USA > Illinois > Cook County > Chicago > The Congress of Women : held in the Woman's building, World's Columbian exposition, Chicago, U.S.A., 1893 : with portraits, biographies and addresses > Part 57
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Just a few lines of one of her gems:
" If we knew the baby fingers, Pressed against the window pane, Would be cold and stiff tomorrow, Never trouble us again: Would the bright eyes of our darling Catch the frown upon our brow? Would the print of rosy fingers Vex us then, as they do now?"
Next to Fanny Crosby, perhaps Miss M. E. Servoss, of Chicago, has furnished as many acceptable hymns as any one woman in this country. They are found in thirty- nine or forty different collections, accompanied by the name, M. E. Servoss, and for years the author was supposed to be a man. She interprets a high plane of religious
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emotion, associating it with a sentiment and imagery which Christian hearts will ever love and cherish, and in which they will find refuge and comfort. Such hymns strike light across the consciousness of Christians everywhere.
Other names not yet mentioned, associated with other lines of thought and action, who have written creditable sacred verse, are: Julia C. Dorr, Margaret J. Preston, Mar- garet E. Sangster, the latter of whom we associate with journalism, as we also do Alice M. Guernsey, Laura M. Rittenhouse, Mary HI. Krout, author of " Little Brown Hands;" Hester M. Pool, Mrs. Nicholson, so long editor of the New Orleans Picayune ; Marie L. Eve, of Georgia; Lide Merriwether, of Tennessee; Emily Huntington Miller, Dinah Muloch Craig, who wrote, " Where is the unknown country to which my soul must go?" Adelaide Proctor, in " The Lost Chord," " Will He Come?" who also wrote the words of "Cleansing Fires," which Virginia Gabriel set so charmingly to music; Annie Wittenmeyer in, "I have entered the valley of blessing so sweet;" Ellen Oliver in, "The Prayer of the Wanderer," and Lucy Larcom, whose productions arc noted for their brightness and sunshine, and who not long since passed from carth to Heaven, taking some of earth's brightness with her. It is always a genuine pleasure to quote any of her lines; for instance, the simple couplet:
"Thank God for the work He lets us do! I am glad that I live in the world with you."
Lucy Larcom was in love with toil, and sung it as a lover sings to his adored one. And the triplet, claiming all the children as her very own:
"Too many for one house you see, And so I have to let them be In care of other mothers."
She had the true mother instinct.
Mary Clemmer Ames-Hudson was one whom we associate with journalism who has written choice verse.
What shall be said of Jean Ingelow, with her matchless "Songs of Seven" and myriad other gems; of Charlotte Bronte and others who deserve mention in this con- nection? What need be said? They are known and their works speak for them.
Of the deaf mute sisterhood whose names are among those taking the lead, may be mentioned Angie Fuller Fischer and Laura Redden Searing (nom de plume, "How- ard Glyndon"). The latter's "Sweet bells jangled out of tune " is extensively known and largely quoted, while Mrs. Fischer's volume of poems entitled, "The Venture," was extolled by Whittier and other people of eminence.
Ella Wheeler Wilcox has written on a multiplicity of topics. Her patriotic verse and that on temperance may be classed as sacred, and her poem entitled "The Engine," is among the most forcible of all her word-paintings, and ranks with the best of that style among men.
All are familiar with Mrs. Elizabeth Aker's "Rock Me to Sleep, Mother," and many know the sweet sacred songs of Susan P. Bartlett, Susie V. Aldrich, and many of whom time and space forbid mention in a limited paper.
WOMAN AS A COMPOSER.
Does anyone assert we have no high order of music or song composers among women ? What can be finer than Mrs. Gen. W. S. Hancock's " Magnificat," and her "Te Deums?" Her "Song Service Book," for the Episcopal Church, has won high encomiums. The "Ave Maria," in six flats, of Helen Douglas, now wife of Licut. John F. French, of the Regular Army, is unique, decidedly original and very difficult, being most pleasing to the higher grade of cultured singers. The instrumental "St. Agnes Eve"-a song without words, by Madam Careno-is exquisite, and is placed among the classical music of the century. Mme. Clara Schumann took up the thread of harmony divine dropped by her lamented husband, and is still carrying it on with marvelous success.
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Despite all discouragement, woman as a composer is getting to be a known quan- tity. Mme. Marie Bird de Marion is a publisher of music in Chicago, and among her own meritorious compositions is a lullaby recently issued, which is meeting much praise.
