VOTES ON COMPETITIVE WORK.
Whoever undertakes to judge of the comparative merit of various works, ought, I think, to have sufficient critical ability to distinguish minutely the smallest differences between these works on various points—such as, for instance, their composition, character, proportion, movement, expression, refinement, historical accuracy in the types and fashion of the dresses, truth, style, &c. &c. Now it is absolutely impossible that in all these particulars two works can be perfectly equal and of the same value; and the conclusion thus far is unavoidable, that the judge who gives his vote for a division, either has not the qualities required to discern these delicate differences, or omits through culpable negligence to make such a rigorous examination as is required to arrive at what is true and just. Therefore the President should declare formally that the votes for a division will be null; and as their absence might invalidate the decision through a consequent deficiency of votes, he should invite the judges to declare for one or the other. I conclude (and with this I shall finish my disquisition on this subject of division of votes) that whoever feels inclined to give a vote in this indeterminate way, either is, or thereby declares himself to be, ignorant of the matter in regard to which he is required to have knowledge and to give judgment.
The youthful Bacchante fell down; and, as I have said, it was well that it did. This I say now; but then I was much vexed, both on account of the accident itself, and also for the unpleasant talk that it gave rise to. But after all, things are what they really are, and not what we think them to be. I was, however, consoled by a commission—very small indeed, but it seemed to raise my depressed spirits—and it was this, to make the four "Cariatidi" of the Royal Box in the Rossini Theatre in Leghorn. I should not have mentioned this humble work did it not give me occasion to note one thing which the young men of to-day seem to have forgotten.
HUMBLE COMMISSIONS.
It is common for the young sculptors of our day to scorn and sneer at any work that is offered to them which they think beneath that skill and capacity which they suppose themselves to possess; and they will not, as they say, abase themselves to mere work in plaster. If any one orders of them a bust or a statue in plaster, their pretence is so excessive that they deem it an insult. Now, I say the material counts for nothing; and a plaster statue merely for decoration, well executed, is worth more than a statue in marble or bronze which is ill executed. Undoubtedly, if one could choose, he would reject the statue in plaster and accept that in marble—always, however, recognising that the one essential thing is, to do his work well. But I was not given this choice, and I accepted this humble commission, and executed it with zealous love. There was this, too, of good in the commission—it might induce me to believe that I should have made a far better statue had I been given more time and more means to make one of my own selection; and I said, "If I have been able to make these statues in a month, with thirty or forty lire to pay to my models, how much better I might do in five or six months, with much more money!" The question reduces itself, then, to time and money. Let the young artist consider whether my reasoning is not just; and let him also consider what is more important—that if I had not accepted this commission, I should not have come to the knowledge of the power that was in me, nor have gone through the reasoning which by strict logic induced me to make the "Abel."
This humble work was of great importance to me, and I recommend it to the attention of those young artists who consider themselves humiliated by small commissions. No; do not let them be alarmed either by the subject or the material, and if they should receive an order even for a great terra cotta mask for a fountain, provided it be well made, they will acquire by it praise, and new and worthier orders, so long as their sole endeavour is to do their work well.
CHAPTER VI.
AN UNJUST LAW—THE "ABEL"—BRINA THE MODEL AND I IN DANGER OF BEING ASPHYXIATED—MY FIRST REQUEST—BENVENUTI WISHES TO CHANGE THE NAME OF MY ABEL FOR THAT OF ADONIS—I INVITE BARTOLINI TO DECIDE ON THE NAME OF MY STATUE—BARTOLINI AT MY STUDIO—HIS ADVICE AND CORRECTIONS ON THE ABEL—LORENZO BARTOLINI—GIUSEPPE SABATELLI—EXHIBITION OF THE ABEL—IT IS SAID TO BE CAST FROM LIFE—I ASK FOR A SMALL STUDIO, BUT DO NOT OBTAIN IT—MY SECOND AND LAST REQUEST—THE PRESIDENT ANTONIO MONTALVO—I DON'T SUCCEED SOMEHOW IN DOING ANYTHING AS I SHOULD—I TALK OVER MATTERS AT HOME—COUNT DEL BENINO A TRUE FRIEND AND TRUE BENEFACTOR—HIS GENEROUS ACTION.
