POSTER OR MASTER-PIECE

Many questioning patrons of Widener. Library will be made glad by the remarks quoted in this issue of the CRIMSON in regard to the mural decorations of the main stairway. Few Harvard men are able to avoid at least a weekly head-on exposure of these paintings and many of them are daily made to speculate upon the meaning concealed in the curiously flat expanse of paint that overlooks the turn of the stair. The more energetic and intellectually curious of its observers have no doubt many times been driven to enrolment in courses in the fine arts if for no other reason than a better understanding of the enigmatic Sargent. The more easily satisfied and perhaps more beotian of the student body dismiss the work as no good or at least negatively attractive and think no more about it.

But for the benefit of those who never can pass up the inside steps of Widener without a silent query intelligent discussion of this picture should be encouraged. The shadow of its creator is so strong as to have obscured whatever adverse criticism has been whispered by anyone worthy of being heard and the extant words in praise of the piece are made unconvincing by halting qualification. If the painting is as bad as Mr. Pachs says it is, there is nothing to be gained by holding it up as a master work of a great painter. Undoubtedly the most conspicuous work of art in Harvard College, it has potentially the greatest chance of influencing the taste of Harvard men.

If only as a service to those who take their Art seriously, the College can do nothing but good by airing all comment, both adverse and laudatory which may occur from time to time in regard to this painting. No harm can come to great things through the mouthings of little men and there is only benefit when an artificial mask of excellence is torn away by the competent critic.