08- LI BR AR Y -30 efc UNIVERSITY OF CALIFORNIA. GIFT OK Received .^r^-^^^...... , iSfilf,. A ccessions No^J^.^Sdi Shelf No. , 4? J THE PHILOSOPHY OF ART IN AMERICA, A DISSERTATION UPON VITAL TOPICS OF THE DAY; PERHAPS OF ALL TIME. BY CARL DeMULDOR. " The Noblest Motive is the PubHc Good."— Virgil NEW YORK : WILLIAM R. JENKINS, 850 Sixth Avenue. 1885. COIVRIGHT BV CARL DeMULDOR, /^ ^^' DEDICATED TO ART AND ALMA MATER! And to a Hue Artist, Friend and Philosopher the President OF THE NATIONAL ACADEMY OF DESIGN, ALSO TO THE Council and other Members of the Association, to all Brother Artists, and every true lover of the Fine Arts, Bv THE Author. March 20ih, 1885. THE PHILOSOPHY OF ART IN AMERICA CONTENTS. CHAPTER I. PAGE. TLe Field of American Art 11 Au Official Dynamo 12 U. S. Department of Art and Art Industry 13 A Lesson from the Palais de I'lndustrie, Paris .... 15 The American Ai-t Tariff 17 CHAPTER II. Luxury and Necessities 20 Art Exhibitions 22 The New Orleans Exhibition 23 American Art at the Munich Exliibition, 1883 26 American Art and a London Exhibition 1886 30 Lesson of the Centennial Exhibition 32 Improved Management of Art Affairs 32 The Diplomatic Dilemma 34 CHAPTER III. A National Gallery of Art 36 The American Classics, Washington, Aliston, JStuart, Cole, Vanderlyn, West, and others 37 American Art Pioneers 38 Art and Science in America. Robert Fulton and Professor Morse 39 CONTENTS. CHAPTER IV. PAGE. Various Stages of American Art 48 Pre-Raphaeliteism 49 Scientific Domination 50 The New Spanish School 51 Impressionism 52 Idealism, Realism 58 CHAPTER V. American Art Criticism 55 CHAPTER ^T:. The Province of the Fine Arts 58 Artistic Industries and Manufactures Gl The National Academy of Design 64 A United States Minister of Fine Arts 66 CHAPTER Vn. Fine Art's Foes 69 "Bella! Horrida Bella! " 70 " Argumentum Baculiuum ' 71 " Pro Patria et Gloria " 72 Bismarck and Diplomatic Art 75 Patriotism 76 CHAPTER Vin. The Dawn of Universal Peace 78 The Code of Peace 79 The Art of Statemanshij) 81 The Art Student 82 Courage and Eclectic Taste 84 Lessons afforded by Rembrandt, Rubens and Corot. 84 Masterly Imagination — Goethe and Patrick Heniy. 87 The Consummation of Civil Government 87 CONTENTS. CHAPTER IX. PAGE. Art and Philosoph}^ 90 Musical and Dramatic Art 94 The Art of Caricature 96 CHAPTER X. Art and Nature 98 Niagara and its Sublimity 99 Art and Civilization 100 Architectural Art 102 CHAPTER XI. Fine Art Investments 105 Cultivation of Artistic Taste lOfi "De gustibus nou est disputandum " 107 Columbus the Designer 108 Palissy the Potter 110 The Influence of Native Fine Art 110 Business, or the Art of Finance 113 Art and Peace 116 Art and National Prosperity 116 The American Institute . . 118 A Practical Lesson from the Swiss Alps 120 An American Palace of Art and Industry 122 A National Society of Arts 125 CHAPTER Xn. A National Warning 126 Dynamiting Balloonist s 127 Fine Art and Agriculture 127 "The noblest motive is the public good " 129 The Triumph of Art 131 Appendix : "The Carver and the Caliph " 135 INTEODUCTION. Cix >'^P It has been said : " He is a poor workmair wko cannot talk about liis trade " — philosophically, of course ! — " for the great work is not to pull down, but to build up, as in this, humanity finds exceeding great and pure joy." Goethe exclaims, moreover : " For eternal truths and lasting emotions one should go to the great writers of the past " — true workers in the field of literary art, all of them, — who have outlived the changes of taste and time ! Now as poet and sage combined in one, commend us to Solomon himself, not only " the wisest of men," but ever evincing a most remarkable taste and fondest liking for the beautiful in Nature and in Art. For what can be more truly aesthetic, and certainly giving a leading and invaluable idea in decorative art — to say nothing of a highly appreciated suggestion to a landscape painter — than is to be found in the full significance of his familiar but imperishable proverb, " A word fitly spoken is like apples of gold in pictures of silver " ? ^^^^"5^^ CHAPTER I. THE FIELD OF AMEKICAN ART. HE kiudlj interest being taken in Ameri- can Art and Artists, witli all that per- tains to native artistic enterprises and industries generally, as verified in pros- pectuses, editorials, letters to the press, or circum- scribed in the constitutions of new art societies, circulars and petitions — all recently brought to pub- lic attention respecting proposed and already existing tariffs, exhibitions, etc., etc. — introduces an appar- ently everlasting topic in every sense of the word, but, nevertheless, one entirely worthy of most care- ful consideration. And we fondly trust that this subject is des- tined sooner or later to be satisfactorily adjusted by the ablest management of our Eepublic, and perhaps after a manner already prevailing in other well- governed lands and civilized communities, which, in 12 THE PHILOSOPHY OF ART IN AMEEICA. their turn, respectively liaye been called upon to en- counter similar national experiences involving the ine\-itable growtli and development of indigenous and acquired arts of human design. Many have been the logical and most earnest ap- peals, unquestionably having their origin in a wide-spread desire for more light upon the artistic outlook and its prospects, than is at present percep- tible in our midst, calling for more wisdom and understanding to be intelligently secured and practi- cally applied in the national ways of conducting pictorial, plastic and general Fine Art and industrial art affairs, including exhibitions, commissions, tar- iffs, etc., and their multitudinous relations as well. AN OFFICIAL DTNAilO. Now, as in a great city the eye may be delighted with the sight of many electric lights, each shedding an incandescent ray, and yet, as one, gazing upon the effulgent display, is thoughtfully reminded that the magic fluid supplying all this bright illumi- nation must be generated somewhere in what is termed "a plant or dynamo," so upon the American Ai't question, we have gradually become convinced that there must be given to the many and all con- cerned, some reliable source or fountain-head of necessary and most persistently demanded public information upon Art affairs. And view the subject as we may, we are forced to U. S. DEP'T. OF ART AND AET INDUSTRY. 13 the conclusion that the consummation of this object can only come through the establishment, sooner or later, of some national bureau of official information, some definite code or form of procedure under competent and conscientious guidance, and to be ultimatel}^ assisted by the systematic accumulation and classification for purposes of reference of all accessible facts, data, statistics and knowledge gen- erally, that pertains authoritatively to the subject of Art, as it may exist at home and abroad, in this last quarter of the nineteenth century. . / And we proffer in this dissertation a simple sign- board pointing to the proper way, hopefully volun- teering a word in the cause of public good, and humbly ventured with the sole object of impressing the great importance of securing an indispensable and reliable adjuvant to the natural development of ' our fine, technical and various industrial arts, and the many interests involved in the pursuit of them. UNITED STATES DEPARTMENT OF ART AND ART INDUSTRY. In an essay, to approach the subject synthetically as well as analyticalh% to v>'eigh the controlling truths and most important facts first in their natural order, the tariff upon paintings, etc., seems but a single item of the American Art measures demand- ing serious and immediate attention. And while looking at ]3ast and present legislation, exhibition schemes, governmental commissions, appropriations 14 THE PHILOSOPHY OF AllT IN AMEFJCA. as well as misappropriations, and the palpable re- sults of the latter, too often to be seen in tlie land we must, if possessed with any degree of public spirit, be impressed with the incontrovertable fact that the time has come when this great and growing nation of about sixty millions of people, devoted to the pursuits of peace, should be provided not only with a department of War, as at present, and of the Interior, comprising, we believe, agriculture and general education, etc., but also with whj^t now ap- pears so indispensable, a reliable official national department of the Fine and Industrial Arts, to be superintended or led by a Secretary or Director, whose duties it shall be to aid in promoting the growth and welfare of its Arts of Design and Industry. In this way only can we hope to conserve and encourage native talent, and protect the capital and interests invested in American Art. The situation is rendered imperative, and the demand for action more urgent, by the numerous circulars, petitions and prospectuses at present ad- dressed to artist, citizen and legislator calling for an opinion or a judgment, a vote upon, for or against, a law or tariff, even before the proper syllogistic premises are afforded him to reach a wise con- clusion in the former case, and before the whole evidence or returns are duly presented in order to en- able him to form a just decision in the latter position. A I.ESSON FEOM THE PALAIS DE L'INDUSTRIE. 15 Indeed, in the absence of an authoritative and ■well-defined code of what might be termed aesthetic ethics, or of responsible official procedure, there can, it seems to-day, be no proper presentation of the true merits of a proposed appropriation, ex- hibition, etc., before the most precipitate action is of times demanded. No learned charge — if we may use the term — being given by " a most worthy and upright judge " of art affairs, before calling upon the jury, composed of citizen, artist, or legislator, to give its verdict in favor or against the cause, be it appropriation for painting, statue, museum, academy, art school or tariff, etc., etc. Certainly/ this can and should be remedied. A LESSON FROM THE PALAIS DE l'iNDUSTEIE, PARIS. The appointment of a minister, superintendent or director, associated with efficient assistants, con- stituting a thoroughly equipped Department of Art, though new to our community, would be really no innovation, for, if we are not misinformed, the French nation has its Minister des Beaux Arts, who is a member of the Cabinet of the Republic of France, leading, in fact, the world of taste and fashion. And the result of this superintendance or administration, if seen alone in the annual Ex- position at the Champs Elysees, in the Palais de rindustrie, is a great national triumph, and one promoting the advancement of art and art in- 16 THE PHILOSOPHY OF AET IN AMEEICA. dustries in a way that attracts the attention and admiration of the entire world. Imagine six thou- sand works of the Fine Arts, as there to be seen ; paintings and statuary — the latter viewed amidst fountains and luxuriant plants — a wonderful combi- nation of nature, science and art. And later in the year, at the same building, the Agricultural, Horticultural and General Industrial Art Exhibition attracts and instructs thousands of visitors from all quarters of the globe. It is plain to be seen that this can be the result only of the ablest direction and management, pro- vided with the necessary amount of funds, and having, moreover, at command an edifice and salons capacious enough to give national and international representation of the world's progress in the Arts of Design up to date. We may not, without regret, divert attention, at this moment, from so fair a picture, to a feature of our own profound national diplomacy, to be found, as it stands recorded to-day, in the conditions of an American protective art tariff — an act not only im- peding art importation to our country, and most certainly prejudicing the educational interests and respectful consideration and treatment of our patriotic art students sojourning m foreign lands, but has resulted, it is claimed, through the desire on the part of a famous and universally respected THE AMEEICAN ART TARIFF. 17 jury, acting in a cosmopolitan spirit, to proclaim to the world of Art, DijDlomacy and Pbilosoj)liy an em- phatic, natural and very human protest, in their act of withholding from one American artist, at least, his share of honors fairly won in a Salon Exhibition, the acknowledged chief arena of works by living artists A. D. 1884. THE AMERICAN AKT TARIFF. Although confining our attention in this essay to the philosophy of conducting our own art interests, national and local ; ventures in the form of tariffs, commissions, etc., including American Institutes, World's and other exhibitions and fairs, surely we can profit from even a momentary contemplation of the systematic methods, orderly and efficient man- agement of foreign art enterprises as they appear to be so skilfully, thoughtfully and, we may add, diplomatically organized and conducted in other lands. Neither these national contrasts, presenting results however unparalleled with our own state of affairs, nor even the anxiety displayed, as noted by President Arthur in his annual message, 1885, upon the perplexing art tariff, as being at present debated by our own and European governments, nor again the formidable array of circulars and petitions earnestly calling for direction and more light upon the subject, etc., should debar us of hope for ulti- mate relief ! 18 THE PHILOSOPHY OF ART IN AMERICA. There is a way ont of this ?esthetical wilderness, but only one clearly to be defined, and it is by employing able leadership and the organization of a reliable national bureau or department of Art. Commencing at headquarters to dispel the ap- parently almost cimerian darkness resting at j)resent upon the American Art prospect, we may hopefully, as we say, take aim at the stars, though Ave hit but below them, or choose, on the other hand, un- philosophically to sit down in despair and wait for the dawn of a diplomatic millenium. In other words, we can effectually call to our aid the best superintendance and management that is obtainable, or, on the contrary, continue in the prevailing chaotic state, leaving Architecture, Sculp- ture, Art, Educational and Exhibition projects and interests generally to unorganized luck and chance control and direction, without consulting, certainly, the true principles of political economy, or profit- ing by the inevitable and accustomed experience of other progressive nations, and, indeed, through pseudo-philosophy, if not stolid indifference, leave the solution of impending problems of common progress to coming generations, though the cost, through neglect and delay, be incalculable, from repeated, wasteful and exorbitant appropriations and unguided legislation. The issue, as pictured above, cannot be evaded, THE AMEEICAN AET TARIFF. 19 nor this art subject dismissed as being immaterial or irrelevant, by any one having the honor and welfare of our country at heart. The humblest American citizen has the right to petition that public appro- priations shall not be squandered or used without due judgment and information, and that public places be not disfigured by unskilful work placed before his daily sight. And, moreover, should he not conscientiously, and in good taste, persist in asking for the best that the wisest possible ex- penditure of public money can procure, and may return to the community as its material equivalent. CHAPTEE IL LUXURY AND NECESSITIES. LTHOUGH we may be a new and very practical people, are we not, with all Christendom, legitimate " heirs of the ages "of culture and civilization? The story of the past and present convinces us to-day " that the beautiful is as useful as the useful, more so, perhaps," as expressed in words so fitly spoken by Victor Hugo, a master philosopher of art and human nature. Now legislators ma}^ persist in attempting to draw a fine imaginary line of demarcation between luxiay and n£C€ssities, with all the acute sense of justice exercised by " the old apple woman who to give fair weight would cut a plum in two " — or again,, must we say it, with all the astute acumen of school boy logicians agitated upon the momentus debate as to " which is the most useful, the horse or the cow ? " — and still they will find that tastefulnesa LUXURY AND NECESSITIES. 