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The following diagrams illustrate the method: Les cartes, planches, tableaux, etc., peuvent etre film6s d des taux de reduction diff6rents. Lorsque le document est trop grand pour Stre reproduit en un seul cliche, il est film^ d partir de Tangle supdrieur gauche, de gauche d droite, et de haut en bas, en prenant le nombre d'images ndcessaire. Les diagrammes suivants illustrent la m^thode. }y errata ed to ent jne pelure, apon d 1 2 3 1 2 3 4 5 6 32X CLASSIC ART: X] AN KXI'OXI'.NT dl" R EZ L_ I O i O l_J ei G F: N! "T ! M E=^ N ~r. A LECTURE I)i;mvkhi:ii i-.i;i'(u;i: nil .\ L r >r N I S( )CIET Y ( )F ALliE] T I XJAJ :ilSJ T V I! r. i.T. i'.vi I. i.i; (»NTA.i;r<). canai .s. i-.v IlKNRY TAYLOR, LI..1). NEE\A/ \-Ol=^^. ■■ (ill I ; A 'V A M E II I c A N r H r n t I n ( i ( ; () :\i P a n \ :il Hkkkman STiiKivr. A •T3 / ■( •I A J. I (ill CLASSIC AirF: AN KXI'ONKXT OF RELIGIOUS SE:N-riMEN"r_ A LECTURE ]>i'i.ivi;i;i:i) r.i'.i'oui: Tin: ALUI\rNI SOCIETY OF ALBERT rXTYEIlSI PY, i ! !■: r. L ]•: \ i l l !•: . ( ) x t a u i ( ) , v\ x a i ) a . BY iri<:NRY TAYLOR, LL.l). NENA/ VORK ; (J 111: AT AMEUTCAN THIN TING COMPANV 31 Jjekkman Stukkt. 1875. r) CLASSIC ART AN EXPONENT or T^mi^LCJrlOU^ fe>II5JNI'±'XJS/Ll£JKrT. Ill nlH.(Ii(nicM> to st)iuc iiiystvrious law, the mind is .stiniiilutod to ivli^'ious devotion by the contcmplHtion ol" wli.ilcvcr is beautiful iu the realuis of the nutuial or the ideal. It is the proviiioo of Art to ivproduoo those forms and (•"lors u-hich attract an.l impress the mind, and, iu so (loiii^. it becomes the exponent of reli-ious sentiment. M. Cousin says "the end of Art is the expression of uioral l)(>antyby the aid of physical l)eautv ; that moral beauty is the fouu.latiou of physical beauty, and this foundation is covt^red or veiled iii nature." Th.^ ancients who worshiped th(> li,.a,ven!v bodies were attracted l.y tju^ir beauty; the tire-worshipers saw 111 the -old.M. Ihime a beauty which they mistook for th.' presence of C^ul. The poetic imat^ery of the Bible, and the pageantry of the Jewish worship, are i-rooT^that ^^7^.6 l»c!uity is iin rlcnnoiit oi nlif^ioii. TIu' closiiin; jxi^rs of tlir Nrw Tcstfllllt'lit represent I[e;i\eli as l)eili}^' lulonied with oltjects of siupassiii'; lieaiitv ; a city whose walls lire j^ariiishetl with i)ri'c'ious stones, hnviii<4 ^^ates of potirls, streets of ptM, ami watt is like eiystal. Nature hears testimony to the saiui' purport. The earth may 1)0 rej^'ai'ded a {^'reat museum tilhnl with pictuies ami statues ; forms of evijuisite ilesign ami colors of the most pleasin<4 hue. 'J'here exists more of heauty than utility. Beauty attrai'ts the miml with tho j)ower of the maj^iiet for the needle— it is a ;;• ntle l)ut ]»otent inlhuMKie Avhieh alhut's us finm ;4rovellin}^ thouj,'hts and passi(jns and lifts ns up to Him wliosi' wisdom and j^'oo Incss are relleeted in eveiy form of ;;rai'e and every line of Ijeauty. To see (iod in tlu^ heautiful is not Pantheism unless the shadow he mistaken for the suhstaiu-e. I'e.'iutv is not (iod; it is only His rellection, and, like, llim, it i.s everywhere!. Where can the eve rest, or tho mind w;;n- (U'r, that lieauty may not he fountlV We see it in the sparkling- dewdrop and in the ^litteriu^ <^'em ; in the emerald li'af and in the crimson rose. AVo .see it in the mountain slo])e that carves in grueeful outline the distant lioii/on, and in the i^n^en drapery that mantles the un- [lulatiii^ l»laiu. We see it in tho li^Mds and shadows that Hit across tlu^ landscajie, and in tho tlei^cy clouds that lloat in the sky. We .see it in tho rainbow that spans tln^ hosom of the tinnanient like tho baldric of a ,1^0(1, and in tho stars that f^'leam like diamonds from the chand'ers of space. iJeaiity is onuiijiresent like Clod ; it !j;litters in the smallest crystal as well as in the mij^ht- iest orl> — it is ;i revelation of (Iod. th.l i)t'iii^' ikIoiikmI 1 wlinsc walls ill^ ^'iltcs of still. Natiiro he cai'lli may pic'tuii's and L"S of tlic; ijioist ity. Ci'auly apit't f(»r tlic iviiicli allures ul lifts us u|> Irllcctcd ill lioism unless i. In'Miity is wo lliui, it is I' mind \v;:u- i(U! it in tli(! ;<'iu ; in till! SCI' it in tlici ' till- distant itlrs tlir un- iid sliaddws cci'y clouds linliow that laldiif {}( a Is iVdUi the ki^' Ci(»(l ; it tlic' niiglit- 'l'li(<»|n;^\ niakcs ut) daniaj^in^ admission in I'lini'rdiM;^ that (lod iTvrals Hini'^rlf t<> Us l>y forms of lirauty ; tliat all hraiity is a rrllii'ti<>n of Jlim, and that physical lirautv is ji symliol df moral brauty. Jiut what is this i|ualit\ wliii'h \\f call lu'uuty which is so cl()i|ncnt in nnn'al lessons, and to which Art nwi s its oi-ij^in as well as its j^'raml results? IMiilos(i|ihy has nosohitinn of the l)rol>lem. 