TheHistoryofAncientArt 10010130

T H E
HI STORY O F ANCIE NT AR T
A M O N G T H E GR E E K S .
H I S T O R Y O F AN C I EN T A RT
A MO N G TH E GREEKS .
W
3
T RA S LA T E D F RO M
T HE G E RMA N O F JO H N I N C KE L MAN N ,
G . H E N RY LO D GE .
LO N D O N
JO H N C H A PMA N ,
1 42 , ST RA N D .
M DC C C L .
A DVE R T I S E ME N T .
“M f fifi A M W ‘
ff
A m erica n translator o the o ll o wi ng work pub
f
THE
“
f
b l i sh e d it u nder the title of The History o A ncient
A rt although it forms but one part o the work s o
,
”
entitled by the author The general title was adopted

.
with a vie w as stated in the Preface of presenting to

, ,
the public at some fu ture time the remaining volumes

, ,
”
of the series B ut as it is uncertain when these v o
.
lumes will appear and as this one is complete in itself

, ,
f
it has been thought desirable to give the more specific
“
f
and accurate title o A History of A ncient A rt among
the Greeks to the E nglish edition o the work
”
.
A further deviation fro m th e A merican edition con

sists in the substitution in the present o n e o a Plate
, , f ,
f f
representing the eyes forehead and arrangement of the
, ,
f
hair o the Jupiter o O tricoli for the one representing
f
,
f
the head and bust o the Jupiter o Phidias (S ee N ote .
,
The Jupiter of O tricoli an engraving o the

f
page ,
forehead o which appears in the German edition was ,
f f
intended by W inckelmann to confir m his idea that the ,
head o the father and king o the gods has the

A D V E RT I SE M EN T
f
.
f
complete aspect of that o the lion the king of beasts , ,
n o t only in the large rou n d eyes in the fulness o ,
the prominent and a s it were swollen forehead and

, , , ,
f
in the nose but also in the hai r which hangs from his
, ,
f
’
head like the mane o a lion The A merican trans .
f f
lator however conceiving the Jupiter o Phidias supe
, ,
f
rior in breadth o outline nobleness o form and , ,
”
maj esty o expression adopted it in preference and , ,
portrayed the head face and bust A s an illustration of

, , .
W inckelmann s idea it is a l most useless for obviously

’
, , ,
f
the likeness to the lion in the eyes forehea d and , ,
f
arrangement o the hair would be scarcely perceptible ,
when the lower part o the face a n d the bust were
f f
added These considerations have caused the forehead
.
o the Jupiter o O tricoli as selected by W inckel m ann , ,
to be restored .
In preparing the Illustrations care has been taken

t o refer to th e original sources whence the A merican
copies were d rawn fro m which faithful tran scripts h ave

,
been made .
L O ND O N , 1 4 2, S trand ,
Jan . 1 2, 1 8 5 0 .
W
PR E F A C E .
f
f f
H EN I undertook eight years ago a translation of
,
W inckelmann s H i s tory ( A n ci en t A r t I had no

’
intention of ever o ering it to the public It was

,
a pleasant task at which I la bored silently — solely

,
f
for my own gratificatio n and instruction U rged h o w .
,
ever by the gentle solicitations o o n e whom I felt

,
—
f
unwilling to deny encour a ged besides by the gro w
, ,
f f
ing love o art i n this country stimulated as it has
,
f
been by a e w admirable works from the hands o
native artists — and impelled from my admiration o
,
this noble masterpiece by a d esire of making it more

,
f
generally useful in an E nglish version I at last de ,
t ermi n e d to take the responsibility o submitting o n e
f
volume to the judgment of the public I have chosen .
f
t h e second because it treats o Greek art the m onu
, ,
ments o which are far m ore numerous and interest

ing than those of a ny other nation and because it ,
X PR E F A C E .
presents a systematic exposition of the principles by

which the author supposed the Greek artists to have
f
been governed in the conception a n d conformation
f
o those works which still stand the noblest creations
o artistic genius and about which t h e students and
,
the lovers of beauty grace and m aj esty still gather

, ,
with admiration and reverence E steeming this v o

.
f
lume the most int e resting and important of the series ,
f
I have not hesitated to o er it first for the perusal
o t h e A merican public I have felt at greater liberty
.
to make the selection as there is no necessary c o n

,
f
n ec t i o n between this a n d the preceding volume It .
f
treats o Greek art alone : W inckelmann carries out
in it the plan with which he started o attem p ting ,
f
to furnish a system of ancient art in gen eral and
f
which he has complete d in the first volume in re er
, ,
ence to the art o the E gyptians Phoenicians E t ru s , ,
cans and other nations

,
.
A s far as it was i n my po wer I have endeavoured,
to render this translation a worthy tribute to the
f
memory of the illustrious author whose innate feel ,
ing o the beautiful and elevated and whose m a s ,
t e rl y application of their principles to the formative
f
arts eminently qualified hi m for his task His heart
,
.
fel t t h e beauty and grandeur o ancient art and his ,
f
understanding justified his emotions F rom his e a rly .
familiarity with the literature o Greece his mi n d had ,
acquired an antique cast ; and I can easily imagine ,

P R EF A C E . xi
f
that when he entered R ome for the first time and
, ,
gazed upo n the splendors o art that were gathered

together in that “ N iobe of nations he felt and ”
thought like a Greek standing in the O lympic S ta

,
d i um surrounded by the m atchless treasures of hi s

,
f
native land It is not then astonishing that with
.
, , , ,
all the eloquence o an earnest and devoted spirit he ,
f
f f
denounced the exaggeration t h e fantastic conceits , ,
and the a ectation o modern art and fearless l y and ,
singly held up to admiration the repose the sim ,
p l i c it
y the,
purity and the truth
, to nature of the
antique W inckelmann does not deal m erely in the
.
dates and the names of works and artists ; he is

more t h an an antiquarian ; he is the ph ilosophical
f
historian of ancient art He is not contented with
.
presenting t o view the most beautiful monuments o
f
human genius but he investigates and exhibits the
,
sources o their beauty the characteristics of their

,
f
style and the reasons why they still command the
,
admiration o the world even as they did i n those ,
distant ages whe n like Mine rva th ey came into

, ,
being radiant with wisdom and beauty

, O ur o w n .
feelings tell us that he is right when h e refers us ,
f
back to nature as the sure guaranty of their undying
ame He exposes the causes and principles of the
.
origin and cultivation of the arts—the circumstances
f
,
both external and intern a l which produced their fl our ,
i sh i ng state a n d those which b ro u gl t about their de

,
x fi PR E F A C E .
cline and fall — and also the causes to which ma y
f
f ff
f
reasonably be att ributed the points of resemblance
f
and di erence observable in the arts o di erent na
f
tions T he soundness o h is j udgment t h e acuteness
.
,
f
and originality o his observations and the copious ,
f
ness o his illustrations drawn from an intimate ,
familiarity with every extant monument o ancient

art and with everything i n ancient classic literature
,
which could elucidate the subj ect to which he had
f
devoted his life render him the most trustworthy
, ,
f
instructi ve and delightful o th e writers o n art I
f
, .
cannot but think that a careful study o W inckel

mann s H i s tory o A n c ien t A rt and a thoughtfu l
’
consideration of the great principles embodied in it ,
must necessarily tend to form a pure correct and , ,
elevated taste .
That I might render this volume more interesti n g
f
to t he general reader I have added a number of
,
engravings selected from dif erent sources to those

, ,
f f
contained in the German edition A mong them may be .
f
enumerated the h ead o the Jupiter o I h i dia s copied ’
,
f
‘
from a cast in the B oston A then aeu m ; a head o
B acc hus for ming the frontis p iece and the ear o a
, ,
Pancratiast fro m W inckel mann s M on u men ti A n t i cli i

,
’
f
I n ea i t i
’
S ilenus with B acchus in his a rms and a n ,
other figure o this demigod under a more common

a
This does not appear in the E nglish ed i tion . S ee A d ver
t i s e men t .
PR E F A C E .
form from the M us eo P ic C l emen ti n e ; heads of J u

,
-
f
piter S erapis Pluto and a Triton fro m the Mus eo
, , ,
f
C hi a ra mon t i and a head o Medusa from the G ems
—
f
o the M us eum F l oren t n
i n m books belonging to the
library o t h e B oston A then aeum fro m which I have ,
derived much valuable aid in the preparation of this

volume .
f
A lthough a s I have previously remarked this trea
, ,
tise on the drawing o the nude fi gure forms a volume

complete in itself still it is my intention to present
,
f
to the public at some future time the remaini n g
, ,
vol umes o the series .

CONTENT S .
H I STORY OF A NCI ENT ART A MON G THE GREEKS .
PA RT I .
C H A P T ER I .
GRO U N DS A N D CA U S E S O F T H E PROGRE SS A N D S U PE RI O RI T Y
O F GREEK A RT B EY O N D TH A T O F O TH E R NA TIO NS .
snow . m an
1 Introductio n
.
f
f
f
2 — 4 C auses o the Progre s s and S uperiority o G reek Ar t
.
3
3
f
5 —8 Influence o C limate in producing the A d mirable C on
.
f
formation o the Greeks
9 —1 2 Kind and Joyous D ispo s ition o t h e Greeks
f
.
1 3 C onstitution an d Government o the Greeks

. Re .
marks on their Freedom

1 4 S tatues as R ewards fo r E xcellence l n A thletic E x er
,
cises and for other M e ri t

,
f f
1 5 V ener ation for S tatues
.
1 6 1 7 Gaiety o the Greeks the S ource o Festivals a n d

, .
f f
Games
1 8 — 2 2 I n lue n ce o F reedom o n the M ind
.
2 3—27 R espe c t for A rtists

f
.
2 8 A pplication o A rt
.
2 9 30 S culptur e and Painting attai ne dM atu rity at D i e rent

, . f
f f
Pe riods
31 C auses o the Progress o Painting
.
32—34 A rt p racti s ed throughout Greece

.
C O N T EN T S .
C H A P T ER II .
THE ESSEN TIA L O F A RT .
Introductio n
The E ssential Point in A rt The D rawing of the .
N ude Figure based on B eauty

O f B eauty in general N egative Idea o it
Positive Idea of B eauty
. f
The S hape of B eauty 1 n W ork s of A rt Individual .
B eau ty
A n d especially of Y outh
Ideal B eauty for med from B eautiful Parts of I n di vi
d uals
E special ly oi E unuch s an d He rmaph ro dite s
D eno t e d by the Fo rm of B ea s ts
PA RT II .
C H A P T ER I .
THE CO N F ORMA T IO N AND BE A U TY O F THE MALE E I T IE S

D
A N D H E RO E S
f
.
if e rent tage f out f

C o n fo rm atio n outhful eities
o Y D
D S outh s o ul ale eities
Y in Y h M D
Satyrs Faun or The ou g atyr
s . Y n S s
onformation f
The lder atyrs
O ile toge he r with
S or S ni , t Pa n
The outh
Y an d po lo
C f a B eau o A l . O
The outh f
tif l e iu
u G the illa B orghese
n s in V
Y othe r eitie
o f e rcury D s . O M
f ar
O M s
O f He rcules
O f E un uchs in B ac chus
A n d, likewise i n the B earded B a cchu s
,
x viii C O N T EN T S .
S EC T
25 .
.
f
B eauty o Female M as ks
f
26 . C oncludin g R emarks on the B eauty of C o n ormation
generally con side red
C H A PT ER I I I .
THE E XPRE SSIO N OF BEA U TY IN FE AT URE S AND A CTIO N
f
.
1 .the E xp re s s io n o B eauty both in Feature s and

Of
A ction
2 The word E xp ressi o n explained and defined
.
3 P rinciple s of A rtists in E xp re ss io n
. S tillness and .
R epose abstractly
4 U nited with E xp ression of the Passions
.
5 Propriety in gene ral

.
f
6 Figu re s o Female D ance rs
.
7 E xpression in Figur e s of the D ivin ities

. O f R epose .
and S tillnes s
8 In Jupite r
.
9 In A pollo
.
1 0 Po s tur e of Figu r e s
. D ecorum in M ale Figure s
.
1 6 1 7 In W ome n o the He roic A ge

,
. f
1 1 — 1 5 E xpressio n in Figure s taken from the Heroic A ge
.
1 8 E xpre s sion in Pe rson s of Ra n k

.
1 9 —2 1 R oman E mperor s repre s en te d on their M onuments

.
like C itizen s
Gen eral Remark s upon the E xpression o Violent f
f
E motions
2 3 24 O f E xp ression i n most W o rks o M ode rn A r ti s ts
,
.
gene rally
2 5 A n cient and M ode rn A rtists c ompared in regar d t o
.
f
A ction
2 6 S upplementary R emarks on the C onceptions o
.
B eauty in the Work s o M ode rn A rtists

2 7 O pi n ion s of the U nskilled
.
f
2 8 S upe riority of M odern Painting
.
2 9 O f L iving S culpto rs in R ome

. Imitation of An tique
.
W orks
C O N T EN T S . xix
C H A P T ER IV .
PRO P O RTIO N —C OM P O S ITIO N
f
O f P ropo rtion gene ral ly
O pin ion of Vitruviu s in regard to the P roportion o
C olumn s
Proportio n
Propo rti
fthe Heads f
o Figure o
ons of the Human Figure more a curately c
dete rmined
Fault s in the P roportion of An cien t Figure s
f
P ropor t ion mo re accurately determined especiall y i n
f
regard to the L ength o the Foot in Refutation o
the E rron eous O bj ections o some Writers
,
,
f
Proportions of the Face dete rmi n ed fo r D esign e rs ,
O f C ompo s itio n
C H A P T ER V .
B EA U TY OF I N DI VI DU A L PA RTS OF TH E BO DY .
O f the B eauty
O f the Head
Face
, an d especiall y o f fi
of Indivi dual Parts of the B ody
the P ro le of the
The Forehead
The Hair on the Forehead generally
O f Hercule s
O f A lexande r the G reat
R efutation of the N ame given to a Head cut on a
Gem
f
E rroneou s R eason o thi s A ppellation
S imilarity of this Head to that o He rcules f
f
A R epresentation of Hercul es with O mphale
P roof o thi s S upposition from the D re s s o the f
L ydians
E x planation of a Painting on a Vas e of Te rra C otta .
O f Heads of Hyllus
f
The E yes The B eauty o th e ir Fo rm gen e rally
.
I n A rt of Ide al Head s
,
XX C O N T EN T S .
S EC T .
E ye s of D ivin itie s .
The E yelids
The E yebrows A ttribute s o their B eauty
.
O bj ectio n s to Joined E yeb rows

f
The M outh
The C hin
f
The E ars generally
E ars o A thlete s or Pan cratias ts
f
The Hair
D i feren c e in re s pect to the Hair between A ncient
, ,
f
and M odern A rti sts
O f the Hair o S atyrs or Faun s
f
Hair of A pollo and B acchus
f
Hair o Young Pers on s
C olo r o the Hai r
W
C H A P T ER VI .
BEA U TY OF THE E XTREMI TIES B RE AS T A N D ABDOME N

, , .
DR A I N G OF T H E F IGU RE S OF A N I MA L S
B Y GREE K M AS TE RS
f
.
O f the B eauty o the E xtremities

O f the Hands
O f the L egs Knees and Feet
, ,
The B reast of M ale F i gure s

O f Female F igures
f
N ipples on the Breas t o the A n tino u s e rro n eously ,
s o called i n the B elvede r e

,
The A bdomen
f
General Rem ark s in Refe re n ce t o this Treat i se
O f the D rawing o the Figures of A n imals by G reek
A rti s t s
H I ST O RY OF ANCIENT ART
A MON G T H E GR E E K S .
PA R T I .
4 H I ST O R Y OF A NC IE N T A RT
a nd f
in e x planations o the conceptions which it embo
f
dies bu t in inform ation as t o its essential ; an investi
,
a t i on i n which not merely facts are communicated o r

g
f
instru ction but also principles for practice The trea
, .
tise in w hich w e h ave discussed the art o the E gyp
f
tians the E tru s cans and other nations may enlarge o u r
, , ,
ideas and lead to correctness o judgment ; but this