21 is inseparable to-day from every product of human industry, and all tlie innumerable manufactured and material necessities of civilized every-day life. For example, the demands for architecture in private and public buildings are not satisfied by merely securing the possibilities of habitation, etc., but the structure, whether it be church, dwelling, state or national capitol, must have some pre- tensions to taste and beauty, combined with its commoner features of utility. Take again, for example, the work of the simplest of manufacturers. Perhaps the practical unromantic man who formerly made a simple brick, finds to-day that but a little addition of tasteful decorative or technical art converts the same amount of clay into a beautiful practicable tile, and, moreover, greatly enhances its commercial value. Yea, verily, he has had in his case an sesthetical idea forced into his head through the instrumentality of a brickbat. Practically and philosophically speaking, we have reached that state of national development v/hich demands serious consideration of innumerable in- terests associated with the arts of design and of varied industry, not only as displayed in our gal- leries and museums, but in the architecture and furniture of our homes and houses, in decorative window-glass, tiles, wall-paper, carpets, and the thousand-and-one objects of decorative art repre- 22 THE PHILOSOPHY OF ART IN AMEPtlCA. senting tlie investment of millions of dollars of capital in their production. ART EXHIBITIONS. One of the most important features belonging to the practical application of the true philosophy of Art in America, and one demanding immediate at- tention, is that of properly conducting so-called national and international exhibitions ; for nations, like persons, ever delight in the ostensible as well as internal evidences of human progress, and the result is periodically to be seen in a national or an international exposition as inevitable in its occurrence as a State or county fair. And it is unnecessary for tis to affirm that the parties participating in them, whether as contribu- tors or visitors, are greatly benefited by the dissemi- nation of knowledge in this universally-approved ancient and modern way. They will occur, and re-occur, as long as mankind fondly delights in dis- pla,ying and comparing the tangible vouchers of civilization. We as a nation have ah'eady taken part in several international exhibitions of acknowl- edged importance, and must be prepared to take our part in the competitive arena, composed of first- class communities, when, upon proper invitation and worthy occasions, amicably challenged to pre- sent the credentials of enlightenment and enterprise THE NEW ORLEANS EXHIBITION. 23 that we may possess — to say nothing of thereby helping to keep alive honest national pride, respect and patriotism. Perception and experience, as well as " patience and perseverance," are needed to overcome great obstacles and tend to make all things perfect ; and withon^ animadverting upon our past efforts, we are forcibly convinced at this moment that the services of a trained and expert direction should be provided for all future exhibition occasions. THE NEW ORLEANS EXHIBITION. Can this be questioned while looking, for example, philosophic, lly, if possible, at the vicissitudes of the New Orleans World's Exposition, 1885, or while contemplating the natural anxiety of contributors to its art and various departments, who were at one time informed through the j^ress of exhibits under / leaky roofs, threatened incendiarism by unpaid em- ployees, etc. Whether these were exaggerated charges or no — to whom could one appeal for reliable official informa- tion, responsible or authoritative guardianship or direction certainly due to a confiding and public- spirited people acting in this or similar emergencies? Surely this New Orleans Exposition and ex- perience, though terminating ever so satisfactorily or adversely, must force the Government and public 24 THE PHILOSOPHY OF ART IN AMERICA. opinion to take tlie proposed salutary steps and reacli a most logical conclusion. For neither the company conducting it nor any managing society, projector or agent of public exhibition enterprise, however meritorious, should be permitted again to thrust upon the community, or invoke its co-opera- tion by flattering prospectuses, etc., any national or local scheme, until matured and definite plans and specifications shall have been officially inspected and duly presented by proper and responsible au- thority, if not now existing, certainly appropriately to be appointed for such an important duty in the future. Starting as a simple cotton exhibit, the project al- ready mentioned expanded to the proportions of a World's Fair, apparently by a balloon or mushroom- like growth, astonishing beholders by display of quantity rather than of quality, — all clearly due to no lack of heart and pluck, but a want of a delibera- tive and calculating head. Although there appears to have been a Board of Management of the World's Industrial and Cotton Centennial Exposition at New Orleans, and also United States Commissioners to the said Exposition, com- bined, they seem to have been of little avail in making practicable plans and calculations. For the Presi- dent of the United States in his message, February 12, 1885, transmitting their report to Congress, on THE NEW ORLEANS EXHIBITION. 25 deficits and appropriations, says : "A failure on the l^art of the management to carry out the original in- tent in regard to the Exposition might reflect upon the honor of the United States Government, since twenty-one foreign nations and forty-six States and Territories have joined in the enterprise through faith in the sanction of the government. In view of this fact, and in consideration of the value of the Exposition to the cause of material j)rogress and general education, I respectfully submit the report mentioned for the favorable consideration of Con- gress." It should, for once, be promptly assisted by governmental appropriations, if only in return for an impressive national lesson learned in regard to the reasonable management and modus operandi of future efforts in the exhibition line " sanctioned by the government." And the conviction is forcibly impressed that concerns of such importance, se- riously involving public credit and good taste should not be left to casual or unqualified provis- ional or provincial commissionerships. Certainly we have had experiences as a nation, much more agreeable and profitable to contemplate, — the Paris and London exhibitions, each with an American de- partment ; while at Munich, as recently as the year 1879, America was unknown as a producer of Fine Arts in any shape, if we sought in its grand ex- hibition galleries for an American Department of 26 THE PHILOSOPHY OF ART IN AMERICA. Art as an evidence of its existence. And this was observed and commented upon at the time by mul- titudes of visitors at a most important picture- mart and celebrated art centre, where all civilized countries were represented in their respective de partments, except our own. THE MUNICH EXHIBITION, 1883. But in 1883 we were included with the rest of the enlightened world, and American and European travelers and visitors in Munich, during the summer of that year, found displayed at the capital of south Germany, an Exhibition of equal imjjortance and of greater extent than that of 1879, at which, more- over, America was most creditably represented, to the delight of foreign and American art patrons, and all attending people alike, as will be found fully confirmed in official reports, etc. Besides the wel- come reception universally conceded to have been given the American works in painting and sculpture, encomiums, extending beyond the individual re- cipients of awards and medals, were officially ex- tended to the American people and their native artists and to the American Committee of the Munich Exhibition, 1883, by its Secretary abroad, in a selection from his report, as follows : — . . . " Our ' Black and "White ' exhibit was considered by the majority of artists here the most THE MUNICH EXHIBITION, 1883. 27 interesHng feature of our department. The most prominent wood engravers have pronounced the work executed by our men as greatly superior to any of their own, some finding the cause in the peculiarity of the original drawings, others in the superior facilities in the art of printing as practised in our country. . . . " By the promoters of the exhibition our advent was greeted with undisguised pleasure, and their surprise at the excellence of some of our works was genuine indeed. The most gratifying circumstance, however, I take to be the fact, as accepted by all, that we have given fair promise of still better and more important work in the future. Some of the foremost writers on art freely acknowledge the growing importance of American art and predict its successful rivalry with that of Europe, This is probably the principal result of our venture, and should induce especially those of our prominent artists who have either not sent anything or else not their best, to be properly represented at all future International Exhibitions. They may all be assured of a hearty welcome and just apj^recia- tion. For the great majority of our artists who are not often allowed the privilege of comparing their own work side by side with that of the great foreign artists as well as for the benefit of the many Americans who still withhold a proper recognition 28 THE PHILOSOPHY OF ART IN AMERICA. from our native talent, it may be well soon to ar- range an International Art Exhibition at home, where, as a matter of course, the space to be oc- cupied by ourselves, will be much larger and will allowagreaternumberof artists to contribute. . . . " . . . The experiences gathered at this Exhibi- tion prompt me to say that American Art ought to be properly represented at every future Interna- tional Art Exhibition. But no attempt in this direction should be made without liberal assistance from our Government, and it would probably be wise to ask Congress for a special appropriation, to be available at any time for such purpose. It is not likely that any European Government or Committee will ever undertake to pay ocean freight and insur- ance on works sent from America ; this expense will always have to be borne by ourselves. Besides, a commissioner ought to be aj)pointed, who is to remain in charge of the exhibit, and, possibly, act as hang- ing committee as well. " The indications at present are that the next great International Art Exhibition will be held at Berlin, but the time has not as yet been appointed ; prop- er notice, however, will be given in time. Mean- while it may be well to attempt a proper organiza- tion for all future occasions of like nature. " American Art at the Munich Exhibition has given unmistakable proofs of its existence and vitality. THE MUNICH EXHIBITION, 1883. 29 Let US continue the race for honorable distinction and end in supremacy." It is but justice to add, in this connection, while advocating the general welfare of American Art, that the persistent energy of the committee elected by a mass meeting of the profession, called at the rooms of the National Academy of Design, February 23, 1883, in the absence of official national direction to carry out the plan for American representation, shouldering, as it soon found, obligations and labors of a year's duration, alone made the enterprise an accomplished and recorded fact to-day, relying con- fidently, as it did, upon the encouragement and contributions of funds from the well-known patrons of both American and foreign art and progress, in the total absence, it must be remembered, of all governmental assistance whatsoever. Its members, so appointed and nobly seconded, were not destined, however, to disappointment, and withheld neither time nor attention themselves in the cause, acting con a more and patriotically throughout. The result was most satisfactory, securing the Americans credit for artistic productivity in a city of Penakotheks and Glyptotheks, with its famous galleries of ancient and modern treasures, the pos- session of which has been vigorously contested by several leading nations of Europe. 30 THE PHILOSOPHY OF ART IN AMERICA. It is only as a lesson to be applied in the future policy and philosophy of Art in America, that we add that this unprecedented procedure was achieved in a pioneer spirit and action that no one connected with the undertaking could be induced philo- sophically to repeat, unless empowered so to do by proper governmental auspices and necessary appro- priations of means. A LONDON EXHIBITION FOE 1886. Already there is pending an xlmericaii exhibition in London, to be held in 1886, and most favorably spoken of, in which artists and members of art institutions, with numerous patriotic citizens of England and our own country, respectively, are so- licited to interest themselves. Subscribers, invited, it appears, most courteously to subscribe aj^proval only, have responded to a number filling two voluminous pamphlets that have come to hand, but containing not a word as to who is to pay for the whistle authoritativelv and financiallv. With knowl- edge of trans-atlantic freight, marine and local insurance, and such like items impressed upon our memory by late experiences, is it not reasonable, even in a most commendable cause, to ask for all possible light upon a pending subject, as being in- dispensable to enable one to form an intelligent opinion of its merits or to avoid objectionable or A LONDON EXHIBITION FOR 1886. 31 " eutann:lin» alliances," before we act ? Sliould Ave not "look before we leap," or even subscribe ap- proval, and in all manlj and international delicacy ask to whom we are to be indebted, or with whom we are to share the necessary costs certain to be in- curred in this or any other national or international venture? Verily, it taketh more philosophical courage to question affairs conducted by friends, or to oppose a fallacy that is fashionable and popu- lar, than it does to face an enemy or a bullet on the battle-field ; still common sense and justice demands its active exercise in this and every other case in- volving the public good. All occasion for distasteful personal sensitiveness exercised by individual inquiry and compulsory conscientious investigation, would be avoided if these projects of a vital and universally interesting character were submitted primarily and habitually to an ordained minister of art, a commissioner, superintendent, director, committee or bureau, de- nominated as it may be by the proper appointing power or j^owers. Thereby would be established a thorough system of official inspection and informa- tion, giving approval or disapproval only after fully weighing all facts, specifications and conditions, naturally inaccessible to individuals ; and, in cases of approval, duly reporting to a community which stands ever ready to champion any commendable 32 THE PHILOSOPHY OF AKT IN AMERICA. cause, stiil reminded again by the -words of Solo- mon tliat " he who flattereth his neighbor setteth a snare for his feet." THE LESSONS OF THE CENTENNIAL EXHIBITION. The lessons from the Centennial Exhibition held at Philadelphia should be remembered with profit, as the benefit to all parts of the countiy, resulting therefrom, was incalculable, in view of the practical education and knowledge which could be dissemi- nated only through a great and beautiful object lesson in the shape of exhibits gathered and selected from the whole field of the arts of human design. Still its management might have been materially assisted by the expert direction and harmonious co- operation of a carefully organized national depart- ment of art, eyer exercising, when called upon so to do, general healthful supervision that might be likened in its special functions to an aesthetical board of health, or tasteful guardian to the body politic, advising the best, most salutary ways of con- ducting xlmerican art and industrial exhibition aft*au-s. IMPKOYED MANAGEMENT OF AET AFFAIRS. Again an experienced permanent Art Department, had it existed, might have devised, in advance, such plans and explanations as, upon being presented to IMPROVED MANAGEMENT OF ART AFFAIRS. 33 the public in a convincing statement of facts, would liave induced our people coUectiyely and most equitably to insist upon participating in the neces- sary and proper costs and actual disbursements occasioned by celebrating the 100th birthday of the Nation, justly considering the same to be a worthy governmental investment, rather than permitting the perhaps questionable method adopted of bring- ing argumentative and monetary pressure to bear upon such persons as were induced to believe that they, as stockholders, enterprising merchants, hotel proprietors, and others, were to be exceptionally benefited during its continuance, — evidently in- citing rapacity in the latter, too plain to be seen in some cases, and such as was again repeated, it is claimed, at the New Orleans Exposition. We re- iterate, philosophically, in view of improvement and reform, and of effecting, if possible, the practical application of measures indispensable to the foster- ing of native art and art industries, if, in all future and similar enterprises, it shall be required, before bills of appropriation are passed, or permission given to proceed, that specific and complete plans shall be submitted to the at present hypothetical national department of art, to be by it duly ap- proved, or on the other hand justly condemned, in an oflicial report extended to all concerned, whether the object be. an exhibition (national or interna- 34 THE PHILOSOPHY OF AET IN AMEEICA. tioual , an art commission, appropriation or tariff. Then, and then only, may legislator or citizen act informedlj, at least when called npon to con- tribute, subscribe or vote for any proposed advance- ment or needed protection to art, thereby care- fully securing, before precipitate action and final commitment, all the evidences existing that go to show that the cause is worthy of endorsement, and may, if properly pursued in accordance with the definite and approved plans, in all logical proba- bility, result in public credit or universal con- gratulation. Moreover, it will give an opportunity, inasmuch as re-produdion is not fvogress, to insist that each successive attempt at exposition or dis- play shall be an earnest, honest efi'ort in the direc- tion of progress, and an improvement upon such as have preceded it in our land, in quality if not in volume, or be dropped at once from the public no- tice of this very busy world. THE DIPLOMATIC DILEMSIA. " If to do were as easy as to know what 't were good to do, chapels had been churches, and poor men's cottages princes' palaces." From both sides of the Atlantic come significant circulars, petitions, reports or resolutions, suggest- ing that something be done to prove, and improve, our relations to true progress in culture and art. THE DIPLOMATIC DILEMMA. 