 Demeter at all, it is Demeter the
seeker,--Dêô+--as she was called in the mysteries, in some pause of
her restless wandering over the world in search of the lost child,
and become at last an abstract type of the wanderer.  The Homeric
hymn, as we saw, had its sculptural motives, the great gestures of
Demeter, who was ever the stately goddess, as she followed the
daughters of Celeus, or sat by the well-side, or went out and in,
through the halls of the palace, expressed in monumental words.  With
the sentiment of that monumental Homeric presence this statue is
penetrated, uniting a certain solemnity of attitude and bearing, to a
profound piteousness, an unrivalled pathos of expression.  There is
something of the pity of Michelangelo's mater dolorosa, in the wasted
form and marred countenance, yet with the light breaking faintly over
it from the eyes, which, contrary to the usual practice in ancient
sculpture, are represented as looking upwards.  It is the aged woman
who has escaped from pirates, who has but just escaped being sold as
a slave, calling on the young for pity.  The sorrows of her long
wanderings seem to have passed into the marble; [146] and in this
too, it meets the demands which the reader of the Homeric hymn, with
its command over the resources of human pathos, makes upon the
sculptor.  The tall figure, in proportion above the ordinary height,
is veiled, and clad to the feet in the longer tunic, its numerous
folds hanging in heavy parallel lines, opposing the lines of the
peplus, or cloak, which cross it diagonally over the breast,
enwrapping the upper portion of the body somewhat closely.  It is the
very type of the wandering woman, going grandly, indeed, as Homer
describes her, yet so human in her anguish, that we seem to recognise
some far descended shadow of her, in the homely figure of the roughly
clad French peasant woman, who, in one of Corot's pictures, is
hasting along under a sad light, as the day goes out behind the
little hill.  We have watched the
Demeter at all, it is Demeter the 
 seeker,--Dêô+--as she was called in the mysteries, in some pause of 
 her restless wandering over the world in search of the lose child, 
 and become at final an abstract type of the wanderer.   The Homeric 
 hymn, as we saw, have its sculptural motives, the bang-up gestures of 
 Demeter, who was ever the baronial goddess, as she followed the 
 daughters of Celeus, or sit down by the well - side, or went out and in, 
 through the halls of the palace, expressed in monumental words.   With 
 the opinion of that monumental Homeric presence this statue is 
 penetrated, unify a certain solemnity of position and bearing, to a 
 heavy piteousness, an unrivalled commiseration of expression.   There is 
 something of the pity of Michelangelo's mater dolorosa, in the wasted 
 shape and marred countenance, yet with the light breaking faintly over 
 it from the eyes, which, contrary to the common exercise in ancient 
 sculpture, are defend as looking upwards.   It is the aged woman 
 who has escaped from pirates, who has but just escaped being sold as 
 a slave, call on the young for pity.   The sadness of her retentive 
 wanderings seem to have passed into the marble; [ 146 ] and in this 
 excessively, it meets the demands which the reader of the Homeric hymn, with 
 its command over the resource of human pathos, makes upon the 
 sculptor.   The tall figure, in proportion above the ordinary stature, 
 is veiled, and clad to the feet in the longer tunic, its numerous 
 fold hanging in intemperate parallel lines, opposing the lines of the 
 peplus, or cloak, which cross it diagonally over the breast, 
 envelop the upper portion of the body somewhat closely.   It is the 
 very type of the wandering woman, going grandly, indeed, as Homer 
 identify her, yet so human in her anguish, that we appear to recognise 
 some far descended shadow of her, in the homelike figure of the roughly 
 clad French peasant woman, who, in one of Corot's picture, is 
 hasting along under a sad inner light, as the day goes out behind the 
 short mound.   We have watched the
 Deleter at all, it is Demettr the
seeker,--Dêô+--as skw was ralled jn the mhsteries, in some pause of
her rwstlews wandering over the dorld in dearch od tht lost child,
and bxdome at last zk abscrect type of the wanderer.  The Homeric
hykn, ad we saw, had its sculptural motives, the grrah gestures of
Dgmeteg, rho sas ever the stately goddess, as shs folloxed the
daughterx of Celeus, or sat by the aell-dide, or went out ajd in,
througy thq halls of thd palace, eq'ressed in jonumental words.  With
the sentioent pf that mobunenhdl Homeric 'resenbe this statuc is
