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The low tympanum is crowded with figures belonging to the period when the statuary's art was still swathed in the swaddling clothes of its new infancy, and what with their own uncouthness, and the wear and tear of time, it is no easy matter now to trace in them all the purpose and meaning of the sculptor.
Let who would, for me cherish, respect, and reward the painter's, the statuary's, the musician's art, in proportion to the delight taken in them: but at my age, and with my taste for pleasure, a taste strongly constitutional to me, the talent of pleasing, with which nature has endowed a handsome person, formed to me the greatest of all merits; compared to which, the vulgar prejudices in favour of titles, dignities, honours, and the like, held a very low rank indeed.
Condivi says that this gentleman, "a man of fine intelligence, employed him to execute in his own house a marble Bacchus, ten palms in height, the form and aspect of which correspond in all parts to the meaning of ancient authors. The face of the youth is jocund, the eyes wandering and wanton, as is the wont with those who are too much addicted to a taste for wine. In his right hand he holds a cup, lifting it to drink, and gazing at it like one who takes delight in that liquor, of which he was the first discoverer. For this reason, too, the sculptor has wreathed his head with vine-tendrils. On his left arm hangs a tiger-skin, the beast dedicated to Bacchus, as being very partial to the grape. Here the artist chose rather to introduce the skin than the animal itself, in order to hint that sensual indulgence in the pleasure of the grape-juice leads at last to loss of life. With the hand of this arm he holds a bunch of grapes, which a little satyr, crouched below him, is eating on the sly with glad and eager gestures. The child may seem to be seven years, the Bacchus eighteen of age." This description is comparatively correct, except that Condivi is obviously mistaken when he supposes that Michelangelo's young Bacchus faithfully embodies the Greek spirit. The Greeks never forgot, in all their representations of Dionysos, that he was a mystic and enthusiastic deity. Joyous, voluptuous, androgynous, he yet remains the god who brought strange gifts and orgiastic rites to men. His followers, Silenus, Bacchantes, Fauns, exhibit, in their self-abandonment to sensual joy, the operation of his genius. The deity descends to join their revels from his clear Olympian ether, but he is not troubled by the fumes of intoxication. Michelangelo has altered this conception. Bacchus, with him, is a terrestrial young man, upon the verge of toppling over into drunkenness. The value of the work is its realism. The attitude could not be sustained in actual life for a moment without either the goblet spilling its liquor or the body reeling side-ways. Not only are the eyes wavering and wanton, but the muscles of the mouth have relaxed into a tipsy smile; and, instead of the tiger-skin being suspended from the left arm, it has slipped down, and is only kept from falling by the loose grasp of the trembling hand. Nothing, again, could be less godlike than the face of Bacchus. It is the face of a not remarkably good-looking model, and the head is too small both for the body and the heavy crown of leaves. As a study of incipient intoxication, when the whole person is disturbed by drink, but human dignity has not yet yielded to a bestial impulse, this statue proves the energy of Michelangelo's imagination. The physical beauty of his adolescent model in the limbs and body redeems the grossness of the motive by the inalienable charm of health and carnal comeliness. Finally, the technical merits of the work cannot too strongly be insisted on. The modelling of the thorax, the exquisite roundness and fleshiness of the thighs and arms and belly, the smooth skin-surface expressed throughout in marble, will excite admiration in all who are capable of appreciating this aspect of the statuary's art. Michelangelo produced nothing more finished in execution, if we except the Piet
There I gave her into Marian's care Marian, who had never failed us yet, whose courageous self-control did not fail us now. They all left the house, and all joined the throng of villagers collected round the grave, where the statuary's man was waiting for us. In a breathless silence, the first sharp stroke of the steel sounded on the marble.
However, if I allowed myself to go on about the cats of Rome, either ancient or modern, there would be no end. For instance, in a statuary's shop in the Via Sistina there is a large yellow cat, which I one day saw dressing the hair of the statuary's boy.
For I am, Most excellent young lady, Your faithful and most obedient servant, CH. HICKMAN. Mercury, as the fabulist tells us, having the curiosity to know the estimation he stood in among mortals, descended in disguise, and in a statuary's shop cheapened a Jupiter, then a Juno, then one, then another, of the dii majores; and, at last, asked, What price that same statue of Mercury bore?
Prior among the poets at the door which faces the Old Palace Yard, of the Duke of Buckingham in Henry VII.th's chapel, and that of Doctor Chamberlain on the North side of the choir: most of these are admirable pieces of sculpture, and show that the statuary's art is not entirely lost in this country; though it must be confessed the English fall short of the Italians in this science.
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