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La notte, senza lume di luna, era buia, e l'entrare del treno nelle centomila gallerie delle Cinque Terre e l'uscirne non facevano divario alla vista. Maurizio, nondimeno, sentiva il mare vicino, lo sentiva alle acute fragranze e al romper dei marosi contro le rupi. Lo rivide sull'alba, il vecchio amico brontolone; lo rivide di l? dal monte di Portofino, farsi a mano a mano pi? luminoso e pi? bello, a Recco, a Nervi, a Genova, e gi? gi? per tutta la quieta Riviera di Ponente, dove si aprono cinquanta seni azzurreggianti tra il verde, e su lembi sottili di candide spiagge cinquanta paesi si distendono al sole. Quanti porti e rade, e golfi e calanche, di cui Maurizio conosceva gli approdi! A Genova era vissuto parecchi anni collegiale, e tante volte c'era tornato ufficiale. Nella rada di Vado, ancoraggio sicuro, era andato una volta a rifugio colla sua cannoniera, cacciato per due giorni da un fortunale di libeccio. Quella costiera della Cornice tutta frastagliata da balze ferrigne, coi suoi fondi di turchino carico listato di smeraldo e sormontato di bianche creste spumose, come l'aveva in pratica! Ed era sempre l?, il suo mare, ad ogni uscita di galleria, il suo mare azzurro, scintillante, superbo, il buon mare, il bel mare, a cui aveva tutto sacrificato per tanti anni, perfino l'amore, il grande, il forte, il supremo bisogno dei cuori.

Non aveva egli dunque amato mai? S?, aveva amato, ed anche incominciando per tempo; ma anche per tempo si era fermato. A quattordici anni aveva preso una cotta famosa per una sua cuginetta, splendidissima e formosissima bionda. Per moglie non sarebbe andata, avendo perfino un anno o due pi? di lui: ma chi bada a queste differenze, quando cantano gli anni adolescenti nel cuore? Quella stupenda creatura egli l'aveva veduta da bambino, e avevano giuocato insieme a marito e moglie: il <> era stato proferito con gusto al nuovo incontro, quando la cuginetta era venuta coi parenti a Genova, per salutar lui collegiale promosso agli esami finali e gi? presso all'imbarco desiderato. Ah, il bel giuoco di cui si ricordavano ridendo, ed anche arrossendo un pochino! Ma egli arrossiva anche d'un altro pensiero, che tanta bellezza fiorente gli aveva fatto nascere subitamente nell'anima. Perch? non si sarebbe ripigliata da senno quella condizione di marito e moglie che nove anni prima si era stabilita per giuoco? Ed egli gi? stava mulinando, in quei giorni di baldoria per le strade di Genova; studiava il modo di girare la frase, per dire alla cuginetta: aspettami due o tre anni, quanti i nostri parenti stimeranno che bastino, per.... Ma la frase non gli veniva mai bene, come avrebbe voluto. E frattanto, una domenica all'Acquasola, dov'erano andati a sentir la musica, quella splendidissima e formosissima bionda che tutti ammiravano, gli aveva detto di schianto:

--Sapete che non siete punto belli voi altri, con la vostra feluca?--

Il <> andava agli ufficiali di marina. Maurizio non era ancora che un allievo, e non portava la feluca; ma l'avrebbe portata ben presto, nelle circostanze solenni. Perci? s'impermal? un pochettino, sentendo quella eresia, e guard? la cuginetta con aria di persona offesa.

--Non siete belli, vi dico;--ribatt? quell'altra, ridendogli ancora sul muso;--e tu starai male, cugino Maurizio. Neanche si capisce, quel vostro uniforme; non significa nulla. Perch? quella feluca nera, che non si pu? tenere ben salda sulla testa, che vi scivola sempre indietro, con uno di quei becchi d'anitra, in su, verso la luna, e l'altro in gi?, che vi piove sulle spalle? perch? quello spadino al fianco, che par uno spiedo da infilzare i ranocchi? perch? quella coda di rondine, smilza smilza, che va a cercarvi i polpacci? Non si capisce, ti ripeto, quel vostro uniforme; non significa nulla.

--? quello a un dipresso di tutte le marinerie europee. Lo ha portato Nelson, signorina.

--E lasciatelo a Nelson, e vestitevi da cristiani. Guarda laggi?, quell'ussero di Piacenza. Che eleganza di vestiario! che armonia di tinte! e che aria marziale!

--Ah s?, quello starebbe bene a bordo!--not? Maurizio, allungando le labbra, con aria di sublime disprezzo.

--A bordo, non so;--ribatt? la cugina, senza scomporsi.--Noi siamo in terra; per la terra giudichiamo gli uomini.

--Dagli uniformi;--conchiuse Maurizio.

Erano rimasti grossi per tutto il tempo della passeggiata. Quel giorno si separarono freddi. La notte, quando fu solo nel suo letticciuolo di collegiale, Maurizio pianse a calde lagrime il suo bel sogno svanito; ma con quelle lagrime gli si prosciug? la vena delle tenerezze. La cugina era una civettuola e una sciocca, vana della sua bellezza, felice d'esser guardata, e pi? fatta per godere gli omaggi della cavalleria che quelli della marineria. Gli ultimi giorni che ella pass? a Genova non furono niente migliori. Maurizio era imbronciato, ed ella stette molto sulla sua. Ella part? per Nizza con la famiglia, ed egli s'imbarc? per il suo primo viaggio. Cos? finiva il romanzetto, a mala pena imbastito, cos? l'amor suo a mala pena sbozzato. Del resto, quella splendidissima e formosissima bionda, egli non aveva pi? avuto occasione di vederla. Quattro anni dopo, essendo egli di stazione a Montevideo, gli giungeva notizia che la cugina era andata a marito, passando anche a vivere in Francia. Buona fortuna, e figli maschi.

