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Oh, thou more hairy than King Clodion, Bearer on high of this report, Thou yellower than a pure Cambodian, And far more daring than King Clodion, We'll cast thy statue in collodion And mount it on a gas retort. Oh, thou more hairy than King Clodion, Bearer on high of this report!
And this is in fact what has happened since the high Renaissance, the long line of conventionalities being continued, sometimes punctuated here and there as by Clodion or Houdon, David, Rude, or Barye, sometimes rising into great dignity and refinement of style and intelligence, as in the contemporary sculpture of the Institute, but in general almost purely decorative or sentimental, and, so far as natural expression is concerned, confining itself to psychological rather than physical character.
And then these finds served as so many springs which, turned on by a question, played off an essay on Jean Goujon, Michel Columb, Germain Pilon, Boulle, Van Huysum, and Boucher, the great native painter of Le Berry; on Clodion, the carver of wood, on Venetian mirrors, on Brustolone, an Italian tenor who was the Michael-Angelo of boxwood and holm oak; on the thirteenth, fourteenth, fifteenth, sixteenth, and seventeenth centuries, on the glazes of Bernard de Palissy, the enamels of Petitot, the engravings of Albrecht Durer whom she called Dur; on illuminations on vellum, on Gothic architecture, early decorated, flamboyant and pure enough to turn an old man's brain and fire a young man with enthusiasm.
Our old-time sculptors Clodion and Coysevox were not profound; nor were Fragonard, La Tour, nor Marivaux, yet they brought honor to the French school. All have their value and all are necessary. The rose with its fresh color and its perfume, is, in its way, as precious as the sturdy oak.
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