,
f
o n Greek art will attempt to base them o n th e U nity
o Truth (the on e and the true ) as a standard of opinion ,
and a rule in execution .
3 T h e work will be divided into four parts

f
. The .
f
first which is introductory will treat o the grounds
, ,
f f
and causes of the advancement and superiority o Greek
f f
art over that o other nations ; the second o its essen ,
tial ; the third o its rise and fall ; and the fourth o
, ,
f
the mechanical part of art This chapter will close .
with a consideration o the paintings which have come

down to us from antiquity .
f f
4 The superiority which a rt acquired among the
.
Greeks is t o be ascribed partly to the in luence o cli
f
mate partly t o their constitution and government and
, ,
the habits o thinking which originated therefrom and , ,
f
in an e qual degree also to respect for the artist and
, ,
f
the use and application o art .
5 The influence o climate must vivify the seed

.
from which art is t o be produced ; and for this seed

Greece was the chosen soil The talent for philosophy
.
was believed by E picurus to be exclusively Greek ;

but this pr ee minence might be claimed more correctly
for art The Greeks acknowledged and prized the
.
f
happy clime under which they lived though it did n o t ,
extend to them the e nj oyment o a perennial spring ;

A MO N G TH E G R EE KS . 5
for o n the night when the revolt against the S partan

,
government broke o u t in Thebes it snowed so violently ,
f
as to confine e very on e t o the house Moderateness .
f f
o temperature constituted its superiority a n d is to be ,
regarded as o n e o the more remote causes o that ex
f
c e l l en c e which art attained among the Greeks The .
cli mate gave birth to a j oyousness o disposition ; this ,
in its turn invented games and festivals ; and both t o

,
gether fostered art which had already reached its

,
highest pinnacle at a period when th at which we call

L earning w a s utterly u nknown to the Greeks A t this .
f
time they attached a peculiar signification to the
f
honorable title o Author who was regarded with a cer
,
t ain degree o contempt ; and Plato makes S ocrates
f
sa ,y that distinguished men in Greek cities
, had not ,
d rawn up or left behind them any writings for fear o ,
being n umbered among the S ophists .
6 Much that might seem ideal t o us was natural

.
among them N ature after having passed step by step

.
,
through cold and heat established herself in Greece

, .
Here where a temperature prevails which is balanced

,
between winter and summer sh e chose her central ,
point ; and the nigher sh e approaches it the more ,
f
genial and joyous does sh e become and the more general ,
is her influence in producing conformations full o

spirit and wit and features strongl y marked and rich
,
in promise W here clouds and heavy mists rarely pre

.
vail but N ature acts in a serene and gladsome atmo

,
sphere such as E uripides describes the A thenian sh e

, ,
f
imparts an earlier maturity to the body ; sh e is distin
u i sh ed for vigorous development especially the
g o ,
female form ; and it is reasonable to suppose that in

6 H I ST O R Y OF AN C I EN T A RT
Greece s h e perfected man to the highest degree — for
f f
what the S chol iasts assert respecting the lon g heads o r
f
lo n g faces o the i n h a b i t a n t s o the island Of E ub oea i s
an absurd dream devised for the sole purpose o find ,
ing the derivation of the n am e of a people there ,
called M lcp w ves

f
'
a .
7 The Greeks were co n scious o this and as Poly

f , ,
.
bins s ays ; o their superiority generally to other nations ;

a
and amo n g no people has bea u t y been prized s o highly
as amon g them I n a very old ode — ascribed by an .
,
W
f
unpublished S choliast to S imonides o r E p ic ha rm u s the ,
first of the four w ishes o which Plato quotes only ,
three is to be healthy ; the second beautiful x a xbv

fi
, , ,
ev é a r ( v i w k A Ov ev é e i as accordi g to h
y a t o p y , n t e a a a , ,
S choliast above referred to the ords properly signify ; ,
the third to be rich ho n estly i S A w g wxo v rei v ; and

, ,
c
’
o
-
the fourth not m entioned by Plato to be gay and , ,
a
The priest o a youth ful Jupiter at ZEgae the p riest o the f , f
I s men i a n A pollo and h e who led the procession in honor of M e r
,
W
cury at Tanagra with a lamb on his shoulder were all young men
, , ,
who had gained the prize of beauty The city of E gesta in S icily .
, ,
f
erected to a certain Philip — who was a citizen not of that place , , ,
f
but of C rot on a — merely on account o his exceeding beauty a
, ,
tomb as t o a deified hero on which sacrifices were of ered to

, ,
f
him — . .
The enthusiasm with which the youth and beauty o the bloom
f f
of life were extolled by the Greeks might be shown from many
f
passages o the ancient writers especially Plato Instead o all , .
f
o them we will quote only a single passage from X enophon
,
f
( S ym p os ca
p 4 which
.
,
he puts into the mouth
. o C
, ri t o b u
lus — O p w m w i g Q é g p i i m 9 m
"
vi B M w g 26263 2 2 5
,
a v roc
'
so , ) s
/
0 0 or T n a a
-
'
s 0 7” 0 11 7 7 0
f
} “ I swear by al l the gods that I would not choose
ne w ; J uan
, , ,
t h e power o t h e [Persian ] king in preference to beauty .
G ER M ED . .
A MO N G TH E G R E E KS . 7
fi f
’
merry with one s friends 5d new} gbt xw v ;
’
this sig
,
7
n i c a t i on o the word in this place may by the way , ,
serve to elucidate H esyc hi u s .
8
. S ince therefore beauty was thus desired and
, ,
prized by the Greeks nothing was concealed which ,
could enhance it E very beautiful person sought to

.
become known to the whole nation by this e n dowment ,
f f
and especially to please the artists because they de ,
f
creed the prize O beauty ; and o r this very reaso n ,
f
they had an opportunity o seeing beauty daily B eauty .
was an excellence which led to fame ; or we find that
f
the Greek histories make mention of those wh o were
distinguished o r it S ome persons were even charac
.
t eriz e d by a particular n ame

f
borrowed from some ,
beautiful portion o the body th u s D emetrius Po l io r ,
cetes was named from the beauty of his eyelids xa p t

, ,
“
T o flxé ci a that is to on whose lids the Graces
j p os , s a
y ,
d w ell . It appears indeed to have been a belief that

, , ,
the procreation of beautifu l children might be p ro

f
f
moted by the distribution o prizes for beauty as there ,
is reason to infer from the contests o beauty which

were instituted in t h e remotest ages by C ypselus king ,
of A rcadia in the time of the Heraclid ae o n the banks

, ,
,
j
f
of the river A lpheus in E lis ; and also from the fact
,
that at t h e festival o t h e Phil esi an A pollo a prize for ,

,
f
the most exquisite kiss wa s conferred o n the youthful .
Its assignment was subject to the decision o a judge ,
f
as was probably also the case at Megara at the tomb
W
,
f f
o D iocles A t S parta and at L esbos in the temple
.
, ,
f
o Juno and among the citizens o Pa rrh a si a the
, ,
"
women contended for the prize o b ea u t v The regard .
C alled AM f T —
b
xa a re a . .
8 H I S T O R Y O F A N C I E N T A RT
for this quality was s o general and s o stro n g that as , ,
O ppian declares t h e S partan women placed in their

,
s leeping rooms an A pollo

-
o r B acchus or N ereus or , , ,
N arcissus o r Hyacinthus or C astor and Pollux in order

, , ,
f
that they might bear beautiful children If it is true .
,
ff
what D ian C hrysostom asserts o his o wn time and that
o Trajan that manly beauties had ceased to be an oh
,
j e c t o regard that people no lo

,
n ger kne w how to
f f
prize them then this very disregard m ay be considered
,
as o n e cause o the decline o art at that time .
9 . T o the same influence in an equal degree , ,
which the atmosphere and climate exercised upon the

physical conformation — which according to the t es
f , ,
among the Greeks o the present day and could i n f

t i mon y o all travellers is of superior excellence even
,
spire the i r artists i n form er times — are to be as ,
c ri b e d their kindly natures their gentle hearts and , ,
j oyous dispositions — qualities that contributed fully

,
f
a s much to the beautiful and lovely images which
they designed as nature did t o the production o the

,
f
form H istory convinces us that this wa s their charac
ter The humanity o the A thenians is as well kno w n
.
f
as their reputation in the arts Hence a poet says .
,
f
that A thens alone knows the feeli n g o pity ; for it
appears that from the times o the oldest wars of the
,
A rgives and Thebans the oppressed and persecuted ,
f
always found refuge and received help there This .
same genial disposition was the origi n o t h eatrical
f
—
representations and other games for the purpose as
, , ,
Pericles says o chasing sadness from life

, .
1 0 This i s more easily understood by contrasting

.
the Greeks with the R om ans The inhuman sa n .

A MO N G TH E G R E EKS . 9
f
u i na r
g y games and the agonizing
, and dying gladiators ,
in the amphitheatres o the latter even during the ,
f
period of their greatest refinement were the most ,
gratifying sources o amusement to the whole people .
The for mer 0 11 the contrary abhorred such cruelty ;

, ,
and when similar fearful games were about to be

,
f
introduced at C orinth some one Observed that they , ,
must throw down the altar o Mercy and Pity befor e ,
they could resolve to look upon such horrors The .
R omans however final l y succeeded in introducing

, ,
them even at A thens

f fi
.
1 1 The humanity o the Greeks and the erc en ess

.
of the R omans are moreover manifest from the mode

, ,
i n which they respectively conducted their wars W ith .
the latter it was almost imperative not only to c u t

, ,
down every human being in captured cities o n first ,
’
entering them but also to rip open the dogs bellies
, ,
and hack to pieces all other animals ; and this even

S cipio A fricanus the elder permitted when C arthage ,
was taken by storm W e obser ve the reverse of this

.
in the A thenians They had resolved in public as

.
,
f
s em b l to order the commander of their fl eet to put
y ,
f f
to death all the male population o Mitylene in the ,
f
island o L esbos because this city had thrown O i t s
,
allegiance and been the leader in the rebellion o the

,
whole island against their supremacy B ut scarcely .
had the order been despatched when they rep ented of ,
f
it declaring it to be an inh uman decree
, .
1 2 The contrast bet ween the dispositions o the

.
R omans and Greeks is especially manifested in the

wars of the latter The A ch aeans conducted them with
.
so much humanity that they agreed among themselves

,
10 H I S T O RY OF AN C I EN T A RT
neither to carry n o r to use weapons w hich might be

discharged from a distance or from an ambush but to , ,
fight hand to hand with the sword I n deed when the .

,
O lympic games occurred at which a l l Greece barmo ,
n i o u sl
y assembled to share in the general hilarity all ,
hostilities ceased and were forgotten for some d ays ,
even in times of the greatest exasperation In remoter .
f
and less civilized times during the obstinate Messenian
,
wars the S partans made a truce o forty days with the

,
Messenians on th e occurrence of the fes t ival celebrated

,
by the latter in honour of Hyacinthus This event took .
place in the second Messenian war which terminated ,
in the t w enty eight h O lympiad

-
.
1 3 The independe n ce of Greece is to be regarded

.
f
as the most prominent of the causes originating in ,
its constitution and government o its superiority in ,
f
art L iberty had always held her seat in this country
.
,
even near the throne o kings — whose rule was p a ,
ternal — before the increasing light of reason had

,
f
sho w n to its inhab i tants the blessings of entire freedom .
Thus Homer calls A gamemnon a shepherd o his

,
people to signify his love for them and his solicitude

, ,
for their welfare A lthough tyrants afterwards s u c

.
c ee d e d in establishing themselves still they did s o in ,
their o w n territories alone ; the nation as a whole , ,
f
never recognised a commo n ruler ; and prior to the ,
conquest o N axos by the A thenians no free state in ,
Greece had ever subjugated another Hence n o indi .

,
f
vidual possessed t h e sole prerogative of greatness in
f
his o w n country and the power o gaining immortality
,
for himself to the exclusion o all others .
1 4 A rt was indeed employed very early to pre

.
, , ,
12 H I ST ORY OF A N CIEN T A RT
f
disgrace o the R omans at the F urcul ae C a n di mas is ,
f
less known t o us by this victory than by the n ame o
f
the R u n ner which is also given to A chilles by
,
”
f
Homer N ot only were the statues o the vi ctors
.
f
formed in the likeness o those who m they represented ,
but even the images o the successful horses in the
f
chariot races were copied after life as we are par
-
t i c u l a rl y informed with respect to the horses o C imon ,
f
the A thenian .
.15 N ext to these causes the reverence or s t a

,
f
tues may be regarded as among the most prominent .
f
F o r it w a s maintained that the oldest images o
the deities — the artists o which were unknown— had
fallen from heaven A d m6 7 73; and that not only these
,
-
but every sacred statue whose sculptor was known

, ,
f
w a s filled with the godhead which it represented .
.1 6 B esides this superstitious b elief the gaiety o ,
f
the Greeks had also an influence upon the general
f
progress o art The artist even in the earliest ages
.
, ,
was occupied in executing statues o the victo rs in
f
the numerous games then celebrated which he was ,
f
required to make in t h e likeness o the individuals ,
and n o t above the siz e o life ; upon these points

the judges in the games E m a vo St/ca t strictly insisted
,
‘
t , .
.1 7 The portrait statue of a victor being erected

-
on the holiest spot in Greece and gazed at and ,
honored by the whole nation presented a powerful ,
f
inducement to excellence in its execution not less ,
than to e ort for its attainment N ever among any .

,
people from that time to the present has the artist

, ,
f
h a d such a n opportunity t o disti n guish himself ; to s a y
nothing o the statues in the temple s — not o the f
A M O N G TH E G R EE KS 13
f
.
gods only but al so o their priests and priestesses

°
,
.
The highest honor among the people was to be an

O lympic conqueror ; it was regarded as the height Of
felicity ; the city to which he belonged considered that
good fortune had befallen it He was therefore su p
-
.
ported fro m the public revenues and sumptuously ,
buried by his native city ; the demonstrations Of

respect were extended even to his children S tatues .
were erected to the conquerors in t h e grea t games ,
f
-
and to many of them in proportion to the number
o their victories — not o n ly on the spot where the
f
games were celebrated but also in their native land ;
,
since to S peak correctly the city O the victor not

, , ,
the victor himself was crowned His fello w—

f
, citizens .
,
consequently participated in the honor o his statue

, ,
f f
for which they paid and the artist had the whole
,
nation for judges o h i s work T O E u t h ym u s o .