Strano ragazzo, quel Maurizio! aveva giurato di non lasciarsi pi? cogliere a certe lustre, ed era stato di parola: il primo amore era anche l'ultimo. Parliamo del grande amore, s'intende, di quello che si crede veramente l'amore, il forte, il solenne, il poema della vita. Episodii, s?, ad ogni crociera, ad ogni viaggio sui mari lontani, ad ogni fermata nei porti patrii: ma presto gliene era venuta la nausea. Tutti giuochi, superficialit?, scioccherie, quando non erano indegnit?; e queste e quelle erano poi sempre offese alla gran legge dell'universo. <> diceva egli volentieri, quando ne cadeva il discorso cogli amici; <>. Ed egli era religioso, come ? sempre nel fondo dell'anima il gentiluomo di mare. Chi vive meno nel consorzio degli uomini vive pi? intimamente con s?, e pi? spesso con Dio; con Dio, il cui spirito corre non visto sull'acque, cavalca le nubi della tempesta, si libra sull'arco dell'iride, si affaccia nella gloria del sole sorgente sull'oceano, siede nella porpora accesa dal grande astro al tramonto.

Grandi cose, sul mare! Ed ora, abbandonato il vasto suo campo, sarebbe tornato alle cose piccine. Ma s?, cos? portava la necessit?. Lo avevano voluto umiliare; aveva preferito spezzarsi. Non esagerava egli un poco? Forse; ma era fatto cos?. Obbedire gli piaceva, ma all'intelligenza, o alla probit? che ne tien luogo, quando tra chi comanda e chi obbedisce aleggia l'idea del dovere morale. Altrimenti no; e per non dar scandalo brontolando, se ne andava via, spezzando la spada. Uno spiedo, dopo tutto; non glielo aveva detto quella formosissima bionda? Ed anche buttava la feluca a mare: galleggiasse a sua posta, e naufragasse al primo scoglio. Lass?, nella quiete della sua bicocca solitaria, avrebbe evocate le figure dei grandi ammiragli; buon metodo per dimenticare i piccini.

Alla terra dei padri.

Maurizio di Vaussana cess? finalmente di vedersi il mare da fianco. Era giunto alla stazione di Ventimiglia. Sceso dal treno, prese la via dei monti, dopo aver fatte caricare le sue valigie in una vettura da nolo. Quanto ai suoi bauli, aveva dato lo scontrino del bagaglio ai signori Rolandi, buona gente, amici vecchi di casa sua, che s'incaricarono volentieri di farglieli recapitare il giorno seguente a San Giorgio. E la vettura si mosse, part? con alto fragore di ruote, tintinn?o di sonagliere e scoppiett?o di frusta nell'aria polverosa, ma soprattutto con la gloriosa velocit? di tutte le vetture da nolo, quando incominciano la corsa.

--Sentirai la nostalgia del mare anche tu--aveva detto il tenente Maurizio al marinaio Susini. Per intanto, non doveva sentirla lui cos? presto. L'aria fine dei monti natali carezzava le guance del viaggiatore, ancora dorate dai soli africani. Quante balze conosciute gli occhieggiavano dall'alto, lungo la via serpeggiante! Le eriche, i pini, i ginepri, i roveri, i lecci, tutti conosceva Maurizio, a tutti sorrideva, come ad una brigata di vecchi amici, ritrovati dopo tanti anni di assenza. Ad una certa voltata ci doveva essere una macchia di fr?ssini, nascosta dietro il ciglio d'un poggio. I suoi ricordi non lo avevano tradito: vide, riconobbe i suoi fr?ssini, non molto cresciuti da quelli di prima, sempre eler and apart. This posture, which may be described as characteristic of the entire class, is little calculated to convey any sentiment of ease or grace. Yet in these vast, although comparatively uninformed labours, we discover more of the sublime than arises from mere vastness, or even from the recollections of distant time with which their memory is associated. They are invested with a majestic repose--with a grand and solemn tranquillity, which awes without astonishing; and while they exhibit the greatest perfection to which Egyptian art has attained, in colossal statues generally, we discover occasional approaches to truth and nature, with no inconsiderable feeling of the sweet, the unaffected, and the flowing in expression and contour.

In many of the ancient Egyptian buildings, the whole of the exterior is frequently covered with relievos. This profusion, for the purpose, too, of mere decoration, together with the indefinite nature of hieroglyphical delineation, operated strongly against improvement in this particular province. Indeed, the prejudicial effects arising from an embellishment, in which extent more than intrinsic beauty was regarded, and where arbitrary forms, or mere indications of known objects, precluded all natural imitation, and all delicacy of expression, infected the whole of the art. The general inferiority in works of this third class, is, however, to be understood with due limitation. In relievos, consisting of few figures, sepulchral ones for instance, which in the same piece rarely contain more than three, are often displayed no mean beauties both of execution and of character. In historical relievos, again, which occupy entire walls of the temples, crowded as they are with figures in various actions, processions, battles, sieges, and represented by artists who apparently possessed no principles of design, save a knowledge of simple form in its most restricted movements, all is feebleness, puerility, and confusion. Or if beauty occasionally break forth, it is in some single reposing figure, or in the patient details of execution. In the drawing and anatomy, singular ignorance is manifested; the limbs are without joints, and the movements exhibit neither balance nor spring; proportion and perspective seem to have been utterly unknown. Military engines, buildings, horses, soldiers, all appear of the same dimensions, and all equally near the eye. The hero in all these monuments bears a strong individual resemblance; he is represented ever victorious, in the bloom of youth, and in his figure are sometimes displayed both grandeur and beauty of conception, when considered apart. But these separate excellences are completely obscured by the absurdity of representing him at least double the stature of his followers or opponents. The circumstance of thus confounding moral greatness with physical magnitude, were alone sufficient to mark the infancy of invention, and the barbarism of taste. It is nevertheless only justice to mention, that occasionally, in the historical relievos, we observe rudiments of higher art, with less of convention, and more of freedom of imagination, than in any other Egyptian sculptures.

The expression, mixed art, selected to discriminate the second epoch, has been adopted, to mark the successive changes in the ancient modes induced by the Persians and the Greeks. The influence exerted upon art by the dominion of the former, amounted merely to a negative,--to the prohibition of its exercise; which, with the destruction of many of its best monuments, produced a deterioration in the few and feeble attempts during the latter years of that dynasty. Mythraism, in which elemental fire was the symbol of the Deity, proscribed the imitative arts in that service, whence, in all other countries, they have sprung. The Persians, says the father of history, have neither temples nor statues. Or, if architecture was encouraged by these conquerors, evidence still remains that their erections were but modifications of materials torn from the mighty structures of past ages. In little more than a century and a half, the Persian was subverted by the Macedonian empire. Yet even in Alexander, the ancient and native arts of Egypt obtained not a patron. The majestic range of temples, palaces, and cities, which bordered the sacred stream of the Nile, furnished so many quarries, of tempting access, whence Alexandria was reared; and the mightiest, as well as most rational trophy of Grecian superiority, received its grandest and most enduring monuments from the stupendous labours of the first age. His successors followed the example; and although, under them, the polished literature of Greece, united with her own subtile philosophy, constituted Alexandria the Athens of the East, yet in sculpture, in architecture, and in religion, to which both were subordinate, the character remained essentially Egyptian, but with certain deviations and additions.

