File:Appreciation of sculpture; a handbook by Russell Sturgis (1904) (14781775025).jpg

Identifier: appreciationofsc00stur (find matches)
Title: Appreciation of sculpture; a handbook by Russell Sturgis ...
Year: 1904 (1900s)
Authors: Sturgis, Russell
Subjects: Sculpture
Publisher: The Baker
Contributing Library: Whitney Museum of American Art, Frances Mulhall Achilles Library
Digitizing Sponsor: Metropolitan New York Library Council - METRO

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reckon with the bronze stag which servesas the finial; but the four Indian girls whosurround the great central shaft of the foun-tain are extremely well placed as decorativefigures and are interesting as racial studies,and the men—the Indian braves—mountedupon the four pedestals on the edge of thebasin, while faulty enough in their exag-gerated realistic attitudes and in this wayhelping little the reposeful character whicha monumental fountain should have, areyet individually attractive studies of thetype. The Indian spearing fish, the Indianraising the left hand in friendship or indesire of a parley, the Indian with bow andarrow, and the Indian striking with thetomahawk, are a shade too ethnographical^not quite subdued to the artistic purposeof their share of the monument, but inthemselves they are of importance. Considering now the very few works of associated sculpture in the adornment of large, prominent and utilitarian buildings, we have to note that the influences upon (198)
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Plate LXI —coKMNc; fountain at hartford, Connecticut; bv j. massey RHIND (IJ. 1S53). f Recent Art, Part III, Monumental Effect architect and sculptor are in our own timescontradictory and irreconcilable. More-over, this has been the case since the be-ginning of the revived interest in decora-tive architecture at the middle of the nine-teenth century. On the one hand the sculp-ture of the European Middle Ages with itsastonishing fitness for its place, its adapta-bility, its unique and unmatched effective-ness as a part of the ornamental structure—on the other hand the sculpture of antiquitywith its superior beauty and perfectionwhen considered merely as sculpture—thesetwo evident triumphs of art have attractedthose minds which are the most trained toreceive beauty, and, according to the occa-sion, those artists and employers who arein a position to utilize it. There is still a third course which wemay pursue if we will, and this is laid outfor us by the only race of architectural

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