Page:The marble faun; or, The romance of Monte Beni (IA marblefaunorroma01hawtrich).pdf/174

 painter's insight and interpreted for us by his skill. By his magic, the moon throws her light far out of the picture, and the crimson of the summer night absolutely glimmers on the beholder's face. Or we might indicate a poet-painter, whose song has the vividness of picture, and whose canvas is peopled with angels, fairies, and water sprites, done to the ethereal life, because he saw them face to face in his poetic mood. Or we might bow before an artist, who has wrought too sincerely, too religiously, with too earnest a feeling, and too delicate a touch, for the world at once to recognize how much toil and thought are compressed into the stately brow of Prospero and Miranda's maiden loveliness, or from what a depth within this painter's heart the Angel is leading forth St. Peter.

Thus it would be easy to go on, perpetrating a score of little epigrammatical allusions, like the above, all kindly meant, but none of them quite hitting the mark, and often striking where they were not aimed. It may be allowable to say, however, that American art is much better represented at Rome in the pictorial than in the sculpturesque department. Yet the men of marble appear to have more weight with the public than the men of canvas; perhaps on account of the greater destiny and solid substance of the material in which they work, and the sort of physical advantage which their labors thus acquire over the illusive unreality of color. To be a sculptor seems a distinction in itself; whereas a painter is nothing, unless individually eminent.

One sculptor there was, an Englishman, endowed with