,
L ocri in I taly — who with o n e exception had inva

, , ,
—
f
f
ri a bl
y con q uered at E lis the O lympic oracle indeed , ,
ordered sacrifices to be O ered even during his life ,
ff
a s well as after death Meritorious citizens also o b
.
f
t a i n e d the honor o a stat u e ; and D ionysius makes
f
m ention o the statues o those citizens Of C um ae in ,
Italy which A ristodemus — the tyrant o this city and

, ,
the friend Of Tarquin the Proud — caused to be re

moved from the temple in which they stood and thrown
into unclean places in the twenty second O lympiad
,
-
.
W
T o certain victors in t h e O lympic games at an early
d ate b efore the arts had yet attained to excellence
f
, ,
The inhabitant s o the L ipari islands e rected at D elphos , ,
a s man y s tatue s to A pollo a s they had take n vessels from the
E trus c an s (Pau s an lib 1 0 cap

. .
,
— .
, . .
14 H I S T O R Y OF AN C I EN T A RT
statues were erected long after their death to p erp e ,
tuate their memory : thus u pon o n e (E b o t a s w ho , ,
lived during the sixth O lympiad this honor was first ,
conferred in the eighteenth It is S ingular that any .
o u e d should have permi t ted his statue to be made
f
before Obtaining the victory ; yet it w a s done by one
individual such was his confidence o success A t
,
.
zE i u m in A chaia a hall or covered gallery was

g , , , ,
appropriated to a certain conqueror for whom it had ,
been built by his native city in which to practise hi s ,
f
gymnastic exercises .
f
It appears to me not to be out o place to make
m ention here O a beautiful but mutilated nude statue , ,
of a slinger which it is proved to be by the sling

, ,
with the stone in it resting o n the right thigh It, .
i s not easy to sa y o n what groun ds a statue had been

erected to such a person The poets have n o t rep re .
sented any h ero with a sling ; and slingers were "
very unusual among the Greek warriors ; w herever

found they were always rated lower than any other
,
fi
portion Of an army an d like the archers were light
, , ,
armed troops yvnv res It was s o likewise among

,
-
.
the R omans ; and whenever it was intended to inflict

a severe punishment on a soldier belonging to the
f
cavalry o r heavy armed infantry h e was degraded to
-
the slingers N o w as the statue o which we speak

"
.
,
must represent some particular indi vidual of anti
W
u it
q y and not merely a s l inger on e might say that
, ,
d Pausanias (lib 6
cap 8 ) relates this Of E ubota s o C yrene to
.
, .
whom the orac le of Jupiter A mmon had pre di cted victory —F

f ,
9
O nly occasional mention i s made Of slin gers (T h u cyd lib 4 . .
, .
,
cap 32 ; E uripides Phaen i ssce v

.
,
— , . .
A MO N G TH E G R EEKS . 15
Pyraechmes, the rE t O l i a n i s intended by it ; for o n

, ,
the return of the Heraclid ae to the Pel o p o n n esu s h e ,

‘
f
was the champion in the single contest which was
f
to determine the possessor of the territory o E lis ;
f
and h is skill lay in the use o the sling .
1 8 The thoughts o the whole people rose higher

.
with freedom just a s a noble branch rises from a

,
sound stock A s the mind of a man accustomed to

.
f
refle ction is usually more elevated in the broad fields ,
on the public highway and on the summit o an ,
f
edifice than in an ordinary chamber o r in a c o n
, ,
f
fined space so also the manner o thinking among
f
, ,
t h e ree Greeks must have been very di erent from

'
that o nations living under more arbitrary forms o

,
f f
government H erodotus S hows that freedo m alone was
.
the basis of the power and superiority to which A t hens

attained ; since this city previ ously when obliged to ,
acknowledge a sovereign w a s unable to keep pace ,
with its neighbours F or the very same reason elo

.
,
u e n c e did no t begin to flourish among the Greeks

q
prior to their enj oyment Of perfect independence ;
hence the S icilians attributed to Gorgias the i n ven
,
f
tion Of oratory It might be maintained from coins
.
,
Of the cities o S icily and Magna Gras cia that the ,
f
arts began to flourish in this island and in the lower
f
part o Italy sooner even than in Greece just as ,
the other departments o knowledge generally were , ,
cultivated there at an earlier date than in Greece .
f
This we know to have been the case with the art
‘
of ora tory in which Gorgias o L eon t iu m in S icily

, , , ,
first distinguished himself and who when sent as , ,

‘
ambassador from this city to A then s attracted uni ,

16 H IS TO R Y OF A N C I EN T A RT
versal attention E ven philosophy received a system

.
atic form in the E leatic o r Italian school and in ,
that founded by Pythagoras sooner than among the ,
other Greeks .
1 9 The freedom which gave birth to great events

.
,
political changes and jealousy among the Greeks

, ,
f
planted as it were in the very production Of these
,
f
,
f
ef ects the germ o noble and eleva ted sentiments
, .
f
A s the sigh t Of the boundless surface o the sea and ,
the dashing o its proud waves upon the rocky shore ,
expands our views and carries the soul away from

, ,
f
and above inferior Objects so it w a s impossible to
, ,
think ig nobly i n the presence o deeds so great a n d ,
men s o distinguished The Greeks in their palmy .

,
days were a thinking people A t an age when we do

, .
not generally begin to judge for ourselves they had ,
already exerted their reasoning faculties for twenty

years o r more ; they employed their intellectual powers
at the period when they are brightest and strongest
a n d are sustained by the vigour and sprigh tliness of
t h e body which among us is ignobly nourished until

, , ,
20 . T he
youthful understanding which like the , ,
tender bark retains and enlarges the incision s made i n

,
it was not amused by mere sounds without ideas ;

,
no r —
was the brain like a waxed tablet which can ,
f
contain only a certain number Of words o r images
fi l l ed with dreams to the exclusion o truth T O be .
f
learned that is to sa y to know what others have
, ,
f
known wa s the ambition o a later period I n the
,
.
f
best days o Greece it was easy to be learned in the, ,
s ignification o the word at that time ; and every o n e

A MO N G TH E GR E E KS . 17
c ould be wise F o r there was o n e vanity less in the

.
world at that time than at present namely that Of , ,
f
being conversant with m any books — since the scat ,
fi
t ere d fragments O the greatest Of poets were not col
l e c t ed until the sixty rs t O lympiad These the child -
.
learned ; the youth thought as the poet thought ; and

when he had achieved any meritorious act he was ,
f
numbered among the first men Of his nation .
2 1 W ith the advantages o

. such an education ,
f
I p hi c ra t e s when in his twenty fourth year wa s elected
,
-
by his fellow citizens o A thens commander i n —

-
chief -
f
Of the ar my A ratus w a s scarcely twenty years O l d ,
.
when he freed h i s native land S icyon from the rule o , ,
tyrants and soon afterwards became the head of the

, , ,
whol e A ch aean league Phil op oem en though a mere .

,
f
boy had the greatest share in the victory which A nti
,
g onu s king
,
Of Macedonia aided by the members o ,
t h e A ch aean league gained over the L aced aemonians

and which made them masters o S parta
,
f .
,
2 2 A si m ilar education produced among the R O

.
mans also that early maturity o i ntellec t which we

,
f ,
s ee manifested among other instances in S cipi o t h e

, ,
y ounger and Pompey T h e former in his twenty .

,
fourth year was sent to S pain at the head Of the

, ,
f
R oman legions for the express purpose Of restoring
,
f
the discipline o the army in th a t country which ,
had become impaired ; and V el l ei u s says o the latter ,
that i n his twenty third yea r he levied an army at

,
-
his own expense a n d without any public authority

, , ,
followed h i s o w n counsels W hen Pericles stepped .
forward and said what we are permitted scarcely

, ,
to think Of Ourselves Y e are angry w ith me b e ,

18 H I ST O R Y OF AN C I E N T A RT
f
cause I b elieve myself inferior to no o n e in the know
ledge O what may be required o r in the ab ility ,
to speak about i t —h e did so i n reliance upon the

f
”
,
elevated habits o thought created by such an educa

tion and common to a whole n ation and upon the
, ,
f
ardent desire for glory which was felt by every indi
vidual o it Their historians speak with no less
.
f
frankness of the virtues Of their own people than Of
the faults o other nations
2 3 A wise man was the most highly honoured ; he
.
.
was known in every city as the rich est is a mo n g ,
us ; just as the y ounger S cipio w a s who brou ght ,
t h e statue Of C ybele to R o m e The artist also could .
attain to this respect S ocrates indeed pronounced .

, ,
the artists the only truly wise as being actually n o t , ,
apparently s o ; it was probabl y from this conviction

that [E sop constantly associated with sculptors and
f
architects A t a much l ater period D i ogn et u s th e
.
, ,
painter was o n e o those who tau ght Marcus A urelius

,
phi l osophy This emperor acknowledged that he had

.
learned of him to distinguish truth from falsehood and ,
not to regard follies as merits The artist could b e .
come a la wgiver for all t h e lawgivers were common

'
citizens as A ristotle testifies He could command an

, .
‘
army like L a m a c h u s o n e Of the n eediest citizens of

, ,
A thens and se e his statue placed b eside those Of Mil

,
t ia d es and Themistocles and even near those Of the ,
f
gods t hemselves Thus X en op hil u s and S trato placed
.
,
f
f
statues o themselves i n a sitting posture close to , ,
f
their statues o E sc u l a p i u s and Hygeia at A rgos ; ,
C h iri sop h u s the sculptor o t h e A pollo at Tegea stood

, ,
in marble near his work the figure of A l c a m en e s was

20 H IS T O RY OF A N C I EN T A RT
h ave it the n ephew o Phidias and T ima gora s o

, , f ,
f
C halcis in which the latter won the prize B efore such
'
.
,
judges A et i o n appeared with his picture Of A lexander

and R oxana : the presiding judge named Pro x en i d es , ,
wh o pronounced the decision bestowed his daughter in ,
marriage upon the artist W e also s ee that the judges .
were not s o dazzled by a brilliant reputation in other

cities as to deny to merit its rights ; for at S amos the
, ,
picture by T i m a n t h es representing th e decision upo n ,
the arms Of A chilles was preferred to that of Pa rrh a S I u s , .
2 5 The j udges however were not unacquainted

.
, ,
w ith the arts ; for there was a time in Greece when its
youth were taught in the schools of art as well as phi
l o s op h y ; Plato learned drawing at the same time with
the higher scie n ces The design was as A ristotle says .
, ,
that they might acquire a correct knowledge and judg

ment Of beauty .
2 6 Hence the artist wrought for immortality ; and

.
,
the value s et upon his works placed h i m in a position

t o elevate his art above all mere mercenary considera
tions Thus i t is known that Polygnotus gratuitously
.
,
embellished wit h paintings t h e Portico at A thens and ,
also as it appears a public edifice at D elphos in which

,
g
, ,
N amely the L esche

f
“
8
, a place i n S parta as in most Greek , ,
c ities approp riated to social meetings for the pu rpose o conve rsa
,
tion .
”
(Pausan lib 1 0 ca
p
— The painting at D elphos rep re
.
, .
, .
sented the taking of Troy as I find in an ancient m anuscript ,
W
s cholium upon the Gorgias o Plato whi ch has p reser ved the ,
i n c rip t i on on it as follows
f f
,
eé 2
'
I
‘
I x/ s H ok t v w s, 6 0 0 70 5
y vog , A y 2 a o¢ a7w a g
.
f
“ ‘ "
H os, w eeflop é vnv D unc é z
pi wak w .
Polygn otus a Thasian by birth

de s truction o the citadel of Troy f ,
.
,
-
son o
.
A gl a O p h on , painted the
A MO N G TH E G R EE KS 21
f f
.
he represented the t a king o Troy Gratitude o r the .
f
latter work seems to have induced the A mphictyons ,
o r national council o the Greeks to a ward to t h e n o ,
ble minded artist the honour of being entertained a t

-
f
the public expense throughout Greece .
2 7 In general excellence in art and handiwork O

.
,
every kind wa s particularly prized ; the best workma n

i n the most humble craft might succeed in rendering
his name immortal ; a n d we are told that the Greeks
were accustomed to pray the gods that their memories
f f
might never die W e k n ow even at this day the name
.
, ,
f
o the architect of an aqueduct on the island o S amos ,
f
a nd o h i m who constructed the largest vessel there ;
f
also the name A rc h it el es o a famous stone cutter
, ,
-
f
w h o excelled in working columns The names o two .
weavers or embroiderers who wrought a mantle o r the ,
f
’
Pallas I O l ia s at A thens are known ; likewise the nam e
, , ,
Parthenius Of a maker o very correct balance s or

, ,
f
h
balance sc a l es ; the name is also preserved Of the saddle r
-
as we should call him who made th e leath ern shield o

,
Aj ax ; even a cer t ain Peron wh o prepared a fragrant ,
f
W inckelman n can have read the words of J uven al l n ces Pa
h
, a r
t he i o
n a t s c aonly i n the catalogue Of Junius For if he had
, .
,
looked into Juvenal he would not have allowed himself to be

,
misled by the ambiguity Of the word l a ; b t would have imme nce u
d ia t el y per c eived from the c onnection that t h e poet did not mean ,
the basins o r scales of a balance but plates and bowls Juvenal , .
commends C atullus because in a dangerous stor m at s ea he had

, , ,
imitated t h e beaver by throwing into the s ea his most valuable

,
articles th at he and the sh ip might not sink togethe r He says

, .
that among these silve r dishes fo r the table there were also plates
, ,
with embossed work executed by Parthenius Parthenius says the

,
ancient s cholias t ccel a t is n omen is the name o a carve r i n relie — L

, or ,
.
f ,
f .
22 H I S T O R Y OF A N C I E N T A RT
ointment
u i sh e d men
noticed in the works of di erent distin
, wa s
Plato himself h a s i mmortalized in his
f
g .
works T h ea ri on a b aker on account Of his skill in his

, ,
handicraft a s well as S a ra mbu s a clever innkeeper

, , .
W ith this view the Greeks appear to have named many

,
excellent articles after the persons by whom they were

made and the articles were always known by those
,
n ames .Thus the vessels that were fashioned i n a for m

,
f
s imilar to those m ade by T h eri c l es of burnt clay in the , ,
time o Pericles received their n ame from this artist

, .
W ooden candelabra were made at S amos which were ,
much valued ; C icero pursued his nightly studies at his ,
f
’
brother s country seat by the light from such candle
-
,
s ticks . In the island o N axos statues were erected to ,
f f f
h im who first wrought the Pentelic marble into tiles ,
f
o r the purpose o covering the roofs o buildings and ,
merely o n account o this invention S uperior artists .
were distinguished by the surname Godlike— as A lci

medon for instance by Virgil : this was the highes t
, ,
praise among the S partans .
2 8 The uses to which art wa s applied sustained i t s

.
greatness B eing consecrated to the gods and devote d

.
,
only t o the holiest and best purposes in the land at the ,
f
same time that economy and S implicity characterized
f
the abodes o the citizens the artist w a s not cramped ,
f
in the grandeur o his subject o r of his conceptions to
suit the size o the d welling or gratify the fancy Of its
f
proprietor but his work was made to conform to the
,
lofty ideas O the whole nation W e know tha t Mil .
t i a d es T hemistocles A ris t ides and C imon the leaders

, , , ,
and deliverers of Greece resided in no better houses ,
than their neighbours The dwellings Of the o pulent .

A MO N G TH E G R EEKS 23
f
.
di ered from ordinary houses only in having a court ,
called t uba ) which was inclosed by the building and in

,
which the master o the family w a s accustomed to f ,
sacrifice Tombs were regarded as sacred edifices ; we

.
must not therefore be surprised that N icias the cele

, , ,
f
b ra t ed painter was willing to be employed in embel
,
l ish i n g with his pencil a tomb before the city o T ri t i a ,
in A chaia W e must also consider how much emula

.
tion in art was fostered when cities rivalled each other ,
f
in the endeavour to Obtain a beautiful statue a n d when ,
a whole people defrayed the expense o statues n o t ,
only to the gods but also to the victors in the p u blic

,
games S ome few cities were known even i n ancient

.
,
times merely through o n e exquisite statue as A li

, ,
-
i
p h era by a Pallas in bronze executed by H e ca t o d o ru s ,
and S o st ra t us .
2 9 The arts Of sculpture and painting attained

.
among the Greeks a certain excellence earlier than ar

c hi t ec t u re because the latter h a s in it more of the ideal
,
t han the two former ; it cannot be a n imitation of any

thing actual and must therefore Of necessity be based
, , ,
o n the general principles and rules Of proportion The .
two former which originated in mere imitation found

, ,
all the requisite rules determined in man ; whereas

architecture was obliged to discover its o wn rules by
repeated trials and establish them by general approval
,
.
i Polybius ,
lib 4 L essing censures Winckelmann as if there
. . ,
f
were nothin g in this passage to confir m his assertions B ut the .
censure is unjust ; for the testimony o the historian verifies

Winckelmann s q uotation — Thespiae O lympia C os and Gu idos
’
.
, , , ,
also togethe r with many other cities and islands we re especial ly

, ,
famed fo r their statues —G ERM E D . . .

