A less sensitive artist would have vulgarized instead of
merely varying the conception, whereas one can easily see in M. Mercie's
handling of it the ease, science, and felicitous movement that have
since expressed themselves more markedly, more positively, but hardly
more unmistakably, in the sculptor's maturer works. Of these the chief
is perhaps the "Gloria Victis," which now decorates the Square
Montholon; and its identity of authorship with the "David" is apparent
in spite of its structural complexity and its far greater importance
both in subject and execution. Its subject is the most inspiring that a
French sculptor since the events of 1870-71 (so lightly considered by
those who only see the theatric side of French character) could treat.
Its general interest, too, is hardly inferior; there is something
generally ennobling in the celebration of the virtues of the brave
defeated that surpasses the commonplace of paeans. M. Mercie was, in this
sense, more fortunate than the sculptor to whom the Berlinese owe the
bronze commemoration of their victory.
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