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“I went straight to our old lodgings, to Fitzroy Square, she called upon some
good old Mother Ball. “They are fright- friends of hers who live there, the Bar-
ful tyrants at home,' I said to her; "I'm retts — he is a professor of music. Mrs.
pot sure but they'll serve me as Bluebeard Barrett was going to a concert to-night
did his wives ; and I want to stay with and she said if we would stay she'd take
you for a day or two.' There's where I us. So we had tea with her and went to
have been all the time, Coral; and I won- it, and they sent me home in a cab.”


did not come to look “You seem to be taking your pleasfor me.”

ure!” remarked Coralie. " It is where I fancied you might be,"? "I had such an adventure down-stairs,” returned Coral. “ But I only thought of cried Verena, dropping her voice after a it on Saturday night. Does that mean



thought. Nearly fell into the check, Johnny?"

arms of papa. “Check and mate, mademoiselle.” Oh, how wicked you are ! ”

“ Now; two minutes ago. While hesi“Mrs. Ball has been more careful of tating whether to softly tinkle the kitchen me than she'd be of gold,” went on Vera, bell and smuggle myself in and up to my her blue eyes dancing: “The eldest room, or to storm the house with a bold daughter, Louise, at ome now; she summons, Ozias drew open the front door. teaches music in a school: and, if you'll He looked so glad to see me, poor stupid believe me, Coral, the old mother would old fellow. I was talking to him in the never let me stir out without Louise. passage when I heard papa's cough. When Edward Pym came up in the even-Oh, hide yourself, Missee Vera, cried ing to take me for a walk, Louise must go Ozias,, 'the master, he so angry;' and with us. I feel responsible to your papa away I rushed into papa's little library, and sister, my dear, the old woman seeing the door of it open would say to me. Oh, she was a veritable “He has come out of it, then !” interdragon.”

jected Coralie. “Was Louise with you when you went “I thought papa would go up-stairs,” on board the 'Rose of Delhi' yesterday said Vera. “Instead of that, he came on afternoon?” cried Coralie, while I began into the room. I crept behind the old to put away the chessmen.

red window-curtains, and Verena opened her eyes.

“ How did “And what?” asked Coralie, for Veyou hear of that? No, we tricked Louise rena made a sudden pause.

Edward had fifty things to say “Groaned out with fright, and nearly to me, and he wanted me alone. After betrayed myself,” continued Verena. dinner he proposed that we should go to Papa stared at the curtains as if he afternoon service. I made haste, and thought they were alive, and then and went out with him, calling to Louise that there backed out of the room. Perhaps she'd catch us up before we reached the he feared a ghost was there. He was church, and we ran off in just the contrary looking so strange, Coralie.” direction. 'I should like to show you my “All your fault, child. Since the night ship,' Edward said; and we went down in you went away be has looked more like a an omnibus. Mrs. Ball shook her head maniac than a rational man, and acted when we got back, and said I must never like one. I have just said so to Johnny

As if I should have the Ludlow.” chance, now Edward's

“Poor papa! I will be good and tracCoralie glanced at her. “He is gone, table as an angel now, and make it up I suppose ?"

to him. And — why, Coralie, here are "Yes,” sighed Vera. “ The ship left visitors." the docks this morning. He took leave We gazed in surprise. It is not usual of me last night.”

to receive calls at bedtime. Ozias stood Coralie looked doubtful. She glanced at the door showing in Captain Tanerton. again at her sister under her eyelids. Behind him was Alfred Saxby.

“Then – if Edward Pym is no longer The captain's manner was curious. No here to take walks with you, Vera, how is sooner did he set eyes on us than he it you came home so late to-night?” started back, as if he thought we might

Because I have been to a concert,” | bite him. cried Vera, her tone as gay as a lark's. “ Not here. Not the ladies. I told “ Louise and I started to walk here this you it was Sir Dace I wanted,” he said afternoon. I wanted you to see her; she in quick sentences to Ozias. “ Sir Dace is really very nice. Coming through | alone.”

