The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1886-02-07
THE PICTURE INPAMY.

THE PICTURE INFAMY.
The necessity of moving against the cheap
and obscene pictures used for the purpose of
advertising, theatrical and other kinds has
been repeatedly urged by the press. The con-
servation of public morals, and the duty of
protecting the youth from the vicious in
fluence of these illustrations make it impera-
tive that action be taken to restrict, if not to
prohibit, all such questionable presentations.
The shading Of what is questionable into that
which is loud, and the loud, in turn, to that
which is positively vulgar is so gradual that
popular taste does not detect it until some
shocking exhibition awakens Judgment, when
1t iSfealized that the boundary line Of decency
has long been crossed. In defer
ence to cultivated taste, and in
fear of betraying woeful lack
of artistic appreciation of the beautiful
as distinguished from the coarse and vulgar,
it is necessary to concede that the barring of
the human form is admissible if it but be ar
tistic. The difficulty of passing on what is
and what is not artistic has not yet been re-
moved, and probably never will be. The old
masters were very free to strip the drapery
from feminine humanity, and the sculptor of
all ages has felt licensed to present the hui
man form divine in state of nudity. Mod
ern artists, with chisel or brush, have not
hesitated to do as much. It is not here to
argue against this thing nor to give opinion
whether, strictly interpreted, it is or is
not an offense against morality. 1t
may even be admitted that these
artistic creations are pure and that they can
not convey bad impressions to wholesome
minds. Such admission, however, does not
give license to every tyro in colors to perpe-
trate the productions of his Imagination, nor
does it appoint these ARTISTS judges of the
class to which their works must be consigned.
The public reserves right to pass upon them,
and to the ruling Of this high court the paint
ers, soulptors and engravers must submit.
Nor can the taste of one people be set up
against that of another. The judgment of
Paris of to-day might precipitate a war over
morals, just as the judgment Of Paris of class
ic times brought on the conflict immortalized
by Homer. But even Paris, stepped in
artistic crime and sin, must repudiate
cheap vulgarity, while America, far removed
ero,,, he ;cA,,opooe khot have Initiated .,J
blunted the taste of the French capital, must
insist on drawing the line little more dis
tinctly, and a little nearer what all regard as
correct The American public, and by that
we mean the masses, young and old, and not
such as have the Correct view of cart"
have gradually been imposed upon in this re-
spect, until there is no more concealing the
fact that vulgarity is blazoned on the walls of
the streets and paraded in shop-wndows
The obscenity of Naples is reproduced with
out the poor apology of curtain or awning
easily drawn aside. There is no
prudery in the feeling that some
of the pictures displayed are demoralizing
in their effect upon young minds If allow
ance must be made for artistic nudity and the
simulated and more lascivious nudity of the
atrical and fancy dress costumes, there
cannot yet be tolerance for the pub
lie exhibition of pictures, photographs
and in colors, that can but bring the
blush to every honest cheek and pure heart.
1t is shame to be compelled to refer to this,
but The time has como when such things must
he pointed out and condemned in order to
arouse public sentiment to their condemna-
ton and prohibition. The war against these
should begin at once. Advertisers have no
right to thrust before the public and before
the youth of the land any representation that
tends to corrupt and debase. If they cannot
voluntarily respect the proprieties they must
be compelled to. Outraged decency has been
imposed upon too far, and patience with this
thing has ceased to be a virtue
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CONVERTING THE HEATHEN.