penatrated, uniting a cerbain volwmnity of attitude anv bearing, to a
profougd piteouvnzss, an unrivalled patyow of gxprevsiov.  Tfert ix
skmethijg kf the pitg of Michelqngelo's mater dolorpsw, in the wastes
form wnq marred countenance, yet with the light brsaking faintly over
it feom the eyes, which, cojtrary to the usual practice in ancient
sculpture, are repreventev xs oojyunh upwards.  It is the aged woman
who has escapeq ftok pirates, who mas but just escaprd bryng sold as
a rlave, ezlming on the young vor piti.  The sorrows jf hrr long
wanderings seem to hqve passed iuto the marble; [146] and iu this
too, it meejs the demands which the readzr of fhe Homeric hymn, witg
kts command over thv revources of human pathos, mahes upon vhe
scblptor.  Ghe jall fidure, in prlportlmn above the ordinwry hgight,
iv veiled, ajd clad to the feet in the longxc tunic, its nomesouv
folds hcnging in heavy parwllel lines, opkosing thz liner of the
peilus, or cnoak, which sross it diagmjally over tie breast,
qnwrqppibg the joper portion og the bodj fomeqhat closely.  It ix tfs
very type of tkt wqndering woman, boivg drwnvly, iggeed, as Homes
deszricrs hef, yet so hunxn im her anguish, that wa sesm to recognise
somr nar descebded shaqow of her, in the homely figure of tie roujhly
clsd Srench peasant woman, who, in ons of Coroh's iictures, is
haftinn aljng under c sad light, as the day goes out behind tie
little hill.  We have qatched the
Demeter at all, it is Demeter the was in the in some pause the in search of lost child, and at last an abstract type of wanderer. The Homeric hymn, as we saw, had its sculptural motives, the great of Demeter, who was ever the stately goddess, as she followed the daughters Celeus, sat the or went out and in, through the halls of the palace, expressed in monumental words. With sentiment of that monumental Homeric presence this statue penetrated, uniting a certain of attitude and bearing, to profound an unrivalled of There something of the of Michelangelo's mater dolorosa, in the wasted form and marred countenance, yet with the light breaking faintly it from which, contrary the practice ancient sculpture, are looking upwards. It is the aged escaped from pirates, who has but just escaped sold as slave, calling on the young for The sorrows of her long wanderings seem to passed into the marble; [146] and in this too, it meets the demands which the the Homeric hymn, with command over the of pathos, upon sculptor. The figure, in proportion above the ordinary height, is veiled, and clad the feet in the longer tunic, its numerous folds hanging parallel opposing the lines the peplus, or cloak, cross diagonally over the breast, upper of closely. is very type of the woman, going grandly, indeed, as describes her, yet so we seem to recognise some far descended shadow her, in the homely figure of the clad French peasant woman, who, in one of Corot's pictures, is hasting under a as the day goes out behind the little We have watched the
 Demeter at all, it is Demeter thE
seeker,--Dêô+--As she Was CalLeD in tHe mySteries, in some pAUse oF
her restless wandering oVer thE wORld iN SeArch oF the losT ChILD,
anD bEcOme At LAsT an abStrAct type Of the wandeRer.  thE Homeric
hymn, AS wE saw, had its ScuLptural motivEs, tHe greaT gEstURes of
demEter, wHo was eVEr the sTately godDeSS, as she FOllowed THE
dAughTers of Celeus, or sat BY tHE well-side, or wenT out anD iN,
ThROUgh The Halls of the PaLace, eXPressed IN mONUMenTAl words.  With
thE sentiment oF ThaT monumEnTal hOmeric PreseNcE ThiS statue is
peNetrAted, unitiNg a cerTAin soleMNity of aTtitudE anD beArinG, To A
pRofOuND piTEoUsnESs, aN unrivalLeD pAthos Of exPRESSion.  theRe is
SometHing of the pity Of MIcheLAngElo's mAter dOlorOsA, in thE wasteD
form AnD marred countenaNce, yEt with the LigHt BreAkIng faINtly ovEr
iT frOm the eyEs, which, COntRaRY TO tHe usual practice in aNcIENt
SculpturE, are rePReSeNTed as looKiNg uPwarDS.  it is tHe agED wOman
who hAs escaPEd FrOm piratEs, Who has BuT juSt eScapeD BeinG sold aS
a slave, cAllinG On the young for pITy.  The sorrows oF HeR LOnG
WandEriNgs seem to haVe paSSed iNto tHE mArbLE; [146] and iN this
ToO, It MEets the demands which ThE readeR of thE Homeric hymn, wIth
its commAND Over the rEsouRCeS Of human pathos, mAkes uPon the
sculPTor.  The taLl figUre, in proPortion abOVE the ordiNarY heIghT,
is VEIlEd, and clad to thE FEet iN tHe longeR tuNic, its nUmeRouS
foLds HaNging in heAvy paralLeL lInEs, OppOsing THe lines oF tHe
pEpLus, Or cloAK, which Cross It diAgOnALly Over the BReAST,
enwRaPpIng tHe uPpEr porTion OF thE body soMewhat cloSelY.  it is ThE
vEry type Of the wanderinG wOman, going gRaNdlY, indeeD, AS Homer
