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1858.] sagacity in the artist: "If," he wrote, "we try to place the bite in some different position, the whole action is changed, and we find it impossible to conceive one more fitting; the situation of the bite renders necessary the whole action of the limbs";—and another critic says, "In the group of the Laocoön, the breast is expanded and the throat contracted to show that the agonies that convulse the frame are borne in silence." In striking contrast with such testimonies to the scientific truth to Nature in Grecian Art was the objection I once heard an American back-woods mechanic make to this celebrated work; he asked why the figures were seated in a row on a dry-goods box, and declared that the serpent was not of a size to coil round so small an arm as the child's, without breaking its vertebræ. So disgusted was Titian with the critical pedantry elicited by this group, that, in ridicule thereof, he painted a caricature,—three monkeys writhing in the folds of a little snake.

Yet, despite the jargon of connoisseurship, against which Byron, while contemplating the Venus de Medici, utters so eloquent an invective, sculpture is a grand, serene, and intelligible art,—more so than architecture and painting,—and, as such, justly consecrated to the heroic and the beautiful in man and history. It is preëminently commemorative. How the old cities of Europe are peopled to the imagination, as well as the eye, by the statues of their traditional rulers or illustrious children, keeping, as it were, a warning sign, or a sublime vigil, silent, yet expressive, in the heart of busy life and through the lapse of ages! We could never pass Duke Cosmo's imposing effigy in the old square of Florence without the magnificent patronage and the despotic perfidy of the Medicean family being revived to memory with intense local association,—nor note the ugly mitred and cloaked papal figures, with hands extended, in the mockery of benediction, over the beggars in the piazzas of Romagna, without Ranke's frightful picture of Church abuses reappearing, as if to crown these brazen forms with infamy. There was always a gleam of poetry,—however sad,—on the most foggy day, in the glimpse afforded from our window, in Trafalgar Square, of that patient horseman, Charles the Martyr. How alive old Neptune sometimes looked, by moonlight, in Rome, as we passed his plashing fountain! And those German poets,—Goethe, Schiller, and Jean Paul,—what to modern eyes were Frankfort, Stuttgart, and Baireuth, unconsecrated by their endeared forms? The most pleasant association Versailles yielded us of the Bourbon dynasty was that inspired by Jeanne d'Arc, graceful in her marble sleep, as sculptured by Marie d'Orléans; and the most impressive token of Napoleon's downfall we saw in Europe was his colossal image intended for the square of Leghorn, but thrown permanently on the sculptor's hands by the waning of his proud star. The statue of Heber, to Christian vision, hallows Calcutta. The Perseus of Cellini breathes of the months of artistic suspense, inspiration, and experiment, so graphically described in that clever egotist's memoirs. One feels like blessing the grief-bowed figures at the tomb of Princess Charlotte, so truly do their attitudes express our sympathy with the love and the sorrow her name excites. Would not Sterne have felt a thrill of complacency, had he beheld his tableau of the Widow Wadman and Uncle Toby so genially embodied by Ball Hughes? What more spirited symbol of prosperous conquest can be imagined than the gilded horses of St. Mark's? How natural was Michel Angelo's exclamation, "March!" as he gazed on Donatello's San Giorgio, in the Church of San Michele,—one mailed hand on a shield, bare head, complete armor, and the foot advanced, like a sentinel who hears the challenge, or a knight listening for the charge! Tenerani's "Descent from the Cross," in the Torlonia Chapel, outlives in remembrance the brilliant assemblies of that financial house. The outlines of Flaxman, essentially statuesque, seem alone adequate to