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THE MISSION OE ART.
A POTENT FACTOR IN UPLIFTING THE
HUMAN RACE.
«
Hev.Dr.T.De Witt Taluiuge Preaches
on the Influence of•• Pleasant Plc
ttireM*'l» the Development of C'hrin
tian Character.
(Copyright, Louis Klopsch, 1899.]
Washington, .June 18. -Dr. Talmage
shows in this discourse how art may be
come one of the mightiest agencies for
the delation and salvation of the human
race. The text is Isaiah, ii, 12, 10, -The
day of tiie Lord of hosts shall lie * * *
upon al! pleasant pictures.”
Pictures are by some relegated to the
realm of the trivial, accidental, ■ senti
mental or worldly, but my text shows
that (lod scrutinizes pictures, am! wheth
er.they are good or bad. whether used for
right or wrong purposes, is a matter of
divine observation and arraignment. The
divine mission of pictures is my subject.
That the artist's pencil and the engrav
er's knife have sometimes been made sub
servient to the kingdom of the bad is
frankly admitted. After the ashes and
scoria were removed from Herculaneum
and Pompeii, the walls of those cities
discovered to the explorers a degradation
in art which cannot be e’.m-gerated. Sa
tan and all his imps have alw ys wanted
the tingering of the easel. They would
rather have possession of that than the
art of printing, for types are not so po
tent and quick for evil as pictures. The
powers of darkness think they have gain
ed a triump]
some respectable parlor or public art
gallery they can hang a canvas embar
rassing to the good, but fascinating to
the evil.
It is not in a spirit of prudery, but
backed up Jay God’s eternal truth, when
I say that you have no right to hang in
your art fiofyms or your dwelling houses
that which would be offensive to good
people if the figures pictured were alive
in your parlor and the guests of your
household. A picture that you have to
hang in a somewhat secluded place, or
that in a public hall you cannot with a
group of friends deliberately stand be
fore and discuss ought to have a knife
stabbed into it at the top and cut cleat
through to the bottom and a stout finger
thrust in on the right side, ripping clear
through to the left. Pliny the elder lost
his life by going near enough to see the
inside of Vesuvius, and the farther you
can stand off from the burning crater of
sin the better. Nev er t
last day arc opened shall we know what
has been the dire harvest of evil picto
rials and unbecoming art galleries. De
spoil a mau's imagination, and he becomes
a mere carcass. The show windows of
English and American cities, in which
the low theaters have sometimes hung
long lines of brazen auor and actresses
in style insulting to all propriety, have
made a broad path to death for multi
tudes of people. But so have all the other
aits been tit times suborned of evil. How
has’ music been bedraggled? Is there any
place so low down in dissoluteness that
into it has not been carried David’s harp
and Handel's organ, and Gottschalk's
piano, and Ole Bull's violin, and the flute,
which, though named after so insignifi
cant a thing as the Sicilian eel, which has
seven spots on the side, like flute holes,
yet for thousands of years has had an
exalted mission? Architecture, born in
the heart of him who made the worlds,
under its arches and across its floors,
what bacchanalian revelries have been
enacted! It is not against any of these
arts that they have been so led into cap
tivity!
Familiar Bible I’lctnren.
What a poor world this would be if it
were not for what my text calls “pleas
ant pictures!” I refer to your memory
and mine when I ask if your knowledge
of the Holy Scriptures has not been
mightily augmented by the woodcuts or
engravings in the old family Bible which
father and mother read out of and laid
on the table in the old homestead when
you were boys and girls. The Bible
scenes which we all carry in our minds
were not got from the Bible typology,
but from the Bible pictures. To prove
the truth of itin my own case, the other
day I took up the old family Bible which
1 inherited. Sure enough, what I have
carried in my mind of .Jacob's ladder was
exactly the Bible engravings of Jacob's
ladder, and so with Samson carrying off
the gates of Gaza, Elisha restoring the
Ehunammite's son. the massacre of the
innocents, Christ blessing little children,
the crucifixion and the last judgment.
My idea of all these is that of the old
Bible engravings, which I scanned before
I could read a word. That is true with
nine-tenths of you. If I could swing
open the door of your foreheads, I would
find that you are walking picture gal
leries. The great intelligence abroad
about the Bible did not come from the
general reading of the book, for the ma
jority of the people rend it but little, if
they read it at all, but all the sacred
scenes have been put before the great
masses, and not printer's ink, but the
pictorial art, must have the credit of the
achievement. First, painter’s pencil for
the favored few and then engraver’s
plate or woodcut for millions on mil
lions!