The Roman dominion finally introduced new modifications, or rather mutations, of the ancient art. This epoch may be considered as commencing with the introduction of the Isiac mysteries at Rome; although the principal features by which, as a division in the history of art, it is distinguished, are not decidedly marked prior to the reign of Hadrian. The works of the third, or imitative era, have, in strict propriety, no real connexion with Egyptian sculpture, farther than as it multiplied copies of the ancient forms, with occasional accessions of elegance. During a residence of two years in the East, and by the deification there of his favorite Antinous, Hadrian imbibed a fondness for the arts, and particularly for the statuary of Egypt. But the works which he commanded were in all respects Roman, or rather Grecian, under Egyptian modes. They were indeed most scrupulously modelled after the most ancient and authentic specimens; even the materials were brought from the native quarries, but the sculptors were Greeks or Italians; and the Grecian character of design is visible in every remaining specimen, the merits of which require notice. Nothing, therefore, can be more futile, than from the works of this age to infer the merits or principles of native and ancient art. So far, indeed, does our scepticism here extend, that we doubt if a single statue of genuine and ancient Egyptian workmanship is to be found among the numbers that have been discovered in Italy, and with which Hadrian filled that portion of the empire.

The general conclusion, then, from these remarks, is, that there is but one period of real Egyptian sculpture, and that the genius and character of this indigenous and aboriginal art is to be discovered only in the most ancient monuments, having suffered various changes under the Greeks and under the Romans. In establishing this inference, we have not been guided by the often fanciful, always deceitful, analogies discoverable in the fluctuating style and varying productions of imitation, but have viewed these as directed by the steady operation of the laws and institutions of society, which govern the spirit and tendency of the arts themselves. During an interval of nearly twenty centuries previous to the era of Alexander, though diligently cultivated, sculpture had hardly attained any of the nobler qualities of invention. The system of taste and of government was in fact hostile to improvement in this art beyond a certain limit, or upon any principles, save those fixed on the very threshold of knowledge. The national polity, which will ever be found to guide the national taste, induced a preference of the immense and the durable; hence the grandeur of Egyptian architecture: but in statuary, such a character of design necessarily produced figures rigid and motionless. The essential elements of the grand and the beautiful--breadth and simplicity, are indeed present, but the effect is rarely elicited. The simple is seldom inspired by any feeling of the true, the natural, or the graceful; breadth, unrelieved by symmetry of parts, or expression of details, degenerates into inert magnitude. The colossal forms are the records only of power, of patience, and of labour; not the creations of intelligence and of genius. Sculpture also suffered from peculiar obstacles to its progress. Exclusively attached to the service of religion, its representations were confined to divinities, priests, and kings; personages whose modes and lineaments were unalterably fixed--fixed, too, from types, frequently of the most hideous description, at least ill managed, and little adapted to the objects or spirit of the art. This religion likewise admitted no images of human virtue or sympathy to mingle with its cold obstructions; thus denying to the Egyptian arts a source, which, to those of Greece, proved one of the richest and sweetest veins of ideal composition. The artist, therefore, even had he been allowed to depart from established but imperfect models, possessed no ennobling source whence to create new models of beauty or of grandeur. Imagination wanted materials, which neither the prescribed subject nor living nature, under these restrictions, could supply. Again, sculpture not only laboured under the general disadvantage of hereditary and unchanging professions; a national regulation which repressed every fortunate predilection of genius, but as a security against the possibility of innovation, slaves, educated under the immediate care of the priests, were entrusted with the execution of the most sacred, and, consequently, most important monuments.

In Egyptian sculpture, thus properly understood, little will be discovered of that excellence which has been attributed to its remains. Still there are to be found some first principles of true science; and these are occasionally developed with considerable beauty of detail; always with patient, but inefficient technicality. It is by no means apparent, however, that by the masters of these early ages any theory was observed; certainly the occasional refinement seems rather the result of accident or of individual superiority, than of systematic perceptions, or of transmitted precept. Their best statues have an elevation of seven hands and a half, being divided equally, the torso and limbs having the same length. These proportions are pleasing, and borrowed directly from nature; but they show nothing of that characteristic beauty of physical art, which, in the varied harmony of parts, indicates the capabilities of form. A similar principle regulates the details, which, though brought out with considerable propriety and softness, are yet without precision or anatomical knowledge, especially of internal structure,--the heads of the bones, the insertions and terminations of the muscles, never being correctly indicated. Hence the forms appear coarse and inelegant, the limbs heavy and inert, because without vigorous marking on the joints, where the deeper depressions only and the strongest projections are aimed at, not feelingly touched. The attitude, also, is constantly rectilinear, denoting that condition of the art when poverty of source limits its reach of the beautiful by the difficulties of execution. It is, in fact, the first choice of invention rendered permanent by prescriptive institutions. From the curve being thus unknown in the contour, the action is necessarily angular in its direction, unless the movement be parallel to the gravitating line of the figure. Hence the range of action and of attitude is very circumscribed; the arms either hanging close by the sides or crossed at right angles on the breast; or, as a slight variation, one is placed in each posture. Lateral movements in like manner are limited, the statue standing equally poised on both limbs, the feet not exactly opposite, one being in advance, often almost in front of the other. Whether erect, sitting, or kneeling, the action is the same: hence, little of grace or animation of movement is to be found even in the most perfect works; yet there is often to be remarked a grave and staid serenity, neither unpleasing nor devoid of interest. As in the selection of attitude, however, the artist has been guided, not by the beautiful, but by his own timidity and confined resources; so in expression, little beyond a vague and general emotion has been attempted; seldom more, indeed, than might be produced by the symmetrical arrangement of the features. These are flat, the countenance being Ethiopian, and are just sufficiently distinguished for the effect of separation; the depth of shadow is wanting to give contrast and firmness. The eyes, whether long and narrow, the peculiar characteristic of the earliest era, or more full and open, as in the Greco-Egyptian period, are nearly on the general level of the face; the nose is broad and depressed, the lips thick, and always sharp on the outer edge, though often touched with great softness and delicacy; the cheeks, chin, and ears, are large, ill made out, and without feeling. Hence, although the heads are often finished with wonderful labour, the effect is always feeble, while the whole is uniformly surmounted by harsh and disproportionate masses of drapery, overpowering the already too weak expression. The superior beauty of some of the colossal busts may perhaps be rightly attributed to their having been executed as portraits. Conventional art, even in the most skilful hands, is rarely pleasing; nature, even rudely imitated, is ever viewed with a degree of pleasure.