'I'iie Cireelv^, ulin made the heautifiil theii' chief study, were unalile to ti\ its conditions or formulate its attrilmtes. Socrates contented himself li\ |>ointiM;4 out swell thinj^s as |iid(hice jtleasiire rather than pain, while his disciples named woman as its liest type, and claiiiied that upon her ii;dure hid hestowi'd a lar|^e proportion of all heauty. I'lato was nu)re lacmiic, Itiit e((uallv \aL;ue in delinin^ it, as consistiiii^' in "unity and variety." All philosopher.s have found the same tlillicully. Proclus concluded that lieauty was not the siil'ject of analysis, for it " swims on the lii^ht of forms." Ihid was more classic in coiicludinji; that heaiity is a tjualitv of the cii'cle not dcnionstrahle Kv process of I'easonin^. liuskiii ipiaintly asserts "why some forms and coloi's are Iteaiitiful, is as unknown as why sii;^ar is sweet or Wormwood liitter." Emerson concludes that heiuLT warned liy the ill fate of many philosophers he will not attompt a detinition of heauty. \\'liate\er ditliciilty may be expeiit'iiced in solvin;^ the probleiu or dttinimi; the attributes of this mystei-ious (juality we instantly recot,'nizo its existence wherever it reveals itself to oiir >( uses, and consciously experiunct' an eleva- tion of our moral natures. IJeauty is a visible symbol of ;i thouf^ht of (hnl. Alt, by its muUi[iliiHl duvicus, reproduc(i8 that thought, iiinl becomes at once the |)roi)liet anil ixpoiient of rcli>4ions snitiiiu'iit. Wherever mun lias betni I'oiiud grciping after tlie s}»irituiil, and yearning for a revehition of the Infinite, Art has also been founil in sacerdotal robes olKciating at the altars of religion. This was true with the ancient Assyrians, Babylonians r.nd Egyptians, Init especially with the Greeks and liunians. Art constructed and decorated their tt niples, anil furnished them with symbols of worshij). Hebrew history also furnishes iis with a bti'ilLJng example of the li-ndency in the human mind to avail itself of the aid of Art in religious devotion. That favored peujile had l>een visited by angels, and pro])hets !.:id delartnl to ilicm the i)uiposes of the Almighty. It would seem that they needed no symbols to strengthen dieir faith or inspire their devotion ; bui, in full view of the I'loud which enveloited tlu'ir ( iod and tluM'r prophet, in sight and hearing ' i the lightning and thunder which emanated from that august [>resence, Ar< formed in its erucible the golden calf, and sat it uj) annd the acclama- tions of the j)eo])lt\ The religion of the (beeks owed its ])aternity and l)owcr in large measure to the creations of Art. Beauty was thought to be the gian»K'>t manifest;'tiou of Divine thought and wisdom, and as a sequeueu became the subject of worshi[). The Crreek ]ihilosophers determined that curves and cn'cK;s Were more graceful than angh's; that cones and s])heres were more pleasing than cubes, ami that a lijcnding of these lines with syjiimetry of parts consti- tuted the very acme of the IxiaiitifuL Tin' human form Was found to endiody all these conditions, and was se- ujid f'xpoueut of groping after tlic LOU of the Iiilinite, nl robes ofKciatiiij-- lie with tlie ancient ns, but e.si)eeialh- t constructed and them with symbols u-nislies us with a ie Jiuniau mind to IS devoti(m. That j;els, and pr()])hets of the Aijiiio;lity. bols to stivngtheu nn, in full view of lid their propliet, id tjiunder which Ar< formed in its mid the acclama- ts ])ati'riiity and of Art. Jieauty station of JJivine ncu became the that curves and ; iliat colics anil 't'^, and that a <'t' pa)'ts coHsti- Ik' iuiman form 'ns, and was se- lected as the higliest physical (-xpr. .am and most ap- propriate Kynd)ol of Divinity. Ill this conclusion the Greeks arrived at the samo truth that had been revealed to the Hebrew chrouich'r that man was made in tlie imago and likeness of his (•iv.'itor— a conclasion which we regard as the result of a'sfh.'ticcuUure; but may it not have been a revelation to tliem ■? We art> inclined to the ])ehef that poets are inspired; ti at I)ant<.s Divine Gmiedy, Milton's Paradis.' Lost, and' .Shaks|)caiv"s dramas, are more than tlie inspirations (,f the Musis : are th. y not tiic inspirations of God ? xM^'v not that illustrious ].(o])I;v have enjoyed, in some small ni'Msine, that Divine h',tr],t which impresses rather th;oi ov.M whelms man in his groj.iuo- after the unknowable and intinite ? AVhat do we hazard in admitting that tlie wor- ship of the iM.autibd was iiie rtsult of a twilij,^ht inspira- tii-n? or, would it be more orthodox to account Ibr this phenoni.Mion by tin; accidents of their hisbMv? No peopl,. wt're ever more favorai)lv situated foi' cuiti- vatin- a taste for the beautiful. TheV inhabited a -ronp "f nnnantic islands; their skies were cloudless, and'th. ir cliiuate sweetened by aromatic bree/es. Legend and fable 'ehlcd their cliMrm to i'v,'vy prospect. On the one hand, was Olvmpns, the throm' of the gods, and on tlu^ other Parnassus, th,- shrine of the Muses. All n:itnrew;is clothed with imperial lovcdiiu'ss, and rM^yy- when- glittered the beautiful creations of Art an.l Arelii- tectuiv. rjM,n all this sceiu- of n-h,ry an.l beautv shone the -golden ravs of a lenrpcnde siui and the silv.'ry light ol ;i cli ludless moon. 8 Tlii'i'f every t'oi'm of niitiiro's loveliness \Vul<(s in tile breast, a tlioiisaiid sympathies h I iiinrn rich tiriiiaiiient sereiielv bright, Or settiiij'' suns til pvelv sliori' sulVuso With al! the i)ur])le mellowness of light : () who could view the sceiu,' so fair. Nor dream that joy and iieace and liberty were there Such Gi the abode of the beautiful — tlic haoli was Ltreece, ci'iulk^ of the arts. Witliout iiis])iraiioii, Nature wits tlie only volume that spoke of Divinity. She was atiiuiati' with life, r(>velliii}4 in stHluetive cJiarnis and full of intelligent (lesion. Heri! was Ciotl basking in the sunsliine and i.