24 H I S T O R Y OF AN C I E N T A RT
S cul pture ho wever outstripped paintin g and

30 . , , , ,
like an eld er sister served as a guide to t h e you n ger , .
f
Pliny indeed is of opinion that painting had n o exist
, ,
ence at th e date of the Trojan war The Jupiter O .
Phidias and the Juno of Polycletus the most perfect ,
statues of antiquity were in being before light and sh a ,
k
dow had been introduced into painting A p oll o d oru s .
,
and especially Z euxis his scholar who were celebrate d , ,
in the n ineteenth O lympiad are the first in whose pic ,
t ures this improvement appears Prior to this time .

,
o n e must represent to himself the figur es in paintings
f
as statues placed near o n e another which except i n t h e , ,
action o standi n g opposite to each other appeared as ,
single figur es with out being grouped so as t o compose ,
a whole exactly in the style of the paintings on the (so

,
called ) E truscan vases of burnt clay A ccording t o .
Pliny E u p h ra n or who was contem porary with Praxi

, ,
teles and th erefore later still than Z euxis introduced

, ,
f f
symmetry into p a inting .
31 The reason o the slower growth o painti n g

.
f
lies partly in the art itself and partly in its use and ,
application S culpture promoted the worship o the

.
gods and was in its tur n promoted by it B ut paint

, .
W
“
kHe was called the S hadow pain ter dygé o g (H esyc hi us -
, a xs o ,
f
am y gé c )
o The reason Of the appellation is therefore obvious
o .
H esychi u s who has taken yeé O g or

, yeé © g that i s the a x so o c a nvo o , ,
e‘
Tent painte r is to be emended (H esych ex ed i t A lberti Tom

-
, , .
, .
, .
II p. .
— .
It S hould he remarked that the term here rendered ,
Tent painter (Germ Z el t M a l er ) signifies more properly S cene

-
,
”
.
-
painter B y the epi t het S hadow painter m yeé go g applied to

.
”
-
, a o o ,
A pollodorus is to be understoo d a painter i n C hiaroscuro o r light

, ,
and shad e — T R .
A M O N G TH E G R EEKS .
25
ing had no such advantage It was indeed c on se .

, ,
crated to the gods and temples ; and some few Of

the latter as that of Juno at S amos were Pinaco
, ,
thec ae o r picture galleries ; at R ome like wise paint

,
-
, ,
ings by the best masters were hung u p in the temple

Of Peace that is in the upper rooms or arches B ut
, , .
paintings do not appear to have been amo n g th e ,
Greeks an Obj ect of holy undoubting reverence and

, ,
adoration There is n o t at least amo n g all those

.
, ,
noticed by Pliny and Pausanias a single one which ,
Obtained this hono r unless perchance an allusion to , , ,
such a picture may be discovered i n the passage from
f
]
Philo in the note Pausanias merely mentions a pic .
ture o Pallas in her temple at Tegea which rep re ,
m
sented a L ec t i st ern iu m to the goddess .
32 Paint i ng however is very much indebted to

.
, ,
the custom among the ancients Of embellishing their

rooms with the pencil This also was one Of the causes .
to which the art owed its improvement in Italy in ,
f
ou r forefathers times ; before tapestry a less costly
’
,
covering O the walls had displaced painting The , ,
ancients likewise decorated their rooms with geo

, ,
graphical charts — a mode of embellishment Of which

o n e may Obtain an idea from th e lo n g and splendid
topographical hall o the countries o Italy in the f f ,
W
V atican .
at
1
M 11 3
2» Ev
7 goa$ i w i dev c
oa s v
g x
nothing in honor of
a
a z s vo z,
y
i g £1 7 26
7
Placing
i
at t r e ?) i
H ? Zi a a
/ l ga , a
(
hi m [the
f
); oa ro v,
'
emperor] in the oratories —neithe r polished statue nor rude image , , ,
nor picture (Philo d e Vi t et L ega t a d C a i a m ) — GERM ED

.
, r . . . .
A n entertainment to the gods in which thei r images were laid

1”
,
u pon couches and meat s s erved to them i n publi c —T R

, .
26 H I S T O R Y OF AN C I EN T A RT , ET C .
33 Painting and sculpture stand to each other in

.
the same relation as oratory and poetry A S the latter .
f
f
was regarded as more sacred than the former was ,
employed in religious O ices and specially rem u n e ,

a
rated it arrived earlier at perfection ; and this is partly

,
the reason why as C icero says there have been more

, ,
good poets than orators B ut we find that painters .
were also sculptors ; as among others an A thenian

, ,
painter Mico who made the statue Of C a l l i a s Of

, ,
f
A thens ; the distinguished painter E u p h ra n o r the con , ,
temporary O Praxiteles ; Z euxis whose works in burnt ,
f
clay stood at A mb ra c ia ; and Protogenes who wrought ,
f
in bronze ; even A pelles made a statue o C yn i sc a ,
the daughter o A rchidamus king of S p arta S culp ,

.
tors have also been no less celebrated as architects .
Polycletus built a theatre at E pidaurus which was , ,
f
dedicated to E sc u l a p i u s and which stood w ithin the
,
f
inclosure o his temple .
f
34 A ll Greece may rightly be called the land o
.
art ; or th ough its favorite seat was in A thens; yet

it w a s nevertheless practised also at S parta This
, , .
city in the oldest times and prior to the Persian wars

, , ,
sent to S ardis to purchase gold to gild the face of a

statue Of A pollo .
S uch were the advantages which Greece had over

other nations in art and o n ly such a soil could p ro
,
duce fruits s o splendid .

28 H I S TO R Y OF AN C I EN T A RT
3 .I would not ho wever wish this imaginary flight

, ,
to E lis to be regarded a s a mere poetic fancy It .
will o n the contrary be seemingly realized if I c o n

, , ,
c e i v e all the statues and images Of which mention has
f
been made by authors and likewise every remaining ,
frag m ent o them together with t h e countless multi

,
tude of works of art which have been preserved as ,
present before me at the same time W ithout col .
f
le eting and uniting them s o that a glance may em
brace all no correct opi nion can be formed o them ;
,
but when the understanding and the eye assemble and
f
s et the whole together in o n e area just as the choicest
specimens o art stood ranged in numerous rows i n

,
f
3
the S tadium at E lis then the spirit finds itself in
,
the midst o th e m .
4 B ut as no intelligent man i n modern days has

.
ever penetrated to E lis — to avail myself of the words ,
which a skilful and learned antiquarian employed to

stimulate me to this j ourney — s o writers upon art do ,
not seem to have prepared the m selves as they should ,
have done to appear in the S tadium there willing

, ,
t o give a well — grounded explanation Of everythi n g ,
a
When many statues were collected together they were dis ,
t i g i s h ed by numbers probably in reference to the place which

n u ,
f
they occupied in t h e row This at least may be inferred from the
.
Greek letter H engraved on the socle Of the statue o a Faun in

, ,
the palace of A ltieri It was therefore the seventh in the range

.
, ,
.
A s the same lette r was cut on a b st Of which a Greek inscriptionu
makes mention it is to be inferred that this bust was the seventh

,
Of those formerly s et up in the temple of S erapis For the same .
reason the letter N engraved o the shaft that se rv es as a support

, ,
n
to the A mazon of S os icl e i n the C apitoline museum denotes that

s, ,
it was the thirteenth in some fo rme r collection — F .

before a Pro x en id es This censure I can maintain

.
before those who have read the authors to whom I

allude .
.5 B ut h o w h a s it happened that whilst well , ,
f f
grounded elementary treatises on all other departments
o knowledge exist the principles o art and of beauty
,
have been s o little investigated ? The fault reader , ,
lies in o u r innate indolent unwillingness to think for

oursel ves a n d in scholastic philosophy O n the o n e
, .
hand the ancient works Of art have been regarded a s

,
beauties which o n e can never hope fully to enj oy and ,
which o n this account easily warm some imaginations ,
f
but do not touch the heart ; and antiquities have given
occasion for the display o reading only but have m l DI S ,
t ere d little n utriment o r absolutely none at all to t h e

, ,
understanding O n the other hand philosophy h a s

.
,
f
been practised and taught principally by those who ,
f
from reading the works o their gloomy predecessors ,
h ave but little room left o r the feelings over which ,
they have as it were drawn an insensible cuticle and

, , ,
w e have consequently been led through a labyrinth Of

metaphysical subtilty and wordiness which have pri n ,
c ip a l l
y served the purpose Of producing b ig b ooks and ,
disgusting the understanding .
6 F o r these reasons art h a s been and st ill is

.
, , ,
excluded from philosophical consideration ; and the
f
great general truths which lead pleasantly to the
investigation o beauty and thence upward nearer to ,
its source not having been applied to and explained

,
fi
by the beautiful i n particulars have been lost in pro ,
t l ess speculation How c a n I judge otherwise even

.
,
of treatises which have selected the highest Obj ect after

30 H I STO R Y OF A N C I EN T A RT
the D eity namely B eauty for their subj ect ? I have

, , ,
meditated long u pon it but my meditations com ,
m en c ed too late and i n the brightest glow Of mature

,
f
life its essential has remained dark to m e ; I can speak
o it therefore only feebly and spiritlessly My ex er
, ,
.
tions ho w ever may be an incentive to others to pro

, ,
pose doctrines not only more profound b ut breathing

, ,
the inspiration of the Graces

f
.
f 7 It is my intention to treat first o th e drawi n g

fi
.
f
o the nude gure — which also comprehends th at of ,
f f
animals ; then Of the drawing o clothed figures and in ,
fi
particular O female drapery The delineation o the .
f
nude g ure is grounded on the knowledge and con
c ep t i on s o b eauty These conceptions consist partly
.
f
in measure and relations and partly i n forms the , ,
beauty o which w a s the aim of the first Greek artists ,
b
as C icero says ; the latter give shape to the figure the ,
former determi n e its proportions .
8 I S hall in the first place speak Of beauty in

f f
.
, ,
f
general not only o forms but also o attitude and
, ,
f
gesture together wit h proportion ; and then o the
,
f
beauty of si n gle parts o the human body I II the .
f
general consideratio n o beauty I shall in some pre , ,
liminary remarks venture o n an unusual view o it

, ,
f
that i s consider its negative character ; and then pre
,
s ent some definite ideas o it It is however easier .

, ,
to sa y what it is not than what it is as C otta in , ,
c
C ic ero says of God
, There is nearly the same rela .
tion b etween beauty and its opposite as there i s b e ,
0
D e F i n ib lib 2
D e N atura D eo r
.
, .
,
.
,
cap
lib .
.
1,
34 i n
,
cap
fi
.
ne
21 .
.
A MO N G TH E G R EE KS . 31
t ween health and d isease ; we feel the latter but not ,
th e former .
9 B eauty as the loftiest mark and the central

.
,
point Of art demands some preliminary discussion in

, ,
fi
which I should wish to satisfy bo t h myself and the
reader ; but this is a wish Of dif cult gratification in
either respect W hen after some general observations
.
,
upon the art Of design among the Greeks I sou ght to ,
advance farther into the examination Of it B eauty ,
seemed t O b e c kon to me — probably that same B eauty

\
fi
which exhibited herself to the great artists and allowed ,
herself to be felt grasped and gu red — for I have

, , ,
f
sought and lon ged to recognise her in their works .
I cast my eyes down before this creation o my imagi
f
nation — as did those to whom the Highest appeared
, ,
believing that I saw the Highest in this vision o my

fancy A t the Same time I blushed for the confidence
.
,
which had emboldened me t o pry into her mysteries ,
and to treat of the loftiest conception Of humanity as ,
I recalled to mind the fear which this undertaking

formerly caused me B ut the ki n d reception which
.
my refl ections have met encourages me to follo w that

invitation and me d itate further o n beau t y W ith an
, .
imagination warmed by the desire Of assembli n g all

the single beauties which I had Observed and uniting ,
them in on e figure I sought to create a poetic B eaut y

, ,
and pl ace her before me B ut in this second trial and .
exertion of my powers I have been again convinced ,
that this is still more di ficult than to find in human f

f
n ature perfect beauty if such can exist , F or beauty .
f
is o n e o the great mysteries Of nature whose influence ,
we all see and feel ; but a general distinct idea o its ,

f
essential must b e classed among the truths yet undis
f
covered I this idea were geometrically clear men
.
,
would not di er i n their Opinions upon the beautifu l ,
a n d it would be easy to prove what true beauty is ;
still less could there be on e class Of men Of so u n

fortunate sensibility and another Of s o perverse self
,
f
conceit that t h e former would create for themselves a
,
f
alse beauty and the latter refuse to receive a correct
,
idea o true beauty and s a y wit h E nnius S ect mi li i

, ,
n en t i na m c or c on s en t i t c um o c a tor w n a ds ec t n B ut
g p ,
m y heart does not assent to what my eyes behold d

”
.
It is less difficult to instruct the former than to con

vince t h e latter whose doubts being intended rather
, ,
f
for the display of ingenuity than carried to the extent ,
o denying the reality of beauty have consequently , , ,
no influence upon art These a glance S hould en .
lighten especially i h th e presence Of more than a

,
thousand ancient works which have been preserved ;
f
but there is no remedy for insensibility and we have ,
n o rule and canon o b eauty according to which as ,
f
E uripides says ugliness may be judged ; and for this
,
f
f
reason we di er about that which is beautiful j ust as
we di er about that which i s truly good .
,
f
1 0 It ought n o t to create surprise that our ideas o
f
.
beauty are as I have already observed very di erent

, ,
fro m those among the C hinese and Indian nations ,
when we reflect that we ourselves rarely agree in every

particular respecting a beautiful ace B lue eyes are f .
generally attracted by brown eyes and brown eyes

charmed by blue ; a n d opinions di er about a beautiful
ff ,
person just as inclinations di er in preferring fair or

,
d C i c L uc l l cap 1 7
. u .
, . .
A MO N G TH E G R E EKS . 33
dark beauty He who prefers dark to fair beauty i s

.
not o n that account to be censured ; indeed o n e might ,
approve his choice if he is attracted less by sight than

,
by the touch F or a dark complexioned beauty may

.
-
perhaps appear to have a softer skin than o n e Of a

,
f f
fair complexion because the fair skin reflects more rays
,
o light and o course must be denser thicker and

, , ,
consequently harsher than a brown s lgin Hence a , .

