LECTURE II.
IDOLATRY.
November, 1870.
28. Beginning with the simple conception of sculpture as the art of fiction in solid substance, we are now to consider what its subjects should be. What—having the gift of imagery—should we by preference endeavour to image? A question which is, indeed, subordinate to the deeper one—why we should wish to image anything at all.
29. Some years ago, having been always desirous that the education of women should begin in learning how to cook, I got leave, one day, for a little girl of eleven years old to exchange, much to her satisfaction, her schoolroom for the kitchen. But as ill fortune would have it, there was some pastry toward, and she was left unadvisedly in command of some delicately rolled paste; whereof she made no pies, but an unlimited quantity of cats and mice.
Now you may read the works of the gravest critics of art from end to end; but you will find, at last, they can give you no other true account of the spirit of sculpture than that it is an irresistible human instinct for the making of cats and mice, and other imitable living creatures, in such permanent form that one may play with the images at leisure.
Play with them, or love them, or fear them, or worship them. The cat may become the goddess Pasht, and the mouse, in the hand of the sculptured king, enforce his enduring words "ες εμε τις ορεων ευσεβης εστω;" but the great mimetic instinct underlies all such purpose; and is zooplastic,—life-shaping,—alike in the reverent and the impious.
30. Is, I say, and has been, hitherto; none of us dare say that it will be. I shall have to show you hereafter that the greater part of the technic energy of men, as yet, has indicated a kind of childhood; and that the race becomes, if not more wise, at least more manly,[113] with every gained century. I can fancy that all this sculpturing and painting of ours may be looked back upon, in some distant time, as a kind of doll-making, and that the words of Sir Isaac Newton may be smiled at no more: only it will not be for stars that we desert our stone dolls, but for men. When the day comes, as come it must, in which we no more deface and defile God's image in living clay, I am not sure that we shall any of us care so much for the images made of Him, in burnt clay.
31. But, hitherto, the energy of growth in any people may be almost directly measured by their passion for imitative art; namely, for sculpture, or for the drama, which is living and speaking sculpture, or, as in Greece, for both; and in national as in actual childhood, it is not merely the making, but the making-believe; not merely the acting for the sake of the scene, but acting for the sake of acting, that is delightful. And, of the two mimetic arts, the drama, being more passionate, and involving conditions of greater excitement and luxury, is usually in its excellence the sign of culminating strength in the people; while fine sculpture, requiring always submission to severe law, is an unfailing proof of their being in early and active progress. There is no instance of fine sculpture being produced by a nation either torpid, weak, or in decadence. Their drama may gain in grace and wit; but their sculpture, in days of decline, is always base.