divine of the chords that make music in our thoughts—of that which shakes with astonishment even the most superficial.
The Minerva.
The head is of the highest beauty. It has a close helmet, from which the hair delicately parted on the forehead, half escapes. The attitude gives entire effect to the perfect form of the neck, and to that full and beautiful moulding of the lower part of the face and mouth, which is in living beings the seat of the expression of a simplicity and integrity of nature. Her face, upraised to heaven, is animated with a profound, sweet, and impassioned melancholy, with an earnest, and fervid, and disinterested pleading against some vast and inevitable wrong. It is the joy and poetry of sorrow making grief beautiful, and giving it that nameless feeling which, from the imperfection of language, we call pain, but which is not all pain, though a feeling which makes not only its possessor, but the spectator of it, prefer it to what is called pleasure, in which all is not pleasure. It is difficult to think that this head, though of the highest ideal beauty, is the head of Minerva, although the attributes and attitude of the lower part of the statue certainly suggest that idea. The Greeks rarely, in their representations of the characters of their gods,—unless we call the poetic enthusiasm of Apollo a mortal passion,—expressed the disturbance of human feeling; and here is deep and impassioned grief animating a divine countenance. It is, indeed, divine. Wisdom (which Minerva may be supposed to emblem,) is pleading earnestly with Power,—and invested with the expression of that grief, because it must ever plead so vainly. The drapery of the statue, the gentle beauty of the feet, and the grace of the attitude, are what may be seen in many other statues