All nationalities have had their singers. Nilsson and Jenny Lind were the pride of the Swedish people. Of the latter an eminent divine of New York said recently in a sermon: "I once paid six dollars to hear Jenny Lind warble. I have never paid a cent to hear anyone groan." As lyric artists women have commanded the largest pay ever accorded the sex for anything. Thousands of dollars for a single even- ing's performance has been given Nilsson, Patti, and others. * * * Even the African race has had its "Black Swans;" and of our own American song- sters the names of Emma Abbott, Clara Louise Kellogg, Emma Thursby, Minnie Hauk, Jessie Bartlett Davis, our own Illinois contralto, but begin the list of those who have attained distinction. Among those who have already shown what women can do in composition are: Liza Schumann, of London, who writes for the piano and voice, and sings beautifully herself; Miss Ellicott, daughter of the bishop of Glou- cester, in England, who has written some fine cantatas; Miss Smith, the protege of the Empress Eugenie; Maud Valeri Whilt, who composes religious works; Augusta Holmes, an Irish girl living in Paris, who composes ballads and symphonic poems with great success; the Countess Tolstoi, of Russia, who has written some excellent songs; Mrs. H. H. A. Beach, of Boston, who writes great dramatic arias for the voice and orchestra; Mme. Bandman, of Vienna, whose church music is very popular; Miss Helen Hood, of Boston, who wrote those beautiful songs, " Disappointment" and "The Violet; " Miss Margaret Ruthven Lang, of Boston, whose compositions are quite pre- tentious; Miss Clara Kathleen Rogers, of Boston, who wrote "The Clover Blossom," besides many other songs and sonatas for piano and violin; Mlle. Chaminade, Miss Gertrude Griswold, Helen Hopekirk, and Eleanor Smith." To these let us add the names of Caroline Richings Bernard, the celebrated singer and composer of many gems, prominent among which is "Oh Word of God Incarnate;" Isadore De Laro, who is the author of "The Garden of Sleep" -- a rare bit of melody; Mrs. E. R. John- son, Mrs. Le Moncrieff and Edith Cooke. As regards the lyric songsters, their voices live after them in memory only. They instinctively feel the incentive to work now; to be heard and known now. The future is not theirs.
Composers and poets are content to wait. They are not in such haste for recogni- tion. Their works do follow them. Their tuneful children will speak for them, if worthy of perpetuation, long after they are gone from earth.
We have omitted to mention the name of Lady Carew, wife of Sir Henry Carew, whose setting to music of "The Bridge," by Longfellow, is regarded as the most fit- ting melody of the eight or ten by other composers. She also wrote much sacred verse, in addition to her musical compositions, " Revenge of Injuries " being one of the best known.
Miss Anna Sneed (now Mrs. Cairn), of St. Louis, has the honor of being regarded the most successful person in placing appropriate music to Tennyson's "Break, Break O Sea!" The very sobbing of the winds and beating of the waves upon the beach can be heard. Mrs. Julia B. Metcalf, of Nebraska City, evinces decided musical taste and talent as a composer, her melody and accompaniment to Poe's " Annabel Lee" being especially fine and original.
Missionaries in heathen lands sent sweet, tender hymns, written by converts to Christ. What can be dearer to the Christian heart than "In the secret of His pres- ence, how my soul delights to hide;" "Who will go for us?" and "Harken! hear an Indian sister's plea," when it is known they are by Ellen L. Goreh, a Brahman of the highest caste, whose people were not accessible to missionary teaching until woman crossed the blue main as a teacher and messenger? This heathen convert is the adopted daughter of Rev. \V. T. Strers.
Mrs. Voke has written more hymns bearing upon foreign missionary work than
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any other person of either sex, so far as known, that have had an acceptance with all denominations. "Soon may the last glad song arise! Hasten, O Lord, that happy day!" " Behold th' accepted time draws near;" "Sovereign of worlds, display Thy power;" " Ye Messengers of Christ! " are familiar to all.
Whenever the name of Harriet Beecher Stowe is mentioned one is reminded of "Uncle Tom's Cabin." . Why may we not also associate her name with that appealing hymn: "Knocking! Knocking! who is there?" and some of her other sacred verse? When the name of Mary T. Lathrop is heard we at once remember that she is one of the most able and effective lecturers on the temperance platform, which today means prohibition. In future years her name will also be more familiarly associated with her sacred verse; for she is a true poct. Never was more touching or perfectly metrical dirge than her's on the death of John B. Gough. But she surpasses that, if possible, in some regards, in her poem, "What Means this Stone?" inspired by and for the cere- monies of laying the corner-stone of the Temperance Temple in Chicago, in Novem- ber, 1890.
