Story opens his essay on Michelangelo with a dramatic tableau: the overthrow of pagan religion as a deathblow to pagan art, with the cry 'Pan, great Pan is dead' echoing through the ancient realm. This vivid, almost theatrical setting establishes a tone of grand historical narrative, where art movements are personified and their decline rendered as a slow, mortal disease. The prose is ornate and declarative, characteristic of late-nineteenth-century criticism.

The excerpts reveal a writer deeply engaged with material processes—such as the technical challenges of plaster casting—and with the philosophical underpinnings of artistic creation. Story moves from broad historical claims to minute practical details, a pattern that recurs across the volume.

From Pagan Ruin to Renaissance Rebirth

The opening of 'Michel Angelo' frames Christian triumph as artistic catastrophe: the gods shudder, nymphs flee, and art finds only a 'beggarly refuge' in monasteries. This sweeping claim sets up Michelangelo as a figure who must resurrect sculpture from near-total atrophy. Story’s language is emphatic—'deathblow,' 'mortal disease,' 'utter atrophy'—and he personifies art as a struggling body. Readers should note how this rhetorical strategy establishes stakes for the entire essay. The excerpt does not reveal how Story develops Michelangelo’s biography or works, but the tone suggests a narrative of heroic recovery.

The Practical Art of Ancient Casting

In 'The Art of Casting in Plaster,' Story shifts from grand narrative to technical archaeology. He argues that the ancients did not use plaster for casting, based on the absence of plaster remains at Pompeii and the difficulty of the process. His reasoning is methodical: he describes the steps of modern casting—oiling, sectioning, pouring, chisel removal—and contrasts them with the simpler use of clay. He cites Theophrastus on gypsum’s ability to receive impressions, but dismisses this as insufficient evidence for full casting. The tone is skeptical ('Credat Judæus!'), and the argument relies on practical experience rather than textual authority alone.

A Dialogue with Marcus Aurelius

The essay 'A Conversation with Marcus Aurelius' is listed in the contents but not excerpted. Based on the title and Story’s method elsewhere, it likely blends historical reconstruction with philosophical dialogue. Story, a sculptor and writer who lived in Rome, may draw on his own experience to imagine the emperor’s thoughts on art and duty. Readers should approach this piece as a speculative essay rather than a scholarly biography, noting how Story uses the dialogue form to explore ideas about stoicism, leadership, and creativity. Without the full text, the essay’s argument remains inferred.

Stage Distortions in Macbeth

'Distortions of the English Stage as Instanced in “Macbeth”' applies Story’s critical eye to theatrical performance. The title suggests a focus on how stage productions deviate from Shakespeare’s text, likely through cuts, additions, or altered emphases. Story’s background as a sculptor may inform his attention to visual and spatial elements. The essay probably examines specific productions or traditions, arguing for fidelity to the original. Without excerpts, the precise claims are unknown, but the pattern of close observation and technical critique visible in other essays likely continues here.

Story’s essays reward readers who enjoy detailed argumentation and a personal, sometimes opinionated voice. The volume moves between art history, technical analysis, and dramatic criticism, unified by Story’s belief that art is a living practice requiring both historical knowledge and practical skill. For a first reading, focus on how Story builds his cases: he often starts with a bold claim, then supports it with specific evidence and occasional skepticism. The excerpts provide a clear sense of his method without revealing the full arc of each essay.