-inguisliing in the l>eauties of form and eolor. The inco)ii|>rcliensil)l(( [tresence was everywhere concealed, yet in cvcrtliing reveah'd. In the mirrored lak(% in the ]im|)id ^Irr.ini, in the smiling latidscape, in tlie towering mountain, in the fh'ecy cloud, in the vaulted sky, in the golijcn orb of day, and in the myriads of eternal eyes tiint gaxcd down from tiie Jiea^-ens. It was tlie ju'ovince of philoso])hy to analy/e Natni'e, to extort Jier secrets and determine her forces; but it was tin prerogative of Art to re])roduce her nobh' forms, which \vere (>agerly sei/e light and heat in d(n'eloj)- ing the i)lant and tlower. Under their united intluenc(! mythology became a .system of ethics, founded upon ])hil< timeil tl )[ nd Si ■ntii '■ran( -'M 9 ■re thfix' !" uautifnl — the only voluiuc tc with lit'(>, )f intelligent uusliiue iiiiil eolof. The e coiiceiilcd, hike, in tho the towerinj^ I sky, in tho et(.:rniil eves lyze Nature, rees ; 1»ut it nolile forms, of worshii). he invisilile lit; physical [rse. |ieeivin,u and ^lly justitied in (h^veloj)- id inthu;n('(! Inded upon ])hili)sophieaI ]niii('i])les, and onibellisluMl by poetic sen- tiuKMit and imagery. " Beneath all the pa^an lej^ends of the gods, and underlying all the *olaboi'ate mechanism of 111} tliolog.t'al worship, there are mKjUcstionably jihilo- sophical i(h'as, theological conceptions, and religious sentiments, which gave a meaning and even a mournful gijuideur to the whole." Art was the vitalizing ])riuciple that gave mythology life and influence. Its jiower was litly illustrated by the legend of ()i'i)lieus charming the ti'ees and wild beasts with the nnisic of his lyre. Tlu^ idea cloaked untU'r this imagery, says a popular author, is the ]>ower of cuhure that conies through the tine arts influencing men frtMu childhood to old age. What fountains of wisdom wcro opened u]) by the genius of Grecian Art, whose waters have tlowt'd down through the ages as fresh and sparkling as though they had llieir (U'igin from beneath the throne of God ! The Muses almost exhausted their ius])iration with this gifted })eople. Homer was the fatln'r of r\)\c pot t)y, as Pin iar was of the lyric, and ^Eschylus of the diMniatir. They discovert.'d tlui wondrous potency of nuisic, and b\ it wei'e dissolvetl into tende'rness and eli'- vate.l <)\\ mspu'Ci 1 tol ove an( I intl; ime I witl 1 e'oui'aure Thi'V wi re also familiar with the magic powers of the painter's brusli ; liut the channel through which Grecian Art especially Howed, and where it achieved its grandest results, was sciiljituri', the admiration for which tilled the jiopuli.r mint' with a'sthetic charms ami religiou.s enthu- siasm. Tt is a phenomenon in nu'taphysics that sentiment be- imes contagious: the bent and purpose (jf one mind 10 ol'tc'ii I'l'ihius ;iu(l controls llic million. I\>tov tliu lii'i'Uiit infl;iMi(Ml Jill Europe with martial lu-roism and iiiau^u- ratrd the Crusades. Phideus and Praxittdes inspired tlic (irci'ks wilii a belief that man had the form of a god, and that that form contained all that was beautiful in design. Tliat no vocation was so dign'tied, or art su and not the rule. There were few men liko Achilles or Ajax, and fewer women like Ariadne or Diana. They rei[un-ed models for imitation, for they believed to prodnee a statue of any juerit was to copy a living nioilel. With the Greeks the highest Art was the best imitation of Nature. As truth should precede its syml)ol, tlii're should th'st be tuiely d<*velo])ed men and woinen, and then statui's of brass and marble tpreseid them. Tiuy em])loyedallthe aids of physical culture to p)-oduce 11 iter tlio licrinit and iiiau^u- t(»l(\s iuspiriHl foi'iii of a ^od, IS bt'antiful in , or art so iio- (1 the liuniiiu Iptors. Pliny utulred works ind statues in d D(>l[)]ii. If cs, iiow many id hamlets of irkot-jiliicos — ^ tli(> m;ir,^iiis n the valleys, tli(> moiintuiu but tlio hif^li- les were mai- sucli results) ■e lik(> (ttlier were the ex- 'ew men liko lue or Diana, they hehevod !opy a livinfj; was tin' l)est le its svmhol, I and wonuMi, m'S(>nt tlie]ii. re to ]n-oducu the roujidod limb and symmetrical form, and, ns r> cons('(jnenee, ni creatin;; beautifid statues from living models, (rreek artists have never been excelled. Heneo the i)r<)verbof the eeuturies, that " any statue, however artistir, may vet nreivc! from Phidias aud Praxibdes niany touches and linislu'S." With the Greeks, the Art of Sculpture was the domi- nant passion as it was tli(! i>owerful medium of controllinff the mind and heart. It was the f,'reat pro))het and teach, r of their religion. Without it, mytholo^'y would have been but a catalogue of mystic names, passionless and powerless. It was a i^otent argument to point to the niystt'iious beauty of form and (•o)iclude that such was the lumdi- woi'k of the gods; it was e(iually potent to cuvvo those gods i]i marble, and associate with tlu'm their respective attribut<'s and authority. The Greeks wi-rii Polytheists ; they had gods many. To each they assigned some special de])artm(^iit i)f Nature iuvolvhig s.mie human interest, and, as such, they were worsliiped. Those- who went down to the sea in ships and did business in great waters were pointed to Nei)tuno as the god who hold their destinies in his hand. Ceres was worshiped as the goddess of tht^ iiarvest, and Bacchus as the god of the vhitago. Zms was till- go sbitues hivestcd them with marvellous attractions; their form and expression conr- pelled a belief in tlu! Divinity that was supposed to 12 slniii])f')' l)oni'atli tho siirfaen of tlic niarblo. A |:;iiiii)>>^o >ui rely (Ictcctcd beyond Uio ]H'isoiial form in a soit of half li^ht tliu pliysical or moral power of wliicli ilio (igiin; was only tlic symbol. Ijt'l^cnd s))road lier golden canopy over tlu^ family of i!,'»ds, and linnp her p;arland of jiearls around the neck of each. The hiti;]icst flij^hts of their ])oets and the choicest gems of their literature cclobrutcd the exploits of (heir gods. Tlie Iliad arid Odyssey wonld contain but few thrilling incidents and but little glowing imagcMy but for the mythological legend and fal)le that run lila^ golden threadK through those heroic narratives. Tlu^ whole compass of Greek literature abounds in legend and fable which Art embodied ai;d illustrated, and which at the present time rank among tho finest gems in our museums and Art galleries. Aniong these may !»