requiring always submission to severe law, is an unfailing proof of their being in early and active progress. There is no instance of fine sculpture being produced by a nation either torpid, weak, or in decadence. Their drama may gain in grace and wit; but their sculpture, in days of decline, is always base.
32. If my little lady in the kitchen had been put in command of colors, as well as of dough, and if the paste would have taken the colors, we may be sure her mice would have been painted brown, and her cats tortoiseshell; and this, partly indeed for the added delight and prettiness of color itself, but more for the sake of absolute realization to her eyes and mind. Now all the early sculpture of the most accomplished nations has been thus colored, rudely or finely; and therefore you see at once how necessary it is that we should keep the term 'graphic' for imitative art generally; since no separation can at first be made between carving and painting, with reference to the mental powers exerted in, or addressed by, them. In the earliest known art of the world, a reindeer hunt may be scratched in outline on the flat side of a clean-picked bone, and a reindeer's head carved out of the end of it; both these are flint-knife work, and, strictly speaking, sculpture: but the scratched outline is the beginning of drawing, and the carved head of sculpture proper. When the spaces inclosed by the scratched outline are filled with color, the coloring soon becomes a principal means of effect; so that, in the engraving of an Egyptian-color bas-relief (S. 101), Rosellini has been content to miss the outlining incisions altogether, and represent it as a painting only. Its proper definition is, 'painting accented by sculpture;' on the other hand, in solid colored statues,—Dresden china figures, for example,—we have pretty sculpture accented by painting; the mental purpose in both kinds of art being to obtain the utmost degree of realization possible, and the ocular impression being the same, whether the delineation is obtained by engraving or painting. For, as I pointed out to you in my Fifth Lecture, everything is seen by the eye as patches of color, and of color only;—a fact which the Greeks knew well; so that when it becomes a question in the dialogue of Minos, "τινι οντι τη οψει ὁραται τα ὁρωμενα," the answer is "αισθησει ταυτη τη δια των οφθαλμων δηλουη ἡμιν τα χρωματα."—"What kind of power is the sight with which we see things? It is that sense which, through the eyes, can reveal colors to us."
33. And now observe that, while the graphic arts begin in the mere mimetic effort, they proceed, as they obtain more perfect realization, to act under the influence of a stronger and higher instinct. They begin by scratching the reindeer, the most interesting object of sight. But presently, as the human creature rises in scale of intellect, it proceeds to scratch, not the most interesting object of sight only, but the most interesting object of imagination; not the reindeer, but the Maker and Giver of the reindeer. And the second great condition for the advance of the art of sculpture is that the race should possess, in addition to the mimetic instinct, the realistic or idolizing instinct; the desire to see as substantial the powers that are unseen, and bring near those that are far off, and to possess and cherish those that are strange. To make in some way tangible and visible the nature of the gods—to illustrate and explain it by symbols; to bring the immortals out of the recesses of the clouds, and make them Penates; to bring back the dead from darkness, and make them Lares.
34. Our conception of this tremendous and universal human passion has been altogether narrowed by the current idea that Pagan religious art consisted only, or chiefly, in giving personality to the gods. The personality was never doubted; it was visibility, interpretation, and possession that the hearts of men sought. Possession, first of all—the getting hold of some hewn log of wild olive-wood that would fall on its knees if it was pulled from its pedestal—and, afterwards, slowly clearing manifestation; the exactly right expression is used in Lucian's dream,—Φειδιας εδειξε τον Δια; "Showed12 Zeus;" manifested him; nay, in a certain sense, brought forth, or created, as you have it, in Anacreon's ode to the Rose, of the birth of Athena herself,—
πολεμοκλονον τ' Ἁθηνην
κορυφης εδεικνυε Ζευς
But I will translate the passage from Lucian to you at length—it is in every way profitable.
35. "There came to me, in the healing13 night, a divine dream, so clear that it missed nothing of the truth itself; yes, and still after all this time, the shapes of what I saw remain in my sight, and the sound of what I heard dwells in my ears"—(note the lovely sense of εναυλος—the sound being as of a stream passing always by in the same channel)—"so distinct was everything to me. Two women laid hold of my hands and pulled me, each towards herself, so violently, that I had like to have been pulled asunder; and they cried out against one another,—the one, that she resolved to have me to herself, being indeed her own; and the other, that it was vain for her to claim what belonged to others;—and the one who first claimed me for her own was like a hard worker, and had strength as a man's; and her hair was dusty, and her hand full of horny places, and her dress fastened tight about her, and the folds of it loaded with white marble-dust, so that she looked just as my uncle used to look when he was filing stones: but the other was pleasant in features, and delicate in form, and orderly in her dress; and so, in the end, they left it to me to decide, after hearing what they had to say, with which of them I would go; and first the hard-featured and masculine one spoke:—
36. "'Dear child, I am the Art of Image-sculpture, which yesterday you began to learn; and I am as one of your own people, and of your house, for your grandfather' (and she named my mother's father) 'was a stone-cutter; and both your uncles had good name through me: and if you will keep yourself well clear of the sillinesses and fluent follies that come from this creature,' (and she pointed to the other woman,) 'and will follow me, and live with me, first of all, you shall be brought up as a man should be, and have strong shoulders; and, besides that, you shall be kept well quit of all restless desires, and you shall never be obliged to go away into any foreign places, leaving your own country and the people of your house; neither shall all men praise you for your talk.14 And you must not despise this rude serviceableness of my body, neither this meanness of my dusty dress; for, pushing on in their strength from such things as these, that great Phidias revealed Zeus, and Polyclitus wrought out Hera, and Myron was praised, and Praxiteles marveled at: therefore are these men worshiped with the gods.'"
37. There is a beautiful ambiguity in the use of the preposition with the genitive in this last sentence. "Pushing on from these things" means indeed, justly, that the sculptors rose from a mean state to a noble one; but not as leaving the mean state,—not as, from a hard life, attaining to a soft one,—but as being helped and strengthened by the rough life to do what was greatest. Again, "worshiped with the gods" does not mean that they are thought of as in any sense equal to, or like to, the gods, but as being on the side of the gods against what is base and ungodly; and that the kind of worth which is in them is therefore indeed worshipful, as having its source with the gods. Finally, observe that every one of the expressions used of the four sculptors is definitely the best that Lucian could have chosen. Phidias carved like one who had seen Zeus, and had only to reveal him; Polyclitus, in labor of intellect, completed his sculpture by just law, and wrought out Hera; Myron was of all most praised, because he did best what pleased the vulgar; and Praxiteles the most wondered at, or admired, because he bestowed utmost exquisiteness of beauty.
38. I am sorry not to go on with the dream: the more refined lady, as you may remember, is liberal or gentlemanly Education, and prevails at last; so that Lucian becomes an author instead of a sculptor, I think to his own regret, though to our present benefit. One more passage of his I must refer you to, as illustrative of the point before us; the description of the temple of the Syrian Hieropolis, where he explains the absence of the images of the sun and moon. "In the temple itself," he says, "on the left hand as one goes in, there is set first the throne of the sun; but no form of him is thereon, for of these two powers alone, the sun and the moon, they show no carved images. And I also learned why this is their law, for they say that it is permissible, indeed, to make of the other gods, graven images, since the forms of them are