external realities and the exhibition of what are manifestly illusions.

When faulty memory is brought into play, the distortions become even more manifest, and the vagaries of the post-illusionists find therein their full expression. The conscious state of a person receiving impressions in the domain of one sense only has been termed "impressionism." The impressionist pretends to see before him merely masses of color and light in varying qualities and degrees of intensity. In disease, purely optical perceptions may occur without any activity of the highest centers of ideation. This is also one of the first steps towards atavism. The concept is absent, and nothing remains but a simple sense stimulation. The undeveloped or mystically confused thought which exists. in savages is fully exemplified in the childish or crazy atavistic anthropomorphism and symbolism so prevalent among degenerates. A predilection for coarseness in line or color is symptomatic of degeneration, and obsessional explosions of obscenities, so characteristic of some forms of mental decay, show themselves as "coprographia”— i. e., pertaining to lust, filth, or obscenity.

Most paranoiacs (deluded persons), who, as a rule, do not suffer from disorders of their physical or co-ordinate mechanism, present in their artistic works manifestations of genuine and fertile talent. In spite of the evident craziness of their ideas, their technique is usually too skilful to appeal to gaping simpletons as mysteries and revelations of genius. Their critics find in their works but little scope for the employment of words of empty sound and devoid of meaning. Asylums do not harbor such puppets, nor do their inmates in their intellectual darkness become the devotees of the snobs of fashion.

The egomaniac has but little sympathy with, or capacity to adapt himself to, nature and humanity. His perverted instincts render him anti-social even in matters of art. Real lunatics do not form a league of minds, for the simple reason that they are concerned only with their own individual states and experiences. Some feel a passionate predilection for all that is hideous and evil, others are all for good.

EGOMANIACS IN ART

The crude, barbarous splendor of the insane artist's productions is, as we have seen, often due to optical illusions. Egomaniacs sometimes become decadent, and surprise us by the increasing barbarity of their taste and technique. They banish from their horizon all that is natural and surround themselves by all that is artificial. Sometimes their perceptive powers are wholly inaccessible to the beauties of nature, or they suffer from a mania for contradiction of, or revolt from, the realities of things. The egomaniac regards himself as the superman; whereas he is often merely a plagiarist or parasite of the lowest grade of atavism. He sometimes becomes a post-illusionist, and subordinates his highest nervous centers and consciousness to the perceptive centers and instinct. Sensations are perceived by him, but they go no further. The primary impressions are reflected in their distorted state. The beautiful things in nature have for him no existence. He himself is the creator of all that is wonderful and good, and the reflections from his turbid

mind are, to his own way of thinking, examples of art for art's sake.

BORDERLAND IMITATORS, CRITICS, AND MALINGERERS AND THEIR EFFECTS ON SOCIETY

Borderland dwellers, Dégénérés Supérieurs, or Mattoids, comprise the hosts of those who follow, what they are foolishly told to believe to be, new eras in art. The insane person differs from the borderland dweller in that his insanity prevents him from adapting himself to, or following, any new fashion in art. They have this in common, however, their revolutionary effects on art may be not only pathetic, as evidences of ignorance and absurdity, but they may also be genuine. One point to be noticed is that borderland dwellers alone are inspired by the diseased ideas of the insane. As is the case with hypnotism, Christian Science, and many other crazes, neither the sane nor the insane is affected by them. The founder and his disciples may be sincere; but, sooner or later, the participants of the new doctrine form a rabble of incompetent imitators who lack initiative, and quacks who abuse their membership by reason of their greed for money or fame. These latter follow merely the dictates of their pockets and easily prey upon a too gullible public.

Sincere originators have ever been followed by dishonest intriguers, who invent beauties where none exist. None of these movements herald really new eras, being merely attempts to destroy or suppress the advances and acquirements of the age and endeavors to hark back to the past when the æsthetic sense and skill in technique were but ill-developed.

The insane, however, are emancipated from traditional discipline: they have, in fact, a contempt for traditional views of custom. Hence their de

parture from many of the ideals in art which for

thousands of years have become gradually matured and more or less fully established. This departure being neither foolery nor knavery, but merely degeneracy, there gathers round it no concourse of gaping imbeciles greedily seeking for revelations.

In asylum practise, neither mysticism, symbolism, nor any other "ism" finds a foothold for advancement, and inasmuch as lunatics are free from sordid motives they are harmless in their ignorance and segregated in their snobbishness. They do not found so-called intellectual or æsthetic movements and by futile babbling and twaddle seek to propagate what may be, as a matter of fact, nothing else than idiocy or humbug.

