sentative of the satisfactions which, in some rude or fine shape, must wait upon the common wish of the eye and need of the heart for beauty? Let him stand for the humble type of the supply which rises, in some form, low or high, to fill the demand, variously made, for manifestations of the power of Art to please the sight, to culture the intellect, to ennoble the heart.

We are aware that the humbleness of the representative we have chosen may be held to represent also the meagreness of the demand and the poor quality of it. The fact, however, of a demand is all that is needed, because it is expressly one that will grow by what it feeds on. The time of this present writing is one, to be sure, when arts as well as laws are silenced by the prevailing din of arms. To speak or to listen to claims in their behalf may seem an impertinence before the instant exigency and absorbing excitement of the day. And, not to dwell upon this, we must admit, too, the constant and general prepossession of attention, energy, and means among us toward science, politics, and trade. We ought to go further, and say that this is the right and good thing for our land, as it is plainly also the inevitable condition of our people. For, as the glorious times of superb bloom and generous fruitage of Art-like the age of Pericles for the Greeks and the sixteenth century for the Italians and Germans were in course of Nature and by ordering of Providence, so it is the necessary and providential state when thought and purpose flower out into less lovely forms, which may still promise as large and precious harvest to national and civic life and character. Even when the time bears the blood-red blossom of war, the divine nurture and process in its growing, if to sentiment less plain, are to reason as sure as in the springing of the white lilies of peace. Past history and that which is passing can be rightly interpreted only by the canon, "that what has happened, and is happening every day, is not only not without God,' but is essentially His work." Complaint, therefore, may be too loud of the prevailing scientific, critical bent of thought, and the positive, practical conclusions of the general purpose and will. Much as we believe in the importance of the present work and study of Art in this country, and eagerly greet all apt means,

to its progress in the understanding and affection of the people, and to its encouragement by the state, we hold in some disfavor the wonted grumbling of dilettanteism over the determined dulness of this nation to the rights of Art, and its present invincible disregard of its duty in regard to them. Much, too, as we look forward with just enthusiasm and confidence to a future for Art of signal honor and success, we could still, upon occasion, be equally enthusiastic and confident about this contrary prepossession. For it is a hearty interest Americans should take in the eminent working out by America of ultimate questions in scientific research and progress, in commercial economics and welfare, and in political conduct and destiny. They are prime interests of civilization. They have chronological precedence, if not logical privilege and honor, before the refining influence of Art. In the lawful attention given to those, the interests of this may well be postponed, and wait to be largely recognized and generously furthered. They are surely such as can bide their time. Those who have taken them to heart, in the bright future prophesied by the friends of science and literature, by the princes of commerce, by the leaders of politics, for what engages their hope and faith, foresee the power and glory of that whose success they look forward to and trust in. The lovers of Art know what other factor must enter into the account to make up the sum of the national future. They who are practising or studying it dict what fourth ray must mingle with this triple brightness to complete the lustre of the American state. The refined gold of the coming time will be, not gilded surely, but bejewelled with the preciousness of Art. For whereas of poverty-stricken and base Art it is the certain business to prank national shabbiness with poor masks and superfluity of decoration, and to match a boastful and vainglorious spirit in a people with pretence and falseness in itself, it is the true work and sure joy and inevitable issue of good Art to set off essential nobleness in a state with correspondent greatness in itself, to do nothing for vanity's sake but all for honor's, and adorn national magnanimity with costly proof of its own sympathetic generosity. The friends and lovers of it by faith foretell, under whatever present discouragement, its progress here and tri

pre

umph. Meanwhile they have to see how small its beginnings are, and how slow its advance. The analogy is only too plain of the general unintelligence and lack of culture in respect to it, with the wide and untamed lands which characterize our domain. It is a raw soil to be dealt with, and a slow, encumbered labor to be undertaken. So much the more is cheerfulness under present conditions praiseworthy in the artist and the student. And patience is needed, with forecasting trust that what is done faithfully in the practical work of Art, and what is studied wisely in the history or the theory of it, must avail something to the good end and the bright glory in

view.