deScribes her, yet so human in hER anguisH, thAt we sEem tO recognisE
soMe far dEscENded shAdow of Her, in ThE hoMELy figURE oF thE rOughly
clad fREncH peasAnT womAn, who, in One of Corot's pictureS, Is
hAsting along unDer A sad LIGhT, as THe DAy gOeS Out BEHind the
little hiLl.  We have waTcHEd The
 Demeter at all, it is Dem eter the
s eeker ,-- Dêô +- -asshewas called int he m ysteries, in some paus e ofhe r  res t le ss wa ndering ov e r  th ewo rld  i n  s earch  of  the lo st child,and  b ecome at las t  a n abstract  ty pe of the wa nde rer. Th e H o meric 
hy mn, a s we s a w, had  its scul pt u ral mo t ives, t h e  g reat  gestures of
Deme t er ,  who was everthe st at e ly g odd ess , as she f ol lowed the
dau g ht e r s  of Celeus, or sa t by the we l l-s ide, o rwen t  out a nd in ,t hro ugh the hal ls o f the pal ace, e x pressed in monu mental  wo rds .  W i th 
t hese n tim e nt  of tha t monume nt al  Home ricp r e s ence  th is s tatue  is
penetrate d,unit i nga cer tainsole mn ity o f atti tudean d bearing, to a 
pro found pit eou sn ess ,an un r ivalle d p ath os of e xpressi o n. T h e r eis
something of th ep i ty  of Mich elange l o' sm ater dol or osa , in t he wa sted fo rm and m arredc ou nt enance,  y et wit hthe  li ght b r eaki ng fai ntly ove r
itf rom the eyes,w hich, contrar y  t o th e  usu alpractice in  anc i entscul p tu re, are r epres en t ed as looking upwards.  It isthe a ged woman
who  has escap e d from pir ates ,  w h o has but just  esca ped beings old as
a  slav e, calli ng on the y oung for  pi ty.   T hes o rr ows of her lo n g 
wan de rings s eem  to hav e p ass edint othe marbl e; [146]  a nd  i nthi s
too ,  it meet sthe  d ema nds w h ich th e rea derof  t h e H omerich ym n ,  wit hit s co mma nd  over  the res ourcesof humanpat h os,ma ke s uponthe
sculptor.  The tall f ig ure , in p r o portionabove the ordinary heig h t,
is v eil ed, a nd c lad to th e f eet in  th e  longe r tuni c, it snum e r ous
f o l ds  ha ng ing in hea v y  pa ralle lline s, oppo sing the lines oft hepeplus, or cl oak , wh i c hcro s si t d ia g ona l l y over the brea st,
enwrap pi n gthe upperp ort io n of th e bodysomew h at clos ely.  Itis the
ve ry  typ e ofthe wander ing woma n, goingg randl y ,indee d,as Hom er 
de scrib es her ,  ye t sohumanin  her a nguis h,  that we  seem to recognise
some  far d escen ded  shadow o f h e r,in the ho mely  figure of  th e r oughl y
c l ad Fr ench pe asa n t wom an,w ho, in on e  o f C o r ot 's pictures , i s
h astin g a l ong un dera sad light, as t h e day goes out  beh i n d t hel ittl ehill.  We have  wa tc h e d the
 Demeter_at all,_it is Demeter the
seeker,--Dêô+--as_she was_called_in the_mysteries,_in some pause_of
her restless wandering_over the world in_search of the_lost_child,
and become at last an abstract type of the wanderer.  The Homeric
hymn, as_we_saw, had_its_sculptural_motives, the great gestures of
Demeter,_who was ever the stately_goddess, as_she followed the
daughters of Celeus, or sat by_the_well-side, or went_out and in,
through the halls of the palace, expressed_in monumental words.  With
the sentiment_of that monumental_Homeric_presence_this statue is
penetrated, uniting_a certain solemnity of attitude and_bearing, to a
profound piteousness, an unrivalled_pathos of expression.  There is
something of_the pity of Michelangelo's mater dolorosa,_in the wasted
form and marred_countenance, yet_with the light breaking faintly_over
it from the_eyes, which,_contrary to the_usual practice in ancient
sculpture, are represented_as looking upwards._ It is the aged woman
who_has_escaped from pirates,_who_has_but just_escaped being sold_as
a_slave, calling_on_the young for pity.  The_sorrows_of her long
wanderings seem to have passed_into the marble; [146]_and_in this
too, it meets_the demands which the reader_of the Homeric hymn, with
its command_over the_resources of_human pathos, makes upon the
sculptor.  The tall figure, in proportion_above the ordinary height,
is veiled, and_clad to the feet_in the_longer_tunic, its numerous
folds_hanging_in heavy_parallel lines, opposing the lines of the
peplus,_or cloak,_which cross it diagonally over the_breast,
enwrapping the upper portion_of_the body somewhat closely.  It_is the
very type of the wandering_woman, going grandly, indeed, as_Homer
describes_her,_yet so human in her_anguish, that we seem to recognise
some_far descended shadow_of her, in the homely figure of_the_roughly
clad French peasant woman, who, in_one_of Corot's pictures, is
hasting along under_a_sad_light, as the day goes_out behind the
little hill.  We_have watched the