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Ozias went back down the stairs, and In undergoing the action of these two they after him, and were shown into the opposing influences, and by harmonizing library. It was a little room nearly oppo- in itself their antagonism, Greek sculpsite the front entrance, and underneath ture does but reflect the larger movements the room called the boudoir. . You went of more general Greek history. All down a few stairs to it.

through Greek history we may trace, in Verena turned white. A prevision of every sphere of the activity of the Greek evil seized her.

mind, the action of these two opposing “Something must be the matter,” she tendencies, – the centrifugal and centripshivered, laying her hand upon my arm. etal tendencies, as we may perhaps not “Did you notice Captain Tanerton's face? too fancifully call them. There is the I never saw him look like that.

And centrifugal, the Ionian, the Asiatic tenwhat does he do here? Where is the dency, Aying from the centre, working ship? And oh, Johnny” – and her voice with little forethought straight before it, rose to a shriek

as where's Edward in the development of every thought and Pym?”

fancy; throwing itself forth in endless Alas! we soon knew what the matter play of undirected imagination; delightwas — and where Edward Pym was. ing in brightness and color, in beautiful Dead. Murdered. That's what young material, in changeful form everywhere, Saxby called it. Sir Dace, looking fright-in poetry, in philosophy, even in archifully scared, started with them down to tecture and its subordinate crafts. In the Ship Street. I went also; I could not social and political order it rejoices in the keep away. George was to sit up for me freest action of local and personal inat home if I were late.

fluences; its restless versatility drives it “For," as Miss Deveen had said to me towards the assertion of the principles in the morning, laughingly, “there's no of separatism, of individualism, the telling, Johnny, at what unearthly hour separation of State from State, the mainyou may get back from Gravesend." tenance of local religions, the develop

ment of the individual in that which is most peculiar and individual in him. Its claim is in its grace, its freedom and hap

piness, its lively interest, the variety of From The Fortnightly Review.

its gifts to civilization ; its weakness is THE MARBLES OF REGINA.

self-evident, and was what made the unity I HAVE dwelt the more emphatically of Greece impossible. It is this centrifupon the purely sensuous aspects of early ugal tendency which Plato is desirous to Greek art, on the beauty and charm of its cure, by maintaining, over against it, the mere material and workmanship, the grace Dorian influence of a severe simplification of hand in it, its chryselephantine charac- everywhere, in society, in culture, in the ter, because the direction of all the more very physical nature of man. general criticism since Lessing has been, everywhere to variegation, to what is cunsomewhat one-sidedly, towards the ideal ning or “myriad-minded,” he sets himor abstract element in Greek art, towards self, in mythology, in music, in poetry, in what we way call its philosophical aspect. every kind of art, to enforce the ideal of And indeed this philosophical element, a a sort of Parmenidean abstractness and tendency to the realization of a certain in- calm. ward, abstract, intellectual ideal, is also at This exaggerated ideal of Plato's is, work in Greek art - a tendency which, if however, only the exaggeration of that that chryselephantine influence is called salutary European tendency, which, findIonian, may rightly be called the Dorian, ing, human mind the most absolutely real or, in reference to its broader scope, the and precious thing in the world, enforces European influence; and this European everywhere the impress of its sanity, its influence or tendency is really towards the profound reflections upon things as they impression of an order, a sanity, a pro- really are, its sense of proportion. It is portion in all work, which shall reflect the the centripetal tendency, which links indiinward order of human reason now fully viduals to each other, States to States, one conscious of itself, — towards a sort of period of organic growth to another, art, in which the record and delineation under the reign of a composed, rational of humanity, as active in the wide, in- self-conscious order, in the universal ligh ward world of its passion and thought, of the understanding. has become more or less definitely the Whether or not this temper, so clearl. aim of all artistic handicraft.

