New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1885-05-31

LIBERTY 460oM, ST. CHARLES bohh""Eo
After the Grscian epoch we must pass on 10
modern times to find examples Of colossal statues
The jupiter Pluyius of the Pratolino villa, ex-
ecuted by John of Bologna and the ST. Charles
]orromeo on the banks of Lake Magglore. may DC
referred to- 1t cannot be said that this last worh Is
properly included under the head OF colossal ar''
IL ia An ordinary statue enlarged, and It's volume
gives it It's principal interest The pedostai Is
deplorable and nothing in the whole WORK SHOWS
either research into the principles Oh COLOSSAL ai'
a comprehension OF them. nevertheless thls "oiA
of art has q peculiar interest III virtue OF Its ma
terial execution. 1t is think, the first example Oh
the use of repousss copper mounted on iron trnsses
In ancient times metal beaten out into sheets had
already been used. But it was used as covering
or was modelled on q solid form of wood Or stone.
Gold silver aud copper were thus empioyeu l"
Grecian antiquity and in the extreme orient lho
statue of st. Charles Borromeo Is the hrst known
example of statue of reponss6 copper. workea
with the hammer tho inside and OUTSIDE anu
freely supported on iron beams Inc WORK was
executed in a somewhat coarse style, but IL IL III
terestng and has the merit of being the result OF
bold initiative. The copper is little thin' measui'
ing only milmctre in thickness. and yet the
whole work has stood until today, that is 10 say
for two centuries.
trelv modern. That of Bavaria is the Oldest. LII
measures Is 7Ometres. Next was executed the coos-
sal statue of the Virgin of Puy. which Is metres
in height and finally that of Arminlus IN west
phalia which, including the sword whch no la''o'
toward the sky is 2S30 metres in height
The object of this review of the colossal statues
which have been produced up to the present TINS
is TO bring back their image to our eyes and TO en-
able US to deduce from them some principles WHICH
seem 10 be essential in colossal art. Inc uh ler
standing of these principles and their interpreIa
ton may vary somewhat, according 10 inc seu'''
meu.s of the artist Yet some of them seem to me
| 70 manifest themselves in a way which admits Oh
no discussion They to BIO found; LIST. In tne
character or the thought of the subject. which
enoht To be in harmony with the size of the work
ID In tho snitableness of the site ana the
surroundings OF tho monument. 3d. In
| tho understanding OF the lines ana the
| makeup which in colossal works OF art are rem
| dered necessary by the execution. On the hrst
| uoint will recall the words OF NJ. Lesbazelles.
| which | cited above when ho says that colossal
statuary ought to be used only to symbolne hgure'
or thoughts which are grand in themselves. and as
| far as possible. abstract. Tho immensely OF form
| should be filled with tho immensely OF Thought,
and tho spectator at the sight of the great proper
| tom, of tho work should he impressed before al
things else with the greatness OF tho idea of which
these ample forms are the envelope. without being
| Obliged to have recourse to comparative measure
| ments in order to feel himself moved.
In regard 10 the choice of site, study should be
| made of similar existing works IN order clearly TO
perceiye the most favorable conditions The frame
| should lend itself to tho subject. Ii may be made
| nm or improved by architectural efocts sby the
| lights of stairs which lead up to the statue
| and contributed to the monumental character
| ia hu "a w
nature should DO sought. There is An in
,,ct which ought to guide tho artist, for he ought
., turn Nature to account in such way rs to make
| ber contribute to tho aspect of the monument Tho
| neohborhood of large masses should be avoided.
| The artist ought to choose his site in such way
that the lines OF the ground and the colorlng Oh the
background will become his assistants In helghten-
inc ths proper appearance of his work and the I'M
| preston which it is to produce
| In regard to tho execution of colossal works OF
| art | think as | said above. that we ma sure
principles In the ancient works. The difhculy is 10
| apply them to ones age, that is to say. WIN
| ont servile imitation or tue forms lmaBlheu ny
| Other ep0chs and other races .. i,
| may cite for example the principle OF great SIM
| plicty in the movement and IN the exterior lines.
| Tho gesture ought to be made plain by the pronle
20 ali the senses The details OF the lines ought not
to arrest the eye. The breaks In the lines should
be bold and such rs arc suggested by the general
design Beside the work should be as lar as posst-
bic filled out and should not prevent black spots or
| exaggerated recessos. The surfaces should 90
broad and simple defined by q bold and clear de-
sign accentuated in the Important places. Inc
| enlargement OF the details or their multiplicity IS
| TO he feared BY exaggerating the forms IN order
to render them clearly visible or by enrlching
| them with details, we would destroy the proportion
Of tho work. Finally the model like the design
| shouE have a summarized character, such rs one
| would give to rapid sketch. Only 1t Is necessary
that this character should be the product OF Volt
ion and study and that the artist. concentrating
his knowledge should find the form aud the line In
its greatest simplicity. =,
These same principles ought to be kept in mind In
tho construction of the PEDESTAL for they exist in
architecture. | could. if were not afraid OF being
| prolix cite examples of remarkable ediices, in
which the enlargement of certain details or the lack
of simplicity in the lines prevent the spectator from
apprsciating at rstsight the monumental proper
| lions of the editice.
| Those are subjects on which there might be
| muoh said. / thought that 1t would be well to
touch lightly upon them, not with the pretenson
| of laying down principles but to show the thoughts
| which animated me, the artistic considerations and
the ideals, by which have sought to be guided In
| my work.