St. Paul daily globe., 1888-08-05
MORALS VS.. MORALS.

for him to find the road to fame.
II can paint bad picture," he said to
himself, land sell it to a rich man who
does not know the difference between
brains and stomach. Then [ shall be-
come famous and have nothing to do
but to paint other bad pictures for his
friends"
Cor can paint picture that is the
best according to my ability and wait
for time to bring fame and fortune to
me-"
AS he was conscientious and had that
contempt for ignorant rich men that
brainy poor men generally possess, he
chose the latter course.
-
He sought his subject, and after
months of study and preparation painted
a picture. 1t was that of woman clad
in Greek garb. 1t was work of spirit
and life, and when he had given the
last touch to it he drew back satisfied.
The head was regal in its poiSe, the
lines of the face were strong with will,
character, purpose, and where the lips
parted and the nostrils quivered and the
warm blood could almost be seen to
leap under the skin, there was love.
The arms were full, and there was
not only the whiteness OF marble about
them and the tracery of blue veins, but
cords of strength, showing the harmony
existing between the body and the
mind.
The white robe that clung to her form
was only an apologetic submission to
modern ideas of decency. Beneath it
so we'll had this artist taken from life
his impression, the bosom seemed to
rise and fall, and in the strong limbs
the life-blood could almost be seen
coursing.
The canvas shone with the beauty of
this radiant specimen Of womanhood,
in whose face and form there was the
strength of Thora and the loveliness of
Helen.
trumpet tones for the woman that
should be and not that is.
-
The men who came and gazed went
away moved by different spirits. The
bestial type left with hot cheeks and
foul Thoughts in their minds. Those to
whom. all things were pure uncovered
before the ideal of their dreams. and
sighed for what they had not realized.
AS men go, and as it is to be hoped
the majority of them always will go,
they had but little comment to make on
the origin of this work. To them it was
woman as she had been seen and por-
trayed through the prism of an emo
ton"
Had final Judgment on the work been
left to them, it would have been exalted
forever.
True, there were defects-infringe-
ments of the rigid canonS of conyen-
tional art-but they were obscured by
the merits of the truth that stuck out
from every part Of the canvas.
1t was woman as she was; woman as
she is not; woman as she is longed for.
*.*
In time women heard of this portrait.
Some of them saw it, and shuddered as
they turned away.
They did not gainSay the palpable
merit of the portrait, but looked askance
at the artist, and said curious things
under their breaths.
They gathered in groups at different
places, and when positive that they were
not overheard began that subtle disse c.
tion-not of the portrait, but the model
for which women are noted the world
over.
1t was not the art that confronted and
moved them, but the helpless woman
behind it who had been SO unfortunate
as to pose in costume that revealed
less of the flesh than the modern ball
dress does, and who, beyond all that,
had been the subject of tattle and gos-
sip which no one had ever dared to
utter to her face.
Many of these matrons and critics
had gazed on Magdalenes unbecomingly
attired in sheets; had raved over Ma
donnas whose faces were those of Roman
courteSanS; of cherubim with the char
acter marks of bastard children. and
had returned to their homes unsullied.
**
Why, then, these Mysteries over the
portrait of a woman?
Their daughters were at the. seashore
displaying misshapen limbs and con-
tracted busts on the sands without a
blush; or lolling in indescribable dog
carts, while some old cock told of the
latest scandel at the club; or, buried
deep in the recesses of the boudoirs.
greedily consuming French novels
which tell that leg is leg, and that
love is thing to be used as the toy of
prostitute.
Why, then, this sudden convulsion in
social circles?
Here was work of art, painted with
pure motive, magnificently done, and
in itself, to all who saw it, plea for
better womanhood.
By no possible stretch of the magma
ton could that which is bad and foul
be connected with it-save the own
mental foulneSs of a debased critic were
brought into connection with it.
*y*
The only explanation to be afforded
for the manner in which that portrait
was damned and that poor artist made
to feel that he had sinned against
heaven itself, is that there are two
codes of morals for use in this world.
The one-a thing of convention, up
held on stiits and coated with paints
for the use of men and women who live
through Il process of repression. By an
heroic administration to them of sha m,
hypocrisy, deceit and humbuggery from
the cradle to the grave. they are made