[Peerpress-xml] 178] and those whom it has condemned to the hour of detest

[Garich]

Lt behind a corpse stained with drops of blackened blood, for a populace
taught to worship Death. Every critical determination of rightness
depends on the obedience to some ethic law, by the most rational and,
therefore, simplest means. And you see how it depends most, of all
things, on whether you are working for chosen persons, or for the mob;
for the joy of the boudoir, or of the Borgo. And if for the mob, whether
the mob of Olympia, or of St. Antoine. Phidias, showing his Jupiter for
the first time, hides behind the temple door to listen, resolved
afterwards "[Greek: rhythmizein to agalma pros to tois pleistois dokoun,
ou gar hegeito mikran einai symboulen demou tosoutou]," and truly, as
your people is, in judgment, and in multitude, so must your sculpture
be, in glory. An elementary principle which has been too long out of
mind. 142. I leave you to consider it, since, for some time, we shall
not again be able to take up the inquiries to which it leads. But,
ultimately, I do not doubt that you will rest satisfied in these
following conclusions: 1. Not only sculpture, but all the other fine
arts, must be for the people. 2. They must be didactic to the people,
and that as their chief end. The structural arts, didactic in their
manner; the graphic arts, in their matter also. 3. And chiefly the great
representative and imaginative arts--that is to say, the drama and
sculpture--are to teach what is noble in past history, and lovely in
existing human and organic life. 4. And the test of right manner of
execution in these arts, is that they strike, in the most emphatic
manner, the rank of popular minds to which they are addressed. 5. And
the test of utmost fineness in execution in these arts, is that they
make themselves be forgotten in what they represent; and so fulfil the
words of their greatest Master, "THE BEST, IN T
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