On the other hand, in the execution of heads all attempt to represent Nature is abandoned. One uniform design of face is throughout apparent in all the heads despite every divergence of action, character, and situation; the noses are pointed; the forehead is still the retreating type, which fails to rise up straight and with freedom; the ears are set high in the head; the long slit eyes are flat and oblique; the closed mouth ends in corners which are pursed outwards; the cheeks are stretched flat-shaped; the chin, however, is strong and angular[207]. Of a similar uniformity is the form of the hair and the fall of the drapery, in which symmetry, a principle which is also uniquely conspicuous in the pose and groupings, and second to that, a peculiar kind of exquisiteness are the prevailing characteristics. This uniformity has been in part imputed to a lack of the sense of beauty in seizing national traits, and in part traced to the fact that reverence for the ancient traditions of an art still immature has fettered the hands of the artists. An artist, however, whose life is that of his personality, and who lives in his work, does not suffer his hands to be thus shackled; consequently we can only explain this type of work, associated as it is with great ability in other respects, by assuming some bondage of spirit, as yet not wholly conscious of its freedom and independence of its creative powers.
The pose of these figures is of the same kind of uniformity, not so much a quality of stiffness as uncouthness, lack of enthusiasm, and in a measure, where we have the attitudes of warriors, resembling what we sometimes find from artisans at their trade, such as the rough work of joiners with the plane[208].
The net result, which we gather from the above description, we may affirm to be that, however interesting they may be for the history of art, what is wanting in such works of art, in the conflict they disclose between tradition and the imitation of Nature, is spiritual animation. For we must remember that, in accordance with what I have already explained in the second chapter of this part of my work, spiritual significance is exclusively expressed in the countenance and the pose of the figure. The other parts of the body no doubt indicate natural distinctions of soul, sex, and age, but what is spiritual in the full sense can only be reflected by the general pose. But it is precisely the traits of countenance and the posture which in Aeginetan sculpture is the relatively spiritless.
The Etruscan works of art, that is, such whose genuineness is fully authenticated by inscription, display the same imitation of Nature in a yet higher degree; they are, however, freer in their pose and facial characteristics, and, in fact, some of them approximate closely to the portrait. Winckelmann, for example[209], mentions the statue of a man which appears to be simply a portrait, though it would also appear to date from a later period of art. It is a man of life-size, representing some kind of orator, a magisterial, worthy sort of person. It is executed with an extraordinary spontaneity and naturalness both of pose and expression. Remarkable and significant it would indeed be, if we did not recollect that on Roman soil it is not the Ideal but actual and prosaic natural fact which is from the first at home.
(β) In the second place truly ideal sculpture, in order to reach the highest point of classical art, has above all, to abandon the mere type and the respect for what is traditional, and to give free scope to the principle of spontaneity in artistic production. It is alone possible to a freedom of this kind entirely to incorporate the significance in its generality in the individual presentment of the form; or, from another point of view, to elevate the sensuous forms to the high level of a true expression of their spiritual import. Only after doing this do we find the rigid and inflexible aspect which is native to the origins of the more ancient art, no less than the emphatic prominence of the significance over the individuality, by means of which the content ought to be expressed, liberated as that vital creation, in which the bodily forms also on their part equally lose the abstract uniformity of a traditional, character, and an illusive realism, and by doing so move in the direction of the classical individuality, which quite as much makes, vital the universality of the form in the particularity of its object as, on the other hand, it makes the sensuousness and actuality of the same throughout interfused with the expression of a soul's inspiration[210]. A vitalization of this type affects not only the form, but also the pose, movement, drapery, grouping, in short every aspect of the sculptured figure to which I have already drawn attention. What here communicates unity are these two principles of universality and individualization. They have, however, not merely to be brought into harmony in respect to the spiritual content, but also in relation to the material form, before they can be participant in the indissoluble association which is the classical type in its full flavour. This identity, however, has itself a series of stages. In other words, under one extreme we find that the Ideal still somewhat inclines to the aspect of loftiness and severity, which it is true does not deprive the individual object of its living impulse and movement, yet does tend to concentrate it more securely under the lordship of the general type. At the other extreme we find that the universal aspect more and more tends to dissolve in the individual; and while it pays the penalty for doing so in loss of depth it can only replace this loss by further elaboration of this sensuous individuality. Consequently it descends from the heights to the lower levels of that which gives pleasure, is exquisite, blithesome, and displays the charm which flatters. Between these two there is a further phase, one, namely, which carries forward the severity of the first to increased individualization, without reaching that point where mere charm of aspect is held to be the supreme object.
