to be ready to accept anything
and to sacrifice anything to be rid of them, admonish us that we need
another uprising of the people and another re-birth of patriotism; and
they show us that we should cherish more and more everything which
fosters noble and national sentiments. And when this war is over, and
the land is redeemed, and we come to ask what things have strengthened
us to meet and overcome our common peril, may we not prophesy that high
among the instrumentalities which have husbanded our strength, and fed
our patriotism, and knit more closely the distant parts of our land and
its divided interests, will be placed the United States Sanitary
Commission?

ART.

HARRIET HOSMER'S ZENOBIA.

It took a long while for artists to understand that the Greek face was
the ideal face merely to Greek sculptors. During the baser ages of the
sculpturesque art, (how far towards our own day the epicycle inclusive
of those ages extended it would be invidious for us to say,) sculpture
consisted of the nearest imitation of Greek models which was possible of
attainment by _talents_, with an occasional intercalated _genius_,
hampered by prevailing modes. That the Greek face was _beautiful_, none
could doubt. That in the sovereign points of _intellect_ it was the
absolute beau-ideal is open to great doubt. Apart from all such
questions, the fact of subservience exists. Even Benjamin Robert Haydon,
the man who thought himself called to be the aesthetic saviour of the
age, knew no other, no better way of making himself master of solid form
than by lying down in the cold with a candle before the Elgin marbles.
Let not this be mistaken as a slur upon one of the most devoted men in
history,--a man who surely lived, and who, aside from the pangs of
poverty, probably died, for the regeneration of Art. We only mean to
select an instance preeminent over all that can be mentioned, to show
that until a very late date even the most learned men in the Art-world
had not cut loose from the fascination of old models, considered not as
suggestive, but as dominant. There is nothing in the sculptors of
Haydon's period to prove that their view differed essentially from that
of the most self-devoted theorist among painters.

We hold that it has been left for America to complete the aesthetic, as
well as the social and political emancipation of the world. The fact
that pre-Raphaelism began in England (we refer to the _new_ saints
standing on