PART THREE INTELLECTUAL LIFE (continued 4)

There is a strong lyric tendency also in the dramatic compositions of the day. The true drama has always been more neglected than any other branch of art, and if it is true that the Americans have preserved the temperament and point of view of Elizabethan England, it is high time for some American Shakespeare to step forth. Until now, extremely few plays of real literary worth have been written between the Atlantic and the Pacific Oceans. Dramatists there have been always, and the stage is now more than ever supplied by native talent; but literature is too little 472considered here. The rural dramas having the local colour of Virginia and New England are generally better than the society pieces: and the very popular dramatizations of novels are stirring, but utterly cheap. On the other hand, the American has often applied the lyric gift in dramatic verse, and in dramas of philosophic significance such as Santayana’s admirable “Lucifer” or Moody’s “Masque of Judgment.” The stunted growth of American dramatic writing is closely connected with the history of the American stage, a subject which may lead us from literature to the sister arts.

473

CHAPTER NINETEEN Art

The history of the theatre leads us once more back to Puritan New England. Every one knows that the Puritan regarded the theatre as the very temple of vice, and the former association of the theatre and the bar-room—a tradition that came from England—naturally failed to make public opinion more favourable. In the year 1750 theatrical productions were entirely forbidden in Boston. One theatre was built in 1794, and a few others later, but the public feeling against demoralizing influences of the stage so grew that one theatre after another was turned from its profane uses and made over into a lecture hall or something of the sort. In 1839 it was publicly declared that Boston should never again have a theatre. Nevertheless by 1870, it had five theatres, and to-day it has fifteen. Other cities have always been more liberal toward the theatre, and in the city of New York, since 1733, ninety-five theatres have been built, of which more than thirty are still standing to-day and in active operation. Thus the Puritan spirit seems long since to have disappeared, and the backwardness of the drama seems not to be connected with the religious past of the country. But this is not the case.

Let us survey the situation. There is certainly no lack of theatres, for almost every town has its “opera house,” and the large cities have really too many. Nor is there any lack of histrionic talent; for, although the great Shakespearian actor, Edwin Booth, has no worthy successor, we have still actors who are greatly applauded and loved—Mansfield, Sothern, Jefferson, Drew, and Gillette; Maude Adams, Mrs. Fiske, Blanche Bates, Henrietta Crosman, Julia Arthur, Julia Marlowe, Ada Rehan, Nance O’Neill, and many others who are certainly sincere artists; and the 474most brilliant actors of Europe, Irving and Tree, Dusé, Bernhardt, Sorma, and Campbell come almost every year to play in this country. The American’s natural versatility gives him a great advantage for the theatrical career; and so it is no accident that amateur theatricals are nowhere else so popular, especially among student men and women. The equipments of the stage, moreover, leave very little to be desired, and the settings sometimes surpass anything which can be seen in Europe; one often sees marvellous effects and most convincing illusions. And these, with the American good humour, verve, and self-assurance, and the beauty of American women, bring many a graceful comedy and light opera to a really artistic performance. The great public, too, is quite content, and fills the theatres to overflowing. It seems almost unjust to criticise unfavourably the country’s theatres.

But the general public is not the only nor even the most important factor; the discriminating public is not satisfied. Artistic productions of the more serious sort are drowned out by a great tide of worthless entertainments; and however amusing or diverting the comedies, farces, rural pieces, operettas, melodramas, and dramatized novels may be, they are thoroughly unworthy of a people that is so ceaselessly striving for cultivation and self-perfection. Such pieces should not have the assurance to invade the territory of true art. And, although the lack of good plays is less noticeable, if one looks at the announcements of what is to be given in New York on any single evening, it is tremendously borne home on one by the bad practice of repeating the plays night after night for many weeks, so that a person who wants to see real art has soon seen every production which is worth while. In this respect New York is distinctly behind Paris, Berlin, or Vienna, although about on a level with London; and in the other large cities of America the situation is rather worse. Everywhere the stage caters to the vulgar taste, and for one Hamlet there are ten Geishas.

It cannot be otherwise, since the theatre is entirely a business matter with the managers. Sometimes there is an artist like the late Daly, who is ready to conduct a theatre from the truly artistic point of view, and who offers admirable performances; but this is an expensive luxury, and there are few who will afford it. It is a question of making money, and therefore of offering humorous 475or sentimental pieces which fill the theatre. There is another fact of which the European hardly knows; it is cheaper to engage a company to play a single piece for a whole year with mechanical regularity than to hire actors to give the study necessary to a diversified repertoire. After many repetitions, even mediocre actors can attain a certain skill, while in repertoire only good actors are found at all satisfactory, and the average will not be tolerated by the pampered public. Then, too, the accessories are much cheaper for a single piece.

Now, in a town of moderate size, one piece cannot be repeated many nights, so that the companies have to travel about. The best companies stay not less than a week, and if the town is large enough, they stay from four to six weeks. These companies are known by the name of the piece which they are presenting, or by the name of the leading actor, the “star.” The theatre in itself is a mere tenantless shell. In early fall the whole list of companies which are to people its stage through the next thirty weeks is arranged. In this way, it is true that the small city is able to see the best actors and the newest pieces. Yet one sees how sterile this principle is by considering some of the extreme cases. Jefferson has played his Rip Van Winkle and almost nothing else for thirty years; and the young people of Chicago, Philadelphia, and Boston would be very unhappy if he were not to come in this rôle for a couple of weeks every winter. And he has thus become several times a millionaire.

But the business spirit has not stopped with this. The hundreds of companies compete with one another, so that very naturally a theatrical trust has been formed. The syndicate of Klaw, Erlanger & Frohman was organized in 1896 with thirty-seven leading theatres in large cities, all pledged to present none but companies belonging to the syndicate, while, in return, the syndicate agreed to keep the theatres busy every week in the season. The favourite actors and the favourite companies were secured, and the independent actors who resisted the tyranny found that in most of the large cities only second-rate theatres were open to them. One after another had to give in, and now the great trust under the command of Frohman has virtually the whole theatrical business of the country in its hands. The trust operates shrewdly and squarely; it knows its public, offers variety, follows 476the fashions, gives the great mimes their favourite rôles, pays them and the theatre owners well, relieves the actors from the struggle for promotion, and vastly amuses the public. It is impossible to resist this situation, which is so adverse to art.

All are agreed that there is only one way to better matters. Permanent companies must be organized, in the large cities at first, to play in repertoire. And these must be subsidized, so as not to be dependent for their support on the taste of the general public. Then and then only will the dramatic art be able to thrive, or the theatre become an educational institution, and so slowly cultivate a better demand, which in the end will come to make even the most eclectic theatre self-supporting. So it has always been on the European Continent; princes and municipalities have rivalled with one another to raise the level of dramatic art above what it would have to be if financially dependent solely on the box-office. In the United States there is certainly no lack of means or good will to encourage such an educational institution. Untold millions go to libraries, museums, and universities, and we may well ask why the slightest attempt has not been made to provide, by gift or from the public treasury, for a temple to the drama.

It is just here that the old Puritan prejudice is still felt to-day. The theatre is no longer under the ban of the law, but no step can be taken toward a subvention of the theatre. Most taxpayers in America would look with disfavour on any project to support a theatre from public funds. Why a theatre more than a hotel or restaurant? The theatre remains a place of frivolous amusement, and for that reason no millionaires have so far endowed a theatre. Men like Carnegie know too well that the general mass of people would blame them if they were to give their millions to the theatre, as long as a single town was still wishing for its library or its college.

The history of music in America has shown what can be attained by endowment—how the public demand can be educated so that even the very best art will finally be self-supporting. The development of the Boston Symphony Orchestra, which is still the best musical organization in the country, is thoroughly typical. It was realized that symphony concerts, like the best given in Germany, would not be self-supporting, in view of the 477deficient musical education of the country. In 1880 Boston had two symphony orchestras, but both were of little account. They were composed of over-busied musicians, who could not spare the time needed for study and rehearsals. Then one of the most liberal and appreciative men of the country, Henry Lee Higginson, came forward and engaged the best musicians whom he could find, to give all their time and energy to an orchestra; and he himself guaranteed the expenses. During the first few years he paid out a fortune annually, but year by year the sum grew less, and to-day Boston so thoroughly enjoys its twenty-four symphony concerts, which are not surpassed by those of any European orchestra, that the large music-hall is too small to hold those who wish to attend. This example has been imitated, and now New York, Chicago, Philadelphia, and other cities have excellent and permanent orchestras.

Likewise various cities, but especially New York, enjoy a few weeks of German, French, and Italian opera which is equal to the best opera in Europe, by a company that brings together the best singers of Europe and America. In the case of opera the love of music has prevailed over the prejudice against the theatre. Extraordinarily high subscriptions for the boxes, and a reduced rental of the Metropolitan Opera House, which was erected by patrons of art, have given brilliant support to the undertaking. Without going into questions of principle, an impartial friend of music must admit that even the performances of Parsifal were artistically not inferior to those of Bayreuth, and the audience was quite as much in sympathy with the great masterpiece as are the assemblages of tourists at Bayreuth. The artistic education proceeding from these larger centres is felt through the entire country, and there is a growing desire for less ambitious but permanent opera companies.

