The sun. [volume] (New York [N.Y.]) 1833-1916, 1897-11-21

To THE EDITOR or THE SUN-Sir. 1 was much
Interested in THE SuN's editorial article on tho
inscription Of artists names on the new Acad-
envy Of Design. There seems to, be no funda-
mental idea or system about the choice OF such
names on public buildings. 1t was easy to find
seven prominent names for the chief positions
in tho places OF honor, although these show lit
tie discornment and no leading thought; but a
worse hotchpotch than the other two tablets
is hardly imaginable.
Now, 1 think that In making a choice for what
Is to be monumental and should defy criticism,
one or another rule should be followed. Either,
as was indicated with regard TO Phidias, a
typical name representing certain realizations
Of artistic ideals should be chosen. or the origin
ators Of certain artistic tendencies; or, IL tho
national accomplishments by artists from
various races are to be remembered, the choice
might be made from that point Of view. In
every case the ARRANGEMENT Of the names should
accord with the loading idea.
Let me mention n few details whichs struck me-.
II sculpture is to be represented, why by Phidlas
alone, and perhaps, incidentally, by Michael
Angeloi Why not by Dopatollo. Verocchio,
Nicolo Pisano; and II moderns are to be named
among the sculptors. why not by Thorwaldsen.
Canova, or othersi II Raphael is chosen, 1t Is
rs tho highest type of a development. not as an
originating impulse, for which Giotto may DO
claimed. but Cimabue should have precedence.
When In the second. class tablet Guido Rent
and similar names occur, no ono can help re-
membering that he was but tho outcome Of tho
Caraoci school in Bologna, where Domenichino
and Guercino were Of equal Importance.
or the vonetians, Titan is placed on the roll
of honor. He is perhaps the most important
type OF that group, though as an originator
Bellini comes before him. and as representing
the peculiar character OF the school Giorgione
should be first mentioned.
What astonishcs you when you go through tho
chosen list. is that not ono Of these names should
appear in place of tho ones taken: Orcagna. Mas.
accio, Andrea Mantegna. Leonardo da Vincl,
Paul yeronese, Murillo, Van Dyke.
Tho landscape, which finds SO much recoRni-
tion in modern art, is ignored among the an
clients. The first who recognized landscape as
an object of artistic representation in the Dutch
school was Paul Bril-. who was followed by Jan
Breughel and others In tho same miniature
style. 1t was Jan Wynants who suddenly
adopted tho broader method with which mod
ern landscape found its proper direction.
Ruysdael and Hobbema, Cuyp and others would
represent the development-names which are
wanting In the architects list.
II o national list ia to be made, SO as to allow
tho English painters who are mentioned q
reason for their existence, the F ench should
BIO represented by Nicolas Poussin, and still
more by the most truly national of all French
artists. Antoine Vatican. An enumeration OF
various national schools Of painting and the
leaders Of modern art academies should men.
ton Peter Cornelius, Scheuren, Kaulbach,
Mcneil among Germans. perhaps Leasing and
Lenbacb; among the French David. Paul
Delaroche. the Belgian Wrappers and Gallait,
the Spaniard Fortuny. &c.
All I mean to accentuate is that there should
be n meaning and system as to what is intended
In the choice of names given. A. R.
New YORK Nov. 90.