Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-08-05
A R T N 0 T ES.

Much interest attaches itself to the new
bronze doors which have recently been cast
for the House entrance to the Capitol. Hav-
ing been designed by Crawford, they come
as a re-echo of Americas earliest art. and
being of the same origin, execution and
casting as the long famous Senate pair,
they would seem to fifty fulfill a we'll
ordered project. But for the breaking of
the steel wire cable by which the north
door was being lifted into place and the re-
sultant damage sustained in the fall both
of these new doors would now be hung and
available for inspection. AS it is, however,
only the south door is in position, and for
a month must stand as the index of the
pair 1t tells, of course but half the story,
but 1t admirably illustrates the character
of the work and indicates its true signif-
canoe. Crawford was born in New York in
1913 and died in London in 1857 after a resi-
dence of twenty-three years abroad. He
was an Industrious worker, prolific pro-
Queer. Thorwadsen demonstrated keen
interest in his efforts during his student
days. and Charles Summer furnished him
with the means to put his first important
sculpture (the "Orpheus and Cerberus'' of
the Boston Museum) in marble. 1t was
through Summers interest and efforts that
later he received the most extensive and
important commission ever given by the
government 10 an artist"-that for the
group on the Senate pediment depicting
"the Past and Present of America" the
colossal statue of Liberty" surrounding
the dome, and the bronze doors for the
north entrance The first two of these were
completed by the sculptor's own hand. but
the last We're finished after his death by a
brother artist-William II. Rinehart On
this account these doors did not reach their
destination until 1868, and for this reason
the models of the complementary pair were
probably stored away in the Capitol crypt
and forgotten. Like their predecessors,
these later two are pictorial in character
and derive their interest primarily from
their literary aspect. Divided into panels,
they set forth eight scenes relating to the
war of the revolution. The uppermost
panel of the south door pictures dramat-
ically the massacre perpetrated by the Eng
lsh and Indians at Wyoming, Pa; beneath
this is a graphic portrayal of the battle of
Lexington; while next in order Is shown
Col. (afterward generaD Moutrie accepting
the standard Of colors presented to him by
embaSsaries from the ladies of Charleston,
| S. c., and lastly the tragic death Of Mont
gomery al Quebec is recalled Each is
| separate tableau-a little scene enacted by
puppets oOiiic VI tHe HSuTtS StdnQ lOTtH
| almost in the round and all are projected
| from the main surface of the door. Their
purpose was to tell a story-to establish in
| immutable form patriotic chronicle. The
scenes were chosen from their historic i'm
port rather than on account of their artistic
possibilities. The sculptor was inherently
| a historian, and seiecting his themes
| ranged his subjects on their little stages
| with the eye of the dramatst. He paid lit
| tie heed to composition, to rhythmical ar
| rangement of lines and masses, or to even
| unity of effect he had eight complete
| stories to tell and he recounted each with
individual tinality. Accidentally the work
| is good, the figures are well proportioned
| and acceptably set up, they are strongly
| modelled and directly handled, but, as Mr..
| Taft has said of those on the Senate door,
they strike the memorable background
| with bump" so little are they relate
| one to another. Were they modern works
| they might well be considered trivial and
immature, but representing an earlier
| period, their sincerity must commend them
| to favor. The immobility of their modelling
differentiates them from latter-day produce
Istons, but the sturdiness of their truth and
| the stolidity of their handling goes in a
! measure to show on what manner of
foundation our American art is built AS
| works of art they may never be proclaimed
| great; but as records of past era they
must always be counted of genuine value.
| At the entrance of modern building they
would be distinctly out of place, but for
| their present position they most appro-
| priately suited.
| X X
| Municipal art has. of late years been en-
| crossing much attention. and in most of
| our large cities an earnest effort is being
| made to improve existing conditions. The
| general aspect of the public thoroughfares
| is being logically considered; parks are be-
| ing laid out In accordance with art princi-
pies, and no constructive work is UNDER