What overwhelming commentary on
the Bible, what re-enforcement for patri
archs, prophets, apostles and Christ, what
distribution of Scriptural knowledge of all
nations in the paintings and engravings
therefrom of Holman Hunt's "Christ In
the Temple,” Paul Veronese’s “Magda
len Washing the Feet of Christ,” Rapha
el’s “Michael the Archangel,” Albert
Durer’s “Dragon of the Apocalypse,” Mi
chael Angelo’s “Blague of the Fiery Ser
pents,” Tintoretto’s “Flight Into Egypt,
Rubens’ “Descent From the Cross,” Leo
nardo Da Vinci's “Last Supper,” Claude’s
"Queen of Sheba,” Belliui s “Madonna,
at Milan; Orcagna’s “Last Judgment”
and hundreds of miles of pictures, if they
•
dramatizing, irradiating Bible truths un
til the Scriptures are not today so much
on paper as on canvas, not so much in ink
as in all the colors of the spectrum. In
1833 forth from Strasburg. Germany,
there came a child that was to eclipse in
speed and boldness anything and every
thing that the world had ever seen since
the first color appeared on the sky at the
creation, Paul Gustave Dore. At 11 tears
of age ire published marvelous litho
graphs of his own. Saying nothing of
what he did for Milton’s “Paradise Lost.’
emblazoning it on the attention of the
World, he takes up the book of books, the
monarch of literature, the Bible, and in
Ills pictures, “’J he Creation of Right.”
"The Trial of Abraham’s Faith,” “The
burial <>f .Sarah." “Joseph Sold by His
Brethren.” “The Brazen Serpent.” “B <az
ami Ruth." “David and Goliath,File
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41 XIA -»•<* «U 4.
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x< eiH's in all. with a boldness and fl grasp
r-ml almost supernatural afflatus that
make the heart throb and the brain reel
and the tears start and the cheeks
blanch and the eiilire nature quake with
the tremendous things of God and eterni
ty and the dend. I actually staggered
down the steps of the London Art gallery
under the power of Dore’s "Christ Leav
ing the Praetor imn." Brofess you to be
i Christian man or woman, and see no
divine mission in art, and acknowledge
you no obligation either in thanks to God
or man ?
The LemioiiM of Irt.
It is no more the word of God when
put before us in printer’s ink than by
skillful laying on of colors or designs on
metal through incision or corrosion.
What a lesson in morals was presented
by Hogarth, the painter, in his two pic
tures, —1 he Rake’s Progress” and “The
Miser’s Feast," and by Thomas Cole’s
engravings of the “Voyage of Human
Life” and the "Course of Empire” and
by Turner’s "Slave Ship!” God in art!
Christ in art! Patriarchs, prophets and
apostles in art! Angels in art! Heaven
in art!
The world and the church ought to
come to the higher appreciation of the
divine mission of pictures, yet the au
thors of them have generally been left
to semistarvation. West, the great
painter, toiled in unappreciation till, be
ing a great skater, while on the ice he
formed the acquaintance of General
Howe of the English army, Who, through
coming to admire West as a clever
skater, gradually came to appreciate as
much that which he accomplished by his
hand as by his heel. Poussin, the mighty
painter, was pursued and had nothing
with which to defend himself against the
mob but the arti fitlio, which he
held over his head to keep off the stones
hurled at him. The pictures of Richard
Wilson of England were sold for fabu
lous sums of money after his death, but
the living painter was glad to get for his
“Alcyone” a piece of Stilton cheese.
From IG4O to 1643 there were 4,600 pic
tures willfully destroyed. In the reign of
Queen Elizabeth it was the habit of
some people to spend much of their time
in knocking pictures to pieces. In the
reign of Charles I it was ordered by par
liament that all pictures of Christ be
burned. Painters were so badly treated
and humiliated in the beginning of the
eighteenth century that they were low
fi dow n out of the sublimity of
their art nnd obliged to give accounts of
what they did with their colors.
The oldest picture in England, a por
trait of Chaucer, though now of great
value, was picked out of a lumber garret.
Great were the trials of Quentin Matsys,
who toiled on from blacksmith’s anvil till,
as a painter, he won wide recognition.
