The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1910-12-04

eyelids and the gentle curves of her
temple, while the thin cheek and the
charming work Of art in all its modesty
and severity.
Surely Europe has had it's great
sculptors In ali countries. But in the
steady evolution of the art France
stands without peer. i am speaking
Of modern. not Hellenic SCULPTURE. In
always existed. This is told US by
the witnesses who speak to us from
days gone by, and whose voices would
be more powerful still. if the lust OF
destruction had not ragged with greater
fury in France than in other countries.
The religious wars did not destroy
more in France than In Flanders and
Germany, but the memories OF the past
suffered in France far more than in
any other European country from the
Of our cities. which stretched out and
grew larger while so many cities in
Germany and Flanders slumbered on
the old treasures. The lack of interest
in heauty of our middle classes, the
ever changing taste Of our wealthy
of many masterpieces Of art. To this
comes the love of destruction which
Is found in all nations, but particularly
In the French
ton is the easiest form Of commerce,
the masses take particular pleasure
In mutilatlng. breaking and crushing
anything that comes In their way. This
pleasure is strongest In the most hot
tempered Of nations. But IN spite Of
pieces have we not among us from
tho great Christian era? What treas
urcs do not our dealers possess In
the shape OF little statues In ivory or
precious metals representing st.
Katherine, Margaret " Earhara, these
teenth century smiles?
The noble French art of sculpture
was not long satisfied In COPYING or
initiating old masters. lean Gaujou,
whose amiable genius influenced even
tbs r!ainest carvings in Normandy, was
himself little influenced by the
b!ned grace with strength. and which
VIC find naterialiZed In tho wonder
full Figure OF Death In the Church OF
st. Peter In Bar-lc-Duc, executed by
Llgier Richter.
This dccaylns body which barely
has flesh clinging to Its bones, stands
erect, noble and proud. having torn
Its heart from It's bosom and raising
II towards heaven. Again and again
this beautiful. art Is horn In new
we have tho two anglers and Pierre
Puget. Pierre Puget has lost none
of his personality in Genoa and steer
ed clear Of Italian eSaggeratlon. Then
comes Couston. rlgalie. Houdon, and
In the next century the wonderful
creators: Rude the mathematician.
who finds truth and size through
measuring and calculations: Bnrye Car
reauN. who makes his dancers and
Floras smile with every dimpe in
their bodies. Then there Is Rodin. I
do not think there arc more powerful,
more stirring works OF urt than his.
Figures, busts, groups made by his
lla , all live and breathe, From his
In holy awe. This master has a sense
for motion which no ono has ever pos
sessed, His art fills the dead material
.and makes AZ 80 charming. so life-like,
SO powerful that hot blood seems to
course through its veins, His strong
spirit of motion pervades every part
OF their bodies, 70 the very emotions
OF their faces, which reveal the secret
processes lSof mind and soul, There
fore his portraits, stern or lovely. all
ways reveal mysterious. deem. nracinus