,
brown skin is to be regarded a s the cleare r because ,
this color when natural is occasioned by the blood

, ,
showing through it and fro m this very cause it is ,
tanned more quickly than a fair skin ; this is also

the reason why the skin of the Moors is far softer to
the touch than ours A brown complexion i n beautiful
.
f
boys was with the Greeks an indication of courage ;
, ,
those of fair complexion were cal l ed children o the

gods.
f
f
1 1 This di erence of Opinion is shown still more
.
strongly in the judgment passed upon the beauties im

personated by art than upon those in nature itself
, .
f
F o r S ince the former excite less than the latter s o will ,
they also— when they are designed after ideas o ele

va t e d beauty and are more
, serious than gay — b e less
pleasing t o the uninstr u cted mind than an ordinary
pretty face w hich i s lively and animated The cause .
lies i n our passions which with most men are excited

,
by the first look and the senses are already gratified

, ,
f
when reason unsatisfied is seeking to discover and en
, ,
j y
o the charm O true beauty It is not then beauty .
, ,
which captivates us but sensuality C onseque n tly

,
.
,
young persons in whom the passions are in a state of

,
excitement and fer ment will look upon those faces a s ,
D
34 H I ST O RY OF A NC IEN T A RT
f
divine which though n o t strictly b eautiful have the
, , ,
f
char m o tender and passionate expression ; and they
will be less a ected by a truly beautiful woman even ,
with the shape and m ajesty Of Juno whose gestures ,
and actions evince modesty and decorum

f
1 2 The ideas o beauty with most artists are formed
.
.
fr om their first crude impressions which are seldom ,
weakened o r destroyed by loftier beauties especially ,
f
when they cannot improve their minds by recurring to
the beauties o the ancients F or it is with drawi n g as .
f
with writing ; few boys wh o learn to write are taught
h o w the beauty o the letters consists in the nature o f
the strokes and in the light and shadow in them but
, ,
they get a copy to imitate without any further i n st ru c

,
tion and the handwriting is formed before the p u pil

,
a ttends t o the principles o n which the beauty Of the
letters is founded Most young persons learn to draw

.
in precisely the same manner ; and as the writing ,
f
strokes remain in adult years j ust a s they were formed
’
in youth so the designer s conceptions o beauty are
,
common ly pictured in hi s o wn mind as his eye has

been accustomed to observe and copy it ; but they wil l
be incorrect because most artists draw from imperfect
,
f
models .
1 3 It is also very prob able that the idea o b eauty

.
,
f f
with artists as wi th all other men is conformable to ,
f
the te x ture and action o the nerves o sight F rom .
the imperfect and frequently incorrect colouring o the
f
painter o n e must infer in part that the colours are S O
, , ,
f
represented and pictured in hi s eye ; or in this parti ,
c u l a r the conclusion at which the se ct o

, S ceptics in
philosophy arrived is n ot groundless who argued fr o m , ,
36 H I S T O RY OF AN CIENT A RT
coarse and uncultivated in attempting to render every ,
thing more intelligi ble t o them The former busied .
f
himself in the contemplation Of lofty beauty : this is
evident from his poems some o which have been pub ,
l is h ed ; in them h is thoughts relative to it are expressed

in elevated language worthy Of the subject In power , .
ful figures he i s wonderful ; but from the cause b e ,
f
fore mentioned his female and youthful figures are
, ,
in shape action and gesture creatures o another

, , ,
world Michael A ngelo compared wit h R aphael is

.
, ,
what Thucydides is to X enophon The very course .
f
f
which led Michael A n gelo to impassable places and
steep cli s plunged B ern ini on the contrary into bogs
, , ,
f
and pools ; for he sought to dignify as it were by ex , ,
f
aggeration forms o the most ordinary kind
, His .
figures are those O vulgar people wh o have suddenly

met with good fortune and their expression is Often ,
f
times opposed to the action as when Hannibal laughed ,
in the extremity o his grief Y et this artist long held .
undisputed sway and homage is paid to him even now, .
The eye also is as incorrect in many artists as in the
f
uninstructed and they do n ot depart from the truth in
,
f
imitating the colors o Obj ects more than in the con
formation o the beautiful B aroccio on e o the most .
,
,
f
celebrated painters who studied after R aphael i s d is ,
t in gu i sh a b l e by his drapery but still more by his pro ,
files in which the nose is commonly very much sunken

, .
sen s e and with precisely such a special refe rence to beauty o

, f
f
form i s also to be understood a well know n ba n mo t Of N icholas
,
- -
Poussin who i s s aid t o have remarked o Raphael

, C ompared ,
with the mode m s he i s a n an gel ; but with the ancie n ts a n ass

, , .
”
G ERM E D . .
Pietro da C ortona is known by the chin of his heads ,
which is somewhat small and flat at i t s lower part ;

,
and yet these are painters Of the R oman school In .
other Italian schools still more imperfect conceptions

,
are observable .
f
1 5 Individuals of the second class— namely those
.
,
who question the correctness o all conceptions of

—
beauty found their doubts principally on t h e notions
f
of the beautifu l existing among remote nations which
must be di erent from ours in conformity t o the di er ,
,
f
f
ence in the shape of their faces S ince many nations .
compare the complexion of their beauties with ebony ,
as we do with ivory — and a dark colored skin i s more

,
-
brilliant than a white S kin just as ebony h a s more gl oss

,
than any other wood — s o it is argued will they p ro

, , ,
bably compare the forms of the face with the corre

sp on di n g parts in beasts which to us would appear
,
f
deformed and ugly I acknowledge that even in the
.
,
faces o E uropeans forms similar to those Of b rutes c a n

,
be found : and O tto van B een the master Of Rubens , ,
f
has according t o Porta written a special treatise in
, ,
exposition o the fact B ut it m u st also be conceded

.
,
f
f
that the more striking this similarity in some few
,
parts so much the more does their form di er partly

, ,
f
by variation and partly by excess from the character ,
i s t i c s o o ur race thereby destroying the harmony

, ,
unity and simplicity in which beauty a s I S hall S how

, , ,
hereafter consists
,
.
1 6 The more Oblique for example the eyes as in

. , , ,
f
cats so much the more does their direction deviate
,
from the fundamental form O the face which is a ,
cross whereby it is divided equally in length and

, ,
38 H I S T O R Y OF A N C I EN T A RT
breadth from the cro wn of the head down ward since

, ,
the perpendicular line passes through the middle Of t h e

nose and the horizontal line through the orbits of th e
,
eyes I f the eye is placed obliquely then the face is divi

.
,
f
ded by a line oblique to the vertical line passing through
f f
the nose This at least must be the true cause o the
.
unseemliness o an obliquely situated mouth ; for if o

t w o lines o n e d eviates from the other without reason ,
a disagreeable impression is produced S uch eyes .

,
therefore when foun d among us and in C hinese

, , ,
f
Japanese and some E gyptian heads in profile are a
, , ,
departure from the standard The flattened nose o .
the C hinese C almucks and other distant nations is

, , ,
f
also a dev iation for it m ars t h e unity Of th e forms
,
according to which the other part s o the body have

been shaped There is n o reason why the nose should
.
f
be s o much depressed S hould not much rather follow
,
the direction o the forehead ; just as o n the other ,
h and it would be an exception to t h e variety displayed

,
in th e h uman conformation i the forehead and nose ,

f
were formed by one straight bone as in beasts The , .
f f
projecti n g swollen m o n t h which the negro has in com
, ,
mon with t h e m onkey o h is land is a super l uous ,
growth caused by the heat Of the climate just as

, ,
amo n g us the lips swell up from heat o r a humid and ,
f
harsh salt air a n d in some men indeed from violent
, , , ,
f f
anger T h e small eyes o extre m e northern an d east
.
ern n ations m ake a part O the incompleteness o their
f
f
growth which is sh ort and small
, .
1 7 N ature e ect s such conformations more gener

.
a l ly the n igher S h e ap p roximates her extremes and the ,
mo re she has to contend either with heat o r cold .

A MO N G TH E G R E E KS . 39
Her pro d uctio n s in the former c a se are characterized,
f
by ex cess and prematureness ; in the latter her growths ,
o every kind are immature A flo wer withers b e

.
neath an excessive heat and in a cellar into which

,
the sun never penetrates it remains without color ;

,
indeed plants degenerate in a close dark place B ut

, .
,
in proportion as nature gradually draws nigher to her
f
centre in a temperate climate her productions are ,
marked by more regularity o shape as it has been

f ,
f
shown in the third chapter o the first book C ouse .
quently o u r ideas and those o the Greeks relative t o

beauty being derived from the most regular confor
,
f
mation are more correct than those that can possi bly
,
f
be formed by nations which t o adopt the thou ght o
,
a modern poet have lost on e h alf o their likeness

,
t o the C reator ; for as E uripides says what is not

, ,
beautiful in itself can be beautiful nowhere

f
1 8 B ut we ourselve s di er a s to beauty— probably
.
.
more than we do even in taste and smell— whenever

o u r ideas respecting it are deficient in clearness It .
f
will not be easy to find a hundred men wh o would
f
agree as to all the points o beauty in any o n e face
I speak o those who have n ot though t profoundly on
f
the subj ect The handsomest man that I have seen in
.
Italy was not the handsomest in the eyes o all not ,
f
even Of those who prided th emselves on being observant
f
o the beauty of o u r sex B ut those who have re
.
f
f
garded and selected beauty as a worthy subject o
reflection can n ot di er as to the truly beautiful for ,
f
it is one only and n o t manifold and when they have
,
studied it in the perfect statues o the ancients they ,
do n o t find in the beau tiful women of a p roud and

,
wise nation those ch a rms which are generally so m uch

,
f
prized — because they are not dazzled by the fairness
o their skin B eauty is felt by sense but is recog
.
,
n i se d and comprehended by the understanding which ,
generally renders and ought to render sense less su s

, ,
f
c ep t i b l e
, but more correct Most nations h owever
.
, ,
f
and among them the most cultivated not only o ,
f
E urope but o A sia and A fric a invariably a gree as to
, ,
the general form ; consequ ently their ideas o it are

n o t t o be considered a s arbitrarily assu m
f
ed although ,
we are not able to account o r them a ll .
1 9 C olor assists beauty ; generally it heighten

.
,
f
beauty a n d its forms but it does not constitute it ; just
,
as the taste o wine is more agreeable from its color , ,
when d runk from a transparent glass than from t h e ,
f
m ost costly golden cup C olor however should have
.
, ,
but little S hare in ou r consideration o beauty because ,
the essence of beauty consists not in color but in , ,
shape and on this point enlightened minds will at once

,
ff
agree A s white is the color which refle cts the greatest
.
number o rays o light and consequently is the most

,
easily perceived a beautiful body will accordingly be

, , ,
the more beautiful the whiter it is j ust as we see that ,
a ll figures in gypsum when freshly formed strike us

, ,
as larger than t h e statues from which they are made .
f
A n egro might be called handsome when the confor
mation o his face i s handsome A traveller assures .
us that daily association wit h negroes diminishes the
f
disagreeableness of their color and displays what is
,
beautiful in them ; j ust as the color o bronze and of
f
t h e black and greenish basalt does not detract fro m
the be a uty o the antique heads The beautiful female
.
A M O N G TH E G R EEKS . 41
head f in the latter kind of stone in the villa A lbani , ,
would not appear more beautiful in white marble The .
head of the elder S cipio of dark greenish basalt in , ,
the palace R osp igl i o si is more beautiful than the three ,
other heads in marble of the same individual These

, ,
.
heads together with other statues in black stone will

, ,
meet with approbation even from the unlearned who ,
f
vie w them as statues It is manifest therefore that .
, ,
f
we possess a knowle d ge O the beautiful altho u gh in ,
f
f
an unusual dress and o a disagreeable color B ut .
beauty is a lso di erent from pleasingness o r loveliness .
W e term a person lovely o r pleasing who without , ,
being beautiful has the power to charm by demeanour

, ,
conversation and understanding also by youth skin

, , , ,
A ristotle calls such persons i vev

’
and complexion . c
m u c u s é p a i o t clza rmi ny w i thou t bea u ty ; and Plato
f
f
,
says i p a iw v wp o o i n o w k a k a m OE p i) q l ea s i ny but
’
' '
,
a a , , ,
f
n ot bea u ti l
u a c es .
20 Thus far then we have as proposed treated o

.
, , , ,
beauty negativ e ly ; that is by showing that the con ,
c ep t i o ns entertained of it are incorrect we have sepa ,
f
rated from it attributes which it does not possess A .
positive idea of it requires a knowledge o its essence ,
f There were at time t wo well executed heads of basal t in

, on e ,
-
, ,
the villa A lbani The m ore beautiful o n e of which W inckelmann

.
,
speaks was formerly n amed C leopatra and afterwards B eren ice

, , .
It possesses noble and very regular features and is in every , ,
respect an exquisite work of art The nose is a modern res t ora

fi
.
,
f
tion — The second head is not equal to the rst either in beauty ,
o features or in skilful execution A t first it was called B ere .

,
nice but afterwards L ucilla The nose and chin are repaired
,
.
.
G ER M E D . .
42 H I ST O RY OF AN C I E N T A RT
into which except in a few cases we have no power

, ,
f
to look W e cannot proceed here as in the greater
.
,
n umber o philosophical investigations after the mode ,
used in geometry which advances and concludes from

,
generals to particulars and individuals and from the ,
nature of things to their properties but we must satisfy ,
ourselves with drawing probable conclusions merely

from single pieces B ut fear lest the following c o n
.
f
siderations upon beauty may be m isconstrued must ,
not disturb him wh o desires t o instruct ; o r as Plato ,
f
and A ristotle the teacher and scholar entertained
, ,
f
precisely Opposite opinions as to the aim o tragedy
the latter commending it as a purifier o the passions ,
and the former on the contrary describing it as a

stimulus t o them —s o it is possible that a harsh judg
, ,
ment may be pronounced o n the most innocent i n t en

tions even of those w h o think correctly I make this
f f
.
remark especially in regard to my treatise on the

‘
C ap a bi l i ty o tire P erc ep ti ony o tli e B ea u t u Z i n S culp
t ure which suggested to some few individuals an opin
,
ion that certainly never entered into my thoughts .
f
2 1 W ise men who have m editated o n the causes
.
f
o universal beauty have p l aced it in t h e harmony of
the creature with t h e purposes o i t s being and Of the ,
parts with each other and with the whole becaus e they
f ,
f
have investigated it in the works o creation and have ,
f
sought to reach even the source o the highest beauty .
B ut as this is synonymous with perfectio n o which

,
h umanity is not a fit recipient o u r idea o u niversal , f

,
f
beauty i s still indefinite ; and it is formed within us by
S ingle acquisitions o knowledge which when they are , ,
collected and united together give us if correct the , , ,

idea ; but the very readiness with which it may be

embraced places it before us in its true greatness and ,
f
the mind is enlarged and likewise ele vated by the
, ,
comprehension o it E verything which we must c o n

.
f
sider in separate pieces o r which we cannot survey at ,
once from t h e number o its constituent parts loses

, ,
thereby some portion of its greatness just as a long ,
road is shortened by many obj ects presenting them

selves O n it or by many inns at w hich a stop can be
,
made The harmony which ravishes the soul does not

.
consist in arpeggios and tied and slurred notes but in

, ,
simple long drawn tones This is the reason why a

,
-
.
large palace appears s m all when it is overloaded with ,
ornament and a house large when elegant and simple

, ,
f
in its style .
2 3 F rom unity proceeds anot h er attribute o lofty

.
f
beauty the absence of individuality ; that is the forms
, ,
o it are described neither by points nor lines other

than those which S hape beauty m erely and c on s e ,
quently produce a figure which i s neither peculiar to
f
f
any particular individual nor yet expresses any o n e ,
state of the mind o r a ection of the passions because ,
these blend with it strange lines and mar the unity , .
f
A ccording to this idea beauty should be like the best
,
kind o water drawn from the S pring itself ; the less

,
taste it has the more healthful it i s considered because

, ,
f
free fro m all foreign admixture A S the state of .
f
happiness — that is the absence o sorrow and the
, ,
enj oym ent o content — is the very easiest state in

nature and the road to it is the most direct and can
, ,
f
be followed w ithout trouble and without expense s o ,
the idea o beauty appears to be the simplest and

f f
easiest requiring no philosophical kno w ledge of man
, ,
no investigation and no expression o t h e passions o

his soul .
2 4 S ince however there is no middle state in

.
, ,
h u man nature bet ween pain and pleasure even accord ,
f
ing to E picurus and the passions are the winds which
,
impel our bark over th e sea o life with which the poet ,
sails and on which the artist soars pure beauty alone

, ,
f
cannot be the sole obj ect of o u r consideration ; we
must place it also in a state O action and of passion ,
which we comprehend in art under the t erm E xp ress i on .
f
W e Shall therefore in the first place treat of the shape
, , ,
o beauty and in the second place of expression

, ,
.
25 The shape of beauty is either i n d i vi d ua l — that

.
f
is confined to an imi t ation of o n e individual — o r it is
,
a selection o beautiful parts from many indi viduals ,
and their union into o n e which we call i d ea l yet with , ,
f
the remark that a thing may be ideal without being
beautiful The form o the E gyptian figures in which
.
,
neither muscles tendons nor veins are indicated is

