The San Francisco call., 1895-05-22

disclose graceful outlines, and are adorned
with sculptured columns and variegated
all striving for the beautiful. The eager crowd,
intent on its daily bread, surges through the
great thoroughfares, but here and there knot of
idlers stand with arrested attention. Is it be-
fore the window Of the baker and the market
man, dispensers of our daily bread? No, 1t is
the print shop or the glittering shows of the
jewelers. which hold them. 1t is some beauti-
jul picture, or some satirical caricature which
scores the vices and tollies of the time with
merciless justice,
Now, admitting the universally and power
OF ART In modern as in ancient life, Is 1t not
important what kind of art our people occupy
themselves with? Can it be matter of in-
difference to us what music is played to them.
what songs they sing, what acting they wit
ness, what pictures they admire what oratory
they applaud? For as there is ugliness and
deformlty in nature, as well as beauty, so there
is also an ignoble art which presents us with
the commonplace, the vulgar and the vicious.
The moral element enters into art we'll as
into every other department of life There is a
true art which is an angel sent of God to uplift
and inspire man, and there is false art,
lying and deceitful spirit, which strives to
harm and destroy humanity. A good picture,
noble poem, lofty strain of music have
beingnant influence on mans life. They drive
out what is low and base in his nature and
quicken what is best and diyinest in him. But
bad pictures, commonplace music and sensual
dramas cast a baleful shadow over mans SOUL
Now, our land is full of such debasing pic
lures. They stare at us from the posters of the
theater, where shameless women and degraded
men advertise their low attractions. They are
on exhibition at print shops and newstands in
the woodcuts OF the sensational literature of
the day, in which murders, executions and
lawless deeds furnish the staple attractions.
They are seen in the photographs and sensuous
paintings of the tieshly school, which are too
often exhibited In our more pretentious picture
stores.
But true art is ennobling in its influence.
Give to the people such an art and it will save
them from the sham and the shame which too
often passes for art in modern society. We
learn from history and the impressive memo
rials OF the art-life of ancient nations. which
have come down to us in column and statue
foundly impressive for good was this love OF
the beautiful in the civilizations of Greece and
Rome and the medieval republics.
AS recent writer says: cart always and
everywhere has been a protest against evil
against the raging fire OF sensualism and the
dead ashes of materialism alike. Greek art
gave witness In the passionless splendor of ideal
beauty. Was there an evil in the cruel
and stern dogmatism of the medieval church
Inen every sweet picture of the holy child OF
the virgin mother was message to stay the
hre and sword and rack of the inquisition
And yet more, is there an evil still existing in
the hard, grinding, pitiless competition of oul
own Imes Then poetry and art give per
rendering OF nature by the painter, looking
upon which we can say, How beautifull
In every refined thought of the poet or swee,
strain OF the composer, by which we can lif
ourselves even for moment from the dust"
| Such was the art-life of other days Has II
| then mission in our own time and genera
tlon2 Must we sigh over its decline and fall IL
THIS artlst1cally degenerate age? In two de
partments OF art at least We may claim superb
orlty over the painters of the past. First: Ii
landscape painting, in the conscientious, faith
| fuJ, devout portrayal of the world of nature
which surrounds u.s. This branch OF art wa: