black Arabian hero, Antar. It was therefore not
to be wondered at that in modern days one of
the greatest of modern literatures, the Russian,
should have been founded by Pushkin, the grandson of a full blooded Negro, and that among
the painters of Spain was the mulatto slave, Gomez,
Back of all this development by way of contact,
come the artistic sense of the indigenous Negro as
shown in the stone figures of Sherbro, the bronzes
of Benin, the marvelous hand work in iron and other
metals which has characterized the Negro race so
long that archaeologists today, with less and less
hesitation, are ascribing the discovery of the
welding of iron to the Negro race.
Beyond the specific ways in which the Negro has contributed to American art stands undoubtedly his spirit of gayety and the exotic charm which his presence has loaned the parts of America which were spiritually free enough to enjoy it. In New Orleans, for instance, after the war of 1812 and among the free people of color there was a beautiful blossoming of artistic life which the sordid background of slavery had to work hard to kill. The "people of color' grew in number and waxed wealthy. Famous streets even today bear testimony of their old importance. Congo Square in the old Creole quarter where Negroes danced the weird "Bamboula” long before colored Cole-