35 An error is seen by many in our excessive tariffs on books, sculpture, painting, and productions of like character. A remedy, believed to be certain and comprehen- sive in its controlling effect, and in the light direc- tion at least, is herewith prescribed in the shape of our proposed official Art department, minister or director. Although, perhaps, endowed with only advisory duties, it shall still continue to act, if ap- pointed, as a wise and learned counsellor in guiding the art and industrial concerns of our common country/ For, standing with our individual and national hands tied to-day, nothing more consoling appears to be possible at present than the following meas- ures, proffered some time ago, and in a purely philanthropic spirit, to wit : " Resolved, That the Art Club of I^ew York is in perfect sympathy with artists of all nations in their protest against a tariff which shall prevent the importation to the United States of foreign works of fine art" — re- gi'etfully leaving to the yet-to-be-created American Art Department to consummate, and our appar- ently inactive legislators, at least paralyzed in- the art and industrial art line, if not in the con- sideration of Tariff and Free-Trade generally, to effect the practical solution, or to suggest, if pos- sible, a better philosophical consolation in the present state of affairs. . ■ V ; ■ t ^ n t^^wr-c^;??^;^^?^ CHAPTER III. A NATIONAL GALLERY OF ART- HE Secretarjsliip of our Art Department, independent of the functions mentioned, would prove no sinecure. A National Gallery of Paintings, Stat- uary and Art Treasures, forming a collection in a National Museum of Art, after the model, for in- stance, of those existing abroad, or of our own Metropolitan Museum, is not an unreasonable de- sire, but a most praiseworthy object for Americans to hopefully anticipate the possession of. And even if it is to be completely accomplished only in the remote future, certainly there should be no delay on the part of our government in securing, if not already too late to do so, genuine North and South American archaeological relics, comj)rising aboriginal, Mexican and all other existing evidences AMERICAN CLASSICS. 37 and specimens of tlie material characteristics per- taining to tlie primitive and eventfully successive stages of the physical and civil history of the New World — indispensably interesting and instructive to the student, artist, scientist, and philosophers generally. AMERICAN CLASSICS. Again, in the special direction of the Fine., Arts we shall soon be eager as a nation to " gathe'r^'o- gether" and take honest pride in the preservation as a collection, of what may be justly called our American classics, if not our native antique. The works of Washington Allston, Gilbert Stuart, Peele, Jarvis, Benj. West, Vanderlyu, Harding, Cole, El- liot, Morse, Mount, and many others, are invaluable not only for, in many instances, rare intrinsic merit, but as chronological evidences of the early existence, germination and steady development, although im- peded by all sorts of obstacles, of inborn genius and unmistakable tendencies for cultured and festhetical taste, always perceptible in our land. Such a col- lection will afford, in fact, continuous proofs of inherent artistic productivity, as well as appreciative receptivity, showing original pioneer work in the pictorial art field that will not be lost sight of in all future considerations of the comprehensive history and philosophy of universal Art, and es- 38 THE PHILOSOPHY OF APvT IN AMERICA. pecially noticeable in a new world unfavored by tlie possession and influence of ancient treasures so ad- vantageous as a guide and competitive impulse to excellence already achieved in otlier countries and by otlier peoj^le. AiTERICAN ART PIONEERS. Interesting, indeed, are the chronicles of art and artists in America, which will some day be more carefully collected ! And how far back shall we, if philosophically inclined, begin to 'note them? Goethe exclaims that " everything is possible to a great imagination." Indeed, what do we not owe to so-called imaginative minds ? Columbus had his vision that no prayers, threats or other obstacles could divert him from. He was the artist amongst the simply scientific navigators of his day, who were as able, no doubt, as himself to navigate by the old charts and by considerately keeping alongshore. But, Christopher Columbus! — we do not propose to beg the whole question at once ; and, therefore, dismissing for a while the great visionary pioneer navigator, one that we de- light to honor as being far greater than his lucky contemporary so highly honored in continental nomenclature, the imitative and enterprising count- ing-house clerk, Amerigo Vespucci, we will at present strictly confine our view to the consideration ART AND SCIENCE IN^ AMERICA. 39 of the work and influence of professional and world- acknowledged artistic talent. We will be repaid b}' finding it most closely iden- tified witli the history and development, socially, artistically and scientifically, of our native land, and in a way truly and literally electrifyiug, apparently little known and little dreamed of by very many well-informed and devoutly patriotic citizens, who, moreover, with the balance of civilization, are daily participants in the beatific comforts and practi- cal benefits to be justly attributed to America, without giving so much as a passing thought as to what manner of men they are indebted to, — for the general good in some most remarkable in- stances, entertaining not a serious reflection upon the philosophy of the origin of some of the most important discoveries that have materially assisted ^ mundane progress, and which are at the same time to be accredited to American art genius. ABT AND SCIENCE IN AMEEICA. For example, at the town of Little Britain, Pa., in the year 1767 was born a boy who grew and devel- oped into a skilful landscape and portrait painter, at- tracting by his art the attention of Benjamin Franklin, an American widely known to science, if not to Fine Art. The youth was sent by Dr. Franklin to Benjamin West, another native American artistic 40 THE PHILOSOPHY OF AET IN AMEEICA. worker, wlio made his first essays in portraiture, it may be remembered, with brushes plucked from the domestic cat, while applying colors of Indian and truly "home" production; but who, years afterwards, took the seat vacated by Sir Joshua Reynolds, and became second President of the English Eoyal Academy of Fine Arts. And he it was who received the young landscape and portrait painter from America into his own family in London. But young America of that day found little encouragement, as was, we are told, by the way,, a similar experience of Washington Irving in the pictorial art line, for his most persistent eflbrts in these departments of art were unappreciated when he returned to his native land, — a land, it is true* of great rivers as well as magnificent distances ; and Kobert Fulton leaves no contributions to be placed in a future National Gallery in works showing their pictorial beauties, — for the artist, laying aside his dreams of high art and sincere ambition in its accustomed channels, hastened to solve the problem of steam navigation, which, as developed to-day, stands a foremost factor in universal civilization, and still primarily due to the practical application, and upon a lower plane too, of Fulton's inherent genius and imaoination. Again, Franklin the scientist, himsalf had captured ART AND SCIENCE IN AilEEICA. 41 liflitniucr from the skies, but it remained for a larger grasp of imagination, combined with artistic skill, to apply it as did our professional artist, Samuel Finlay Breege Morse, the first President of onr National Academy of Design, located in New- York city. These interesting instances are but illustratiYe of the power and influence of marked artistic tempera- ment, pesthetical taste and proclivities, combined with heroic, self-sacrificing manhood, as seen com- bating with such environments as may tend to im- pede its own and general progress, and obstacles intensely prevalent, it is true, in a new world and in new society — in fact, only to be overcome by such rai'e leadership, great imagination and creative genius as can strike out an unknown path, take a new departure, surmounting all obstacles by the arts of human design and industry, vouchsafed by an v all-seeing and Divine Providence, and arrive thereby to higher fields of cultured life. With a glance at the past it is no extravagance to affirm that if Michael Angelo or Kaphael Sanzio had been born and been constrained to live at that day in our native land, they might have unfolded rare qualities of inherent generalship such as the former displayed at the siege of Florence, but hardly in the pursuit of such fine art as brought into this world the statue of Moses and 42 THE PHILOSOPHY OF AET IN AMERICA. the Last Judgment at Eome or the Sistine Madonna to be seen at Dresden. r- Can there be an intelligent defence for any possible hindrance retarding the development of taste and culture in any laud? Some instance, with dread, the rise and fall of highly cultured ancient Greece and Eome, and, uncomplimentarily to its virtue and teachings, leave out of the question the controling power of Christianity, now prevailing but hardly perceived, and pitiably unacknowledged then. Besides, there can be no fear of an, immediate art millenium, followed by a decadence, at least while tariffs are imposed in such a way as to keep from our citizens their share of the existing human art and knowledge produced alike for the common \ benefit of all races and all nations. True, there has been an improvement upon the times, recorded in our art history when our American artist Vanderlyn, painter of " Ariadne " and " Marius sitting among the Ruins of Carthage," a work that secured him> in reward for its merits, a first-class gold medal at the Paris Exhibition, returning to his native land to follow his profession, was, instead, lost to the art world, wasting his talent and means in the futile endeavor to arouse due appreciation, and to secure a proper resting place, for products of fine art. It must, indeed, have been an eventful day when first arose the conflict, recalled in our art ART AND SCIENCE IN AMERICA. 43 history, betweau simple uusopliisticated if not super-puiitanical impressions, very like "prurient prudery " on tlie one Land, and the Platonic-like fortitude displayed on the other, though called in vain to the then incipient indigenous eesthetical taste on an occasion still remembered by a veteran artist, proving conclusively that "nature unadorned,'* even in cold, cold marble, and in the shape of a little Cupid, was not considered "to be then adorned the most," but was kindly supplied with a little satin petticoat when placed upon public exhibition. And again, later on, when the principal American art school refused all but venerable Benedicts ad- mission to the study of the nude, and thereby surely took upon itself and members a fearful responsibil- ity, and self-assumption of a most important duty, when we reflect that, without the creations of Fine Art, aided by inspiration, choice selection and per- sistent imitation of Nature itself, the beauty of the human form divine, and as perfect as was displayed in Paradise, would soon become a mere tradition, and indeed, under the persistent pressure of fashion, no longer continue to delight the sight or soul. The hope is not lost to-day to realize again the happy state and controlling influence of such great, true and pure Art as was praised by Saint Chrys- ostom, the acknowledged founder of the art of preaching. 44 THE PHILOSOPHY OF ART IN AMEEICA. In his glowing words, so convincing, to bis hearers and to the thoughtful world, it is plain that Christi- anity and ^stheticism not only may, but Terily must, go hand in hand, yea, in a hope of due appreciation of the perfect beauty of creation, even continuing through life eternal to the gates and plains of heaven itself. Of Fine Art's influence on earth this devout man eloquently declares : " If any one be sickly, troubled, or cannot sleep from grief, and shall but gaze upon one of Phidias's images, he will forget all care or whatever else may molest' him in an instant." Hazlett claimed that but one in ten, as the human race runs, be he divine, doctor, or jurist, professor or peasant, has an ear for melody or receptive capacity or higher appreciation of artistic taste ; though, theologically considered, he must have admitted that all may have a "singing heart," even those possessing no physical ear for music or dis- criminating eye for color. We will, however, pursue this particular and perhaps abstruse though in- teresting vein of philosophical thought suggested by the history of art in America, but a step further, as furnished us in an incident in the exj)erience of still another pioneer American portrait painter, who relates how, in his early career, he constanth^ re- gretted that he had not the social and artistic attractiveness of his more successful rival, whose ART AND SCIEXCE IX AMERICA 45 sole superiority lay in the fact that he could play upon a musical instrument as an evening pastime for his sitters and applauding patrons in his, at that day, oft-times itinerant profession. Fine Art, be it employed in Painting, Sculpture, Oratory, or Music, is better understood at the pres- ent time, in our land, than it was half a century ago. Still the philosophically inclined, whUe dismissing the theme with that amount of consolation, might cautiously and considerately ask, and with an eye single to the improrement and general good of all concerned in home interests and protection of American Art: "Are there not now existing in our midst conditions that will at no distant day be considered as incredible to belief as any narrated above, and as strangely calculated to impede proper recognition of native efforts in the Arts of De- sign." And we must in all conscientiousness remark, "while passing to the consideration of general Ameri- can art affairs, that there is unquestionably a duty involved, while conspicuously leading cultured so- ciety, especially in matters of artistic taste ; for leadership and social eminence, attracting universal attention and admiration, quickly becomes a con- trolling guide of fashion in any community. "' American art talent is recognized and welcomed in every civilized and refined locality. If not alwavs 46 THE PHILOSOPHY OF AKT IN AMERICA. enthusiastically received at home, certainly it has •won honors in the principal European Eoyal Acad- emies and Salons ; and still, like many another good cause, pursued through patience, perseverance and philosophy, seems, nevertheless, to share the fate expressed in the words of " one greater than Solomon," in regard to a prophet in his own coun- try. Significant to the point appears the fact that the leading permanent art gallery in our metropolis, so remiirkable for its progress during the last decade with its hundreds of works revealing the talent of all other leading nations, and collected at a cost amounting to a fabulous investment, to say nothing of necessary and contingent outlay in tariffs, com- missions, etc., all going to make a most famous and enjoyable collection of the highest arts of human design : still in it can be found scarce a solitary, if indeed one single specimen of American fine art workmanship. This would appear unpatriotic neglectfulness, it is true, if it were not for the proven princely mu- nificence of its possessor, which leads us to the logical conclusion that wealth and influence may wield as beneficent a power as sword or pen ''in the hands of men entirely great," and moreover, natur- ally to anticipate the probable sequel to be that American fine art, though apparently the last, may ART AND SCIENCE IN AMEEICA. 47 yet not be the least in esteem and attractiveness when viewed at some future day side by gide with foreign work in this choice and all but cosmopolitan collection. CHAPTEE IV. VAKIOUS STAGES OF AMERICAN ART. jUTATION in Nature, Art, and Politics as well, is admitted to be a most liealtli- ful law, and, in fact, the ever-going, untiring veliicle of progress. Many have been the changes noted in prevailing art ideas, schools and methods as presented in the resthetical kaleidoscope of fashion, observed as actively domi- nating professional art work and popular taste at various times. Nor can it be wondered at ! For Mother Nature is so many-sided in her wonderful munificence that no one of her mortal sons has succeeded in doing her full justice or satisfactorily portrayed her exhaustless beauty — be he Homer, Phidias, Michael Angelo, Shakespeare, or Titian, although Hazlett may enthusiastically exclaim of the latter : " O Titian and Nature, which of you copied the other?" AMERICAN PRE-EAPHAELITEISM. 