On the methods employed to work materials so unyielding as those of the Egyptian sculptors, it is difficult to propose any decided opinion. On their porphyry, granite, and basalt, modern tools can hardly make impression; yet are the forms, in all instances, highly finished, with angles sharp and unbroken. The latter circumstance, indeed, constitutes a peculiar feature in the works of this country as distinguished from Oriental art generally, which, together with breadth and simplicity, brings them nearest the productions of the Grecian chisel. From the style of execution, however, it would appear that the effect has been brought out rather by patience and labour, than by rapid or dexterous management. In fact, the general character has been influenced not a little by the materials; for in the statues of wood, both as described and discovered, the action is bolder, and the manner more free. If a conjecture may be hazarded on the subject of their theory, it would seem that the Egyptians, in the infancy of their arts, were guided by an outline traced round a human figure, dead or alive, extended upon the block, face upwards, with the arms close by the sides, and the limbs placed together exactly as their statues are composed. The scattered details given in the Greek writers respecting the arts of this ancient people, have indeed induced the belief, that they were acquainted with much more refined canons of symmetry; but it ought to have been observed, that Diodorus and others describe the practices existing in their own times, when Egypt had, to a certain extent, become the pupil of Greece. In some respects, also, it is difficult to give implicit credit to their accounts, at least in the common interpretation. It is farther particularly to be observed, that the supposition now made will account for the correctness of the general proportions which would thus be obtained from nature; likewise no theory of proportional parts can be detected different from the results thus obtainable, while those details which a refined theory would preserve, but which could not by such method be measured, are defective.

We have been thus minute and critical in these investigations for two reasons: from Egypt certainly descended the first principles of improvement to Western art, while no less evidently did the Eastern world derive its entire knowledge from the same source. Consequently, in carefully examining that of the Egyptians, the best account, deduced too from monuments actually observed, has been given of Oriental Sculpture generally. Of the mighty empires, indeed, which once embraced the happiest regions of Asia and of the globe, a name, or at most a shapeless mass of ruins, alone remain. Of Jewish art, the sole memorials in existence are the sculptured transcripts on the arch of Titus. But every description in the sacred records, from the calf of the wilderness to the twelve oxen of the molten sea, or the lions of the throne of Solomon, evinces the taste of the former bondsmen of Pharaoh, and of him who was skilled in all the learning of the Egyptians; at the same time we learn that the Israelites quickly departed from the severe and simple grandeur of the parent source. Moving eastward: Baalbec's gigantic masonry is adorned with little of sculpture; the lonely Palmyra exhibits only Roman ruins, for the Tadmor of Scripture has long disappeared; the pillared Persepolis claims a remoter antiquity; but the Pelhavi and arrowheaded inscriptions, instead of hieroglyphics, show comparatively recent, and the innumerable and beautiful sculptures, display certain traits of the Grecian school. They cannot be older than Cyrus, but most probably belong to the age of his successors. The mysterious monuments of Hindustan alone seem to claim an equal or more ancient date compared with the labours we have surveyed. Their nature, also, is the same; hence there are not wanting names of highest eminence, who have maintained not only the greater antiquity of Indian art, but that thence has been derived all other, as from the parent source. This opinion has been grounded too exclusively on the dubious inferences of philology, or of mere antiquarian erudition,--dubious, at least, when applied to Sculpture. Here the subject itself ought to supply the true principles of decision; and on this point one observation will suffice. The sculpture, like the architecture, of Egypt, bears the impress of uniform simplicity; the grand lines of composition are few, accessories are sparingly introduced, and wear the same sober, massive, and unpretending character. In the works of Asiatic art, on the contrary, although presenting a general resemblance to those of Egypt, the design is neither simple nor uniform; the parts are numerous, breaking the master lines into multiplied compartments, while the style of ornament is replete with complicated details, and of pretension above the means of the artist. Now, judging according to the natural inferences from these facts, and according to the acknowledged precepts of imitative art, this latter style, with its defects in keeping, has evidently arisen in consequence of superinducing a laboured and injudiciously aspiring taste upon the more severe and simple conceptions of a primitive composition. Similar principles may be obviously traced in the farther progress of the arts eastward. China is admitted, on the most learned authorities, to have been planted by colonists from the banks of the Indus and the Ganges; and in the unchanging modes of that country, we seem almost to catch glimpses of the aboriginal knowledge of our race. Yet how striking the difference between the ornate and the frittered labours of the Chinese compared with the works either of India or of Egypt! Even their great wall is but the accumulation of petty exertions--an evidence of numerical, not of scientific energy.

IN the previous chapter, Egypt has been exhibited as the centre of intelligence in the history of ancient art; and having explained the connexion which can still be traced in the few remaining monuments of the East, we now turn from the parent source to trace the progress of refinement in the West, where, first in Greece, the human mind awoke to the full consciousness of its capacious grasp, and of its exquisite sensibilities.