(γ) Thirdly, in the art of Rome we have indications of the dissolution of classical sculpture. In this art it is no longer upon the true Ideal that the entire conception and execution depends. The poetry inherent in the vital action of Spirit, the breath and nobility of the soul apparent in the essentially perfected presentment, these peculiarly emphasized excellences of Greek plastic art disappear, and give place, as a rule, to a preference for portraiture studies. And this insistence on realistic truth in art is carried out in all possible modifications. Notwithstanding, this Roman sculpture maintains so lofty a position in this its own province, that it is only in so far as it withdraws from that which brings a work of art to its full perfection, in other words, the poetry of the Ideal in the true sense of the word, that it essentially falls behind Greek art.
(c) Fixing now our attention on Christian sculpture we shall find that the principle of artistic conception and its mode of embodiment is from the commencement one that does not so directly commend itself to the material and forms of sculpture as we find to be the case in the classical Ideal of the Greek imagination and art. The romantic Ideal in short is essentially concerned, as we discovered in the second portion of this work, with a personal withdrawal of the self into its own realm from the external world, with a self-absorbed individuality, which no doubt possesses its external reflection, but which permits this external appearance to issue independently from it in its aspect of particularity, without enforcing a fusion between it and its ideal and spiritual self. Pain, torture of body and soul, martyrdom and penance, death and resurrection, the personality of the individual soul, inner life, love, and emotional life in general—this characteristic content of the romantic imagination, in a religious sense, is no object, for which the external form taken simply for what it is in its spatial entirety, and the material which belongs to it in its more sensuous existence unrelated to ideality, can supply either a form that is wholly relevant to it, or one similarly congruent with it. It is therefore not in romantic art sculpture contributes the fundamental type and the affiliating quality of membership in a system[211] to all the other arts as in Greece, but yields the palm in this respect to painting and music, as arts more adequate to express the life of the soul, distinct from the external world of particularity which is withdrawn from it. No doubt we find also in Christian art repeated examples of sculpture in wood, marble, bronze, and both silver and gold work, examples of the greatest excellence. Yet for all that sculpture is not here the art which, as in Greek art, is most fitted to reveal the Divine image. Religious romantic sculpture, on the contrary, is to a larger extent than in the case of the Greek, an embellishment of architecture. The saints are placed as a rule in the niches of towers and buttresses, or at the entrance doors. Likewise the birth, baptism, the histories of the passion and resurrection, and many other incidents in the life of Christ, the day of Judgment and so forth, accommodate themselves naturally by the multiplicity of their subject-matter to reliefs over church doors, on church walls, and stalls in the choir, and readily approximate to the character of arabesques. All such sculpture contains, for the reason that it is the life of the soul which is herein pre-eminently expressed, characteristics suggestive of the painter's art in a higher degree than is permitted in the plastic of ideal sculpture. And from another point of view, for the same reason, such a sculpture seizes more readily upon aspects of ordinary life, and therewith inclines to portraiture, which, as in the case of painting, it is quite prepared to associate with religious representations. The goose-seller, for example, in the Nürnberg marketplace, which is highly prized by Goethe and Meyer, is an ordinary rustic of very realistic appearance in bronze (it would be impossible in marble), who carries a goose under either arm to market. There are, too, the many sculptured figures, which we find upon the St. Sebaldus Church and on many other churches and buildings, especially dating from the period previous to Peter Vischer, and which in their representation of religious subjects such as the Passion, make clear to us with great vividness this particular type of individualized form, expression, mien and attitude, more particularly in their reflection of every degree of sorrow.