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course of Greek development, was indeed | analyze, and then combine, order, and the peculiar gift of the Dorian race, cer- recompose. In relation to music, to art, tainly that race is the best illustration of to all those matters over which the Muses it, in its love of order, of that severe com- preside, Apollo, as distinct from Hermes, position everywhere, of which the Dorian seems to be the representative and patron style of architecture is, as it were, a mate of what I may call reasonable music, of a rial symbol - in its constant aspiration great intelligence at work in art, of beauty after what is earnest and dignified, as ex. attained through the conscious realization emplified most evidently in the religion of of ideas. They were the cities of the its predilection, the religion of Apollo. Dorian affinity which early brought to

For as that Ionian influence, the chrys- perfection that most characteristic of elephantine influence, had its patron in Greek institutions, the sacred dance, with Hephæstus, was the religion of Hephæs- the whole gymnastic system which was tus, husband of Aphrodite, the repre- its natural accompaniment. And it was sentation of exquisite workmanship, of the familiar spectacle of that living sculpfine art in metal, coming from the East ture which developed, perhaps, beyond in close connection with the artificial fur- everything else in the Greek mind, at its therance, through dress and personal best, a sense of the beauty and signifiornament, of the beauty of the body; so cance of the human form. that Dorian or European influence em- Into that bewildered, dazzling world of bodied itself in the religion of Apollo. minute and dainty handicraft — the chamFor the development of this or that ber of Paris, the house of Alcinous - in mythological conception, from its root in which the form of man alone had no adefact or law of the physical world, is very quate place, and as yet, properly, was not, various in its course. Thus Demeter, the this Dorian, European, Apolline influence spirit of life in grass, – and Dionysus, introduced the intelligent and spiritual huthe “spiritual form ” of life in the green man presence, and gave it its true value, sap;- remain, to the end of men's thoughts a value consistently maintained to the end and fancies about them, almost wholly, of Greek art, by a steady hold upon and physical. But Apollo, the “ spiritual preoccupation with the inward harmony form” of sunbeams, early becomes, (the and system of human personality. merely physical element in his constitu-. In the works of the Asiatic tradition, tion being almost wholly suppressed,) ex- in the marbles of Nineveh, for instance, clusively ethical, – the “spiritual form” and in the early Greek art, so far as we of inward or intellectual light, in all its can see, which derives from it, as, for manifestations. He represents all those example, in the archaic remains from specially European ideas, of a reasona- Cyprus, the form of man is inadequate, ble, personal freedom, as understood in and below the measure of perfection Greece; of a reasonable polity; of the attained there in the representation of sanity of soul and body, through the cure the lower forms of life; just as in the of disease and of the sense of sin; of the little reflective art of Japan, so lovely in perfecting of both by reasonable exercise its reproduction of flower or bird, 'the or ascêsis : his religion is a sort of em- human form alone comes almost as a bodied equity, its aim the realization of caricature, or is at least untouched by any fair reason and just consideration of the higher ideal. To that Asiatic tradition, truth of things everywhere.

then, with its perfect craftsmanship, its I cannot dwell on the general aspects consummate skill in design, its power of of this subject further, but remark that in hand, the Dorian, the European, the true art also the religion of Apollo was a sanc- Hellenic influence brought a revelation tion of, and an encouragement towards of the soul and body of man. the true valuation of humanity, in its san- And we come at last to a monument, ity, its proportion, its knowledge of itself. the marbles of Ægina, which bears upon Following after this, Greek art attained, it the full expression of this humanism, in its reproductions of human form, not to a work, in which the presence of merely to the profound expression of the man, realized with complete mastery of highest indwelling spirit of human intelli- hand, and with clear apprehension of how gence, but to the expression also of the he actually is and moves and looks, is great human passions, of the powerful touched with the freshest sense of that movements as well as of the calm and new-found, inward value ; the energy of peaceful order of the soul, as finding in worthy passions purifying, the light of his the affections of the body a language, reason shining through, bodily forms and the elements of which the artist might | motions, solemnized, attractive, pathetic.


