angels, one carrying her infant child and the other with clasped hands
of exultant joy, are rising with her, in serene and solemn triumph.
Now, I simply put it to you, or to any one who can judge of poetry, if
this is not a poetical conception. I ask any one who has a heart, if
there is not pathos in it. Is there not a high poetic merit in the
mere conception of these two scenes, thus presented? And had we seen
it rudely chipped and chiselled out by some artist of the middle ages,
whose hand had not yet been practised to do justice to his
conceptions, should we not have said this sculptor had a glorious
thought within him? But the chiselling of this piece is not unworthy
the conception. Nothing can be more exquisite than the turn of the
head, neck, and shoulders; nothing more finely wrought than the
triumphant smile of the angel princess; nothing could be more artistic
than the representation of death in all its hopelessness, in the lower
figure. The poor, dead hand, that shows itself beneath the sheet, has
an unutterable pathos and beauty in it. As to the working of the
drapery, - an inferior consideration, of course, - I see no reason why
it should not compare advantageously with any in the British Museum.
Well, you will ask, why are you going on in this argumentative style?
Who doubts you? Let me tell you, then, a little fragment of my
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