The songs of Christian women are immortal, because they speak the language of the heart in its love for their Saviour, which changes not, and is the same in all ages. These heart songs teach a language unsurpassed by all the Greek and Roman litera- ture, or the classics, of this or any other period of time.
STUDY OF GREEK ART .* By SARAH AMELIA SCULL.
In the western part of Greece rises the once sacred "Hill of Cronus." At its base lies the Valley of Olympia, for centuries the center of the worship of Zeus and Hera. In 1874 the German government obtained a contract for excavating the monuments of this renowned worship, and though these excavations were conducted at vast expenditure, and with the express understanding that only casts of the treasures uncovered should be taken to Germany, for five years the noble work went on, and the ruins of Olympia were given to the world.
Recently the French government successfully competed with Americans for the privilege of exca- vating Delphi.
Greece has passed stringent laws against the removal of the least fragment of any classic antiquity.
What are these treasures that were buried in fair Hellas? What value have they in this age of financial estimates and enterprises? Treasures! Only bits of inscriptions, ruins of buildings, fragments of statues or of reliefs. Values! They are such as are not recorded in business marts, for these ruins and mutil- ated monuments mark epochs and phases in the his- SARAH AMELIA SCULL. tory of that country that has enriched the world. To determine these values, symposia of truth-seekers and beauty-lovers hold perpetual session.
The order of classical investigation follows the development of Greek thought, art and worship. The world opened by Homer is ever sought by entranced pilgrims, and from its battlefields they find paths leading Olympusward.
We go to Hesiod to learn of that mighty conflict of beliefs known as the "Titanic Wars." Cronus, the conserver of and the maintainer of old conditions, is overthrown by Zeus, the champion of change and progress. From Hesiod we have the noble legend of the " Partition of the Universe;" Zeus, the Lord of Light, Life and Develop- ment, assuming supremacy over gods and men; Hera, sharing his supremacy, but having special protection over lawful marriage and legitimate birth; Hestia, goddess of purity and spiritual influence; Posideon, having dominion over the sea; Demeter, holding a vice-regency over fields of grain, and Hades, ruling in the world of shades.
We can not afford to ignore these noble myths, or beliefs, as we should call them; for through the expansion of the conception of the character and offices of Greek gods and goddesses, through their manifestations in the sphere of human action, mythology not only established ideals for human imitation, but it determined the
Sarah Amelia Scull was born in Bushnell's Basin, N. Y., in 1833. Her parents were Paul E. Scull and Rhoda Tyler Scull. She was educated at the Academy of Smethport, Pa., and Genesee Wesleyan Seminary, Lima, N. Y. Has traveled in Greece, Italy, France and England. Miss Scull is a student of Greek Mythology and Greek Art. Her principal literary works are "Greek Mythology Systematized," and "Photographs Illustrating Greek Mythology and Art." Her profession, educator of young women. She is a member of the Methodist Episcopal Church. Her postoffice address is Washington, D. C.
* This paper was illustrated by original photographs, and the numbers used throughout are the numbers in the catal- ogue of the collection.
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forms of art that clustered about the centers of worship. Since temples and their structures, temple statues and their votive offerings demanded the supreme creations of the art of Greece, that art should be studied in the illumination of the inspiring mythology.
ARCHAIC PERIOD OF GREEK ART, 700-500 B. C.
By the time of the Persian Wars, 500 B. C., many states had been formed, but we need have in mind only Phocis, the early home of the Dorians, and Attica, the center of the later Ionians. The Dorians were an intellectual people, heroic in conquest and heroic in self-restraint, so that their motto "Measure is best," fitly formulated the spirit of the race.
GREEK ARCHITECTURE.
Through the Dorians, Greek architectural genius began its manifestations, and by the time of the Persian wars they had given to Greece the " Peripteral Temple." In other countries columns had been employed in building, but such adjustment of cella- walls, columns and entablatures as resulted in the "Peripteral Temple" is just as truly an original creation of the Greek brain as were their philosophic systems or their dramas.
