results. Behind all that kind of strength lies the fact of peculiar sympathies, relating the artist to this phase of Art-representation; and within certain limits, which should have been undebatable, his rule was absolute.
The great mistake with Mr. Powers has been his oversight regarding these limits. There has been debate, hesitation, and a continual wandering away from the duties of his errand. Years have been devoted to those ghosts of sculpture, allegorical figures; other years wasted in the elaboration of machinery. Not that his ideal statues are worthless, or fall short of great beauty and exquisite delicacy; not that his skill as a mechanician is other than great. But the age cannot afford these things, nor can the sculptor afford them. A year is too great a sum to give for a statue of California. Better than that, the several portraits of valued men which might have been acquired,—one bust, even, like those which surprised and compelled the reverence of Thorwaldsen. Better the perfected ability which would have given his country the Webster he should and might have made than a hundred "Americas."
There are two considerations which may have misled Mr. Powers. One, a pecuniary one, which he should have disposed of as did Agassiz, when such was advanced to induce him to give lyceum lectures:—"Sir, I cannot afford to make money!" The other may have been the weight of the prevailing error that portrait-sculpture is a less honorable branch of Art.
Less than what? The historical? What finer history than Titian's Paul III., Raphael's Leo X., Albert Dürer's head of himself? What finer than the Pericles, the Marcus Aurelius of the Capitol, the Demosthenes of the Vatican, Chantrey's Scott, Houdon's Voltaire, Powers's Jackson?—Heroic? what more heroic than the Lateran Sophocles, the Venetian Colleoni, or Rauch's statue of Frederick the Great?—Poetical? What picture more sweetly poetical than Raphael's head of himself in the Uffizi, or Giotto's Dante in the Bargello? What ideal statue surpasses in poetical power Michel Angelo's De' Medici in the San Lorenzo Chapel? What ideal head is more beautiful than the Townley Clytie of the British Museum, or the Young Augustus of the Vatican? What grander than Da Vinci's portrait of himself?
No,—when the sculptor has wrought the adequate representation of the individual in its best estate, he may rest assured that he has achieved "high Art."
Let us not be unjust to Mr. Powers's ideal works. In the qualities of chasteness of conception, delicacy of treatment, temperate grace, and that rarer, finer quality of dignified repose, they have not been surpassed since the time of Greek Art. When the subject chosen has not been foreign to the artist's nature, as in the "Eve," nor foreign to the Art's province, as in the "California," his success has been very like a triumph.
But the success has not been that which he was entitled to grasp; the seeming triumph has precluded a real victory. We must believe that the highest lessons of ancient Art have, in a great measure, been unrecognized by Mr. Powers. The external has been studied. No man can talk more justly of that exquisite line of the Venus de' Medici's temple and cheek, or point out more discriminatingly the beauties of the Milo statue, or detect more quickly the truths of the antique busts. He has discovered, also, somewhat of the great secret of repose,—has perceived that it is essential, in some wise, to all greatness in Art, more particularly in his own department of sculpture. But beyond that simple recognition of the fact, what? That repose is dependent on power to act, and must be great in proportion to mightiness of power? No, he could not have seen this; else had his Webster come to us less questionable in intent, less remote in its merits from the massive self-possession of the man.
For what Mr. Powers became before he left America he cannot be praised too greatly. He carried with him to Europe just that knowledge of Nature and that executive power which prepared him to take advantage of the aid that all great Art was waiting to afford. Had he won "the large truth," he would have found the scope and purpose of his genius, as in America he had found that of his talent. He would have seen his specialty to be worthy of all reverence, for he would have attained to an appreciation of the high possibilities of portrait-Art. There would have been developed, under the influence of great principles, the power to make statues of great men,—colossal, instead of big,—reposeful, instead of paralyzed,—grand, instead of arrogant,—statues worthy of the hand that wrought the busts of Calhoun, Jackson, and Webster, worthy to rank with the few mighty embodiments of power, the Sophocles, the Aristides, and the Demosthenes. This he might have done; and this he may yet accomplish.
THE AMBER GODS
STORY FIRST
Flower o' the Peach.
We've some splendid old point-lace in our family, yellow and fragrant, loose-meshed. It isn't every one has point at all; and of those who have, it isn't every one can afford to wear it. I can. Why? Oh, because it's in character. Besides, I admire point any way,—it's so becoming; and then, you see, this amber! Now what is in finer unison, this old point-lace, all tags and tangle and fibrous and bewildering, and this amber, to which Heaven knows how many centuries, maybe, with all their changes, brought perpetual particles of increase? I like yellow things, you see.
To begin at the beginning. My name, you're aware, is Giorgione Willoughby. Queer name for a girl! Yes; but before papa sowed his wild oats, he was one afternoon in Fiesole, looking over Florence nestled below, when some whim took him to go into a church there, a quiet place, full of twilight and one great picture, nobody within but a girl and her little slave,—the one watching her mistress, the other saying dreadfully devout prayers on an amber rosary, and of course she didn't see him, or didn't appear to. After he got there, he wondered what on earth he came for, it was so dark and poky, and he began to feel uncomfortably,—when all of a sudden a great ray of sunset dashed through the window, and drowned the place in the splendor of the illumined painting. Papa adores rich colors; and he might have been satiated here, except that such things make you want more. It was a Venus;—no, though, it couldn't have been a Venus in a church, could it? Well, then, a Magdalen, I guess, or a Madonna, or something. I fancy the man painted for himself, and christened for others. So, when I was born, some years afterward, papa, gratefully remembering this dazzling little vignette of his youth, was absurd enough to christen me Giorgione. That's how I came by my identity; but the folks all call me Yone,—a baby name.
I'm a blonde, you know,—none of your silver-washed things. I wouldn't give a fico for a girl with flaxen hair; she might as well be a wax doll, and have her eyes moved by a wire; besides, they've no souls. I imagine they were remnants at our creation, and somehow scrambled together, and managed to get up a little life among themselves; but it's good for nothing, and everybody sees through the pretence. They're glass chips, and brittle shavings, slender pinkish scrids,—no name for them; but just you say blonde, soft and slow and rolling,—it brings up a brilliant, golden vitality, all manner of white and torrid magnificences, and you see me! I've watched little bugs—gold rose-chafers—lie steeping in the sun, till every atom of them must have been searched with the warm radiance, and have felt, that, when they reached that point, I was just like them, golden all through,—not dyed, but created. Sunbeams like to follow me, I think. Now, when I stand in one before this glass, infiltrated with the rich tinge, don't I look like the spirit of it just stepped out for inspection? I seem to myself like the complete incarnation of light, full, bounteous, overflowing, and I wonder at and adore anything so beautiful; and the reflection grows finer and deeper while I gaze, till I dare not do so any longer. So, without more words, I'm a golden blonde. You see me now: not too tall,—five feet four; not slight, or I couldn't have such perfect roundings, such flexible moulding. Here's nothing of the spiny Diana and Pallas, but Clytie or Isis speaks in such delicious curves. It don't look like flesh and blood, does it? Can you possibly imagine it will ever change? Oh!
Now see the face,—not small, either; lips with no particular outline, but melting, and seeming as if they would stain yours, should you touch them. No matter about the rest, except the eyes. Do you meet such eyes often? You wouldn't open yours so, if you did. Note their color now, before the ray goes. Yellow hazel? Not a bit of it! Some folks say topaz, but they're fools. Nor sherry. There's a dark sardine base, but over it real seas