(> nu'utioned Venus sweeping through the h(\av(Mis in her chariot, drawn by doves and heralded by Mercurv ; or Diana breaking her bow and ariows, and r<'lying upon the caarms of her nud(i jieison to subdue the ferocity of th(( wild beasts; or Europa being ])orne away u](on the back of Jupiter, who had assumed the form of a l)ull, and swam with his precious burtluui across tho sea to the Islo of Crete ; or Alcibiades receiving instruction from Socrates, surrounded by ])eautiful maidens, whoso ju'o- senco made philosophy tolerable to that wayward youth. Grecian Art cannot bo undcu-siood and appreciated without some knowledge of mythology, f(3r tlie w^ovks of Art were merely its symbclism. Strii)pcd of its ])liilo- so])hical signihcance, mythology was "a systctm of mo rality veiled in allegory and illustrated by synd)ols ;" many moral precepts, and much that is mysterious in 13 •l>lo. A giiiiip«o )iiii in .'I sort of ■I- of wliicli ilic or the fiUnily of rovmtl tho neck ])oets and the tod tlio exploits »nld coiitaiii but ;lowin,^ iinaf^'tny Ic tluit mil liko arrativos. Tlio (Uiids ill l('p;eiid atod, and which 'st ^'oms. in our tlioso may !»<' lioavoiis in lior )y Mercury; or d relying upon tho ftu'ooity of a^vay u]»on tlu^ form of a l)ull, >s tho sea to the nstruction from 2ns, whoso ]iro- •ayward youth. tid a])prociated or tin; wovks of d of its ])liilo- systom of luo- l)y symbols;" i iiiystorious in liuMian oxperieiK'(\ wovo ex])lained by it. W'liat can so jj;raphically tell tho story of man's origin and destiny as till' faltle ot" tin:* old god (Ihronos devouring liis own off- s]U'ingy the earth is the god and we are the ott's])?ing ; from the oartli we came, and unto it we return. Or \vlia.t, in tlie absonco of revelation, could better solve the mystery of young porsonsdving, or of old ]iei'soiis h)ving, tlian the fabh' of Cupid resorting to a ca\i: to escape the scorching rays of the sun ; being weary, ho cast his(|uivei' upon the rocky tloor, laid himscilf down and fell aslee)). The ca\e was also occupied by the god of death, with whosiuhxrts mingled those which hr.d fallen from Cupid's quiver. Upon awakening, Cupid, in his haste, gathered u]) tli(> darts indiscriminately, and being unable to distin- guish l)etwe iiKist l)0!iii(il'iil nt' (lie Clrcok l('f;i'ii(1s is that 111" Zeus l)cc()tniii^ (Miiiiiiorctl of liis dan^'litcr liiiiui, who irj.clctl liis suit and i\(t{ I'idiii his |ir(-^ci'i'i'. Zciis was Ihi' siiii, and Jjuna the iikkhi. When iiioniin.n' opens its !4')lden i;att'S. ai.d thi' u'od of eri>lial»lo nature of Divine k>vi'. It was these anil similar le;^ends emliodicd in statuary, dejiicted on canvass, and <^lo\\in,n' in soni^ and stiu'y. tliat invested tile Oreek mvtliolo.uy with its marvellous eharius. It is not sur]>risinp; that a poople like tue (Iroeks, familiar with the wonders and l)€\'iutios of natur(^ and with the varied t'aditions of tlieir lace, should weave around the >j;ern] of instinctive faith a vesture of myth and I'aMe ui>on which tluir minds niijjjht repose, and fi'ont whicii ilieir hearts mi!j;ht dt'iive sonu_> tranciuil assu- rances. It is not surprisiiijj; that tiiey should lu^ar the faii]t (Hihoi's of an eternity past and ])(iyoud, and see in thv' visil'le imminsity of matter the omnipresence of su- [K'rnalural power and wisdom. Nor is it surprisinj^' that a faith deiived eutiiely from these sourc< s should assume the form of Pantheistic Theism and employ lej^cnds anil sMiiliols to sugj^'est the idefi to the mind: s}nd)o].s that re[nesent the attributes and opeiations of an oniui- presi'ut Divinity that controls the elements, vitalizes na- tur(\ and ju'esides with jiaternal interest over the dci'iti- nies of men. 15 ; lt>f;('iuls is tli.'it ;lil('i' Lnna, who •I 'CM', /(iis \v;is niiiiL:; (i|ii'iis its lilts till' S((('|)S tilt' s[il(ll(lnr nf it tlm)ii<4li the \e ; 11(1 ciiiiisoii iic>\v his jtiirsiiit •lit, ;iiul thus lie constancy Ik mi »l' the intprt'ssi- vi'. It was these ary, dcjiictfd on V. tliat invested ; eh. anus. ke tiu! (; I'lM'ks, ■; ol' iintnie and e, shoiihl weave Vesture of myth repose, and tVoiu ' ti'aii(|uil assu- shouhl Jurir tlie vend, and see in i])resene(.i of su- t sill piisiii^^' that s siiould assume elUiiloy h'^ends mind : symbols ions of an onini- nts, vitaH/es iia- ; over thi^ dessti- The rellective ihind ]iou(lors witli melancholy syni- ]iathy over the mystic t(Micts of the Cirocian inytholo'^y and upon the biiUiant aehieveineiits of Art in creatinj;- the statiU'S of the ^(nls which wtsrc the syniliols of that reh't^ioii. Tho (ireciau mythology i;wod inneh to the chaini of h'^'eiid, hut more to Art- V>r the mind is always inlhienced nioiH! liy what we see tiiaii hy what we heai'. ljejj,end was but a prosy ajio-^tle when compared with statuary, which sent its eloipmnt shafts of lo^ic to tlie cuhured numh The (lit'clis .-ii, n'p;!irded iiiytlu)lo^i;y us ji system of natural and moral pliilosopliy in wliieli PsyclK', Ariadne and .luno \vere lij^ures of an alle;^ory vt'imsentiii}^' the forces of Mature and tlio beauty of nnit(>rial objects. 