Both the Old and the New Testament abound in sculptural subjects; but fitly to deal with the Old Testament required a Michal-Angelo. Beautiful as are the gates of Ghiberti they are hardly what the Germans would call “alt-testamentische,” they are so essentially elegant and graceful, and the old Hebrew legends and personages are so tremendous. Even Miriam and Ruth dilate into a sort of grandeur. In representation I always fancy them above life-size.
I doubt whether the same artist who could conceive the Prophets would be able to represent the Apostles, or that the same hand which gave us Moses could give us Christ. Michal-Angelo’s idea of Christ, both in painting and sculpture is, to me, revolting.
CHRIST. SOLOMON. DAVID.
I do not like the idea of Moses and Christ placed together. Much finer in artistic and moral contrast would be the two teachers,—Christ as the divine and spiritual law-giver, Solomon as the type of worldly wisdom. They should stand side by side, or be seated each on his throne, a crowned King, with book and sceptre—but how different in character!
We have multiplied statues of David. I have never seen one which realised the finest conception of his character, either as Hero, King, Prophet, or Poet. In general he figures as the slayer of Goliath, and is always too feeble and boyish. David, singing to his lute before Saul; David as the musician and poet, young, beautiful, half-draped, heaven-inspired, exorcising by his art the dark spirit of evil which possessed the jealous King:—this would be a theme for an artist, and would as finely represent the power of sacred song as a figure of St. Cecilia. But the sentiment should not be that of a young Apollo, or an Orpheus; therein would lie the chief difficulty.