We have reached an extant work, real each to each. And in both the subject is and visible, of an importance out of all a combat, a combat between Greeks proportion to anything actually remaining and Asiatics concerning the body of a of earlier art, and justifying, by its direct Greek hero, fallen among the foemen, interest and charm, our long prelude on an incident so characteristic of the poetry the beginnings of Greek sculpture, while of the heroic wars. In both cases, Athethere was still almost nothing actually to ne, whose temple tliis sculpture was de

signed to decorate, intervenes, her image These fifteen figures of Parian marble, being complete in the western gable, the of about two-thirds the size of life, form- head and some other fragments remaining, with some deficiencies, the east and ing of that in the eastern. The incidents west gables of a temple of Athene, the represented were probably chosen with ruins of which still stand on a hillside by reference to the traditions of Ægina in the seashore, in a remote part of the connection with the Trojan war. Greek island of Ægina, were discovered in the legend is ever deeply colored by local year 1811, and having been purchased by interest and sentiment, and this monuthe crown prince, afterwards Louis I., of ment probably celebrates Telamon, and Bavaria, are now the great ornament of Ajax his son, the heroes who established the Glyptothek, or Museum of Sculpture, the fame of Ægina, and whom the united at Munich. The group in each gable Greeks, on the morning of the battle of consisted of eleven figures; and of the Salamis, in which the Æginetans were fifteen larger figures discovered, five be- distinguished above all other Greeks in long to the eastern, ten to the western bravery, invited as their peculiar, spiritual gable, so that the western gable is com- allies from that island. plete with the exception of one figure, Accordingly, antiquarians are, for the which should stand where the beautiful most part, of opinion that the eastern figure, borrowed from the eastern gable, gable represents the combat of Hercules, bending down towards the fallen leader, (Hercules being the only figure among the at Munich actually is ; certain fragments warriors certainly to be identified,) and of showing that the lost figure corresponded his comrade Telamon, against Laomedon essentially to this, which has 'therefore of Troy, in which, properly, Hercules was been transferred hither from its place in leader, but here, as squire and archer, is the less complete group to which it prop- made to give the first place to Telamon, erly belongs. For there are two legiti- as the titular hero of the place. Opinion mate views or motives in the restoration is not so definite regarding the subject of of ancient sculpture, the antiquarian and the western gable, which, however, probæsthetic, as they may be termed, respec. ably represents the combat between the tively; the former limiting itself to the Greeks and Trojans over the body of bare presentation of what actually re- Patroclus. In both cases an Æginetan mains of the ancient work, braving all hero, in the eastern gable Telamon, in shock to living, eyes from the mutilated the western his son Ajax, is represented nose or chin; while the latter, the æsthetic in the extreme crisis of battle, such a method, requires that, with the least pos- crisis as, according to the deep religioussible addition or interference, by the most ness of the Greeks of that age, was a skilful living hand procurable, the object motive for the visible intervention of the shall be made to please, or at least con- goddess in favor of her chosen people. tent the living eye, seeking enjoyment, Opinion as to the date of the work, and not a bare fact of science, in the based mainly on the characteristics of spectacle of ancient art. This latter way the work itself, has varied within a period of restoration, the æsthetic way,

ranging from the middle of the sixtieth followed by the famous connoisseurs of to the middle of the seventieth Olympiad, the Renaissance, has been followed here; inclining on the whole to the later date, in and the visitor to Munich actually sees the period of the Ionian revolt against the marbles of Ægina, as restored after a Persia, and a few years earlier than the model by the tasteful hand of Thorwald- battle of Marathon.