15ut after all, having' adn)ittod the extiaordimiry merits of the Clreek goils, as works of art and the sublime poesy of their lei^ends, the painful thought | in 'sen is itself to oil r minds that the gods were merely deitied men, and all the symbolism of mvtholo<'v, wlu'ther of Ait or Arclii- lecture, confonsu'd to that idea. There was nothiii;^ lofty or (^levatiii'j; in Iho system. Tliei'e \v;is no soariiiL: of thought be\-.)iid tho visibl(> and taii,f!;iblo ; there were ni> ea,nle lli^lit-^ of the inind across the eternal i^'iilphs, and no coiu'ejjtion of ;in Jnliuite (rod p:'rvadin,L; all mat ler and llllin;j; all space. Their hi;j;hest ideal was Nature, Aviiich fni'iiislu'd all their ]>rototyp(>s and suj^'t^ested all their moral h^ssons. Tin.' ^^ods wer(> beli(>ved to have appi'tites like men, and to subsist upon Ambrosia ami Nectar. Th(>y had passions and prejuilices lik(^ men. Their abodes were not in the hiuh altitmles of heaven but upon Mount Parnassus, around which clouds leath- ered and tempests spent tluMr fury. Their temples were built in ('onf(»rinity with this idea of a limited and earthly- divinity. Thoy had no arch sug^'estivc^ of the beinliiii;' pkies ; no donu! to svmboli/e the universe as the aIiod<' of a e'od, ami no towering spire to dii'ect the mind to his throne. Their temples oxpro.ssed but one idea, and that 17 lU'tl tlio Pntillicoii fifto Ncwtmi li;hl .tlu'uli'il tilt! Karl " tlic stolK" <|(.li-> i;iii'tl»'(l iiivlliolo^v losojdiv ill wliiili 'S ol' ill I ulU'^'orv (1 tlio bofiuty ol' r.iordiimiT iiKM'its lie sul)liiii(' l")cs_y ■sciils itself to our led iiicii, and all ot" Art or Ari'lii- cro was iiotliiiiL; J Wiis iio soiiriii;^ i;il>lo ; there were ic rtt'i'iial j^Milplis, crvadiii^^ all iiiat- idoiil Avas Natui(», Liid sn;4,t^(^stt'd all l)eli(!Vod to have )n Ambrosia aiui iidices like men. tudt'S of heaven lirh clouds jjjath- leiv temples were iiited and earthly 5 of llie belidinii; ■rse as the abode th(> mind to his >iic idea, and that was earthly beant-y — tin; beauty of the huiuan loriu lioiii whieh was d(>i'ived the three orders of their arehiteetiire, lepreseutiii^' llio man, the matron, and llif maid. As Thomson sa\s ill onoof his poems " First uiiiidoirHil And milily ])liiin. the mmihi J^niii- ri>se : Till- loiiii' tlu'iMvitli Aowni viitlrihi \x,vm'a\ llcriiiiy i>illar.-i; luxuriiiiit iusl 'I'jii' licli t!nriiitliiiii .spiViKls licr "•«"/">< wiviitb." Whatever \ it;ws we may eniertain of (iiccian \ii and Mytholoi^y, thero nevertheless chisfi'rs around the nauH> of (ireeee elKUlj^ll of j^lorv and beauty to eliaini the inia- ;i:ination and >\va\ the judiu'iueiit. ( b'eece was the re ci- voir into wliieh llmved older ei\ilizatio!is ; the lij^hts from other altars found their focus in her tom]»les and upon lii'r -shrines; E^'y])t, Assyria and IJalndon ,u;av(> their of- ferui,L;"s of runic relij^ion, and ]>y these tlicktM'inj;' lamps si" strove to comprehend {\\o mysti-ry of human lih- and t le still greater mystery of Diviim existence and ;4overnment. (b'eei'e, t'lassic Cire(H'" — the fountain of poetry litera- ture and elo(|ueuce; the cradle of the Arts; the sanctuary of beauty and light; wo admire her although in ruins; W(> are linkiul to hor by the tmidrils of mysterious all'ec- tion. Ther(> linLi;ers ^till in our ears tho music :if her hai'p and lyre. AYe tarry willingly to catch the sihery tones of her orators, and the sweet songs of her ports. the I lii>i'l in tlu> hands of herai'tists is like the conjnroi's wand to eutraiico us to tho spot. We leave her as w«' leave the embrace of our mother, or the honu^ of our childhood — reluctantly, sorrowfully. Out of the ruins of Greec(! was formed, upon tlu> seven hills of the Tiber, another civilization, and the genius of is Alt Ir.'iiisl'rnril it-, iiispinitinns IVoin its aiiritnt limiiils to llir iii.-ii l>lt' Iriiiplc^t Mtiil };;iltlnl piihwcs (»l" lilt' Klt'iii.il City. All uiis slill tlic willing vassal of rtli!j,i.iii .nn] crcjitiil a lnli<;' liiir dl' iiiarldc ^oilst'nr ItoiiK' lis site liad done tor (ilVfcc. line ainl tlii'ir Wvyr ilitri)ilu('<'(l liru iliviliilics Id cliaiacti'ii/c tin- iii'W civili/.atiiiii ; liiit tlif old j^ods Wi'Vr I'i'taiiicd iiiidcr iifW names. 'L'lic /ciis of the (iiceks wa'^ till' .liipilt r of llmin' ; Arcs hciMiiie Mars, and Apliro- dilr N'fllllS. A liiiiiilnd tfiiiplcs wcic Imilt and dedicated lo llicir res|iecti\e Ljoils \s Iio sua niieij u|ion tile allaisaiid in the niches ji|.:e Itees in the hive. Art luvislu'd its cle<.;iiii('(' aiiij decorations upon llnse pa<^'an saiictuaties. Tlie spoils of (ircecc and C'aitha^^e, .and the thousand cities thai were added to Jionie l»_v con(|uest, increased their <;randeur hy accunmlated works of Art 'ind liy the ijitro- duction of new desi^'lis. Home reached her climax of power and art, her xenith, in the .\u,mistaii aj,'e. Her walls and ;j,atcs enclosed the lieaiity and .^loiy of the world. liude stiuctiircs had }j;i\en way to maenilicent jtalaccs and f;rand leinples_ Au^^ustus accomplished the lioasl that he had found Jlonie huilt of l)rick, he would have it Ituilt of marhle. Ti'iumphal arches spanned the principal avenues*- monuments met the eye in every s(|U!U'('. The oolosseuni lifte'd its parapets to the clouds, and the Pantheon spread its vast dome oxer the ti'inple of all the i^ods. Alon;^ the A])pian Way were tondis as matinilicent as palaces, where vested tlie dust of the honored deail. I'p"!' these, also, Art had lavished hei- wealth. To the lamps of heauty and ])owcr wer(( added those of sac'jitic(> and nicinorv. Statues of warriors, statesmen, orators and at! Ce I t O' lU I'it'iit liiiiiiits to Kt. ni.il C'ilv had (lone |' nr IH'U (liMiiitirs 'III' old ;^'o(ls (tf the (irecks a IS, a lid A I til Id. lirattd to lliiii tats and ill the it'd its ell <4Jiiic,. tuaii<.s. Til., tliousiiiid cilics iiici'cuscd llirir id liy (lie iiitro- ail, li( r /.ciiilli, li's enclosed (lie structures Ii;i(| grilllij telii|>les_ he liad found ilt of nmi'hlo. 