I do not wish it to be supposed that Thorwaldsen's general practice was such as I have described in the particular case referred to: probably no artist ever studied or worked more carefully upon the clay model than he. What I have stated was only with the view of showing to what extent he felt himself justified in employing assistance. I am quite persuaded, however, that, had Thorwaldsen and Vogelberg been women, and employed one-half the amount of assistance they did in the cases mentioned, we should long since have heard the great merit of their works attributed to the skill of their workmen.
Nor should we forget—to draw for examples upon a kindred art—how largely the painters of the fifteenth and sixteenth centuries relied upon the mechanical skill of their pupils to assist them in producing the great works which bear their names. All the painters of note of that time, like many of the present day, had their pupils, to whom was intrusted much of the laborious portion of their work, the master furnishing the design and superintending its execution. Raphael, for instance, could never have left one half the treasures of Art which adorn the Vatican and enrich other galleries, had he depended solely upon the rapidity of his own hand; and of the many frescos which exist in the Farnese Palace, and are called "Raphael's frescos," there are but two in which are to be traced the master's hand,—the Galatea, and one of the compartments in the series representing the story of Cupid and Psyche.
It will thus be seen how large a portion of the manual labor which is supposed to devolve entirely upon the artist is, and has always been, really performed by other hands than his own. I do not state this fact in a whisper, as if it were a great disclosure which involved the honor of the artist; it is no secret, and there is no reason why it should be so. The disclosure, it is true, will be received by all who regard sculpture as simply a mechanical art with a feeling of disappointment. They will brand the artist who cannot lay claim to the entire manipulation of his statue, whether in clay or marble, as an impostor,—nor will they resign the idea that the truly conscientious sculptor will carve every ornament upon his sandals and polish every button upon his drapery. But those who look upon sculpture as an intellectual art, requiring the exercise of taste, imagination, and delicate feeling, will never identify the artist who conceives, composes, and completes the design with the workman who simply relieves him from great physical labor, however delicate some portion of that labor may be. It should be a recognized fact, that the sculptor is as fairly entitled to avail himself of mechanical aid in the execution of his work as the architect to call into requisition the services of the stone-mason in the erection of his edifice, or the poet to employ the printer to give his thoughts to the world. Probably the sturdy mason never thinks much about proportion, nor the type-setter much about harmony; but the master-minds which inspire the strong arm and cunning finger with motion think about and study both. It is high time that some distinction should be made between the labor of the hand and the labor of the brain. It is high time, in short, that the public should understand in what the sculptor's work properly consists, and thus render less pernicious the representations of those who, either from thoughtlessness or malice, dwelling upon the fact that assistance has been employed in certain cases, without defining the limits of that assistance, imply the guilt of imposture in the artists, and deprive them, and more particularly women-artists, of the credit to which, by talent or conscientious labor, they are justly entitled.
Harriet Hosmer.
BRYANT'S SEVENTIETH BIRTHDAY.
O even-handed Nature! we confess
This life that men so honor, love, and bless
Has filled thine olden measure. Not the less
We count the precious seasons that remain;
Strike not the level of the golden grain,
But heap it high with years, that earth may gain
What heaven can lose,—for heaven is rich in song:
Do not all poets, dying, still prolong
Their broken chants amid the seraph throng,