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the Renaissance, and bade the wafer-like simulacrum fill up, expand, raise itself, lift itself on its elbow, arise and take possession of the bed of state, the catafalque raised high above the crowd, draped with brocade, carved with rich devices of leaves and beasts of heraldry, roofed over with a dais, which is almost a triumphal arch, garlanded with fruits and flowers, upon which the illustrious dead were shown to the people; but made eternal, and of eternal magnificence, by the stone-cutter, and guarded, not for an hour by the liveried pages or chaunting monks, but by winged genii for all eternity. Some people, I know, call this a degradation, and say that it was the result of corrupt pride, this refusal to have the dear or illustrious dead scraped out any longer by the shoe-nails of every ruffian, rubbed out by the knees of every kitchen wench; but to me it seems that it was due merely to the fact that sculpture had lost its former employment, and that a great art cannot (thank Heaven!) be pietistically self-humiliating. Be this as it may, the sculpture of the Renaissance had found a new and singularly noble line of work, the one in which it was great, unique, unsurpassed, because untutored. It worked here without models, to suit modern requirements, with modern spirit; it was emphatically-modern sculpture; the only modern sculpture which can be talked of as something original, genuine, valuable, by the side of antique sculpture. Greek Antiquity had evaded death, and neglected the dead; a garland of maenads and fauns among ivy leaves, a battle of amazons or centaurs; in the late semi-Christian, platonic days, some Orphic emblem, or genius; at most, as in the exquisite tombs of the Keramikos of Athens, a figure, a youth on a prancing steed, like the Phidian monument of Dexileus; a maiden, draped and bearing an urn; but neither the youth nor the maiden is the inmate of the tomb: they are types, living types, no portraits. Nay, even where Antiquity shows us Death or Hermes, gently leading away the beloved; the spirit, the ghost, the dead one, is unindividual. "Sarkophagen und Urnen bekraenzte der Heide mit Leben," said Goethe; but it was the life which was everlasting because it was typical: the life not which had been relinquished by the one buried there, but the life which the world danced on, forgetful, round his ashes. The Romans, on the contrary, graver and more retentive folk than the Greeks, as well as more domes
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