Most of people who go to a “Fine Art Exhibition” are superficial observers. They glance at pictures by the hundred. Such are not the persons from whose judgment Architecture can expect even a recognition. They have been bedazzled with the sheen of the gilded frames, and the well laid-on varnish which bedizens the bright pigments of the gaudy glare of Art, which they have just left, and are, of course, impatient of the more staid and methodical elevations or perspectives, now presented in a narrow crowded section to their view. They have not time nor inclination to pause and consider them. They cannot bear to lose the impressions made by the “sweet shaded alley,” the “dancing streamlet,” or the “green reflective lake,” with that charming sky that looks so much more like heaven than nature. No, it will not do to exhibit Architecture and Painting together, and it is time to acknowledge this so often proven fact. The two must be distinct. Let Architects put forth their powers, and show the community what their Art really is, and what it is capable of. People will go expressly to view an exhibition of Architectural designs, combined with Sculpture, and take much pleasure in the visit, because their mind is prepared for the occasion, and will not be distracted by a rival exhibition of quite another effect. To say that the public generally will find no pleasure in the consideration of Architecture is to assert that which is disproved by fact. When the Commissioners, appointed to choose a fitting design for the new Post Office at New York, threw open to a limited number of visitors the inspection of the collection of designs, the rooms were crowded each day of the exhibition, and innumerable applications were made for tickets of admission. Had all the public been allowed the privilege, no doubt it would have been universally accepted. Yet that was but a very uninteresting display compared to one in which the subjects would be manifold, and the scales various. Not to speak of the freedom of display in color, which on the occasion adverted to was necessarily confined to an extreme limit.
Why cannot our Architects have an independent exhibition? There is nothing to be gained, but on the contrary every thing to be lost by clinging to the skirts of the painters. An effort in this direction could not fail to meet with the warmest support from our monied citizens, who are constantly proving substantially their regard for the progressive welfare of Architecture, by expending vast sums in buildings. And we have no doubt, but that State Legislatures would promptly and liberally aid any such effort to educate the general public in an art so intimately connected with the history of civilization.
HONOR TO WASHINGTON.
The anniversary of this great nation’s independence never was more fittingly honored than on the Fourth of July last, when, in this city, and in the front of the glorious old Independence Hall, Philadelphia inaugurated her statue of him who was First in Peace, First in War and First in the Hearts of his Countrymen. There is not in the United States a single spot more sacred to the cause of Freedom than that on which stands Independence Hall, where our great fathers of the Revolution so nobly pledged to the cause of mankind their lives, their fortunes, and their sacred honor, and where the truly noble Washington was heard and seen, when the hopes of an embryo nation rested on his integrity.
Although the thought well suggests itself that an honor such as that just now paid the great patriot’s memory should long ere this have been credited to Philadelphia, yet it is never too late to do our name justice before the world; and it is appropriate that the rising generation of a closing century should thus mark the establishment of a free government for which he fought and conquered.
Thanks to the school children whose contributions thus have given to Philadelphia, what their sires so long neglected, a testimonial worthy of our grateful recollection of the foremost of Americans.
On the 13th of December, 1867, a contract was made with our eminent citizen artist, Mr. J. A. Bailey, and on the 2d of July, 1869, the material for the granite base was delivered on the ground. The following day the statue was duly erected, where it now stands in front of the entrance of that venerated Hall.
In the centre of the foundation is placed a box containing the names of children and teachers, Directors and Board of Controllers, Mayor and City Councils, heads of departments, records of the Association, etc., and a copy of the Holy Bible. The base of the statue is of Virginia granite, from the Richmond quarries, and is in four pieces, weighing about twenty tons. The statue is of white marble, 8 feet 6 inches high. The left hand of Washington rests on the hilt of his sword, sheathed in peace; his right hand rests on the Bible, the Bible on the Constitution and American flag which drapes the supporting column on the right of the figure. The weight of the figure is about six tons. The whole height of base and statue is 18 feet 6 inches. On the north front the base will bear the name—Washington; on the south, this inscription:
ERECTED
BY THE