49 We would wish for time and opportimity to re- view the lessons to be learned in the philosophy of art in America, as advanced by each successive period. First of all, the faithful natural idealism poetically pursued by the authors of our American classics, always referred to with genuine and intense artistic pleasure and sincere devotion. AMEKICAN PRE-EAPHAELITEISM. Then another extreme, called Pre-Raphaeliteism, which, in fact, always appeared not sufficiently pre-Eaphaelite, — for if it were essential to real, absolute resthetic felicity, to waywardly stultify the artistic sense, retrogressively abandon and prac- tically and philosophically recede from Raphael's golden era -why not go at once back to the near- est approximation of its merits, to be found (in that crab-like direction perversely chosen or rather af- fected by the now obsolete school) and to be seen displayed in quite other treatment and technique in works like those of the producers of the Venus de Milo or the Elgin marbles ? Raphael's achieve- ments were a world-acknowledged advancement upon those of his father, also an expert artist, and of the work of Perugino, his famous master. Why seek to divert appreciation of the great- est and the best by exalting above it the inferior production of his immediate predecessors? As we 60 THE PHILOSOPHY OF ART IN AMEEICA. frequently find manifested in literary art an attempt misguided by limited capacity of appreciation or receptivity, to extol the minor poets above the masters, so, years ago, while earnest, patient poetic workers were being neglected and injured by in- vidious comparison, the attention of our art-loving people was directed and concentrated with evident ■delight upon home and foreign alleged finished ffisthetical work, with imagination too palpably left out. No perception or grasp of larger truths, values of tone, controlling harmonious or decorative re- lations, that go to make an acceptable artistic en- tirety in any example of the Fine Arts, through the skilful arrangement of the materials employed and the exercise of rare eclectic tastefulness. And where are those morbid curios to be seen to-day? They must have inevitably disappeared, being smis soul, sans thought, sans inspiration and poetry, though produced through rarest ape-like imitation, apparently with eyes able to see a little fly upon a barn door " a mile and a half off," without including a sight of the barn itself. SCIENTIFIC DOMINATION. Then came the domination of scientific discoveries and mechanical processes ; first. Photography, du- plicating all material creation and thankfully accepted as a most indispensable scientific auxiliary THE NEW SPANISH SCHOOL. 51 to the arts of design ; then Chromo Lithography at one time appeared as a most appalling popular artistic epidemic. Now, we take intense pleasure in likening it to an epidemic inasmuch as no given community can ever take it twice and live — a single attack is enough — and popular art taste is effectually advanced thereby and cheerfully elevated to a higher plane. It had a most remarkable eifect lipon professional art work, even tempting the zealous but unwary workman occasionally found at home or abroad to exaggerate his "sky leflections" upon everything seen out of doors, and indeed under heaven, especially in painted representations sub- mitted for chromatic reproduction. THE NEW SPANISH SCHOOL. The acme in this direction was reached by the advent of the new Spanish school. "We believe it, also, has seen its day, as might have been predicted, with but a glance at the true philosophy of lasting art, revealing the unmistakable proof of its delicious falsity when constrasted with the more honest work of the great painters of the past, who have indeed outlived the various changes of taste and time. For Yalesquez, Vandyke, Holbein, Euysdael, Ever-\^ dingen, Hobema, Constable, etc., perceived and portrayed the existing harmonies of grey produced in endless gradations by mirrored sky effects ; but 52 THE PHILOSOPHY OF AKT IN AMERICA. these, with every other feature of nature, were kept subordinate in their work to truth, and never flaunted as meretricious exaggerations in their pictured representations. We will not be too ex- acting, for, as Bacon says of beauty itself, " there is no excellent beauty that hath not some strange- ness of proportion. A man cannot tell whether Apelles or Albert Durer were the greater trifler ; whereof the one would make a personage by geomet- rical proportions, the other by taking the best parts -of divers faces to make one excellent. Such person- ages, I think, would please nobody but the painter that made them, not but I think a painter may make a better face than ever was, but ho must do it by a kind of felicity (as a musician who makes an excellent air in music), and not by rule. A man shall see faces, that if you examine them part by part you shall find never a good, and ye t altogether do well." IMPRESSIONISM. And Avhat shall be said of Impressionism? If freed entirely from affectation, it presents the maximum of soul and emotion combined, and con- veyed to the world by finest art, and through the employment of the minimum — if not demanding the absolute banishment — of materiality and mechanism. A fond attempt " to hold the mirror up " to most IDEALISM AND EEALISM. 53 seDsitive nature to show its subtlest spirit, intelli- gence and innermost soul, as well as its physical form and beauty. But alas, often ill fares, for a while, the highest forms of everlasting art expres- sion in the shape of Painting, Music or in Poetry — the art of Milton, Millet, Beethoven, Wagner, Corot, Bryant or Poe — art that transcends common per- spicacity and commonly accepted methods of physi- cal embodyment, defying mechanical processes and the conventionalities prescribed by critic or cabala — genius apparently delighting in the very sublimity of disorder, while in reality displaying such master- ship of finest artistic elements as must inevitably remain hidden to the possessors of limited capacities for appreciation and little souls — art that cannot be assayed or weighed by scientific microscope or material balances. Of mannerisms, Constable philosophically re- marks in words to this effect : No two faces or phases of nature are exactly similar, and every successive picture created demands of the artist special treatment in order both to express the charac- teristic individuality of the subject and to avoid mechanical conventionality and servile repetition of a work. IDEALISM AND REALISM. Idealism, Realism and every fashion, style and phase of artistic methods, clay, bronze and marble, 64 THE PHILOSOPHY OF ART IX AMEEICA. oil painting, water color, black and white, char- coal, etching, engraving and monotype printing, as processes and mediums of materializing artistic spiritualism, have been most skilfully employed by native talent, and with as distinguished results in the various paths of Fine Art as "the world over' found to be accredited to the earlier demanded scientific American and mechanical ingenuity and wonderful inventive faculty. "While the former mentioned Finer Arts bid fair at an early date to firmly establish a distinctive American school of highest artistic excellence, in all probability destined to settle at last, after the taming and training of much individuality and great extremes, of taste, upon some happy style and medium, with ample latitude certainly af- forded for technical interpretation of nature to be •delineated somewhere between unsympathetic, cold- blooded contour on the one hand, and too, too nebu- lous mysticism upon the other ; above all not forget- ting this axiom : " Practice makes perfect " — it is true, but progressive artistic practice should not be con- founded with unvarying, crafty repetition, which gives facility and makes money, but with equal certainty converts the cunning artist into a mere manufacturer. CHAPTEE V. THE ART PRESERVATIVE OF ALL ARTS. CRITICISM. -AMERICAN ART MERICAN art criticism miglit afford another chapter in our philosophy of art. With no acknowledged mentor or National Academy of Literature, as found to have been chosen in art centres of other lands, for its self-appointed guidance and direction, it has, like pictorial art, its favorite — shall I say ? victim — survived and flourished most unaccount- ably and with much the same experiences and vicissitudes through the primitive stages of national development, appearing to its brother arts, we must confess, to-day sometimes subtle and incisive, but ever kindly — more kindly, perhaps, than recorded in the experiences of the writers of the past. Pope unsophistically tells us of the refined " art of damn- ing with faint praise," but little dreamed of the vast improvement upon it of praising with faint 56 THE PHILOSOPHY OF ART IN AMERICA. damnation, perhaps after the following manner, while criticising the ■work of a brother artist, to wit: "For sublimity of style, perhaps not eclipsing Messrs. Homer, Dante, Milton, but quite * lapping over ' even Longfellow in length and ele- gance of diction, and all respects considered, we, as a duty, tell that Mr. So-aud-So's gi-eat poem for the present goes quite well." Pope might have found a hint of it, however, in the Essays of Montaigne, whose delightful philosophy even Shakespeare prized so well, for he says : " While we have laws against detraction, there exists none to prevent undue praise or mistaken com- mendation." Perhaps this blissful state was to his good for- tune, for he might have been, by persistent philo- sophical inductions, led at last " to waver in his faith," with Machiavelli, who declared in his dark age, " Hatred is as readily incurred by good actions as by evil," or exclaim, with another author, "Freedom of speech is unpardonable, eloquence is dangerous, and genius is always hated ! " Suffice it to sav, art criticism has literallv become an indispensable column for the support of en- lightened interest in the progi-essive daily ]3ress, and the chief maintenance of many an illustrated and otherwise interesting periodical. And we, too, shall soon have for tasteful public guides our own THE ART PRESERVATIVE OF ALL ARTS. 67 Charles Blanc, Kuskin, Fromentin, or Eeiie Menard, if not a National Academy of Literature. So a good word for the critics, Precious poets who Bless the age by talking about What other workers do. CHAPTEE VI. THE PKOVINCE OF THE FINE ARTS. HERE are only three pleasures in life pure and lasting, and all derived from inanimate things : books, pictures, and the face of nature, — the latter fortu- nately free of tariffs. And Bacon exclaims trium- phantly, " Have not the poems of Homer lasted five and twenty hundred years and not a syllable of them is lost?" "Has not the Yenus de Medici had almost as many partisans and admirers as the Helen of the old blind bard ? " another philosopher adds. But we ask to-day, " where are the fragments to restore the beauties of the Parthenon, the arms of the Yenus de Milo ? " and remain convinced that literature has fared better than sculpture or paint- ing, through the lapse of ages. In the growing revival of interest in native art, and in the absence of antique treasures, we can possibly THE PROVINCE OF THE FINE AR rs. 59 effect a genuine renaissance of most interesting work now Md from public view, and it is to be regretted that the instructive works of Thomas Cole, to be seen in his poetic " Course of Empire " — Vauderlyn's " Ariadne " and "Marius," Washington Allston's "Legend of the Bloody Hand," and many others, scattered in out-of-the-way places or entirely lost, could not have been ere this collected in a National Gallery of Art, where they would tend to promote the enjoyment and education of thousands of our fellow mortals by bringing both history and the branches of art and nature before their very eyes. There could exist no better time than the present to pro- cure modern masterpieces of Fine Art and of home production, and we hasten to suggest an appropriate nucleus for such a collection in the shape of a truly great work now on exhibition at a metropolitan dealer's gallery, the very picture that fared so poorly from no fault of its own at the Salon exhibition of 1884, already referred to — Mr. Dannat's " Quartette." A National Department of Art might not only effectually establish such an institution, but also one word of commendation from a truly official and reliable source, as it must become, would do more than circulars or addresses from any other direction or society, to complete a pedestal, to effect the preservation of Niagara or our national parks and our forests and grand old trees. Again, upon inter- 60 THE PHILOSOPHY OF APT IN AMERICA. national occasions, formally invested, as it would be, with national dignity and consideration, it might appropriately ask for and very probably receive the loan of works of inestimable value and unmistak- able authenticity by old and modern masters, that never would be entrusted to irresponsible parties, but which might be risked under the circumstances in a truly cosmopolitan spirit or through consider- ate international reciprocity. Enterprises conducted with great taste and ma- terial investments are tending already to make the interest in home art widely felt and deservedly fashionable, and never has this been seen to greater advantage than at the present time and in the new American Art Association galleries. The liberal bequests by eminent American art benefactors in the form of prizes and funds, not only stimulating efforts towards greater excellence and diligence at home, but afford conspicuously talented and pro- fessional aspirants an opportunity for adequate study abroad. Attention is constantly being directed to the great importance of securing the best educational advan- tages that may tend to promote the arts of design through academic, students' leagues and technical and decorative art schools. The arts of design, like truth, " are precious wherever to be acquired ui native or on foreign ARTISTIC INDUSTllIES AND MANUFACTURES. 61 ground," and mucli good may result from the al- ready created prix de Paris, Munich, or of Rome, giving great opportunities for profitable study and more restful artistic life there afforded. Now it is certainly admitted that America has evolved enough talent to prove without a doubt that it possesses a touch of that true and divine art that, like Nature, which it strives to imitate, contributes to " make the whole world kin"; and American art productions, as viewed abroad, even upon the line at English, French, German or Parisian salons, are fast dispel- ling the idea, once entertained by unsophisticated philosophers and transient visitors, that our own land might still be a howling wilderness, only afford- ing adventurous travellers a happy hunting ground for buffaloes, profitable investments in grain or cattle, or a proper field for producing or practicing their maiden lectures upon American lovers of Fine Art and sesthetical culture, to say nothing of taking the town by storm in portraiture ; — all to the end that they may return home crowned with glory, and carrying away a rich harvest of " our almighty dollars." ARTISTIC INDUSTRIES AND MANUFACTURES. Is not this " round, unvarnish'd tale," recounting the actual state of affairs, enough to convince the most unimaginative and utilitarian citizens, as well 62 THE PHILOSOPHY OF AET IX AMERICA. as those practically and philosophically devoted to Art, that our nation must choose to interest itself in subjects pertaining to the arts of design, if alone to reap its share of the financial as well as educa- tional benefits to be derived therefrom ? To the point : A few years ago, in the United States, not a yard could be found, of the thousands of yards of carpet produced, that was of American, design. It was all " cribbed," and we believe the same could be said of American wall-paj^ers and in- terior decorations completed at that time. The^ popular decorative art fever, followed by an Oscar Wilde state of festhetic reaction, unceremoniously broke out, manifesting its crazy-quilt-like symptoms upon placque, di'ain-pipe and pottery. But order came out of chaos, leading the more sagacious per- petrators by easy stages of advancement up to the present prevailing and properly-esteemed tasteful and artistic decorative art as applied by competent and associated artists. For this popular experience^ so trying to the nerves and eye at first, has paved the way, opened for the thoughtful and persistent, to a higher range of perception, culture and taste, and what is of more importance, to a better appre- ciation of still finer art to be found in works of painting and sculpture. Evolution in .^stheticism, as well as in physical human nature, is a worthy and very interesting^ ARTISTIC INDUSTRIES AND MANUFACTURES 63 study. But it is hardly destined to receive full justice from the scientist, " who would clip an angel's wings," or, from the "strict utilitarian," per- plexed by commingled luxuries and necessities — one who in his very soul could discern no earthly use of poetry, except the unquestionably practical verse of Thirty days has September, April, June and November, All the rest have thirty-one, Except February, etc., as expressed in a well-merited satire by the most Homeric of our own American poets. Separate luxury from necessity ; where would they stop ? Certainly not until they had expurgated church music from the orthodox service and sermon, or the Psalms and Songs of Solomon from the Bible. Verily, " Shakespeare wrote for the spirit akin to Shakespeare within us," Beethoven composed for the Beethoven within us, and Raphael painted appeals to the artistic perception we may possibly possess. To say nothing of the art of productivity as a special gift and inspiration, and to be itself per- fected only through well directed training, the general public capacity for appreciative receptivity, as found possessed by practitioner, layman, amateur or connoisseur, may be intelligently enlarged by improving all existing avenues that lead to higher civilization, culture and refinement. 