Christopher Columbus and His Monument Columbia / being a concordance of choice tributes to the great Genoese, his grand discovery, and his greatness of mind and purpose

by Unknown

THE SPANISH FOUNTAIN IN NEW YORK.

The Spanish-American citizens also wish to present a monument to the city in honor of the discovery. It is proposed to have a Columbus fountain, to be located on the Grand Central Park plaza, at Fifth Avenue and Fifty-ninth Street, in the near future. The statuary group of the fountain represents Columbus standing on an immense globe, and on either side of him is one of the Pinzon brothers, who commanded the Pinta and Niña. Land has been discovered, and on the face of Columbus is an expression of prayerful thanksgiving. The brother Pinzon who discovered the land is pointing to it, while the other, with hand shading his eyes, anxiously seeks some sign of the new continent.

It is proposed to cast the statuary group in New York of cannon donated by Spain and Spanish-American countries. The first of the cannon has already arrived, the gift of the republic of Spanish Honduras.

The proposed inscription reads:

A
COLON
y Los
PINZONES
Los Españoles
E Hispaño-Americanos
De
Nueva York.
To Columbus and the Pinzons, the Spaniards
and Spanish-Americans of New York.

FESTIVAL ALLEGORY FOR THE NEW YORK CELEBRATION OF THE 400TH
ANNIVERSARY OF COLUMBUS' DISCOVERY, 1892.

One of the features of the New York celebration of the Columbus Quadro-Centennial is to be the production, October 10th, in the Metropolitan Opera House, of "The Triumph of Columbus," a festival allegory, by S. G. Pratt.

The work is written for orchestra, chorus, and solo voices, and is in six scenes or parts, the first of which is described as being "in the nature of a prologue, wherein a dream of Columbus is pictured. Evil spirits and sirens hover about the sleeping mariner threatening and taunting him. The Spirit of Light appears, the tormentors vanish, and a chorus of angels join the Spirit of Light in a song of 'Hope and Faith.'"

Part II. shows "the historical council at Salamanca; Dominican monks support Columbus, but Cardinal Talavera and other priests ridicule him." Columbus, to disprove their accusations of heresy on his part, quotes "sentence after sentence of the Bible in defense of his theory."

Part III. represents Columbus and his boy Diego in poverty before the Convent La Rábida. They pray for aid, and are succored by Father Juan Perez and his monks.

Part IV. contains a Spanish dance by the courtiers and ladies of Queen Isabella's court; a song by the Queen, wherein she tells of her admiration for Columbus; the appearance of Father Juan, who pleads for the navigator and his cause; the discouraging arguments of Talavera; the hesitation of the Queen; her final decision to help Columbus in his undertaking, and her prayer for the success of the voyage.

Part V. is devoted to the voyage. Mr. Pratt has here endeavored to picture in a symphonic prelude "the peaceful progress upon the waters, the jubilant feeling of Columbus, and a flight of birds"—subjects dissimilar enough certainly to lend variety to any orchestral composition. The part, in addition to this prelude, contains the recitation by a sailor of "The Legend of St. Brandon's Isle"; a song by Columbus; the mutiny of the sailors, and Columbus' vain attempts to quell it; his appeal to Christ and the holy cross for aid, following which "the miraculous appearance takes place and the sailors are awed into submission"; the chanting of evening vespers; the firing of the signal gun which announces the discovery of land, and the singing of a Gloria in Excelsis by Columbus, the sailors, and a chorus of angels.

Part VI. is the "grand pageantry of Columbus' reception at Barcelona. A triumphal march by chorus, band, and orchestra forms an accompaniment to a procession and the final reception."