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THE SUN, SUNDAY, MAY 2, 1915. 15 PUBLIC LIBRARY STATUARY RUINED, SAYS ITS SCULPTOR " j North pediment, showing "History" and "The Knight" as the sculptor says they should show from the street Above North pediment, showing "History" and "The Knight" as viewed from the street. South pediment, showing "The Arts" as the sculptor says they should show from the street. Above South pediment, showing "The Arts" as they are revealed from the street. George Gray Barnard Complains Arch itects Did Not Allow for Angle of Vision From the Street CLIO, the muse who looks utter matters of history, and Sir nil.lh.lil tht mil-nut knlt-ht nt the great Hound Table, are the Joint cause of two lawsuits grow- tos out of their penned In strap twtery sort of placement on pedl r.ntj of the New York Public U'riry. George Grey Ttarnard, the sculptor ho called Into being these particular representations of the two, wanted tScm to tip well forward In a free ml e.iy way out of the ornamental tuiLci of their pediment quarters. Leialng thus outward they could seo inJ N fen from the street over the top of their cornice. Rut, Mr. Ilarnard complains, the ar chitects and sculptors who had chnrgo ef t'lacing his croups did not at all firry out his designs. They, Don telly Sc III 1 1, it the muse and the Knleht well ' nek In the pediment, nl- toeether too far back. Mr. Ilarnard :.effes. for a lover of either Clio or Gahhad to Identify them front the fireet or set tho right appreciation of the.r full art values. As it were. Don ne !& Hi -ca refused to show the pair ftralnln? outward as If to gaze at the hlle light focus of Forty-second I rj Ilroaihvay. Stand in the street with a photo- rr.fh of the groups that Air. Har Mrtl says he Intended for insertion In the pil!ments and then gaze upward ti the gntips as now set In the pedi atry and there Is no doubt there is i srreat difference between the eon- I option and the completion, as Mr. i.iraard relates It. In the photographs Id the groups the figures are shown I to Pitched forward that oven when tho FUfr rtnopH down close to them and 1' k. upward the entire figures of Clio sd Oalnhad cm be made nut. Hut fr m the Mn-'t the line of the cornice, r base of the pediment cuts across Itfe centre if the marble figures as now tionl. In other words, the point ti caze from the sidewalk hides all of lie lower part of the muse and the p5ht. Sir Oalahnd seems to be a ruMrneck. and Clio, Instead of gazing in the ffroll where she Is chronicling !' doings of the district and else-l-re, appears to bo gazing outward Irto fpaee. her mind not on her work. ine figure det-Igned bv Mr. Ttar- Itard were intend, d as show piece In tor.neeu m with .the library. There Is to nubile l brarv In the world ex- Idling the New York building In mas- tmcence ..f ar biteetural desiirn and rt!stic are. Tories, in the opinion of wwy person Consequently, If the CToups on the north and south nedl- p'nN of the structure are Irretrlev- JWy Kp.ii'. 1 n Mr Itarnard charges, th entire e.1 l. IVIII M.,fTo .Inlnrll. Wtlln I. in ,,f flnn in.hllli.rl 'rom all er the world have visited Gliding and Kindled Its oonstruo- s spoiled fs a blow to V of s'ew York, and New a'Uhmir It can pparo of "i' ' 1 Mr. Hirnnrd has ' be thinks about It by n nut Donnelly & ltlcol T firm In turn has riiritnst Mr. Harnnrd for " w.irk of setting the Tv .r reputation is verv ' ' i" formed In New York i ima cxpoHltlnn, ' 1 I his studio away up r-''in nvenim near tho "ie fought during the Wir Thither I went get Mr, Ilarnnrd's ." v iwy. Tiie sculptor " i led me through a i 'iiiipleted, seml-cnm- ' planned models, ' ' the I'ublic Library y damaged because of t "'ir groiuis?" Mr. Hir. Hon. if . I 'he art, si rt to I.. ''lngini- -trr jr.ormii ' ourht II 000 f t I sarin j. 