The sun. [volume] (New York [N.Y.]) 1833-1916, 1891-12-06


fleet that the Partisan art students arc
rare visitors in the Louvre. and the other
| museums, and that. like most OF their pro-
fcssors. they are singularly lacking in culture.
As for the creation OF On atmosphere Of cultt-
walton and OF aesthetic curiosity in New York.
that is the affair OF the Art and literary critics.
| OF the artists with brush and pen. OF the
leisured and enlightened citizens. That this
atmosphere OF cultivation will smell Of
provincialism for while is to be expected. but
there was day when Italy bought It's wine
pots from Corinth. and later day when the
same soil nurtured Perueino and Bellini.
| Hitherto America has produced no great
| genius In painting: the tendency has been to
| study and initiate European examples. and
both artists aud amateurs have scarcely car
ried their admiration and appreciation beyond
the obvious and the relatively commonplace.
| The painters have their eyes turned toward
| Paris: the amateurs reserve their highest en-
| thusiasm. whether spontaneous or acquired.
| for Rembrandt and Millet when It is not for
| Jules Breton and Rosa Bonheur. Hitherto we
| may say that America has done nothing in
painting. but America has chance to do
great things and to repeat in its artistic de-
velopment the phases which marked the his
tory OF the Italian Renaissance.
AMERICAN ART IN ARCHITECTURE
The remarkable and admirable growth Of
American architecture suggests the comrari-
son and analogy with Italy. There is. too.
something grand and magnificent in Ameri-
can conceptions Of public enterprises which
calls up souvenirs OF Italian artistic history
can imagine a North American community.
or even a group Of wealthy citizens. adopting
some resolution In the same lordly spirit in
which. in the year 1904. the Florentine burgh-
ers commissioned an architect to rebuild their
cathedral on a scale OF unexampled magnif-
cence. The document refer to is we'll known.
but it will bear quoting for ali that 1t runs
thus:
Since the highest mark Of prudence in . people OF
noble origin is to proceed in the OF their
affairs SO that their maGuanimi:y and wisdom may be
evinced in their outward acts order Arnolfo head
master Of our commune TO make design fer the reno
walton of santa Eeparath in a style cf maSninceucs
which neither the industry the power Of man
surpass. that 1t may harmonic with tho opinion OF
many wise persons in this city and State who think
that this commune should not engage in any enter.
prise unless its intention be to make the result CORE
spend with that n0biest OF heart which composed
OF the united will OF many eitzenA
The growth Of American architecture is
phenomenon which the normal succession OF
the phases OF civilization might lead us to ex-
pect Architecture is always the first OF the
fine arts to emerge from barbarism in the SER
VICE VI EcABlOu buu Va cNiC ihc. 40 IoSet udS
told US. q house must be built for the god be-
fore tho image Of the god can be placed there.
Council chambers must be prepared for the
Senate OF a State before the national achieve
ments can be painted on the walls Thus
Italy before the age Of the Renaissance proper.
found herself provided with churches and
palaces. which we're destined In the fifteenth
and sixteenth centuries to be adorned with
frescoes and statues.
A further analogy may be traced between
modern American architecture and the hrchi-
lecture Of Italy in the thirteenth and fourteenth
centuries. J. A. Symonds has noted the pecu-
liarities Of the latter in the following page:
Existing thus in the midst Of many poten. influences
and surrounded by the ruins Of past civilizations the
Italians recombned and mingled styles OF marked
riety. The Roman Byzantine Saracenc. Lombard, and
German traditions blended in their architecture.
as the presiding genius of each place determined 1t
followed that master works OF rare and subtle
invention were produced. while one type was
fully perfected. nor can We point to any paramount
Italian manner In Italy what WAS gained in richness
and individuality was lost in uniformity and might
Ye; may well wonder at the versatile appreciation
OF all types of beauty that these monuments evince
How strange for example IL is to think OF the Vena-
ans borrowing the form and structure OF their temple
from the mosque OF Alexandra. decking its facade
with the horses OF Lysppus and panel!ing the sane
tuary with marbles from the ha-em floors Of Eastern
enperors: while the other end Of Italy. At Palermo
close beside the ruined coonnaies Of Greek
seS.s:a Norman kings were enibro!dertns their
massive churches with Saracenic ara5es 3ues
and Byzantine mosacs. interpreting delicate
Arabian tracery with rope patterns and mon
ste-s OF the deep and linking Cufc sentences with
Scandinavian runes Further 10 the north, where Ger
man influences more potent tbs cathedrais still
displayed each after its own kind. sunny southern
waywArdness. Glowing with marbles and mosaics.
eitterins with ornaments. where the foliage OF the
Cornthian acauthus hides the symbols Of the Passion
and where birds and cupids peep from tangled fruits
beneath grave brows OF saints and martyrs leaning
now to the long. low coonnades of the basca. to
hghbuit arches OF the purely pointed styls rails
ing the porch pillars upon lions and winged Rrins
fankinz the with bell towers. or planting them
apart like flowers in isolation the open square
these wonderful buildings. the delight and Joy Of all
who love to trace variety in beauty and to the
impress Of . nations genius upon its Arr SEEM, ks
Italy herself to feel all influences and to assmllats all
natioualties.
Would 1t not be easy to paraphrase this bril-.
liant prose and to apply 1t to some OF the best
work OF American architects OF the East and
OF the West? Has not their task been. like |
that OF the Italians OF old. to appreciate all |
types Of beauty. to recombine and minRle |
etyles Of marked variety. to study and take ad- |
vantage Of ali that past civilizations have ac-
complished. to feel all influences aud to as |
simulate all nationalities?
Now that the temples and civic build |
ings have begun to rise from the ground. it is |
the moment for the art OF painting to develop |
and take service as the handmade OF archi- |
lecture. but as handmade that has the honor |
and prestige OF a mistress. The glorious |
future that awaits American painting is the |
Of the art Of fresco and its appli- |
cation to civil uses.
That painting can ever again accomplish
work equivalent In greatness Of scope and OF
feeling to the religious painting OF the hf-
teenth and sixteenth centuries. it would be vain
to imagine. Painting began In the service OF
religion and as an auxiliary Of the Church In
this role it depicted wildly Scripture histories
and tho lives OF saints: it created new types OF
serene beauty and seraphic 10Y: it gave form
to angels: it interpreted the worship OF Mary
in all its charm and pathos: 1t aroused deep
sympathy with Christ In His Passion.
But, owing to its inseparable sensuous
element. painting necessarily neglected the