The fine arts have never flourished in states not commercial; in this respect, presenting a marked contrast to the origin and progress of poetry and music; a fact singularly exemplified in the condition of those cities where arose the primitive schools in Greece. Sicyon, AEgina, Corinth, and Athens, were the first seats of commerce and of sculpture. Sicyon, with its small but important territory, extending a few miles along the south-eastern extremity of the Corinthian gulf, was the most ancient of the Grecian states, and probably the oldest city of Europe. From the earliest times, it became celebrated for the wealth, enterprise, and intelligence of its population; and from the Sicyonian academy were sent forth many of the most celebrated masters of design; hence Sicyon obtained the venerable appellation of 'Mother of the Arts.' The foundation of this school, though most probably of much higher antiquity, is assigned to Dibutades, who, in the humble occupation of a potter, became the accidental inventor of the art of modelling. For this discovery, so precious in its subsequent effects, he was indebted to the ingenuity of his daughter, who, inspired by love, traced upon the wall, by means of a lamp, the shadowed profile of the favored youth as he slept, that with this imperfect resemblance she might beguile the lingering hours of absence. This outline the father, filling up with clay, formed a medallion, which, even to the time of Pliny, was preserved as a most interesting relic. To the same pleasing origin painting has been ascribed--another instance of that delightful charm, which, to their poetry, their arts, their philosophy even, the Greeks have imparted by the constant union of sentiment and reason--of the heart with the understanding.

The little island, or rather rock, of AEgina, still one of the most interesting spots of Greece, rising above the waves of the Saronic gulf, nearly opposite to Athens, affords a striking illustration of the effects of commercial wisdom. Insignificant in extent, boasting of few productions, it was yet enabled, by this wisdom, long and successfully to maintain the struggle of warfare, and to cherish the arts of peace and of elegance, especially sculpture, in a school, if not the earliest, certainly latest distinguished by originality of style and invention. Smilis was famous by his statues of Juno, especially one at Samos, called by Pliny 'the most ancient image' of that goddess. Even in the works of this, her first master, it is said, were to be discovered a gravity and austere grandeur, the principles of that style visible still in the noble marbles which once adorned, in AEgina, the temple of Jupiter Panhellenius.

Corinth was early more celebrated as the patroness of painting. Concerning Daedalus, the first of the Athenian sculptors, doubtful or fabulous accounts have reached us; but a careful investigation of circumstances proves, that of whatsoever country a native, he had rendered himself renowned by the exercise of his skill at the court of Minos before settling in Attica. The facts attending his arrival there, and the history of his previous labours, enable us to fix dates, and to trace the true source of improvement in Grecian art at this particular era. Of the early establishments of the Greeks planted in the isles of the AEgean, which even preceded the mother country in the acquisition of wealth and intelligence, the Doric colony of Crete enjoyed, from a very early period, the happiness and consequent power of settled government. External advantages of situation first invited the access, while domestic institutions secured the benefits, of ancient and uninterrupted intercourse with Egypt. Hence the laws and the arts of the Cretans. With the former, the Athenian hero, Theseus, wished to transplant the latter also; and while he gave to his countrymen a similar system of policy, he did not fail to secure the co-operation of one whose knowledge might yield powerful aid in humanizing a rude people by adding new dignity to the objects of national veneration. Accordingly Daedalus, accompanying the conqueror of the Minotaur to Athens, fixes there the commencement of an improved style, 1234 years before the Christian era. With Daedalus, the artists already mentioned are described as nearly or altogether contemporaries.

The performances of Daedalus were chiefly in wood, of which no fewer than nine, of large dimensions, are described as existing in the second century, which, notwithstanding the injuries of fourteen hundred years, and the imperfections of early taste, seemed, in the words of Pausanias, to possess something of divine expression. Their author, as reported by Diodorus, improved upon ancient art, so as to give vivacity to the attitude, and more animated expression to the countenance. Hence we are not to understand, with some, that Daedalus introduced sculpture into Greece, nor even into Attica; but simply that he was the first to form something like a school of art, and whose works first excited the admiration of his own rude age, while they were deemed worthy of notice even in more enlightened times. Indeed the details preserved in the classic writers, that he raised the arms in varied position from the flanks, and opened the eyes, before narrow and blinking, sufficiently prove the extent of preceding art, and the views we have given on the subject. In these primitive schools, however, many centuries necessarily elapsed, before sculpture can be considered as a regular art. Their founders and pupils were little more than ingenious mechanics, who followed carving among other avocations. Such were Endaeus of Athens, celebrated for three several statues of Minerva; AEpeus, immortalized as the fabricator of the Trojan horse; Icmulous, praised in the Odyssey as having sculptured the throne of Penelope; with many others who must have contributed to the arts of the heroic ages, and who, if they did not rapidly improve, at least kept alive the knowledge of sculpture.

Besides these continental schools, another must be described, which there is every reason to believe was still more ancient, and which certainly attained higher perfection at an earlier period. This was the insular Ionian school, flourishing in those delightful isles that gem the coast of Asia Minor, and chiefly in Samos and Chios. To this the continental academies were even indebted for many of their most distinguished members, who, leaving the narrow sphere of their island homes, naturally preferred the commercial cities from the same causes which had rendered these originally seats of art, opulence, intelligence, and security. Of the Samian masters, Rhaecus, about the institution of the Olympiads, or 777 B. C., first obtained celebrity, as a sculptor in brass, in which art, Telecles and Theodorus, his son and grandson, also excelled. Their works in ivory, wood, and metal, were extant in the age of Pausanius, whose description exhibits the hard and dry manner of Egypt, whence it is probable these artists had derived their improvements, distinguished for very careful finish. The Chian school claims the praise of first introducing the use of a material to which sculpture mainly owes its perfection, namely, marble. The merit of this happy application is assigned to Malas, the father of a race of sculptors, and who is placed about the 38th Olympiad, or 649 years before the Christian era. Michiades inherited and improved the science of the inventor, transmitting to his own son, Anthermus, the accumulated fame and experience of two generations of sculptors, to whom, as to their successors, the beautiful marbles of their native island furnished one rich means of superiority.

In the insular,--and the evidence is in favour of the Chian school,--we also first hear of bronze statues. The earliest works of this kind were not cast, but executed with the hammer. Two manners are discernible; large figures were formed of plates, and hollow, the interior being filled with clay; in small pieces, the separate parts were brought nearly into shape in the solid, afterwards united, and the whole finished by the graver and the file. These methods, in each of which rivets, dovetails, and soldering, formed the joints, were gradually superseded as the knowledge of casting was acquired.

