The Marble Faun, vol 2 - Nathaniel Hawthorne (ink book reader .txt) 📗

“I am ashamed to tell you how much I admire this statue,” said Hilda. “No other sculptor could have done it.”

“This is very sweet for me to hear,” replied Kenyon; “and since your reserve keeps you from saying more, I shall imagine you expressing everything that an artist would wish to hear said about his work.”

“You will not easily go beyond my genuine opinion,” answered Hilda, with a smile.

“Ah, your kind word makes me very happy,” said the sculptor, “and I need it, just now, on behalf of my Cleopatra. That inevitable period has come,—for I have found it inevitable, in regard to all my works,—when I look at what I fancied to be a statue, lacking only breath to make it live, and find it a mere lump of senseless stone, into which I have not really succeeded in moulding the spiritual part of my idea. I should like, now,—only it would be such shameful treatment for a discrowned queen, and my own offspring too,—I should like to hit poor Cleopatra a bitter blow on her Egyptian nose with this mallet.”

“That is a blow which all statues seem doomed to receive, sooner or later, though seldom from the hand that sculptured them,” said Hilda, laughing. “But you must not let yourself be too much disheartened by the decay of your faith in what you produce. I have heard a poet express similar distaste for his own most exquisite poem, and I am afraid that this final despair, and sense of short-coming, must always be the reward and punishment of those who try to grapple with a great or beautiful idea. It only proves that you have been able to imagine things too high for mortal faculties to execute. The idea leaves you an imperfect image of itself, which you at first mistake for the ethereal reality, but soon find that the latter has escaped out of your closest embrace.”

“And the only consolation is,” remarked Kenyon, “that the blurred and imperfect image may still make a very respectable appearance in the eyes of those who have not seen the original.”

“More than that,” rejoined Hilda; “for there is a class of spectators whose sympathy will help them to see the perfect through a mist of imperfection. Nobody, I think, ought to read poetry, or look at pictures or statues, who cannot find a great deal more in them than the poet or artist has actually expressed. Their highest merit is suggestiveness.”

“You, Hilda, are yourself the only critic in whom I have much faith,” said Kenyon. “Had you condemned Cleopatra, nothing should have saved her.”

“You invest me with such an awful responsibility,” she replied, “that I shall not dare to say a single word about your other works.”

“At least,” said the sculptor, “tell me whether you recognize this bust?”

He pointed to a bust of Donatello. It was not the one which Kenyon had begun to model at Monte Beni, but a reminiscence of the Count’s face, wrought under the influence of all the sculptor’s knowledge of his history, and of his personal and hereditary character. It stood on a wooden pedestal, not nearly finished, but with fine white dust and small chips of marble scattered about it, and itself incrusted all round with the white, shapeless substance of the block. In the midst appeared the features, lacking sharpness, and very much resembling a fossil countenance,—but we have already used this simile, in reference to Cleopatra, with the accumulations of long-past ages clinging to it.

And yet, strange to say, the face had an expression, and a more recognizable one than Kenyon had succeeded in putting into the clay model at Monte Beni. The reader is probably acquainted with Thorwaldsen’s three-fold analogy,—the clay model, the Life; the plaster cast, the Death; and the sculptured marble, the Resurrection,—and it seemed to be made good by the spirit that was kindling up these imperfect features, like a lambent flame.

“I was not quite sure, at first glance, that I knew the face,” observed Hilda; “the likeness surely is not a striking one. There is a good deal of external resemblance, still, to the features of the Faun of Praxiteles, between whom and Donatello, you know, we once insisted that there was a perfect twin-brotherhood. But the expression is now so very different!”

“What do you take it to be?” asked the sculptor.

“I hardly know how to define it,” she answered. “But it has an effect as if I could see this countenance gradually brightening while I look at it. It gives the impression of a growing intellectual power and moral sense. Donatello’s face used to evince little more than a genial, pleasurable sort of vivacity, and capability of enjoyment. But here, a soul is being breathed into him; it is the Faun, but advancing towards a state of higher development.”

“Hilda, do you see all this?” exclaimed Kenyon, in considerable surprise. “I may have had such an idea in my mind, but was quite unaware that I had succeeded in conveying it into the marble.”

“Forgive me,” said Hilda, “but I question whether this striking effect has been brought about by any skill or purpose on the sculptor’s part. Is it not, perhaps, the chance result of the bust being just so far shaped out, in the marble, as the process of moral growth had advanced in the original? A few more strokes of the chisel might change the whole expression, and so spoil it for what it is now worth.”

“I believe you are right,” answered Kenyon, thoughtfully examining his work; “and, strangely enough, it was the very expression that I tried unsuccessfully to produce in the clay model. Well; not another chip shall be struck from the marble.”

And, accordingly, Donatello’s bust (like that rude, rough mass of the head of Brutus, by Michael Angelo, at Florence) has ever since remained in an unfinished state. Most spectators mistake it for an unsuccessful attempt towards copying the features of the Faun of Praxiteles. One observer in a thousand is conscious of something more, and lingers long over this mysterious face, departing from it reluctantly, and with many a glance thrown backward. What perplexes him is the riddle that he sees propounded there; the riddle of the soul’s growth, taking its first impulse amid remorse and pain, and struggling through the incrustations of the senses. It was the contemplation of this imperfect portrait of Donatello that originally interested us in his history, and impelled us to elicit from Kenyon what he knew of his friend’s adventures.