64 THE PHILOSOPHY OF AET IN AMERICA. THE NATIONAL ACADEMY OF DESIGN. Of tlie carefully conductecl educational work being done here at liome, tlie National Academy of Design, with its active schools and almost perennial exhibitions, in a labor of half a century remains, naturally the leading representative of American Art. Its building, although constructed in admirable and proper proportions at a time when our me- tropolis had not attained its present growth, either in material size or art development (appearing to us then like unto a veritable Palais Ducal), is to be seen to-day surrounded by tall buildings devoted to other arts and sciences, and looming away above the edifice of the National Academy of Design. Moreover, the chief educational institution, afford- ing systematic instruction and opportunties of study from nature and the antique treasures, for two hundred students organized in various classes and under the guidance of able professorships, is un- questionably overcrowded and in want of extended academic and exhibition facilities. For certainly in its halls and salons no space, for instance, is to be found remaining to-day that appears ap- plicable for the practical production or even proper exhibition of sculpture. Consequently this im- portant branch of the Fine Arts seems about to disappear entirely from the annual spring exhibitions. THE NATIONAL ACADEifY OF DESIGN. 65 Even scientists can never succeed in putting a bushel into a quart measure. For want of space^ contributions of the latest and best American Art are compulsorily limited to less than a thousand works^ while twice that number are annually sent in ; and it is a well-known fact that members standing at the head of the profession, who formerly were wont to send a series that might represent in numbers the seasons of the year, now contribute but a single specimen or two, "so as not to crowd the mourners,"" now being undeservedly " skyed " or rejected, simply in many cases for want of room to hang the pictures or to properly place the statuary. In fact, galleries with the hanging accommodation for at least the number of works mentioned above > and amounting, if admitted, to but one-third of the six thousand included in the Paris Salon Exhibition annually, will soon be necessary to do anything like justice to home production, or to enable the National Academy to give a comprehensive idea of our native annual productiveness in the arts of design, and appropriately called for in the metropolis of a continent. Though disseminating, as it does, valuable art knowledge and instruction, turning out skilled work- manship, which is being utilized not only in the fields of high art but in the simplest of manufactures and artistic industries, — knowledge that must im- 66 THE PHILOSOPHY OF AET IN AMEEICA. prove our arcliitecture and furniture as well as embellish our galleries, — what might it not in the future accomplish, if ample means were put at its disposal, placing it, for example, upon the footing- of the Salon and Ugole des Beaux Arts, in Paris, or the Royal Academy, of England, with its plethorie treasury overflowing with rich bequests and ample endowments ? The attention of all interested in the subject of art progress in America, and its many avenues lead- ing to the public good, can seasonably be called both to the importance of conserving material and financial interests by well-directed national and international exhibitions, and, moreover, to the especial necessity of a revival of interest in the wel- fare and growth of our chief art institution here at home, and by generously providing it with the much- needed capital to extend the teachings and useful- ness of its existing and contemplated schools, and to enlarge its galleries that we may, indeed, justly claim in every sense of the word that we possess a National Academy of Design. A UNITED STATES MINISTEE OF FINE ARTS. As to a Minister, Secretary, or Director of Art, as herein proposed, the question has already been asked. Who shall he be? As "occasion has sup- plied the man " in so many instances in our national A UNITED STATES MINISTER OF FINE AETS. 67 career, it would need but little effort to make a wise selection, in this emergency, for, at all times and through ail vicissitudes, " as history constantly repeats itself," could have been found in our land able and intensely earnest art devotees, and there certainly exists better opportunity for selection to- day than ever before. Again, public perception of fitness, when relied upon and given but time to reflect, does not often fail in designating the leader needed in other de- partments, and there would appear to be no diffi- culty in making a proper choice if we believe, also,, with Dryden, when he says, *' Perhaps laymen with equal advantages of past and knowledge, are not the most incompetent judges of sacred things," hold- ing good, we claim, in art affairs as well as in. theology. In fact, he who has attained recognized leadership in local and national art enterprises through the practical and philosophical power of journalism,. and with a pen ever directed by sincere solicitude for the public good, unmistakably manifested through, incessant watchfulness and in well-proven and most valuable aud acceptable suggestions upon art topics oft-times presented to the appreciative public, and in such a graceful and fearless manner as a fully competent and conscientious art reviewer and con- tributor to press and magazines of art only could 68 THE PHILOSOPHY OF AKT IN AMERICA. do ; pre-eminently a great statistician as well as being- gifted with the larger faculty of grasping the prin- cipal and controlling issues of any given aesthetical problem before the public, — one possessing at least all these qualities, would naturally be our choice. But not being commissioned to do so, we will draw this pen portraiture of an ideal but equally possible and practicable art director no more defi- nitely at present. CHAPTER VII. FINE ART S FOES. |T this period we may plausibly divert at- attention for a moment to the still per mitted, pitiable, civilized customs or fashions — we cannot say Christian meth- ods — of warfare, rather than dwelling uninter- ruptedly " in the even tenor of our way " upon the more congenial pursuits of peace, only to be done, however, while most emphatically denouncing as a baneful principle fine and indeed all commendable arts and industries' greatest antithesis, and, perhaps, tint, at the same time, at a philosophical and artistic remedy for the existing evils — physical warfare and international duelling. Learned scientists may prove, to their own intense satisfaction and possible comfort, that there is no hell, but must admit the too frequent manifestation and disastrous domination of a diabolical defiance 70 THE PHILOSOPHY OF AET IN AMERICA. of reason and of justice witnessed in a rnsli to arms, impelled by a spirit worthy of an arcli-enemy of mankind, never more graphically described than by the immortal Milton, in "Paradise Lost," when he -says, metaphorically if you like : — " The infernal serpent * * * * * * with all his host Of rebel angels, * * * Raised impious war in Heaven and battle proud, With vain attempt. Him the Almighty Power Hurled headlong flaming from the ethereal sky, With hideous ruin and combustion, down ' To bottomless perdition * * * Who durst defy the Omnipotent to arms." " BELLA ! HOREIDA BELLA." We need not stop to give multitudinous instances, such as the history of the mutilated picture of " The Last Supper," Leonardo da Vinci's famous master- piece at Milan, or the sadly-defaced, but once immaculately-beautiful pulpit of the Baptistry at Pisa — the finest, perhaps, to be found in the world. No ! for war has proven itself throughout the past Fine Art's chiefest iconoclast. Yea, a veritable abomination of desolation in "The havoc it has played " and the destruction it has wrought upon almost absolutely perfected specimens of beauti- fully-useful architecture and usefully-beautiful countless other gems and treasures of antique and ARGUMENTUM BACULINUM. 71 moderD art production, — to say nothing of making untimely corpses and human bric-a-brac of myriads of mortal men. Now we may hear it said that our own native land might not suffer quite so extensively, artistically considered, in similar emergencies. Yet the true humane philosopher must regret that our own na- tion, in the advanced ranks of human evolution and civil government, is no more exempt than any other from the accepted and possible machinations of approved diplomatic customs still tolerated through- out so-called Christendom — that might at any un- happy moment involve ourselves as a people in ■active, physically-conducted warfare with other national divisions of the common human family. ARGUMENTUM BACULINUM. After all, what is proved in wars as fashionably, ■and as heretofore conducted, but that the victors have conquered. Centaur-like, through the instru- mentality of brute force, irrespective of being morally right or wrong. If a powerful and muscular man is seen thrashing a smaller or feebler one, it is not concluded that the bigger person is inevitably right and justifiable. No ! that is an easily-solved problem, like unto that of the youthful Cyrus forcing an exchange of boy's coats, with its historical consequences — or as easy 72 THE PHILOSOPHY OF ART IN AMEEICA. to be seen as the " fly upon the barn-door," etc. That is plain to all good eyes ; but let us reflect : Is not the principle the same in either case ? — be it maintained by an individual or a nation consisting of iudividuals still to be found harboring the primal delusion that the grandest ideal of manly strength and courage ever realized, from the time of Greek Mythology and the deeds of the heroes of the Illiad and the Odyssey to those of the present day — totally eclipsing the everlasting though humbler philosophy of a Plato, a Socrates, or a Penn — may be viewed at its acme in the heroism of a physical fight, or the fiercely exerted force of rampant animal nature, when uncontrolled, or provoked to morally blinding anger and bitterest vindictiveuess, too often seen in war, defying the dictates of justice and of common sense — the highest form of practical reasoning. PEG PATRIA ET GLORIA. We would not consent for an instant to any animadversion upon the well-won glory of brave warriors, illustrious in our own and the world's his- tory, who have fought, and in many sad instances fell fighting-nobly actuated by patriotism, the sense of duty and true allegiance to their respective native lands. And, above all, we unite with a grateful nation to mo PATKIA ET GLOEIA. 73 do honor to the great soldier whose motto was, " Let us have Peace." We only exclaim, in the in- terest of humanity and fine art, against the enor- mity of such sacrifices as war has demanded. But we would cheerfully call attention to the very prob- able and possible public conviction that internecine war, with all its devastating violence, will soon be- come obsolete and out of fashion ; being judged an imposition by the crafty politician who, to appease a real or fancied insult, would institute measures that embody a gross insult to human reason and intelligence itself. The schoolmaster, with his primer, has worked as manfully and even more persistently than the soldier with his rifle. His maps and histories discover the existence of broader territories than national boundaries confine. Increased knowledge improves and " expands ideas," enlarges sympathies, develops public spirit and patriotism, — and why should its influence end even there ? No philo- sophical satisfaction could be derived, for instance, by asking this question of the man who very prac- tically, and without extravagance, content with simple necessities and, no doubt, greatly shocked by the very indulgence of a thought of luxuries — including, perhaps, the luxury of thought itself to any great extent — it is said, was overheard to pray as follows : •'74 THE PHILOSOIHY OF AET IN AMERICA. " Give us this day our daily bread, Me and my wife, My son John and his wife, Us four — and no more." Now, considering that about one thousand mil- lions of liis fellow human beings are also to be supplied with daily bread, the above sounds like narrowing one's sympathies down to a pretty fine point. But this man was an angel compared with the multitudinous heartless or thoughtless speculators in the financial chances of civil chaos; who look with expectant, selfish eagerness and sometimes open approval upon war anywhere as a panacea of all their ills induced by hard times, dull business, etc., etc. We have heard of such financial prophets, and alwavs so far have had the misfortune to misunder- stand Mr. A or B when he expresses himself to that effect ; for, naturally we conclude that he is desirous of shouldering his musket and going to the front ranks of the prospective or hypothetical conflict and heroically to fall in battle,— that Messrs. X, Y or Z, as the name may be of Old Skinflint or Moneybags & Co., may profit by the aforesaid war's commissary demands for their diplomatically harvested proven- der in the shape of corn, hogs, or shoddy clothing. " Oh, no ! " quickly replies A or B, " I don't mean exactly that ; I prefer that Mr. So-and-so, my busi- BISMARCK AND DIPLOMATIC ART. 75 ness rival or neiglibor, lie whom I don't love quite as well as myself, to carry out that part of the programme, by going to the front and possibly perishing, while I stay at home and reap the benefit of increased prices for my goods, and enjoy bettered times generally." BISMARCK AND DIPLOMATIC AET. Again, a few years ago, in the valley of the Adige, at a beautiful Tyrolean villa, the news came by the way of Venice — news too good to be true, of course, and certainly not circulated by his enemies — that the great Prince Chancellor, the consummate diplo- matic artist, — for, undoubtedly, the artist, be he poet, painter, singer, orator or warrior, is he who can do at its best whatever is to be done — Bismarck, posssessed with such great imagination and skill, it must be remembered, as effectually united in a most masterly manner, the exceedingly heterogeneous elements of Bavaria, Prussia, and other parts of Germany, by the magic war-cry of Empire ! cen- tralized power and glory of German Fatherland, himself had "declared, at the time mentioned above, for general disarmament in Europe, and international arbitration directed towards the establishment of universal peace. And again, to-day, five years later, the same mystic propagandist breaks the long silence by repeating the same philosophy, thus cer- 76 THE PHILOSOPHY OF AET IN AMERICA. tainly, winning for its author " golden opinions from all sorts of people." Is this farewell to war authentic, and its advocate sincere, or instituted as a diplomatic ignus-fatuus ? Be that as it may ! We were delighted and very hopeful, five j-ears ago — it being the first time that we had heard it proclaimed from such a potent quarter, and expressed in conversation at the villa in Tyrol, addressing our remarks to a most intelli- gent and cultured but evidently unpliilosophical young army officer and esteemed acquaintance — and, naturally, expected mutual congratulations of an international and cosmopolitan spirit upon the reception of the good news. " Oh! but," exclaimed the young ofiicer, in manifest alarm, " if there are to be no wars, then we will not be promoted." We withhold animadversion ; the moral is obvious. " The public good " includes the spirit of patriot- ism, but certainly extends beyond it. It cannot be pent up by territorial boundaries. PATKIOTISM. Yea, for patriotism, although one of the most par- donable of prejudices, ever remains a prejudice. The love of fellow-man transcends patriotism, absorbs it as a local ocean, however extensive, is engulfed by the pure combined element of water itself, as found comprising every sea and ocean, and encom- passing all terra-firma the world over. PATEIOTISM. 77 And tlie most patriotic American trans- Atlantic traveller ever finds there is a latitude and longitude "where even the "Star Spangled Banner" most ap- propriately and tastefully gives place to the hymn of *' America," with all his fellow- voyagers innocently, like unto little children joining in " My Country 'tis of Thee," and being sung to the same tune as "God Save the King," — all impressed alike with the sub- limity of the situation and the glory of the one great God of all nations, who, at least, permits no line of demarcation on the part of man to separate his mid- ocean and high sea. ^>-P^^ CHAPTEK YIII. THE DAWN OF UNIVERSAL PEACE. LIHU BUKKIT was wont to say that increased facilities for travel decreased distances between all countries that were in mutual communication. And what vast improvements have been made upon the old condition of international relations ! For upon his theory it can be safely claimed that there exists but few foreign countries to-day, considered so in the sense and under the conditions prevailing a hundred years ago. The capitals of Europe are about as accessible to us at present as Boston, Washington or New Or- leans were in the primitive days of stage coaching, whilst telegraphy has literally obliterated time and space, and put us in instant inter-communication with all the peoples of the globe, enlarging sym- pathies and ennobling aflfinities as well as uniting THE CODE OF PEACE. 