About the commencement of the sixth century before Christ, the school of Sicyon was illustrated by Dipaenus and Scyllis, brothers, the most famous of her ancient masters, and whose age forms an era in the history of the ancient art, marking the first decided advances towards the mastery of the succeeding style. Their labours were in various materials, the most esteemed of marble; and the praise of its application is shared betwixt them and the Chian school. Statues by these artists, in Parian marble, were admired in the time of Pliny, excited the cupidity of Nero, and are subsequently described by one of the Christian fathers, from the peculiar veneration in which they were held. The style of sculpture had hitherto been extremely dry and minute;--a passion for extreme finish, in preference to general effect, had distinguished former masters. This taste had been first introduced, and afterwards maintained, by the limited resources of the art itself, by the mediocrity of artists, and by the dress and ornaments of the time. The hair arranged in undulating locks or spiral curls, and sometimes little separate knobs, was laboured as if to be numbered; the drapery, disposed in the most rigid and methodical folds, finished with painful minuteness; at the same time the limbs and countenance retained much of rude and incorrect form and tasteless expression, but elaborated with the extreme of care. It is far easier, and the common error, both of inferior genius and of an unskilful age, to bestow on parts that talent and application by which a whole is to be perfected. The fault of fastidious and useless labour, with inaccuracy of general result, still attaches to the works of Dipaenus and Scyllis, but great melioration is also apparent; their execution was much more free, the whole effect more powerful, the expression, if not more animated, more natural, and the forms better selected and composed. Colossal heads, now in the British Museum, of Hercules and Apollo, most probably of these masters, afford an admirable illustration of these remarks, and of the style of art at this early period. The fiftieth Olympiad, shows all the necessary inventions and principles of mechanical art fully known and universally practised. Even so early as the twentyninth Olympiad, an equestrian group had been executed in Crete by Aristocles; all the proper materials, and the methods of working them, had long been discovered; in the greatest single work of these times, the shrine of Apollo at Amyclae, by Bathycles the Ionian, every description of relief had been exhibited; and lastly, improvement had been fixed on such principles of taste and composition, as enabled succeeding efforts to carry it forward.

The extent of country in which the art was now cultivated, and the zeal evinced in the pursuit, corresponded to, while they increased, the improvement of taste. Attention is now directed to a new school, that of Magna Graecia, which , had been gradually rising into importance and excellence. Its chief seats were at Rhegium and Crotona in Italy, and in Sicily, Syracuse and Agrigentum. In these, the artists first practised in metal chiefly, afterwards in marble; and were among the foremost to perfect iconic statues,--a source of most decided advantage to the art. Omitting farther enumeration, one of these early masters, Dionysius of Rhegium, merits to be mentioned as the first who composed a statue of Homer, erected about the twenty-seventh Olympiad. This was an ideal bronze, in which the traditionary resemblance had been preserved; and from this ancient original were taken those portraits of the father of verse which are mentioned by Pliny as so numerous in his time, and of which one or two exquisite examples still remain.

But the fame of all preceding sculptors has suffered from the superior reputation of the two Chian brothers, Bupalus and Anthemis, who lived 517 years B. C. They were the first who brought to a high degree of perfection the discovery of their ancestors,--sculpture in marble. Both Greece and Asia strove to possess their works, which were equally numerous and excellent, and on which was inscribed, not their own, but their father's name and their country's, in the following verse: 'The sons of Anthermus will render thee, O Chios, more renowned than thy vines have yet done.' The beauty of these works caused them to be highly valued in all succeeding ages, and they formed part of those master-pieces removed to Rome by order of Augustus.

During the period of fiftyeight years, from the sixtieth to the seventysecond Olympiad, and the battle of Marathon, sculpture throughout Greece was vigorously exercised, and with corresponding success. At Athens, which, though distinguished in the very commencement of our narrative, has subsequently appeared in the back ground, Pisistratus laid the foundation of that school whence afterwards issued the new lights of the art. This extraordinary man perceived and applied the proper remedy to the poverty of Attica: he introduced manufactures and encouraged commerce; and while the true sources of political greatness were thus opened, the more enviable supremacy of his country was secured in the intellectual empire of literature and the arts of elegance. Yet this man has been termed, in the history of that very country, a tyrant, because he saved her from her worst enemy, the mob--miscalled free citizens--slaves of their own passions, and agents in the hands of demagogues. Our own times are not without similar prejudices. Mankind seem destined, in all ages, to be the dupes of fears and of phantoms which they themselves have evoked, and which distract attention from real danger. Happy that state, governed by rulers, who, like Pisistratus, will respect the essentials of free institutions, who will consecrate the resources of the state to promote the national grandeur, and save the people from themselves! Under his protection were assembled the most esteemed artists of all descriptions: of sculptors, Eucharis was famous for the figures of warriors in armour; and Callon for statues of bronze. Callimachus is praised as master of all the arts of design, and in sculptural composition had introduced a lightness and elegance before unattained.

In other parts of Greece, during the same interval, were the following: Dameas, of whose works, the statue of his compatriot Milo was the most celebrated, and which the latter, among his other wonderful feats, carried to the place of erection. Polycletus, the first of the name, and his master Ageladas, finished at Argos, their native city, the statue of Cleosthenes in a car, soon after the sixtyseventh Olympiad, and one of the greatest works yet undertaken. At Sicyon were the brothers Canachus and Aristocles, whose two Muses were the finest statues then known; and of which, one is supposed to be the famous antique now in the Barbarini palace. Ascarus, at Elis, produced a Jupiter crowned with flowers; Menecmus and Soidas a Diana, afterwards placed in the palace of Augustus. Menecmus was the first who wrote on the principles of his art. The Dioscorides of Egesias, contemporary with the Persian invasion, have, by a misinterpretation of Pliny, been assigned to the figures now on Monte Cavallo, at Rome.

