of a reptile." But the art-critics
have exaggerated the import of the figure, which is wonderfully
beautiful without being accurately expressive. The civilization of the
new era has developed in man moral and physical qualities, which furnish
new expressions by which the artist may set forth that part of human
life which Delsarte called "the transluminous obscurities of our inmost
organism." Dating from this epoch we find in sculpture less of plastic
beauty and more spiritual and touching expression. Who would compare the
pathos of the Laocoon to that of Canova's Magdalen? The sculptor
Marcello (Mme. de Castiglione), too early removed from an artistic
career, exhibited certain creations which illustrate this difference.
Among them is a bust, in marble, of an Arab chief, which is after the
style of the antique, beautiful lines, without expression (a
predominance of the physical element). In her "Weary Bacchante" she
shows beauty tarnished by vice, and here the predominant expression is
sensual. But in her "Marie Antoinette in the Temple Prison," as in
Mercie's "David" and the "Dying Napoleon," it is not the marvelous
beauty which entrances us, but first and above this reigns the power of
_expression_.

Sentiment is become predominant. In the "Marie Antoinette," what bitter
disappointment! In the "Napoleon," what disillusion with the toys of the
world in which he had reigned! In the "David"--Biblical subject treated
by a modern chisel--what strange impressions and reflections are
suggested by that tranquil head and the wonderful frailty of the body!
how original the conception of the figure, and the whole a tribute to
the high personality of the artist! Mercie shows not only the work
accomplished, but in this are glimpses of promise of greatness to come
which serve as more valuable proof of greatness than the masterpiece
completed. This leads me to a reflection already often alluded to, but
which I would keep ever before you as the foundation of my argument:
"Man is the object of art." He is also the art-producer, and considering
relatively the two terms of the proposition, the manifestations of the
faculties are not necessarily adequate between the producer and the
production. I will explain.

The best conditions under which an excellent work of art should be
produced are undoubtedly the following: The conceiver possesses in the
highest possible degree of development the modalities of being essential
to the kind of cr