nor the maiden is the inmate of the tomb: they are types, living types, no portraits. Nay, even where Antiquity shows us Death or Hermes, gently leading away the beloved; the spirit, the ghost, the dead one, is unindividual. "Sarkophagen und Urnen bekränzte der Heide mit Leben," said Goethe; but it was the life which was everlasting because it was typical: the life not which had been relinquished by the one buried there, but the life which the world danced on, forgetful, round his ashes. The Romans, on the contrary, graver and more retentive folk than the Greeks, as well as more domestic, less coffee-house living, appear to have inherited from the Etruscans a desire to preserve the effigy of the dead, a desire unknown to the Greeks. But the Etrusco-Roman monuments, where husband and wife stare forth togaed and stolaed, half reduced to a conventional crop-headedness, grim and stiff as if sitting unwillingly for their portrait; or reclining on the sarcophagus-lid, neither dead, nor asleep, nor yet alive and awake, but with a hieratic mummy stare, have little of aesthetic or sympathetic value. The early Renaissance, then, first bethought it of representing the real individual in the real death slumber. And I question whether anything more fitting could be placed on a tomb than the effigy of the dead as we saw them just before the coffin-lid closed down; as we would give our all to see them but one little moment longer; as they continue to exist for our fancy within the grave; for to any but morbid feelings the beloved can never suffer decay. Whereas a portrait of the man in life, as the throning popes in St. Peter's, seems heartless and derisive; such monuments striking us as conceived and ordered by their inmates while alive, like Michael Angelo's Pope Julius, and Browning's Bishop, who was so preoccupied about his tomb in St. Praxed's Church. The Renaissance, the late Middle Ages, felt better than this: on the extreme pinnacle, high on the roof, they might indeed place against the russet brick or the blue sky, amid the hum of life and the movement of the air, the living man, like the Scaligers, the mailed knight on his charger, lance in rest: but in the church below, under the funereal pall, they could place only the body such as it may have lain on the bier.

And that figure on the bier was the great work of Renaissance sculpture. Inanimate and vulgar when in heroic figures they tried to emulate the ancients, the sculptors of the fifteenth century have found their own line. The modesty, the simplicity, the awful and beautiful repose of the dead; the individual character cleared of all its conflicting meannesses by death, simplified, idealized as it is in the memory of the survivors—all these are things which belong to the Renaissance. As the Greeks gave the strong, smooth life-current circulating through their heroes; so did these men of the fifteenth century give the gentle and harmonious ebbing after-life of death in their sepulchral monuments. Things difficult to describe, and which must be seen and remembered. There is the monument, now in the museum at Ravenna, by a sculptor whose name, were it known, would surely be among the greatest, of the condottiere, Braccioforte: the body prone in its heavy case of armour, not yet laid out in state, but such as he may have been found in the evening, when the battle was over, under a tree where they had carried him to die while they themselves went back to fight; the head has fallen back, side-ways, weighed down by the helmet, which has not even been unbuckled, only the face, the clear-cut, austere features, visible beneath the withdrawn vizor; the eyes have not been closed; and there are few things more exquisite and solemn at once in all sculpture, than the indication of those no longer seeing eyes, of that broken glance, beneath the half-closed lids. There is Rossellino's Cardinal of Portugal at S. Miniato a Monte: the slight body, draped in episcopal robes, lying with delicate folded hands, in gracious decorum of youthful sanctity; the strong delicate head, of clear feature and gentle furrow of suffering and thought, a face of infinite purity of strength, strength still ungnarled by action: a young priest, who in his virginal dignity is almost a noble woman. And there is the Ilaria Guinigi of Jacopo della Quercia (the man who had most natural affinity with the antique of all these sculptors, as one may see from the shattered remains of the Fonte Gaia of Siena), the lady stretched out on the rose-garlanded bed of state in a corner of Lucca Cathedral, her feet upon her sleeping dog, her sweet, girlish head, with wavy plaits of hair encircled by a rose-wreathed, turban-like diadem, lying low on round cushions; the bed gently giving way beneath the beautiful, ample-bosomed body, round which the soft robe is chastely gathered, and across which the long-sleeved arms are demurely folded; the most beautiful lady (whose majestic tread through the palace rooms we can well imagine) that the art of the fifteenth century has recorded. There is, above all, the Carlo Marsuppini of Desiderio da Settignano, the humanist Secretary of the Commonwealth, lying on the sarcophagus, superb with shell fretwork and curling acanthus, in Santa Croce of Florence. For the youthful beauty of the Cardinal of Portugal and of the Lady Ilaria are commonplace compared with the refinement of this worn old face, with scant wavy hair and thin, gently furrowed, but by no means ploughed-up features. The slight figure looks as if in life it must have seemed almost transparent; and the hands are very pathetic: noble, firm hands, subtle of vein and wrist, crossed simply, neither in prayer nor in agony, but in gentle weariness, over the book on his breast. That book is certainly no prayer-book; rather a volume of Plato or Cicero: in his last moments the noble old man has longed for a glance over the familiar pages; they have placed the book on his breast, but it has been too late; the drowsiness of death has overtaken him, and with his last sigh he has gently folded his hands over the volume, with the faint, last clinging to the things beloved in this world.

Such is that portrait sculpture of the early Renaissance, its only sculpture, if we except the exquisite work in babies and angels just out of the nursery of the Robbias, which is a real achievement. But how achieved? This art is great just by the things which Antiquity did not. And what are those things? Shall we say that it is sentiment? But all fine art has tact, antique art most certainly; and as to pathos, why, any quiet figure of a dead man or woman, however rudely carved, has pathos; nay, there is pathos in the poor puling^ hysterical art which makes angels draw the curtains of fine ladies' bedchambers, and fine ladies, in hoop or limp Grecian dress, faint (the smelling bottle, Betty!) over their lord's coffin; there is pathos, to a decently constituted human being, wherever (despite all absurdities) we can imagine that there lies some one whom it was bitter to see departing, to whom it was bitter to depart. Pathos, therefore, is not the question; and, if you choose to call it sentiment, it is in reality a sentiment for line and curve, for stone and light. The great question is, How did these men of the Renaissance make their dead people look beautiful? For they were not all beautiful in life, and ugly folk do not grow beautiful merely because they are dead. The Cardinal of Portugal, the beautiful Ilaria herself, were you to sketch their profile and place it by the side of no matter what ordinary antique, would greatly fall short of what we call sculpturesque beauty; and many of the others, old humanists and priests and lawyers, are emphatically ugly: snub or absurdly hooked noses, retreating or deformedly overhanging foreheads, fleshy noses, and flabby cheeks, blear eyes and sunk-in mouths; and a perfect network of wrinkles and creases, which, hard as it is to say, have been scooped out not merely by age, but by low mind, fretting and triumphant animalism. Now, by what means did the sculptor—the sculptor, too unacquainted with sculptural beauty