SCULPTOR. 303 



retains in considerable measure its primitive character as an 

 ancillary to ancestor-worship. A carved marble effigy in a 

 Christian church differs but little in meaning from a carved 

 wooden figure of a dead man placed on his grave in savage 

 and semi-civilized societies. In either case the having an 

 image made, and the subsequent conduct in presence of it, 

 imply the same prompting sentiment : there is always more 

 or less of awe or respect. Moreover, sculpture continues to 

 be largely employed for the expression of this sentiment, 

 not in churches only, but in houses. The preservation of a 

 bust by descendants commonly implies recognition of worth 

 in the original, and is thus in a faint way an act of worth- 

 ship. 



Hence only that kind of sculpture which is not devoted to 

 the representation of deceased persons, either in public or 

 private edifices, or in open places, can be considered as ab 

 solutely secularized. One who takes his subjects from 

 ancient myth, or history, or from the life around, may be 

 considered as alone the sculptor who has lost all trace of the 

 original priestly character. 



With recognition of the completed process of differentia 

 tion there is nothing here to join respecting the process of in 

 tegration. Sculptors have not yet become sufficiently 

 numerous to form entirely independent unions. Such com 

 bination as has arisen among them we shall have to recognize 

 in the next chapter, in association with the combinations of 

 painters. 