It will be a long day before the Council of free Boston or Chicago do what the Council of free Florence did in ordering Arnolfo, the architect of the commune, in these memorable terms, "to prepare the design for the rebuilding of Santa Reparata in such supreme and lavish magnificence, that neither the industry nor the capacity of man shall be able to devise anything more grand or more beautiful; inasmuch as the more judicious in this city have pronounced the opinion, in public and private conferences, that no work of the commune should be undertaken, unless the design be to make it correspondent with a heart which is of the greatest nature, because composed of the spirit of many citizens united together in one single will." The just sequel of such an order is the Cathedral, fitly set off by the Campanile which Giotto built, as if it were to be looked at only on feast-days, and crowned with the Dome, near which Michel Angelo ordered they should bury him, "that I may always," he said, "gaze at the work of Brunelleschi." The times will not this long while yet hint at civic magnanimity and wisdom which will plan and command like this for the benefit and adorning of the commonwealth. We do not hope to see the citizens of New York name their Tenth Street the "Joyous Quarter," and perhaps Mr. Page's pictures are not quite the things to be borne, with triumphal shouts and garlands, from the studio down Broadway to Trinity. Nor can we look forward to San Francisco's becoming a sanctuary of religious art, like the village of its namesake, no more its patron saint, in Italy.

Still there is promise for Art here patent, not needing to be searched for. Take an account of stock, and is there not good encouragement to its friends and followers in all the various directions of its power? We will enter here a general statement of the case in regard to the practice of it, which we will follow up by a notice of what Mr. Jarves, in his new book, has done for the study of it.

The title of his book would confine us to treat simply of the practice and study of the art of painting. But our theme permits a word upon the kindred arts of music, sculpture, and architecture. In order to any signal national repute and success in these, much wider interest and wiser study are needed. But the claim may be, with good reason, put in, that such study and interest as have been given have borne fruit measurably valuable and good.

Musically, the past generation was in Egypt. Their children have come into the promised land; and, under the leading of Beethoven and Mozart, Chopin and Franz, Handel and Mendelssohn, Wagner and Schumann, are driving out the barbarian and profane. They who remember back hardly a score of years are those who have seen music enter into its rights. And it is a most auspicious sign that this art takes, in general attention and liking, precedence of the rest. For its forms and modes of expression are of a very refined sort. It is the most subtile language which can utter itself to sense or feeling. It is, as it were, the spiritual speech, beside whose potent appeals and delicate persuasions colors and lines address themselves with uncertain power. The great masters of it are interpreted now in excellent fashion among us, and are appreciatively estimated and enjoyed. It is worth mentioning here, that an earlier and heartier recognition of the supreme merit of Beethoven was given in New England than in Old England; just as Coleridge and Wordsworth were here welcomed before they were greeted in their own home. The fact tells well for the ability of this people to know and value the best things in Art, when they are once presented. There are critics among us, and writers upon music, who rank among the best. Native composers, like Fry and Wallace, and such as we ourselves esteem of any account, deserve and have a good position in VOL. LXXI. 5TH S. VOL. IX. NO. I.

7

contemporary musical art by the side of their European fellows. Our young artists have still to go abroad to the conservatoire or akademie, but the omens look more and more favorable for good schools and genial musical education here. The best singers and virtuosi of the world have taught us what to demand of opera and concert performances. Here is admirable progress for so short a time, and it holds out good promise for the future of music in America.

Of the study and present practice of the art of sculpture with us, we have to say, that, if the criticism is to be trusted which comes from abroad, our new nation and adolescent life have little more for which to blame themselves as they certainly have nothing more for which they may be praised — than older countries and riper culture. With the Greek sculptures before our eyes, or with the memory of them present to the mind's eye, it is hard not to drift towards the opinion of Miriam, in "The Marble Faun," that "sculpture has no longer a right to claim any place among living arts; it has fairly wrought itself out and come to an end." Yet when we remember how the old life did stir again in new forms, by the genius and under the hand of certain medieval artists, there is cause to think the book of this art not finally closed, and, with Kenyon, to hope that "future sculptors will revive this noblest of the beautiful arts, and people the world with new shapes of delicate grace and massive grandeur." But we must also say, with him, that, in fine, as regards the actual state of the art, it is, with the exception of some portrait-busts and certain decorative sculptures, largely a plagiarism.

A student of the ancient sculpture, finding a spirit and worth in it which it seems not daring to call divine, may be pardoned if, out of a just enthusiasm for their matchless excellence, he declares the account of plastic art to be finished with these works of final beauty and sublimity, and believes that Providence, in saving them from the wreck of time, saved all that is needful for the world's instruction and delight, as far as this art can teach and charm in all time. He has heard it said, that about all the sculptures have been restored to us which, in old documents, are recorded as holding the highest place in the esteem of the time and the people which