New-York tribune., 1903-04-13
LONDON ART.
The Gladstone Statue an Vest
minister Abbey.

n
man that Ritualistic friends like Lord Halifax
and Mr. George Russell may find cause for CON-
plant respecting the new statue in West
minister Abbey. II is not in the eastward posi-
tion, with solemn face directed toward the altar
and with marble lips reciting In monotone the
| Apostles Greed. 1t is on the left side Of the
north transept from solomon's Porch. and az
the back of the oxford gown could not be turned
| upon the spectators in Statesnen's Corner. the
sculptor has posed the majestic head so that the
eyes survey the stately choir. The statue IS
| admirably placed in the group Of statesmen.
/ The Grand Old Man stands close behind Sir
Robert Peel. the deeply reyerenced leader OF his
early manhood and at greater distance. sepa-
rated from him by Roubiliac's monument to Sir
| Peter Warren. with the habby Hercules and the
melancholy Navigation paying aIlsgoricaI trib-
ute to the brave adrnirars bust is his rival.
| Lord Beaconsheld. with inscrutable face and
| theatrical pose and with eyes also turned
| toward the choir: and further down the line is
| George Canning. and on the opposite side OF the
transept are Lord CastIereagh. with the scroll
| of the Peace OF Paris In hand. and Lord Pal
merston. arrayed Knight OF the Carter
| There is no need to search for the memorials OF
| Grattan, Fox and the two Pitts in the tTansept.
nor to wander ainlessly in the adjacent aisle.
with its monuments and busts. in order TO con-
| vince ones self that the Liberal leader has
| found his own place. 1t is. indeed. small
| part of Mr.. Brooks achievement that he has
| adapted his work with subtle intelligence and
| sympathy to the conditions OF environment IN
the historic Abbey.
| 1t Is not the Home Rule Gladiator. with the
soul of fire ineased in a frame Of steel" like
Raggi's bronze figure in font Of the Town Hall.
| Manchester. with one arm and abnornaIy long
forehnger outstretched in masterful gesture.
and with the pose of body. expression Of face
and vigorous but natural action OF the great
| debater in his most earnest mood II IS not Mr.
| Morley's inspired AgItator OF the Bulgarian
| period who when the nation was going on the
wrong track. saw high in the heavens the flash
| of the uplifted sword and the gleam Of the arm
| of the avenging angel" 1t is the Grand Old
| Man IN the serenity adva ncing years, quietly
| drawing his doctors gown about him: standing
erect in epical dignity and. with benignant face,
| waiting calmly for the enC OF his labors- The
| figure is well posed. and the Oxford robe i'm
| Parts to IL classical dignity and grace. The
| noble head is strongly modelled. the arms are
| relaxed. and the expression of the marble face
| suggests philosophic gravity and intellectual re-
| pose The restful figure seems to be listening
| intently to his master. Sir Robert Peel, whom
| Gibson has portrayed in the full energies OF de-
| bate; and it is quite unconscious Of the near
| presence OF lifelong rival. Lord Beaconsheld.
| whom he disliked and distrusted- The long duel
| between these historic foernen is ended at last.
| and their statues stand side by side. but not too
near each other. one with an air Of mystery and
the other with expression Of supreme
/ patience: and from his pedestal across the tran
| sept Lord Palnerston seems TO survey the pair
with statesmanlfke caution and faint glimmer
| Of curiosity. The worlds greatest citizen, with
| faraway gaze, looks westward long way be
yond the choir. Neither name nor inscription is
| on the pedestal. but Mr.. Morley. at Manchester.
| suggested a good sentence: Nobody in ou-
| time has shown a more resoundng example OF
the great thing which great man may make
| Of life"
Mr.. MacWhirter's vigorous remonstrance
| against systematic trade In counterfeits in art
| is twice told tale. Generation after genera
| tion there has been traffic in old masters OF
doubtful authenticity, and copies Of well known
works have been sold to credulous collectors as
| genuine examples OF bygone art With all the
| great European galleries swarming with art
| students. whose living depends upon pot boilers.
| the manufacture of spurious works has been
| conducted a large scale; and as time has
| passed and private collections have been auc-
| toned off by executors. the distinction between
| the genuine example of unique value and the
/ cheap imitation made to order by hands more or
less skilled has been lost. When country houses
/ are overstocked with fraudulent pictures at
/ tributed to old masters the consciences of deal
| ers duled, and they are readily induced 70
| pay high prices for spurious work when they
know how easily credulous collectors can be
/ duped. Living painters Mr. MacWhirter has
asserted. are constantly copied and initiated.
| and counterfeits of their work are either greed
| lily seized by bargain hunters boldly sold
with forged names and dates to foreign pur-
| chasers. AS for the old English masters. the
| limitations are often fndstinguisha BILE from the
original works, so that connosseurs themselves
| are deceived Even a winter exhibition at the
/ Academy is not free from forged works from
| private collections. and a spurious Constable.
/ starting at $50 in obscure country house.
| has been knocked down to an art loving peer OF
| the realm for 10000.
The remedy for an Illicit traffic in counter
| feits which is stimulated by the millionaire's
mania for collecting works at high cost. is
| mistakable II is a more generous and discrinf-
| mating patronage of conternp oraneous art That
| is the practical moral of Mr.. MacWhirter's
| monstrance against fraudulent art. and 1t brings
| fine glow OF virtuous enthusiasm TO the faces
| of neglected and struggling painters. When
authentic works of the masters not in the pos
| session of national galleries command fabulous
/ prices the market is overstocked either with
copies or pictures of inferior merit attributed to
/ them without proofs OF genuineness: and COL
| lectors constantly imposed upon and duped
/ into hard bargains for replicas by gallery
| artists" or limitations by contemporaneous
| painters. If collectors were to purchase the
| works OF living painters they would at least
| know what they buying. for although Mr.
| Macwhirter complains that his own pictures
| and those OF other Academicians initiated
/ and sold with forged signatures and dates, there
| are annie safeguards for the authenticity OF