Appreciation of sculpture; a handbook by Russell Sturgis ... . e him and wiped the sweat from his facewith her veil, and that upon this veil animage of the Divine face was found to beimprinted forever. But this legend suf-fices merely to give a name to the real interest is in the image of serious,careful and conscious ministry to suffering,which is made the more plain to our per-ceptions by its associations with the Re-deemer and the Stations of the Cross. Ithas always been one of the expedients ofpreachers of religion to appeal strongly tothe sympathy of their hearers, and thegreat
Appreciation of sculpture; a handbook by Russell Sturgis ... . e him and wiped the sweat from his facewith her veil, and that upon this veil animage of the Divine face was found to beimprinted forever. But this legend suf-fices merely to give a name to the real interest is in the image of serious,careful and conscious ministry to suffering,which is made the more plain to our per-ceptions by its associations with the Re-deemer and the Stations of the Cross. Ithas always been one of the expedients ofpreachers of religion to appeal strongly tothe sympathy of their hearers, and thegreat Baptist orator, Spurgeon, was as readyto insist upon the frightful details of thesuffering of Jesus as any devout RomanCatholic artist. The question is merelywith the artistic propriety of such strongappeals to sympathy ; for observe, it is notnow the question whether Christianity, orany form of Christianity, gains or loses,but whether the universal doctrine of artadmits of so much passionate appeal tosympathy. We are led to consider actual portraiture,[176]. Plate LII.—PORTRAIT STATUE OF THE PHYSICIAN RICORD; BY E. (h. 1841). Recent Art, Part II, Sentiment the portraiture of the day. In this therewould be found a full expression of sym-pathy and of the strong personal feelingwhich the artist needs if he is to be reallystrong, if only we were able to considerportraits in the presence of their can never be; and portrait sculp-ture is hardly a fit subject for general discus-sion. In portrait painting we look, andproperly, for the evidence of masterly work-manship, noble coloring, and that sort ofgrasp of a subject which raises it in its artisticdress into a high plane of merit. But insculpture the requisites of portraiture are alittle less easy to trace,—at least they are alittle less easy to express in words. Wehave all seen the portrait bust which isdeveloped into a noble composition althoughthe subject is, to us, a very ignoble personind
Size: 1277px × 1956px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectsculpture, bookyear19