To the borderland critic who is ignorant of disease and its symptoms the works of degenerates are sometimes more than mere sources of amusement; they may serve to provide inspiration for his own unbalanced judgment. They are seldom deliberate swindlers who play up as quacks for the ultimate gain of money. The truly insane critic is usually definite and significant in his language, and he seldom seeks to cover his ignorance by volubility in the use of obscure and purposeless words. Such being the case, there is no scope for the promotion of bubble-company swindles in asylums, and there is never any danger of leading the public by the nose. The pseudo-artist is common in asylums and has aspirations which he is unable to justify; whereas pseudo-art is almost invariably the product of im

posture-i. e., in asylums pseudo-artists are numerous, but pseudo-art is rare. In the former, their performance is quite unequal to their desire; whereas, in the latter, the works are usually products of deceit. The unbounded egoism of lunatics also prevents them from discovering in the works of others beauties in what are evidently the lowest and most repulsive things.

That the works of insane artists may be crude, absurd, or vile matters little, so long as they exert no corrupting influence on society, and so long as society fully appreciates their pathological significance. Unfortunately, however, some creations which emanate from degenerates are revered by the borderland critic, blindly admired by the equally borderland public, and their real nature is not adequately dealt with by the correcting influence of the sane.

Moreover, the insane critic is honest in his criticisms, and views the works of his insane comrades of the brush with an honest and fearless eye and judges them from his own mental standpoint. Seldom or never does he conform to the artist's interpretations of nature, and, although he may recognize the artist as being an imbecile or dement, his courage seldom fails him in giving expression to his real convictions. This is characteristic of the insane, who know no fear, who have no conventionality or æsthetic fashion to conform to, and who have no axe to grind. Undoubtedly their intense egotism prevents them from perceiving their own shallowness and incompetence, and in asylums individualism pertains as in no other community. Seldom it is that the truly insane-those who have passed the borderland and have become certifiable lunatics-imitate each other in art. Rather do we find imitative tendencies in those who are technically and legally neither sane or insane-i. e., in that enormous class which comprises the "borderland." This rabble of hysterics, neurasthenics, weaklings and degenerates have nothing of their own to say, but, by means of a superficial and easily acquired dexterity, they imitate and falsify the feeling of masters in all branches of art, and not only do they injure true art but they also tend to vitiate good taste among the majority of mankind.

Among this class are also to be found vast numbers of incompetent critics who, for reasons best known to themselves, welcome these bunglers of the brush and encourage-although inimical to society-abuses of true art which are in reality but instances of mean childishness and demoralization.

To the physician who has devoted himself to the special study of nervous and mental maladies there is seldom any difficulty in recognizing at a glance the manifestations of shamming degeneracy or of malingering. That there should be malingerers in art is, nevertheless, a question open to discussion. That malingering in art should occur in true degeneracy, apart from hysterical simulation, would appear improbable, and certain it is that in asylum

practise there is but little evidence in favor of such a supposition. In malingering post-illusionism there is usually some evidence of higher mental activity, as shown by the artists' knowledge of the theory of color vision, a knowledge of which they freely avail themselves in order to falsify the objective realities before them.

Stigmata of degeneration are not confined merely to artists and their works. Critics who fall into raptures and exhibit vehement emotions over works which are manifestly ridiculous and degrading are themselves either imposters or degenerates. Excessive emotionalism is a mental stigma of degeneration, and Max Nordau's criticisms apply very aptly to some critics whose own excitabilities appear to them to be marks of superiority. They believe themselves to be possessed by a peculiar spiritual insight lacking in other mortals, and they are fain to despise the vulgar herd for the dulness and narrowness of their minds.

"The unhappy creature," says Nordau, "does not suspect that he is conceited about a disease and boasting of a derangement of the mind; and certain silly critics when, through fear of being pronounced deficient in comprehension, they make desperate efforts to share the emotions of a degenerate in regard to some insipid or ridiculous production, or when they praise in exaggerated expressions the beauties which the degenerate asserts he finds therein, are unconsciously simulating one of the stigmata of semi-insanity."

THE REMEDY

The insane art critic never asks himself "what sort of a bad joke is this?-what does this artist want me to believe."

Morbid aberrations may serve as casual factors in the production of what is sensual, ugly, and loathsome in art, and without doubt the artists may have been quite genuine and sincere in their efforts; but, inasmuch as our asylums do not give shelter to all perpetrators of such mockeries or travesties of good taste and morality, it is difficult to suggest a remedy or means whereby they can be suppressed.

The insane art critic who scribbles incoherent nonsense for his fellow-sufferers is simply to be pitied and treated as an honest imbecile and not to be punished as a rogue. If he sees hidden meanings in mystically blurred and scarcely recognizable objects, the misfortune, and not the fault, is his, and for what to us may be abominable, ignoble, or laughable he may have some subtle sympathy or affection.

