is not whether what we say is harsh, but is it true! And, we must always find consolation for any criticism of ourselves in the thought of the Concord Sage:
Success treads on every right step. For, the instinct is sure that prompts a man to tell his brother what he thinks. He then learns, that in going down into the secrets of his own mind, he has descended into the secrets of all minds.
When the spirit chooses you for a Scribe, to publish some Commandment, if it makes you odious to men, and men odious to you, you shall accept that loathesomeness with joy. The moth must fly to the lamp; the man must solve those questions, though he die!
And now, in taking leave of the public, it pleases me to say: Life, as I grew older, became ever more tolerable and sweet to me: as soon as, like a Butterfly unfolding from its chrysalis, I slowly, and oscillatingly, worked myself, with a backslide now and then, away from purely material, fleshy and un-altruistic aims, and gradually grasped the full meaning and majesty of the "Esthetic Ideal": that of helping, to the extent of my leisure, by my thought and work, to contribute to the transforming of this world into a Paradise of Beauty.
Before I grasped, and also adopted, this, the highest of all ideals the Brahmins, and all their offsprings, to the contrary notwithstanding-I used to have moments of black pessimism. But not since I found that ideal, which at once gave to life the glorious aspect of an aurora at sea, on a June morning. Thenceforth, every creative thought seemed rational and worth while, and every sort of altruistic energizing became justified. I also had my "Lost Illusions," but they were petty ones, and of a superficial kind. For, I have found most normal men only partly selfish, even under great economic pressure, the greatest enemy to the growth of virtue on earth, and have found many who were manly and heroic. I found women less intuitive-except in matters of love and more sympathetic generally, than I was, early in life, led to believe, and often more than generous; and I owe them much. And, after all its pro's and con's have been philosophically equationed, life remains a sublime experience, in my evolution from a mere germ, to what I hope is an immortal soul, destined for a
progressive enjoyment of the unimaginable beauty that, it seems certain, must exist in the stellar orbs, vast in numbers and in size, which, in an endless procession, wing their way through silent, infinite space!
Therefore, as I look back, with unalloyed satisfactiontempered only with a regret at the silly mistakes I made, in a long life, rich with experiences of all sorts-I can sincerely quote the beautiful lines of my old friend, Will De Ford, of St. Louis:
How fondly memory wanders where the feet no more may tread,
Into vistas dim, and haunted by the past's unquiet dead;
With familiar phantoms trysting, sad to stay, yet loathe to part-
From spots o'er-run by broken, trailing tendrils of the heart!
About, Edmund, quoted on Delacroix,
265
Abstraction in art, 187 ff.; opposes
representation, 187; a departure
from Nature, 188 ff.; the evolution of
"abstract art," 189 ff.; French
novelty-mania, 191-2, 193; the step-
child of modernism, 192; relegation
of beauty to second place in art, 193
ff.; the modernistic art party and the
Academy in France, 195 ff.; Rodin's
"The Age of Brass," 198-9; tempo-
rary success of the modernists in
France, 202, 203; unreal and fantas-
tic forms of abstract art, 203 ff.;
abstractionist theory of creation, de-
void of imitatation, points to social
disaster, 208; insanity and moral cor-
ruption of the abstractionists, 209,
213; the harm done to art by, 214
Adams, Herbert, sculpture by, 470
Esop, his hunchback, 15
Esthetic culture, world leadership in,
487 ff.
"Age of Brass, The," of Rodin, 198-9,
373, 383, 390
Alexandre, Arsène, quoted on decad-
ence in art, 229-30
America, cult of the commonplace in,
446 ff.; admitting foreign pictures to,
472 ff.; opportunity of its statesmen
and business men to assume a world.
leadership in art and æsthetic cul-
ture, 487 ff., 492 ff.
American art, the spirit of, 475; high
level of, 484-6; should be encouraged
by the American business man, 489-
90
American museums, should be closed
to modernistic art, 511
American sculptors, ego-mania among,
412-3; war among, 525
Americans, examples of noble works of
art by, 462 ff.
