The record-union., 1893-01-06

edge into constant use in designing tapes
try and linen, carpets. paper and rugs.
oar magazines and periodicals are calling
10 illustrators from all parts of the globe.
Even our perishable daiEes and weeklies
are constantly using the ready brain and
pen-work OF the artist. The Gibsons,
Remingtons, Fenns, Pencils and Rich
ardsons are doing work in education
that the printed page alone could never
nope TO accomplish. let because OF the
need OF proper endowment we have no
perfectly equipped school to give such
training in California.
The great artist is but the resultant Of a
race that holds en- masse his strongly in
dividualized love of the true and beauti-
ful, that is sensitive to the ideal and
grand. We have yet to build and fill our
Louvre, but let US begin collecting our
corner-stones. And why should not Cal
ifornia furnish one of the strongest of
these? Why should not this School of
Design at Sacramento become an art CEN
ter? But two things are needed - an
! ample endowment of the school, and an
awakening on the part of the people to
| the meaning and scope of a school Of de-
! sign. Given the first, the second will
surely follow o, ye of little taith believe
and act
A PLEA.
make no plea for private beneficence,
or for the State to provide a place where
the ddLettcnte in art may thrive. but where
our boys and girls who love art above all
else may have the drill and training they
desire and need. Some one has said,
Genius is nothing but love. If you love
10 paint, If you love to sing, if you love
TO black boots, you are a genius"
Granted if one loves hard" enough, and
loves the thing itself-noU self nor what it
may do for self-who knows what viii
. how
paint his "Angelus" or carve his Greek
Slave"
The Sacramento school should be rich
enough to become a power. There would
then follow surely an awakening to the
difference between good and bad in art.
Then would those private studios be de-
serted where are painted calla-lilies on
Chinese jars, impossible COWS feeding in
pastures that have no prototypes among
things mundane, and where heads" are
done," the doing of which would be
more h0nOred in the breach than in the
observance"
That the walls in the homes of the rich
and poor alike are covered with canvases
painted by the occupants, which have at
least the virtue of being ambitious in size
and aim, is proof of an intense love of the
pictorial, which needs only to be directed
and cultivated to blossom into something
worthy.
INTEREST OF ALL.
The public makes a grievous error in
thinking that there is an essential differ
ence between the mechanical and liberal
or fine arts. The difference is not one Of
kind, but of degree. The mechanical
draws its highest and best life from the
liberal. The growth of the former is and
always has been i'll proportion to and by
virtue OF the life OF the latter. From st.
Peters at Rome, begun by Raphael and
finished after his death by Michael An
gelo, down to the simple iron bracket in
the shape of griffin, originated by the
great FlOrentine and seen everywhere
from Florence to San Francisco is to be
discerned the creative work of that quail
ity known as the artistic in man.
Entering into the entire web of life,
forming an important part Of its warp
and woot, are the thoughts and feelings
of the artist. The building that the arti-
san reared, the rich fabric that he wove,
the iron that he forged, the precious
metals that he nodded and hammered
into form, were oftener than specifically,
we would guess, the dream of the artist
and exist because of him.-Calthea'
Vivian in the Visitor.