treaked with vermilion, the great galleys of the
Danaoi came in their gleaming crescent, the lonely tunny-fisher sits in
his little boat and watches the bobbing corks of his net. Yet, every
morning the doors of the city are thrown open, and on foot, or in horse-
drawn chariot, the warriors go forth to battle, and mock their enemies
from behind their iron masks. All day long the fight rages, and when
night comes the torches gleam by the tents, and the cresset burns in the
hall. Those who live in marble or on painted panel, know of life but a
single exquisite instant, eternal indeed in its beauty, but limited to
one note of passion or one mood of calm. Those whom the poet makes live
have their myriad emotions of joy and terror, of courage and despair, of
pleasure and of suffering. The seasons come and go in glad or saddening
pageant, and with winged or leaden feet the years pass by before them.
They have their youth and their manhood, they are children, and they grow
old. It is always dawn for St. Helena, as Veronese saw her at the
window. Through the still morning air the angels bring her the symbol of
God's pain. The cool breezes of the morning lift the gilt threads from
her brow. On that little hill by the city of Florence, where the lovers
of Giorgione are lying, it is always the solstice of noon, of noon made
so languorous by summer suns that hardly can the slim naked girl dip into
the marble tank the round bubble of clear glass, and the long fingers of
the lute-player rest idly upon the chords. It is twilight always for the
dancing nymphs whom Corot set free among the silver poplars of France. In
eternal twilight they move, those frail diaphanous figures, whose
tremulous white feet seem not to touch the dew-drenched grass they tread
on. But those who walk in epos, drama, or romance, see through the
labouring months the young moons wax and wane, and watch the night from
evening unto morning star, and from sunrise unto sunsetting can note the
shifting day with all its gold and shadow. For them, as for us, the
flowers bloom and wither, and the Earth, that Green-tressed Goddess as
Coleridge calls her, alters her raiment for their pleasure. The statue
is concentrated to one moment of perfection. The image stained upon the
canvas possesses no spiritual element of growth or change. If they know
nothing of death, it is because they know little of life, for the secrets
of life and death belong to those, and thos