Washington sentinel. [volume] (Washington [D.C.]) 1853-1855, 1854-12-07

was placed, as Secretary of State, Lord Malmes-
bury, an intimate friend of Louis Napoleon.
From this moment the policy of the English
| Cabinet was as friendly to France as it had
ever been. And when, at later time, the
Wings returned to power, with Lord John Rus
sci as Secretaryot State, and Lord Palmer
ston as Secretary Of the Interior, the policy OF
the new Cabinet though less amicable, did not
show any appreciable motive Of rancor or en-
nifty against the new leader Of the destinies of
France.
We shall continue this review of European
affairs in future numbers.
THE STATUE OF THE DYING
GLADIATOR.
From billiards. Six Months in Italy we take the
following description of the celebrated antique
statue of g The Dying Gladiator" in the Capitoline
Museum at Rome, Italy, an accurate copy Of
which, in marble, by J. Colt, a distinguished scup
tor, is now on exhibition at Morrisons building
Al street, near Pennsylvania avenue,
g The last room into which The traveller passes
contains several works OF the highest excellence,
and, above all, the Dying Gladiator, A statue Of
such surprising merit as this should have room
by ITSELF for in its presence is difficult 10 look al
anything else. II is now admitted by the best au-
thorities that the statue is dying Gaul and not
gladiator; but 10 the popular mind the old appea-
ton will cling forever. Byron's immortal stanza-
exquisite creation of genius, equal TO the theme
which Inspired its alone enough TO fasten il
there with associations that can never be severed
But there is no work OF art respecting which such
discussions are more intrusive or unnecessary.
We do not ask whom it represents, because we
are so wholly absorbed with what il is. Its power
and pathos are independent Of time, place, and
sonditon. M sd IS NJ 81 e
"What is il we see before us? A man dying
nothing more. Il is that which happens TO all
men--the only inevitable fact in every life. Nor
is il a marked OF conspicuous person. He is not
a hero, or poet, or an orator. The form Is not
IDEAL the head is not intellectual the lips not
refined. The shadows Of great thoughts never
darkened that commonplace brow, nor did the
touch of beauty ever thrill along those coarse
fbres. But the charm and power Of the statue
consists in the amazing truth with which the two
great elements Of humanity and mortality are de-
lineated. Avgorous animal life is Suddenly stop
ped be the touch of death, and the sensible warm
motion becomes kneaded cod' before
eyes. The artist gives us all the pathos and the
tragedy ofdeath without IFS ghastness and horror.
The dying manis no longer trivial person. stain
ed with coarse employments and vulgar associa-
tons, but immortal spirit breaking through its
walls of clay. The rags of life fall away from him,
and he puts on the dignity and grandeur OF DEATH
"We feel ourselves in the presence of that
Awful Power before whose icy sceptre all mortal
distinctions are levelled. Life and death are all
that for time we can admit into the mind.
aAs the seniment and expression Of this statue
are admirable, so is the Mechanical execution OF
.he highest merit The skill with which the phys
ical effects fdeath uponthe human frame are rep
resented is most strongly felt by those whose pro-
fessional training and experience make their judg
ment upon such points the most valuable me
hair short and crisp and matted by the sweat ofthe
death struggle, the wrlnkled brow, the dropping
lid, the lips disiended with pair, and the sinking
tient eye and skilful hand No statue was ever
more marked by simplicity, or more Tree rom any
thing ike extravaganza or carlcaiure. such q
subject presents many temptations, and unless
an artists taste and Judgment were equal 10 &c
MUS he would hardly nave escaped iailing INTO me
laying such weight upon our sympalhies thai they
would have given way under the pressure. But
here nothing mas oeea zone 70, elect NO vulgar
- a,'l sIo any, 1eA''
ne r;ahi ~ ;s,ds ~ syorIs o a., .,h;.c-
,,.i,, anJ 10, oh;sc; veIv-sbas i eyclos;vely Inv
| the effect which they leave upon the individual
who ooptemplates them--l should put this work
AT The head OF all the statues in the world To me,
none others Were expressive, 90 significant, so
.u J ~ M ,v ,vorr 20 rsvsaI son,s,b;na
.s;ah hssor. h.j he.n ,n.noten 40 ayaLenn
Il DCh n
soii,srv figure. isren in and eomnrebepded nv the
eve a. single glance n involves broad circle OF
| eyner;enae and suggestion. 80.
fSnch i ave. ,bs case with The creations which
ivas us when !, ~ H. IN in he ,ray of,rn,h
nj d;ssds;n;rs The morh;d he lan,a.,;s and The
~ro,.sane aiyss shane 10 Our common visions
snJ resi;,y 20 he uniyerssl dream, !" -
mp -
lbs s'aine ~ lHolssoluoy associated WIN ny
rons immortal slanza,. WHICH, lam'lEaF as y Is
-
of husbsnd and father on which il is founded.
"From lineslik these, which everybody reads
and everybody emembers-espeeialyw when con
.nected with objects Of permanent and general in
terest-Awc learn how much we owe TO the poets.
| Who that has ever seen snow falling upon water
has NOT had distinct pleasure In The sight from
the fine illustration of the brief duration Of sensual
| pleasures which Burns has drewn from it2
IKE the snow,lalI 10 ,ne river
/ .who no, h.s .ver bsh.id +. sc.,,., ran,e IN
| - .n,,,,,,n ,,oods hss No, ri, ,h., new charm
.,a. EVEN 20 I, H. The iovev mace which !, sng.
ges,sd 10 Brvapt3 - fTNe0 T'''s'
s'e''s - - g