



Produced by Chris Curnow, Charlie Howard, and the Online
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Books by Mr. Story.


  POEMS. I. PARCHMENTS AND PORTRAITS. II. MONOLOGUES AND LYRICS. 2
    vols. 16mo, $2.50.

  HE AND SHE; or, A POET’S PORTFOLIO. 18mo, illuminated vellum, $1.00.

  FIAMMETTA. A Novel. 16mo, $1.25.

  ROBA DI ROMA. New Revised Edition, from new plates. With Notes. 2
    vols. 16mo, $2.50.

  CONVERSATIONS IN A STUDIO. 2 vols. 16mo, $2.50.

  EXCURSIONS IN ART AND LETTERS. 16mo, $1.25.


  HOUGHTON, MIFFLIN & CO.
  BOSTON AND NEW YORK.




  EXCURSIONS IN ART
  AND LETTERS


  BY
  WILLIAM WETMORE STORY

  D.C.L. (OXON.)
  COMM. CORONA ITALIA, OFF. LEG. D’HONNEUR, ETC.


  [Illustration]


  BOSTON AND NEW YORK
  HOUGHTON, MIFFLIN AND COMPANY
  The Riverside Press, Cambridge
  1893




  Copyright, 1891,
  BY WILLIAM WETMORE STORY.

  _All rights reserved._


  THIRD EDITION.


  _The Riverside Press, Cambridge, Mass., U. S. A._
  Electrotyped and Printed by H. O. Houghton & Co.




CONTENTS.


                                                                    PAGE

  MICHEL ANGELO                                                        1

  PHIDIAS, AND THE ELGIN MARBLES                                      49

  THE ART OF CASTING IN PLASTER AMONG THE ANCIENT GREEKS AND ROMANS  115

  A CONVERSATION WITH MARCUS AURELIUS                                190

  DISTORTIONS OF THE ENGLISH STAGE AS INSTANCED IN “MACBETH”         232




EXCURSIONS IN ART AND LETTERS.




MICHEL ANGELO.


The overthrow of the pagan religion was the deathblow of pagan Art. The
temples shook to their foundations, the statues of the gods shuddered,
a shadow darkened across the pictured and sculptured world, when
through the ancient realm was heard the wail, “Pan, great Pan is dead.”
The nymphs fled to their caves affrighted. Dryads, Oreads, and Naiads
abandoned the groves, mountains, and streams that they for ages had
haunted. Their voices were heard no more singing by shadowy brooks,
their faces peered no longer through the sighing woods; and of all the
mighty train of greater and lesser divinities and deified heroes to
whom Greece and Rome had bent the knee and offered sacrifice, Orpheus
alone lingered in the guise of the Good Shepherd.

Christianity struck the deathblow not only to pagan Art, but for a time
to all Art. Sculpture and Painting were in its mind closely allied
to idolatry. Under its influence the arts slowly wasted away as with
a mortal disease. With ever-declining strength they struggled for
centuries, gasping as it were for breath, and finally, almost in utter
atrophy, half alive, half dead,—a ruined, maimed, deformed presence,
shorn of all their glory and driven out by the world,—they found a
beggarly refuge and sufferance in some Christian church or monastery.

The noble and majestic statues of the sculptured gods of ancient Greece
were overthrown and buried in the ground, their glowing and pictured
figures were swept from the walls of temples and dwellings, and in
their stead only a crouching, timid race of bloodless saints were seen,
not glad to be men, and fearful of God. Humanity dared no longer to
stand erect, but groveled in superstitious fear, and lashed its flesh
in penance, and was ashamed and afraid of all its natural instincts.
How then was it possible for Art to live? Beauty, happiness, life, and
joy were but a snare and a temptation, and Religion and Art, which can
never be divorced, crouched together in fear.

The long black period of the Middle Ages came to shroud everything in
ignorance. Literature, art, poetry, science, sank into a nightmare of
sleep. Only arms survived. The world became a battlefield, simply for
power and dominion, until religion, issuing from the Church, bore in
its van the banner of chivalry.

But the seasons of history are like the seasons of the year. Nothing
utterly dies. And after the long apparently dead winter of the Middle
Ages the spring came again—the spring of the Renaissance—when liberty
and humanity awoke, and art, literature, science,