He alone derived no benefit from his labors. He had no adequate support, no relief from the most sordid and worrying cares of life. He found himself almost forced into competition that was degrading. Had he entered into it he would have thrown down with his own hand the structure he had spent his life in rearing. He was alternately warmed by the admiration and love of a few and chilled by general apathy, and has chosen wisely in going where he will at least be lifted above the necessity of struggling for subsistence. New York has lost him, but had it known that Cincinnati was trying to coax him away it would have let him go never.
It is singular that the matter of making New York attractive to the lovers of art and music is never looked at by its wealthy citizens from the commercial point of view. Art and music exert influences that can be computed upon strict business principles, and the policy of neglecting them is extremely short-sighted. Every addition to the attractions of a city, and especially of a city essentially commercial, is an addition to its prosperity. The prestige that would have accrued to New York, and the wealth that would certainly have been attracted to it, had it adopted Cincinnati's course of action, would unquestionably have far more than compensated for the outlay attending the endowment of a college of music and the engagement of Theodore Thomas. With this assumption the idiosyncrasy of New York may be viewed in full. Like the prudent merchant of moderate attainments and medium culture, it is not far-seeing when a question arises not strictly in its line of business. Sympathetic, outwardly decorous, keenly sensitive, full of pity for the suffering, New York enters the field of art in a purely mercantile spirit. It has no love, but only that peculiar kind of affection that is the outgrowth of triumph over a rival. An individual parallel might be found in the case of the old gentleman who haunted the auction-rooms and filled his house with loads of vases, bronzes and the like. "It's not the things I care for," he said, "but there isn't a millionaire in the city I haven't outbid in getting them together."
J.J.
ONE OF THE SIDE ISSUES OF THE PARIS EXPOSITION.
Slowly, but not the less surely, does the succession of international industrial expositions strengthen the sentiment of peace among the nations. Those who were interested in observing how gradually our civilization is becoming industrial can remember during the Centennial Exposition several notable instances of this. The Exposition of Paris and the recent arbitration at Berlin have both stimulated the thought of Europe in this direction, and the following instances of the direction it is taking will be of interest, especially as they are such as are not likely to be noticed by the regular correspondents.
A pamphlet has been published at Foix, one of the provincial towns of France, entitled, Les Rondes de la Paix. It was written by M. Adolphe de Lajour, and its scope will appear from the following extract: "Why not declare Constantinople and the Straits neutral? Why not declare Constantinople the city for congresses of unity—the metropolis, the Washington, of the United States of the two worlds? Why from the various populations, differing in race, in manners, in religion and in language, who inhabit the Balkan peninsula, should not a confederation of the United States of the Danube be created on the model of Switzerland?"
In the Exposition itself a printed sheet has been distributed, entitled "La Marseillaise de la Paix." It was printed by the associated compositors in the office of M.A. Chaix, who has recently organized his establishment so that a share in the profits is accorded to the workers. The first two verses of this new version will suffice to show its character:
Allons, enfant de la patrie,
La jour de gloire est arrivé.
De la Paix, de la Paix chérie,
L'etendard brillant est levé! (bis)
Entendez-vous vers nos frontières,
Tous les peuples ouvrant leurs bras,
Crier à nos braves soldats:
Soyons unis, nous sommes frères!
Plus d'armes, citoyens, rompez vos bataillons!
Chantez,
Chantons!
Et que la Paix féconde nos sillons!
Pourquoi ces fusils, ces cartouches?
Pourquoi ces obus, ces canons?
Pourquoi ces cris, ces chants farouches,
Ces fiers défis aux nations? (bis)
Pour nous Français, oh! quelle gloire,
De montrer au monde dompté,
Que les droits de l'humanité
Sont plus sacrés que la victoire!
Plus d'armes, etc.
E.H.