The first missionaries to Mexico made
the fatal mistake of destroying pictures,
for the loss of which art and religion
must ever lament. But why go so far
back when in this year of our Lord to be
a painter, except in rare exceptions, means
poverty and neglect, poorly fed, poorly
clad, poorly housed, because poorly ap
preciated? When I hear a man is a paint
er, I have two feelings—one of admira
tion for the greatness of his soul, and
the other of commiseration for the needs
of his body. But so it has been in all de
partments of noble work. Some of the
mightiest have been hardly bestead. Oli
ver Goldsmith had such a big patch on
the coat over his left breast that when he
went anywhere he kept his hat in his
hand closely pressed over the patch. The
world renowned Bishop Asbury had a
salary of? 54 a year. Painters are not
the only ones who have endured the lack
of appreciation. Let men of wealth take
under their patronage the suffering men
of art. They lift no complaint; they
make no strike for higher wages. But
with a keenness of nervous organization
which almost always characterizes genius
these artists suffer more than any one
but God can realize.
Encouragement of Artists.
There needs to be a concerted effort
for the suffering artists of America,
not sentimental discourse about what
we owe to artists, but contracts that
will give them a livelihood; for I am
in full sympathy with the Christian
farmer who was very busy gathering
his fall apples and some one asked him
to pray for a poor family, the father of
which 1.1 broken his leg, and the busy
farmer said: “I cannot stop now to pray,
but you can go down into the cellar
and get some corned beef and butter and
eggs and potatoes; that is all I can do
now.” Artists may wish for our pray
ers, but they also want practical help
from men who can give t’ em work.
You have heard scores of sermons for
all other kinds of suffering men and wo
men, but we need sermons that make
pleas for the suffering men and . women
of American art. Their work is more
true to nature ami life than some of
the masterpieces that have become im
mortal on the other side of the sea,
but it is the fashion of Americans to
mention foreign artists and to know
little or nothing about our own Copley
and Allston ami Inman and Greenough
ami Kensett. Let the affluent fling out
of their windows and into the back yard
valueless daubs on canvas and call in
these splendid but unrewarded men and
tell them to adorn your walls not only
with that which shall please the taste,
but enlarge the minds and improve the
morals ami save the souls of those who
gaze upon them. All American cities
need great galleries of art, not only
open annually for a few days on exhi
bition, but which shall stand open al!
the year round, and from early morn
ing until Id o’clock at night, and free to
all who would come and go.
What a preparation for the wear and
tear of the day a five minutes’ look in
the morning at some picture that will
open a door into some larger realm than
that in which our population daily
drudges. Or what a good thing the half
hour of artistic opportunity on the way
home in the evening from exhaustion
that demands recuperation for mind and
soul as well as body! Mho will do for
the city where you live what M. M.
Corcoran did for Washington and what
others have done for Philadelphia and
Boston and New York? Men of wealth,
if you are too modest to build and endow
such a place during your lifetime, why
not go to your iron safe and take out
vour last will nnd testament ami make a
codicil that shall build for the city of
vour residence a throne for American
art? Take some of that money that
would otherwise spoil your children and
buil-l (in art gallery that shall associate
■ vour name forever not -only with the
great masters of painting who are gone,
1 but with the great masters who are try-
• in- to live, and also win the admiration
I -Hid love - ,f tens of thousands of people.
- ‘vvl.o. nm lh- tohav fine pictures of their
• ! O nn wo- hl be advantaged. L) ,'oi>r
. I ■-■ build your owiL-monuments
ami not leave it t<> tip.' wliii'e I Othvl'n-
Some of the l i t people sleeping ill
Greenwood have no monuments at all
or some crumbling Homs that in a few
years will let the rain wash out name
and epitaph, while some iuen, whose
death was the abatement of it nuisance,
have a pile of Aberdeen granite high
enough fur a king and eulogies enough to
embarrass a seraph. Oh, man of large
wealth, instead of leaving to the whim of
others your monumental commemoration
and epitaphology, to be looked at when
people are going to and fro nt the burial
of others, build right down in the heart
of our great city, or the city where you
live, an immense free reading room, or a
free musical conservatory, or a free art
gallery, the niches for sculpture and the
walls abloom with the rise and fall of
nations, and lessons of courage for the
disheartened, and rest for the weary, and
life for the dead; and 150 years from
now you will be wielding influences in
this world for good. How- much better
than white marble, that chills you if you
put your hand on it when you touch it
in the cemetery, would be a monument in
colors, in beaming eyes, in living posses
sion, in splendors which under the chan
delier w-ould be glowing and warm, and
looked at by strolling groups with cata
logue in hand on the January night
when the necropolis where the body
sleeps is all snowed under!