The symphony and the opera are not the only evidences of the serious love of music in America. Every large city has its conservatory and its surplus of trained music teachers, and almost every city has societies which give oratorios, and innumerable singing clubs, chamber concerts, and regular musical festivals. Even the concerts by other soloists than that fashionable favourite of American ladies, Paderewski, are well attended. And these are not new movements; opera was given in New York as early 478as 1750, and the English opera of the eighteenth century was followed in 1825 by Italian opera. Also Baltimore, Philadelphia, and New Orleans early developed a love for music.

Boston has been the great centre for oratorio. The Händel and Haydn Society dates from 1810, and in 1820 a great many concerts were given all through the East, even in small towns. And the influence of the musical Germans was strongly felt by the middle of the century. The Germania Orchestra of Boston was founded in 1848, and now all the Western cities where German influences are strong, such as Milwaukee, Cincinnati, Chicago, and St. Louis, are centres of music, with many male choruses and much private cultivation of music in the home.

The churches, moreover, are a considerable support to music. The Puritan spirit disliked secular music no less than the theatre; but the popular hymns were always associated with the service of God, and so the love for music grew and its cultivation spread. Progress was made from the simplest melodies to fugue arrangements; organs and stringed instruments were introduced; the youth was educated in music, and finally in the last century church worship was made more attractive by having the best music obtainable. And thus, through the whole country, chorus and solo singing and instrumental skill have been everywhere favoured by the popular religious instinct.

So much for the performance of music. Musical composition has not reached nearly such a high point. It is sufficient to look over the programmes of recent years. Wagner leads among operatic composers, then follow Verdi, Gounod, and Mozart; Beethoven is the sovereign of the concert-hall, and The Messiah and The Creation are the most popular oratorios. Sometimes a suspicion has been expressed that American composers must have been systematically suppressed by the leading German conductors like Damrosch, Seidl, Gericke, Thomas, and Paur. But this is not remotely true. The American public is much more to be blamed; for, although so patriotic in every other matter, it looks on every native musical composition with distrust, and will hardly accept even the American singer or player until he has first won his laurels in Europe.

Still, there has been some composition in America. There were religious composers in the eighteenth century, and when everything 479English was put away at the time of the Revolution, the colonists replaced the psalm-tunes which they had brought over with original airs. Billings and his school were especially popular, although there was an early reaction against what he was pleased to call fugues. The nineteenth century brought forth little more than band-master music, with no sign of inspiration in real orchestral or operatic music. Only lately there have stepped into the field such eminent composers as MacDowell, Paine, Chadwick, Strong, Beech, Buck, Parker, and Foot. Paine’s opera of “Azara,” Chadwick’s overtures, and MacDowell’s interesting compositions show how American music will develop.

More popular was a modest branch of musical composition, the song in the style of folk-songs. America has no actual folk-songs. The average European imagines “Yankee Doodle” to be the real American song, anonymous and dreadful as it is, and in diplomatic circles the antiquated and bombastic “Hail Columbia” is conceived to be the official hymn of America. The Americans themselves recognize neither of these airs. The “Star Spangled Banner” is the only song which can be called national; it was written in 1814 to an old and probably English melody. The Civil War left certain other songs which stir the breast of every patriotic American.

On the other hand, folk-songs have developed in only one part of the country—on the Southern plantations—and with a very local colouring. The negro slaves sang these songs first, although it is unlikely that they are really African songs. They seem to be Irish and Scotch ballads, which the negroes heard on the Mississippi steamboats. Baptist and Methodist psalm-tunes and French melodies were also caught up by the musical negroes and modified to their peculiar melody and rhythm. A remarkable sadness pervades all these Southern airs.

Many song composers have imitated this most unique musical product of the country. In the middle of the century Stephen Foster rose to rapid popularity with his “Old Folks at Home,” which became the popular song, rivalled only by “Home Sweet Home,” which was taken from the text of an American opera, but of which the melody is said to have originated in Sicily. There are to-day all sorts of composers, some in the sentimental style and others in the light opera vein, whose street tunes are instantly 480sung, whistled and played on hurdy-gurdies from the Atlantic to the Pacific, and, worst of all, stridently rendered by the graphophones, with megaphone attachments, on verandahs in summer. There are composers of church hymns, of marches à la Sousa, and writers of piano pieces by the wholesale. All serious musicians agree that the American, unlike the Englishman, is decidedly musically inclined, but he is the incontestable master of only a very modest musical art—he can whistle as nobody else.

Unlike American music, American paintings are no longer strange to Europe. In the art division of the last Paris Exposition Americans took their share of the honours, and they are highly appreciated at most of the Berlin and Munich picture shows. Sargent and Whistler are the best known. Sargent, as the painter of elegant ladies, prosperous men, and interesting children, has undoubtedly the surest and most refined gift with his brush of any son of the New World. When, a few years ago, a large exhibition of his works was brought together in Boston, one felt on standing before that gathering of ultra-polite and almost living humanity, that in him the elegant world has found its most brilliant, though perhaps not its most flattering, transcriber. Whistler is doubtless the greater, the real sovereign. This most nervous of all artists has reproduced his human victims with positively uncanny perspicacity. Like Henry James, the novelist, he fathoms each human riddle, and expresses it intangibly, mysteriously. Everything is mood and suggestion, the dull and heavy is volatilized, the whole is a sceptical rendering in rich twilight tones.

America is proud of both artists, and still one may doubt whether the art of the New World would be justly represented if it sent across the ocean only these two pampered and somewhat whimsical artists. Firstly, in spite of much brilliant other work, they are both best known as portraitists, while it becomes plainer every day that landscape painting is the most typical American means of expression. The profound feeling for nature, which pervades American poetry and reflects the national life and struggle therewith, brings the American to study landscape. Many persons think even that if American artists were to send ever so many easel pictures across the ocean, the artistic public of Europe would still have no adequate judgment 481of American painting, because the best talent is busied with the larger pieces intended for wall decoration. The great number of monumental buildings, with their large wall surfaces and the desire for ambitious creations, attract the American to-day to wall-painting. And they try to strengthen the national character of this tendency by a democratic argument. The easel picture, it is said, is a luxury designed for the house of the wealthy and is, therefore, decadent, while the art of a nation which is working out a democracy must pertain to the people; and therefore just as early art adorned the temples and churches, this art must adorn the walls of public buildings, libraries, judicial chambers, legislatures, theatres, railway stations and city halls. And the more this comes to be the case, the less correct it is to judge the pinctile efforts of the time by the framed pictures that come into the exhibitions. Moreover, many of the more successful painters do not take the trouble to send any of their works across the ocean.

Sargent and Whistler also—and this is more important—speak a language which is not American, while the country has now developed its own grammar of painting, and the most representative artists are seldom seen in Europe. In painting, as in so many other branches, the United States has developed from the provincial to the cosmopolitan and from the cosmopolitan to the national, and is just now taking this last step. It is very characteristic that the untutored provincial has grown into the national only by passing through a cosmopolitan stage. The faltering powers of the beginner do not achieve a self-conscious expression of national individuality until they have first industriously and systematically imitated foreign methods, and so attained a complete mastery of the medium of expression.

At first the country, whose poor population was not able to pay much attention to pictures, turned entirely to England. West and Copley are the only pre-Revolutionary Americans whose pictures possess any value. The portraits of their predecessors—as, for instance, those in Memorial Hall at Harvard—are stiff, hard, and expressionless. Then came Gilbert Stuart at the end of the eighteenth century, whose portraits of George and Martha Washington are famous, and who showed himself an artistic genius and quite the equal of the great English portraitists. John 482Trumbull, an officer in the Revolutionary Army, who lived at the same time, was still more important for the national history by his war pictures, the best of which were considerably above contemporary productions. The historical wall-paintings which he made in 1817, for the Capitol at Washington, are in his later and inferior manner. They seem to-day, like everything which was done in the early part of the century to decorate the Capitol, hackneyed and tiresome. And if one goes from the Capitol to the Congressional Library, which shows the condition of art at the end of the nineteenth century, one feels how far the public taste of Trumbull’s time was from appreciating true art. Portraiture was the only art which attained tolerable excellence, where, besides Stuart, there were Peale, Wright, and Savage. Then came the day of the “American Titian,” Allston, whose Biblical pictures were greatly praised for their brilliant colouring.

