Der Deutsche correspondent. [volume] (Baltimore, Md.) 1841-1918, 1916-05-14

oVerawed and subjugated by their
creations and as convinced of the
divinity of them as is the mass OF
the populace. The work stands apart
and sways the man.
And this should be the case in
works of all caliber. Enough study,
reflection and genuine pleasure
should have been expended in the
conception and execution OF any
work of art as to render 1t influential
in the community for all time. And
art can be found in very humble
garb.
In years past often on a summer
afternoon. of Sunday, when the old
business districts OF the town were
quiet and deserted, would / find a
genuine treat in a stroll through
streets framed by many an old ware
house or once historic mansion and
now neglected and gone to seed. In
these old Buildings there lurked an
inexpressable charm, mysterious and
pathetic and most intensely human.
Their broad and ample proportions
and grand dignity were a lasting re-
buke to the tawdry. trivial and con-
sequential pretentions of their mod
ern neighbors. And looked at them
and was at once discouraged and in
spired These buildings were old
and had served their time, but to
what purpose? Their influence
seemed lost. A hybrid mushroom
growth of aimless concoction was
sprouting up among them devoid OF
the first principal Of art Where was
the lesson2
Yet on the other hand / reasoned,
that it had always been so. Medioc-
rity will always be the close compan-
ion OF talent. Only let us strive to
subordinate that mediocrity and rem
der it conscious of its immense linz
itations.
Baltimore City has charm born
Of the works OF the past. when Arch
itecture knew how to govern herself
by classic formulae and when har-
mony was the first element sought.
The former sky lines OF It's streets, IT
uniform, and so according to the hys-
terra of modern ideas, monotonous,
were not devoid OF a certain gran
deur bred of quiet reserve. An air
of nobility and calm seemed to speak
certain solidity OF purpose. A build
ing interested you and pleased you.
You were not stunned or alarmed by
it's excessive originality, or bored by
it's commonplace stupidity. The gen
eral tone was architectural and not
theatrical. You felt yourself in a
good company Of talent. with per-
haps an occasional genius. The
cranks and Revivalists were missing
The City was noted for its apprecia-
tion Of music and the arts and money
was not begrudgingly spent on these
flowers Of human attainment. There
were patrons Of the arts and ann
ateurs and certain emulation even
among the initiated.
This spirit Is reflected in the local
writings of the Eighteenth and
Centuries. II finds it's ex-
preston in the competition that was
held in order to determine on an
adequate design for the Washington
Monument, in the Battle Monument
and in the rivalry among the citizens
for houses commensurate with their
wealth and social ambitions. There
was q striving to Outclass ones
A cultivated man read
"Vitruvius" and "Vignola" and prid-
ed himself on his knowledge of the
Orders OF Architecture. He would
discuss the entasis of a column, the
profile of a cap, the section OF
1t was no doubt amateur
ish from the practitioners stand
point, but 1t was interesting and q
proof that art was alive.
Are we approaching q return to
such a spirit among the people? My
natural optimism leads me to believe
so. Unquestionably there is q great
improvement in the attainments OF
the practitioners both architects and
sculptors and an immensely in
creased discriminating faculty among
the laymen. This has been produc-
tive Of great civic improvement dur
ing the past ten years and it is only
in the beginning.
Perhaps art like Government is no
better than the people deserve, so
that the sine qua non OF progress in
both fields of endeavor is in the
education Of the people.
And my suggestion here is to learn
to love Old Baltimore. Learn to love
its endearing landmarks, its substan-
tial old houses Of better days, the
monumental feeling in an old por-