79 interests which even Burrit, although he could have talked of his philanthropic trade in every language spoken beneath the sun, could hardly have antici- pated. Even more eminent philanthropists and cosmopolitan philosophers have arisen to pioneer the advancing spirit of the age, THE CODE OF PEACE. A signal instance to be seen in the originator and first president of an association consisting of jurists, economists, legislators and politicians, with branches in different countries, and having for its object the substitution of arbitration for war in the settlement of disputes between nations. We cannot, however, accredit the great German Chancellor with being the first promoter of the cause, as that honor, we believe, is justly due to our illus- trious American jurist, David Dudley Field. A philosopher and statesman not only qualified to call attention to minute features of public interests, the sesthetical characteristic presented in the nomencla- ture of cities and towns, for instance ; but, never- theless, the author of the " Outlines of an Interna- tional Code " in which he suggested a congress for securing international representation, deliberation and harmonious action, embodying the grandest con- ception of universal equity and civil order, that must, in the interests of public good, sooner or later prevail. 80 THE PHILOSOPHY OF AKT IN AMERICA. Can it be possible, after what has already been accomplished in this cause, constituting the very masterpiece of Diplomatic Art, and the fairest, broadest, Christian-like " spirit of laws " paramount in grandeur and compass to the dreams of Montes- quieu, Socrates or Plato ; and, indeed, proposing the last great step in the consummation of civil government and the best teachings of a social science congress, we still may find some of our installed legislators possibly being restrained by a provincial constituency rather than densest individual perver- sity ; but whatever the incubus, to all appearances serenely oblivious to the essential character of jus- tice and enlightenment to be discerned as co-exist- ing and equally co-extensive with the most marvel- lous rapidity and increased opportunities of travel, again in the multitudinous and new channels of business enterprise, and above all, as we have stated, in the Columbus-like courage of mapping out and exploring the only true field afi'ordiug satisfactory a,nd fully humanized social, civil intercourse to be enjoyed alike by all nations of the world. Away, then, with injustice, excessive tariffs and unhallowed warfare included. As armed bodies, great or small, should be allowed to act only as a local, national or international police force, as the case may be, but, indeed, as a body of civil offi- cers for enforcing the laws made by proper legisla- THE AET OF STATESMANSHIP. 81 tion — outlined and firmly established by city, State and nation — of nations, in the latter case by a con- gress of the wisest minds representing all peoples -and acting in conformity with the best possible inter- national code and form of government. As we are ^bout, at this stage of our essay, to bury the hatchet, and abjuring the war paint, we dismiss all thoughts of revolution, except, perhaps, the universally and most devoutly wished-for revolution of the pursuits of Peace and a substantial revival of business and hon- est industry, reasonable progress, properly facil- itated and in a way perfectly complimentary to the creditable closing out of the Ninteentli century. THE ART OF STATESMANSHIP. As for the art of statesmanship, aj^plied in the direction of peace and prosperity, and exemplified by most signal achievements in that good motive, we may well do honor at our nation's Capital to the present senatorial standard-bearer of Excelsior ! And we are reminded of the first address that we ever had the good fortune to hear him make, and that years ago. He talked about his trade in words most fitly spoken, pertaining to the philosophy of "human nature, and especially of success in profes- sional life. Mr. Evarfcs, as we recall his words, had observed two kinds of students starting out in life. 82 THE PHILOSOPHY OF ART IN AMERICA. The first, apparently gifted with superior mental faculties, evincing powers of great imagination and the possession of the special abilities adaptable to the higher walks of a professional career. On the other hand, he pictured the plodding student, indefatigable worker, the acquii-er of pro- saic detail, and eager fondler of driest statistics, etc. These he contrasted, and followed their fate in after life, and from his observations, concluded that when occasion demanded a man to fill a great posi- tion, he was selected from the students of the latter class and very seldom from the former. Now, do not mistake the subtle philosojDhy and correct solution of this problem. If it is sound it must hold good when applied to analogous pursiiits and arts. THE ART STUDENT. ^ We hear it said " such a student, and one espe- cially promising in musical abilities" will never make a musician " for he depends too much upon a good ear," while his plodding, patient brother will outstrip him, and learn every note and detail of the art. Again, the principle is to be seen in the theory of a celebrated painter and philosopher who, when an especially promising and highly gifted student was brought to him for direction, was wont to advise THE ART STUDENT. 83 that every obstacle should be placed in his way, for if he had both geuins and application sufficient to surmount all impediments, then, and then only, would he make a master of his art. The fact of the case is this : no matter what amount of genius a man may primarily possess, it takes a great •deal of hard work to prove the fact to other people. And the senator naturally, from the inevitable application to his own case, refrained from going a step further and speaking of a student and success- ful statesmen who, it can safely be said, is a fair ex- ponent of both characteristics combined — the mental grasp of greatest truths and conclusions as to be seen deduced from exhaustive research and wonder - f ul mastery of minutae. These constitute the quali- ties of leadership in any art, be it painting, sculp- ture, music, poetry, or any form of eloquence. In music the greatest result may be looked for from the happy possessor of a capacious soul and a correct ear, with will to learn the score. The truly favored and, indeed, accepted lover of nature is one duly appreciative of her boundless grandeur and majestic sublimity, as well as of her elaborate and most minute perfection. Michael Angelo's "Moses," so lovingly finished, is by the same hand and colos- sal genius that designed the " Last Judgment " at St. Peter's and the Vatican. 84 THE PHILOSOPHY OF APtT IN AMEKICA. In days of old, with princely patronage and en- couragement, it was possible for an artist to be a sculptor, painter, poet and musician. But in the light of the present day it appears that the simple display of multiform facility bespeaks a non-appre- ciation of the great importance of doing one thing well, or, as Brougham advises, " know something of everything, but everything of something." The goal of elective study and the essential vir- tue of eclectic taste, verifies the truth that great and lasting art demands undivided love and devotion, the choice of a speciality, not what you could do, or the melancholy " might have been," but what do you wish to do, and truly love to do ; a lesson taught by Socrates, who, upon returning from the greatest world's fair or exposition of his day, and upon being asked how it pleased him, replied that he had seen all that was there to be seen, and was heartily glad to have seen so many things that he did not want. COURAGE AND ECLECTIC TASTE. — LESSONS AFFORDED BY REMBRANDT, RUBENS AND COROT. The sentimental moralist is always bent Upon changing human nature, while the philosopher would make the best of it as it is. The former would recast all nature in his conception of a perfect mould. Of course the survival of the strongest and fittest, whilst the tenderest and most imperfect in COURAGE AND ECLECTIC TASTE. 85 his own eyes ought to be killed off. Sucli would in graphic and pictorial art make every one draw, color and compose equally well, and in religious fervor have all enter heaven through their own sec- tarian gate. They would that Corot had finished like Keok-Keok, forgetting that Corot was the reve- lation of the soul ; the subtlest spirit of more than material nature in her most sympathetic and tender- est moods. Again, we hear of Kembrandt and Eubens spoken of as being lacking in drawing and detail. But meeting the issue directly, the accuser could not have seen the anatomy lesson at the Hague carried to absolute completion or execution that rivals the works of Titian or Holbein, and which would satisfy the most fastidious taste for alleged finish. Or, again, the choicest master-piece of Rubens, the one that he very lovingly, diplomatically, if not unsel- fishly, ordered, in his last will and testament, should be placed, to remain for ever, over his tomb in the family chapel of St. Jacques, at Antwerp. These works, respectively considered, prove they could have been finished to a degi'ee of perfection that would have delighted the scientist with spy- glass and calipers in either hand. But, thank heaven ! they did not do what they might have done, but what they loved best to do. 86 THE PHILOSOPHY OF AET IN AMEEICA. Yielding to their signal weakness " if you like !" — the fondness of the former for delicious tones of mingled amber, gold and sunshine, with vivid values- of chiaroscuro subdued into harmony with his motive in a manner far from weak, but on the contrary,, proclaiming him to be the greatest master of light, and shade yet known to fame. While, again, the affluent fondness of Rubens ever displayed in his. prodigal wealth of coloring constitutes his crowning, glory in art. A philosophical word to the wise may be fitly spoken in this connection, encouraging to both ama- teur, connoiseur and artist. It is the old adage,. -^^ Tastes are not to be disputed." True pestheticism is the field of the beautiful, never to be exhausted, though the devotee points the telescope towards the stars or dii'ects the microscope upon the ramifi- cation of the fibres of a leaf. And Lavater, the philosopher of the human face, though himself a. mystic, cries " limit yourself every moment, if you can, to what is nearest to you," a safe guide to stu- dents and to all. And as for the development of refined taste and even professional artistic ability and success, we are aware that the more perfectly a diamond is polished the more valuable it becomes, while all the polishing possible v.dll not convert a bit of glass into a precious, stone. MASTEKLY IMAGINATION. 87 Neither the most assiduous polishing of the plate upon the big front door, pulling wires while staying at home, and never going to sea, will raise the aspi- rant to command of the " Queen's navee," except in the facetious philosoi3hy of the Pinafore. MASTEKLY IMAGINATION — GOETHE AND PATKICK HENRY. We repeat Goethe's words, " Everything is possi- ble to a great imagination," and we may safely add that no great accomplishment is possible without it. The indefatigable grubber of detail and erudition does not always possess the soul and fire of a Patrick Henry, who, it must be remembered, devoted but six weeks to the study of the law books, and then tri- umphantly passed the jury of examination, meeting every interrogation with the assertion, in no vain spirit, " I may not know what is written in the text, but I can tell you what should be written there as sound law and justice," and he made good his word to the jury's and, later on in his country's history, to the applauding world's satisfaction. THE CONSUMMATION OF CIVIL GOVEENMENT. But to conclude with the lessons deducted from marked examples of American statesmanship as an art, and still philosophically anticipating the glorious future, we only regret that we cannot to-day com- plete the rose-tinted picture of permanent and uni- 88 THE PHILOSOPHY OF AKT IN AMERICA. versal peace that our most eminent and public- spirited minds have already planned in the light of progress, Christianity and fellowship of all nations. The irradiate ultimatum appears but as a faint, glimmering hope as beheld to-day upon the diplo- matic horizon. However, as in a journey abroad the traveller in leaving the gay French capital to view the chiefest beauty of the Swiss Alps, wdll find it is fi'om fair Geneva, with its restful heau rivage and mementos of Calvin and Jean Jacques Rosseau, that h'e gets his first, fond glance of Mont Blanc, with its still far- distant, pure, eternal, snow-capped dome reaching- to the skies ; so, from the same fair Geneva, famous for sublime thought and pioneer principles, and by the "sirtue of most friendly international arbitration and philosophy, arises the first example of cosmo- statesmanship. It sounded the keynote of amicable international reasoning ; the subduing tone, not of fierce war, but of most commendable, sensible de- liberation and Christian diplomacy, as promising as a rainbow in the clearing evening sky after ages of many battles — the succeeding bright and accom- plished day of glory to God in the highest, and on earth, peace and good will towards men ! We fervently trust in the promised reign of pro- gressive intelligence and common justice through the spirit of universal fair play ; to see the day when a. THE CONSUMMATION OF CIVIL GOVERNMENT. 8^ high protective tariff and a standing army -vvill be deemed to be a disgrace to any nation the world over, and any fighting Temeraire be triumphantly^ but unceremoniously, towed to its final moorings. Then may we hope for an era affording a real renaissance of the golden age of art with its per- fected beneficent creation and refining influences, rationally leading all men to the fuller enjoyment of the exhaustless beauties of Omnipotence and his adorable nature. CHAPTEE IX. ART AND PHILOSOPHY. AINTING," said Michael Angelo, " i» jealous, and requires tlie whole man to herself." Yet Michael Angelo wrote not a little. Leonardo de Yinci, like- wise, and Sir Joshua Kejnolds, and other Royal Acadamicians could " talk about their trade." And what else could they do if alive to-day, in reply to the courteous circulars with prospectuses, etc., asking most respectfully, "Are you favorably dis- posed towards such and such an enterprise ?" Will you contribute an article to the Great Art Epitome or the Esthetic Yade-mecum ? be it in the shape of journal, magazine or review. Or, again, " Your at- tention is invited, etc., and a reply is requested as promptly as possible." "We, ourselves, take this occasion to beg pardon for all delay, and join most cheerfully and sincerely with the authors of circulars. AET AND PHILOSOPHY. 91 reports, petitions, etc., asking for protection and re- lief that can only come from pioper legislation, in a> state of actually existing hardship seen in the present way of conducting artistic and industrial art affairs. There certainly exists a praiseworthy solicitude, candidly expressed by laymen and profession alike indicating a determination to bravely surmount the the obstacles encountered in emergencies that in-^ Tolve the art question, and look very like glaring errors, as well as constituting unmistakable pressing^ issues of the living present. While leaving the remote future, however glorious, or temporarily enigmat- ical, to shape itself as it may, all we now ask is that competent direction and proper supervision, simply of a character such as already exists in other lands,, and is employed in conducting other important sub- jects, be awarded American Fine Arts and industrial art affairs, justly deemed necessary to develop and conserve, with common prudence, every benefit ta be derived through well-managed exhibitions,, schools, leagues, societies and art enterprises gener- ally. And if possible to institute ways tending to reduce or abolish an excessive tariff, that, far from promoting or protecting our normal artistic produc- tivity, incites rather invidious comparison between equally meritorious foreign and native work. Home production remains too often neglected and unfashionable from no fault of its own, but princi- 92 THE PHILOSOPHY OF ART IX AMERICA. pally from being denied tlie crafty and meretricious glamor, so potent in the eyes of many, to be seen in shape of a high tariff, placed by our considerate government upon foreign art, which acts in many cases very like showing a preference rather for a gilt-edged, empty or insipid publication than for a more worthy volume. "We would imdte the importa- tion of good work, ancient or modern, and from any quarter, but let it stand honestly upon its merits. Consider the injustice of the present tax when ap« plied to the importation of a gem like that of Mr. Marquand's Kembrandt, fortunately to be seen at the Metropolitan Museum of xlrt, and constituting so signal but expensive a contribution to the public good. On the other hand, that the duty, as existing* does not keep out the raft of trash is attested in the assertion that " home industry " has been directed towards furnishing the spurious Diazs, Corots and Daubignys, painted "while you wait" upon the spot, and ready for the home market. Protection does not, apparently, in this instance protect. Haz- lett says " some in the profession seem to think Art should be destroyed for their sakes ; they would cut it up at once, as the man did the goose with golden eggs." Whatever attracts public attention to the arts will, in the end, be for the benefit of the artists themselves, said Mr. Burke, the English philosopher^ AET AND PHILOSOPHY. 