A.
Mr. Walker’s extravagant admiration of the Grecian mythology has led him to over-estimate its influence upon poetry and the arts. That these were influenced, in a very important degree, by the religion of Greece, no one acquainted with the history of that nation, can doubt; but, that the arts cannot exist where the Grecian mythology is not the popular religion, is an opinion unsupported by the history of the past, and altogether opposed to their present flourishing state in civilized countries. In no age or nation has the art of painting, for example, attained higher perfection, than in Italy during the 13th and 14th centuries; a period which has been called “the golden age of Italian art,” and its high excellence has been justly attributed to the introduction of Christianity. “The walls and cupolas,” says a late writer, “of new and splendid churches were immediately covered, as if by enchantment, with the miracles of paintings and sculpture—the eager multitude were not compelled to wait till genius had labored for years on what it had been years in conceiving. Those eager spirits seemed to breathe out their creations in full and mature beauty—performing at once, by the buoyant energies of well-disciplined genius, more than all the cold precision of mechanical knowledge can ever accomplish.” Allan Cunningham, in his life of Flaxman, the artist, speaking of these paintings, remarks: “Into these Flaxman looked with the eye of a sculptor and of a Christian. He saw, he said, that the mistress to whom the great artists of Italy had dedicated their genius was the Church; that they were unto her as chief priests, to interpret her tenets and her legends to the world in a more brilliant language than that of relics and images. To her illiterate people, the Church addressed herself through the eye, and led their senses captive by the external magnificence with which she overwhelmed them.”
But it is unnecessary to multiply quotations to prove this point. Flaxman never uttered a truer saying, than when he remarked, that “the Christian religion presents personages and subjects no less favorable to painting and sculpture than the ancient classics.” Accordingly, we find among his own immortal productions, that the monument erected in memory of Miss Lushington, in Kent, representing a mother mourning for her daughter, comforted by a ministering angel, was inspired by that text of holy writ, “Blessed are they that mourn;” and the monument in memory of the family of Sir Francis Baring imbodies these words, “Thy will be done—thy kingdom come—deliver us from evil.” To the first motto belongs a devotional figure as large as life—
“Her looks communing with the skies;”
a perfect image of piety and resignation. On one side, imbodying “Thy kingdom come,” a mother and daughter ascend to the skies welcomed rather than supported by angels; and on the other, expressing the sentiment “Deliver us from evil,” a male figure, in subdued agony, appears in the air, while spirits of good and evil contend for the mastery. This has been considered one of the finest pieces of motionless poetry in England. We hold, then, that Mr. Walker’s remark that “neither poetry nor the arts can have being, without the religion of Greece,” is far from being sustained, either by history or observation.