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THREE DAYS TO SEE (page 7)
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My hands have lingered upon the living marble of Roman sculpture as well as
that of later generations. I have passed my hands over a plaster cast of
Michelangelo's inspiring and heroic Moses; I have sensed the power of Rodin; I
have been awed by the devoted spirit of Gothic wood carving. These arts which
can be touched have meaning for me, but even they were meant to be seen rather
than felt, and I can only guess at the beauty which remains hidden from me. I
can admire the simple lines of a Greek vase, but its figured decorations are
lost to me.
So on this, my second day of sight, I should try to probe into the soul of man
through his art. The things I knew through touch I should now see. More
splendid still, the whole magnificent world of painting would be opened to me,
from the Italian Primitives, with their serene religious devotion, to the
Moderns, with their feverish visions. I should look deep into the canvases of
Raphael, Leonardo da Vinci, Titian, Rembrandt. I should want to feast my eyes
upon the warm colors of Veronese, study the mysteries of El Greco, catch a new
vision of Nature from Corot. Oh, there is so much rich meaning and beauty in
the art of the ages for you who have eyes to see!
Upon my short visit to this temple of art I should not be able to review a
fraction of that great world of art which is open to you. I should be able to
get only a superficial impression. Artists tell me that for a deep and true appreciation of art one must educate the eye. One
must learn through experience to weigh the merits of line, of composition, of
form and color. If I had eyes, how happily would I embark upon so fascinating a
study! Yet I am told that, to many of you who have eyes to see, the world of
art is a dark night, unexplored and unilluminated.
It would be with extreme reluctance that I should leave the Metropolitan
Museum, which contains the key to beauty—a beauty so neglected. Seeing
persons, however, do not need a Metropolitan to find this key to beauty. The
same key lies waiting in smaller museums, and in books on the shelves of even
small libraries. But naturally, in my limited time of imaginary sight, I should
choose the place where the key unlocks the greatest treasures in the shortest
time.
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