Christian. But beautiful things, to be beautiful in the highest degree, like the rainbow, must have a spiritual as well as a physical voice. Lovely as it is, it is not the arch of colours that glows in the heavens of our hearts; what does, is the inner and invisible sense for which it was set up of old by God, and of which its many-hued form is only the outward and visible sign. Thus, beautiful things alone, of themselves, are not sufficient for this task; to be sufficient they must be as vital with soul as they are with shape. To be formatively perfect is not enough; they must also be spiritually perfect, and this not locally but universally. The art of the Greeks was a local art; and hence, now, it has no spiritual. Their gods speak to us no longer as gods, or teach us divinely: they have become mere images of stone—profane embodiments. False to our spiritual, Hellenic art wants every thing that Christian art is full of. Sacred and universal, this clasps us, as Abraham's bosom did Lazarus, within its infinite embraces, causing every fibre of our being to quicken under its heavenly truths. Ithuriel's golden spear was not more antagonistic to Satan's loathly transformation—than is Christian opposed to pagan art. The wide, the awful gulf, separating one from the other, will be felt instantly in its true force by first thinking ZEUS, and then thinking CHRIST. How pale, shadowy, and shapeless the vision of lust, revenge, and impotence, that rises at the thought of Zeus; but at the thought of Christ, how overwhelming the inrush of sublime and touching realities; what height and depth of love and power; what humility, and beauty, and immaculate purity are made ours at the mention of his name; the Saviour, the Intercessor, the Judge, the Resurrection and the Life. These—these are the divinely awful truths taught by our faith; and which should also be taught by our art. Hellenic art, like the fig tree that only bore leaves, withered at Christ's coming; and thus no “happy discoveries” can flow thence, or “revelations of wisdom,” or other perfections be borne to earth for man.
Sophon. Christian thinks and says, that if the spiritual be not in a thing, it cannot be put upon it; and hence, if a work of art be not a god, it must be a man, or a mere image of one; and that the faith of the Pagan is the foolishness of the Christian. Nor does he utter unreason; for, notwithstanding their perfect forms, their gods are not gods to us, but only perfect forms: Apollo, Theseus, the Ilissus, Aphrodite, Artemis, Psyche, and Eros, are only shapeful manhood, womanhood, virginhood, and youth, and move us only by the exact amount of humanity they possess in common with ourselves. Homer and Æschylus, and Sophocles, and Phidias, live not by the sacred in them, but by the human: and, but for this common bond, Hellenic art would have been submerged in the same Lethe that has drowned the Indian, Egyptian, and Assyrian Theogonies and arts. And, if we except form, what other thing does Hellenic art offer to the modern artist, that is not thoroughly opposed to his faith, wants, and practice? And thought—thought in accordance with all the lines of his knowledge, temperament, and habits—thought through which he makes and shapes for men, and is understood by them—it is as destitute of, as inorganic matter of soul and reason. But Christian art, because of the faith upon which it is built, suffers under no such drawbacks, for that faith is as personal and vigorous now as ever it was at its origin—every motion and principle of our being moves to it like a singing harmony;—it is the breath which brings out of us, Æolian-harp-like, our most penetrating and heavenly music—the river of the water of life, which searches all our dry parts and nourishes them, causing them to spring up and bear abundantly the happy seed which shall enrich and make fat the earth to the uttermost parts thereof.
Kalon. With you both I believe, that faith is necessary to a man, and that without faith sight even is feeble: but I also believe that a man is as much a part of the religious, moral, and social system in which he lives, as is a plant of the soil, situation, and climate in which it exists: and that external applications have just as much power to change the belief of the man, as they have to alter the structure of the plant. A faith once in a man, it is there always; and, though unfelt even by himself, works actively: and Hellenic art, so far from being an impediment to the Christian belief, is the exact reverse; for, it is the privilege of that belief, through its sublime alchymy, to be able to transmute all it touches into itself: and the perfect forms of Hellenic art, so touched, move our souls only the more energetically upwards, because of their transcendent beauty; for through them alone can we see how wonderfully and divinely God wrought—how majestic, powerful, and vigorous he made man—how lovely, soft, and winning, he made woman: and in beholding these things, we are thankful to him that we are permitted to see them—not as Pagans, but altogether as Christians. Whether Christian or Pagan, the highest beauty is still the highest beauty; and the highest beauty alone, to the total exclusion of gods and their myths, compels our admiration.
Kosmon. Another thing we ought to remember, when judging Hellenic Art, is, but for its existence, all other kinds—pre-Raffaelle as well—could not have had being. The Greeks were, by far, more inclined to worship nature as contained in themselves, than the gods,—if the gods are not reflexes of themselves, which is most likely. And, thus impelled, they broke through the monstrous symbolism of Egypt, and made them gods after their own hearts; that is, fashioned them out of themselves. And herein, I think we may discern something of providence; for, suppose their natures had not been so powerfully antagonistic to the traditions and conventions of their religion, what other people in the world could or would have done their work? Cast about a brief while in your memories, and endeavor to find whether there has ever existed a people who in their nature, nationality, and religion, have been so eminently fitted to perform such a task as the Hellenic? You will then feel that we have reason to be thankful that they were allowed to do what else had never been done; and, which not done, all posterity would have suffered to the last throe of time. And, if they have not made a thorough perfection—a spiritual as well as a physical one—forget not that, at least, they have made this physical representation a finished one. They took it from the Egyptians, rude, clumsy, and seated; its head stony—pinned to its chest; its hands tied to its side, and its legs joined; they shaped it, beautiful, majestic, and erect; elevated its head; breathed into it animal fire; gave movement and action to its arms and hands; opened its legs and made it walk—made it human at all points—the radical impersonation of physical and sensuous beauty. And, if the god has receded into the past and become a “pale, shadowy, and shapeless vision of lust, revenge, and impotence,” the human lives on graceful, vigorous, and deathless, as at first, and excites in us admiration as unbounded as ever followed it of old in Greece or Italy.