'inal avemi(>s'. The Colosseum uitheoii spi'ead ds. AIoii^ the nt as palaces, I'poii these, the lamps of sac'i'itic<' ami 1, oi'utois and sclii'l.iis ill th' 1 oiirt.s jiiid Niniaies, on pedestals and in niches, Wer eveiywliere to 1)1' Heeii, Tliis was Itiniie ill iIm Aui^iisian .i;^'c. 'L'he Uoinaii Knipire was thew.nld, and llonie was the metfopolis, IjVt'iy road led to limine, and e\cry lay of lij^ht fnund tin re its focus. Aitiltititni had reaehed its hif^hest as|tiralion>, and Al"t had atlained its {grandest H'sults. A piopin t mi^ht liave f(»retold thai a iiii'ie ladiaiit ailieole await' d tlu; la'owcf tlie Mistiosdf the Wdild, when licf i^ods >hoiild he dethlouid and holier liies li^'hted Upon In r altais, when her grand tem|iles shouM l>e ('(tnseeratcd to a liettcr service, and when Art the inspired but misf^iiided priestess of reli}_'iou should uller a purer and more ac('ei)tal»le sacrilicM'. Tile reli;^iolls systems of CU't'cce and Uoliie had re- i|iiiivd all the aiils cf alh'^oiT li-gciid and Art toeslahlish aiid ijiaiiitaiii them; tlu'v ie'|iiiri'd a thousand s\ mlml-, to attiad the eye and guith^ the imagination. The new ii'ljoiiih had hut few synihols, i-liicf amoii;^ which was the cross simi)l(3 in form, and destitute (if any of iIm' hues of licauty or (■mlicllishmeuts of Art. It was iUi cndileni of saerilict and a harhinger of pi'aci' .-iiid 'I'he great Apostle to Vim Gentiles was sent to (iieece [it iHdclaim a like the ilomaus, wlio wci'e incapabli; of scpaiating the flliical iVom the aslhetic, could not abandon their Liand temples and beautiful shrines, and worship) in the opi n air or in edilices where no objects oi Art ministered to the'v taste or inmirination. 'I'liis was u change too ' adieal ; the human mind is seaicily c-.ipable of surh tiaiisfoiniation. They aban- doned their gods, but re-dedieated their old temples to tilt! new faith. Jieneath the (h)me of the L'aiitlieon, and within ihe I empk of .lu|>iter, resounded the melody • if hjly song and the orisons ot' C'lirislian worshipt'rs. Wi til. reliL si\e or I do!! ]lo^\ wen and •21 ';in i)ioviiico; ;;iiido]i their |'i'«hil> in (lui it ministered nan mind is Tiicy ahan- 1 t"lllj)I('.S to e I'aiithcon, I the nirlods )i'shi|it'is, W"]{\\ liif lapM: of lime and tiie gi'owtli of the chuii'h, tile .u'i iiiiis of Art ''isidiously infused itself into tluMicw I'rligioii niilil it (■anic to he tii;mglit that thtMUosf impres- sive teach(jr uas not lie Avlio di claimed, from the pulpit or ministeied at the attar, but that which spol;e fmni dtijiie, and arcli, ajid colunm,in symbolism of btauly ami p(|^\el•. 'J-'he aichitectnre i'.iid furniture of the sanctuary were made to gioAV with liic oloqiieiicc of Christian faith and doctrine. It is tine, ciiiivi'ision from Paganism to Christianity ihd not at onee obhterate the images of lieauty whii-li nadilion ajui enUiiVe liad ti>ced in the minds of the old IJoiiians. 'I'hey were attaciied to those old Ait subji els b\ liu;iineii)uld not be easily sundered; hence, it was, thai thf eai ly Christian Artists not unfreiiueiitly tnipl'r, is Orphi us and the lyre, sym- bolizing the [lowrn' of the gospel over beiiighted minds; another syinbol, boriowed from mythology, was thr sun and moon, represented by /S./ and Lund, seated in their oiliN, surroumled by elouds, with theii- right ha'.ids I'aiseil |o Iheii- cheeks —an ancient sign of smrow— this painting synil'oli/.ed the eruciilxion; another I'epi'csenfod rla^sie ligures rising from the ttmib and from tin' waters. teaf CJu'istian orlhoduxv. 22 The piiintiiij^s in the tJatacomlts, ui a vciy early period, (•ut.npriseJ a .syinhohsm Avliieh has searcely been excelled l)v iiioderii artists who were ivrv I'roiii the shackles of paganism in which tradition, art and literature, with a lrii)l(' cord, had fettered tlie Eoman iiiin(h In the toudjs along the A])pian Way are vaults and galleries, u])on the walls of which the early Christian artists painted sucli subjects as Daniel in the Lion's Den, and the Hel>rew ChiKlrcMi in the Ficn-y Fm'uace, with angels protecting theni in their jieril ; illustrating the care of God for his chosen ones ; and the Saviour raising Lazarus from the grave at the request of his sorrowing sistei's — tyj)ical of the resui'r-'ction from that sleep that k: ows no waking. In one of those tombs is painted u])on the stuccoed walls Moses removing the sandals from his feet befoic going into the presence of God; and again, that old worthy smiting the rock out of which issued llie limpid water, symboli/ing a ]iure heart and lil'i', and the jxiwei' id faith, when blcntled witli sui-h i-on- ditiou' in anothei' is represented one of the olil palii- archs i'eclining in "gi'een pastuies and besidrs the still waters," while .i female witli uplifted hands is apparently cNulting in joy and ecstacy — these rei)resent the tiiuin])hs tl le recleemei I In the early agi's the cross and the anchor wi're the ief svml)ols of the Christian f;iith and hope. Tlienhd- Cll