[18] See in the [Historical Directory] another subject assigned to the statue.
The figure is in striking contrast to the statue of Athena which we have studied. The virgin goddess is stately and unapproachable in her panoply of wisdom, but the great mother seems to invite our confidence. She is one to whom a frightened child might run, sure of being soothed. To her the sorrowing would turn, fearing no repulse. She would welcome, she would understand, she would comfort. There is strength and repose in every line of her majestic figure.
The statue illustrates admirably the grandeur and simplicity of the best Greek art. The long straight lines of the drapery, unbroken by any unnecessary folds, are the secret of the impression of tranquil dignity in the work.
VIII
THE FAUN OF PRAXITELES
The imagination of the Greeks peopled the woods and waters with all sorts of mythical beings, among which one of the most delightful was the faun. This was a creature half human, half animal, which frolicked in the woods in spring time. In outward appearance it looked much like a human being, except that it had pointed furry ears. In nature, however, it was closely akin to the animals, and lived a free happy life, with none of the thoughts and cares which beset the soul of man.
Our statue represents a sculptor's conception of this sportive being. It is famous not only because it is a celebrated work of art, but because it takes an important place in a celebrated novel. This is the "marble faun" which gives the title to Hawthorne's book. It will be remembered that in the beginning of the story, a party of friends are visiting the museum of the Capitol in Rome, where the statue stands. Suddenly they notice the resemblance which one of their number, a young Italian named Donatello, bears to the statue. They bid him take the same attitude, and the likeness is complete. The writer describes the statue in these words: "The Faun is the marble image of a young man leaning his right arm on the trunk or stump of a tree; one hand hangs carelessly by his side; in the other he holds the fragment of a pipe, or some such sylvan instrument of music. His only garment—a lion's skin, [19] with the claws upon his shoulder—falls halfway down his back, leaving the limbs and entire front of the figure nude. The form, thus displayed, is marvellously graceful, but has a fuller and more rounded outline, more flesh, and less of heroic muscle, than the old sculptors were wont to assign to their types of masculine beauty. [20] The character of the face corresponds with the figure; it is most agreeable in outline and feature, but rounded and somewhat voluptuously developed, especially about the throat and chin; the nose is almost straight, but very slightly curves inward, thereby acquiring an indescribable charm of geniality and humor. The mouth, with its full yet delicate lips, seems so nearly to smile outright that it calls forth a responsive smile. The whole statue—unlike anything else that ever was wrought in that severe material of marble—conveys the idea of an amiable and sensual creature, easy, mirthful, apt for jollity, yet not incapable of being touched by pathos. It is impossible to gaze long at this stone image without conceiving a kindly sentiment towards it, as if its substance were warm to the touch, and imbued with actual life. It comes very close to some of our pleasantest sympathies."
[19] More likely a leopard's skin.