Page:The Atlantic Monthly Volume 2.djvu/77

1858.] Yet the distinctive element in the pleasure afforded by sculpture is tranquillity,—a quiet, contemplative delight; somewhat of awe chastens admiration; a feeling of peace hallows sympathy; and we echo the poet's sentiment,—

It is this fixedness and placidity, conveying the impression of fate, death, repose, or immortality, which render sculpture so congenial as commemorative of the departed. Even quaint wooden effigies, like those in St. Mary's Church at Chester, with the obsolete peaked beards, ruffs, and broadswords, accord with the venerable associations of a Mediæval tomb; while marble figures, typifying Grief, Poetry, Fame, or Hope, brooding over the lineaments of the illustrious dead, seem, of all sepulchral decorations, the most apt and impressive. We remember, after exploring the plain of Ravenna on an autumn day, and rehearsing the famous battle in which the brave young Gaston de Foix fell, how the associations of the scene and story were defined and deepened as we gazed on the sculptured form of a recumbent knight in armor, preserved in the academy of the old city; it seemed to bring back and stamp with brave renown forever the gallant soldier who so long ago perished there in battle. In Cathedral and Parthenon, under the dome of the Invalides, in the sequestered parish church or the rural cemetery, what image so accords with the sad reality and the serene hope of humanity, as the adequate marble personification on sarcophagus and beneath shrine, in mausoleum or on turf-mound?

In truth, it is for want of comprehensive perception that we take so readily for granted the limited scope of this glorious art. There is in the Grecian mythology alone a remarkable variety of character and expression, as perpetuated by the statuary; and when to her deities we add the athletes, charioteers, and marble portraits, a realm of diverse creations is opened. Indeed, to the average modern mind, it is the statues of Grecian divinities that constitute the poetic charm of her history; abstractly, we regard them with the poet:—

Not in their marble beauty do they thus ignobly impress us,—but calm, fair, strong, and immortal. "They seem," wrote Hazlitt, "to have no sympathy with us, and not to want our admiration. In their faultless excellence they appear sufficient to themselves."

In the sculptor's art, more than on the historian's page, lives the most glorious memory of the classic past. A visit to the Vatican by torchlight endears even these poor traditional deities forever.