Perhaps the antiquary of a
thousand years from now, to whom the traits which to us distinguish so
clearly the work of certain sculptors who seem to have nothing in
common will betray only their common inspiration, will be even less at a
loss than ourselves to find traces of a common origin in such apparently
different works as Chapu's "Mercury" and his "Jeunesse" of the Regnault
monument. He will by no means confound these with the classical
productions of M. Millet or M. Cavelier, we may be sure. And this, I
repeat, because their purely Greek spirit, the subordination in their
conception and execution of the personal element, the direct way in
which the sculptor looks at the ideal, the type, not only distinguish
them among contemporary works, which are so largely personal
expressions, but give them an eminent individuality as well. Like the
Greek sculpture, they are plainly the production of culture, which in
restraining wilfulness, however happily inspired, and imposing measure
and poise, nevertheless acutely stimulates and develops the faculties
themselves.
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