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ory. The traveller who visits the Vatican, and passes from chamber to chamber through galleries of statues, vases, sarcophagi, and candelabra, through all forms of beauty, cut in the richest materials, is in danger of forgetting the simplicity of the principles out of which they all sprung, and that they had their origin from thoughts and laws in his own breast. He studies the technical rules on these wonderful remains, but forgets that these works were not always thus constellated; that they are the contributions of many ages, and many countries; that each came out of the solitary workshop of one artist, who toiled perhaps in ignorance of the existence of other sculpture, created his work without other model, save life, household life, and the sweet and smart of personal relations, of beating hearts, and meeting eyes, of poverty, and necessity, and hope, and fear. These were his inspirations, and these are the effects he carries home to your heart and mind. In proportion to his force, the artist will find in his work an outlet for his proper character. He must not be in any manner pinched or hindered by his material, but through his necessity of imparting himself, the adamant will be

wax in his hands, and will allow an adequate communication of himself in his full stature and proportion. Not a conventional nature and culture need he cumber himself with, nor ask what is the mode in Rome or in Paris, but that house, and weather, and manner of living, which poverty and the fate of birth have made at once so odious and so dear, in the gray, unpainted wood cabin, on the corner of a New Hampshire farm, or in the log hut of the backwoods, or in the narrow lodging where he has endured the constraints and seeming of a city poverty,-will serve as well as any other condition, as the symbol of a thought which pours itself indiffer ently through all.

I remember, when in my younger days, I had heard of the wonders of Italian painting, I fancied the great pictures would be great strangers; some surprising combination of color and form; a foreign wonder, barbaric pearl and gold, like the spontoons and standards of the militia, which play such pranks in the eyes and imaginations of school-boys. I was to see and acquire I knew not what. to Rome, and saw with found that genius left to

When I came at last eyes the pictures, I novices the gay and

fantastic and ostentatious, and itself pierced directly to the simple and true; that it was familiar and sincere ; that it was the old, eternal fact I had met already in so many forms; unto which I lived; that it was the plain you and me I knew so well,—had left at home in so many conversations. I had the same experience already in a church at Naples. There I saw that nothing was changed with me but the place, and said to myself,- Thou foolish child, hast thou come out hither, over four thousand miles of salt water, to find that which was perfect to thee, there at home?'-that fact I saw again in the Academmia at Naples, in the chambers of sculpture, and yet again when I came to Rome, and to the paintings of Raphael, Angelo, Sacchi, Titian, and Leonardo da Vinci. "What old mole! workest thou in the earth so fast?" It had travelled by my side: that which I fancied I had left in Boston, was here in the Vatican, and again at Milan, and at Paris, and made all travelling ridiculous as a treadmill. I now require this of all pictures, that they domesticate me, not that they dazzle me. Pictures must not be too picturesque. Nothing astonishes men so much as common sense and

plain dealing. All great actions have been simple, and all great pictures are.

The Transfiguration, by Raphael, is an eminent example of this peculiar merit. A calm, benignant beauty shines over all this picture, and goes directly to the heart. It seems almost to call you by name. The sweet and sublime face of Jesus is beyond praise, yet how it disappoints all florid expectations! This familiar, simple, home-speaking countenance, is as if one should meet a friend. The knowledge of picture-dealers has its value, but listen not to their criticism when your heart is touched by genius. It was not painted for them, it was painted for you; for such as had eyes capable of being touched by simplicity and lofty emotions.

Yet when we have said all our fine things about the arts, we must end with a frank confession, that the arts, as we know them, are but initial. Our best praise is given to what they aimed and promised, not to the actual result. He has conceived meanly of the resources of man, who believes that the best age of production is past. The real value of the Iliad, or the Transfiguration, is as signs of power; billows or

ripples they are of the great stream of tendency; tokens of the everlasting effort to produce, which even in its worst estate, the soul betrays. Art has not yet come to its maturity, if it do not put itself abreast with the most potent influences of the world, if it is not practical and moral, if it do not stand in connection with the conscience, if it do not make the poor and uncultivated feel that it addresses them with a voice of lofty cheer. There is higher work for Art than the arts. They are abortive births of an imperfect or vitiated instinct. Art is the need to create; but in its essence, immense and universal, it is impatient of working with lame or tied hands, and of making cripples and monsters, such as all pictures and statues are. Nothing less than the creation of man and nature is its end. A man should find in it an outlet for his whole energy. He may paint and carve only as long as he can do that. Art should exhilarate, and throw down the walls of circumstance on every side, awakening in the beholder the same sense of universal relation and power which the work evinced in the artist, and its highest effect is to make new artists.

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