The sun. [volume] (New York [N.Y.]) 1833-1916, 1879-01-01
coNcEnNINo CERrliN srAruARr

uan of the obligations that It's possession en-
tails 10y u hollow devotion 10 the arts This
most amusing phase Of forced social cvolu-
tlon reveals itself more frequently in tho mat
ter OF statuury than anything else. The lawn
Of tho gentleman who has retired from tai
low with competency. breaks forth in
Dianas. Nenuscs and Apollos. strcwn
with delightful lnconaruity among flower
beds and summer houses. Pictures he would
have to keep inside his house. where they
would mover be- seen. but his stntuary Is in fun
view from the road. and proclaims INCREASINGLY
to the p"ople who might never enter his rar-
lors The aesthetic claims Of the owner to polilc
recognition. These peculiar ACKNOWLEDGEMENTS
ot The value " nrt ~ Il social cNpcdient arc in
Wrcsting. and should he encouraged There Is
always u reasonable chance of their eNcrting
Wholesome influence. and they stimulate pro-
ductiOn Of a beneficial kind.
II Is not easy 90 understand with what precise
motive We first began to plnco statuary in our
Central Park. One would suppose, naturally,
that the enect OF good statuury. exposed with
iistc in place whittier the great public be-
takes itself In It's hours OF relaxation and at a
time whom itshould be. more than ut any other.
susceptible TO aesthetic influences and consid-
cratons. would be to inform. refine. elevate.
and Otherwise conduce to tina, condition Of hap
OK which cur processes Of civilization are sup
posed 20 lead. IL would be- inconsistent with tho
general repuiablcness OF the community to as
sumo that the stutuHry 81 our Park was placed
Their" ~ an advertisement OF our aesthetic ten
dcn,y. The nature Of the objects Of art"
themselves would preclude such "a view. eyon II
our general character for sincerity and honesty
did not refuie Il. OF course such display upon
the Common ~ Boston would have quite dif-
iereni meaning. Boston X perfectly content to
aspire resolutoly and pers silently and rs long
as II can have IN atmosphere Of art and
n vague. superior trausccndentalism for its
daily habit. It will continue to aspire and avoid
all the trouble and aspertles incident 10 actual
progress.
But our Central Park s;a,uary. II must
be admitted. Is calculated 10 throw suspicion
upon US. though 1t Is doubtful II 1t
is az al mlsconstrued. Besides. it must be
recollected that our Park authorities afford
but feeble obstacle to tho asuira-
tons Of any gentleman who lhaving
no lawn in front OF his houscl may
choose 10 bestow a work OF art with his
name attached wherewith 10 adorn grove or
mark some spacious drive. Indeed. 1t Is doubt
ful If a statue could De found tina; would be re-
fused admission 70 Central Park. The only
passport required would be that it should be Of
HtNsA thE hi'As's wan a l'ANTAitt hiAh H NAAiNN'
unid. Nevertheless. one q these days a spirit
q proper iconociasm may 40 abroad. and the
injured metal now innoceniy distorted into
Fitzgreene Hallecks Daniel Websters. Morses.
and Sir Walter Scots may be released and re-
stored 70 the artistic possibilities Of the melting
20.
Mr.. Thomas Balls statue Of Daniel Webster
Is one OF The most painful objects that the eye
can rest upon IN the Central Park. II j. mtl-
gated. il Is true, hy a certain touch 81 aDsurdity
o which one is more or loss conscious upon a
first acquaintance with IT, This. however. soon
wears OIL. and thereafter 1t rclapses into mere
onsnsiSenes-. Mr. Bal. is Boston artist. and
there Is some consolation in the announcement,
Just made that De has visited upon that city
q statue VI the late Mr. sumner IL would
appear probable that this iudefatigable but
really Weil-meanlng artist has innoccut.y
led tn Commonwealth % Massachusetts, TO
heap Jet one more indignity upon her deceased
statesman. One may reasonably suppose THAI
such is tie case. because Mr.. Balls
Daniel Webster Is conceived in an pos
s!tle vulgariiy ana coarsoness: and Il would
be difficult 10 imagine how the whole spirit
aud character Of his subject could moro COM
I'etelS evadc an art st than they have ia this in
stance. II is devoid VI anything like dignity or
strength In their place are righteousness and
! .~alt'~ft lAlftANNN' ID any Su[Ef7lA1u VI re-
pose or b the iaiutvst revelation or acccntua-
| zion " character.
Mr. Wilson MrDouald's "Fitzgreene Halleck"
! Is a different sort VI performance. nnd it Is I'M
! possible not ~ ENJOY II. Tho artist has de
/ uicted the poet ri tbs moment vi inspiration
His eyes gnsteu; look Of ghastly ANNA
! lion overspre0ts his countenance; a poetic
smirk that narrowly escapes suspicion as
/ gGin OF intellectually. il arrested In deep
/ Is chased lines about his mouth; and
/ his head cranes into vacancy after thu elusive
/ idea. With Dene.l in one hand and paper ia the
! other. and hi whole function suiting with
/ forms 20 his conreit II Is ns complete an ideal
/ l-4tiQn 81 meh,a. pAgtuIlton rs art has ever
/ leruetuated The broad Intelligence Of its
tfeatu.eut and the obvious superiority 81 the
arts; 10 mer" considerations Of anatomy or
s.ulptural prVpricty put il upon plane where
4 Is entirely secure from the assaults OF ordi-
mary criticism.
Poor SIR Waiter $ Oft in this rerIicd Of awell
and iesoIyrdy abused work. smiles In inane
brueyolence from beneath such Il dono of
thought as mortal man never carried. II Is n
Worl not much worth tie speaking o. but il
should be cherished IN order TO- DOE held over all
insular Foreigners WHO might be inclined 10
rdlrule the Indigenous works that adJoin il.
A. 10 Mr.. Mards Shakespeare 90 has been
heretofore the subject Of an animated 'outro-
yersS Ia tie light Of calm reflection, MI Ward
may como 10 think that the spIy. conventional
HaW'd II our later stage, pranhed out IN All
tho thin accessories cot dramatic tradition. 10 a
poor substitute for Hdmie.s creator. Il is UNI
necessary To- - into details. TINS statue has
already been discussed toa degree that would
lend one to think 1t might DO vi some real in-
DorUnce.
One would ike 10 SEQ mora work Ike an ami.