The times. [volume] (Richmond, Va.) 1890-1903, 1894-10-21

For sale by West, Johnston q Co.
II is the academecian rather than the
artist, whom Mr.. Raymond addresses
and the lines are orthodox, within when
he defines the philosophical basis OF mat
mingled feeling and perception, ellotio wi,
and imagination, that we Vagu nrSod ed IN
art. For the artist per Sc ABSORBED IN
the exultant jig of his own infinite NisIon,
cares little for the source OF Isnt. pnC
that large class of aesthetic students "io
can grasp a principle. where they fan IN
innate perception; who have more nli,iu
than imaginations, whose reason SUP
plies the place Of artistic feeling, must
lind great comfort In a work when hot
only shows the formulation OF all the
fine arts, according 20 this particular tne-
DRY, but refers 10 every other known lNN..i
theory on the same subject. Art says
Mr.. Raymond, may be broadly deilneu
as nature made human, or nature re-
made by the human mind. And ne thtn
traces each from its original Impulse IN
nature, TO the various moments which
now govern it. Music, the last developed,
Is here set down as the first-born OF an
the arts: coming TO mankind even before
poetry furnished the first definite form
OF words to be allied 10 it. SO That music
stands as the first inarticulate expression
of emotion Independent of ideas, lnilu-
encing mot one feeling, but an entire
current Of feeling; using an indefinite
form for the most direct erect OtneI
acts by words, shapes or coiors, comm, ne
thought TO some extent, indicatinS' as
they do, in no mistakable way, that OF
which one should think. Not so with
music. 1t may hold the feelings or
multitude In absolute control. yet at the
same time il may leave each individual
absolutely free TO think the thought ana
do the deed that is prompted by ms ms i Ian-
guage of the emotions and emotion IS
the very breath and life-blood of thought,
without which it would remain but pale
and powerless shadow"
Architecture, in its lack OF imitation
of natural forms and its principle OF
association is next Of KIN. "Architecturee
is frozen music" said Nine. de Staei, anu
the smile holds good philosophlcally.
Next to poetry in logical sequeun, comes |
oratOry and landscape gardening. In the
one. man exercises power over himself
in the other direct power over nature
Still later he arrives at marbles, pigments
and canvas. The difference between ,
painting and sculpture Is one Of degree
with this difference, that in the latter
we see purpose more OF the aruSt ana
less Of the colorless thing initiated Yer |
il is always the artist the mind, when
transmntes nature into art! -
All art forms are due, we may say, 10 !
the reciprocal effects Of nature, and the |
human mind. These are the Materials !
the skilled adjustment Of these, not imi- |
tation of nature, constitute are. 1t IS, |
as il were, the meeting point between |
the soul OF nature and the soul Of man. |
I'm the nature Of man itself, says He
The art impulse" Schiller attributes
first to the play impulses" proceeding
from excess of life-fOrce, over and above
what is needed for pure physical life;
which produces mental and physical
activity. Passing into higher and more
subtle forms, this life-force becomes in
sptrauon; or perchance,, the "oyer-s9,uI
Selling upon some mode Of expression,
pours out upon the world It's own hGht.
Much space is given to that mystic
question of beauty, its origin, eject
bowed for centuries at It's shrine, yet to
each worshpper 1t appears differently.
Is it contrast compleXity. harmony, or
some adjustable love Of proportion, they
ask. t. it absolute relation or inherent,
objective, or subjective? PythaSoras
found it due to likeness in enee IS. "a
views. reach at last the same end; l. E.:
"Order and symmetry
Hegel declares that beauty is "the rev
elation Of mind Price that 1T Is 81
inherent in objects that il would exist IN
them whether any mind perceived them
or not" Tyrwhit, that ii is "a spiritual
supplement to the. sense Of sight, Soho
penhauer aflirms that by direct intuition
beauty is recognized; and we may aid
here that more subtle dietum OF Bacon,
that there is no perfect beauty without
Rascom finds Il due 10 the vital forces
in nature" and Darwin perhaps recall
ing that Plato calls II the visible form Of
the good" points out THE CHARACTERISTIC
Of beauty Is that It Is the object OF love"
But however philosophers differ, beauty
and art suh remain to the world as
precious ElltS Beauty, the SHADOW OF
that ideal which, Plato tells us "exists
eternally in the mind OF GOD; and art,
which is the souls response to deity. Let |
us give thanks that this vision and
faculty divine is not granted u any one
age, or rUSe, but that every where, to-
day as yesterday rapted eyes and lips |
are lifted toward the starry portals. In
Art as in Eternity, there is no touch OF
fnality. ID. II. III.
TIE VIRGINIA MEDICAL MONTHLY:
October Lau1on Il. Edwards. NJ D., !
lOj west Grace street, Richmond, Va.
EcitOr and Proprietor So per annUm. |
For sale by West. Johnston x Co.
This issue OF the Virginia Medical |
Monthly" is an exceptionally full one !
containing nine original communications |
besides clinical reports, the Department |
OF Eye, Ear, Throat and Nose" a record |
OF society and board proceedings. analy- |
ses and selections, book notices, edit Orlals |
and obituary record.
me gentlemen represented By original |
articles are Drs. Henry \. Robbins and |
- her1oot Shute, OF Washington D. G.. |
Dr. j.. {. lie Hardy, Of Savannah Ga. !; |
Or. VIM. NJ. Holiday, Of Hampden-Sid- |
ney; Dr.: Frank Fletcher. of Jenkins |
Bridge, Va.;Dr Walter a. Crow. OF At |
lanta; Dr. j. II. Kellogg, OF Battle Greek. |
Mich; Or. Chas. Graham Cannaday, of !
Roanoke. and DR.. T. T.. Edwrds of AK