Architecture, ornament in Greek, 106-
7; styles in, 153-4; influence of social
needs on, 155-6
Aristotle's theory of art, 137-8
Arnold, Matthew, quoted on civiliza-
tion, 8; as a stylist, 164
Art, first principles of, 3 ff.; hunger for
Beauty the creatrice of, 4; the high-
est thing man can produce on earth,
5; next to love, the most important
thing on earth, after procural of ma-
terial necessities, 6; sex-instinct the
origin of, 11, 12; sadism and masoch-
ism in, 13 ff.; originators of modern-
istic movement, 16; arriving at a
definition of, 37 ff.; as a Process and
a Product, 41 ff.; the process defini-
tion of, 52-3; emotion the underlying
element of, 54, 70 ff., 82; the true
definition of, 54-6; building of a
complete and sound definition of, 57
ff; the simplest solid definition of, 77;
definition of, given in expert testi-
mony before customs authorities,
79; what constitutes a great work
of, 79, 80, 81; the three points of
view from which it has been de-
fined, 82; division of art into cate-
gories of trivial, clever, and great,
82 ff.; the most important definition
of, 89; as a language, 89-90, 92; divi-
sion into decorative and expressive
art, 90-2; line and color, 102 ff.; style
and manner in, 135 ff.; Aristotle's
theory of, 137-8; the personal ele-
ment in, 140 ff.; the six elements of
a work of art, 146; requirements of a
work of art, 166; abstract art, 187 ff.;
the law of imitation in nature and
its practice in art, 205 ff.; the func-
tion of art and of the artist, 214;
a standard of measurement of works
of art, 219 ff.; the six elements in art
expression, 220, 312; conception, the
first and highest element, 221 ff.;
decorative and expressive art, 221,
225, 244; choice of subject in con-
ception of a work of art, 225-31;
composition, the second element in
art power, 233 ff.; the ten laws of
composition, 236-43; expression the
third element in, 244 ff.; drawing
the fourth element, 258 ff.; color as
an element in, 270 ff.; technique the
sixth element in, 285 ff.; women as
the inspiration of art, 304-5; analyses
of works of art, and application of
the standards of what constitutes
a great work of art, 311 ff.; clever-
ness in art, 324 ff.; deformation in
form a social menace, 369 ff.; further
analyses of works of art, 416 ff.; the
nude in art, 427-8; the gospel of
ugliness, 441 ff.; independence in art,
455 ff.; noble works of art by Ameri-
cans, 462 ff.; opportunity of America
and its business men to assume a
world leadership in art and æsthetic
culture, 487 ff.; degeneracy in, from
the alienist's standpoint, 497-510;
the "Reds" in art, 511-16
Art criticism, impertinence of, when
not based on a well-defined stand-
ard, 37
Art-critics, responsibility of, for ex-
cessive modernistic art creations,
162; incompetency of, 309-10, 485
Art-dealers, infliction of sadistic art
works on collectors and museums by,
24; responsibility of, for excessive
modernistic art creations, 162;
shrewd art dealers of Paris, 457
Art for art's sake, 173-4, 299 ff., 431,
434, 439; immoral effects of, 301
Art measurement, a standard for, 219
ff., 312-13
Art-terms, definitions of, 39 ff.
"Art World, The," Magazine, ix, x,
xi, xii, 517
Arts, the Fine, see Fine Arts, the
Awe, the emotion of, 101, III ff.
Babbitt, Irving, quoted on originality,
223, 224
Bacon, Lord, quoted on truth, 35; sub-
stitution of inductive for deductive
reasoning by, 37; his definition of
art, 41-2, 147, 189
Ball, Thomas, sculpture by, 469
Bandinelli, excessivism in departure
from nature by, 158; 372, 413
Barnard, George G., sculpture by, 469
Barrett, Nathan F., 526
Bartlett, Paul W., sculpture by, 470
Baudelaire, C. P., affected with
masochism and sadism, 14, 15; one
of fountain heads of "Modernism,"
14, 192-3; as the father of vers libre,
175; quoted on art for art's sake,
303
Beautiful, the, constant creation of, by
God, 3; Nature a laboratory for the
creation of, 4; truth and goodness
mere phases of, 490
Beauty, the longing for, the pro-
foundest hunger of mankind, 4; ar-
riving at a definition of, 93 ff.;
division of, into objective, semi-
objective and subjective, 98 ff.;
movement, 99 ff., 108-9; line and
color, 102 ff., 122, 125; size and pro-
portion, 107-9; proportioned har-
mony of line, 109; all beauty is abso-
lute, 109, 119, 122; melody the
fundamental essence of, 109-10, 124;
sensuous effects of, 110-11; emo-
tions of mirth, delight, and awe
aroused by picturesque, graceful, and
sublime beauty, 111 ff.; music, the
drama, and poetry, 115-17; beauty
is a reality, 119-20; spiritualization
of, 126-7; poetic beauty, 127-8;
modernistic "beauty of the ugly,"
129-31; Plato's ideas on, 131-3; a
final definition of, 133; perfection of,
the purpose of artists, 189-90;
relegation of, to second place by
modernists, 193 ff.; the most im-
portant thing in the conception of a
work of art, 222-4; the supreme
need for, 490 ff.
Beauty, creation of a Paradise of, on
the earth, 3 ff., 487, 494
Bell, Clive, eulogy of sadistic art in
writings of, 27; definition of art by,
53; efforts to bolster up modernism,
and in particular post-impressionism,
and discussion of his theories, 337-
49, 351-5, 360-I
Bénard, Prof., quoted on Aristotle's
theory of art, 137-8
Béranger, quoted on style, 181
Berkeley, Bishop, quoted on the ma-
terial world and on metaphysics,
33-4
the, authority of, for beauty as
an ideal, 3
Bissell, George E., sculpture by, 470
Blanc, Charles, quoted on style, 178
Blashfield, Edwin H., mural decora-
Body of man, discussion of relations
with mind and soul, 57 ff.