The borderland critics, however, must ever run the risk of being classed with rogues or degenerates. How best to treat then is another matter. From motives of humanity, we are prompted to aid in the survival of those who are biologically unfit; but, with regard to the encouragement, or even toleration, of degenerate art, there may be, with justice, quite another opinion.

Theo. B. Hyslop

Placed on Capitol, Washington, and Unveiled August, 1916

See page 41

THE sculpture in the three eastern pediments of the United States Capitol furnish interesting historical examples, illustrating the progress of this art and showing the artistic changes in technique and expression during a hundred years of the nation's life.

In 1825 John Quincy Adams took a personal interest in a group for the central pediment, securing for the work an Italian sculptor, Luigi Persico. Adams suggested the form and character of the composition, a central figure of America, flanked by sculpture representing Justice and Hope. This decoration resulted in three meagre spots in the open space of the pediment, with figures of little merit, although attempting to symbolize the spirit or duties of the nation.

In 1855 Thomas Crawford, one of the most noted American sculptors of his time, was commissioned to execute a group for the new eastern pediment of the Senate wing. He attempted a much more ambitious project than the sculpture shown in the central pediment. In the center he placed a figure of America. On the right he intended, as he says, to depict the elements of strength on which the country relies -the soldier, the merchant, the schoolmaster, the youth and the mechanic. On the left are the forerunners of civilization-the pioneer, the Indian hunter, the Indian warrior, Indian mother and babe. This group has the effect of a series of detached figures, strung along with little feeling of composition or beauty of line, out of scale, showing a want of thought as to the effect when placed at a height, and giving no consideration to the points of view from which it would be most often seen by visitors to the Capitol.

In February 1909 Mr. Paul W. Bartlett was commissioned to design a group for the House wing of the Capitol. For several years I have watched with great interest the progress of this important work, which, with its imposing position and national character will present a most valuable lesson in the sculpture of our time.

Mr. Bartlett had no easy problem to solve. Although he had a warning, indicating what to avoid in some of the glaring defects easily seen in many examples of decoration in pediments, there is little to be found offering an inspiration or suggestion for fitting decoration of this character. The architecture of the Capitol, being an example of eighteenth century Corinthian, is delicate and refined in its masses and details. The sculpture to harmonize with the building must embody this delicacy, and at the same time must be strong and forceful to attain dignity and interest. The sculpture, to be most effective, cannot dominate the wing of the building, it must become a decorative feature, enhancing and crowning the composition. In scale, form, spirit and texture it must be in keeping with the architectural elements.

The location of the Capitol facing due east calls

for an important front view. The majority of visitors see the Capitol Building and sculpture from an acute angle-north and south. This made it necessary for the sculptor to secure pleasing lines and good composition, so that the effect could be enjoyed from the southeast and northeast. Each group has a pleasing and distinct silhouette when viewed from an angle. Roundness and depth without unduly overhanging the architectural elements, was another one of the problems to solve.

The composition consists of a central figure, lighter in tone, classical in pose and drapery, with two groups, more realistic, one on the right, another on the left. The masses on each side of the central figure are again divided into two groups by the broad and simple surfaces and more or less freedom from deep shadows of the dividing sculpture. This may be easily appreciated by observing the broad surface of cloth in the weaver's hands separating the groups on the right, and the side of the ox dividing the composition on the left. This method of emphasizing the decoration by arranging his groups to produce light masses contrasting with darker masses is, if I am not mistaken, new with Mr. Bartlett's work on the Capitol. It adds value to the composition by a broad play of light and shade.

The gradual diminishing height of the figures, made necessary by the form of the pediment, is obtained by difference in attitude, and not by decreasing the size of the figure. The whole produces a rhythmical flow of line in the mass from the center to the corners. The sculpture, with the exception of the symbolic figure, is semi-realistic and American in type, avoiding the banality of expressing American ideals by classical forms.

The central figure symbolizes Peace. On her right are groups representing the mechanic arts, and on her left are groups depicting agriculture. This sculpture, representing, as it does, agriculture and mechanics, emphasizes the importance of the two great elemental factors in the nation's life and prosperity. The way in which the figures and groups are individualized and yet are bound together in one composition, by just the right amount of contrast between light and shade, and the intertwining of subordinate ornaments depicting the implements and fruits of agriculture on the one side, and the products and types of machinery on the other, makes the composition complete. The figures and their accessory decorations in both groups are semi-realistic, which makes it easy for the least imaginative to read the story they tell. The composition, individual lines, delicacy of treatment are in harmony with the refined architecture of the building.

The central figure, by the simplicity and classic. lines of her drapery, broad surfaces producing few shadows and the ornate character of her accessories, ties the two groups together and joins them happily with the Corinthian architecture. The two end