93 and adds " the practice of buying pictures is a habit, and it must, under advantageous circumstances, begin with those pictures whjch have a character and name already famous. Esthetic taste grows from a desire to environ itself with the evidences of culture and refinement." " The bravest are the tenderest !" The day when refinement was not extensively appreciated, and a taste for art was denounced as effeminacy, and the possessor of it received the marked attention that is said to be shown one who has the temerity to wear a white shirt and collar in a border community, has become numbered with the traditional past. For the strongest, bravest and most manly amongst men may be sympathetic and tender in his sensibili- ties and affections as well. To dispel a delusion we would refer again to the popular fallacy which arises rather from philosophi- cal supineness than from ignorance, at least if so- called education — derived simply from the stereo- typed curriculum of the schools and colleges, in- cluding the classics of course, but not the philosophy of human nature — constitutes knowledge. We refer to those who have, without thinking for themselves, accepted what is laid down in their text- "books by theoretically inclined historians, to the effect that to be a great and good nation a people must be rugged, Spartan, athletic, warlike and ag- S4 THE PHILOSOPHY OF ART IN AMEIilCA. gressive generally, and in the next sentence will deprecate the peaceful, Arcadian state of suppo- sitious super-civilization, culture and refinement and luxury as inevitably tending in their theory to effem- inacy and social degeneration. This may explain the existence of college profes- sorships of Grgeco-Eoman athletics, hazing, etc., still prevailing, to the oft-apparent marked neglect of the sesthetical branches. Alas, can it be for the fear of developing the finer qualities that by some -are mistaken for unmanly afl^ectations. And as for the fate of the Roman Empire, a change of opinion appears to have taken place, as an emi- nent authority and standard encyclopsedia now says : ""Christianity, with all its anti-septic and revivifying influences, came too late to reanimate the national life of the empire." So there is most certainly no cause for alarming results, and all the refining graces of sestheticism, higher civilization and culture can proceed in peace and harmony, hand in hand with religion and philosophy, without a reasonable ap- prehension of an untimely human, moral, mental or physical deterioration. MUSICAL AND DRAMATIC ART. The salutary qualities of the Fine Arts respect- ively considered, are practically omnipresent and inexhaustible. Even in our own land, although an MUSICAL AND DEAilATIC AET. 95 eminent critic lias said that "^e are, in regard to music, but in a state of receptivitj, being liardly old enougli to evince original powers of pro- ductivity of the highest order ; at any rate, we have all the practical benefits of academies and con- servatories of music, grand opera houses for con- certs, and musical institutions as well, affording us the power of music, a delightful aesthetic tonic, and recognized mental safety-valve for our high pressure busy American life. Every enterprising village boasts of one or more of them, especially the Grand Opera House. TTith presentations of music and the drama, bringing more or less pleasure to the more critical, but cer- tainly diverting the mind from habitual ruts of thought as they promote at close of day peaceful *'■ Sleep ; tired Nature's sweet restorer." And as we have maintained, ^'iewed as they may be in the light of luxury or necessity, the arts of human design environ us perpetually, whether glanced at in an illustrated newspaper or ad- mii*ed in a cathedral, in a pen and ink sketch or a masterpiece of sculpture or painting — in witty publications, perpetually " shooting folly as it flies," making many a " palpable hit," often showing up a fallacy, though it may be ever so fondly affected or fashionable, throwing light upon most rampant ignorance, wherever to be found 96 THE PHILOSOPHY OF AET IN AMERICA. thereby dispelling violence and confusion, by turn- ing to justly-merited ridicule mistakes and errors, that seen prevailing but a few years ago in matters of caste, creed or politics, were wont to run into excess of passion or brutal contest. THE AET OF CAEICATUEE. Wit is, indeed, an engine of reason, acting side by side with ready comparison and logical causality, as seen in Pack, The Judge, in the ostensibly funny, but sometimes truly philosophical columns of the daily press, showing that we too may have our American Hogarths, Eabellaises, Macauleys, Sydney Smiths, and Dean Swifts. " True wisdom is the ready and accurate perception of analogy," says Bishop Whate- ley, and even the most fatal lapsus liiujue of the age, and exhibition of alliterative bad taste might have been effectively antidoted by the Art of Humor, and ^^J the witty construction in the shape of the equally euphonious alliteration of " Rum, Rheumatism and Revolution." For, as an impartial philosopher of art, we can but admire " apt alliteration's artful aid" artistically applied, and we verily believe in the late memorable instance of its use had the above construction of our witty townsman come sooner than it did, it would have actftd as an antidote to the simply distasteful, thoughtless, original remark, recalled and reinstated cooler judgment, and effectu- THF ART OF CARACTURE. 97 ally prevented lieedless precipitation and hasty con- clusions, always philosopMcally considered objec- tionable — although impelled, as in this case by a spasmodic ebullition of outraged public feeling per- fectly natural under the circumstances. Impression- able human nature is wonderfully and fearfully made ! So much for the satirist's and caricaturist's art, and it should be remembered that a funny cartoon or caricature is only potent and pardonable when it strikes from and upon the firm ground of truth, effectually precipitating error to well-merited ob- livion, or shooting with unfailing certainty at folly as it files. Then it appears, indeed, as a witty lesson rather than a jest, for ridicule is but the test of truth. CHAPTER X. ART AND NATURE. MEESON declares "that solitude is im- practicable ; " still, to escape from the arts of human design or the distorting fashions of society — for he says the latter are fatal — we have no alternative other than to flee to the wilds of nature, to worship at her shrines of pristine beauty, and drink inspiration from the sublimity of her solitudes — to seek Mt. Blanc, the Alps, Eocky Mountains, or the majestic Niagara. And, as we approach the great waterfall in the future, we trust even more fully to esteem the be- neficent province of Art, inspired by Nature — an aflirmation of the truism that Fine Art is human effort to restore nature and show her at her best, and, if possible, mirroring her primeval perfections. So after centuries of defacement to its enveloping forest scenery, and desecration through veritable NIAGAKA AND ITS SUBLIMITY. 99 ■vandalism, we unite in applauding the work of the true loTers of nature and the beautiful — people and legislators alike, who in the cause of public good and national honor have effected the preservation and assured the restoration of one of Nature's grandest works. NIAGAEA AND ITS SUBLIMITY. Of which, in contemplation, we can but exclaim : — Oh, Niagara ! Father of Waters ! rival of ocean ! ceaselessly rushing and roaring, art thou still out- pouring the receding waters of the universal flood ? Theme for Homer ! Father Poet ! he, though thy contemporary, sang of lesser spirits — gods and god- desse5 thirty hundred years ago. Oh, for Shake- speare's art ! or that of Milton, who told of grandest views of Heaven, Earth and Hell ! viewing the in- finite and the eternal through the least of nature's works ; would that he had beheld thee ! Every form of beauty thine ; first, solitude and sublimity uniting, and then posing, seductively, fas- cinating as Lurlei — fatal siren of the Rhine. "Cave of the winds!" crystalline walls, resplen- dent with colors of the prismatic bow! Torrents leaping, flying over rocky chasms ; then whirling and madly dashing into spray, after striving the fcm rocks to overthrow, and again coquetting and serenely smiling, beneath the arching of the bow. 100 THE PHILOSOPHY OF AKT IN AMEEICA. All grandly to the world displaying tlie symbol of peace and beauty ; the horseshoe of fortune, linking two nations as free as thy waters and as enduring as thy "rocks of ages" are. ART AND CIVILIZATION. But while we may, possibly, be jDardoned for lin- gering upon the sublimest of themes, we must leave Niagara and Mt. Blanc occasionally — and, indeed, a single visit to either of them, due to most enter- prizing rajDacity, still seems to be necessarily an ex- pensive luxury — and we return to civilization and such Fine Art as makes it tolerable, substituting for natural beauties the beauty inspired by them, and to be found in man's persistent efforts to design and to construct. — to combine grace and tasteful- ness with all his material surroundings, — summed up in the endless productfulness of fine, mechanical, technical and decorative arts. The easy chair we sit in, the ornamental inkstand that we dip our pen in, as we write of the Philosophy of Art in America ; the surrounding furniture, wall- paper, carpets, rugs, curtains, as well as mantel ornaments, the curios and bric-a-brac that go neces- sarily to furnish a home — to say nothing of those " veritable windows of the soul " and imagination, piercing the confines of our walls — pictures of land- scape, history, genre, portraits of our friends, often ART AND CIVILIZATION. 101 a lasting comfort, even tliougli catalogued by Ham- let as " counterfeit presentments." And, moreover, the endless list of idealistic, realistic and impression- istic imitations or suggestions in carving, or otlier de- lineations of flesh, fish or fowl ad injimtum. TVe gaze for classic restfulness upon a reproduction of the "Venus de Milo" or Michael Angelo's "Moses," or proceed out of doors in the direction of nature at least. But in the great city, only to be enjoyed perhaps by one fond glance at the blue zenith before one is met, perchance, by an enthusiastic metropolitan citizen who, in all earthly probability, will say^ *' Just come across the way and take an admiring look at my new store front." Ah, true enough, it is, indeed, in itself most pretty, the entrance, with its front door and faultlessly- engraved door-knob all very fine and " will bear close inspection." " But, my dear sir, your house is five stories high, while you see your neighbor on the left has but three stories in all, and the next-door neighbor on your right has added seven or eight to his." And so on up the street like a sad perspective view of a broken set af teeth. But pray don't invite us for relief in the way of color or form, to see the entire blocks of brown stone fronts, as orderly and uniformed as a whole army 102 THE PHILOSOPHY OF AKT IN AMEKICA. formed in liollow square, or eyen tlie -vvell-drillecl Seventh Eegiment in single or Indian file and petri- fied at " present arms." AECHITECTURAL AET. Eatlier rest awhile to admire the occasional flying buttress of a beautifully-designed church, or the solemn grey and maasire Egyptian reservoir, that is out of eternal plumb at any rate. Or on up Fifth Avenue, above the great Cathedral, still vithout its steeples, glancing at marvellous specimens of taste- ful architecture dotting the left, and extending to the Central Park, and then, again, on the right up the Avenue — taken all in all, very like an American Knickerbocker renaissance of the original Amster- dam upon the Amstel ; giving the same delight to the eye as perfected in Unter den Linden at Berlin, lined as it is with palaces ; or, above all, experienced as we stand at the Garden of the Tuilleries, in the Place well called de la Concorde, and enjoy the pros- pect across the Champs Elysees, extending away to the Arc de Triomphe, and we shall indeed experi- ence pleasurable sight-seeing that is analogous to the effect produced by delicious symphonies upon the ear. " Architecture is frozen music," indeed. Now in the philosophical contemplation of Archi- tectural Art in America, we would not seek legally to abridge any existing prerogative of a single AKCHITECTUKAL ART. 103 *' free-bom American citizen" about to build. We would only advise him to restrain his impetuosity, embrace his own opportunities for enlightenment upon the laws of symmetry and consistent con- structiveness. And then consult an architect who is an acknowledged expert in the Art of Design, one who can focus his eye so as to see not only a fly or minute ornament, but also be appreciative of the tout ensemble, the general contour and proper pro- portions of his own premises, so improved as to preserve agreeable relations to all combined or as- sociated with it. This is, in fact, the fundamental and controlling principle of association and good management, whether of a village street or the universe ; and being surely evolved in religion, diplomacy, art and social ethics generally. And ; diametrically opposed to the maxim of " might is right, or "What are you going to about it? " which is alike offensive to approved taste, justice and reason ; whether exercised through individual inde- pendence, or paraded in national arrogance and physical ponderosity. Returning to the subject of Metropolitan Archi- tecture, we may recall the day, not a very long time ago, when the avenues were being posted with alarming delineations of runaway horses, consequent accidents, and the city being ruined generally by the prospective Elevated Railroad structures. 104: THE PHILOSOPHY OF AET IN AMERICA. But we find, on the contrary, that due both to literally manifested horse sense and the artistically- constructed stations — at any rate those of the M. E. Eailroad, which combine most agreeably the Queen Anne style, if we mistake not, with the Swiss cot- tage points of vantage, including long disjointed in- clined planes that, most thankfully, oppose the eternal perpendiculars standing guard on every side of them — taken altogether, constitute an invaluable innovation, architecturally, designed by a national academician, who has certainly demonstrated the problem of uniting pleasing ornamental tasteful forms with the accomplished fact of rapid transit. Oood taste insists upon refinement and necessity going hand in hand. And sincere taste for the fine arts either inherent or acquired, is an indispensible element of higher civilization and the common cre- dential of culture. CHATEE XL FINE ART INVESTMENTS. N eminent American divine was wont to say to his hearers : surround yourselves, in as much as possible, with the influences and vouchers of good taste and refinement. If you can, secure the finest statuary and oil paintings ; if not, get a superior aquarelle or water color; if you can't afford that, obtain an excellent engraving, etching or lithograph, or even a chromo-lithograph, for there are some better than others. If, however, not obtainable, certainly the marvelous qualities of American wood engraving, beautiful though in- expensive, make them desirable, such as seen in the Century and Harpers' publications and otlier periodi- cals, and in the endless catalogue of finely illustrated books. If you can't do better, cut out the prints and improvise a frame and hang them on your walls. They will constitute daily food for the imagination, expand your ideas and promote the growth of soul and artistic taste as well, and benefit yourself and family. 106 THE PHILOSOPHY OF ART IN AMERICA. We are aware that his own display of pic- turesque eloquence was not made in vain : that it needed but this encouragement to induce one to collect and brave the critical results. Indeed, his words haye made enthusiastic collectors of fine art gems and disseminated ideas that haye greatly pro- moted the sincere happiness of thousands. In eesthetical development mistakes may be made by tyros as in any other experience of life. It is said that when a boy enters a confectionery establishment he is freely given all the. sweets he can eat, and is thereby more effectually cured of the very taste of taffy, to the profit of all concerned and a resolution upon his part often follows to stick to natural taste and more substantial nutriment in the future. So we say let in the Keok-Keoks — fK6 Meyer von Bremens, the Yerboeckhovens, for the foreign dealers openly affirm that they are prepared for the American market — even the imitations of Bousseau and Diaz and Daubigny, let them all come, like chromos, they will have their day ! One will not buy them twice ; but above all let no one be deprived by super-sensitive criticism from the prerogative of exercising his refining taste. CULTIVATION OF ARTISTIC TASTE. If your child cries for dime novels, give him a bushel of them, and he will soon pray for Byron or Sir Walter Scott, or sick of the sentimental romancers, CULTIVATION OF AETISTIC TASTE. 