Hitherto artists had gone to England to study or, indeed, sometimes to Italy. In the second third of the century they went to Düsseldorf; they painted American landscapes, American popular life, and historical pictures of American heroes, all in German fashion. They delighted in genre studies in the Düsseldorf manner, and painted the Hudson River all bathed in German moonlight. While the popular school was still painting the world in blackish brown, the artistic secession began at about the time of the Civil War. Then artists began to go to Paris and Munich, and American painting developed more freely. It was a time of earnest, profound, and independent study such as had so far never been. The artist learned to draw, learned to see values, and, in the end, to be natural. The number of artists now began to increase, and to-day Americans produce thousands of pictures each year, and one who sees the European exhibitions in summer and the American in winter does not feel that the latter are on a much lower level.

Since Allston’s time the leaders in landscape have been Cole, Bierstadt, Kensett, and Gifford; in genre, Leslie, Woodville, and particularly Mount; in historical painting, Lentze and White; and in portraiture, Inman and Elliott. The first who preached the new doctrine of individuality and colour was Hunt, and in the early seventies the new school just graduated from Paris and Munich was bravely at work. There are many well-known 483names in the last thirty years, and it is a matter rather of individual choice what pictures one prefers of all the large number. Yet no one would omit George Inness from the list, since he has seen American landscapes more individually than any one else. Besides his pictures every one knows the marines of Winslow Homer, the street scenes of Childe Hassam, the heads of Eaton, the autumn forests of Enneking, the apple trees in spring-time of Appleton Brown, the delicate landscapes of Weir and Tryon, the wall pictures of Abbey, Cox, and Low, Gaugengigl’s little figure paintings, Vedder’s ambitious symbolism, the brilliant portraits of Cecilia Beaux and Chase, the women’s heads of Tarbell, the ideal figures of Abbot Thayer, and the works of a hundred other American artists, not to mention those who are really more familiar in London, Paris, and Munich than in America itself.

Besides the oil pictures, there are excellent water-colours, pastelles, and etchings; and, perhaps most characteristic of all, there is the stained glass of La Farge, Lathrop, the late Mrs. Whitman, Goodhue, and others. The workers in pen-and-ink are highly accomplished, of whom the best known is Gibson, whose American women are not only artistic, but have been socially influential on American ideals and manners. His sketches for Life have been themselves models for real life. Nor should we forget Pennell, the master of atmosphere in pen-and-ink.

Sculpture has developed more slowly. It presupposes a higher understanding of art than does painting; and, besides that, the prudishness of the Puritan has affected it adversely. When John Brazee, the first American amateur sculptor, in the early part of the nineteenth century, asked advice of the president of the New York Academy of Arts, he was told that he would better wait a hundred years before practicing sculpture in America. The speech admirably showed the general lack of interest in plastic art. But the impetuous pressure toward self-perfection existing in the nation shortened the century into decades; people began to journey through Italy. The pioneers of sculpture were Greenough, Powers, Crawford, and Palmer, and their statues are still valued for their historical interest. The theatrical genre groups of John Rogers became very popular; and Randolph Rogers, who created the Columbus bronze doors of the Capitol, 484was really an artist. Then came Storey, Ball, Rinehart, Hosmer, Mead, and many others with works of greater maturity. Squares and public buildings were filled with monuments and busts which, to be sure, were generally more interesting politically than artistically, and which to-day wait patiently for a charitable earthquake. And yet they show how the taste for plastic art has slowly worked upward.

More recent movements, which are connected with the names of Ward, Warner, Partridge, French, MacMonnies, and St. Gaudens, have already left many beautiful examples of sculpture. Cities are jealously watchful now that only real works of art shall be erected, and that monuments which are to be seen by millions of people shall be really characteristic examples of good art. More than anything else, sculpture has at length come into a closer sympathy with architecture than perhaps it has in any other country. The admirable sculptural decorations of the Chicago World’s Fair, the effective Dewey Triumphal Arch and the permanent plastic decorations of the Congressional Library, the more restrained and distinguished decorations of the Court of Appeals in New York City, and of many similar buildings show clearly that American sculpture has ended its period of immaturity. Such a work as St. Gaudens’s Shaw Memorial in Boston is among the most beautiful examples of modern sculpture; and it is thoroughly American, not only because the negro regiment marches behind the mounted colonel, but because the American subject is handled in the American spirit. These men are depicted with striking vigour, and the young hero riding to his death is conceived with Puritan sobriety. Vigorous and mature is the American, in plastic art as well as in poetry.

The development of architecture has been a very different one. A people must be housed, and cannot stay out of doors until it has learned what is beautiful in architecture. People could wait for poetry, music, and painting while they were busy in keeping off the Indians and felling the forests; but they had to have houses at once. And since at that time they had no independent interests in art, they imitated forms with which they had been familiar, and everywhere perpetuated the architectural ideas of their mother country. But the builder is at a disadvantage beside the painter, the singer, and the poet, in that when he imitates 485he cannot even do that as he will, but is bound down by climate, by social requirements, and especially by his building material. And when he is placed in new surroundings, he is forced to strike out for himself.

Although the American colonist remained under the influence of English architecture, his environment forced him in the first place to build his house of wood instead of stone as in England, and in wood he could not so easily copy the pattern. It had to be a new variation of the older art. And so architecture, although it more slavishly followed the mother country than any other art, was the earliest to strike out in some respects on an independent course. It borrowed its forms, but originated their applications; and while it slowly adopted new ideas of style and became gradually free of European styles, it became free even earlier in their technical application, owing to the new American conditions. More than any other feature of her civilization, American architecture reveals the entire history of the people from the days when the Puritans lived in little wooden villages to the present era of the sky-scraper of the large cities; and in this growth more than in that of any other art the whole country participates, and specially the West, with its tremendous energy, which is awkward with the violin-bow and the crayon but is well versed in piling stone on stone.

In colonial days, English renaissance architecture was imitated in wood, a material which necessitated slender columns and called for finer detail and more graceful lines than were possible in stone. One sees to-day, especially in the New England States, many such buildings quite unaltered; and the better of these in Salem, Cambridge, and Newport are, in spite of their lightness, substantial and distinguished as no European would think possible in so ordinary a material as wood. Large, beautiful halls, with broad, open staircases and broad balusters, greet the visitor; large fireplaces, with handsomely carved chimney-pieces, high wainscotings on the walls and beautiful beams across the ceilings. The more modest houses show the same thing on a smaller scale. There was this one style through the whole town, and its rules were regarded as canonical. In certain parts of the country there were inconspicuous traces of Spanish, French, and Dutch influence, which survive to-day in many places, especially in 486the South, and contribute to the picturesqueness of the architectural whole.

After the Revolutionary period, people wished to break with English traditions, and the immigration from many different countries brought a great variety of architectural stimulation. A time of general imitation had arrived, for in architecture also the country was to grow from the provincial to the national through a cosmopolitan stage. At the end of the eighteenth century, architecture was chiefly influenced by the classic Greek. Farmhouses masqueraded as big temples, and the thoughtless application of this form became so monotonous that it was not continued very long in private houses. Then the Capitol at Washington was begun by Latrobe and finished by the more competent Bulfinch, and it became the model for almost all state capitols of the Union. Bulfinch himself designed the famous State House of Massachusetts, but it was the Puritan spirit of Boston which selected the austere Greek temple to typify the public spirit. The entire century, in spite of many variations, stood under this influence, and until recently nobody has ventured to put up a civil structure in a freer, more picturesque style.

Many of these single state capitols built during the century, such as the old one at Albany, are admirable; while the post-offices, custom-houses, and other buildings dedicated to federal uses have been put up until recently cheaply and without thought. Lately, however, the architect has been given freer play. Meanwhile taste had wandered from the classic era to the Middle Ages, and the English Gothic had come to be popular. The romantic took the place of the classic, and the buildings were made picturesque. The effect of this was most happy on church edifices, and about the middle of the century Richard Upjohn, “the father of American architecture,” built a number of famous churches in the Gothic style.

But in secular edifices this spirit went wholly to architectural lawlessness. People were too little trained to preserve a discipline of style along with the freedom of the picturesque. And even more unfortunate than the lack of training of the architect, who committed improprieties because uncertain in his judgment, there was the tastelessness of the parvenu patron, and this particularly in the West. Then came the time of unrest and vulgar 487splurge, when in a single residential street palaces from all parts of the world were cheaply copied, and just as in Europe forgotten styles were superficially reproduced. The Queen Anne style became fashionable; and then native colonial and Dutch motives were revived.

This period is now long past. The last twenty-five years in the East and the last ten years in the West have seen this tasteless, hap-hazard, and ignorant experimenting with different styles give place to building which is thoughtful, independent, and generally beautiful; though, of course, much that is ugly has continued to be built. Architecture itself has developed a careful school, and the public has been trained by the architects. Of course, many regrettable buildings survive from former periods, so that the general impression to-day is often very confused; but the newer streets in the residential, as well as the business, portions of cities and towns display the fitting homes and office buildings of a wealthy, independent, and art-loving people. In comparison with Europe, a negative feature may be remarked; namely, the notable absence of rococo tendencies. It is sometimes found in interior decorations, but never on exteriors.

