Appreciation of sculpture; a handbook by Russell Sturgis ... . igure or naturally organized sentiment of a Longfellow poem is aptto be in the very obvious patriotism of thewarrior, the every-day virtue of the work-man or of the wife, the appeal to memoriesof childhood, the association of humanitywith something beyond humanity. Muchin the same way do the conceptions ofFrench manifest themselves. GallaudetTeaching the Deaf Mute, the Milmoretombstone, with the winged and drapedDeath arresting the chisel of the youngsculptor, are both of them illustrations ofthis simplicity of aim in the
Appreciation of sculpture; a handbook by Russell Sturgis ... . igure or naturally organized sentiment of a Longfellow poem is aptto be in the very obvious patriotism of thewarrior, the every-day virtue of the work-man or of the wife, the appeal to memoriesof childhood, the association of humanitywith something beyond humanity. Muchin the same way do the conceptions ofFrench manifest themselves. GallaudetTeaching the Deaf Mute, the Milmoretombstone, with the winged and drapedDeath arresting the chisel of the youngsculptor, are both of them illustrations ofthis simplicity of aim in the intellectualreach of these sculptures. But there is inFrenchs work an immeasurably greaterachievement in the use of the quality ofart than there is in the poems of Longfel-low. These last (the poems) are disfiguredby solecisms ; expressions that are draggedin for the sake of the rhyme, seriousblunders in taste and in form, which abso-lutely prevent the acceptance of thesepoems as of very high rank ; whereas thetechnical art of French is always true and[184]. Plate LVI.—MONUMENT TO THE EMPRESS AUGUSTA,BERLIN; BY H, W. F. SCHAPER (B. 1841). NEAR THE ROYAL LIBRARY. Recent Art, Part III, Monumental Effect pure, resorting to few exceptionally unfa-miliar devices, achieving its results in asufficiently familiar way, but still achievingthem and evidently disappointing no one—neither the artist nor the students of hiswork. A comparison with Tennyson wouldbe more in the way, one would think, forthe musical charm of the poet may bematched by the visible rhythm of thesculptor ; while neither of them has, as itwould seem, a supernal message to comparison with this is to be namedthe monument to the Empress Augusta atBerlin (Plate LVI), a grave and dignifiedwork by H. W. F. Schaper with an emblematicsubject in the marble bas-relief let into thepedestal. It is obvious that here the monu-mental impulse carries it over the thoughtof portraiture. Flattery, as Disraeli issupposed
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectsculpture, bookyear19
