The Complete Works of Nathaniel Hawthorne (Illustrated Edition). Nathaniel Hawthorne
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it was to little purpose that she approached the edge of the voiceless gulf between herself and them. Standing on the utmost verge of that dark chasm, she might stretch out her hand, and never clasp a hand of theirs; she might strive to call out, “Help, friends! help!” but, as with dreamers when they shout, her voice would perish inaudibly in the remoteness that seemed such a little way. This perception of an infinite, shivering solitude, amid which we cannot come close enough to human beings to be warmed by them, and where they turn to cold, chilly shapes of mist, is one of the most forlorn results of any accident, misfortune, crime, or peculiarity of character, that puts an individual ajar with the world. Very often, as in Miriam’s case, there is an insatiable instinct that demands friendship, love, and intimate communion, but is forced to pine in empty forms; a hunger of the heart, which finds only shadows to feed upon.
Kenyon’s studio was in a cross-street, or, rather, an ugly and dirty little lane, between the Corso and the Via della Ripetta; and though chill, narrow, gloomy, and bordered with tall and shabby structures, the lane was not a whit more disagreeable than nine tenths of the Roman streets. Over the door of one of the houses was a marble tablet, bearing an inscription, to the purport that the sculpture-rooms within had formerly been occupied by the illustrious artist Canova. In these precincts (which Canova’s genius was not quite of a character to render sacred, though it certainly made them interesting) the young American sculptor had now established himself.
The studio of a sculptor is generally but a rough and dreary-looking place, with a good deal the aspect, indeed, of a stone-mason’s workshop. Bare floors of brick or plank, and plastered walls, — an old chair or two, or perhaps only a block of marble (containing, however, the possibility of ideal grace within it) to sit down upon; some hastily scrawled sketches of nude figures on the whitewash of the wall. These last are probably the sculptor’s earliest glimpses of ideas that may hereafter be solidified into imperishable stone, or perhaps may remain as impalpable as a dream. Next there are a few very roughly modelled little figures in clay or plaster, exhibiting the second stage of the idea as it advances towards a marble immortality; and then is seen the exquisitely designed shape of clay, more interesting than even the final marble, as being the intimate production of the sculptor himself, moulded throughout with his loving hands, and nearest to his imagination and heart. In the plaster-cast, from this clay model, the beauty of the statue strangely disappears, to shine forth again with pure white radiance, in the precious marble of Carrara. Works in all these stages of advancement, and some with the final touch upon them, might be found in Kenyon’s studio.
Here might be witnessed the process of actually chiselling the marble, with which (as it is not quite satisfactory to think) a sculptor in these days has very little to do. In Italy, there is a class of men whose merely mechanical skill is perhaps more exquisite than was possessed by the ancient artificers, who wrought out the designs of Praxiteles; or, very possibly, by Praxiteles himself. Whatever of illusive representation can be effected in marble, they are capable of achieving, if the object be before their eyes. The sculptor has but to present these men with a plaster-cast of his design, and a sufficient block of marble, and tell them that the figure is imbedded in the stone, and must be freed from its encumbering superfluities; and, in due time, without the necessity of his touching the work with his own finger, he will see before him the statue that is to make him renowned. His creative power has wrought it with a word.
In no other art, surely, does genius find such effective instruments, and so happily relieve itself of the drudgery, of actual performance; doing wonderfully nice things by the hands of other people, when it may be suspected they could not always be done by the sculptor’s own. And how much of the admiration which our artists get for their buttons and buttonholes, their shoe-ties, their neckcloths, — and these, at our present epoch of taste, make a large share of the renown, — would be abated, if we were generally aware that the sculptor can claim no credit for such pretty performances, as immortalized in marble! They are not his work, but that of some nameless machine in human shape.
Miriam stopped an instant in an antechamber, to look at a half-finished bust, the features of which seemed to be struggling out of the stone; and, as it were, scattering and dissolving its hard substance by the glow of feeling and intelligence. As the skilful workman gave stroke after stroke of the chisel with apparent carelessness, but sure effect, it was impossible not to think that the outer marble was merely an extraneous environment; the human countenance within its embrace must have existed there since the limestone ledges of Carrara were first made. Another bust was nearly completed, though still one of Kenyon’s most trustworthy assistants was at work, giving delicate touches, shaving off an impalpable something, and leaving little heaps of marble dust to attest it.
“As these busts in the block of marble,” thought Miriam, “so does our individual fate exist in the limestone of time. We fancy that we carve it out; but its ultimate shape is prior to all our action.”
Kenyon was in the inner room, but, hearing a step in the antechamber, he threw a veil over what he was at work upon, and came out to receive his visitor. He was dressed in a gray blouse, with a little cap on the top of his head; a costume which became him better than the formal garments which he wore whenever he passed out of his own domains. The sculptor had a face which, when time had done a little more for it, would offer a worthy subject for as good an artist as himself: features finely cut, as if already marble; an ideal forehead, deeply set eyes, and a mouth much hidden in a light-brown beard, but apparently sensitive and delicate.
“I will not offer you my hand,” said he; “it is grimy with Cleopatra’s clay.”
“No; I will not touch clay; it is earthy and human,” answered Miriam. “I have come to try whether there is any calm and coolness among your marbles. My own art is too nervous, too passionate, too full of agitation, for me to work at it whole days together, without intervals of repose. So, what have you to show me?”
“Pray look at everything here,” said Kenyon. “I love to have painters see my work. Their judgment is unprejudiced, and more valuable than that of the world generally, from the light which their own art throws on mine. More valuable, too, than that of my brother sculptors, who never judge me fairly, — nor I them, perhaps.”
To gratify him, Miriam looked round at the specimens in marble or plaster, of which there were several in the room, comprising originals or casts of most of the designs that Kenyon had thus far produced. He was still too young to have accumulated a large gallery of such things. What he had to show were chiefly the attempts and experiments, in various directions, of a beginner in art, acting as a stern tutor to himself, and profiting more by his failures than by any successes of which he was yet capable. Some of them, however, had great merit; and in the pure, fine glow of the new marble, it may be, they dazzled the judgment into awarding them higher praise than they deserved. Miriam admired the statue of a beautiful youth, a pearlfisher; who had got entangled in the weeds at the bottom of the sea, and lay dead among the pearl-oysters, the rich shells, and the seaweeds, all of like value to him now.
“The poor young man has perished among the prizes that he sought,” remarked she. “But what a strange efficacy there is in death! If we cannot all win pearls, it causes an empty shell to satisfy us just as well. I like this statue, though it is too cold and stern in its moral lesson; and, physically, the form has not settled itself into sufficient repose.”
In another style, there was a grand, calm head of Milton, not copied from any one bust or picture, yet more authentic than any of them, because all known representations of the poet had been profoundly studied, and solved in the artist’s mind. The bust over the tomb in Grey Friars Church, the original miniatures and pictures, wherever to be found, had mingled each its special truth in this one work; wherein, likewise, by long perusal and deep love of the Paradise Lost, the Comus, the Lycidas, and L’Allegro, the sculptor had succeeded, even better than he knew, in spiritualizing his marble with the poet’s mighty genius. And this was a great thing to have achieved, such a length of time after the dry bones and dust of Milton were like those of any other dead man.
There were also several portrait-busts, comprising those of two or three of the illustrious men of our own country, whom Kenyon, before he left America, had asked permission to model. He had done so, because he sincerely believed that, whether