The evening light. [volume] (San Antonio, Tex.) 1881-1883, 1882-06-22

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Carrera mountains, whose amber heads al.
most seem to touch the sky-radiant and
serene, which was reflected on the calm bosom
OF the river. This was Pisa and there in those
days was the spirit of faith, and it was the
abode OF Pentler spirit in the school of art.
| contrast this with the monstrosities which are
built as modern cities. do not say anything
against commercial people because they have
done much in the past. Beautiful Florence was
erected by bankers, and Venice owed her
| origin to the noble and honest merchants who
frequented her ports. l do not regard our
merchant as being opposed to art, on the con-
trary, look to them to support the changes
we seek to make.
Look at the ignoble character of modem
dress. do not know greater heroism than
that which opposed the conventionalities of
dress. From this canse we have no historical
paintings in these days, and it has almost de-
stroyed the sculptor and art Look at our
modern statues; see the bronze frock coat. the
marble waistcoat, what more dreadful thing
could have befallen the handicraft?
1t you examine the buildings of the year
1900 you will find sculptured there the men
and habits OF the time: and you could write
social picture OF the times. You have simply
to use your eyes and you could read more in
an hour than you can in a week. Contrast
these with our public buildings, and you have
Tor the most part designs stolen from Greek,
and that badly done. l we want to do real
services to art we must alter the external form
OF dress. In addition to the surroundings you
must give him school of art wherein he can
learn design, and you must attach to it a
museum. l do not mean the dreadful modern
museum where you find your curiosities, but |
museum where he can see clay, marble.
wood or glass models of high art in other ages, |
and learn to appreciate and utilize it. In the
stronghold OF art in England-London you Can
see such things. You will see the workman
wandering through the museum on the Satur-
day, not: book in hand, and you know that
the next week his work will be the better for
his observance Men and women pass
through it and get higher appreciation of real
art.
Believe the motive for art lies about US in
all directions. If the sculptor were to ask me
where he should 60 for model, should say
to the dock and you will there see men in the
active work of life, and you will find there verv
lew VINO have not some movement of grace or
beauty; only the loafer as useless to himself as
re is to the artist. Go to our colleges and see
he youth tieing his shoe preparatory to enter
ng the race and you will fad there a good OBJ
ect; the Greek sculptor asks no better subject
hat could be found in the running ground or
n the gymnasium. o her nations found there
ubJects in every day life. What you have
With you and around you. near you, in your
eart, the imagination, the music of llps ex-
ressed, your daily life. everyday incidents.
All these commend themselves to the thought.
III student and the artist.
In surrounding consider nature has been
specially bountiful to you. The Titan won
erful forest, out Of which you build your
ouses--rghtly build, because the beautiful in
TT can be built only of wood we'll carved, but
does seem to me that the adoption of the r
REVEALING color, white, with which you cover y
lem, making the white walls appear as a y
neet OF white flame in the noon day sun is
ross mistake, and the baroness of the houses
carving IS the easiest and one in which the -
rust is the least likely to 20 es-
ay. The little Swiss boy after blow a
g his horn on the hill,
nd tending his cattle, will return home D
nd there carve in wood the resemblance of c.
e birds or flowers he has seen, or will so or "
ament the gable Of the house; what the Swiss
BY can do well the American boy can do
nee as well, it he is properly taught to do it. u
Europe we have not the quantity of gold G.
I'd of silver which lie around you in the O
ountalns or in the sands, and our jewellers
I'VE not the opportunities of those of America S:
artlhcers of these metals, When was in g
eadville, the richest city for silver in the III
orld, and heard of the most incredible GUAM
y OF silver taken from its mountains, l
ought how sad it was that the silver should X
made into flat, ugly dollars-useful perhaps la
the artist. as to others, but which should b'
It be the end and aim of life. We should
It forget the beauty of civilization or of the Vi
cord of that which speaks loudly for the rise N
d independence of nation. 1t was so in 20
ruria when the only records of their arts
IS few golden leaves and earthenware
ses, and in the gates of Florence, which al
lchael Angelo saw, and called the gates of Pl
radise. E
Be sure of one thing. we shall get no good ye
'rk unless you come face to face with the de.
'ner and dispense with all Intervention; we ~,
all know them and they US, and understand ad
requirements of our state. ~
Consider how susceptible children are to wi
influence OF beauty; most children are
lily susceptible to things, beauty end kind y.
IS. They will learn to love the beautiful ai'
d good, and hate that which is not SO long ar
ore they understand it. mi
II you 60 to house and find the common al
IS Clipped and the saucers Clipped, it
| often be because they have an utter con. he
,pt for them, but if we give them pretty adj
IS, teach them practically what beauty is an,
the delicacy of touch, not learned in inc
ok, you will find the case very different. :
you will say these things will get broken. ;,
len in San Francisco used to visit Chin vii
an restaurant on account of the beautiful at