Bolshevist influence in modern French
art, 515
Boronali, the donkey, hoax of picture
"painted" by, in Paris, 457-9
Bosch, comparison of his "Fall of the
Damned with Michael Angelo's
"Last Judgment," 241
Boulanger, "Marriage," by, 440
Brown, Henry Kirke, sculpture by,
468
Brownell, W. C., quoted on style, 138,
167, 170, 179-80, 493
Brush, George de Forrest, quoted on
Rodin, 394
Brushwork, 296, 297, 298
Bryant, William Cullen, his "Thana-
topsis" as a great poem, 85-6
Buddha, 444, 445
Buffalo Pan-American
sculpture and decoration at, 531-2
Buffon, quoted in style, 139, 140, 146,
179
Bulwer Lytton, quoted on manners,
166
Burns, Robert, quotation from, show-
ing simplicity in style, 165
Burroughs, John, article on "The Reds
of American Literature," 511-14
Byron, Lord, his club-foot, 15
Camera, the, limitations of, 188
Carlyle, quoted on truth, 33; on desire
for human recognition, 74, 494; on
Coleridge, 354-5; on judging of men,
495
Carr, H. Wildon, attempted explana-
tion of Croce's definition of art, 49
Carrère, Jean, quoted on degenerating
influence of Rousseau, Chateau-
briand, and other French writers,
18-20
Central Park, New York, the finest
city park in the world, 268
Cézanne, an art sadist, 16; some works
of, showing his taint with sadism,
23-4; first of the post-impressionists,
197; "The Bathers," by, a degener-
ate work of art, 337, 348-9; Clive
Bell quoted on, 346; Vollard's
volume on, 346, 349; Zola quoted on,
349-50; Roger Fry quoted on, 350-1;
a stupendous nobody, 361; discus-
sion of an exhibit of his works, 361-
8; deformation of form by, 369
Charlatanism, 216, 400
Chateaubriand, quoted on style, 7, 135
Chavannes, Puvis de, "Peace,' by,
244-5
"Christ," Michael Angelo's nude, 45
Cicero, quoted on need of definitions,
39
Civilization, 7; definitions of, as a
process and a product, 8
Clarity in style, 163-4
Clarke, Sir Purdon, quoted on color
and drawing, 267
Cleverness in art, 169, 324 ff.
Cole, Thomas, his four pictures al-
legorizing "The Voyage of Life,"91-2
Coleridge, definition of art by, 42, 53;
quotation from Carlyle on, 354-5
"Collectors" and degenerate art, 366-7
Color, as one of the bases of beauty,
99; supremacy of line over, 102 ff.,
122, 125
Color as an element in art, 270 ff.;
divergent views on the subject, 270-
2; suitability of, to subject handled,
272-3; correctness of values, 273-6;
beauty of color composition, 276-7;
quality of color, 277-82; harmony
of color, 282; vulgarity in, 283; the
most beautiful color work, 284
Color and line, 234-6, 259-60, 271
Color school, excesses of, 265-6
Commonplace, cult of, 446 ff.
Composition in art, 139 ff., 150; the
second element in art, 233 ff.; line
and color, 234-6; the ten laws of,
236-43
Conception the first and highest ele-
ment in art, 219 ff.; originality in,
221-4; beauty the most important
thing in the conception of a work of
art, 222-4; the beneficent character
of the subject the second element of
conception, 225-31; expressive force
in, 231-2
Congreve, quoted on beauty, 9
Constant, Benjamin, 473
Coolidge, Calvin, quoted on the fra-
ternal spirit, 6
"Coronation of the Virgin, The," by
Ten Eyck, 183
Cortissoz, Royal, quoted on Rodin,
379-81
Cosmic urge, the, 370, 373
Couture, "The Decadence of the
Romans," by, 440
Cox, Kenyon, quoted on Rodin's
"Denaide," and discussion of his
estimate of the work, 406-10; his own
work, 481
Crime, increase of, caused by sadism
in art, 22
Croce, Benedetto, discussion of his
definition of art, 45-52
Cubism, 203
Cultured man, definition of, 88
"Dancing Faun," Lequesne's, 329, 330,
331
Dante, 35
Darwin, Charles, 74
David, "The Coronation of Napoleon,"
by, 239-40
"Decadence of the Romans, The,"
Couture's, 440
Definitions of things, fixing of, 38-40
Deformation in form in public monu-
ments a social menace, 369 ff.
Degas, an art sadist, 16; "Woman
Making Her Toilet," by, analysis of,
as a degenerate work of art, 429-31;
the degenerate nature of his works,
431 ff.
Degeneracy, increase of, 9-10, 23;
in French literature, Jean Carrère
quoted on, 18-20; of the "modernis-
tic" neurotic cult, 449 ff.; in art,
treated from an alienist's stand-
point, 497-510
Degeneration, the law of, 514-15.
Delacroix, weakness of drawing in his
work, 264-5
Delight, the emotion of, 111 ff.
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