"Fades in the eye and palls upon the sense."
It is evidently imitating the works of antiquity under a disadvantage, inasmuch as modern costume is far inferior in picturesque effect to the episcopal vestments, the romantic armour, and numerous elegant habiliments of an earlier day. Every lesser embellishment and minuteness of detail are regarded by an artist who has more enlarged views of his profession as foreign to the main design; yet the robes, millinery, jewellery, and accoutrements usually held a place with the carvers of that time of equal importance with the face, and engaged as large a share of their attention.
The comparative easiness of execution forms another argument. Having received the simple commission for a monument (specifications are needless), the workmen (as may be imagined) fixes the armour of the defunct knight upon his table, places a mask moulded from nature on the helmet-pillow, fits on a pair of hands with which, like an
assortment of gloves, his studio is provided, diligently applies his compasses to insure exact equality by means of a receipt, perchance imparts some devotional expression, and the work is ready to be transferred to stone.
Mr. Petit, in the preface (page x.) to his Architectural Studies, after due praise, asserts—
"That no sculptor anxious to advance his own reputation and art will ever set up a mediæval statue as his model. He may acknowledge its merits, and learn much from a careful examination of it, but still he will not look up to its designer as his master and guide."
Again, the efforts of genius are cramped by such uncompromising terms. The feet must unavoidably be directed towards the east; still, whatever the situation of the tomb may chance to be, from whatever point it may be viewed, or whether the light may fall on this side or on that, no way of escape is open, and no ingenuity can be employed to grapple with the uncontrollable obstruction. Portrait painters can choose the position most favourable to the features, but the monumental sculptor of the nineteenth century may only exhibit what is generally shunned, the direct profile; the contour of the face, and the wide expanse of brow, which might probably give the most lively indications of intellectual power, amiability of disposition, and devout tranquillity of soul, must be sacrificed to this unbending law "which altereth not." Sculptors, we are told, should overcome difficulties; but here they are required to "strive with impossibilities, yea, get the better of them." Whether painted windows, or some other ornament, or a tomb alone in harmony with the architecture (the form and features of the individual being elsewhere preserved), may constitute a more desirable memorial, is a separate question, but as statues are only admissible in a recumbent posture, some little latitude must be allowed. Like our reformers in higher things, it behoves us to discard what is objectionable in art, while we cherish that which is to be admired. Instead of treading in the footsteps of those lofty spirits, we should endeavour to follow the same road. Fully appreciating their excellences, let us avoid the distorted drawing of their brilliant glass, their irregularities in architectural design, the irreverence of their carving, and the conventionalism of their monumental sculpture.
C. T.
I agree with C. T. in thinking that the usual recumbent figure on mediæval tombs was intended to represent a dead body, and more particularly to represent the body as it had lain in state, or had been borne to the grave; and I will add one or two additional reasons for this opinion. In the description in Speed, of the intended monument of Henry VIII., taken from a MS. given to Speed by that industrious herald master, Charles Lancaster, the following direction occurs:—
"Item, upon the same basement shall be made two tombes of blacke touch, that is to say, on either side one, and upon the said tombes of blacke touch shall be made the image of the King and Queen, on both sides, not as death [dead], but as persons sleeping, because to shewe that famous princes leaving behind them great fame never doe die, and shall be in royall apparels after the antique manner."—Speed's Hist. of Great Brit., p. 1037. ed. 1632.