DOI Page / Citation link:
https://doi.org/10.11588/diglit.1399#0098
PLATE 231.
THE SLEEP OF SORROW AND THE DREAM OF JOY,
BY E. MONTI.
1~N the accompanying illustration we have endeavoured to render as nearly as possible the grace
-*- and lightness of the remarkable composition contributed by the eminent sculptor Raffaelle
Monti to the Exhibition of 1862. The idea is characterized by much sentiment, and may be
regarded both from an individual and political point of view: in the first case, as the springing up
of the soul to light and bliss, after prolonged suffering from grief and spiritual darkness; or as the
resurrection of Italy after years of prolonged trials, which stamped on her brow the impress almost
of death itself. In this work Mr. Monti has evinced all that poetical feeling and depth of sentiment
which marks his style. His other statue, "A Georgian Lady of the Harem," will be remembered
for the peculiar effect of light which was cleverly thrown upon it.
Eaffaelle Monti was born at Milan in the year 1818, and was instructed in his art by his
father, Gaetano Monti, a sculptor of Ravenna. He completed his studies in the Fine Art Academy
at Milan, where he soon obtained the highest prize, a gold medal, for his group of "Alexander
taming Bucephalus." Another group of "Ajax defending the Body of Patroclus," executed in his
twentieth year, procured him an invitation to Vienna, where he was extensively engaged for some
years. In 1842 he returned to Milan, and in 1847 visited England for the first time, bringing
with him, among other works, the statue of " The Veiled Vestal," executed for the Duke of
Devonshire. This statue was exhibited in London, and procured for the sculptor several other
commissions. He returned, however, to his native city, and took an active part in the national
movement of 1848. Compelled, in consequence, to leave Milan, he fixed on London as his place of
residence, and met with much patronage. At the Great Exhibition of 1851 he took a conspicuous
place among the best sculptors of the day; and his works, "The Veiled Vestal," "Innocence,"
"Angelica and Medora," "Two Girls," "A Circassian Slave," and other smaller pieces, formed
one of the attractive features to the public at the Exhibition. Mr. Monti was subsequently employed
to produce a great number of statues, fountains, &c, for the Crystal Palace at Sydenham, for
which he executed a colossal allegorical statue of Italy; life-size statues of "Truth," "Eve;"
six colossal figures on the upper terrace, and the two fine fountains in the north nave.
Mrs. Jameson, in her Catalogue of Modern Sculpture in that building, notices these fountains
as being in a very large, noble, and poetical style; she characterizes the "Eve" as a work full
of poetical feeling and profound sentiment, most admirably executed, and she makes the following-
remarks on the statue of "Truth:"—"The dexterity and elegance with which the effect of
transparency is worked in the solid marble might be captivating and surprising as a novelty " (in
allusion to the Veiled Vestal), "but will not bear repetition; for all attempts at mere literal,
illusive imitation is-beneath the dignity of sculpture. Here the imitation of transparent white
muslin has the same effect to the eye of a person of taste and feeling that a pun would have
in a passage of serious poetry—it amuses where we ought not to be amused. The imitation of
transparent drapery in marble was carried to perfection, if not invented, by Antonio Corradini,
a Venetian, about the year 1730; he devoted himself especially to this attractive but tasteless
illusion. His statue of a dead Redeemer, in the chapel of San Severino, at Naples, is in this
respect wonderful. The figure lies covered wholly by a transparent veil, through which the whole
outline and features are visible and defined; but to amazing technical skill this statue adds a
mystical pathos and a grace in the conception which adds to the effect of the surprise; when,
however, the manner of executing this is understood, the wonder ceases. No one better than
Monti (himself a most accomplished sculptor) knows the little value to be attached to this kind
of excellence." We may add that San Martino, another Italian sculptor of the 18th century,
affected this practice, which certainly is at variance with the higher characteristics of art; Monti,
however, seeks to develop the romantic, picturesque, and sentimental style in his works, which
are always characterized by much refinement of feeling, cleverness in composition, and great
technical excellence.