Christian. Yes, Kosmon, yes! they are flourished all over with the rhetoric of the body; but nowhere is to be seen in them that diviner poetry, the oratory of the soul! Truly they are a splendid casket enclosing nothing—at least nothing now of importance to us; for what they once contained, the world, when stirred with nobler matter, disregarded, and left to perish. But, Kosmon, we cannot discuss probabilities. Our question is—not whether the Greeks only could have made such masterpieces of nature and art; but whether their works are of that kind the most fitted to carry forward to a more ultimate perfection that idea which is peculiarly our's. All art, more or less, is a species of symbolism; and the Hellenic, notwithstanding its more universal method of typification, was fully as symbolic as the Egyptian; and hence its language is not only dead, but forgotten, and is now past recovery: and, if it were not, what purpose would be served by its republication? For, for whom does the artist work? The inevitable answer is, “For his nation!” His statue, or picture, poem, or music, must be made up and out of them; they are at once his exemplars, his audience, and his worshippers; and he is their mirror in which they behold themselves as they are: he breathes them vitally as an atmosphere, and they breathe him. Zeus, Athene, Heracles, Prometheus, Agamemnon, Orestes, the House of Œdipus, Clytemnestra, Iphigenia, and Antigone, spoke something to the Hellenic nations; woke their piety, pity, or horror,—thrilled, soothed, or delighted them; but they have no charm for our ears; for us, they are literally disembodied ghosts, and voiceless as shapeless. But not so are Christ, and the holy Apostles and saints, and the Blessed Virgin; and not so is Hamlet, or Richard the Third, or Macbeth, or Shylock, or the House of Lear, Ophelia, Desdemona, Grisildis, or Una, or Genevieve. No: they all speak and move real and palpable before our eyes, and are felt deep down in the heart's core of every thinking soul among us:—they all grapple to us with holds that only life will loose. Of all this I feel assured, because, a brief while since, we agreed together that man could only be raised through an incarnation of himself. Tacitly, we would also seem to have limited the uses of Hellenic art to the serving as models of proportion, or as a gradus for form: and, though I cannot deny them any merit they may have in this respect, still, I would wish to deal cautiously with them: the artist,—most especially the young one, and who is and would be most subject to them and open to their influence,—should never have his soul asleep when his hand is awake; but, like voice and instrument, one should always accompany the other harmoniously.
Kosmon. But surely you will deal no less cautiously with early mediæval art. Archaisms are not more tolerable in pictures than they are in statues, poems, or music; and the archaisms of this kind of art are so numerous as to be at first sight the most striking feature belonging to it. Most remarkable among these unnatural peculiarities are gilded backgrounds, gilded hair, gilded ornaments and borders to draperies and dresses, the latter's excessive verticalism of lines and tedious involution of folds, and the childlike passivity of countenance and expression: all of which are very prominent, and operate as serious drawbacks to their merits; which—as I have freely admitted—are in truth not a few, nor mean.
Christian. The artist is only a man, and living with other men in a state of being called society; and,—though perhaps in a lesser degree—he is as subject to its influences—its fashions and customs—as they are. But in this respect his failings may be likened to the dross which the purest metal in its molten state continually throws up to its surface, but which is mere excrement, and so little essential that it can be skimmed away: and, as the dross to the metal, just so little essential are the archaisms you speak of to the early art, and just so easily can they be cast aside. But bethink you, Kosmon. Is Hellenic art without archaisms? And that feature of it held to be its crowning perfection—its head—is not that a very marked one? And, is it not so completely opposed to the artist's experience in the forms of nature that—except in subjects from Greek history and mythology—he dares not use it—at least without modifying it so as to destroy its Hellenism?
Sophon. Then Hellenic Art is like a musical bell with a flaw in it; before it can be serviceable it must be broken up and recast. If its sum of beauty—its line of lines, the facial angle, must be destroyed—as it undoubtedly must,—before it can be used for the general purposes of art, then its claims over early mediæval art, in respect of form, are small indeed. But is it not altogether a great archaism?
Kalon. Oh, Sophon! weighty as are the reasons urged against Hellenic art by Christian and yourself, they are not weighty enough to outbalance its beauty, at least to me: at present they may have set its sun in gloom; yet I know that that obscuration, like a dark foreground to a bright distance, will make its rising again only the more surpassingly glorious. I admire its exquisite creations, because they are beautiful, and noble, and perfect, and they elevate me because I think them so; and their silent capabilities, like the stardust of heaven before the intellectual insight, resolve themselves into new worlds of thoughts and things so ever as I contemplate their perfections: like a prolonged music, full of sweet yet melancholy cadences, they have sunk into my heart—my brain—my soul—never, never to cease while life shall hold with me. But, for all that, my hands are not full; and, whithersoever the happy seed shall require me, I am not for withholding plough or spade, planting or watering; and that which I am called in the spirit to do—will I do manfully and with my whole strength.
Sophon. Kalon, the conclusion of your speech is better than the commencement. It is better to sacrifice myrrh and frankincense than virtue and wisdom, thoughts than deeds. Would that all men were as ready as yourself to dispark their little selfish enclosures, and burn out all their hedges of prickly briers and brambles—turning the evil into the good—the seed-catching into the seed-nourishing. Of the too consumptions let us prefer the active, benevolent, and purifying one of fire, to the passive, self-eating, and corrupting one of rust: one half minute's clear shining may touch some watching and waiting soul, and through him kindle whole ages of light.