'fsh f r mi a Mr it, . I. le -,f . I!..v, .. II. o or , . Il! of . t' k tn, llll.jrn I can) w "I n I tow pi K ii... I'i tn. hi He I 1 ll lO'-lli, . I In i , I i.J It'll t. ll'Urp.w.. "My iu. IKtls ,, the .n r'ro tn, S ! I. It is il.imagfd, and bo ' 'Tho IlKiues as they he artistic symmetry They are a dlsgraco " the reputation of that these llgures ' bo of valuo In the 'f tho edltlco their ilestroyed. And If 'I oh a part of the ' 'if tho burdlng then u 'roe that they were 1 lil'llrw damaged tir 't them. Slipshod ' ' ' Jn city art ought ' '"'I as serving; tho w. r " cpted from my ' y were deemed " them in a way at their beMt la not to put them t the purpose for which they were chosen. "The trouble Is very understandable. It Is the same old trouble thjt has so often marred art. It depends upon how the sculptured values are car ried to the eye. You may call It the relation of the chiselled achievement to the point of view If you wish. It has to do with the difference between tho mind's conception of an object nnd what the eye really sees of the object the angle that it sees from, or the point of gaze. "Now here we have the models of the knight and the muse designed for the library building iwdlment. Stoop down and you wIM be able to view them In the manner they would be viewed If you stood in the street and looked up at the pediment. Di you catch the lines and the lights? "Notice how these figures project. I made them that way so that from seventy-five or a hundred feet below they would still lm seen prac tically In entirety. They slant from their base, or in other words are tipped out. Now when you stand in the street In fn nt of the I'ublic Library nnd look up what do you ee? Why, your line of vision strikes the top of the cor nice or base of the pediment where It crosses the figures horizontally, about their centre. Kvery bit f carved work l-low that centre Is ob jured. It might as well not 1m there, or might as well be Just a piece of rough marble, for all you see of it. "This allowance for how a figure will look fifty or a hundred feet up In the nlr from you Is decidedly n part of tho art of sculpture. If you design a figure that you can approach at any time so close that you may bundle or touch, why of course your eye sees and your mind loneclves the figure at close range. It must bo chiselled accordingly. Its measurements and its aspects will be Judged nt handling1 dlstanco. Hut the further away you Intend the object to be observe.! or studied the more you have to take Into consideration how you shall fashion It so as to preserve the effect planned. "Had my figures In the pediments of the library building been tipped properly or rather had they been set properly, because the tipping or slanting had been allowed for In tho sculpturing the man who gazed up at them from the street would have -seen all of the arms, hands and feet of knight nnd the muse as well as parts of the other figures now hidden In great part. The observer would have understood what the figures were doing, or were represented as doing. "Just In detail what are the discrep ancies between the figures I designed nnd the figures as placed In the pedi ments? Well, the papers connected with my suit set forth these discrep ancies at length. In the north pedi ment I charge that the directions rela tive to setting the group plumb w'.th the base of the pediment were Ig nored. The pose Indicated In tho model, I maintain, was never used. The knight In armor lacks eight to nine Inches of marble on the chest nnd head, And the knight leans back ward Instead of forward. The sword nnd other details are in wrong places nnd lacking In marble. "Likewise In the south pediment the head and torso, I contend, of one of the figures lack eight to nine Inches of marble, nnd the leg has been set back from Its proper posit on to avoid holes that had been negligently lein d In the marble by workmen. The head of one of the women lacks marble on the face and bead so that the face appears eaten away. The lingers. In stead of testing on the forehead, are cut into the skull, leaving no place for the hair to be carved. The lower part of the leg is not In nc-nrd with the upper part. And tho t ntlre group Is fully ten Inches back of Its proper position, and Instead of being properly parallel with tho street Is set cross wlce. "Then again the models were not plat-ed together In the right way for pointing. The groups are not set In right, relative to the foundation or to each other. Seen from Fifth avenue they appear grotesque and unnat ural. Thus these grnujis have been made worthless In my own eyes and In the eyes of every artist who in spects them. They will have to bo torn out nnd replaced. That Is all there Is to It. Such n thing must not offend the artistic eye of New York nor of visitors to New York." "How came It. Mr. Barnard, that you permitted