The artistic cowardice of the English is perhaps the clue to the mystery. Your Englishman is always afraid to commit himself to criticism without the refuge of a _tu quoque_. He is covered dead, just as he is covered living, with the "correct thing." A respectable stock-in-trade is proffered him by the insinuating shopman, to whom it is our custom to go. He is told this is selling well, or that is much admired. Heaven defend that he should admire on his own account! He orders the stock urn or the stock slab because it is large and sufficiently expensive for his means and sorrow, and because he knows of nothing better. So we mourn as the stonemason decrees, or after the example and pattern of the Smiths next door. But some day it will dawn upon us that a little thought and a search after beauty are far more becoming than an order and a cheque to the nearest advertising tradesman. Or it may be we shall conclude that the anonymous peace of a grassy mould is better than his commercial brutalities, and so there will be an end of him.
One may go from end to end of this cemetery and find scarcely anything beautiful, appropriate, or tender. A lion, ill done, and yet to some degree impressive, lies complacently above a menagerie keeper, and near this is a tomb of some imagination, with reliefs of the life of Christ. In one place a grotesque horse, with a head disproportionately vast, is to be seen. Perhaps among all these monuments the one to Mrs. Blake is the most pleasing. It is a simply and quaintly executed kneeling figure, with a certain quiet and pathetic reverence of pose that is strangely restful against the serried vulgarity around it.
But the tradesman ghoul will not leave us; he follows us up and down, indecently clamouring his name and address, and at last turns our meditation to despair. Certain stock devices become as painful as popular autotypes. There is the lily broken on its stalk; we meet it here on a cross and there on an obelisk, presently on the pedestal of an urn. There is the hand pointing upward, here balanced on the top of an obelisk and there upon a cross. The white-robed angel, free from the remotest shadow of expression, meets us again and again. "All this is mine," says the tradesman ghoul. "Behold the names of me--Slap & Dash here, the Ugliness Company there, and this the work of the Cheap and Elegant Funeral Association. This is where we slew the art of sculpture. These are our trophies that sculpture is no more. All this marble might have been beautiful, all this sorrow might have been expressive, had it not been for us. See, this is our border, No. A 5, and our pedestal No. E, and our second quality urn, along of a nice appropriate text--a pretty combination and a cheap one. Or we can do it you better in border A 3, and pedestal C, and a larger urn or a hangel----"