size, as proportioned to the three or four times greater scale of the whole, a colossal piece of sculpture was placed by English designers, at the extremity of the Crystal Palace, in preparation for their solemnities in honor of the birthday of Christ, in December 1867 or 1868.
That piece of sculpture was the face of the clown in a pantomime, some twelve feet high from brow to chin, which face, being moved by the mechanism which is our pride, every half-minute opened its mouth from ear to ear, showed its teeth, and revolved its eyes, the force of these periodical seasons of expression being increased and explained by the illuminated inscription underneath, "Here we are again."
56. When it is assumed, and with too good reason, that the mind of the English populace is to be addressed, in the principal Sacred Festival of its year, by sculpture such as this, I need scarcely point out to you that the hope is absolutely futile of advancing their intelligence by collecting within this building (itself devoid absolutely of every kind of art, and so vilely constructed that those who traverse it are continually in danger of falling over the cross-bars that bind it together,) examples of sculpture filched indiscriminately from the past work, bad and good, of Turks, Greeks, Romans, Moors, and Christians, miscolored, misplaced, and misinterpreted;15 here thrust into unseemly corners, and there mortised together into mere confusion of heterogeneous obstacle; pronouncing itself hourly more intolerable in weariness, until any kind of relief is sought from it in steam wheelbarrows or cheap toyshops; and most of all in beer and meat, the corks and the bones being dropped through the chinks in the damp deal flooring of the English Fairy Palace.
57. But you will probably think me unjust in assuming that a building prepared only for the amusement of the people can typically represent the architecture or sculpture of modern England. You may urge that I ought rather to describe the qualities of the refined sculpture which is executed in large quantities for private persons belonging to the upper classes, and for sepulchral and memorial purposes. But I could not now criticise that sculpture with any power of conviction to you, because I have not yet stated to you the principles of good sculpture in general. I will, however, in some points, tell you the facts by anticipation.
58. We have much excellent portrait sculpture; but portrait sculpture, which is nothing more, is always third-rate work, even when produced by men of genius;—nor does it in the least require men of genius to produce it. To paint a portrait, indeed, implies the very highest gifts of painting; but any man, of ordinary patience and artistic feeling, can carve a satisfactory bust.
59. Of our powers in historical sculpture, I am, without question, just, in taking for sufficient evidence the monuments we have erected to our two greatest heroes by sea and land; namely, the Nelson Column, and the statue of the Duke of Wellington opposite Apsley House. Nor will you, I hope, think me severe,—certainly, whatever you may think me, I am using only the most temperate language, in saying of both these monuments, that they are absolutely devoid of high sculptural merit. But consider how much is involved in the fact thus dispassionately stated, respecting the two monuments in the principal places of our capital, to our two greatest heroes.
60. Remember that we have before our eyes, as subjects of perpetual study and thought, the art of all the world for three thousand years past; especially, we have the best sculpture of Greece, for example of bodily perfection; the best of Rome, for example of character in portraiture; the best of Florence, for example of romantic passion; we have unlimited access to books and other sources of instruction; we have the most perfect scientific illustrations of anatomy, both human and comparative; and we have bribes for the reward of success, large in the proportion of at least twenty to one, as compared with those offered to the artists of any other period. And with all these advantages, and the stimulus also of fame carried instantly by the press to the remotest corners of Europe, the best efforts we can make, on the grandest of occasions, result in work which it is impossible in any one particular to praise.
Now consider for yourselves what an intensity of the negation of the faculty of sculpture this implies in the national mind! What measure can be assigned to the gulf of incapacity, which can deliberately swallow up in the gorge of it the teaching and example of three thousand years, and produce, as the result of that instruction, what it is courteous to call 'nothing'?
61. That is the conclusion at which we arrive on the evidence presented by our historical sculpture. To complete the measure of ourselves, we must endeavor to estimate the rank of the two opposite schools of sculpture employed by us in the nominal service of religion, and in the actual service of vice.
I am aware of no statue of Christ, nor of any apostle of Christ, nor of any scene related in the New Testament, produced by us within the last three hundred years, which has possessed even superficial merit enough to attract public attention.
Whereas the steadily immoral effect of the formative art which we learn, more or less apishly, from the French schools, and employ, but too gladly, in manufacturing articles for the amusement of the luxurious classes, must be ranked as one of the chief instruments used by joyful fiends and angry fates for the ruin of our civilization.
If, after I have set before you the nature and principles of true sculpture, in Athens, Pisa, and Florence, you consider these facts,—(which you will then at once recognize as such),—you will find that they absolutely justify my assertion that the state of sculpture in modern England, as compared with that of the great Ancients, is literally one of corrupt and dishonorable death, as opposed to bright and fameful life.
62. And now, will you bear with me while I tell you finally why this is so?
The cause with which you are personally concerned is your own frivolity; though essentially this is not your fault, but that of the system of your early training. But the fact remains the same, that here, in Oxford, you, a chosen body of English youth, in nowise care for the history of your country, for its present dangers, or its present duties. You still, like children of seven or eight years old, are interested only in bats, balls, and oars: nay, including with you the students of Germany and France, it is certain that the general body of modern European youth have their minds occupied more seriously by the sculpture and painting of the bowls of their tobacco-pipes, than by all the divinest workmanship and passionate imagination of Greece, Rome, and Mediæval Christendom.
63. But the elementary causes, both of this frivolity in you, and of worse than frivolity in older persons, are the two forms of deadly Idolatry which are now all but universal in England.
The first of these is the worship of the Eidolon, or Fantasm of Wealth; worship of which you will find the nature partly examined in the thirty-seventh paragraph of my 'Munera Pulveris'; but which is briefly to be defined as the servile apprehension of an active power in Money, and the submission to it as the God of our life.
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