In this monument, then, we have a revDifferent views have, however, been elation in the sphere of art, of the temper maintained as to the right grouping of the which made the victories of Marathon figures; but the composition of the two and Salamis possible, of the true spirit of groups was apparently similar, not only Greek chivalry as displayed in the Persian in general character but in a certain de- war, and in the highly ideal conception of gree of correspondence of all the figures, lits events, expressed in Herodotus and



approving itself minutely to the minds of basis of the gable ; the bold use of the the Greeks, as a series of affairs in which chisel, which wrought the shield, on the the gods and heroes of old time person- freely-held arm, down to a thickness of ally intervened, and that not as mere scarcely three inches; the fineness of the shadows. It was natural that the high- execution, even in parts of the work invispitched temper, the stress of thought and ible to an ordinary spectator, in the dilifeeling, which ended in the final conflict gent finishing of which the only motive of of Greek liberty with Asiatic barbarism, the artist was to satisfy his own convicshould stimulate quite a new interest in tion as to the nature of good sculpture.” the poetic legends of the earlier conflict It was the Dorian cities, Plato tells us, between them in the heroic age. As the which first shook off the false Asiatic events of the Crusades and the chival. shame, and stripped off their clothing for rous spirit of that period leading men's purposes of exercise and training in the minds back to ponder over the deeds of gymnasium; and it was part of the Charlemagne and his paladins, gave birth Dorian or European influence to assert to the composition of the “Song of Ro- the value in art of the unveiled and land,” just so this Æginetan sculpture healthy human form. And here the artdisplays the Greeks of a later age feeding ists of Ægina, notwithstanding Homer's their enthusiasm on the legend of a dis- description of Greek armor, glowing like tant past, and is a link between Herodo- the sun itself, have displayed the Greek tus and Homer. In those ideal figures, warriors - Greek and Trojan alike – not pensive a little from the first, we may in the equipments they would really have suppose, with the shadowiness of a past worn, but naked, — flesh fairer than that age, we may yet see how Greeks of the golden armor, though more subdued and time of Themistocles really conceived of tranquil in effect on the spectator, the unHomeric knight and squire.

draped form of man coming like an emSome other fragments of art, also dis. bodiment of the Hellenic spirit, and as an covered in Ægina, and supposed to be element of temperance, into the somewhat contemporary with the temple of Athene, gaudy spectacle of Asiatic, or archaic art. tend, by their roughness and immaturity, Paris alone bears his dainty trappings, to show that this small building, so united characteristically, - a coat of golden in its effect, so complete in its simplicity, scalework, the scales set on a lining of in the symmetry of its two main groups canvas or leather, shiftly deftly over the of sculpture, was the perfect artistic delicate body beneath, and represented flower of its time and place. Yet within on the gable by gilding, or real gilt metal the limits of this simple unity, so impor- perhaps. tant an element in the charm and impres- It was characteristic also of that more siveness of the place, a certain inequality truly Hellenic art — another element of of design and execution may be detected; its temperance to adopt the use of marthe hand of a slightly earlier master, prob- hle in its works; and the material of these ably, having worked in the western gable, figures is the white marble of Paros. while the master of the eastern gable has Traces of color have, however, been found gone some steps farther than he in fine. on certain parts of them. The outer surness and power of expression; the figure faces of the shields and helmets have been of the supposed Ajax, stooping forward in blue; their inner parts and the crests of the present arrangement of the western the helmets, red; the hem of the drapery group, but really borrowed, as I said, from of Athene, the edges of her sandals, the the eastern, and which has in it some plinths on which the figures stand, also thing above the type of the figures red; one quiver red, another blue; the grouped round it, being this later sculp- eyes and lips, too, colored; perhaps, the tor's work. Yet Overbeck, who has elab- hair. There was just a limited and conorated the points of this distinction of ventionalized use of color, in effect, upon styles, commends without reserve the the marble. technical excellence of the whole work, And although the actual material of executed, as he says, “ with an application these figures is marble, its coolness and of all known instruments of sculpture; massiveness suiting the growing severity the delicate calculation of weight in the of Greek thought, yet they have their composition of the several parts, allowing reminiscences of work in bronze, in a the artist to dispense with all artificial certain slimness and tenuity, a certain supports, and to set his figures, with all dainty lightness of poise in their grouptheir complex motions, and yet with ing, which remains in the memory as a plinths only three inches thick, into the peculiar note of their style; the possibil

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