THE SLEEP OF SORROW AND THE DREAM OF JOY,
BY E. MONTI.
1~N the accompanying illustration we have endeavoured to render as nearly as possible the grace
-*- and lightness of the remarkable composition contributed by the eminent sculptor Raffaelle
Monti to the Exhibition of 1862. The idea is characterized by much sentiment, and may be
regarded both from an individual and political point of view: in the first case, as the springing up
of the soul to light and bliss, after prolonged suffering from grief and spiritual darkness; or as the
resurrection of Italy after years of prolonged trials, which stamped on her brow the impress almost
of death itself. In this work Mr. Monti has evinced all that poetical feeling and depth of sentiment
which marks his style. His other statue, "A Georgian Lady of the Harem," will be remembered
for the peculiar effect of light which was cleverly thrown upon it.
Eaffaelle Monti was born at Milan in the year 1818, and was instructed in his art by his
father, Gaetano Monti, a sculptor of Ravenna. He completed his studies in the Fine Art Academy
at Milan, where he soon obtained the highest prize, a gold medal, for his group of "Alexander
taming Bucephalus." Another group of "Ajax defending the Body of Patroclus," executed in his
twentieth year, procured him an invitation to Vienna, where he was extensively engaged for some
years. In 1842 he returned to Milan, and in 1847 visited England for the first time, bringing
with him, among other works, the statue of " The Veiled Vestal," executed for the Duke of
Devonshire. This statue was exhibited in London, and procured for the sculptor several other
commissions. He returned, however, to his native city, and took an active part in the national
movement of 1848. Compelled, in consequence, to leave Milan, he fixed on London as his place of
residence, and met with much patronage. At the Great Exhibition of 1851 he took a conspicuous
place among the best sculptors of the day; and his works, "The Veiled Vestal," "Innocence,"
"Angelica and Medora," "Two Girls," "A Circassian Slave," and other smaller pieces, formed
one of the attractive features to the public at the Exhibition. Mr. Monti was subsequently employed
to produce a great number of statues, fountains, &c, for the Crystal Palace at Sydenham, for
which he executed a colossal allegorical statue of Italy; life-size statues of "Truth," "Eve;"
six colossal figures on the upper terrace, and the two fine fountains in the north nave.
Mrs. Jameson, in her Catalogue of Modern Sculpture in that building, notices these fountains
as being in a very large, noble, and poetical style; she characterizes the "Eve" as a work full
of poetical feeling and profound sentiment, most admirably executed, and she makes the following-
remarks on the statue of "Truth:"—"The dexterity and elegance with which the effect of
transparency is worked in the solid marble might be captivating and surprising as a novelty " (in
allusion to the Veiled Vestal), "but will not bear repetition; for all attempts at mere literal,
illusive imitation is-beneath the dignity of sculpture. Here the imitation of transparent white
muslin has the same effect to the eye of a person of taste and feeling that a pun would have
in a passage of serious poetry—it amuses where we ought not to be amused. The imitation of
transparent drapery in marble was carried to perfection, if not invented, by Antonio Corradini,
a Venetian, about the year 1730; he devoted himself especially to this attractive but tasteless
illusion. His statue of a dead Redeemer, in the chapel of San Severino, at Naples, is in this
respect wonderful. The figure lies covered wholly by a transparent veil, through which the whole
outline and features are visible and defined; but to amazing technical skill this statue adds a
mystical pathos and a grace in the conception which adds to the effect of the surprise; when,
however, the manner of executing this is understood, the wonder ceases. No one better than
Monti (himself a most accomplished sculptor) knows the little value to be attached to this kind
of excellence." We may add that San Martino, another Italian sculptor of the 18th century,
affected this practice, which certainly is at variance with the higher characteristics of art; Monti,
however, seeks to develop the romantic, picturesque, and sentimental style in his works, which
are always characterized by much refinement of feeling, cleverness in composition, and great
technical excellence.