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is chronicled in the continuation of her so valuable a collection. But the hour veracious history."

was late. Indeed, it was quite night. As The old man gently replaced the salver I paused, the clouds broke and the moon and crossed the room to the great wall. shone out from behind the Palazzo VecTaking a corner of the tapestry in his chio. And the tower that, beginning in hand, he said :

mid-air, springs from the overhanging " This is woven after a lost design of battlement into the heavens, cast a shadow Raphael. The light is quite insufficient pointing me homeward. I followed the to let you see more than the grace of the omen. outline. It covers the gem of my collec- When I awoke next morning from a tion."

refreshing sleep, I realized that the old And he slowly drew the curtain aside. bibliomaniac had never once let go of my

“ This is the Cartoon of the Soldiers priceless Boccaccio. Nay, before my very surprised while bathing by the Pisans. I eyes, he had placed it on his shelf between have searched for the fragments in all Bach's “ Passion According to St. John" parts of the world, and I still lack a few and his recovered “ Tragedies of Euripone here, to the left below the center, two ides," with a gesture altogether so natural farther up and more to the side, and the that I failed to observe what book he put entire right lower corner. One of the there. I rushed with all speed to the most important I have at last traced back Via Torta, but I could find no trace of here to Florence, and another, I believe, the house I had entered the day before. is in possession of a Russian nobleman. Room, fountain, books, pictures, the veiled I hope to have them all in time. You Cartoon of Michelangelo, the strange cussee the force of the composition. I regret todian—all had vanished! that it is too dark to observe the details." I stood bewildered in the narrow street

He let the tapestry fall and walked until, at last, a friendly hand was laid upon with me towards the door. As I turned my shoulder. It was M- , the bestto bid him farewell, I noticed an old, worn informed antiquary in Florence. He, if Ovid in a most sumptuous binding. any one, could direct me in my search.

“How comes this to have so rich a “Whereabout in this street is that dress ?” I asked.

wonderful collection," I cried, “ with the “ Have you forgotten Tove in the great Titian portrait of an old man with a thatched house ?” he replied. “Look at long beard, clothed in furs and sitting the name written in front.”

amid his books, holding a letter in his . It was Touchstone's copy.

hand ?”

“ What old-wives' tale have you been Leaving him surrounded with his mar- listening to ?” said M— “That Titian velous treasures, I walked slowly through is a myth. At least, there used to be such the deserted streets. I lingered in the a portrait, but it is long since lost. Some Piazza della Signoria, wishful to return say it now belongs to its original, the to inquire how he had brought together Wandering Jew.”

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VICTOR HUGO, in his poem “Les James Brown Lord (whose work in remod

Enfants," prays that he may never eling some court-rooms in the Constable

see the summer without its flowers, Building brought him such acclaim that the cage without birds, the hive without he was unhesitatingly commissioned to bees, nor the house without children ; and draw the plans), had entire charge. A bill he might have added, among these things for a special appropriation of seven hunvoid of beauty without their correlatives, dred thousand dollars was put through the the niche without the statue. In Amer- Legislature, and Mr. Lord was left free to ican architecture there has been no greater select some twenty-five artists and sculptors abuse of the prerogative of the architect who were in his estimation most competent than that of leaving undone, with the to execute the different parts of the work. owner's abetment, things he started out To their sympathetic co-operation with to do. In his plans he delights us with him is due that harmonious ensemble statues adroitly dispersed among elements which was the architect's chief desire to otherwise monotonous ; but these statues attain. This harmony is seen in the courtnever appear in the completed building room, where, on entering, the impression though only too frequently niches are received is that this is the work of one built in the walls, like holes in a cheese, man ; later we discover that six painters, and becoine permanent reminders of per- a glass-worker, and wood-carvers took fection dreamed of but never attained. If part in the decorations. In every part New Yorkers had no other reason to con- of the building is seen this same unity; gratulate themselves upon the new Appel- there are no breaks of monotonous blank late Court House, they could at least be spaces, though there are perhaps a few thankful for this, that every one of the blemishes. The capitals of the Madison twenty-odd statues provided for in the Avenue columns and those of the pioriginal plans is actually in place, each lasters behind crowd unnecessarily on fitting perfectly into a scheme of adorn- one another, though, indeed, this might ment which makes the facade of the build- be argued as a purposeful planning meant ing a unique example of combined archi- to suggest largeness of form, so that tectural and sculptural ornament.

the end, which is only fifty feet wide, The conditions under which the build- shall not look emaciated in compariing was erected were most favorable ; · son with the Twenty-fifth Street front, there was no competition, for one architect, which is one hundred and fifty feet long. Again, the balustrades of the railing on these, how changed would the sky-lines the sidewalk and upon the attic are un- become! For in looking up at these classical and ugly in shape, smacking of imposing statues the sky, by contrast, the turning-lathe at every bulging; and seems to take on the intense blue of the the Twenty-fifth Street entrances are some- Italian sky, and almost we find Nature and what narrow. But, with these few excep- Art in sympathy—a condition of things tions, the details, decorative and sculptural, rarely attained in a large city. are worked out with a scholarly view to Mr. Ruckstuhl, the sculptor of the their adding richness whenever possible; group of “ The Army” on the Dewey the spirit of classical symmetry is stamped Arch, was in charge of the sculptural on every space; everywhere follow harmo- adjuncts for the Court-House. The figniously, one after the other, on capital, ures of “Force” and “ Wisdom" which cornice, and ceiling, richly molded bands flank the entrance were modeled by him. of egg and dart, the fret, the meander, and They seem to be overcharged with the acanthus.