The positive features which especially strike the European are the prevalence of Romanesque and of the sky-scrapers. The round arch of the Romans comes more immediately from southern France; but since its introduction to America, notably by the architectural genius Richardson, the round arch has become far more popular than in Europe, and has given rise to a characteristic American style, which is represented to-day in hundreds of substantial buildings all over the country. There is something heavy, rigid, and at the same time energetic, in these great arches resting on short massive columns, in the great, pointed, round towers, in the heavy balconies and the low arcades. The primitive force of America has found its artistic expression here, and the ease with which the new style has adapted itself to castle-like residences, banks, museums, and business houses, and the quickness with which it has been adopted, in the old streets of Boston as in the newer ones of Chicago and Minneapolis, all show clearly that it is a really living style, and not merely an architectural whim.

The Romanesque style grew from an artistic idea, while the 488sky-scraper has developed through economic exigencies. New York is an island, wherefore the stage of her great business life cannot be extended, and every inch has had to be most advantageously employed. It was necessary to build higher than commercial structures have ever been carried in Europe. At first these buildings were twenty stories high, but now they are even thirty. To rest such colossal structures on stone walls would have necessitated making the walls of the lower stories so thick as to take up all the most desirable room, and stone was therefore replaced by steel. The entire structure is simply a steel framework, lightly cased in stone. Herewith arose quite new architectural problems. The subdivision of the twenty-story façade was a much simpler problem than the disposal of the interior space, where perhaps twenty elevators have to be speeding up and down, and ten thousand men going in and out each day. The problem has been admirably solved. The absolute adaptation of the building to its requirements, and its execution in the most appropriate material—namely, steel and marble—the shaping of the rooms to the required ends, and the carrying out of every detail in a thoroughly artistic spirit make a visit to the best office buildings of New York an æsthetic delight. And since very many of these are now built side of one another, they give the sky-line of the city a strength and significance which strike every one who is mature enough to find beauty in that to which he is not accustomed. When the problem had once been solved, it was natural for other industrial cities to imitate New York, and the sky-scraper is now planted all over the West.

American architecture of to-day is happily situated, because the population is rapidly growing, is extraordinarily wealthy, and seriously fond of art. An architect who has to be economical, must make beauty secondary to utility. In the western part of the country, considerable economy is often exercised and mostly in the very worst way. The pretentious appearance of the building is preserved, but the construction is made cheap; the exterior is made of stucco instead of stone, and the interior finish is not carved, but pressed. This may not, after all, be so much for the sake of economy, as by reason of a deficient æsthetic sense. People who would not think of preferring a chromo-lithograph to an oil-painting do not as yet feel a similar distinction between 489architectural materials. For the most part, however, the buildings now erected are rich and substantial. The large public and semi-public buildings, court-houses and universities, state capitols and city halls, libraries and museums are generally brilliant examples of architecture. The same is true of the buildings for industrial corporation, offices, banks, hotels, life-insurance companies, stock-exchanges, counting-houses, railway stations, theatres and clubs, all of which, by their restrained beauty, inspire confidence and attract the eye. These are companies with such large capital that they never think of exercising economy on their buildings. The architect can do quite as he likes. New York has a dozen large hotels, each one of which is, perhaps, more splendid in marble and other stones than any hotel in Europe; and while Chicago, Boston, and other cities have fewer such hotels, they have equally handsome ones.

The fabulously rapid and still relatively late growth of handsome public buildings in the last decade is interesting from still another point of view. It reveals a trait in the American public mind which we have repeatedly contrasted with the thought of Europe. American ambitions have grown out of the desire for self-perfection. The American’s own person must be scrupulously, neatly, and carefully dressed, his own house must be beautiful; and only when the whole nation, as it were, has satisfied the needs of the individual can æsthetic feeling go out to the community as a whole—from the individual persons to the city, from the private house to the public building. It has been exactly the opposite on the European Continent. The ideal individual was later than the ideal community. Splendid public buildings were first put up in Europe, while people resided in ugly and uninviting houses.

There was a period in which the American did not mind stepping from his daily bath, and going from his sumptuous home immaculately attired to a railway station or court-house which was screamingly hideous and reeking with dirt. And similarly there was a time in which the Germans and the French moved in and out of the wonderful architectural monuments of their past in dirty clothing, and perhaps without having bathed for many days. In Germany the public building has influenced the individual, and eventually worked toward beautifying his house. In America the individual and the private house have only very 490slowly spread their æsthetic ideals through the public buildings. The final results in both countries must be the same. There is exactly the same contrast in the ethical field; whereas in Germany and France public morals have spread into private life, in America individual morals have spread into public life. As soon as the transition has commenced it proceeds rapidly.

In Germany few private houses are now built without a bathroom, and in America few public buildings without consideration for what is beautiful. The great change in railway stations indicates the rapidity of the movement. Even ten years ago there were huge car-sheds in the cities, and little huts in country districts, which so completely lacked any pretensions to beauty that æsthetic criticism was simply out of place. Now, on the contrary, most of the large cities have palatial stations, of which some are among the most beautiful in the world, and many railway companies have built attractive little stations all along their lines. As soon as such a state of things has come about, a reciprocal influence takes place between the individual and the communal desire for perfection, and the æsthetic level of the nation rises daily. So, too, the different arts stimulate one another. The architect plans his work from year to year more with the painter and sculptor in mind, so that the erection of new buildings and the growth and wealth of the people benefit not merely architecture, but the other arts as well.

Still other factors are doing their part to elevate the artistic life of the United States. And here particularly works the improved organization of the artistic professions. In former times, the true artist had to prefer Europe to his native home, because in his home he found no congenial spirits; this is now wholly changed. There is still the complaint that the American cities are even now no Kunststädte; and, compared with Munich or with Paris, this is still true. But New York is no more and no less a Kunststädte than is Berlin. In all the large cities of America the connoisseurs and patrons of art have organized themselves in clubs, and the national organizations of architects, painters, and sculptors, have become influential factors in public life; and the large art schools with well-known teachers and the studios of private masters have become great centres for artistic endeavour. A general historical study of architecture has even been introduced in universities, and 491already the erection of a national academy of art is so actively discussed that it will probably be very soon realized. Certainly every American artist will continue to visit Europe, as every German artist visits Italy; but all the conditions are now ripe in America for developing native talent on native soil.

The artistic education of the public is not less important nor far behind the professional education of the artist. We have discussed the general appreciation of architecture, and the same public education is quietly going on in the art museums. Of course, the public art galleries of America are necessarily far behind those of Europe, since the art treasures of the world were for the most part distributed when America began to collect. And yet it is surprising what treasures have been secured, and in some branches of modern painting and industrial art the American collections are not to be surpassed. Thus the Japanese collection of pottery in Boston has nowhere its equal, and the Metropolitan Museum in New York leads the world in several respects. Modern German art is unfortunately ill represented, but modern French admirably. Here is a large field open for a proper German ambition; German art needs to be recognized much more throughout the country. It must show that American distrust is absolutely unjustified, that it has made greater artistic advances than any other nation, and that German pictures are quite worthy of a large place in the collections.

There are many extraordinary private collections which were gathered during the cosmopolitan period that the nation has gone through. Just as foreign architecture was imitated, so the treasures of foreign countries in art and decoration were secured at any price; and owing to the great wealth, the most valuable things were bought, often without intelligent appreciation, but never without a stimulating effect. One is often surprised to find famous European paintings in private houses, often in remote Western cities; and the fact that for many years Americans have been the best patrons of art in the markets of the world, could not have been without its results. At the height of this collecting period American art itself probably suffered: a moderately good French picture was preferred to a better American picture; but all these treasures have indirectly benefited native art, and still do benefit it, so much that the better artists of the country are much opposed to the 492absurd protective tariff that is laid on foreign works of art. The Italian palace of Mrs. Gardner in Boston contains the most superb private collection; but just here one sees that the cosmopolitan period of collection and imitation is, after all, merely an episode in the history of American art. An Italian palace has no organic place in New England, although the artistic merits of the Gardner collection are perhaps nowhere surpassed.

The temporary exhibitions which are just now much in fashion have, perhaps, more influence than the permanent museums. Every large city has its annual exhibitions, and in the artistic centres, one special collection comes after another. And the strongest general stimulation has emanated from the great expositions. When the nation visited Philadelphia in 1876, the American artistic sense was just waking up, and the impetus there started was of decisive significance. It is said that the taste for colour in household decoration and fittings, for handsome carpets and draperies, came into the country at that time. When Chicago built its Court of Honour in 1893, which was more beautiful than what Paris could do seven years later, the country became for the first time aware that American art could stand on its own feet, and this æsthetic self-consciousness has stimulated endeavour through the entire nation. In Chicago, for the first time, the connection between architecture and sculpture came properly to be appreciated; and, more than all else, the art of the whole world was then brought into the American West, and that which previously had been familiar only to the artistic section between Boston and Washington was offered to the masses in Illinois, Michigan, Ohio, and Missouri. Chicago has remained since that time one of the centres of American architecture, and the æsthetic level of the entire West was raised, although it is still below that of the Eastern States. And once more, after a very short pause, St. Louis is ambitious enough to try the bold experiment which New York and Boston, like Berlin and Munich, have always avoided. The World’s Fair at St. Louis will surely give new impetus to American art, and especially to the artistic endeavour of the Western States.