, , ,
f
ideal but still it shapes forth no beauty in them ;
fi
,
neither can the drapery o E gyptian female gu res

which can only be imagined and consequently is ideal ,
f
— b e term ed beautiful .
f
2 6 The conformation O
. beauty commenced with
f
indi vidual beauty with an i mitation o a beautiful male
,
f f
form even in the representation o t h e gods ; and in
, ,
f
the bloomi n g days o sculpture the statues o goddesses ,
f
were actually made after the likeness o beautiful
women even o those whose favors were v en a l ; suc h
,
g
8 L et no one be induced by the passage in the text to think

f
f
was T heo d o t e o who m X enopho n speaks O n this
,
.
point the ancients thought di erently from us insomuch ,
f
Of portrait like n ess — o which Winckelmann certai nly did not
intend to speak (s ee section 33 of this chapter)— S ince he would
in s u ch case entirely mistake the genius o ancient art W he n
,
f .
,
the an cient authors in speaking Of Phryne L ai s and other cele

, ,
'
bra t ed women whose favors were venal mention that great artists
f ,
f
modelled their masterpieces a t er them they did not by any , ,
mean s intend to be understood that portraits o them were actually

,
made that is to s ay that the individual parts of their shape and

, ,
features were copied but — even though the passages S hould express
,
f
e ve r s o clearly anothe r meaning — that these beautiful person s
, f
supplied the great art ists in the conception o their ideal con
formations as O V enus fo r example with an outward occasion
and probably in the execution of their figures served them as
,
,
, ,
, ,
models If the absolute ideal invented by each artist and standing

.
,
in a perfect state before his mental vision had not always pre ,
dominated over everything external then would the works of art ,
neithe r have deserved nor attained the high celebrity which has
, ,
fallen to their lot E ven though Phryne may have been faultlessly
.
f
beautiful and have shown herself ever s o complaisant to P raxiteles
, ,
s t ill the V enus of C n idos was no portrait o her becaus e a likeness ,
f
requires an imitati on of the features Of the indivi dual whereas ,
f
ideal images exclude it If from the analogy o all ancient works
.
,
f
o art sti ll extant we may as we must believe that the celebrated
, , ,
V enus o Gu idos by Praxiteles i s an ideal image of the goddess

, , ,
a general type Of the highest feminine grace and beauty Of form ,
we sh al l also be able to maintai n on indisputable grounds that , ,
this image may in some respect have re s embled e very very

, ,
beautiful woman : the most beautiful woman indeed who h as , ,
eve r lived or will live may have the greate s t resemblance to

, ,
that image ; and in so far as Ph ryne may have been ex traordinarily

,
f
beautiful the ancients might believe and s ay with truth that the
masterpiece o Praxiteles resembled he r B ut the intelligent and
,
.
,
connoisseurs at least did n ot understand by this expression a

, ,
common portrait likeness as we clearly perceive from the circum

-
stance that A rel l iu s who lived shortl y before A ugustus (Pl in

, , .
,
48 H I S T O RY OF AN C I EN T A RT
f
swell The soul though a simple existence brings forth
.
, ,
at once and in an instant m any di erent ideas ; so it is

, ,
f
with the beautiful youthful outline which appears simple , ,
f
fi
and yet at the same time has infinitely dif erent varia
tions ; and that soft tapering which is d i cult of attain
f
ment in a column is still more so in the diverse forms
,
o a youthful body A mong the innumerable ki nds of

.
f
columns in R ome some appear pre eminently elegant
'
f
on account of th is very tapering ; o these I have par
t i c u l a rl y noticed two o granite which I am always ,
studying anew ; j ust s o rare is a perfect form even in ,
the most beautiful youth which has a stationary point ,
f
in our sex still less than in the female .
f
2 9 The forms o a beautifu l body are determined
.
by lines the centre o which is constantly changing ,
and which if continued would n ever describe c ircles

, , .
They are consequently more simple but also more

, , ,
complex than a circle which however large or small

, , ,
it may be always has the same c e ntre and either

, ,
f
includes others or is included in others This diver
, .
s i t y was sought after by t h e Greeks in works o all

kinds ; and the i r discernment of its beauty led them to
introduce the same system even into the form of their
utensils and vases whose easy and elegant outline is
,
drawn after the same rule that is by a line which must , ,
be found by means of several circles for all these works ,
f
have an elliptical figure and herein consists their ,
beauty The greater unity there is in the junction o

.
f
the forms and in the flo w ing of one o u t of another so
, ,
f
much the greater is the beauty o the whole .
.30 F rom this great unity o youthful forms their ,
limits fl o w impercepti bly one into another and the ,

A MO N G TH E GR E EKS 49
f
.
precise point o height of many and the line whic h ,
f
bounds them cannot be accurately determined This .
is the reason why the delineation o a youthful body ,
in which everything is and is yet to come appears and

f
fi
,
f
f
yet does not appear is more di cult than that o an
,
adult o r a ged figure In the former o these two the

.
,
f
adult nature has complet ed and consequently deter
, ,
mined her work o formation ; in the latter sh e begins

, ,
again to destroy the structure ; in both therefore the , ,
junction of the parts is clearly visible In youth on .

,
the contrary the conformation i s as it were suspended

, , ,
between growth and mat urity T o deviate from the .
outline in bodies having stron gly developed muscles or -
to stren gthen or exaggerate the prominence of m uscles

o r other parts is not s o great an error as the slightest
,
deviation in youthful figures in which even the faintest

,
shadow as it is commonly said becomes a body just as

, , ,
f
a rule though shorter o r narrower than the requisite
,
dimensions still h a s all the properties o a rule but

, ,
cannot be called so if it deviates from a straight li n e

whoever misses the centre white has missed a s much as
-
though he had not hit the target at all .
f 31 This consideration will establish the correctness

.
o o u r opinion and teach the ignorant better who

, in , ,
general a d mire the art more in a figure where all the

,
f
muscles and bones are distinctly shown than in the ,
simplicity of youth C onvincing proof o what I main

.
tain i s found in the engraved gems and the copies from ,
them by which it is seen that aged heads are imitated

,
by modern artists better and much m ore accurately
f
than beautiful you n g heads A connoisseur might p ro
.
bably doubt at t h e first glance a s to the antiquity o an

, ,
E
fi f
aged head upon an engraved gem but he will be able
to decide with more con dence upon t h e copy o a
youthful ideal head A lthough the celebrated Medusa
.
i n the museu m S trozzi at R ome — which is m oreover

, , ,
not a figure of the highest beauty—has been copied ,
f
even in S ize by the best moder n artists still the origi
, ,
f f
nal can always be recognised This is true likewise o .
, ,
f
the copies o the Pallas o A sp a s i u s though it has been ,
en graved by several artists and by N atter o the same ,
size as the original .
32 It may be observed that I S peak here merely of

.
,
f
the perception and impersonation of beauty in its strict
sense not o science in design and skill in execution
,
.
In respect to the latter more science can exist in and , ,
be introduced into vigorous than tender figures The

, .
L a o c o On is a much more learned work than the A pollo

f
.
f
A ges an d er the sculptor o the principal figure in the
,
group o the La o c o cn must therefore have been a a r

, , , f
f f
more skilful and complete artist than it was requisite
or the sc ul ptor o the A pollo to be The latter how .
,
ever must have possessed a more elevated mind and

,
more tender sen sibilities ; the A pollo has a sublimity
f
which was not possible in the La oc o cn .
33 B ut nature and the structure o the most beauti

.
ful bodies are rarely without fault They have forms .
which can either be found more perfect in other bodies ,
or which may be imagined more perfect In con

for mity to this teaching o experience those wise f ,
.
f
f
artists the ancients acted as a skilful gardener does
,
who ingrafts di erent shoots o excellent sorts upon f ,
f
the same stock ; and a s a bee gathers from many ,
flowers so were their ideas o beauty not limited to the

,
f
women o C ro t on a o n being employed to paint a Juno
,
there an absurd invention because he fancied that a

, ,
particular part o r limb woul d suit no other body than
f
that t o which it belonged O thers have been unable .
to think o any but individual beauties ; and their

dogma is t h at the antique statues are beautiful because
,
they resemble beautiful nature and nature will always ,
be beautiful whenever sh e resembles those beautiful
f
statues T h e former position is true not singly but
.
, ,
fi
collectively ; the second on the contrary is false ; o r
, ,
it is di i c u l t indeed almost impossible to find in nature

, ,
a fig ure like that of the A pollo of the V atican .
35 This selection of the most beautiful parts and

.
their harmonious unio n in one figure produced ideal
f
beauty— which is therefore no metaphysical abstra e
tion ; so that the ideal i s not found i n every part o the
f
human figure taken separately but can be ascribed to ‘
it only as a whole ; o r beauties as great as any of those

which art has ever produced can be found singly in
n ature but in the entire figure nature must yield the
, , ,
pal m to art .
f
The conception o high or ideal beauty is as I have ,
observed n o t equally clear to all and o n e might s u p

, ,
pose from remarks m ade o n the Ideal that it can be

, ,
f
formed only in the mind B y the Ideal is t o be under
.
stood merely the highest possible beauty O the whole

figure which can h ardly exis t in nature in the same
,
high degree in wh ich it appears in some statues ; and

it i s an error to apply the term to single parts in speak ,
ing of beautiful youth E ven R aphael and Guido .
seem to have fallen into the mistake alluded to if we ,
can judge from what both have expressed in their

letters The former when about to paint the Galatea

.
, ,
i n the palace F a rn es i na writes to his friend the dis

, ,
t i ngu ish e d C ount B a l t h a z a a r C astiglione in the follo w ,
“
ing terms : In order to select a beautiful woman ,
f
o n e must s e e those who are more beautiful ; but as ,
beautiful women are rare I make use o a certain ,
f
”
im a ge supplied by my imagination B ut the c o n c ep
.
tion of the head o his Galatea is common ; women of

greater beauty are to be found everywhere Moreover .
,
the figure is s o disposed that the breast the most

, ,
beautiful part of the naked female form is completely ,
f
covered by o n e arm and the knee which is in view is
,
f
much too cartilaginous for a person o youthful age to ,
sa
y nothing o a divine N ymph W hen Guido
. was
prepari n g to paint his A rchangel Michael he wrote to ,
a R oman prelate ,
I should like to give to the figure
f
I am about to paint beauty such as that which dwells
in Paradise irradiated by the glories o heaven ; but I
,
have not yet been able to rise s o high and I have ,
sought it in vain o n earth N evertheless his A rch

.
,
angel is less beautiful than some young men whom I

have known and still know B ut if R aphael and
,
.
Guido failed of finding beauty the former in the —

female and the latter in the male sex— such as they
, ,
f
deemed worthy of the Galatea and the A rchangel as ,
appears from the autogra ph papers o those artists then ,
I do not hesitate to sa y that the Opinion of both was

the result of inattention to that which is beautiful in
nature I a m indeed bold enough to assert that I
.
, ,
have seen faces quite as perfect in conformation as those

which o u r artists regard as models of lofty beauty .
36 The attention which the Greek artists paid to

.
f
the selection o the most beautiful parts from number
less beautifu l persons did not remain limited to male
,
and female youths alone but their observation was

,
f
directed also to the conformation of eunuchs for whom ,
f
boys o handsome shape were chosen Those equivocal .
beauties e ected by the removal of the seminal vessels

—i n which the masculine characteristics approximated
f
in the superior delicacy o the limbs and in greater ,
,
plumpness and roundness generally to t h e softness of ,
f
_
the female sex — were first produced among t he A siatics ,
f
for the purpose a s Petronius says o retarding th e
, ,
f
rapid career o fleeting youth A mong the Greeks in .
f f
A sia Minor boys and youths o this kind were c o n s e
,
crated to the ser vice o C ybele and the D iana o ,
f f
E phesus The R omans also attempted to check the
.
appearan ce o the garniture o manhood by washing the

chi n and other parts with a decoction of hyacinth roots ,
made by boiling them in sweet wine .
f
The ancient artists must have Observed this ideal
development o youth piecemeal in eunuchs S ince ,
their conformation varies according to the earlier or

later age at which they are removed into that state of
f
ambiguous nature Their form is nevertheless always
.
, ,
f
distinct as well from that o man as that of woman ;
, ,
f
it is intermediate between the t w o This di erence .
is fully apparent in t h e hands o these persons which , ,
when they are beautifully formed by nature have a ,
shape that merits the attention of him who studies

beauty in all parts It would not be possible however
.
, ,
to point it o u t by descriptio n except very imperfectly

,
.
It is on the other hand more manifest in the hips

, ,
and back The former as w ell as the latter are

.
, ,
56 H I S TO RY OF A N CI ENT A RT
f
The priests f
a person o this descriptio and was therefore called n,
A rch iga ll u s . D iana at phesus also

E o , ,
were eunuchs but not on e of them so far a s it is

, ,
known has been found represented o n the ancient

,
works .
38
f
In this respect the ancient artists have risen
.
to the idea] not only in the conformation o the face

, ,
but also in the youthful figures of certain gods as ,
f
A pollo and B acchus This ideal consists in the incor .
f
o ra t i on of the forms o prolonged youth in the female
p
s ex with the masculine forms o a beautiful young
man which they consequently made plumper rounder
, , ,
f
and softer in admirable conformity with their ideas
,
o their deities F or to some of these the ancients

.
f
gave both sexes blended with a mystic significance in
,
f
one as may be seen even in a small V enus o bronze
, ,
in the museum o the R oman C ollege This com .
mingling is especially peculiar to A pollo and B acchus .
f
39 A rt went s t ill farther : it united the beauties
.
f
and attributes of both sexes in the figures o her
f
f
m a p h ro d i t e s The great number o hermaphrodites
.
,
di ering in size and position S hows that artists sought ,
to express in the mixed n ature of the two sexes an

i m age of higher beauty ; this i m age was ideal W ith .
f
o u t enteri n g into any inquiry h o w hermaphrodites may
f
be constituted on the supposition o the actual exist
,
f
ence o creatures called by this name — like the phi
l o so p h er F a vo rin u s o A rles in F rance according to
, , ,
Phi l o s t ra t u s — every artist cannot have an opportunity

f
o seeing so rare a deviation o nature and h erma p h ro f
dites like those produced by sculpture are probably
, ,
never seen in real life A ll figures of this kind have .

A MO N G TH E G R E EKS 57
f
.
maiden breasts together with the male organs o ,
f
generation ; the form in other respects as well as the ,
features o the face is feminine B esides the two , .
k
recumbent statues of h erma p hro d i t es in the grand
k N ot merely but four such recumbent Hermaphrodite s
t wo, ,
are in existence or at least known O ne at Paris which has

,
.
, ,
been for a long time in France a second in the Florentine gal lery , ,
is the on e mentioned by the author ; a third and the most cele ,
b ra t ed is that in the v illa B orghese near R ome likewise noticed

, , ,
by the author ; a fourth and as it seems to us the best in ex ec u

, , ,
tion is i n the p al ace B orghese in Rome Wh ether as Visconti

,
s upposes the celebrated Hermaphrodite o Polycletus in bronze

,
mentioned by Pliny (lib 34 c ap 8 may have been t h e .