loW( ■d the age of reprt^scnting Christ in statue and upon an\ass, and then the age of painting apostles and niai'- vrs, and then followed the era in which Art claimed uiii- versa Id ominion. Tl lere was si-arcelv an niculcnl HI l>ib]e histor\' or Christian literature that was not lokl with more t(jucl iini 23 patlios In- tilt' i>;iiiiU'i's ])iush thtui hy tlic pcuof the \)nv[, or liistovi.vn. It is (nirious to iincv. tlic cautioii with whidi statues and [)aintin^;v of Climt ^vel•e tolei*iit(Ml ])\ the early Chris- tians. Having just ciuorged tVoiu ])aganis]n tliey iil)hornHl the iuiagi's of the gods, and besides tliey were not quite sure of the [iropriety of repi<.'seiituig the Divine Christ in I'l.h niarhie or on canvass. JiimiJlenis M't^re generally emiiloMxl in 1 (reference. A fish was the earliest and most univi-r- sal synd)ol; thu (Ireek nam; being comi)osed of the initial J^atin translation Jesus, Christus, Dei, Filius, Sal- vator — forming the initial anagram of the title of Jesus. Another emblem Avas t\u\ lamb, and another the lion - taken from ])r()phecy and the books of the Evangt'lists. Anothei- striking emblem was the pelican that tears her lireast open U) feed hei' young with hei- blood — t\pical of man's redemption through the blood of Christ. Euse- bius and Tertullian tell us, however, that when the new ri'ligion had su[)])lanted Paganism, and its s])irit better understood, both statues ami paintings of Clu'ist were not only tolerated but commended by his followius. The tirst representations gave him an tsmaciated and deji^cted look ; " His visage was marred ;'" lie was '' a nnui of sor- rows;"' but when Paganism lost its ])oW('r to persecute, and a brighter day dawned upon tin; infant i hui'ch, He wa s ri'presented wit li placu d and joyous features, possess- inu' eomelnuiss, and altoLTether lovelv. jusel)nis men- tions that in his day Jiot oidy were imag(*s and pictures of Christ, of great beautv and nnije'-ty, numerous among Chi istiaiis, but t nai |( )\i'V~> o f Art amoni' the unchristian- i/.ed (Ireeks and liomans obtained and valued them as ai't treasures. 21 The schisiii wliicli n'Milt'.Ml in rstali'isliiii,^ tlio ({ivi'k iiml .liomaii ('liuivlirs, aiul tlic ovcitlivnw of the Itoiuaii Empire, were events wliieli [)r()ve(l (li>asli\tus t(t ilif Christian religion. A long ])erioJ of d.elension followed this eatasiro]ilie, and then i'lloWed the eei'turies which are |ij'o|)orl_v designateil tiie Dark Ages. During this [)cri()d ]io great tidal wa\o of reform swe[)t over the nati(»ns — no missionary enterjnises l)ori» the banners of Zion to n-mote parts of tin; earth. It was a period of inaetivity and ri'trogi'essioii. Alas! the liunian raee has no ti\fd social and moral stains, as willi the restless sea there is always an ehh or a How; a rolling on of the wave glittcMing nndei' the golden light of the snn. or a surging hack into the gloomy wastes of darkness and night. Dnring tin; T')ai'k Ag''s the passions and avarice of men knew no moral restraints. Iteligion was a niyth, anil statnes and images 1)ecanie ohjecls of wor- slii]) .-is they had Ixhmi under the Pagan ni\ tliologi(.'s. It was not iintd lla^ Crusades of the el<'Venth century tliat the gi'eat heart of Christian Europe gave evidence of s]iiriiual hi'i' ; but even tlu'U ilie pnlsa(ic>ns wei'i' al)!ior- mal and spasmodic. The vital foiccs were (adystiinu- Liled and not permanently elevated. No substantial nioi'al con^■alescence was elt'ected. A)'t was liierNated by tht \ital depletion. Although it stood like Hercules Willi sliculdei' to ihe wheel, il was, jievei'theless, manacled and hoodwinked, and achie\ed no grand ri'sulls. Jt was iioi uiilil the age of ]\licha( 1 Angelo that Art I'eeovered lis noiinal strength as a prophet and teacher of religion. Sinn'ular that so loi 111" a time slioidd have elapsed without the genius of Art unfolding its golden vituuns to any great artist, and then that u constellation 25 of ^voixt maslors should at «nico ajipeav to Juark an t|MHli ill the liistory of tlus wovkl. But tjiis i^licuoinLiioii is not ciuitinetl to Art, it is also coiiuaon in })hilosopliy and litcraturo. Tlio same ago produced Socrates and Plato, another proihiced Cicoro and Virgil, anotlan' T;isso, Bacon and yhakspeari>, another Lessing, Cloc^.he and iSanniel John- son. A similar cause evolved Michael Angelo, Haphael, Titian, Guido and Murilhj- all great artists, and all con- sci-ratcd their genius to religion. Angelo was the great- est star in the gi'ou]) : iiiileed,he niay he regarded the sun around which the others ri.'Volvetl. H(^ t-omliini'd in liis great gt-nius the ai'chitect, the ])ainter and the sculp- tor. It was he who said '' an angel sleeps in a block oi maiiiie,"" and by his inspired art ho removed the cover- ing and revealed tin; heav(>nly form. He was the author of the statue of Moses, he painted The Last Judgment, and was Ihe architect of St. Peter's. Harvey said of his thre(\great works, " his Moses inflames, his dome of St. Peter's awes, and his Last Judgmeiit startles." Paphaers inspiration Avas of a different kind : liis ideal was h'ss austei'e and more 'pathetic ; his choice subjects were the Infanl -fesiis, ami the Tr-Misliguratiou upon the Mount. The Cluisfian workl is familiar with those mar- vellous pictures. His Madonna and Lifani Jesus is an heirloom in luosl hous<'hol(ls, and what a teacher il nas beei. A\'lio that ii;i:-. looked upon the sweet and su!