Power of PicturcH.
The tower of David was hung with
1,000 dented shields of battle; but you,
oh man of wealth, may have a grander
tower named after you, one that shall be
hung not with the symbols of carnage,
but with the victories of that art which
was so long ago recognized in my text as
"pleasant pictures,” Oh, the power of
pictures! I cannot deride, as some have
done, Cardinal Mazarin, who, when told
that he must die, took his last walk
through the art gallery of his palace say
ing: “Must I quit all this? Look at that
Titian! Look at that Correggio! Look
at that deluge of Caracci! Farewell, dear
pictures!”
As the day of the lord of hosts, accord
ing to this text, will scrutinize the pic
tures, I implore all parents to see that in
their households they have neither in book
nor newspaper nor on canvas anything
that will deprave. Pictures are no longer
the exclusive possession of the affluent.
There is not a respectable home in these
cities that has not specimens of woodcut
or steel engraving, if not of painting, and
your whole family will feel the moral up
lifting or depression. Have nothing on
your wall or in books that will familiar
ize the young with scenes of cruelty nnd
wassail; have only those sketches made
by artists in elevated moods and none o'
those scenes that seem the product o'
artistic delirium tremens. Pictures n
not only a strong but a universal lati
guage. The human race is divided into al
most as many languages as there are na
tions, but the pictures may speak to peo
ple of all tongues. Volapuk many have
hoped, with little reason, would become
a worldwide language; but the pictorial
is always a worldwide language, and
printers' types have no emphasis com
pared with it. We say that children are
fond of pictures; but notice any man
when he takes up a book, and you will
see that the first thing that he looks at is
the pictures. Have only those in your
house that appeal to the better nature.
One engraving has sometimes decided an
eternal destiny. Under the title of fine
arts there have come here from France
a class of pictures which elaborate argu
ment has tried to prove irreproachable.
They would disgrace a barroom, and they
need to be confiscated. Y'our children
will carry the pictures of their father’s
house with them clear on to the grave,
and, passing that marble pillar, will take
them through eternity.
Furthermore, let all reformers and all
Sabbath school teachers and all Chris
tian workers realize that, if they would
be effective for good, they must make pic
tures, if not by chalk on blackboards or
kindergarten designs or by pencil on can
vas, then by words. Arguments are soon
forgotten, but pictures, whether in lan
guage or in colors, are what produce
stronger effects. Christ was always tell
ing what a thing was like, and his ser
mon on the mount was a great picture
gallery, beginning with a sketch of a
"city on a hill that cannot be hid,” nnd
ending with a tempest beating against
two houses, one on the rock and the other
on the sand. The parable of the prodigal
son, a picture; parable of the sower, who
went forth to sow, a picture; parable of
the unmerciful servant, a picture; para
ble of the ten virgins, a picture; parable
of the talents, a picture. The world
wants pictures, and the appetite begins
with the child, who consents to go early
to bed it the mother will sit beside him
nnd rehearse a story, which is only a pic
ture.
When we see how much has been ac
complished in secular directions by pic
tures— Shakespeare’s tragedies, a picture;
Victor Hugo’s writings, all pictures;
John Ruskin’s and Tennyson’s and Long
fellow’s works, all pictures—why not en
list, as far as possible, for our churches
and schools and reformatory work and
evangelistic endeavor the power of
thought that ean be put into word pic
tures, if not pictures in color? Yea. why
not all young men draw for themselves
on paper, with pen or pencil, their com
ing career, of virtue if they prefer that,
of vice if they prefer that? After making
the picture, put it on the wall or paste it
on the fly leaf of some favorite book, that
you may have it before you. I read of a
man who had been executed for murder,
and the jailer found afterward a picture
made on the wall of the cell by the
sin’s own hand, a picture of a flight of
stairs. On the lowest step he had writ
ten, “Disobedience to parents;” on the
second, “Sabbath breaking;” on the third,
“Drunkenness nnd gambling;” on the
fourth, “Murder.” nnd on the fifth and
top step. “A gallows.” If that man had
made that picture before he took the
first step, he never would have taken any
of them! Oh, man, make another pic
ture, a bright picture, an evangelical pic
ture, and I will help you make it! I sug
gest six steps for this flight of stairs. On
the first step write the words, “A na
ture changed by the Holy Ghost and
washed in the blood of the Lamb; ’ on
the second step, “Industry and good com
panionship;” on the third step, “ A Chris
tian home with a family altar;” on the
fourth step. “Ever widening usefulness;”
on the fifth step. "A glorious departure
from this world;’’ on the sixth step,
••Heaven, heaven. K-nven!” Write it
three times, .-ml let letters >•! the one
word be made up of banners, the second
of coronets ami the third of thrones!