The Ionians of Attica were impulsive, restive under restraint, susceptible to exter- nal conditions and influences, and through these very characteristics furnishing ground for a spontancity and elasticity in art forms, that in time promoted compromises with higher graces of form that would not have been possible to the Dorians.
GREEK SCULPTURE.
It was an epoch in the history of sculpture when the Greeks established theirs upon a wood model, as against the stone and metal work of Egypt and Assyria. Ma- terial that could be easily manipulated could easily be made to embody and express the sculptor's conception, and thus make it possible for each subject to have a person- ality, an individuality that placed it far above the tiresome sameness in the figures of an Egyptian or an Assyrian procession.
On following the development of Greek sculpture, we find that attempts at indc- pendent work commenced in many centers, both in Greece and in her island colonies, and work was continued in these centers with different degrees of progress and excel- lence.
In general, the carly statues were of deities, and such reverence did they inspire that it was deemed sacrilege to make the slightest change in the sacred forms; as a consequence of this "hieratic influence," images of deities retained their archaic style long after considerable progress had been made in general sculpture.
Even in the carly period that we are considering, influences were at work which tended toward the development of what we call " original Greek sculpture." Looking at the carly statues other than those of deities, though they were almost comical in their crudeness, yet they evince on the part of the sculptor honesty in search of nature's forms, and a fixed purpose to portray only what he saw, knew or believed. Truth-seeking and sincerity in interpretation marked the spirit of these carly artists, and their reward was sure.
TRANSITION PERIOD OF GREEK ART. 500-460 B. C.
At the beginning of the Persian wars, the chief religious centers were Delphi, where the Dorians had established the worship of Apollo and Artemis; Olympia, where Pan, Hellenic Zeus, was honored in the Olympian games; Athens, where was established a splendid worship of Pallas Athena. In all these places the general elements were the same. Through the erection of temples and other sacred struct- ures, themselves adorned with statues, also through the accumulation of votive works of art, they became treasuries of the finest productions of the advancing art. Further,
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the athletic games, which invariably accompanied the national festivals, promoted physical strength and beauty, and thus became a potent factor in the new sculpture.
We are familiar with the story of the Persian wars. We know of the gathering of spoils from the Barbarians, which spoils permitted and enabled victorious Greece to lay the foundations of the fair culture of Europe. At the close there was a quicken- ing of activities in every department of art. Sculpture felt the new impulse, and manifested new powers of achievement.
In Bœotia there was an independent development of naturalness in the male form. (See Col. Nos. 7377, 7379, 7400.) In Magna Græcia, Pythagoras of Rhegium recog- nized the result of the athletic games, and gave to the forms of his athletes a rare combination of strength, symmetry and rhythm, and more than this, they seemed to will, to act, to contend. Dr. Waldstern thinks that many statues that have been called Apollo statues represent athletes, notably Nos. 7380 and 7381.
Peloponnesan sculpture was under Dorian restraint, but it presented varying phases in Corinth, Sparta, Argos, Megara and Epidaurus. See Nos. 7427 to 7441.
In Attica sculpture was hastening on toward perfection. See Nos. 7461-62, 7467, 7501, 2, 3, 7533, 4, 7541-2 and 7559.
FIRST EPOCH, 460-400 B. C. ARGOLIS.
On Dorian Argos Polycletus wrought such masterpieces that his "Canon " gave to sculpture its " law of proportion " for the human figure. So sublime was his temple statue of Hera, the revered goddess of Argos, that the world never produced but one artist that could surpass it. It has been thought that some of the noblest features of the works of Polycletus are preserved in Nos. 7433-4, 7358-9.
ATTICA.
The period of the highest art in Attica is the period of her supremacy in wealth, in political influence, in philosophy, in literature and in worship. In this golden time she placed upon the Athenian Acropolis the jewels of her supremacy in art. In this marvelous art was displayed a unique eclecticism in selection of materials and in choice of relative locations, and in it was manifested an hitherto unknown genius for harmonizing excellences and perfections, so it gave to the world's admiration the Attic Doric and the Attic Ionic architectures. In this golden time the sculpture was worthy of its noble placing, for the artists had held to their high purpose of rendering only what they saw, what they knew and what they believed, and their reward had come. Again we must note the potent spell that the art of mythology had on the Acropolis, which had been created in honor of the tutelar goddess, Pallas Athena. Entering the leveled top of the Acropolis through the magnificent Propylea, one saw on the north the Erechtheum, enshrining the most sacred object in all Attica, the olive wood statue of Athena Polias, believed to have fallen from Heaven. See No. 7481. To the southwest towered the bronze statue of Athena Proma, the Athenian goddess of war. Here and there were shrines and votive offerings to the deities asso- ciated with Athena. But there arose the Parthenon, a temple erected to Athena Par- thenon. It can not be described; it can not be pictured; it can not be seen by the eye alone. One should seek it and lift the eyes toward it only after much prepara- tion. The sculpture of the Parthenon was worthy of the temple-one can say no more. The frieze that represented the Panathenaic procession was one of the marvels of all sculpture. One never ceases to be touched by the solemn sweetness of the maidens that take part in the ceremony, or to be thrilled at the spirit and movement of the mounted horsemen, or to be stilled into awe in the presence of the seated deities that are at rest in the eternal verities, the eternal blessedness. Nos. 7577, 7577b, 7506, 7513.
