features of some men is needful. We should be thankful for that black
frown of Nero, for the bald pate of Scipio, for those queer eyes of
Marius, and for the long neck of Cicero, as seen in the newly discovered
bust. These are the signs of the men, and explain them.

Mr. Powers has succeeded in reporting more accurately than any other
recent artist the physical facts of the individual face. From one of his
marbles we derive definite ideas of the human character of its subject,
what its ambition is, and what its weakness; what have been its loves
and its antipathies, its struggles and its victories, its joys and its
sorrows, may be revealed to him who has learned what the human face
becomes under the influence of these incessant forces. No mere _talent_
can accomplish such results. Behind all that kind of strength lies
the fact of peculiar sympathies, relating the artist to this phase of
Art-representation; and within certain limits, which should have been
undebatable, his rule was absolute.

The great mistake with Mr. Powers has been his oversight regarding these
limits. There has been debate, hesitation, and a continual wandering
away from the duties of his errand. Years have been devoted to those
ghosts of sculpture, allegorical figures; other years wasted in the
elaboration of machinery. Not that his ideal statues are worthless, or
fall short of great beauty and exquisite delicacy; not that his skill
as a mechanician is other than great. But the age cannot afford these
things, nor can the sculptor afford them. A year is too great a sum to
give for a statue of California. Better than that, the several portraits
of valued men which might have been acquired,--one bust, even, like
those which surprised and compelled the reverence of Thorwaldsen. Better
the perfected ability which would have given his country the Webster he
should and might have made than a hundred "Americas."