If a feeling for art is really to pervade the people, the influence must not begin when persons are old enough to visit a world’s fair, but rather in childhood. The instruction in drawing, or rather in art, since drawing is only one of the branches, must undertake 493the æsthetic education of the youth in school. It cannot be denied that America has more need of such æsthetic training of children than Germany. The Anglo-Saxon love of sport leads the youth almost solely to the bodily games which stimulate the fancy much less than the German games of children, and other influences are also lacking to direct the children’s emotional life in the road of æsthetic pleasure. On the other hand, it must be admitted that the problem has been well solved in America. The American art training in school, say on the Prang system, which more than 20,000 teachers are using in class instruction, is a true development of the natural sense of beauty. The child learns to observe, learns technique, learns the value of lines and colours, and learns, more than all, to create beauty. In place of merely copying he divides and fills a given space harmoniously, and so little by little goes on to make small works of art. Generations which have enjoyed such influences must look on their environment with new eyes, and even in the poorest surroundings instinctively transform what they have, in the interests of beauty.

Corresponding to these popular stimulations of the sense of beauty is the wish to decorate the surroundings of daily life, most of all the interior; even in more modest circles to make them bright, pleasing, and livable, whereas they have too long been bare and meaningless. The arts and crafts have taken great steps forward, have gotten the services of true artists, and accomplished wonderful results. The glittering glasses of Tiffany and many other things from his world-famous studios are unsurpassed. There are also the wonderfully attractive silver objects of Gorham, the clay vases of the Rockwood Pottery, objects in cut-glass and pearl, furniture in Old English and Colonial designs, and much else of a similar nature. And for the artistic sense it is more significant and important that at last even the cheap fabrics manufactured for the large masses reveal more and more an appreciation of beauty. Even the cheap furniture and ornaments have to-day considerable character; and no less characteristic is the general demand, which is much greater than that of Europe, for Oriental rugs. The extravagant display of flowers in the large cities, the splendid parks and park-ways such as surround Boston, the beautification of landscapes which Charles Eliot has so admirably effected, and in social life the increasing fondness for coloured 494and æsthetic symbols, such as the gay academic costumes, the beautiful typography and book-bindings, and a thousand other things of the same sort, indicate a fresh, vigorous, and intense appreciation of beauty.

While such a sense for visible beauty has been developed by the wealth and the artistic instruction of the country, one special condition more has affected not only the fine arts but also poetry and literature. This is the development of the national feeling, which more than anything else has stimulated literary and artistic life. The American feels that he has entered the exclusive circle of world powers, and must like the best of them realize and express his own nature. He is conscious of a mission, and the national feeling is unified much less by a common past than by a common ideal for the future. His national feeling is not sentimental, but aggressive; the American knows that his goal is to become typically American. All this gives him the courage to be individual, to have his own points of view, and since he has now studied history and mastered technique, this means no longer to be odd and freakish, but to be truly original and creative. He is now for the first time thoroughly aware what a wealth of artistic problems is offered by his own continent, by his history, by his surroundings, and by his social conditions. And just as American science has been most successful in developing the history, geography, geology, zoölogy, and anthropology of the American Continent, so now his new art and literature are looking about for American material.

His hopes are high; he sees indications of a new art approaching which will excite the admiration of the world. He feels that the great writer is not far off who will express the New World in the great American novel. Who shall say that these hopes may not be realized to-morrow? For it is certain that he enjoys an unusual combination of favourable conditions for developing a world force. Here are a people thoroughly educated in the appreciation of literature and art—a people in the hey-day of success, with their national feeling growing, and having, by reason of their economic prosperity, the amplest means for encouraging art; a people who find in their own country untold treasures of artistic and literary problems, and who in the structure of their government and customs favour talent wherever it is found; a people who have learned much in cosmopolitan studies and to-day have mastered 495every technique, who have absorbed the temperament and ambitions of the most diverse races and yet developed their own consistent, national consciousness, in which indomitable will, fertile invention, Puritan morals, and irrepressible humour form a combination that has never before been known. The times seem ripe for something great.

496

CHAPTER TWENTY Religion

The individualistic conception of life and the religious conceptions of the world favour each other. The more that an individual’s religious temperament sees this earthly life merely as a preparation for the heavenly, the more he puts all his efforts into the development of his individual personality. General concepts, civilizations, and political powers cannot, as such, enter the gates of heaven; and the perfection of the individual soul is the only thing which makes for eternal salvation. On the other hand, the more deeply individualism and the desire for self-perfection have taken hold on a person, so much the deeper is his conviction that the short shrift before death is not the whole meaning of human existence, and that his craving for personal development hints at an existence beyond this world. Through such individualism, it is true, religion is in a sense narrowed; the idea of immortality is unduly emphasized. Yet the whole life of an individualistic nation is necessarily religious. The entire American people are in fact profoundly religious, and have been from the day when the Pilgrim Fathers landed, down to the present moment.

On the other hand, individualism cannot decide whether we ought to look on God with fear or with joy, to conceive Him as revengeful or benevolent, to think human nature sinful or good. The two most independent American thinkers of the eighteenth century, Jonathan Edwards and Benjamin Franklin, represent here the two extremes. The men who have made American history and culture took in early times the point of view of Edwards, but take to-day rather that of Franklin.

Can it be said that America is really religious to-day? From first impressions, a European may judge the opposite; first and 497most of all, he observes that the government does not concern itself with the church. Article VI of the Constitution expressly forbids the filling of any office or any political position of honour in the United States being made dependent on religion, and the first amendment adds that Congress may never pass a law aiming to establish any official religion or to hinder religious freedom. This provision of the Constitution is closely followed in the Constitutions of the several states. The government has nothing to do with the church; that is, the church lacks the powerful support of the state which it receives in all monarchical countries; and in fact the state interprets this neutrality prescribed by the Constitution so rigorously that, for example, statistics of religious adherence for the last great census were obtained from the church organizations, because the state has not the right to inquire into the religious faith of citizens. Ecclesiastics pass no state examinations to show their fitness to preach; millions of people belong to no church organization; the lower masses are not reached by any church, and the public schools have no religious instruction. It might thus appear as if the whole country were as indifferent to religion as European humourists have declared it to be, in saying that the Almighty Dollar is the American’s only god.

On looking more closely, one finds very soon that the opposite is the case. Although it is true that the state is not concerned with religion, yet this provision of the Constitution in no wise signifies any wish to encourage religious indifference. The states which united to form the Federation were profoundly religious; both Protestants and Catholics had come to the New World to find religious freedom, had made great renunciations to live in their faith untroubled by the persecutions of the Old World, and every sect of Europe had adherents on this side of the ocean. Not a few of the states were, in their general temperament, actually theocratic. Not only in Puritan New England had the church all the power in her hands, but in the colony of Virginia, the seat of the English High-Churchmen, it was originally the law that one who remained twice away from church was flogged, and on the third time punished with death. When America broke away from England, almost every state had its special and pronounced religious complexion. The majority of the population in the separate colonies had generally forced their religion on the 498whole community, and religious interests were everywhere in the foreground.

Although, finally, Jefferson’s proposition constitutionally to separate church and state was accepted, this move is not to be interpreted as indifference, but rather as a wish to avoid religious conflicts. In view of such pronounced differences as those between Puritans, Quakers, High-Churchmen, Catholics, etc., the establishment of any church as a state institution would have required a subordination of the other sects which would have been felt as suppression. The separation of the church from the state simply meant freedom for every sect. Then, too, not all the separate states followed the federal precedent; the New England States especially favoured, by their taxation laws, the Calvinistic faith until the beginning of the nineteenth century; and Massachusetts was the last to introduce complete religious neutrality, as lately as 1833. In the Southern States, the relations between church and state were more easily severed; and in the Middle States, even during colonial times, there was general religious freedom.

Whether or not the separation was rapid or slow, or whether it took place under the passive submission, or through the active efforts of the clergy, the churches everywhere soon became the warmest supporter of this new condition of things. All the clergy found that in this way the interests of religion were best preserved. The state does nothing to-day for the churches except by way of laws in single states against blasphemy and the disturbance of religious worship, and by the recognition, but not the requirement, of church marriage. There are also remnants of the connection in the recognized duty of the President to appoint the annual day of Thanksgiving, and in cases of signal danger to appoint days of fasting and prayer, and one more remnant in the fact that the legislatures are opened by daily prayer. Otherwise, the state and church move in separate dimensions of space, as it were, and there is no attempt to change this condition.

