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a corner. I cannot hide from myself that there is a certain appearance of paltriness, as of toys, and the trumpery of a theatre, in sculpture. Nature transcends all our moods of thought, and its secret we do not yet find. But the gallery stands at the mercy of our moods, and there is a moment when it becomes frivolous. I do not wonder that Newton, with an attention habitually engaged on the path of planets and suns, should have wondered what the Earl of Pembroke found to admire in "stone dolls.” Sculpture may serve to teach the pupil how deep is the secret of form, how purely the spirit can translate its meanings into that eloquent dialect. But the statue will look cold and false before that new activity which needs to roll through all things and is impatient of counterfeits, and things not alive., Picture and sculpture are the celebrations and festivi. ties of form. But true art is never fixed, but always flowing. The sweetest music is not in the oratorio, but in the human voice when it speaks from its instant life, tones of tenderness, truth, or courage. The oratorio has already lost its relation to the morning, to the sun, and the earth, but that persuading voice is in tune with these. All works of art should not be detached, but extempore performances. A great man is a new statue in every attitude and action. A beautiful woman is a picture which drives all beholders nobly mad.
Life may be lyric or epic, as well as a poem or a romance.
A true announcement of the law of creation, if a man were found worthy to declare it, would carry art up into the kingdom of nature, and destroy its separate and contrasted existence. The fountains of invention and beauty in modern society are all but dried up. A popular novel, a theatre, or a ball-room makes us feel that we are all paupers in the alms-house of this world, without dignity, without skill, or industry.
Art is as poor and low. The old tragic Necessity, which lowers on the brows even of the Venuses and Cupids of the antique, and furnishes the sole apology for the intrusion of such anomolous figures into nature,-namely, that they were inevitable; that the artist was drunk with a passion for form which he could not resist, and which vented itself in these fine extravagancies,-no longer dignifies the chisel or the pencil. But the artist, and the connoissieur, now seek in art the exhibition of their talent, or an asylum from the evils of life. Men are not well pleased with the figure they make in their own imigination, and they flee to art, and convey their better sense in an oratorio, a statue, or a picture. Art makes the same effort which a sensual prosperity makes, namely, to detach the beautiful from the useful, to do up the work as unavoidable, and hating it, pass on to enjoyment. These solaces and compensations, this division of beauty from use, the laws of nature do not permit. As soon as beauty is sought not from religion and love, but for pleasure, it degrades the seeker. High beauty is no longer attainable by him in canvass or in stone, in sound, or in lyrical construction; an effeminate prudent, sickly beauty, which is not beauty, is all that can be formed; for the hand can never execute any thing higher than the character can inspire.
The art that thus separates, is itself first separated, Art must not be a superficial talent, but must begin farther back in man. Now men do not see nature to be beautiful, and they go to make a statue which shall be. They abhor men as tasteless, dull, and inconvertible, and console themselves with colour-bags, and blocks of marble. They reject life as prosaic, and create a death which they call poetic. They despatch the day's weary chores, and fly to voluptuous reveries. They eat and drink, that they may afterwards execute the ideal. Thus is art vilified; the name conveys to the mind its secondary and bad senses; it stands in the imagination, as somewhat contrary to nature, and struck with death from the first, Would it not be better to begin higher up,--to serve the ideal before they eat and drink; to serve the ideal in eating and drinking, in drawing the breath, and in the functions of life? Beauty must come back to the useful arts, and the distinction between the fine and the useful arts be forgotten. If history were truly told, if life were nobly spent, it would be no longer easy or possible to distinguish the one from the other. In nature, all is useful, all is beautiful. It is therefore beautiful, because it is alive, moving, reproductive; it is therefore useful, because it is symmetrical and fair. Beauty will not come at the call of a legisla nor will it repeat in England or America, its history in Greece. It will come, as always, unannounced, and spring up between the feet of brave and earnest men. It is in vain that we look for genius to reiterate its miracles in the old arts; it is its instinct to find beauty and holiness in new and necessary facts, in the field and roadside, in the shop and mill. Proceeding from a religious heart it will raise to a divine use, the railroad, the insurance office, the joint stock company, our law, our primary assemblies, our commerce, the galvanic battery, the electric jar, the prism, and the chemist's retort, in which we seek now only an economical use. Is not the selfish, and even cruel aspect which belongs to our great mechanical works, to mills, railways, and machinery, the effect of the mercenary impulses which these works obey? When its errands are noble and adequate, a steamboat bridging the Atlantic between Old and New England, and arriving at its ports with the punctuality of a planet, --is a step of man into harmony with nature. The boatat St. Petersburgh, which plies along the Lena by magnetism, needs little to make it sublime. When science is learned in love, and its powers are wielded by love, they will appear the supplements and continuations of the material creation.