the groups to be pi iced In tie pediments so negligently as you say. without stopping the work while In progress?" "I was 111 for nine month. As soon as I got out of the hospital I went to the Public Library and mounted the scaffold to see h"W things wete progresslrg. line glance was enough. I wanted to " The sculptor paused a moment. I expected some sort of good round threat. Hut l e lo ked more corrowful than angry. I waited a moment. "You wanted to " I reminded. "I wanted to Jump off the scaffold," paid Mr. Ilarnard. "How do you cuppose workmen ac customed to such sort of p'aoing eould have made such a mistake as you say?" the sculptor was asked. "I can tell you how It was botched, but I cann t tell you why they botched It," he answered. "I left my models, plaster on a canvas framework, with the firm Wiio had the placing to do. l'or six months they were kept In the open, exposed to all sorts of weather. The plaster wore d, wn to the canvas m the head of one of them, the face of most till were soon gone. I tried to remedy It with my own workmen ut my own expense, but It was no use. "With u true artist It Is of tho greatest concern to get every conceiv able shade of effect out of his marble. The colors, as we call the varying lights, must 1 Just o to express just what we would achieve. For In- stance " Here Mr. Ilarnard caught up a little piece i f plasterclne, a plastic composi tion of wax, clay -and oil, nnd began to make things. Prom the little form less piece of this Instant be had fash ioned gods, goddesses, nymphs Jind heroes the next. One pressure of the thumb, one creasing of the forefinger, anil the little bit of wax and c'.ay that was nothing In significance a moment before took on lines of beauty and grace. Single figures atsl groups followed, one after another. The sculptor made a model of his Clio and Calihad and Illustrated how they had been tipped forwtrd. So startling were the results of the few manipulations of the plas terclne that you felt a regret when one group or figure was destroyed In order to form a new one. North and South Pediments Hopelessly Spoiled, He Charges, and Artistic Value of Edifice Impaired "This Is the way the figures on one pediment should have looked." said Mr. Harnnrd as he manipulated the' wax and clay, "and this Is the way they were Jammed In by the work men." And t'he miniature muse nnd knight were squeezed Into the com pass of a subway rush hour platform. It was a convincing Illustration, far more effective than words bearing on the subject. George Grey Tlarnard Is a native of Hellefonte, I "a. He spent the years from 1SS4 to 1SS7 at tho Kcole Na tionale des lieaux Arts In l'arls. Ho exhibited In the IMrls Salon of 1S9I, nnd In 1900 was awarded the gold medal at the Paris exposition. Again at the Buffalo exposition In 1901 ho received a gold medal. Among bis best kn -wn works are "Hrotherly Love," now In Norway; the "Two Natures," at the Metropolitan Museum of Art; the "God Pan." In Central Park: "The J lower," "The Prodigal Son and Rither," "Adam and Hve," a relief twenty-two feet high, nnd 'M'.rother hood In Suffering." Husts of Abram S. Hewitt nnd Collis P. Huntington are also from his hand. KING COTTONBy Elmore Elliott Peake Continued from Thirteenth I'ngc. stick a knife Into me up to the hilt when I'm down?" he asked quie'.ly. "The word honorable has a Strang (.mind on your I p, Skinny," answered Honebrakn sternly, though the man's haggard face touched him. "What was It your Intention to do when you tried to dump this cotton on tne a eight cents? Yet my knife Isn't quite hilt deep. I could have offered you ono cent a pound and ouM have taken it. I'm making you a present of the other two, which .s mure than you would have done for Hie." "All r.ght. Let It go at that." He dtew out and un ippcd a fountain pen to hlgn the bill of sale. "How you goin' to pay me?" "My personal cluck." "How do I know your cheek Is good for si venty-tlve hundred dollars?" "You don't know It a: .1 .mm won't until you present It at the it i.itmen's Hank." "All right. Shove It In! You want Klto nnd Delacroix to witness this?" "Hardly." He called forward two of the bystanders. Skinny slowiy, reluctantly Inscribed bis .