It was, therefore, no case of an orthodox minority being forced to content itself with an unchurchly state; but neither party nor sect nor state had the slightest wish to see church and state united. The appreciation of this mutual independence is so great that public opinion turns at once against any church which tries to exert a political influence, whether by supporting a certain political body 499in local elections or by trying to obtain public moneys for its educational institutions and hospitals. When, for instance, the principal anti-Catholic organization, the so-called American Protective Association, became regrettably wide-spread, it got its strength, not from any Protestant ecclesiastical opposition, but only from the political antipathy against that church which seemed the most inclined to introduce such un-American side influences in party politics. Every one felt that a great American principle was there at stake.

Thus the legal status of the churches is that of a large private corporation, and nobody is required to connect himself with any church. Special ecclesiastical legislation is, therefore, superfluous; every church may organize, appoint officers, and regulate its property matters and disciplinary questions as it likes, and any disputed points are settled by civil law, as in the case of all corporations. Just as with business companies, a certain sort of collective responsibility is required; but the competition between churches, as between industrial corporations, is unhampered, and the relation of the individual to his church is that of ordinary contract. One hundred and forty-eight different sects appeal to-day for public favour. To the European this sounds at first like secularization, like a lowering of the church to the level of a stock company—like profanation. And still no Catholic bishop nor Orthodox minister would wish it different. Now how does this come about?

In the first place individualism has even here victoriously carried through its desire for self-determination. Nobody is bound to belong to any congregation, and one who belongs is therefore willing to submit himself to its organization, to subscribe to its by-laws, and to support its expenditures. Nobody pays public taxes for any church, nor is under ecclesiastical authority which he does not freely recognize. The church is, therefore, essentially relieved of any suspicion of interfering with individual freedom. The individual himself is for the same reason not only free to adopt or to reject religion, but also to express his personal views in any form or creed whatsoever. Only where the church exercises no authority on thought or conscience can it be supported by the spirit of self-determination. Thus, the Mennonite Church has already developed twelve sects, the Baptist thirteen, the 500Methodist seventeen, and all of these are equally countenanced. At the same time the reproach can never be made that the church owes its success to the assistance of the state: what it does is by its own might; and so its success is thoroughly intrinsic and genuine, its zeal is quickened, and its whole activities kept apart from the world of political strife and directed toward ideals.

The church which is not supported by any written laws of the state is not, for that reason, dependent alone on the religious ideals of its adherents, but also on the unwritten law of the social community. The less the authority of the state, the more the society as a whole realizes its duties; and while society remains indifferent as long as religion is enforced by external means, it becomes energetic as soon as it feels itself responsible for the general religious situation. The church has had no greater fortune than in having religion made independent of the state and made the affair of society at large. Here an obligation could be developed, which is perhaps more firm and energetic than that of the state, but which is nevertheless not felt as an interference, firstly, because the political individual is untouched, and secondly, because the allegiance to a certain social class is not predetermined, but becomes the goal and the honourable achievement of the individual. Of course, even the social obligation would not have developed had there not been a deep religious consciousness living in the people; but such individual piety has been able to take much deeper root in a soil socially so favourable. A religiously inclined population, which has made churchliness a social and not a political obligation, affords the American church the most favourable condition for its success that could be imagined.

One may see even from the grouping of sects, how much the church is supported by society. If anywhere democracy seems natural, it should be in the eyes of God; and yet, if Americans show anywhere social demarcations, it is in the province of religion. This is true, not only of different churches where the expense of membership is so unequal that in large cities rich and poor are farther apart on Sundays than on week-days, but it is true of the sects themselves. Methodists and Episcopalians or Baptists and Unitarians form in general utterly different social groups, and one of these sects is socially predominant in one section of the country, another in another. But just because 501religious differences are so closely related to the differences existing in the social world, the relations between the sects are thoroughly friendly. Each has its natural sphere.

It is certain that the large number of sects are helpful in this direction, since they make the distinction between related faiths extremely small, sometimes even unintelligible to all except the theological epicure; and, indeed, they often rest on purely local or ancestral distinctions. Thus the German Reformed and the Dutch Reformed churches are called two sects, and even the African Methodist Episcopalians and the Coloured Methodist Episcopalians wish to be distinguished from each other as from the other negro sects. Where large parties oppose each other, a war for principles can break out; but where the religions merge into one another through many small gradations, the consciousness of difference is less likely to be joined to any feeling of opposition. The real opponent of churches is the common enemy, the atheist, although the more straitlaced congregations are not quite sure that the Unitarians, who are most nearly comparable to members of the German Protestantenverein, are not best classed with the atheists. And, lastly, envy and jealousy do not belong to the American optimistic temperament, which does not grudge another his success. Thus everything works together to make the churches get on peacefully with one another. The religion of the country stretches from one end to the other, like a brilliant and many-hued rainbow.

The commingling of church and society is shown everywhere. The church is popular, religious worship is observed in the home, the minister is esteemed, divine worship is well attended, the work of the church is generously supported, and the cause of religion is favoured by the social community. These outlines may now be filled in by a few details. The American grows up with a knowledge of the Bible. The church, Sabbath-school, and the home influences work together; a true piety rules in every farm-house, and whosoever supposes this to be in anywise hypocrisy has no notion of the actual conditions. In many city homes of artisans the occupants do not know the Bible and do not wish to know it; but they are in nowise hypocritical, and in the country at large religion is so firmly rooted that people are much more likely to make sham pretences of general enlightenment than of religious belief. Thus, it is mostly a matter of course that festivals, banquets, and 502other meetings which in Germany would not call for any religious demonstration whatsoever, are opened and closed by prayer. Religious discussions are carried on with animation in every class of society, and one who travels about through the country finds that business and religion are the two great topics of conversation, while after them come politics. It is only among individuals who are so religiously disposed, that such vagaries of the supernatural consciousness, as spiritualism, healing by prayer, etc., could excite so much interest. But also normal religious questions interest an incomparably large circle of people; nine hundred ecclesiastical newspapers and magazines are regularly published and circulated by the millions.

We have said, furthermore, that divine service is well attended, and that clergymen are highly esteemed. In the non-political life, especially in the East, the great preachers are among the most influential people of the day. The most brilliant ecclesiastic of recent decades was, by common consent, Phillips Brooks, by whose speech and personality every one was attracted and ennobled; and it has often been said that at his death, a few years ago, the country mourned as never before since the death of Lincoln. No one equal to him has appeared since, but there are many ministers whose ethical influence must be accounted among the great factors of public life; and this is true, not only of the Protestant ministers, but also of several Catholic ecclesiastics.

The same is true in the more modest communities. The influence of the preacher is more profound in small communities of America than it is in Germany. But it is weakened at once if the representative of the church descends to politics. He is welcomed as an appropriate fellow-worker only in questions that border both on politics and on morals—as, for instance, the temperance question. The high position of the clergy is interestingly shown from the fact that the profession is very often recruited from the best classes of society. Owing to the American effort to obliterate social differentiation as much as possible, it is difficult to make sure of the facts of the situation; but it seems pretty certain that the men who study for the ministry, especially in the Episcopalian, Presbyterian, Congregational, and Unitarian churches, are better born than the men who become school teachers and physicians.

The preacher steps into the pulpit and faces his hearers in a 503way which is typically American. Of course, it is impossible to reduce the ministerial bearing in the 194,000 churches of the country to a single formula; but one thing may always be noted, by the European, in contrast to what he has seen at home—the obvious reference of the sermon to the worldly interests of the congregation. Its outer form already shows this; the similes and metaphors are borrowed from ordinary and even vulgar life, the applications are often trivial, but forcible and striking, and even anecdotes are introduced and given in colloquial form. More than that, the topic itself is chosen so as to concern personally nearly every one sitting in the pews; the latest vexation or disappointment, the cherished hope, or the duty lying nearest to the individual forms the starting-point of the sermon, and the words of the Bible are brought home to the needs of the hearers like an expected guest. The preacher does not try to lure the soul away from daily life, but he tries to bring something higher into that life and there to make it living; and if he is the right sort of a preacher, this never works as a cheapening of what is divine, but as an exaltation of what is human.

Doubtless it is just on this account that the church is so popular and the services so well attended. To be sure, frequently the minister is a sensational pulpit elocutionist, who exploits the latest scandal or the newest question of the day in order to interest the public and attract the curious to church. Often the worldly quality of the sermon tends to another form of depreciation. The sermon becomes a lecture in general culture, a scientific dissertation, or an educational exercise. Of course, the abandonment of the strictly religious form of sermon brings many temptations to all except the best preachers; yet, in general, the American sermon is unusually powerful.