Promise me that von will do that, ami I
will promise t<> I'"-" y'' l ’ '•<> tll<?
step, if the 1.0 1 "ill. through his par
tl-.nitig grace. b: ttsg me then- too.
\ <ir<l *»f
And 1 am g mg I” say n word of
<h<-ei to people "ho have ne'er bad a
word of i-onsolatmn mi that subject.
There are men ami v. - i. e:i in this world
I by hundreds of thousands who have a
fine mitur.il taste, ami yet all their lives
that taste has been suppressed, nnd. al
though they could appreciate the galler
ies of Dresden ami Vienna and Naples
’ far more than nine hundred ami ninety
nine people out of a thousand who visit
them, they may never go, for they must
, support their households, and bread and
' schooling for their children are of more
i Importance than pictures. Tlrnugh fond
of music, they are compelled to live amid
discord, and, though i'-.ml of architecture,
they dwell in clumsy abodes, and, though
appreciative of all that engravings and
‘ ; paintings can do, they are in perpetual
' deprivation. You are going, after you
, get on the sixth step of that stair, just
spoken of, to find yourselves in the royal
gallery of the universe, the concentered
splendors of all worlds before your trans
' port 'd vision. In some vay all the thrill
ing scenes through which we and the
| church of God h. . e p:> -cd in our earthly
state will be pictured or brought to mind.
At a cyclorama of Gettysburg a blind
1 man who lost his sight in that battle
was with his child heard talking while
standing before that picture.
The blind man s.-M to the daughter,
"Are there at the right of the picture
! some regiments m.-tr.-mng up a hill?”
"Yes,” she said. "Weil," said the blind
man, "is there a general on horseback
leading them on?” “Yes.” she said.
1 “Well, is there rushing down on these
> men a cavalry charge?” “Yes,” was the
reply. "And do there seem to be many
‘ dying and dead?” “Yes,” was the an
i swer. “Well, now, do you see a shell
i from the woods bursting near the wheel
• of a cannon?” “Yes,” she said. "Stop
’■ right there!" said the blind man. “That
! is the last thing I ever saw on earth!
' What a time it was, Jenny, when I lost
• my eyesight!” But when you, who have
found life a hard battle, a very Gettys-
l burg, shall stand in the royal gallery of
1 heaven and with your new vision begin
" to see and understand that which in your
earthly blindness you could not see at
all, you will point out to your celestial
comrades, perhaps to your own dear
i children who have gone before, the
: scenes or the earthly conflicts in which
; you participated, saying: "There from
r that hill of prosperity 1 was driven
• back; in that valley of humiliation I
e was wounded. There I lost my eye
t sight. That was the way the world
1 looked when I last saw it. But what a
- grand thing to get celestial vision and
> stand here before the cyclorama of all
worlds while the rider on the White
1 horse goes uu ‘conquering and to con
quer,’ the moon under his feet and the
stars of heaven for his tiara!"
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1 GET YOTTR
JOB PRINTING
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The Evening Call Office.
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We have always on hand a Complete Line of
o Stationery of all kinds, and can get up, on short
o notice, anything wanted in the way of
5
LETTERHEADS, BILL HEADS,
5 ’
STATEMENTS, CIRCULARS,
0
ENVELOPES, NO IE-,
MORTGAGES, PROGRAMS,
CARDS, POSTERS,
DODGERS, ETC., ETC.
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WE CARRY THE BEST LINE OF ENVELOPES
EVER OFFERED TIIISTRADE.
>o
OUR PRICES ON WORK OF ALL KINDS WILL COMPARE FAVORABLY
WITH THOSE OBTAINED FROM ANY OFFICE IN TIIE STATE.
k WHEN YOU WANT JOB PRINTING OF ANY DESCRIPTION
GIVE US A CALL. SATISFACTION GUARANTEED.
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10
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L-
• -A.LL WORK DONE
With Neatness and Dispatch.
s Out of town orders will receive
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£ prompt attention.
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S B. &J. C. SawtelL