El Paso daily herald. (El Paso, Tex.) 1881-1901, 1897-12-18
The Art of Architecture and Sculpture.

Iuo ATU VI Architecture oIu SCuipouiO'
The several arts, in an ascending
scale, are architecture, sculpture,
painting, music aud poetry. Dancing,
landscape gardening, engraving, eto-
cutiOu, dramatic art and rhetoric, are
accessory to one or more of the five
great departments of art, rather than
separate departments.
Art appeals to the feelings 1t arouses
emotions and aspirations, but not
appetites. Its effects are, therefore, to
purify the feelings. 1t directs them to-
ward ideals. 1t is not SO much an e1u-
cation OF conscious thought as of in
stiuctive judgments in matter Of taste.
But as It deals with sideals, it inspires
religious and ethical emotions, and,
through these, indirectly develops
thought.
The silent teaching of architecture,
the impressiveness of its masses, its
harmonious proportions, it's suggestion
of great natural powers overcome by
spiritual might-these effects are OBJ
vious. Act has an end OF it's own, and,
to be art of q very high character. 1t
must show that the beautiful object
exists for itself, and does not exist for
the sake of other Objects-nOt even for
morals or religion. But, of course, the
highest art will be found in harmony
with both morals and religion.
There are three stages to each OF
these arts, namely the symbolic stage,
wherein spiritual might STRUGGLED
without a pronounced success against
the natural powers which binder it.
Higher than this is classic ar, where.
in the spiritual might have completely
subdued matter and force into means
of expression for its ideas. Third
there is romantic art. Christian art,
which expresses the ideal with more
or less antagOnism toward what Is
material and natural.
Thus the architecture of India and
Egypt belongs to symbolic art, Greek
architecture is much superior in it's ex-
preston of freedom. Its Doric, Ionic,
and Corinthisn columns, fully achieve
gracefulness.
In solid wall for the support of
roof, the manifestation of the forces
which are struggling against nature
aud the power of gravity are not so
adequate as when a support is pillar
the effects of gravity are exhibited in
the yielding of its capital, its ex-
pansion as In the DOric capital, or the
graceful yielding curves as appearing
In the Ionic vOlute, or the graceful
bending of the acanthus leaves In the
CorinShian capital. Gravity is mani
tested on the one hand, but the Greek
Capital sQOWS HOW EASILY anu STdC -lul
it resists the downward force.
The Roman arch is converted into q
dome by carrying out It's principle on
all sides instead OF laterally alone. The
arch is a ready suggestion, sym boiical-
ly, of the Roman national principle.
Each stone i'll the arch is relatively a
keystone to all of the rest. All depends
on each, and each on all. Each Roman
citizen felt and acted as 1t he were the
keystone to his n alton. The dome sug-
gests the sky over all, and hence tole-
ration. Under the dome of the Roman
Pantheon the gods of all nations were
set up and worshiped. The dome is an
appropriate symbol for the state or ma
tion. Each patriotic citizen cOuse-
crates his life for the life of the social
whole, aud each is IN turn supported
and protected by the rest like key
stone.
Romantic architecture comes TO its
highest completeness in such Gothic
structures as the caIhedrals of France
and the abbeys of England, bH espec-