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mind, and shown its common and coarse intent of mere ocaily exertion and agony, while he has confirmed Payne Knight's just condemnation of the passage in Virgil. If the reader wishes to see the opposite or imaginative view of the subject, let him compare Winkelmann; and Schiller, Letters on AEsthetic Culture. Whenever, in monumental work, the sculptor reaches a deceptive appearance of life or death, or of concomitant details, he has gone too far. The statue should be felt for such, not look like a dead or sleeping body; it should not convey the impression of a corpse, nor of sick and outwearied flesh, but it should be the marble image of death or weariness. So the concomitants should be distinctly marble, severe and monumental in their lines, not shroud, not bedclothes, not actual armor nor brocade, not a real soft pillow, not a downright hard stuffed mattress, but the mere type and suggestion of these: a certain rudeness and incompletion of finish is very noble in all. Not that they are to be unnatural, such lines as are given should be pure and true, and clear of the hardness and mannered rigidity of the strictly Gothic types, but lines so few and grand as to appeal to the imagination only, and always to stop short of realization. There is a monument put up lately by a modern Italian sculptor in one of the side chapels of Santa Croce, the face fine and the execution dexterous. But it looks as if the person had been restless all night, and the artist admitted to a faithful study of the disturbed bedclothes in the morning.

No herculean form is spiritual, for it is degrading the spiri. tual creature to suppose it operative through impulse of bone and sinew; its power is immaterial and constant, neither dependent on, nor developed by exertion. Generally, it is well to conceal anatomical development as far as may be; even Michael Angelo's anatomy interferes with his divinity; in the hands of lower men the angel becomes a preparation. How far it is possible to subdue or generalize the naked form I venture not to affirm, but I believe that it is best to conceal it as far as may be, not with draperies light and undulating, that fall in with, and exhibit its principal lines, but with draperies severe and linear, such as were constantly employed before the time of Raffaelle. I recollect no single instance of a naked angel that does not look boylike or childlike, and unspiritualized; even Fra Bartolomeo's might with advantage be spared from the pictures at Lucca, and in the hands of inferior men, the sky is merely encumbered with sprawling infants; those of Domenichino in the Madonna del Rosario, and Martyrdom of St. Agnes, are peculiarly offensive, studies of bare-legged children howling and kicking in volumes of smoke. Confusion seems to exist in the minds of subsequent painters between Angels and Cupids. The sculptor does not work for the anatomist, but for the common observer of life and nature. Yet the sculptor is not, for this reason, permitted to be wanting either in knowledge or expression of anatomical detail; and the more refined that expression can be rendered, the more perfect is his work. That which, to the anatomist, is the end,—is, to the sculptor, the means. The former desires details, for their own sake; the latter, that by means of them, he may kindle his work with life, and stamp it with beauty. A colossal statue is necessarily no more an exaggeration of what it represents than a miniature is a diminution; it need not be a representation of a giant, but a representation, on a large Scale, of a man; only it is to be observed, that as any plane intersecting the cone of rays between us and the object, must receive an image smaller than the object; a small image is rationally and completely expressive of a larger one; but not a large of a small one. Hende I think that all statues above

the Elgin standard, or that of Michael Angelo's Night an 1 Morning, are, in a measure, taken by the eye for representa. tions of giants.

Michael Angelo was once commanded by Pietro di Medicitc mould a statue out of snow, and he obeyed the command. I am glad, and we have all reason to be glad, that such a fancy ever came into the mind of the unworthy prince, and for this cause: that Pietro di Medici then gave, at the period of one great epoch of consummate power in the arts, the perfect, accurate, and intensest possible type of the greatest error which nations and princes can commit, respecting the power of genius entrusted to their guidance. You had there, observe, the strongest genius in the most perfect obedience; capable of iron independence, yet wholly submissive to the patron's will; at once the most highly accomplished and the most original, capable of doing as much as man could do, in any direction that man could ask. And its governor, and guide, and patron sets it to build a statue in snow—to put itself into the service of annihilation—to make a cloud of itself, and pass away from the earth.

Now this, so precisely and completely done by Pietro di Medici, is what we are all doing, exactly in the degree in which we direct the genius under our patronage to work in more or less perishable materials. So far as we induce painters to work in fading colors, or architects to build with imperfect structure, or in any other way consult only immediate ease and cheapness in the production of what we want, to the exclusion of provident thought as to its permanence and serviceableness in after ages; so far we are forcing our Michael Angelos to carve in snow. The first duty of the economist in art is, to see that no intellect shall thus glitter merely in the manner of hoar-frost; but that it shall be well vitrified, like a painted window, and shall be set so between shafts of stone and bands of iron, that it shall bear the sunshine upon it, and send the sunshine through it from generation to generation. How are we to get our men of genius: that is to say, by what means may we produce among us, at any given time, the greatest quantity of effective art-intellect? A wide question, you say, involving an account of all the best means of art education. Yes, but I do not mean to go into the consideration of those; I want only to state the few principles which lie at the foundation of the matter. Of these, the first is that you have always to find your artist, not to make him; you can’t manufacture him, any more than you can manufacture gold. You can find him, and refine him: you dig him out as he lies nugget-fashion in the mountain-stream; you bring him home; and you make him into current coin, or household plate, but not one grain of him can you originally produce. A certain quantity of art-intellect is born annually in every nation, greater or less according to the nature and cultivation of the nation, or race of men; but a perfectly fixed quantity annually, not increasable by one grain. You may lose it, or you may gather it; you may let it lie loose in the ravine, and buried in the sands, or you may make kings thrones of it, and overlay temple gates with it, as you choose; but the best you can do with it is always merely sifting, melting, hammering, purifying —never creating. And there is another thing notable about this artistical gold; not only is it limited in quantity, but in use. You need not make thrones or golden gates with it unless you like, but assuredly you can’t do anything else with it. You can't make knives of it, nor armour, nor railroads. The gold won’t cut you, and it won’t carry you; put it to a mechanical use, and you destroy it at once. It is quite true that in the greatest artists, their proper artistical faculty is united with every other and you may make use of the other faculties, and let the artistical one lie dormant. For aught I know there nay be two or three Léonardo da Vincis employed at this moment in your harbors and railroads: but you are not employing their Leonardesque or golden faculty there, you are only oppressing and destroying it. And the artistical gift in average men is not joined with others; your born painter, if you don’t make a painter of him, won’t be a first-rate merchant, or lawyer; at all events, whatever he turns out, his own special gift is unemployed by you; and in no wise helps him in that other business. So here you have a certain quantity of a particular sort of intelligence, produced for you annually by providential laws, which you can only make use of by setting it to its own proper work, and which any attempt to use otherwise involves the dead loss of so much human energy.

I believe that much of the best artistical intellect is daily lost in other avocations. Generally, the temper which would make an admirable artist is humble and observant, capable of taking much interest in little things, and of entertaining itself pleasantly in the dullest circumstances. Suppose, added to these characters, a steady conscientiousness which seeks to do its duty wherever it may be placed, and the power, denied to few artistical minds, ofingenious invention in almost any practical department of human skill, and it can hardly be doubted that the very humility and conscientiousness which would have perfected the painter, have in many instances prevented his becoming one; and that in the quiet life of our steady craftsmen—Sagacious manufacturers, and uncomplaining clerks— there may frequently be concealed more genius than ever is raised to the direction of our public works, or to be the mark of our public praises.

Ornamentation is the principal part of architecture, cons: dered as a subject of fine art.

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