As a rule, then, romantic sculpture, which has deviated only too frequently into every kind of confusion, remains most loyal to the genuine principle of plastic art in those cases where it approaches most nearly the Greek, and either is concerned to treat in the mode of sculpture ancient subject-matter, much as the ancients would have done, or to model the standing figures of heroes and kings, and portraits, with an intention to imitate the antique. This is exceptionally the case nowadays. Much of the most excellent work, however, has been accomplished by sculpture, even in the religious field. It is only necessary here to mention the name of Michelangelo. We can hardly admire sufficiently his dead Christ[212], of which we have a plaster cast in our Royal Museum. The authenticity of the sculptured figure of the Madonna in the Frauenkirche at Bruges, a consummate work, is disputed by certain critics. Speaking for myself, nothing has ever more impressed me than the tomb of the Count of Nassau at Breda[213]. The Count reposes with his lady, life-size figures both in alabaster, on a slab of black marble. At the angles of this are placed Regulus, Hannibal, Caesar, and a Roman warrior in a bowing posture, and they support above their heads a black slab similar to the one beneath. Could anything be more interesting than to see a character such as that of Caesar placed before our eyes by Michelangelo. Even when dealing with religious subjects the genius, the power of imagination, the force, thoroughness, boldness, in short all the extraordinary resources of this master tended, in the characteristic production of his art, to combine the plastic principle of the ancients with the type of intimate soul-life which we find in romantic art. But as we have seen, the direction as a rule of the Christian emotion, where the religious point of view and idea are paramount, is not towards the classical form of ideality, which primarily and with highest results is the determinant factor of its sculpture.
From this point we may now fix the transition from sculpture to another principle of artistic apprehension and presentment, which requires for its realization another sensuous material. In classical sculpture it was the objective and substantive individuality in its human shape, which constituted the vital core, and the human form was placed thereby at such a lofty level, that it was in fact retained in its abstract simplicity as the beauty of form, and as such converted to the Divine image. Under such a one-sided aspect of content and representation man is not fully himself in his concrete humanity. The anthropomorphism of art remains in its incomplete state in ancient sculpture. For that which fails us here is humanity in its objective universality, a universality which we identify at the same time with the principle of absolute personality, quite as much as that aspect of it which in common parlance is called human, in other words the phase of subjective singularity, human weakness, contingency, caprice, immediate sense life, passion, and so forth, a phase or factor which must be taken up into that universality in order that the entire individuality, the subject of conscious life, that is, in its entire range, and in the infinite compass of its reality, may appear as the vital principle both of the mode of presentment and its content.
In classical sculpture one of these phasal aspects, that is the human from the side of immediate Nature, is in part only brought before us in animals, quasi-animals, fauns and the like, without being reflected back again into the personal life of soul, and stated as a negation of that; and also in some measure this type of sculpture only accepts the factor of particularity, only directs its interest to external things in the pleasing style, in the countless sallies of delight and conceits, in which the antique plastic lives and moves. Owing to this we wholly fail to meet here the profundity and infinity which lies at the root of man's personal life, that inmost reconciliation of Spirit with the Absolute, that ideal union of humanity with the humanity of God. No doubt Christian sculpture is the instrument which makes visible the content which here enters the domain of art more consonant with the above disregarded principle. But it is precisely its modes of art's embodiment which expose to us the fact that sculpture is insufficient for such a content, that other modes of art will infallibly arise able to reach in very truth the mark which sculpture failed in its work to achieve. We may collectively unite these new arts under the title of the romantic arts. They are indeed the modes most adequate to express the romantic type of art.