The sun. [volume] (New York [N.Y.]) 1833-1916, 1878-05-12

GUS and worm -caton one by the way, loading to
little sanctuari ~ established in his shoulders.
deity Of sOmc Kind IL placed inside the head,
All the sup 'rnntural beings who preside over
the dcstinics a the world are rcpr s"nicl mere.
II is plainly to toe seen here that thosc numerous
idols are person iications of particular qualities
VI one AM the sdmt god. As ut the ActODuls
of Nthrns Ms i'm the sanctuarics Of EGYPT a.
ON the Hicdd 's Of India. th' mutplt ny ol NJ
urcs Indicates not 20 multiplicity oi gods, hut
Oh" mum rOus aufinuiit, Inc Nurl'u uuAlliirs,
the inhnitc powers OF one divine and symbolic
Those religions " the Orient. which create no
end ot Olymuuscs wan view tp explain tho
~ Ni moss" ih' DOW ~ ih' Nht-htiiiIiil} oil Nli'
start exactly from tine sumo prn irlc as me
ig"hoi,ci-iic .. ll-iuns O. the HrNr"W or inc
Mue-ulmNns Wh' rDJ't u imug > rs an a view
better tn render thc l.rlaiu .-s OF the divine
IDA. Tine process IN Tie two cases is only
dIll rent. that Is I'LL.
One OF thcse chapters ON Japanese dcities
ought io be Of interest to our Learned nrt critics
who about Il year ago. discussed SO warmly
the ppYice rerso question, apropos iof Gtr0ne's
picture. From tnr different transformations "
the god konannon. it appears that when hc is
represented with his right arm stretched out
and the palm and thumb turned downward. 1t
means that he dominates and brushes every
thing On the other hand. when his arm il
lifted above his head and tho thumb turned
hcavcnw1rd. il means that he spreads the spirit
ot charity oyer an beings. There seems to be a
good deal of analogy between the symbols In
this case and in that Of the Roman Vcstas.
But the moment that ". Guimct grts out of the
sphere " beliefs and symbols he becomes dun
and desultory, throwing ont only now and then
a sensible remark like this:
Ny ,bholN began at once with the sharp end
~ hi- stick To- sketch ON tho sand the Image Of
the idol our drdughtsmrh gave upthcir work to
admire the surpris iug talent of ID" man. This
was ny u chance ai, ar, All the japanese have
u" artist" sonse highly developed in them.
They all learn. in their .hoOl. 10 hunll. the
brush. which serves them for writing, painting,
and drawing.
In another place he cleverly says;
We stop for moment in front OF the shop of
amanulHturer OF wooden masks. Like all the
rafN'fs OF the luud, he a. Il true artist. But 10
must hc said thm for his productions. as vol ~
Tor all the statues ana paintings, there Is a
snrie~ of types AMI originals cnnserruted bv
usage. and which arc never departed from. In
TINS way the artists arrive at n high degree II
abtiity through having never done anything but
copy.
Upon the whole. the luNuriously Iprintcd
" Promonalcs JapOnai sos must bc pronounced
a graf success from an artistic point Of view.
FL a failure from u literary point 81 view II
IS a book TO be iV;ked at. not to be read; and in
$50 far il IL u drawing roori pot library work.
In conclusion we will give a friendly ad,ice to
NJ Kgancy. II he ever produces another
work like this land We sincerely wish he wc"lhl
hc must not put his name to every drawing II is
quite enough that II is in the title page. He has
learned IN America that advertising ones name
is a useful thing; but in artistic and intellectual
spheres too much soli-advcrtisng hurts. On
seeing his name engraved on every page we
Gould not help thinking of SapoiiO soap and
HulluWay's pills