The victory of Marathon, B. C. 490, inspired fresh vigour into the genius and institutions of Greece. From this date, to the government of Pericles, intervenes a period in moral grandeur, the brightest, perhaps, in Grecian history. Of the sculptors who then flourished, the immediate predecessors, or early contemporaries, of Phidias, the following were the chief: Onatas and Glaucias, of Egina; the one modelled an admirable statue of Gelon, king of Syracuse; the other, an iconic figure of Theagines of Thasos, four hundred times victorious in the public games. Critias replaced the statues of Harmodias and Aristogiton, the originals having been carried off by Xerxes. Calamis was still more renowned for his horses, which were likewise iconic statues--a proof how early nature was admitted as the only guide in every department of sculpture. Pythagoras of Rhegium surpassed all his predecessors; his statues of Enthymus and Astylas, conquerors in the Olympic games, were masterpieces of form; and in expression, his Philoctetes exhibited deeper and truer sentiment than had yet appeared in any work. The name of Pythagoras, indeed, is closely associated with the general advancement of the art, as ranking among the inventors of that system of proportion which, derived from nature, taught to unite elegance with truth, and which invariably guided the practice, while its perfection was improved by the discoveries, of each succeeding master. In the mechanical department, also, his manner was more bold, firm, and graceful, in delicacy of style being placed by Quintilian inferior only to Myron, the last and the greatest of the early school.

Myron, a native of Eleutherae, exercised his profession chiefly at Athens, of which he enjoyed the citizenship. The decline of his life corresponds with the early labours of Phidias: Myron thus unites the first and second ages of Grecian sculpture, combining in his works many of the essential excellences of its perfection, with some of the remaining hardness and defects of its pupillage. In adopting this chronology, we seem to reconcile conflicting opinions both with each other and with history. The principal works of Myron were in bronze, and the most colossal in wood; consequently, no original of his hand has come down to modern times. There can, however, be no doubt that the famous Discobolos is preserved to us in more than one antique repetition. Hence, and from the writings of the orators and historians, a fair estimate of his merits may be deduced. His composition was distinguished for energy, science, and truth. Iconic statues he carried to a degree of excellence and vigour, as in the portrait of Ladus, unsurpassed in any succeeding age. The Bacchus, Erectheus, and Apollo, executed by order of the state, were not less admired by the Athenians; the last, carried away by Antony, was restored to them by Augustus, in consequence of a dream. His representations of animals were equally admirable; and seem, if possible, to have been more universally praised, judging from the circumstance of no fewer than thirtysix laudatory poems on the famous heifer being still extant in the Anthology. Myron carried mere imitative art to its utmost limits; yet in some of the minor details, the dry manner of the first ages appeared. Sculpture, as the representation of the external form, he perfected; but as an instrument of touching the heart--of elevating the imagination--of embodying sentiment, he proved unequal to call forth its powers. He represented nature forcibly and with fidelity, but without grandeur or ideal elevation. An important approach, however, to just conceptions of abstract beauty, is to be perceived in the principle which he is said first to have promulgated,--that propriety in the separate parts was beauty, or that a work of art was beautiful as a whole, according as the partial forms and proportions corresponded to their offices and to the general character. This, in fact, is the essence of corporeal beauty, the highest refinement of material art; and assigns to form, independent of mind, the noblest expression of which it is susceptible. This is the utmost range attained by the genius of this the first period in the history of art in Greece, and an admirable ground-work for the sublimity, and refined perceptions of the beautiful, added in the era that followed.

Casting a retrospect over the ages that have passed in review, how are we struck with the slow and painful growth of human invention! The collective energies and discoveries of a thousand years were required to rear the arts of Greece--not to their perfection, but to the state where the first decided approaches to it commence. Such is the length of time from the first feeble glimmerings of imitative art to the era of Dipaenus and Scyllis, Bupalus and Anthermus. The interval of forty years occupied by these artists, from the fiftieth to the sixtieth Olympiad, may be considered as terminating the old, and introducing the new school. The art was now in possession of all the means and instruments, the correct application of which bound the aspirings and the praise of mediocrity, but which merely become subservient to the aims of loftier minds. During part of this period, also, these means were industriously, and with daily improving skill, employed. From this date to the battle of Marathon, an interval of fifty-eight years, improvement was rapid in every corner of Greece and her colonies. Fortunately, also, the movement then given to Sculpture was one of diffuse activity, not an influence derived from, and sustained amongst, a few leading minds, whose authority might thus have operated fatally, by binding down to fixed and imperfect modes the aspirings of future genius. This advantage was secured by the number of independent states forming the Grecian confederacy, a constitution, which, throughout the whole history of ancient art, exercised the most beneficial effects, both by preventing mannerism, in taste, and by nourishing emulation.

The Persian invasion, the victories of Marathon, Salamis, and Platea, awakened a new energy in the moral character of Greece, infusing at the same time into her institutions a vigour and a stability before unknown. From the elevation she had now attained among the nations of the earth, her genius rushed forward as from vantage ground. In every field of mental enterprise, indeed, a certain preparation had already been made, and in some the best exertions had long been achieved. In poetry a sublimity had been attained, which has yet set at nought all succeeding rivalry. But in that knowledge, and in those arts, which depend less upon individual eminence, and more upon the circumstances of the times, and upon a strong national interest,--in all those studies which embrace numbers by their consequences or their success, which demand the union of patient perseverance with high talent, and finally, which pertain to the business of public life, and require deep insight into the nicer distinctions of human character--all, from this happy era, with an almost supernatural progress, attained maturity.

The opulence and security, with the resulting consciousness of power, and the love of elegance, which followed the defeat of the Barbarians, proved especially propitious to the arts of sculpture and architecture. If in the former any doubt be entertained, what the difference of improvement was between the artists who preceded and those who followed the age of Xerxes, we have only to recall the fortunes of the drama during the same heart-stirring period. In the last of the 74th Olympiad, A. C. 489, or one year after the battle of Marathon, AEschylus placed the first wreath upon the solemn brow of Tragedy. Not twenty years afterwards, the warrior bard was vanquished by his youthful rival. Between the Prometheus of AEschylus, then, and the dipus of Sophocles, we find as wide an interval as is necessary to suppose between the sculptures contemporary with the former, and the productions of Polycletus or Myron.

THE age of Pericles seemed marked out by fortune as a distinguished epoch in the history of his country. The fine talents, also, and popular qualities of this accomplished statesman, were admirably adapted to turn to the best account the propitious circumstances of the period. To the further progress of the fine arts, and of sculpture in particular, preceding events, and their present consequences, almost necessarily contributed; while the condition of the art itself was just fitted to receive the perfecting impulse.

