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THE philosophic sculpture is born of liberty and dies because of it. The slave in Assyria could describe vividly the things he was permitted to see; in Egypt, he could give a definition of form as firm as the discipline which bowed him down, as full of nuances, as moving as the faith which sustained him. The free man alone gives life to the law, lends to science the life of his emotion, and sees that in his own mind we reach the crest of that continuing wave which attaches us to things in their entirety—until the day when science kills his emotion.
THE philosophic sculpture is born of liberty and dies because of it. The slave in Assyria could describe vividly the things he was permitted to see; in Egypt, he could give a definition of form as firm as the discipline which bowed him down, as full of nuances, as moving as the faith which sustained him. The free man alone gives life to the law, lends to science the life of his emotion, and sees that in his own mind we reach the crest of that continuing wave which attaches us to things in their entirety—until the day when science kills his emotion.
The
artist of to-day is afraid of words, when he does not fall a victim to them. He
is right to refrain from listening to the professional philosopher and
especially to refrain from following him. He is wrong to be afraid of passing
for a philosopher. Also, if we have no right to forget that Phidias followed
the discourses of Anaxagoras, we recognize that he might, without loss, have
been ignorant of metaphysics. He looked upon life with simplicity, but what he
could see of it developed in him so lucid a comprehension of the relationships
which, for the artist, make up its unity and continuity, that minds skillful in
generalizing could extract from his work the elements out of which the modern world
has come. Phidias formed Socrates [It must be recalled that Socrates worked as
a sculptor] and Plato—unknown to themselves, doubtless—when he materialized for
them, in the clearest, the most veracious, and the most human of languages, the
mysterious affinities which give life to ideas.
We see
the philosophic spirit as it is born at the beginning of the fifth century,
still hesitating and astonished at the daylight; it appears already in the
"Charioteer" and in the statues of Aegina. Sculptural science, which
is not obliged to copy form, but rather to establish the planes which reveal
the profound law of structure and the conditions of equilibrium of
form—sculptural science already exists. The "Charioteer" is as
straight as a tree trunk; one feels the framework within it, one sees how it is
defined by all its contours. It is a theorem of bronze. But in the folds of its
rigid robe, in its narrow bare feet planted flat on the ground, its nervous arm
and open fingers, in its muscular shoulders, its broad neck, its fixed eyes,
and round cranium, a slow wave circulates which—by somewhat abrupt fits and
starts—tries to convey from one plane to another the integrally conceived
forces of life which determined these planes. The same implacable surfaces, the
same harsh passages, are in the warriors of Aegina, with something more; there
is here, in the abstract, a course which leads from one figure to another
across empty space, and which thus creates a continuing whole, even if still a
troubled one, lacking in suppleness and partaking of the mechanical; but in it
an irresistible sense of relationship awakens; the firm flower is only half
open, and it demands its full expansion.
There
is no break in the conditions we are studying. The plastic evolution and the
moral evolution mount in a single pure wave. Antenor has already erected the
Tyrannicides on the Agora—the symbolic myths unroll in the frieze of the
temples, and the great national wars mingle the divinities with the soldiers,
on the pediments of Aegina. The athlete is to become the man, the man is to
become the god, until the moment when the artists, having created the god, find
in him the elements of a new humanity. Polycleitus and Myron have already taken
from the form of the wrestler, the runner, the charioteer, and the discus
thrower the idea of those harmonious proportions which shall best define the
masculine body in its function of uniting strength, skill, agility, nervous
grace, and moral calm. To Polycleitus, the Dorian, belong rude and gathered
power, virile harmony in repose; to Myron, the Athenian, belong virile harmony
in movement, the vigor in the planes of the muscles, which show in a vibrant
silence when the contracted tendons press hard on the head of the bones, when
the furrows at the bottom of which repose the nerves and arteries, conveyors of
energy, hollow themselves out at the moment when the tendons grow taut. The one
establishes the profound architecture of the human body, its strength—like that
of a bare column—and its visible symmetry, which the gesture and the modeling
scarcely break in order that the theorem may be established upon sensation. The
other discovers the theorem in the heart of sensation itself, to which the
living arabesque returns as a geometrical abstraction, with the whirl of all
its volumes, with the quiver of all its surfaces. By the one, man is described
in his stable form, by his vertical frame, by the sheaves of the arm and leg
muscles whose precise undulations mark out or mask the skeleton, by his
straight belly, broad, sonorous chest, the circle of the collar bones and the
shoulder blades carrying the column of the neck, the round head with its glance
which continues it without a break. By the other, he is described in his
action. It remains for Phidias only to penetrate the statics of Polycleitus
with the dynamics of Myron in rounder, fuller masses, defined by planes more
broad and more mingled with the light—and he has made the marble glow with a
higher life and given a heroic meaning to that form and this action. In a few
years, which fly with the swiftness of human imagination, anthropomorphism
ripens.
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