It is interesting to note how little contemporaneous work in the United States influences architectural designs in even the most American of the larger Canadian cities. The above elevation is typical, aside from the lion and the unicorn over the doorway; it is distinctly insular and has a quiet charm, perhaps in keeping with local business methods, and in the high roof there is a trait particularly indigenous to northern countries. MATTERS OF MUNICIPAL ART VALUE OF SCULPTURE TO A CITY-STATUES IN PARKS-NEED OF CO-OPERATION AND THE UTILITY OF AN ART COMMISSION L REPRINTED FROM THE SPRINGFIELD "DAILY REPUBLICAN," AND IKE most American towns of medium size, Springfield still is lacking in such works of municipal art as add beauty to great capitals, and in Europe to many minor towns as well. Our city is fortunate in possessing one admirable work of sculpture, "The Puritan," by St. Gaudens, but for the most part it has this field still to develop. That it will be developed in course of time there can be no reasonable doubt. In the past America has naturally been too much engrossed with enforced problems of material development to have much leisure or wealth to devote to artistic matters. But of late years there has been a notable development of wealth, and with it has come a manifest increase of interest in those arts, for the cultivation of which money is required. The artistic instinct, which in the older and simpler days found outlet only in such inexpensive and transportable art as literature, has dis covered new and fascinating realms. Increased foreign travel has introduced many to the cathedrals, pictures and statues of the old world; the great exhibitions of Chicago and Buffalo have opened the eyes of multitudes to the charm of architecture, sculpture and landscape gardening. Rich Americans are exasperating and alarming Europe by carrying off its choicest art treasures whenever they appear in the auction-room. It may be urged that this argues wealth rather than genuine art culture, but at present this is not the point. The thing to be noted is that American wealth is increasingly turned into this channel, with the result of bringing to the new world such art treasures as it has hitherto lacked. And together with this matured tendency there is a growing disposition on the part of men of means to benefit the public with their surplus. Already the largest and richest American cities, like New York and Chicago, are beginning to receive vast 162 THE ARCHITECTURAL ANNUAL funds for purely artistic purposes, and it is only a matter of time when smaller towns will get their due share. In a modest way at first, but on a steadily increasing scale, Springfield, like other progressive and well-to-do cities, will have money to devote to such ends, and it is not too soon to consider how this field can be cultivated to the best advantage. For the present and for a long time to come, Springfield, like other towns, must depend for such works of art upon the generosity of publicspirited individuals. The city treasury can do its share in giving smooth, clean streets, handsome public buildings, well-built bridges and attractive parks, and that spirit of civic pride which has made so many cities beautiful must be counted upon to provide such works of art as exist primarily for the sake of beauty, such as picture galleries and sculpture. The course of development is something like this: (1) Now and then some person of means erects a memorial, probably to some member of his family; (2) citizens who take a vital interest in the improvement of their town continue to contribute for art purposes, as in the support of a picture gallery, or the purchase of works of sculpture; (3) this organization takes unofficially an advisory relation; (4) an official board is appointed with control over the public art of the municipality; (5) the public comes to appreciate the value of such things so highly as to appropriate funds for their purchase and conservation. A few great cities like Paris have already reached the last stage, and Paris has in addition the wealth of France behind it. But for most American cities the end must be gained by the encouragement and effective use of private gifts. In Springfield such gifts, sometimes of great value, have hitherto been scattering. Is it not time for the city to aspire to the next stage, that of organized effort? Not only is there an increase of momentum in such co-operation which should insure larger results, but-what is of even more consequence the work is done on broader lines, and a place is found for even the smallest contribution so that nothing is wasted. The value of art works to a city is not to be measured by simple addition. Much depends upon fitness and the right setting. A square, for example, may be made or ruined by a statue; a fine statue may be practically lost for lack of a proper place for it. Quite as much depends upon sound taste and an intelligent plan as upon money, and the making of the plan should precede the spending of the money. Now, taking it for granted that from time to time some public-spirited person will present the city with something worth while in the way of a monument, a sculptural fountain, a statue, or other work of art, there ought to be an organization whose decision as to the placing, subject and style of such work would carry weight. For a beginning it would be well if the architects, painters and other trained artists of the city should, in an informal way, establish an association intended primarily to suggest the best possibilities. To take a single example, here are a lot of pretty small parks of a rather commonplace sort, which a fine statue or fountain, with skilful landscape gardening for an ally, might make really beautiful. Let each be considered separately, with proper regard to the whole. Let there be a free field for the suggestion of clever ideas. Perhaps there might even be small prizes for the best plans. Who can say but that a happy stroke of invention might captivate the fancy of some one able and willing to give it embodiment in stone and bronze? The lack of such a concrete and convincing ideal is often the chief bar to giving. The unpaid services of such skilled volunteers should at