The energies of sculpture, likewise, were now to be more directly concentrated in one parent school; which, while it especially adorned one seat, preserved yet the stirring rivalry of honorable emulation, as being the common seminary of free and independent states. The noble stand she had made, her superior sacrifices and sufferings in the cause of freedom, directed to Athens the sympathy and deference of Greece. The prosperity, too, of her political situation, was suitable to the support of this moral pre-eminence. Provided with means of defence and of commerce, on a scale which seemed to contemplate future empire, she was left by Themistocles with ample resources--a noble field of fame and recompense for the artist. He himself, satisfied with the useful, had cared less about the ornamental; but, among the little he did add, were the lions, now at Venice, originally placed on the entrance to the Piraeus, in which fidelity of detail, and grandeur of conception, have furnished to us existing evidence of the skill of this age.

Great as they were, the mind of Phidias proved equal to these external advantages. Possessing that rarest and highest of all genius which is at once creative and regular--learned, yet original, he caught the inspiration of art in the most elevated range of the past, bringing in his own attainments a sublimity and truth yet unequalled by all that has followed.

This great master, the son of Charmidas, an Athenian citizen, was born about the 72d Olympiad, or nearly 500 years before our era, and studied under Eladas. His numerous works belonged to three distinct classes: Toreutic, or statues of mixed materials, ivory being the chief,--statues of bronze,--sculptures in marble. In this enumeration are included only capital performances, for exercises in wood, plaster, clay, and minute labours in carving, are recorded occasionally to have occupied his attention. The beauty of these miniatures was not inferior to the excellence of his greater works; at once sublime and ingenious, he executed grand undertakings with majesty and force, and the most minute with simplicity and truth.

'Artis Phidiacae toreuma durum Pisces adspicis: adde aquam, natabunt.'

'These fish are iv'ry--but by Phidias made; From want of water only seem they dead.'

Of the works belonging to the first division, the Olympian Jupiter, and the Minerva of the Parthenon, colossal statues composed of gold and ivory, were the most wonderful productions of ancient art. The former, placed in the Temple at Elis, was sixty feet high, in a reposing attitude, the body naked to the cincture, the lower limbs clothed in a robe gemmed with golden flowers; the hair also was of gold, bound with an enamelled crown; the eyes of precious stones; the rest of ivory. Notwithstanding the gigantic proportions, every part was wrought with the most scrupulous delicacy; even the splendid throne was carved with exquisite nicety. The whole was finished before the artist had obtained the direction of the public works of the Athenians, in the 83d Olympiad after a labour of ten years; the same date in which Herodotus read the second part of his history, the first regular prose composition that had been heard at Athens.

About twelve years later was executed the Minerva, of inferior dimensions, being only forty feet in altitude, but equal, if not superior, in beauty of workmanship and richness of material, the nude being of ivory, the ornaments of gold. A flowing tunic added grace to the erect attitude of the goddess: in one hand was a spear, upon the head a casque; on the ground a buckler, exquisitely carved, the concave representing the giants' war, the convex a conflict with the Amazons, portraits of the artist and of his patron being introduced among the Athenian combatants--one cause of the future misfortunes which envy brought upon the author. On the golden sandals was also sculptured another favorite subject, the battle of the Centaurs, praised by historians as a perfect gem of minute art.

Such admiration attached to these two works, that they were regarded as 'having added majesty to the received religion;' and it was esteemed a misfortune not to have been able, once in a lifetime, to behold them. Yet judged according to the true principles of genuine art, theirs was not a legitimate beauty. It does not excite surprise, then, to learn that Phidias himself disapproved of the mixed effect produced by such a combination of different substances, nor will it appear presumptuous here to condemn these splendid representations. It is not sufficient that a work of art does produce a powerful impression--it is indispensable to its excellence that the means employed be in accordance with the principles and the mode of imitation. Now, in the compositions just described, exposed as they were to the dim light of the ancient temple, and from very magnitude imperfectly comprehended, the effects of variously reflecting surfaces, now gloom, now glowing of unearthly lustre, must have been rendered doubly imposing. But this influence, though well calculated to increase superstitious devotion, or to impress mysterious terror on the bewildered sense, was meretricious, altogether diverse from the solemn repose, the simple majesty of form and expression, which constitute the true sublimity of sculptural representation.

Statuary, or the art of casting in bronze, as the term was used by the ancients, Phidias carried to unrivalled perfection. The Amazon, the Minerva, at Lemnos, and in the Acropolis, were considered as the masterpieces in this department. The last, called the Minerva Polias, was of such majestic proportions, that the crest and helmet might be discerned above the battlements of the citadel at a distance of twentyfive miles, pointing home to the Athenian mariner, as he rounded the promontory of Sunium. Of these and other works, descriptions alone remain; we are consequently indebted for our positive knowledge of his style and principles to the marble sculptures of Phidias, in which department numerous admirable performances of his hand have also perished; but we have here an advantage in the possession of undoubted originals denied in every other instance.

Of the scholars of Phidias, the most esteemed were Alcamenes the Athenian, and Agoracritus of Paros. Their real merit, however, is matter of uncertainty, since their works are reported to have been retouched by their master, who was likewise in the habit of inscribing his statues with the names of his favorite pupils. Indeed, the sublime style perfected by Phidias seems almost to have expired with himself--not that the art declined, but a predilection for subjects of beauty, and the softer graces, in preference to more heroic and masculine character, with the exception of the grand relievos on the temple of Olympia, may be traced even among his immediate disciples. Among his contemporaries, indeed, Polycletus, the second of the name, has been by some placed equal in grandeur of style, while by others he has been described as unequal, to the majesty of the great Athenian. Polycletus himself appears to have decided the controversy, by showing, from the selection of his subjects, that his genius carried him to the imitation rather of the beautiful than the great. His most celebrated performances were the statues of two youths, both nude, the Diadumenos and the Doryphorus, so called from their action of binding the head with a fillet, and bearing a spear. The latter formed the famous 'canon,' from which, as from an unerring standard, all succeeding artists, even Lysippus, borrowed their proportions. Among contemporaries, also, a most distinguished station must have been occupied by Ctesilaus, since he contested with Phidias and Polycletus the public prize of merit for a statue to be dedicated in the temple of the Ephesian Diana. To this artist is erroneously ascribed one of the finest specimens of art now in existence, miscalled, but best known as, the Dying Gladiator, and which, more than any other ancient example, discovers the most profound knowledge of the internal structure of the human frame.

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