,
.
f
.
,
, ,
, ,
original from whi ch the fo ur figures just named were copied in
f
ancient times we do not pretend to decide It is possible but still
,
.
,
n ot capable o
f
proof O n the contrary we do not venture even t o ,
.
assert that eithe r o the marble s in question may be an original

fi
work altho u gh the t wo B orghese gures possess indisputably very
,
many admirable qual ities If we consider them in respect o i n v en

tion and the p redomin ating idea there i s scarcely one among all
. f
, ,
the antiques which could be named as pos s essing more excellences

The equivocal undecided nature o the forms wavering betwee n
,
f ,
. .
male and female between boy and maiden i s rendered with

, ,
wonderful delicacy and weighed as it were in the nicest balance

, , , .
It was the in tention of the artist to represent this Hermaphrodite

as sl eeping it i s true yet sleeping unquietly and excited by
, , ,
f
voluptuous dreams He is turned almost entirely ove r and the
.
un dul ating line o the body occasioned by its position lends to ,

,
f f
him an extraordinary charm and d enotes a style in art that had ,
n ot only advanced to the extreme o refinement i n se arch o the
f
pleasing but had in deed already strayed beyond it into the re alms
, , ,
o voluptuousness In s o far as we may presume to draw an infe r

.
ence from these characte ri stics as to the age when the wor k in ,
f
question was executed it could not well be earlie r than after the
,
time o A lexander t h e G reat when Greek rule manners a n d art , , ,
prev ai led in A sia .
A mo n g the fou r repetitions s till extant of this recumbe n t He r , ,

H I S T O RY OF A N C I ENT A RT
ducal gallery at F lorence and the still more cele ,
b ra t e d and beautiful o n e in the villa B orghese there ,
f
the one first mentioned which is s ai d to have been
m a p h rodi t e, ,
retouched by a modern artist has the least value a s a work o ar t

,
.
It was disinterred at V elletri and h a s been kn own a lon ger time

,
f
than the others .
The forms o the Flo rentine Hermaph rodite are elegant the ,
contour soft and flowing the flesh tender S ome few slight i n a c cu
ra c i es
,
however are visible ; and the handling especially o the

, ,
.
,
f
hair also allows room for conjecture that it is a copy executed in
, ,
the time of the R oman emperors He lies on the spread skin of a .
lion o r tiger the end of which is also wrapped about the left arm
,
.
This latter particular distingui shes the Florentine in some degree
f
from the three other repetitions The n ose is new ; probably also .
, ,
both legs the whole of the right thigh and half o the left the
, ,
socle and the skin spread underneath A ccurate observers will

fi f
.
,
probably n d that the characteristics o the male sex are in this ,
figure somewhat more modest short a n d quiet than in the two

, , , ,
ff
f f
B orghese statues : this is n ot however an original ancient varia, ,
tion but merely an e ect o t h e delicate scrupulousnes s o the

,
artist by whom the restorations were m a de .
f
The celebrated figu re in the villa B orghese dese rves to be ranked
before the Florentine partly on account o its better p reservation
, ,
and partly because the forms are generally even more flo wing and , ,
elegant N otwithstandin g these admirable qualities in the ex ecu

.
f
tion still there is observable about the mouth eyes and in other
, , ,
important points a certain want of spirit o living expression

, , ,
which cannot be lacking in any truly origin al work or at least not ,
in on e s o perfect in conception a s this Al though t h e Florentine .
Hermaphrodite is wrought from Greek marble an d this from ,
Italian still we should be inclined to regard the latter as the

,
f f
more ancient judging from the indications Of the handling The
, .
f
tip o the nose four fingers o the left hand the left foot a s high
, ,
f f
as the small o the leg a triflin g portion Of the d rapery and the
, ,
mattress — which passes or a masterpiece o its kind — are new ,
f
a n d from the hand of the celeb rated L oren z o B ernini .
The fourth Hermaphrodite in the gallery o the palace B orghese

,
60 H I S T O R Y O F AN C I E N T ART
statues o n e w ould have to take a female back from

,
the beautiful hermaphrodite in the villa B orghese .
f
4 0 N ext to the selection and har monious union
.
f
and incorporation of single parts o superior beauty
f , ,
f
from dif erent conformations o the human figure the ,
f
study o artists in produc ing ideal beauties was directed
f
to the nature o the nobler beasts S O that they n o t ,
f
only instituted comparisons between the forms o the
human countenance and the shape of the head o
f
certain animals but they even undertook to adopt from
,
ani mals the means o imparting greater maj esty and

elevation t o their statues This remark which might .
,
f
at first sight see m absurd will strike profound o bser ,
vers as indisputably correct especially in the heads o
f
Jupiter and Hercules F o r o n examining the c on .
,
ff
formation of the father and king o the gods it is seen ,
that his head has the complete aspect o that o the

.
lion the king of beasts not only i n the large round

, ,
1
eyes in the fulness of the prominent and as it were
, , ,
f
swollen forehead and in the nose but also in the
, ,
hair which hangs from his head like the mane o the
,
lion first rising up ward fro m the forehead and the n

, , ,
f
parting on each side into a b o w again falling down ,
ward This is not such an arra n geme n t o the h air

”
f
.
1 In the h eads o Jupiter the eyes are large an d well opened , ,
f
but not round ; s o that in this respect they resemble less closely
, ,
f
the confo rmation o t h e lion than on e might probably suppose
f
from Winckelmann s words (S ee Plate 1 two o the finest heads
'
.
,
o Jupiter in which the eyes

, forehead and frontal hair are rep re , ,
sented ) — GERM E D
. . .
f f
m
Plate 1 A and B represent the eyes forehead and arrange
, , , ,
ment o the hair o Jupite r The head from which A was engraved
f
.
formerly adorned the facade o the villa M edici ; it was after

A MO N G TH E G RE E K S . 61
as belongs to man ; it is p eculiar t o the animal in
f
question In the statues of Hercules the make of a
.
,
powerful bull is seen in the relation o the head to

the neck ; the former is smaller and the latter larger
, ,
f
than is usual in the human figure and they stand just ,
in that proportion to each other which the head o

a bul l bears to the neck — i n order to express in this
hero a preternatural vigor and strength O n e might .
,
f
indeed sa y that eve n the short hairs o n the fore
, ,
f
head O Hercules as an allegorical figure may have
, ,
been copied fro m those on the forehead o that animal .
f f
wa rds carried to Florence t o be set up in the garden B oboli
, .
The head from which B was engraved is that o the Jupite r o O tri
f
coli n ew removed from the Pi O C lement museum to Paris which
-
, , ,
f
howeve r in spite o its celeb rity is ac cordin g to our feeling s u r
, ,
passed i n gran deur o style and noblene ss of features by the head

above na med — GERM ED
. .
,
.
H I S T O R Y O F A N C I EN T A R T
A MO N G THE G R EE KS .
PA RT I I .
C H A PT E R I .
TH E C O N F O RM A I O N
T AN D B E AU T Y O F TH E MA L E D EI TI E S AND H ER O E S .
1 . most beautiful forms thus selected were in

THE , , ,
a man n er blended together and from their union

, ,
f
issued as by a n e w spiritual generatio n a nobler pro
, ,
geny o which no higher characteristic could be con

,
f
c ei v e d than n ever ending youth — -
a conclusion t o
which the consideration o the beautiful must n ec es
s a ril
y lead F or the
. mind in ratio n al beings has an
, ,
f
innate tendency and desire to rise above m atter into
t h e spiritual sphere o conceptions and its true enj oy
ment is in the production o new and refined ideas f ,
T h e great artists among the Greeks —who regarded

themselves almost as creators although they worked ,
less for the u nderstanding than for the senses—sought

to overcome the hard resistance o matter and if f , ,
f
possible to endue it with life with soul This noble
, , .
zeal o n their part even i n t he earlier periods o art

, ,
F
66 H I S T O RY OF AN C I E N T A RT
f
f
gave rise to the fable o Pygmalion s statue F or
’
.
their hands produced those objects o devout respect ,
f
which to inspire veneration must necessarily appear
, ,
f
to be images taken from a more elevated order o
beings The first founders o the religion— wh o were
.
poets— attached to these images exalted ideas and ,
these in their turn excited the imagination to elevate

her work above herse l f and above sense To human
, .
notions what attribute could be more suitable to s en

,
f
sual deities and more fascinating to the imagination
, ,
f
than an eternal yout h and spring time o life when -
the very rem emb era n c e o youth which has passed
f f
a w ay can gladden us in later years ? It was con
formable to their idea o the immutability o the
godlike nature ; and a beautiful youthfu l form in their
f
deities awakened tenderness and love transporting the ,
f
soul into that sweet dream o rapture i n which human ,
happiness — the object and aim o all religions whether ,
well o r ill understood — consists .
2 A mong the female divinities constant virginity

.
,
was attributed to D iana and Pallas and the other ,
goddesses could obtain it again when once lost
f
Juno for instance as Often as sh e bathed in the
, ,
f
fountain o C a n a t hu s Hence the breasts of the god
.
desses and A mazons are like those o young maidens

whose gi rdle L ucina has not loosed and who have not ,
yet gathered the fruits Of love ; I mean t o s ay that ,
“
the nipple is not visible unless the goddesses are
,
f
It would be a fault in female figures with bared breasts if the
a
,
nipples as an essential part o them were not visible that is to s ay

, , , ,
were n o t indicated at all They are however always signified and

.
, , ,
even made vi srbl e through the dress in all antique figures e ven
, ,
68 H I ST O RY OF AN C I E N T A RT
on an amethyst in the S t o sc h m useum The step o . f

f
the V atican Apollo floats as it were in air ; he , ,
touches not the earth with the soles o his feet .
Ph ere c yd es on e of the oldest Greek poets seems

, ,
t o have intended to express this light and gliding

movement in the snake form which he gave to -
f f
the deities in order to describe figuratively a mode
,
o progression o which it i s not easy to discover

any trace
f
.
f 4 The youth o the deities h a s in both sexes its

f
.
, ,
di erent degrees and periods in the representation o ,
which sculpture sought to display all their beauties .
f
This youth is an ideality adopted par t ly from t h e ,
bodies o beautiful males a n d partly from the nature ,
of beautiful eunuchs and elevated by a conformation ,
surpassing that of humanity Hence Plato says that .

,
n o t the true proportio n s but those which seemed to ,
f
t h e imagination most beautiful were given t o statues ,
f
f
”
o the divinities .
5 The first o r male ideal has its di erent degrees I t

.
, , .
f
begins in the you n g S atyrs or F auns as humble c o n c ep ,
f
tio n s o d ivinities The most beautiful statues of F auns
"
.
present to u s an image o ripe beautiful youth in per , ,
fect proportion They are distinguished from young

f
.
Plate 2 A B A is the p rofile o a young Faun of the noblest

, ,
.
kind It i s engraved from an admirable statue o white marble in

. f
the gallery at D re s den
f
.
B is the profile o a Faun of common charac te r The statue is .
in the C apitolin e museum There is a figure almost exactly like it

.
,
f
of red marble in the Pic C lement museum and another in t h e
,
-
miscellaneous room o the C apitoline museum They are works of .
the time of A d rian a n d we re excavated at h is villa n ear Tivoli

,
.
G ER M ED. .
f
heroes by a common profile and a somewhat sunken ,
nose — s o that they might or this reason be called , ,
S imi flat nosed — not less than b y a certain inn o cence

f
-
,
and simplicity accompanied by a peculiar grace o

, ,
which I shall speak hereafter in discussing grace .
This was th e general idea which the Greeks had of

d
these d eit i es .
d A ncient
art has transmitted to us Fauns of di erent characters f
f ,
f
or in other words it has thought proper to present the ideal of them
, ,
f
in di erent modes and unde r forms more or less n oble The
, .
f
remark o W inckelman n is well gro u nded that several statues and ,
f
heads of young Fauns are o uncommon beauty and apparently ,
f
conceived and represented a s though o di vine ori gin and relatives ,
W f
o B acchus ; for example the many simil ar young Fauns noticed
, ,
f f
by him standing at rest against the trunk o a tree whi ch pass fo r
, ,
c O i es o the (s o called
) PBG g The C elebrated o Praxi teles
”
p E L flT o , , .
f
The beautiful young Faun al so which togethe r with three , , ,
antique repetitions o it stands in the museum at D resden is , ,
f
equally pleasing yet still more noble and divine in its conception
fi
, , .
(A profile o the head al one ma y be seen in Plate 2 fig A ) A fth , . .
fig ure re embling the D resden statues is in the villa L u d ovi s i at

, s , ,
f
R ome The head in particular is extremely lovely and well pre
.
,
served The young Faun blowin g a flute —O which there are

.
,
like wise n u me rous copies —is charmingly graceful although the

, ,
shape generally is somewhat less noble There are t wo such figures .
f
i the C ap itolin e museum and several in t h e villa B orghese o n e of
n , ,
which is of surpassing excellence U nsatisfactory engravi ngs o .
this most beautiful figure may be found i n Perrier (S t a tu e N o ,

.
f f
f
and in the S cu l t u e d el Pa l a zzo d el l a Vi l l a B o rgh ese In the latter
r .
o these works the conjecture is o ered whether the celeb rated Faun , ,
painted by Protogenes and bearing the epithet w ,

ép l g The a
’
a a a v s o ,
R eposing might not have been the original Of this monument in

,
f
marble Indeed the many repetitions of it and the ski ll and wisdom
.
, ,
f
which prevail i n the disposition o its parts as well as the elegance ,
and tenderness o the forms place it beyond all doubt that it must ,
have h a d fo r its original a work highly celebrated in antiquity B ut .

6 N ow since more than thirty statues o young

.
, f
S atyrs or F auns are to be found i n R ome resembling ,
we should n ot co nj e c ture that o rigin al to have been a pai n ti ng

unless the probability o this w ere b a s ed upon v ery pecul iar circum
stances .
f i
,
The celebrated S ilenus carrying t h e young B acchus in hi s arms ,
f
in the villa B orghese is also to be e n umerated among the estimable
, ,
noble figures o the B acchus fami ly — N ote l ) p 7 5 wil l give .

,
further information in regard to this beautiful m onument .
f
The Fauns which W in ckelmann appears to design ate properly by
the epithet S i mi that is flat nosed are conceived after a dif erent
, ,
-
f
and lower ideal They have a broader and flatter face eyes n ot
deeply s et and or the most part a somewhat sunken nose with a
, , ,
,
thi ck tip ; the mouth is proportionately wide and the face usually ,
distorted with lau ghte r W arts like those whi ch goats have are .
, ,
often put under the j aw near the neck I n other respects their , .
,
conformation is always vigorous and agil e though occasionally ,
slender and pervaded by strongly marked muscles and sinews

ff
:
-
as requ i red by their occupation o roaming through woods and
f
fields The firs t place among figures o thi s kind and character
.
p roperly belongs to the celebrated sleepin g Faun o the B arberin i

.
f
collection The sleep in whi ch he lies s unk aft er fatigue and the
relaxation o al l the muscles o the limbs are expressed in a
,
f ,
,
manner which cannot be improved ; it is indeed ini mitable W e , , .
c a n al most hear the deep respir ation s ee how the wine swell s the ,
vein s how the excited p ul ses beat

,
.
The second place belongs t o the Faun playing the S cabellum ! i n ,
the T ribune at Florence N ot only do the faultless harmony .
throughout an d the highl y n a ve S implicity in the gestur e and

,
' ’
r ,
f
the keeping of al l the parts challenge our admiration satisfy the
requirements o the unders tandin g and perfectly accomplish the
,
,
,
obj ect in view but this figure like the B arberini sleeping Faun just
, , ,
f
mentioned delights also the feelings themselves as a bright glori
, , ,
o u s image Of natu re un restrained
f
It is moreover one o the most
fi
.
, ,
learned gures or to speak more correctly on e o those in whi ch

, ,
d f
,
A ki n o mu si c a l i n s t ru m en t h h w ic w a s p l a yed by t h e p ressure o f t he
foo t it lw e t h e sa m e t on e —T E
a a
ys ga v . .
72 H I STO RY OF A N C I EN T A RT
teles which was in A thens a n d was regarded by t h e

, ,
artist himself as his best work The next most dis "
.
constitute a class intermediate between those j ust mentioned and the

beautiful B orghe s e S ilenus holding the young B acchus in h i s arms ,
to which reference has already been made .
f
Fin al ly there r emains to be considered sti ll a third class and
this the lowest o such ideal conformations— namely the long horned
,
and goat footed t o whi ch in the language o art o the present day
-
ff ,
-
,
, , ,
the n ame of S atyr i s usually a n d exclusively applied although , ,
anciently the G reeks comprehended unde r thi s term al l the ki nds

,
above named without exception , .
If we s ee the Fauns so called Of the second clas s almost always , ,
represented in a state Of mind excited by wine even to waggish n ess ,
excessive gai ety jumping and dan cing so the ancient artists made
, , ,
u s e of the Goat footed as the true M erry A ndr ew Fo r this reason

fi
- -
.
,
f
we n d on engraved gems as well as in a Herculaneum painting , ,
o n e o those mongrels engaged in a butting contest with a real m al e
goat In the villa B orghese there is another who is sitting down

.
, ,
and occupied with comic gravi ty in extracti n g a thorn fro m the foot
of a robust Faun who behaves himself in a manne r q uite unseemly
,
.
In the Pi c C l emen t M u seu m (Vol I Plate 5 0) may be found a

-
. .
,
group Of a still lowe r character though superior in execution in , ,
whi ch a S atyr with lu s tful impatience is striving to strip the dress

, ,
from a struggling Nym ph When ancient art deviates still farthe r .

