The sun. [volume] (New York [N.Y.]) 1833-1916, 1904-09-11
BroNDps 4sATURNALIA"
Statement From the Counsel fer the Italian
Sculptor.

|
To THE EpIToR OF TIE sUN-Sir: In an
editorial article which appeared recently IN
one Of the daily newspapers OF this city re-
spectine Sgnor Blondi's group Of statuary
known as -SaturnalIa.- which was rejected
by the trustees Of the Metropolitan Museum
OF Art, on account Of which rejection an
action for damages 10 now pending IN the
Supreme Court. wherein our firm OF HAYES
Judge are attorneys for plaintiff. IL ID
stated as matter Of fact that Its appearance
at the exposition In 1900 In Paris was the
signal for explosive protests on the part
Of italian sculptors. not, >of course. on &C
count OF any objection to it>on moral grounds
OF a simple sort, such as nudity. but because
its artistic quality aroused opposition among
those who detest realistic work In big
sculpture"
As council for sianor Blond in this llti-
cation. ! am thoroughly familiar with the
history Of that famous work OF art ana can
state positively. that there was never any
opposition TO Il on any ground whatever,
and that its Appearance at the exposition
IL 1900 II Rs yss oss sas s en Ss
the contrary. the colleagues q signor Biondi
MASTERPIECE Of art, and italians senerally
were proud Of the fact that an international
jury OF more than thirty members. COM com,
I shf s prize Hr e ps%. pr1 at the Elk
mittee on Fine Arts. known as the "Glpn,t ia
superiore dI Belle Arti," reeommended ios
oordlngiy purchased q, replica q the work
and gave II a place of honor in the National
Gallery Of Rome, where It now Is.
The only objections come from those VINO
il. The trustees Of the Metropolitan Museum
Of Art Refused to exhibit T. tes saos
refusal can never be justified either In the do
main Of art or Of morals or Of law and equity
action now pending or Discuss the evidence
which we shall Introduce ln support Of our
claim for damages. But in jpstice e. Sig1or
In order to correct a misstatement which
may work him serious injury. ,o.
that the reI i edtors intend TO agho
assaiIed as brilliant. pretty ana bad" Surely.
e not have ' used such adjestives which are
Wholly asSPpcfhbe and na anIa oPpthins
son aa which only ' those hose who look beneath
the surface and outlines Of the figures can
The message Of the sculptor is not for those %,
who sec not one masn as ON
the ground Of It's realism and portrayal OF
scenes OF debauchery: similar CT eriti f ,ba
be ss Of o.
not necessarily oonfne itself to The he, es ans
writing In agony as they are slowly crushed
to death by monstrous sea serpents,, one OF
Or. to take more modern instance there
is the group q statpary, The Two NATURES M%ics
the trustees of the Metropolitan Museum
accepted without hesitation and have now
on exhibition. Then, there is the "Bacchante,
which was rejected by the museum authori;
ties in Boston. but is prominently disPiayed
are anxious to raise protes. on moral or or
various, specimens OF painting and sculpture
in the Ide now on eFhibit9n In the Metre rto
print to attack such chef dqurrS as the
"Saturnalia."
In all this discussion 1t seems to be forgot,
ten that Signor Biondi Ia suing for damages
for breach of contract and that the merits
or dement's Of the group in question on moral
or artistic grounds cannot AFFECT the rights
of the sculptor under the law.
NEW YORK, Sept. o.