The popularity of the church does not depend only on the applicability of the sermon, but in part on social factors which are not nearly so strong in any part of Europe. If the congregation desires to bring the general public to church, it will gain its end most surely by offering attractions of a religiously indifferent nature. These attractions may indirectly assist the moral work of the church, although their immediate motive is to stimulate church-going. The man who goes to church merely in order to hear the excellent music has necessarily to listen to the sermon; and one 504who joins the church for the sake of its secular advantages is at least in that way detained from the frivolous enjoyments of irreligious circles. Thus, the church has gradually become a social centre with functions which are as unknown in Germany as the “parlours” which belong to every church in America. The means of social attraction must naturally be adapted to the character of the congregation; the picnics which are popular in the small towns, with their raffles and social games, their lemonade and cake, would not be appropriate to the wealthy churches on Fifth Avenue. In the large cities, æsthetic attractions must be substituted—splendid windows, soft carpets, fine music, elegant costumes, and fashionable bazars for charity’s sake.

But the social enjoyment consists not solely in what goes on within the walls of the church, but specially in the small cities and rural districts the church is the mediator of almost all social intercourse. A person who moves to a new part of the town or to an entirely new village, allies himself to some congregation if he is of the middle classes, in order to form social connections; and this is the more natural since, in the religious as in the social life of America, the women are the most active part of the family. Even the Young Men’s Christian Associations and similar social organizations under church auspices play an important rôle utterly unlike anything in Europe. In Germany such organizations are popularly accounted flabby, and their very name has a stale flavour. In America they are the centres of social activity, even in large cities, and have an extraordinary influence on the hundreds of thousands of members who meet together in the splendid club buildings, and who are as much interested in sport and education as in religion.

How fully the church dominates social life may be seen in the prevalent custom of church weddings. The state does not make a civil wedding obligatory. As soon as the local civil board has officially licensed the married couple, the wedding may legally be performed either by a civil officer or by a minister; yet it is a matter of course with the great majority of the population that the rings shall be exchanged before the altar. An avowed atheist is not received in any social circles above that of the ordinary saloon, and while a politician need not fear that his particular religion will prevent his being supported by the members of other 505churches, he has no prospects for election to any office if he should be found an actual materialist. When Ingersoll, who was the great confessed atheist of the country, travelled from city to city for many years preaching somewhat grotesquely and with the looseness of a political agitator, the arguments of David Friedrich Strauss, in return for an admission price, he found everywhere large audiences for his striking oratory, but very few believers among all the curious listeners.

The man who is convinced that this mechanical interaction of material forces is the whole reality of the world, and who therefore in his soul recognizes no connection between his will and a moral or spiritual power—in short, the man who does not believe something, no matter whether he has learned it from the church or from philosophy—is regarded by the typical American as a curious sort of person and of an inferior type; the American does not quite understand what such a man means by his life. By picturing to one’s self the history of America as the history of a people descended from those who have been religiously persecuted, and who have made a home for such as are persecuted, ever since the days when the “Mayflower” landed with the Puritans down to these days when the Jews are flocking over the ocean from Russia and the Armenians from Turkey, and by picturing how this people have had to open up and master the country by hard fighting and hard work, and how they were therefore constrained to a rigid sense of duty, a serious conception of life, and an existence almost devoid of pleasure, and how now all historical and social traditions and all educational influences strengthen the belief in God and the striving for the soul’s salvation—one sees that it cannot be otherwise, and that the moral certainty of the nation cannot be shaken by so-called arguments.

It is true, of course, that one hears on all sides complaints against the increasing ungodliness; and it is not to be denied that the proletariat of the large cities is for the most part outside of the church. The population which owns no church allegiance is estimated at five millions, but among these there is a relatively large fraction of indifferent persons, who are too lazy to go to church; a free-thinking animosity to religion is uncommon. The American who feels that his church no longer corresponds to his own belief has an ample opportunity to choose among all the many sects one 506which is just adapted to himself. He will leave his own church in order to join some other straightway; but even if he leaves church attendance in future to his wife and daughters, or if he with his whole family leaves the congregation, this generally means that he can serve God without a minister. Real irreligion does not fit his character; and any doubt which science may perhaps occasion in him ends, not by shaking his religion, but by making it more liberal. This process of increasing freedom from dogma and of intellectualization of the church goes on steadily in the upper classes of society. The development of the Unitarian Church out of Orthodox Calvinism has been most influential on the intellectual life of the nation, but its fundamental religious tone has not been lessened thereby.

To be churchly means not only to comply with the ordinances of the church, but to contribute to the funds of the church and to give one’s labour. And since the state does not impose any taxes in the interests of the church, material support is wholly dependent on the good will of the community. In fact, lay activity is everywhere helpful. Of this the Sunday-schools are typical, which are visited by eight million children, and supported everywhere by the willing labour of unpaid teachers. The known property belonging to churches is estimated at seven hundred million dollars, and the rental of seats brings them handsome incomes. More than this, all church property is exempt from taxation.

Nevertheless, so many ecclesiastical needs remain unsatisfied that a great deal of money has to be raised by mite-boxes, official subscriptions, and bequests, in order for the churches to meet their expenses; and they seldom beg in vain. Members of the congregations carry on their shoulders the missions among the irreligious population in large cities and the heathen of foreign lands, the expense of church buildings, and of schools and hospitals belonging to the sect, and the salaries of ministers. The theological faculties are likewise church institutions, whether they are formally connected with universities or not. There are to-day 154 such seminaries, and this number has for some time remained almost unchanged. In 1870 there were only 80, but there were 142 in 1880, and 145 in 1890. It appears from the statistics that, of the present 154, only 21 have more than a hundred students, while twelve have less than ten students. The total number of students was 5078,009, and of teachers 994. The property of these theological seminaries amounts to thirty-four million dollars, and more than a million was given them during the last year.

The pedagogical function of the church is not limited to the Sunday-school for children and the seminaries for ministers; but in these two branches it has a monopoly, while in all other fields, from the elementary school to the university, it competes with secular institutions, or more exactly, it complements their work. We have already shown how important a rôle private initiative plays in the educational life of the United States, and it is only natural that such private institutions should be welcomed by a part of the public when they bear the sanction of one or another religious faith. There are grammar schools, high schools, colleges, and universities of the most diverse sects to meet this need; and their relation to religion itself is equally diverse, and ranges from a very close to a very loose one. Boston College, for instance, is an excellent Catholic institution consisting of a high school and college under the instruction of Jesuits, in which the education is at every moment strongly sectarian. The university of Chicago, on the other hand, is nominally a Baptist institution: yet nobody asks whether a professor who is to be appointed is a Baptist; no student is conscious of its Baptist character, and no lectures give any indication thereof. Its Baptist quality is limited to the statute that the president of the university and two-thirds of the board of overseers must be Baptists, as was the founder of the institution.

While among the larger universities, Harvard, Columbia, Johns Hopkins, Princeton, Cornell, and all state universities, are officially independent of any sect, Yale is, for instance, said to be Congregational, although neither teachers nor students trouble themselves with the question. The smaller colleges have a much more truly sectarian character; and there is no doubt that this is approved by large circles, especially in the Middle and Western States. The sectarian colleges outnumber the non-sectarian; and, to take a random example, we may note that in the state of Michigan the State University at Ann Arbor is independent of sect, while Adrian College is Methodist, Albion College Episcopalian, Alma College Presbyterian, Detroit College Catholic, Hilledale College Baptist, Hope College Reformed, and 508Olivet College is Congregational. This inclination, especially noticeable in country districts, to a religious education however so slightly coloured, shows how deeply religion pervades the whole people.

To follow the separate religions and their diverse religious offshoots cannot be our purpose; we must be content with a few superficial outlines. There is no really new religious thought to record; an American religion has, so far, not appeared. The history of the church in the New World has only to report how European religions have grown under new conditions. The apparently new associations are only unimportant variations. Some enthusiasts have appeared from time to time to preach a new religion with original distortions of the moral or social sense, but they have expressed no moral yearning of the time, and have remained without any deep influence. This rests in good part on the conservative nature of Americans. They snatch enthusiastically at the newest improvements and the most modern reform, but it must be a reform and not a revolution. The historical continuity must be preserved. The Mormons, the Spiritualists, and the adherents of Christian Science might, with some propriety, be called pure American sects; but although all three of these excite much public curiosity, they have no importance among those religions which are making the civilization of the present moment.

The religions of the United States which have the most communicants are the Methodist, Baptist, and Roman Catholic. The religions, however, which have had the most important influence on culture are the Congregational, Episcopalian, Presbyterian, and Unitarian. Besides these, there are the Lutheran, the Reformed, and the Jewish churches; all the other denominations are small and uninfluential. The churches which we have named can be more or less distinguished by their locality, although they are represented in almost every state. The Congregationalists and Unitarians are specially numerous in the New England States, the Episcopalians and Presbyterians in New York and Pennsylvania, while the Methodists are specially strong in the South, the Baptists in the Middle West, and the Catholics all through the East. Such special demarcation rests firstly on the relation of the churches to different races which have settled in different places; the Episcopalians and Congregationalists are mainly English, the Presbyterians 509are Scotch, the Catholics are Irish and South German, the Lutherans are North German and Scandinavian, the Reformed Church is German and Dutch, and Methodism has spread widely among the negroes.

