"i must look more closely at that dead monk before we leave the church," remarked the sculptor."in the study of my art, i have gained many a hint from the dead which the living could never have given me.""i can well imagine it," answered miriam."one clay image is readily copied from another.but let us first see guido's picture.the light is favorable now."accordingly, they turned into the first chapel on the right hand, as you enter the nave; and there they beheld,--not the picture, indeed,--but a closely drawn curtain.the churchmen of italy make no scruple of sacrificing the very purpose for which a work of sacred art has been d; that of opening the way; for religious sentiment through the quickmedium of sight, by bringing angels, saints, and martyrs down visibly upon earth; of sacrificing this high purpose, and, for aught they know, the welfare of many souls along with it, to the hope of a paltry fee.every work by an artist of celebrity is hidden behind a veil, and seldom revealed, except to protestants, who scorn it as an object of devotion, and value it only for its artistic merit.
the sacristan was quickly found, however, and lost no time in disclosing the youthful archangel, setting his divine foot on the head of his fallen adversary.it was an image of that greatest of future events, which we hope for so ardently, at least, while we are young,--but find so very long in coming, the triumph of goodness over the evil principle.