Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1921-08-26
NOW MY IDEA IS THIS
Daily Talks With Thinking Phladelphans Subjects They
KnO,U Best
knOU Best

foggy idea Of what 1t is and how the artist
painted it.
This practice sprnng up when the Eu-
ropcan nations, during happier days of in,
l"rnhtIonal peace, not threatened by Internal
political or factional troubles were engrossed
only by sense of emulation and the desire
Of prcdominating over each other in the
attainment of tho highest intellectual stand
ard. Every thought, every energy was de-
voted to tho moral and educational develop
mcnt Of their people.
AT all times in the worlds history there
have been associated with the true. sincere
men who have o-operatcd in initiating
civilizing, progressive and evolutionary
movements those who, covered by a hypo-
critical mask of selfshness and possessed by
the desire Of enriching themselves at the ex-
nense Of those acting in good faith and
nobility Of soul. take advantage of similar
movements for self ACKNOWLEDGEMENT,
Owners Of genuine works of art. deeply
concerned about the intellectual welfare of
their countrymen, generously offered them
10 the Nation. Others sold them. There
were also rich noble people, very fond of
artistic productions of the ancient times
who began searching everywhere for paint
lngs, sculptures, curlos and other works
of art.
The collectors were increased in number
and the genuine works of art became scarce
and rare. Hence the art dealer appeared
and with him the forgcr.
while the INSCRIPTIONS one often had,
perhaps good specimens of the skill of we'll
known masters. he also had bad examples
tn" work OF COpyists. imitatOrs and the like
The demand for genuine works increased
prices became higher. the appetite for en-
richment developed, and then manufacturers
of old masters became established in Brus-
sells. Amsterdam. Paris, Rome, Florsnce,
Naples and elsewhere.
Many just FIJI Wall Space
''Ihe pictures having been long in the
hands of the original owners, unappreciatcd
valued, not for their artistic qualities, but
as means for filing wall space or because
they represented ancestors. remained un-
touched, unccaned. Being found darkcned
by the accumulation of dust, affected by the
humidity OF close atmosphere. they ac-
qnred progressive "mysterous" tone in
crcasing evcrmore in intensity by the addi-
tion of smoke produced by the old fashioned
iocolori lhrcpaccs) and Camin (mantel-
picces), in which wood of all kinds was
used IN making fires, thus producing gases
Of different natures.
ut was impossible to discern beneath
such an ever r-increasing thickness of hetero-
geneous substances, together with superim-
posed layers of stained varnish. linscod oil
or stained wax, the brilfiancy and purity of
tintS. the contrasting bright colors harmo.
niously blended, Of the paintings as they
uppeureu Wnen lnclr authors gave to them
the last stroke of the brush.
IAN effort was made to remove the thick
coat of that continuous, successive. supcr.
imposed foreign substance, but whoever at-
tempted it in those remote times, ignorant
of the proper method to be employed for
such n purpose and failing 10 accomplish
that which he desired, left things be after
causing change In the general tonality.
The picture thus treated appeared more
spotted, more visibly cracked and still re.
tanned the smoky yellow tone which if had
BEEN the intention to remove
These conditions led to the conyjction
in the mind of the general public that ,oye
atmOsphercal chemical agencies, dampness
smoke or sulphurOus vapOrs produced the
alterations of the original 'matcria nrimn'
and the subsequent change Of tints.
'"Then We had skilled copyiSts reproducing
'old masters by initiating very closely the
mysterious darkness of their canvas and
multiplying the original works. In sails
Ning the demand of the collectors thov
fattcned the purses of the dealers. who linz
solved too, the problem of their own ivima
'IherCfore the responsibility for rho rr
istence Of so called counterfeit works nr no,
of the present day is TO be nttributeI to ,ho
dishonest art dealer. to the artist who hoimn
unable to create. deyOtes himself IN ron,imas
the works OF others, aud TO those art coi
leetors who. being ignorant in the mottcr
'9f art production, buy for the fashion =,
having an art gallery and for No otho.
known acceptable or laudable reason u, le'