enough-that he must bring
himself into fuller relations with what
he has been content to admire. He
begins to reason about beauty, to in
quire respecting it's foundations in truth,
to revise his enthusiasms. He asks,
first of all, whether the painting or the
statue is a faithful record. He is no
longer contented to- stand in childlike
pleasure before a beautiful work. He
begins to occupy himself with the
question, els it true?"
At this point the realistic schools of
art and criticism spring into being.
Painters begin to copy Nature carefully
and conscientiously. Critics reduce the
whole mystery of art to the most en-
gaging simplicity: cts object is truth. -
They are experts upon the moral pur-
poses of statues and of symphonies:
they remind one of theologians who are
az fat respecting the intention of
Deity. Henceforth, they tell us, the
artist is to have no other business than
the delineation of realities.
Upon this subject two theses are con-
tested. The more dogmatic theorists
argue that all truth is admirable in
art-that each and every object is
equally beautiful to the clarified sight:
all objects are therefore deserving
representation. The only iustifiable
business of the painter or the poet is to
transcribe, as accurately as possible,
some part of this altogether lovely
Nature.
The more intelligent realists perceive
on the other hand, that this is not q
sufficient account Of the subject, for it
disregards the sense of beauty. In
selections, the choice and rejection Of
of themes, as if conceding so much to
human weakness. Hardly knowing
why, they do better things than their
theory permits, as Wordsworth, EN-.
ployed poetic diction while denollncing
It. Like Wordsworth, they: have
enough of the artistic nature to save
them from their creeds. They do not
always hunger and thirst after the
trivial, nor dwell fondly upon mullen
stalks and oyster shells; they assemble
details that were never assembled in
Nature, though separately and minute
~ true. Here they draw the line:
they strive to glorify the details: these
must at least be true, at whatever cost.
They must be so accurately studied
that they shall satisfy the geologist, the
chemist, the historian, the upholsterel
and other experts whom the painter
will call in to certify to the merit oil
his work. The realists are like writers
of themes who give more attention tc
the spelling than to the meaning Of
their sentences. It is very we'll, they
say, to have noble thought or imagina
tion, bnt let us spell right first of all
-Lippinc0tt's Magazine.
Story Of Mrs. Siddons.
"When was poor GIRL" relate.
Mrs. Siddons, the actress, "workine
very hard for my thirty shillings {
week, I went down to Liverpool during
the holidays, where I was kindly receiv
ed. I was to perform a new piece some
thing like those pretty little affecting
dramas they get up now at the minol
theatres; and in my character I repre-
sented poor friendless orphan girl re-
1~>nnl b. .k - i