detail ; but in view of the fact that they The success of Mr. Lord's work is un- are placed nearer the spectator than the doubtedly due to the

other statues, this fact that the designs

may not be objecfor his architectural

tionable. He makes embellishments were

“Force" the incarna-. connected with recog

tion of the military nized basal architec

force of the Nation, tural forms, carried

ready to answer the out with appropriate

call of "Wisdom," ornament; for, as

but slightly drawing Charles Lamb found

his sword toward ed his design for the

himself to suggest Dewey Arch upon

the supremacy of the the Arch of Titus, so

civil power. “We Mr. Lord chose a

must not use force regular Corinthian

till just laws are demodel for the Court

fied” is cut on the House. The build

plinth. The head of ing is of New England

“Force” is a commarble, and there are

posite of Grant, Miles, six Corinthian col

and Admiral Bunce. umns and a pedi

“ Wisdom” points to ment on Twenty-fifth

the text, supposed to Street, four columns

be in the Book of and four pilasters on

Wisdom—“Every law Madison Avenue, the

not based on wisdom main building being

is a menace to the comparatively simple,

State.” Mr. Ruckwith an attic support

stuhl further explains ing the sculptures,

the motives of his which consist of

statues as follows: two main groups,

“ Wisdom and force “ Peace” and “ Jus

alone produce the tice," and a row of

triumph of law—the figures representing

prevalence of justice, the lawgivers of dif.

the prevalence of ferent races.

peace, and finally If we could strip

the fruits of peace. our city buildings of

Hence. Wisdom and their metal copings

· Force' are at the and replace them Copyright by Curtis & Cameron

foundation of the with figures like “MANU," BY AUGUSTUS LUKEMAN Court-House.” From

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1904

these two columns the mind is led up to comes E. C. Potter's “ Zoroaster," and the a tympanum containing an allegory of great occult is somewhat more animated the “ Triumph of Law;" this is crowned than the other figures. His gesticulating by a group of “ Justice." A similar group right hand hides his face from the Madiof “ Peace” is placed on the east end. son Avenue spectators, but from the ex

Daniel Chester French is the sculptor treme east he appears dramatic. of this group of “ Justice ;' it is worthy to In “ Alfred the Great," J. S. Hartley be reckoned as equal to his “ Peace" on (who modeled the figures of Commodore the Dewey Arch, the statue of “Liberty” Perry on the Arch) has conceived the at the World's Fair, “Washington” at the father of English education as a stalwart Paris Exposition, and “ Death Staying the Saxon, bearded, long-haired, a crown on Hand of the Sculptor"in Boston. Justice his head, a long cloak flowing from his itself is not perhaps so nicely balanced as shoulders, holding a sword against his the Columbian goddess, for she holds in breast, and a book, presumably of his each hand a torch level with her head, Anglo-Saxon translations, in his left hand. making the pose slightly archaic, and her This is dignified and carefully finished in face, looking down, has neither the definite detail. strength of the “Liberty” nor the sweet “Lycurgus," by George E. Bissell, is ness of “ Peace” on the Arch. But the next ; the Spartan seems to support too figure is truly monumental, and the per- heavy draperies in the upper part, though pendicular sides of the plinth on which the lines of the toga are good. In his she stands, together with the upright right hand he holds a scroll; his left hand torches, by their vertical lines bring the grasps his toga as an orator to-day grasps group very properly into a unison with the the lapel of his coat while addressing an severe architectural forms of the building. audience. This quality, which some of the more Then, to the right, east of French's flamboyant statues on the building lack, group, stands the classical figure, again is completed by the two male figures in in a toga, of “ Solon," the Grecian father entire repose at her feet, one reading a of jurisprudence, by Herbert Adams, book of law, the other resting content whose figure of “ Victory” from the Conas it were in his strength, and both mod- gressional Library was repeated at the foot eled with muscular fullness. They form of the masts north and south of the Arch. the base of a triangle of which “ Justice's " Then follows “ Louis IX.," by John head is the apex, and which, though in no Donoghue. Louis IX. is justly selected way too obvious, is easily discernible by to represent the Gauls, as virtually the the expert; the whole composing a mass founder of French law; he was the first that has been tried and found acceptable to introduce a code into France. Mr. since the days of perfect Grecian art. Donoghue's figure is perhaps less picturMr. French has recently returned from esque than might be expected in these Europe, where he saw to the erection of his days when the great Rodin is showing us “ Washington," one of the features of the how tremendously powerful and monuParis Exposition. He is busy at present mental character-sculpture may be. Its on several commissions, among them six action is more violent than that of the figures for the State Court-House at St. others; the left hand seems unnecessarily Paul, Minnesota, and new doors for the extended ; the right hand holds a scroll Congressional Library.

with conspicuous volutes, and the drapery Upon the attic of the Twenty-fifth Street falls heavily from the shoulders. front stand eight statues; several of them Augustus Lukeman (designer of “Cushare by sculptors who have done previous ing" on the Dewey Arch), in his “ Manu," work on the Dewey Arch, “ Mohammed,” has availed himself of the modern note, by Charles A. Lopez (who made the as the work seems almost painted in group of “ The East Indies," north of the marble, à la Sargent, and has given us Arch), being that nearest the west. The a hooded figure like that painter's Moslem prophet wears Oriental robes and “Hosea " in the Boston Public Library. holds a large scimitar. Viewed from No doubt we would invite criticism for every side, no disturbing masses mar the inconsistency should we, just after menrepose of this calm figure. Following it tioning Rodin, say that this statue is

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