The Dream City, Paul V. Galvin 
Digital History Collection
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  STATUARY IN CEMENT - As pottery plays the leading part in history - that is, as the art and culture, even the trace of man, may be deduced from the pottery which he has made - it is not impossible that future ages will read of the people of 1900 as the cement-makers. There will be a distinctive character to statues that were not chiseled. If this Venus of Milo, here represented, shall turn to stone as hard as the Idaho petrefactions, so that no sculptor could, by the most patient toil, overcome its resistance; or if the mounds of the future shall deliver to the Schliemanns of that time this Venus of Medici, or this Bacchante, or Gambrinus, or Penelope; or this noble lion or his mate, the lioness, or the Emperor Frederick, it cannot fail that the scientist will discern the potter's rather than the sculptor's art. These statues are all cast in cement. When the sculptors shall discover a material that will harden into ivory-Carrara marble we shall then have reached the height of this potter's age, and may hope to pose as people of the highest civilization before the coming generations. Everything here is cement; and because all is not made with artistic love and patience, we see the highest thoughts of art consorting with the meanest forms. Because the base and the comic were easy to make and quick to sell, we see them here, casting disrepute on cheap but beautiful Milo and Medici. As in the statue of Germania, Portland cement was used for these figures.
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Digital History Collection
Page created: August 26, 1998