Mr. Powers has succeeded in reporting more accurately than any other recent artist the physical facts of the individual face. From one of his marbles we derive definite ideas of the human character of its subject, what its ambition is, and what its weakness; what have been its loves and its antipathies, its struggles and its victories, its joys and its sorrows, may be revealed to him who has learned what the human face becomes under the influence of these incessant forces. No mere talent can accomplish such 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 bugsgold rose-chaferslie 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!
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 bugsgold rose-chaferslie 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 of light, clear light; there isn't any positive color; and once when I was angry, I caught a glimpse of them in a mirror, and they were quite white, perfectly colorless, only luminous. I looked like a fiend, and, you may be sure, recovered my temper directly,easiest thing in the world, when you've motive enough. You see the pupil is small, and that gives more expansion and force to the irides; but sometimes in an evening, when I'm too gay, and a true damask settles in the cheek, the pupil grows larger and crowds out the light, and under these thick, brown lashes, these yellow-hazel eyes of yours, they are dusky and purple and deep with flashes, like pansies lit by fire-flies, and then common folks call them black. Be sure, I've never got such eyes for nothing, any more than this hair. That is Lucrezia Borgian, spun gold, and ought to take the world in its toils. I always wear these thick, riotous curls round my temples and face; but the great braids behindoh, I'll uncoil them before my toilet is over.
Probably you felt all this before, but didn't know the secret of it. Now, the traits being brought out, you perceive nothing wanting; the thing is perfect, and you've a reason for it. Of course, with such an organization, I'm not nervous. Nervous! I should as soon fancy a dish of cream nervous. I am too rich for anything of the kind, permeated utterly with a rare golden calm. Girls always suggest little similitudes to me: there's that brunette beauty,don't you taste mulled wine when you see her? and thinking of yourself, did you ever feel green tea? and find me in a crust of wild honey, the expressed essence of woods and flowers, with its sweet satiety?no, that's too cloying. I'm a deal more like Mendelssohn's music,what I know of it, for I can't distinguish tunes,you wouldn't suspect it,but full harmonics delight me as they do a wild beast; and so I'm like a certain adagio in B flat, that Papa likes.
There now! you're perfectly shocked to hear me go on so about myself; but you oughtn't to be. It isn't lawful for any one else, because praise is intrusion; but if the rose please to open her heart to the moth, what then? You know, too, I didn't make myself; it's no virtue to be so fair. Louise couldn't speak so of herself: first place, because it wouldn't be true; next place, she couldn't, if it were; and lastly, she made her beauty by growing a soul in her eyes, I suppose,what you call good. I'm not good, of course; I wouldn't give a fig to be good. So it's not vanity. It's on a far grander scale; a splendid selfishness,authorized, too; and papa and mamma brought me up to worship beauty,and there's the fifth commandment, you know.
Dear me! you think I'm never coming to the point. Well, here's this rosary;hand me the perfume-case first, please. Don't you love heavy fragrances, faint with sweetness, ravishing juices of odor, heliotropes, violets, water-lilies,powerful attars and extracts, that snatch your soul off your lips? Couldn't you live on rich scents, if they tried to starve you? I could, or die on them: I don't know which would be best. There! there's the amber rosary! You needn't speak; look at it!
Bah! is that all you've got to say? Why, observe the thing; turn it over; hold it up to the window; count the beads,long, oval, like some seaweed bulbs, each an amulet. See the tint; it's very old; like clots of sunshine,aren't they? Now bring it near; see the carving, here corrugated, there faceted, now sculptured into hideous, tiny, heathen gods. You didn't notice that before! How difficult it must have been, when amber is so friable! Here's one with a chessboard on his back, and all his kings and queens and pawns slung round him. Here's another with a torch, a flaming torch, its fire pouring out inverted. They are grotesque enough;but this, this is matchless: such a miniature woman, one hand grasping the round rock behind, while she looks down into some gulf, perhaps, beneath, and will let herself fall. Oh, you should see her with a magnifying-glass! You want to think of calm, satisfying death, a mere exhalation, a voluntary slipping into another element? There it is for you. They are all gods and goddesses. They are all here but one; I've lost one, the knot of all, the love of the thing. Well! wasn't it queer for a Catholic girl to have at prayer? Don't you wonder where she got it? Ah! but don't you wonder where I got it? I'll tell you.
Papa came in, one day, and with great mystery commenced unrolling, and unrolling, and throwing tissue papers on the floor, and scraps of colored wool; and Lu and I ran to him,Lu stooping on her knees to look up, I bending over his hands to look down. It was so mysterious! I began to suspect it was diamonds for me, but knew I never could wear them, and was dreadfully afraid that I was going to be tempted, when slowly, bead by bead, came out this amber necklace. Lu fairly screamed; as for me, I just drew breath after breath, without a word. Of course they were for me;I reached my hands for them.
"Oh, wait!" said papa. "Yone or Lu?"
"Now how absurd, papa!" I exclaimed. "Such things for Lu!"
"Why not?" asked Lu,rather faintly now, for she knew I always carried my point.
"The idea of you in amber, Lu! It's too foreign; no sympathy between you!"
"Stop, stop!" said papa. "You shan't crowd little Lu out of them. What do you want them for, Lu?"
"To wear," quavered Lu,"like the balls the Roman ladies carried for coolness."
"Well, then, you ought to have them. What do you want them for, Yone?"
"Oh, if Lu's going to have them, I don't want them."
"But give a reason, child."
"Why, to wear, too,to look at,to have and to hold for better, for worse,to say my prayers on," for a bright idea struck me, "to say my prayers on, like the Florence rosary." I knew that would finish the thing.