>linie hice of the Jid'aut (n)d, and ga/:ed into those nr, steiious, loving eyes, has not felt spiritual inthience stirring the fouidaiiis of his sold ? Haphael was liki' John, he lo\('d to recdine u))on the Ijosoni of his Mastej'. 'JG (liiido was likf Tctcr, bold and defiiuit ; he pivlc'iivd tlu; ,i;i\iiid and tia^ic. liis clioicc suUjccit wiw tlio Cnicitixioii. 'L'o ^i;t a (.'oiict'^itioii ol" the Divine tragedy, it is said, lie suspendid (Uic of Jiis piijiils on ti eross, and stabljed the Jiel|»less victim tiiat lie might transfer to canvass the awfnl exjjrcssion of final suJleiMiig. The marvellous mei-it of the i)aintiDg ^vas thought a justilieation. Heaven had gaiiMel a martyr, ajid earth a glimpse of Divine love. TitiaJi ajid Mnrillooecupied th« middk ground; Mieir works ilhi.-,ti'ated the intluenee of Divine light and love upon the mind and heai't of man ; illuminating the tiark ehamli rs, niflting the iey crystals, and binding willi a golden chain Ids wayward ati'eetions to the person and gov(a-niueut of the Ivedei'mer. "Who can tidl how mnch civilization and religion owe t(j these w'onderful reju'esen- taliojis, and to these no less wonderful men. Jjut Art, as a]i exponent of religions sentiment, has not l)cen confined to painting and statuary; its devict-s and syudiolism have given \()ice to clnirch architecture. It is scarcely [lossiljle to conceive how more theology could' be ex[)ressed by architecture than is crowded into tliose grand old cathedrals whii-h were built in Italy and all parts of Europe from the elcM'nth to the sixteenth centuries. The> are coustructod in the form of a cross, symbolizing the atonement ; the three entranc(!S are typicd ol' the gathering in of worshi})ers from all parts of the earth ; the Ijuttresses ■su[)porting the walls are declarative of strength — "In strength will I establish Mine house." The three towers synd)oli/Ce the Divine Trinity ; the s])ire, siu-mounted Ity the cross, })oints to heaven, suggestive of that love which lifts us u]) to the heavenly mansions; the turrets arc so majjy tiny fingers pointhig to the same goal. Th Th( St. IN it is The diann th(^ aj 4tS I'e by ail 27 Tlir imivoi'so is llic t('in])l(' of (itnl; tin* vaulted sky is 'ts iloiiic ; trci'S and tlowcrs luo lis dccovatioiis. Tlu' sun illnniinatl(h'n h^dd vo- veaHnf^ its Ix'autv aiid jjilorv. fn inutatJMii of this vast sanctuary, they p;;ivo the pillars the apiiearanco of Ix'iTig formed by hundh's of khmIs ; the ])oint(.'d arch and ih)wiii<4 tracery of doors and windows were copied from the. foliag(! of trees, and the decm-ations represented tlowers. Painted windows hit in the mellow light, tinged with gold and crimson, while the swell of music ri'ver- beratiiig from jiillar to arch, overwhelmed the sens(>s, and filled the soul of the worshi]'er with holy emotions. No person can behold those grand old monuments of Christian Art and ent(M'prise without detecting an am- plitude of symbolism, and without ex])ericncing an eleva- tion of moral thought and sentiment, " set free tVom ea)'th and proceeding unfettered to the skies." Among the most noted of thes(> cdiiices are the cathedrals of Florence and Milan, of Cologne and Stiasbourg, St. Peter's at Eome, St. Mark's of Venice, Notre Daiiu! of Puris, and St. Paul's of Ijondon— all vast in proportions, radiant with gems of Art, and vocal with roligicms symbolism, holding u]i their pinnacles to heaven, and sheilding their grandeur upon the (>arth. The gramh'st and most ini]H)sing of tlu'S(> temples is St. Peter's at Pome— built in the form of a (beck eross ; it is (ib! feet long by -I-K; fret through the trausce])ts. The height of the ci'iHng in the nave is 152 feet, and the diameter of the dome on the exterior is 105 iwA, while the apex of the dome is 405 feet, a)Kl the top of the cross 4-tS feet from the pavement —a height n(>ver before reached by any human structure, exco])ting the great pyraniitl of 28 T'^j^v])!. It covci's iicnily live jiiid ;i liiill' acres of p;roiui(l ; its luavlilc ))illais , •111(1 aivlics Hh- gilded canopy covering tlic altar; its ));iiiiti'tl uiiulows and I'rcscoi'd walls, and, ul)ovc all, its vastni>ss, overwlu'lni tlio senses. Miclnu^l Anj^'i'lo's niag'niliccnt conc(>]ition of its grandeur nniy he inferred from liis boast, "that ho would swing the d(»ni(! of the Paiithoon in th(> air." As ws enter this colossal temple we are reniiiided of the words of the poet — " Eutor ; its griuulfur ovcrwliclins thee not. And wliy V it is not Icssoiiod ; but tliy niiiid Kxpiuulcd l)y tlio genius el' the sjint Iliis gTown c'olossid ; und ciiu oiUy thid A tit idindo. wherein apiioiir en.shriucd Tliy hopes of immortality, " But Art has a wid(n- sj)hero of operation than to build tcnipl(>s and endow theni with religious symbols; she is a jiriestess in the great temple of Nature whose dome is the sky, avIiosc; frescoes ai'(! the ch.mds, and whosct altars are the granite nuMintains; she conducts us through the aisles of this ttMii]>le, and discloses to us its b(>auties ; she lights the lamps of taste, imagination and desire ; she charms us with music, and makes us delirious with joy, Avhether she works u[)on inanimate stonc>, cond)inos colors uj^on canvass, directs uncertain and fugitive sounds, or models a figure hi action or repos(^, she addresses with mysterious ]iower the imagination and the soul. In, the words of Cousin: " Evcny work of Art, wdiatever bo its \'<)V\n, small or great, figured, sung, or uttinvul — every work of Alt truh' beautiful or sublime, throws tlu' soul into a gentle or severe reverie that elevates it toward tho Inlhiite."