The sculpture in the west pediment commemorates the contest between Athena and Posideon for tutelar possession of Attica. Of Posideon only a mutilated chest
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remains, but one can believe that such a god could make the earth tremble. No. 7507.
In the east pediment was represented the highest of themes-Zeus presenting to the Olympian deities his daughter, Pallas Athena, as the goddess of all that was exalted. The scope of the treatment of that theme has never been measured. It may be that to have adequate conception, one must have followed the shining history of the message of the celestial messenger, Iris; and if it be Demeter and Persephone to whom she heralds the new day of light and splendor that " Helios ushered in" to know the full purport of her announcement, one must have followed Demeter from the fields of grain to the " stone of sorrows," where she sat mourning the loss of her daughter, Persephone, must have rejoiced in the reunion of mother and child in the Elysian Fields-then one could believe that the message of Iris would close this sym- phony of life and death with a pean of resurrection to a life and union immortal. No. 7576.
So must we compass the cycle of the worship associated with the dominant one, if we would measurably conceive how much of the majesty of Zeus was represented in the new-born goddess Athena, as she shone in full splendor in the presence of the Olympian deities. At that time of lofty ideals, art was bestowing her rewards. There were sculptors who had striven to embody their highest conceptions, so when the master of masters, Phidias, began his work he was not alone in worthiness to place in temples statues that seemed instinct with a Divine presence. They were found to be worthy to be co-laborers with Phidias. Nos. 7510, 7515, 7516, 7517 and 7518. See. also 7580.
It can not be determined who made the two central statues of the west pediment of the Parthenon-Zeus and Athena-but it is known that the temple statue of Athena Parthenos was made by Phidias. It is also known that sublime as was the statue, it was transcended by the colossal statue made by Phidias for the temple at Olympia- the world renowned Jupiter Olympus, No. 7347. What was Phidias' conception of Zeus? Such conception as was vouchsafed to any soul that, spurning all things that are earthly, walking in the light of what he believes to be the highest truth, seeks Him whom he believes to be the highest god. When asked how it was possible for him to produce that mighty work, Phidias replied that Homer had for him his ideal. I shall never believe that Homer's conception of Zeus approached in moral purity and power that which Phidias' lofty character enabled him to conceive.
In seeking the ways of the highest truth, Phidias found possibilities that enriched the domain of art forever. His standards were truths that are universal, immortal, divine; hence the benediction on his work was celestial beauty, moral grandeur, divine majesty. Not a fragment of his almost divine statue has ever been found. The burial place of this immortal artist is unknown, but he has found God, for he sought only truth, and all truth leads Godward.
SECOND EPOCH. B. C. 370-330. HIGHEST PERIOD OF ART CONTINUED. ATTICA.
Changes had come to Attica. Beliefs had changed. The deities were now thought of as drawing near to men in pity and in sympathy. But ungrateful men, absorbed in pursuits of wealth or of pleasure, had lost the old fear and reverence for the gods. Beliefs having changed, ideals changed, art changed. It was a time of beauty, but of a beauty that lay in the way of pleasant going. The beliefs were not those of Phidias. The art was the art of Scopas and Praxiteles. We rejoice that this time of beauty came, for beauty in art, as in all things, " has its own excuse for being" and has its own reward. Nos. 7547 to 7550.
In this imperfect outlining of the development of Greek art, we have endeavored to note the race influences that have helped to determine art creations. We have been obliged to dwell too lightly upon the historic events that necessarily modified all
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national interests, but we have purposed bringing into clear light the intricate, almost vital relations between the mythology and the art of ancient Hellas.
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