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They did paint, and they did carve in marble, one historical scene, and
one only, (of any great historical consequence.) And what was it and why
did they choose it, particularly? It was the Rape of the Sabines, and
they chose it for the legs and busts.
I like to look at statues, however, and I like to look at pictures, also
-
-even of monks looking up in sacred ecstacy, and monks looking down in
meditation, and monks skirmishing for something to eat--and therefore I
drop ill nature to thank the papal government for so jealously guarding
and so industriously gathering up these things; and for permitting me, a
stranger and not an entirely friendly one, to roam at will and unmolested
among them, charging me nothing, and only requiring that I shall behave
myself simply as well as I ought to behave in any other man's house. I
thank the Holy Father right heartily, and I wish him long life and plenty
of happiness.
The Popes have long been the patrons and preservers of art, just as our
new, practical Republic is the encourager and upholder of mechanics. In
their Vatican is stored up all that is curious and beautiful in art; in
our Patent Office is hoarded all that is curious or useful in mechanics.
When a man invents a new style of horse-collar or discovers a new and
superior method of telegraphing, our government issues a patent to him
that is worth a fortune; when a man digs up an ancient statue in the
Campagna, the Pope gives him a fortune in gold coin. We can make
something of a guess at a man's character by the style of nose he carries
on his face. The Vatican and the Patent Office are governmental noses,
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