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Updated: May 4, 2025
It is possible that the highest type of portrait-sculpture is beyond the limit of this specialty; indeed, it is almost impossible that with the elements constituting it there should be associated the still rarer power to achieve the most exalted ideal Art; and such Art we believe the highest portraiture to be.
There are two considerations which may have misled Mr. Powers. One, a pecuniary one, which he should have disposed of as did Agassiz, when such was advanced to induce him to give lyceum lectures: "Sir, I cannot afford to make money!" The other may have been the weight of the prevailing error that portrait-sculpture is a less honorable branch of Art. Less than what? The historical?
While painting is in this immature ugliness, and ideal sculpture, in works like Verrocchio's and Donatello's David, only a cleverer, more experienced, but less legitimate kind of painting, painting more successful in the present, but with no possible future; the almost separate art of portrait-sculpture arises again where it was left by Græco-Roman masters, and, developing to yet greater perfection, gives in marble the equivalent of what painting will be able to produce only much later: realistic art which is decorative; beautiful works made out of ugly materials.
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