-imiature. "Now show your hand' " he sneered. Two minutes later a couple of darkles, galvanized Into unwonted ac tivity by the present of a sliver dollar apiece, hastily heaped up such odds and ends of wood as lay near at hand and applied a match. When the tire was burning briskly they rolled on a barrel of rosin and soon a pillar of Miioke as black n.s obsidian and capped like a mushroom reared itself heaven ward. A moment passed and then the crowd on the platform stiffened Into a hearkening attl'ude nt the distance mellowed blast of a steamboat's chime whistle. A vociferous cheer went up. Skinny McAlfVrty's sea green i es giazed with astonishment and chagrlr.. He pursed his i tn. k. unshaven lips ami then thrust lua hand at Hunt-brake's. "Congrats' Tho slickest rascals English as She Is Twisted by the British Pictorial Humorists , fl ' '..-.- . - '. Ci'fc .ivV y -A". fllw V. 'lf: ' 4.1 1 ., ' I MOTORIST And what's your longest drive? GOLFER Oh, a matter of 650 yards. MOTORIST That's not a drive; that's a skid. BT HAWI.KY mohoa.n. KIND OLD LADY What is your name, little boy? JULIUS Julie, ma'am. KIND OLD LADY Oh, you mean Julius. Now what is your name, little man? WILLIAM (discerning the formula) Billius, ma'am. by cirAiu.i; shki.oon I've ever knowed were them with angel faces." Twilight had fallen nnd the saffron tide was licking the store fronts on Main street before the Valley Heile. breathing hoarsely through her "scape pipes, approached the scene. Then a sunburst leaped from the electric searchlight, scoured the water and the houses, routed the dusk from every nook, painted every face a ghastly white and llnally rested on the J-pot where Woodford llotiebrake stood sig nalling with a handkerchief. The call of the leadsmen then be came audible. "Quarter twain. i.mirter twain. Mark twain. Quarter less twain. .vine and a half. Nine f-e-e-t. Nine feet. Light and a half!" The engine bells Jangled. Half speed fell to quarter speed. "Light and a half. Lluht feet. s,.v. a and a half. Heven nnd a half. Seven f- -e-t. Six feet Six f-.-e-t !" Again the bells Jangled, and with an expiring sii Tt or two the engines were still. The boat, bulking darkly behind hen blinding, cyclopean eye. forged almost Imperceptibly nearer. The stage plank swung out like a huge antenna, an upright llgure, with a hawser bight In bis hand, balancing on Its extreme end. At a sharp command from ("apt. t'alvert the plank w n lowered away; the figure a deckhand sprang pisuidly down nnd made his hawser fast; the capstan pawls tinkled over the rachet ring; the engines were sot back a stroke or two. and the Valley Hello snuggled against the end of tint platform so gently as hardly to Mir It. Capt. t'alvert stepped ashore and greeted Honehrake with ambassadorial dignity, accompanied by a wink. "How much?" lie murmur d, "Three cents." "liully for you! A cent too much, but gootl enough. Hun tell the girl. She's nigh crazy." The "girl" was standing on the hur ricane deck with one hand on the b.g landing bell, her face faintly Illu minated by the lights below. She Mut tered her handki rchlef nt Woody and he bounded up the forecastle com paulonway three steps at a time. "I'll clean up better than twenty thousand!" he panted from his sprint. She gave a little cry of delight and extended both hands. It was a tense quarter of a minute which followed, her hands In his, her quick breath upon his cheek, "Peeda, Is Hlllcrest to bo mine or ours?" I'rom Inlaw came the creak of tho forohateh windlass and the melodious, weird chant of the bla k roustabouts; "He las' sack! De las' sack!" "Woody," she answered with falter ing tenderness, "I have told you that 1 ran never marry a gambler, whether Ills tools are cards or margins on ex change." He tightened his grip on her hands. "Deeda, If you'll marry me I swear never again to martin a stock, bond or package of produce," Sh smiled sadl. "You couldn't keep it, dear." "Try me," he begged. She hesitated. "1 will! I'll put you on probation for one year." "Make It six months. If I can hold out that long 1 can a year." "Very well." Ho swept her to his breast, ho showered her face with kisses, Hut nlas' the sleekest rascals are thoso with sing 1 faces! "f)h, make It three months, my dar ling! That will give you plenty of t mo to make your wedding pretties, and if I can hold out three months, 1 can six." "Thrcomonths! Oh, Woody, dear! This Is shameless of me!" (Copurltiht h)l the Xorth American Company.)