In close connection herewith are the social distinctions. The Methodist, Baptist, and Catholic religions are specially religions of the masses; the others are more exclusive. It is especially those religions of the lower classes which yield to every tendency toward breaking up into sects; only Catholicism maintains a firm unity in the New as in the Old World.

The old Calvinistic faith which was brought over by the Puritans to the New England colonies still lives in the Congregational Church. This church has played a greater political part than any other from the colonial days, when no one could vote who was not a communicant, down to the time when it took an active stand against slavery. Its expansion was limited by an agreement with the Presbyterian Church; only since this was given up, has it entered all the states of the Union. And yet to-day there are in Massachusetts almost 700 Congregational church buildings, and 400 in the small State of Connecticut; but only 300 in the State of New York, 100 in Pennsylvania, a few in the West, and still fewer in the South.

As in the case of all churches, the proportion of the population belonging to this church can only be approximately given. Since the official census may ask no questions concerning religion, we have to rely on the figures of the church itself, which regularly refer to the actual members in the congregations. Now in these Evangelical, Catholic, and Jewish congregations, the conditions for membership are so unlike that the figures are not directly comparable; and even among the Evangelical churches, it is clearly false to find the total number of souls allied to that church, as this is usually found, by multiplying the number of communicants by some average figure, like 3.5. In view of the social and ethnical differences between these churches, the percentage of children, for instance, is very different. It may be said then, although with caution, that the Congregational population embraces about two million souls; but their importance in the shaping of American civilization has greatly exceeded their numerical representation. The spirit of this church has lent ethical seriousness and a vigorous 510sense of duty to the whole nation. It has founded the first schools, and is responsible for the independence of the country.

It is even more necessary to weigh the votes and not to count them, when we speak of the optimistic daughter church of austere Calvinism, the Unitarian. Probably not more than one quarter of a million persons belong to the Unitarian Church; but the influence of these people on literature and life, science and philosophy, has been incomparable. The church has existed officially since 1815, although the new faith began to spread much earlier within the Calvinistic Church itself. There is nothing theologically new here, since the main teachings, that the Trinity is only a dogma, that God is One, and that Christ was an exemplary man but not God, go back, of course, to the fourth century. These are the Arian ideas, which have also been held in Europe in times past. The significance of the American Trinitarian controversy does not lie in the province of theology. In a sense, the Unitarian Church has no binding belief, but aims only to be an influence of ever-increasing faith in God, which welcomes investigation, advance, and difference of individual thought, within the unity of a moral and ideal view of the universe.

Thus it has been an entirely natural development, for example, for the theological faculty of Harvard University to go over from the Congregational to the Unitarian faith as early as the second decade of the last century, and in recent times to become non-sectarian and broadly Christian, filling its professional chairs with theologians of the most diverse denominations. The significance for civilization does not lie in the Unitarian view of God, but in its anti-Calvinistic conception of man. This church says that man is not naturally sinful, but, being the image of God, is naturally good, and that the salvation of his soul is not determined by a predestination of divine grace, but by his own right-willing. Channing was the Unitarian leader, and the thinkers and writers in the middle of the century followed in his footsteps. Their work was a source of moral optimism. This confession has necessarily remained small by reason of its radical theology, which too little satisfies the imagination of the profoundly pious; but the Unitarian ideas have come everywhere into the worship of aristocratic churches.

The Episcopalian faith, which is English Protestantism, came to the shores of the New World even earlier than the faith of Calvin. 511The English faith was organized in Virginia as early as 1607, and for a long time no other faith was even tolerated; and in the middle colonies the English High Church spread rapidly under the influence of many missionaries from England. The secession of the colonies from the mother country was destined to bring a check, but soon after the war the Episcopalian Church of America organized itself independently, and grew steadily through the East. It has to-day seventy-five bishops. It is governed by a council which meets every three years in two divisions—an upper, which consists of bishops, and a lower, composed of delegates sent from the various dioceses. The diocese elects its own bishop. Their creed is, to all intents and purposes, identical with that of the Church of England, and some two million souls are affiliated with this church.

Also the Presbyterian Church of the New World goes back to the seventeenth century; it was first definitely organized in the beginning of the eighteenth, under Scotch and Irish influences. It stands on a Calvinistic foundation, but the church government is the distinguishing feature; at its head are the elders, the Presbyters. Twelve different sects have grown out of this church—as, for instance, the Cumberland Presbyterians, who broke away in a popular religious movement in 1810; other sects had started already on European soil—as, for instance, the Presbyterian Church of Wales, which is perpetuated in America. The Presbyterian population amounts to about four million souls.

The Methodist and Baptist congregations are much larger. Methodism comes from that great movement, at the University of Oxford in 1729, of John and Charles Wesley, whose Sacred Club, with its Biblical bigotry, was, on account of its methodical precision, ridiculed as the Methodist Club; and the nickname was accepted and held to. It was a question of bringing the English church closer to the heart, of profoundly moving every individual and instilling a deeper piety in the people. In order to preach the word of God, it needed neither professional theologians nor church buildings; laymen were to be the preachers, and the canopy of heaven their church. The movement began to spread in America in 1766, and while in England it remained for a longer time nominally within the established church, American Methodism took very early a different course from Episcopalianism.

The peculiar organization of the congregation is a prominent 512feature. Candidates for membership are accepted after a six months’ probation, popular prayer-meetings are held at any chosen spot, the lay preachers are permitted to deliver religious talks without giving up their secular occupations, and no pastor may remain longer than five years over any congregation. These and other provisions are rather in the nature of concessions to the religious needs of ordinary people; the special items of faith differ slightly from those of the mother church, and are of comparatively little significance. The number of communicants has grown rapidly, especially among the negroes of the South, owing to the large camp-meetings, where many persons sing and pray together, and work themselves up to a more or less hysterical point of excitement under the open sky. As is usual among less cultivated classes, the tendency to form sects has been very great; small groups are continually breaking away, because they cannot believe in this or that feature of the main church. Seventeen principal groups may be distinguished, and some of these only by the colour of the communicants. The Methodist Episcopalians are by far the most numerous, and all the Methodist churches together must embrace more than sixteen million people.

The twelve or thirteen sects of Baptists are in some cases widely different in the matter of faith, although the main body of regular Baptists are Calvinistic, and the church is organized like the Calvinistic Congregational Church. Each congregation governs itself, and the one point which all have in common is that they renounce infant baptism; he only may be baptized who is formally able to acknowledge Christ, and he must be baptized not by sprinkling, but by immersion. This cult originated in Switzerland at the time of the Reformation, and gradually gained adherents all through Europe, but it first became widely spread in America, where it embraces about twelve million people. Just as Methodism is a sort of popular form of the Episcopalian Church, the Baptist faith is a popularization of the Congregational Church. The main division of the regular Baptists is made between the Northern and Southern churches, a division which originated in the middle of the century, owing to the diversity of opinion about slavery; and the third main group of Baptists is made up of negroes.

The first Lutherans to come to the New World were Dutchmen, who landed on Manhattan Island in 1623. But the Dutch authorities 513there suppressed all churches except the Reformed Church, and it was not until New York came into the hands of the English that the Lutheran Church got its freedom. Lutherans from the Palatinate settled in Pennsylvania in 1710, and in the middle of the eighteenth century began their definite organization into synods under the influence of their pastor, Mühlenberg. The church grew in consequence of German, and later of Scandinavian, immigration. Most of its communicants still speak German, Swedish, Norwegian, Finnish, and Icelandic, and those who speak English are mostly of German descent. All together they make a population of four million persons, of whom one-fifth live in Pennsylvania. The Lutherans have formed sixteen sects.

There is another small Protestant sect, which likewise originated in Germany; this is the sect of Mennonites. As is well known, they combine the Baptist refusal of infant baptism with the principle of non-resistance. They came from Germany to Pennsylvania at the end of the seventeenth century in order to escape persecution, and were there known as the German Friends. Their little band has the honour of having registered, in 1688, the first protest against American slavery. Their numbers have since been augmented from Holland, Switzerland, Germany, and Russia, and to-day the largest part of the Mennonites is said to be in America—in spite of which they number hardly more than 150,000 persons.

In many respects the Quakers may be compared with the Mennonites. The Quaker Church was founded in the middle of the seventeenth century by an Englishman, John Fox, and spread to America as early as 1656, where it now numbers, perhaps, 400,000 persons, living chiefly in Indiana, Ohio, and Pennsylvania. The Quakers lay great emphasis on silence, and even in their meetings they observe long pauses, in which each member communes with the Holy Spirit. The sins for which a Quaker may be excommunicated from his church are the denial of the divinity of Christ or of the divine origin of the Bible, enlistment in the army, encouragement of war, trading in alcohol, drunkenness, blasphemy, making wagers, participation in lotteries, giving an oath in court, and requiring an oath. They dress in black or grey, and are known for their mild, gentle, and yielding characters.