least be rewarded by a deference to expert judgment, which is still to be cultivated in the American public. Such an association might well include among its functions the selection of appropriate subjects for works of municipal sculpture. The value of a monument is doubled when it adds historical interest to artistic beauty, as in the case of the Shaw memorial in Boston, or the statue of Deacon Chapin as "The Puritan." Indeed, most public monuments in the United States have paid such exclusive regard to history that art has suffered. The sentiment of the great army of volunteers in cape overcoats leaning on their muskets at the top of tall civil war monuments, from one end of the country to the other, is altogether admirable, but it is a pity that it could not have had adequate sculptural expression. History must give the chief source of inspiration for such works of art, and the more fully the local history of a town can be fitly set forth in sculpture, the better. Most American towns, with their short and commonplace past, are at a great disadvantage in this respect, as compared with many insignificant villages of the old world. Yet Springfield, with nearly three centuries behind it, ought not to be lacking in fit materials for many a fine memorial, and such a society could do useful work by preparing a list of such subjects, with the appropriate treatment. A few fine monuments of this sort would do more than a great deal of indiscriminate giving to make the public art of the city dignified and individual. Hardly less important than the function of suggestion is that of protest, and in case of necessity such an association should not hesitate THE ARCHITECTURAL ANNUAL to speak out plainly. There is nothing more saddening than a costly and ambitious artistic failure. We can put up with a house or business block even if it is ugly, but any work which is intended simply to be beautiful is intolerable if it fails in this end. It is unpleasant to criticize a well-meant offering, doubly so when a gift to the people is contemplated. But it is infinitely better and kinder for criticism to come in advance than for an ugly thing to be set up when it and the taste of its givers will be flouted and jeered at for all time. In such matters principles must be put above sensibilities. The authorities of the Boston public library rejected "The Bacchante," not because it lacked merit, nor (as the malicious said) because it is nude, but because it is not appropriate for the designated place. Now that the outcry has died away, it is seen that they were guided by a large and wise view, and had the courage to set aside a tempting offer because it did not fit into the general plan. Such a spirit must prevail if a city is to be made really beautiful and not a mere bazaar of artistic odds and ends. In a way our comparative lack of statues and other works of open-air art is not an unmixed misfortune. If we had more, many of them would be bad, and every bad statue is a double misfortune. It is ugly in itself and it takes the place of a good one. Next to a good monument a free place for one is most to be desired. If wise action is taken it should now be possible, if not to secure always a masterpiece, at least to escape the monstrosities from which some of the larger cities suffer which have had their streets and parks prematurely filled with statuary. It may or may not be true that the general level of artistic culture has advanced-there is certainly still plenty of ignorance to be found everywhere. But within the past few years vastly more enlightened views have gained currency in regard to the administration of such things. The theory of municipal art has made great strides, and there is more willing ness to follow the example of the most artistic cities of Europe in intrusting the matter to experts. The provincialism which characterized the artistic efforts of American towns, until a very short time ago, will soon be outgrown. The new ideal is progressing swiftly in such cities 163 as New York and Boston, and their example will have a powerful influence on the smaller towns. To conclude, Springfield need not be thought too metropolitan in her ambitions if at an early date some municipal art commission of a modest sort be set up in addition to such a volunteer body as is suggested above. Why wait until a great many bungling efforts have been made without a directing head. The very fact that the city is almost at the beginning is all the more reason for making its start wisely. If there is even one modest art work to be set up, let that be chosen wisely and put in the best possible place, and to insure this there must be a body of competent persons who have responsibility and authority. If there is little to do, let that little be done well. It would have been a benefit to the city if it could have enjoyed the services of such a commission for the last half-century. Many mistakes might have been avoided which are now irretrievable. Paris owes much of its rare and symmetrical beauty to the services of the various commissions, which have full authority over its public buildings, bridges, monuments, sculpture of all kinds, pictures, and even such details as the street signs and lamp posts, and the little kiosks where the newspapers are sold. In Boston and New York the art commissions are being given increased powers, and their value is more and more appreciated. Nor is there any reason why a progressive city of the smaller sort should not profitably follow their example. It is not a question of cost, but of a wise direction of whatever expenditure is made. There is reason to believe that thoroughly competent men could be found who would be willing to serve, and the existence of such a board, if so constituted as to command universal respect, would not only guard against any false steps, but would be a constant stimulus. The beautifying of a city with noble and dignified sculpture is not a thing to be done off-hand, and every step should be taken with wisdom and forethought. But is there not some one even now who is able and willing to match "The Puritan " with another worthy product of American sculpture? Here is a very definite and concrete way to help make a beautiful city. רור |