107 ^ill plead for the creations of tlie Bard of Avon *' Tvlio always said the best that could be said upon every occasion " — who put more kingly words into the mouth of kings than kings themselves ever Tittered, and painted the peasant as well as the kin». TVe repeat, mistakes may be made at first, but the spirit of our age is not lacking in the courage or enterprise to live through primary disappointments. This recalls a remark said to have been made by the very intelligent and discerning parents of Victor Hugo, and addressed to the very cautious librarian, ■who, as it appears, was about to limit youthful in- vestigations : " Let my sons read what they will ; they will read on and through, and it would be l)ut uncomplimentaiy to conclude that they would not only read through, but away from what is infe- rior or objectionable," So it should be kept in mind " that one must ven- ture into the water in order to learn to swim." And eveiy censorious critic may considerately hold his peace and suspend judgment, until sufficient time and opportunity at least has been afforded the earnest aspirant and devotee to evolve possible im- provement wherever any real taste for the fine arts manifests its existence. Even then he may reserve the final right of ap- peal under the time-honored proverb of " De gua- tibus non est disputandum." 108 THE PHILOSOPHY OF ART IX AMERICA. Goethe, ever liope inspiring, says, if jou Lave anything to say or write, do not consult friend or foe but do the work bravely — and the advice holds good in picture buying. The censor has too often intimidated the well disposed and equally well qualified. It is still a mooted question as to wheth- er Keats and Wordsworth were or were not suufted out by criticism. "We are not told even in the Great Book to love our neighbor better than our- selves." And it is a question pertaining to every field of life, involving reform in every shape, martyr- dom in every cause, and substantially this: Wheth- er or no self-esteeming man, in any given case, should wittingly become a martyr to any motive however great and good. A very little of the spirit that aggregated went to make up the saints and heroes, seems to be needed to brave the fiery grid- iron or crucible of criticism: — some of the patience and perseverance of a Galileo, imprisoned and con- demned by an inquisition who tried to make him abjure by oath upon his knees the sublime truths he had labored through every hardship to reveal to his fellowmen? — and the spirit of Christopher Columbus again, the son of a wool comber, then a practical navigator. COLUMBUS THE DESIGNEE. And it is an historical, and certainly artistically interesting fact, that, not when navigating the seas, COLUilEUS THE DESIG^^EE. 109 but while tlirowu out of tliat employment and at the time he was exercising his artistic procliv- ities as a designer and constructor of maps and charts for the livelihood of his family, he first im- bibed the idea of land to the westward, which he was destined, after long disheartening years and persistent discouragements, to establish as a fact, proving moreover himself to be the greatest bene- factor of his era. After all it was Columbus the designer ! the visionar}" man, who discovered the New World — winning his last chance to do it at a game of chess. He had his imitators too, as every artist from Homer down seems fated, or really com- plimented with. Those ever ready to cry, " I could doit too" — after the deed is done. And we see Amerigo Vespucci after the success of the great discoverer, inflamed to imitation and abandoning " business " spread his own sails. But Columbus the great had not only sujQicient imagination to grasp a new world but to silence the cavilling critics at a royal dinner party — he could see the grand archi- tectural contour, or the fly on the door knob; he simply passed around an egg which the guests essayed in vain to stand u])ou end, at his turn he gently cracked the shell and up went the egg, and sure enough the cry was, " Oh, we can do that too." Yes, after the thing has been done, of course ! 110 THE PHILOSOPHY OF ART IN AMERICA. PALISST THE POTTER. And one more heroic example — Palissy the pot- ter, as seen surrounded by his starving family and throwing the very furniture of his house upon the flames in pursuit of the wonderful discovery that was to benefit the world. Now, whilst all cannot hope to be saints and heroes, they may encourage earnest workers in the cause of progress, join in the petitions for its advancement and assist the removal of each obstacle to its ine^'itable though oft retarded march. The cultivated tastes and united will of the well informed rank and file carries the day. Intelli- gent appreciation and just discrimination are virtues in themselves. Hearty and sympathetic applaus© alone can spur the actor to his best. And wher& there is a sincere appreciation and demand, there- will certainly be a satisfactory supply even of American art. In the pursuit of any brauch, wheth- er of the learned and liberal, scientific or fine arts — information and knowledge pertaining especially^ and respectfully thereto — is most coramendably and eagerly sought for by even the most gifted of aspir- ants, trusting to become a master of his trade. THE INELUENCE OF NATIVE FINE ART. And admiration is due the pioneer American spirit often evinced by those possessed with orig- inal genius and personality, who have at times in- THE INFLUENCE OF NATIVE FINE ART. Ill Yaded and explored tlie art centres of foreign lands in quest of the principles and polish, improving their language or medium of expressing super-fine art, while still preserving native individuality and acquiring knowledge of affluent and accepted meth- ods, often compelled in its accomplishment to learn other languages than their vernacular, " but with every new language a new soul." And again to brave the tortures of exile, including academic haz- ing, to return home, and perhaj)S like Vanderlyn and a score of others, display their artistic achieve- ments in vain, or condemned as imitators, disturbing time-serving conventionality and the prevailing fash- ions whatever they may be at the time. True, there is much to be said upon both sides of the situation. All method and no soul is as " much ado about nothing." The sweetest song to arouse interest or sympathy must have a theme or motive, and the patron of American art may reasonably demand the most artistic interpretation of the ex- quisite natural beauty to be found nearest his home, the aesthetics of the common place and familiar scenes, the play of sunshine and shadow upon the roadside ! the humble thistle, silvered in the morn- ing mists and golden hued against the setting sun. And the endless soothing soul-cheering surround- ings in commonest natural scenery that may be enjoyed without climbing Mount Blanc or even 112 THE PHILOSOPHY OF AET IN AMEEICA. standing at tlie verge of Niagara itself, the crowning glory of our own land. Patriotism, "we repeat, is one of the most pardon- able of prejudices, and why should not an American share in the honor and pleasure of possession, if not in the productiveness of art, and rejoice at the achievements of his contemporaneous fellow coun- try men. All the true artist would ask is to breathe the congenial atmosphere of ap]3reciated art, and be taken at his worth, and rewarded for his work at least to the extent of not leaving every acknowledge-^ meut of his life's efforts to posthumous fame and obituary poetry, " Dum vivimus vivamus." We only live whilst we enjoy life — wisely, tastefully, happily through necessities and luxuries, and how much depends for their supply? — call them as you may, upon the fine arts ! Music, books, sculpture, painting, eclectically por- traying the beauties of nature, creative gifts that kind Providence has vouchsafed man to restore, in as far as possible, a satisfactory suggestion of pri- meval perfection, or at any rate given to cheer the heart and soul of man whilst " winning his bread at the sweat of his brow, or as the poet expresses it - " Man fled before his Maker's wrath, An angel left her place in heaven, And crossed the wanderer's sunless path. 'Twas art ! Sweet art ! new radiance broke. BUSINESS, OR THE ART OF FINANCE. US Where her light foot flew o'er the groi^nd.-t, _, And thus, with seraph voice, she spoked' ,' / ■»> ._ The curse a blessing shall be found l\\ , . BUSINESS, OR THE ART OF FINAITOE.' " It will be unnecessary to dwell at further length upon the exhaustless multitude of facts arrayed bj any thoughtful, or even casual view of this subject,, and after due attention has been given to the phil- osophy, practical workings and influence of art in America. The arts of design and their products are literally- omnipresent as to be seen developed more or less;, perfectly in every land beneath the common sun, and in every society enjoying any vestiges of civilization whatever. In fact barbarism simply argues the ab- sence of them. Being impelled by the title and motive of our dissertation, and while making an earnest effort ta be as practical as possible in our suggestions, wfr venture a thought, foreign perhaps, to fine art, but. perfectly consonant with the universally and devout- ly anticipated revolution of the pursuits of prosperity^ and peace, a revival of confidence and activity in busi- ness and legitimate profits animating all avenues of industry. Aud neither last nor least in consideration of the public good and the comprehensive philosophy of art in America is the art of bread- winning and 114 THE PHILOSOPHY OF ART IN AMEEICA. honest money-making. Now, it would almost ap- pear characteristic of this wonderfully progressive age that business capabilities and a sharp talent for speculation have been promoted to the rank of the cardinal virtues ; forgetting occasionally that even in the art of finance a good deal depends upon qual- ity as well as quantity. " Honesty is the best policy," it is true, but fortu- nately there are many who are honest, not because it is the best possible policy, but rather because they themselves have a prejudice against being dis- honest. True, business itself is not necessarily a cardinal virtue ! It is an element, a process, and like mathe- matics, neutral in philosophy. Figures in them- selves cannot lie if used arithmetically correct. But there are processes of addition, subtraction, multiplication, and sometimes, though reluctantly used, division after rules that are fortunately not laid down in the approved editions of standard school mathematics. Rules by which figures may become as sadly demoralized, figuratively speaking, as those indexed upon a deranged gas or water me- ter, but as there are exceptions to every rule, and often a strange perversity displayed by inanimate things, as noted by the poet, " The best laid schemes o' man and mice Gang aft a-gley." BUSINESS, OR THE ART OF FINANCE. 115 "We reconsider tlie application to the credit of: the gas companies, as the fault is said to lie in the- mechanism of the meter or motor, not in the motivor of manipulators lying at the back of it. Business, is only to be commended when the cardinal virtue: of moral integrity controls it. A philosophical view of the present state of the business community verifies the fact. And now for a revolution of the pursuits of peace and a revivaj of truly profitable and enduring industry. An end to financially Utopian scheming, false and extravagantly delineated pictures of success, chromo- like paintings of prospects in very inflammable colors, alike exciting to our city bulls and bears. A heedless rush for sudden riches, digging for them, into the uttermost bowels of the earth, in the form of oil and gold. Well enough if honestly dealt in when secured^ but not in the form of bogus business booms, or big- bonanza bubbles. Suffice to say, a serviceable lesson has been taught by public experiences of late. A better understanding of genuine prosperity" which must result in the prevalence of sounder,, safer business principles has been gained. " Sweet are the uses of adversity which, like the toad, ugly and venomous, yet wears a precious jewel in its head," and thus our life, even financially consid- ered and through adversity and philosophy, fiuJis 116 THE PHILOSOPHY OF ART IN AMERICA. good in everything. Adversity calls forth philoso- phy, even as necessity is the mother of invention. And ways that shall lead to greater prosperity in com- merce and general industry must be as welcome as the sunshine after a storm. And the promise of peaceful prosperity smiles again upon our land. A more general desire for the public good and union of sentiment in every worthy national cause is mani- fested through the spirit of the press and voice of the people that must compel legislators to keep abreast with the progress of the age, respond to the intelligent call for the preservation of the forests, national parks, the beauty of Niagara, and even secure at last the firm foundation stone for the em- blem of Liberty enlightening the World. ART AND NATIONAL rROSPERITY. As to the avenues leading to financial activity, are there not industrial features that we have shockingly neglected? The greatest magnets for business at- tractions, acknowledged the world over and certainly not neglected, even in second-rate cities of Europe, agents that our metroiDolis, in its self-centred im- portance and sufficiency, seems almost entirely to have overlooked or very unphilosophically allowed to lie dormant and unused. We refer to the very objects periodically sought for in the Centennial, and the so-called National and AET AXD NATIONAL PEOSPEKITY. 117 World's Fairs, springing up frequently, and as quickly collapsing tlirougliout tlie land — tlie enter- prise and profit and public good that may come to the metropolis of the New World in endless ways, and only to be eftected through a permanent palace of industry and art. The Crystal Palace, formerly in Keseryoir, now Bryant Park, was a suggestion of the project, and bid fair to realize the object. And we ask what has been done in that direction since the day it disappeared in smoke and ashes ? London and Paris are bigger than New York, and it would be interesting to know how much of their financial greatness and actiyity is due to their enter- prise and methods pursued in attracting yisitors to their Crystal Palaces, Albert Halls, South Kensing- ton Museums and Palais de I'lndustrie, etc.? Our solons of the press lament the annual exodus of Americans to foreign lando, carrying their golden showers with them, and seem neyer to learn the les- son of cause and effect. Now, those who could "go abroad" would go, and probably yia the metropolis. Howeyer, if the same was rendered agreeable in Spring, Summer and Autumn, thousands who would not cross the ocean could find in our city the same or superior attrac- tions that tourists must now make a trans-Atlantic yoyage to see and enjoy. 118 THE PHILOSOPHY OF ART IN AMEBICA. So mucli for the attractions of tlie French and English and German institutions — a veritable mine •of wealth, art and industry to their respective capi- tals and to the chief cities of Europe. Now, let us consider what can we do in that line ! True, after a recent visit to Boston during the Sum- mer months, we conclude that effort has been made in the proper direction in which the country at large can take honest pride. Besides, the stately museums and famous art galleries, both public and private, institutions of learning and the superior education characteristic of the "Hub," of the Universe, if you like, the Institute Exhibition and the Massachusetts Charitable Mechanics' Association have presented, respectively, an endless display of beautiful and useful mechanical and industrial art products, visited and enjoyed by thousands. And there were two most remarkably fine collections of works of fine arts, both of American and foreign production. This reminds us that we have likewise heard of an institution with the promising and proud appellation of the AMERICAN INSTITUTE. In the name of progress and enterprise, what is it ? Is it a veritable "dog in the manger," or is it -most diplomatically and philosophically preparing to AMEEICAN INSTITL'TE. 119 jump any way but retrogressively — to develop in the future of our history the industrial and asso- ciated art interest probably, if not proj^erly entrust- ed to its charter, and naturally implied by its name, and above all, in a manner commensurate with the reasonable demands of the New "World's great me- tropolis. If it is powerless to proceed, should the commun- itv permit an annual apology for its incompetency that is eclipsed in interest and importance as an ex- hibition even by the Queen's County Fair, at Mineola, L. I., adjoining Garden City. An institute to be found in an out-of-the-way section of the city, and quartered in a shabby building and at present apparently devoted to the fascinating art of roller skating rather than to highest art or industrial interests. Again, the American Agi'icultural Society seems in a comatose state since its spasmodic effort to get up a world's fair some time ago. It is a fact that we are undeniably away behind the age in these avenues, "2^'"'^ hono imhlico f as proven in the comparison with many second- rate cities of Europe, to say nothing of the famous capitals, philosophically finding a treas- ured source of intelligently-harvested revenue in permanently-established, perennially attractive ex- hibitions and well-established centres of art and industry. 120 THE PHILOSOPHY OF AET IN AMEPilCA. The practical burgomasters of Amsterdam, the Bague, Antwerp, Haarlem, etc., do not begrudge the appropriations for monuments or statues to the lionor of Rembrandt, Vandyke, Kubens and others that fill their streets and public places. 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