,
into the representation Of dubious o r Shameless subj ects it does

indeed occasionally make u s e of the lower kind o Faun s but —mo re f , ,
fi
, ,
frequently of the Goat gures — GERM E D

f fi
-
. . .
9
This S atyr or Faun o Pr axiteles wa s te rmed 6 m e m g The r
’
o o ,
Praised A ccording to Pausani as (lib 1 cap 20 ) and A then aeus

.
”
.
, .
(D eip n os op h l i b 1 3 c a
p it was of bronz e and was sta ndin g
.
, .
,
.
,
f
even i n their time that is about A D 1 74 in the Tripod S treet , , . .
, ,
at A thens Am ong the figure s whi ch pass for probable copies o this
.
masterpiece s o celebrated in antiquity the on e whi ch was carried

, ,
from the C apitoline museum to Paris i s in respect to execution , ,
the most valued B ut however beautiful it may be still there are

.
, ,
f
observable about it as in most ancient copies certain indications , ,
o haste and n egligent handling The d rill has been much used .
,
A M O N G TH E G R EEKS 73
f
.
f
t in gu ish e d artists in this kind o figures were Pra t in a s
f
a n d A ri s t i a s o Ph l i u s not far from S icyon together , ,
with one ZE s c hyl u S S ometimes these S atyrs h a d a .
laughi n g countenance and warts pendent beneath the

j a w g
like , goats h
O f this
‘
kind is one o th e most beau .
,
f
tiful heads of antiquity in respect to execution ; it was ,
and o n more careful examination errors are discove rable ; for

, ,
exam ple the retracted right foot is much S horter than it ought t o
.
,
b e — The nose the back part o the head and both fore arms and
, f ,
-
hands are modern — GERM E D . . .
f W inckelmann has given a wrong interpretation to the pas sage

in Pausanias (lib 2 cap from whi ch he probably derived this
.
, .
statement Pra t in as and A ri s t ias were not artists in marble and

.
bron z e as Heyne first remarked but two dramatic poets who like
,
ZE schyl us w rote satyrical dramas also

,
was composed o S atyr s — GERM E D

p
f
the chorus o which
,
. .
,
'
i
a a z v o r,
'
,
f ,
8 L a c i n i ce a c e ni a bi n a d e en d en t es
p (Pl i n lib 8 cap 5 0 sect
r c .
, .
, .
, .
T wo flaps pendent from the neck They are visible on a ”

.
beautiful young Faun sleepin g on a rock among the Herculaneum ,
bronzes (A n t i ch d E rco l n o V ol V I Plate . and in another

’
a , . .
,
plate (N O which represents an elder Faun or a S ilenus

.
, ,
stretched ou t upon a skin These pendants are still more clearl y .
W
visible on the beautiful Faun of red m arble in the Pio C l emen t ,
M us eu m (V ol I Plate —F . .
, .
f
h
Plate 2 a a , ,
.
i It was found near the celebrated tomb o C aecilia M etella and ,
belonged to the Institute at B ologna where it was seen by B reval ,
and Kei s sl er who make mention of i t — , . .
The bust not the head alone of the Faun mentioned here which
, , ,
belongs to the second class designated in N ote (d ) p 6 9 coul d , , ,
f
hardly be equalled in regard to the industry bestowed u pon the
execution o it A l l the parts are finished with the greatest .
accuracy ; but as the whole has been very smoothly polished the
, .
reflected light from the surface produces a certain appe a rance of

hardne s s which is not favorable to this real l y admirable monument
,
.
It is besides in perfect preserva t ion ; onl y the right side of the

, ,
formerly in the possession o the distinguished C ount f

M a rs igl i but now stands in the villa A lbani
,
The .
f
beautiful B arberini sleeping F aun is no ideal but an ,
f
image o simple unconstrained nature A moder n
,
.
f
k
w ri t er who si n gs and speaks o painting in poetry and
,
prose could never have seen an antique figure o a

,
F aun and must have been ill informed by others whe n

, ,
h e states as a well kno w n fact that the Greek artists

,
-
selected the shape of the F auns for the purpose of

representing heavy and sluggish proportions and that ,
they ma y be known by their large heads short necks , ,
high shoulders small and narrow chests thick thighs

, ,
f
and knees an d misshapen feet Is it possible that any
, .
f
o n e can for m notions so low and false o the sculptors
f
o antiquity ? It is a heresy in art first hatched in the ,
brain o this author I do not know that he was obliged .

,
like C otta in C icero to s a y what a F aun is

, , .
f
7 The yo u ng S atyrs or F auns are all beautiful with
.
,
o u t exception and so S haped that each one o them if

, , ,
it were not for the head might be mistaken for an ,
’
A pollo especially for that A pollo called Ea vp o x ro vo s
,
-
(
f
L izard killer
-
) the position of whose legs

, is that com
m on to the F auns A mong the many statues o this .
kind two in the palace Ruspoli h ave been preserved

,
uninjured In one head of a young F aun the artist

.
,
has risen above the usual idea and given an image of ,
f
high beauty over which an inexpressible sweetness is
,
Wf
di used He appears to be in a quiet rapture which
.
,
face is a little stained with something green probably from lyin g , ,
wh ilst in the ground in contact with bronze F or this reaso n the

,
.
French te rm it l e F a une a l a t dche — GERM E D . . .
a t el et Re l ex su r l a Pei n t u re p 6 9 — G E R M E D
k
.
, , . . . .
f
This figure is precisely similar to two others in the villa ,
Ruspoli o which only on e has an antique head

, S ile .
In regard t o the statue from which this engrav ing is O opied ,
Viscon ti (C hi a ra mon t i M u s V ol II p remarks as follows ,

; .
, .
The an cient monuments still remaining which relate to D ionysus

o r B acchus and his n umerous followers usually divided into the
, ,
various families of S atyrs Fauns S ileni Pans M aenades &c are , , , , , .

,
f
s o frequent that they are to be fo un d everywhere in museums and
, ,
a s the ornaments of dwelling houses of gardens and o villas B ut -
, , .
f
images which represent the p ri mitive S ilenus the instructo r Of ,
B acchus are rare A lthough the poets and writers o satires

, .
travesty him as Old very fat and pot bellied resembling a wine
, ,
-
skin deformed as L ucian caricatures him and as he is Often rep re

, , ,
f
sented on ha s reliefs in the B acchic scenes upon sarcophagi s o
-
common in museum s still the original character o S ilenus is much

,
more noble since he is understood to have bred and educated

,
f
B acchus or D ionysus in whom is personified the un civiliz ed state
,
o the world and its passage from a rude to a more cultivated

,
condition He was the head t h e leader o that troop of old S atyrs

.
, , f
who were called S ileni after him and wh o accompanied B acchus in ,
his Indian campaign which was undertaken fo r the purpose Of ,
f f
civilizing the barbarians The O rphi c Hymns i nvoke him unde r .
the name o the bravest and best o the S ileni ; the titles which
they give him denote veneration ; they pronounce him to be honored
f
alike by gods and men In the more ancient Theogony ,
f
S il enus was regarded as the depositary o scien ce which in his , ,
f
capacity o i n structor he communicated to B acchus who made use
, ,
o it to civilize mankind still in a rude and savage state
ffi
,
.
f
This figure which al s es all the erroneous notions entertai ned
, r
f
o S ilenus shows him in his original character as the foster father
, ,
-
f f
and ins t ructor o B acchus N ow this latter taken in a moral sense .
, ,
f
is nothin g more than a symbol o the refinement o t h e world from
a state o barbarism and the former is a symbol o the knowledge
, f
which had nurtured guided and assisted him , , .
f
f
L ike his foster child he is naked ; hi s aspect is noble and a ec
-
t i o a t e as suitable to the educator o a god whom he holds in his

n , ,
arms and pres s e s to his bosom The child i s caressing him in turn .
,
nus either has a j oyous face and a curly beard as in the ,
statues just mentioned or as in other figures he , , ,
appears as the teacher of B acchus in p h i l O S O p hi e form , ,
with a long and venerable beard which falls in soft ,
f
waves down upon his breast just as we see him in the ,
f
o t repeated reliefs kno w n under the highly erroneous
- -
a ppellation o
“
the R epast Of T rim a l c h i o n I have .
”
f
presented this idea of S ilenus confined exclusively t o ,
serious figures for the purpose o obviating the obj ec

,
tion which might be made that h e is uncommonly ,
f
co rpulent and rides reelingly upon an a ss and is thus
, ,
represented o n dif erent raised works "

.
and gracefully extends his h an ds t o the other s cheeks His head is ’

.
f
bald ; the goat ears — denoting an origin in common with the S atyrs
-
and Pan i s ci and parta ki n g o the bestial and the human —and the
,
panther s s kin upon the left a rm are attributes which show that
’
, ,
S ilenus possesses two natures a mortal and a divine a material and

, ,
f
an intellectual His n ose is flat his face broad and the expression
.
, ,
f
composed o hilarity benevo l ence and sagacity The wreath of ivy
, , .
f
leaves and ivy berries around the head Of each tells o the perpetual
-
youth o B acchus and the strength and sweetn ess of the bo n ds with
,
which barbarism binds the mi nds o men — T R f .

”
.
n
Plate 4 . This engravi ng i s al so made after a statue in the
Pi o C lement museum
-
.
O f thi s statue (Pi o C l em M us V ol I Plate . Viscon ti remarks

.
, . .
,
as follows A distinction is commo n ly received among anti
f
qu a ri an s w hi ch assists them greatly in classifying the s o much
vari ed images o the rustic deities who are the followers and com
panions of B acch us Having Observed them sometimes with the
.
lower limbs goat like at other times only with capri form ears and
-
, ,
f
agai n with tail and horns now in advanced life and now in youth
, , ,
they gave the name o S atyrs to those which in the expression of ,
f
the coun tenance in the hair and the goat like haunches and legs
, ,
-
,
resembled t h e anti que representations o the god Pan The term .
Faun they applied to those which are seen with c ars and tail alone ,
9 A s the common idea entertained o the S atyrs o r

. f
F auns is usually erroneous so it has happened with ,
and sometimes with the rudiment s o ho rn s but o which the legs f , ff

and thighs are wholly human ; if however they were not o youthful , ,
or manl y age but in advanced o r mature life

,
then they were no ,
f f
longer termed Fauns but S ileni S ome with greater exactness
,
.
, ,
f
have wished indeed t o distinguish by di f erent names t h e dif erent
fi
, ,
f
ki nds o Fauns — c on n i n g thi s appellation to those whi ch wi th a ,
f
human form hav e the ears horns and ta il O a goat and cal l ing by
, , , ,
f
the name o T i t yri those rare figures of B acchanal s which have
nothin g o the goat shape
f f
“ The exactness o such autho rs certain ly deserves
.
s ome praise
since it attempts to make di erent ideas correspond to di erent f

f ,
names — which does much to promote clearness ; but they seem to

go too far in seekin g to derive such a division —which can have no
,
f
othe r obj ect than the conve n ience of ar ti sts and antiquari an nomen
c l a t u re— fro m the ideas o the ancients and in censu ring for want , ,
f f
Of precision those classic writers who have not observed it In
fi
.
,
f f
refutation o s uch an opini on it is su cient t o reflect that images, ,
f
are found of Greek workmanshi p and o remote antiquity o all the
, ,
diversified kinds o B acchanals although we ar e certai n that the ,
f
Greeks never knew Fauns except by the name of S atyrs or S ileni
which wa s applied in di ferently to all the followe rs o B acch us S till
however even the Greeks sometimes disting ui shed the i n dividual
f .
,
f
chara cters of various deities of a similar kind and perhaps they knew ,
no distinction more usual than that o Pa n and S ilenus The fo r

fi
.
mer wa s commonly gur ed in semi capriform resemblance ; to the -
l atter were give n a bald forehead a flat nose a long hea rd a hairy , , ,
f
breast and a short an d corpulent person In Pa n they recogn ised
, .
o n e of the most ancient di vinities of A rcadia and o shepherds ; in
S ilenus the instructo r the companion the general of B acchus A l l

, , , .
f
classic writers agree in the characteristics noticed above and no ,
f f
description is more lively than that given o the two by L ucian who ,
refers to them at the head o the conquering army o India in

, ,
these words U nder the god there were two gen eral s r on e of ,
them was a short very fat pot bellied tremulous ol d man with flat
, ,
-
, ,
nose and large up right ears ; the other a monster man from the
, , ,
-
,
f
instructor o B acchus which he actually was This , .
misconception is the reason why the statue of S ilenus

with the young B acchus in his arms standing in the ,
v illa B orghese has been supposed t o be a S aturn

, ,
because the figure resembles an ancient hero ; yet its

true signification ought to have been recognised by the
f f
pointed ears and the ivy about the head
, .
f
1 0 The principal o these deities o a lower order
.
f
is Pan Pindar calls him the most perfect o the gods
. .
O f the conformation o his face we have hitherto had

either no idea at all o r a very erroneous o n e I believe
, .
,
f
ho w ever that I have discovered it in a head crowned
, ,
with ivy o n a beautiful coin o A ntigonus the F irst

, .
The countenance is serious and the beard full and ,
shaggy resembling the hair of a goat ; hence Pan is

,
called bristly haired O f this coin I will -

.
”
f f
give some further account hereafter (in the second
chapter o the tenth book ) A nother head o this .
deity n o t more known but executed with greater skill

, , ,
is to be found in the C apitoline museum He is more °

.
0 Winckel man n does not particularly de signate the head of

As
Pan in the C api t oline museum of which he makes mention here , ,
it is doubtful whether he mean s a Herme s in the miscel lan eous

room which formerly bore the name of Jupite r A mmon or the
, ,
f
S atyr M ask that is merely the face without a y back part which
-
, , n ,
probably still stands in the C apitoline museum in the room o the ,
great Vase The latter i s uncommonly beautiful and executed

.
,
with exquisite expression Of characte r ; it is howeve r very much , ,
f
injured The head of the (so called) Jupiter A mmon in the mis
.
c el l a eous room is indeed also good yet the execution o

n , it is far
, ,
f
from being s o admirable It has a noble character app roximating
.
,
even to the maj estic ; together with the hor s o a ram and pointed n ,
ears W inckel mann was p robably ind uced to regard this monument
.
A MO N G TH E G R EEKS . 8]
easily recognised by the pointed ears i n this than in the
f
f
former figure The beard o n the other hand is less
.
sti ; it resembles that o n some heads of philosophers

, ,
the deeply thoughtful expression of whose faces lies
f f
particularl y in t h e eyes— which are sunken after the ,
f
manner o those o Homer A n engraving of this head .
will appear in the third volume o my A n c ien t M onu
f
men ts The god Pan was n o t always represented wit h
.
the feet o a goat for a Greek inscription mentions a

,
figure of him of which the head resembled the usual

,
o n e with goat s horns whilst the body and chest were
f
’
shaped in imitation of those o Hercules and the feet ,
f
’
were winged like Mercury s .
1 1 The highest conception o ideal male beauty i s

.
f
especially expressed in the A pollo in whom the strength ,
o adult years is found united with the soft forms of
f
the most beautiful spring t i me of youth These forms -
.
are large in their youthful unity and n o t those o a ,
minion wandering about in cool shades and whom ,
f f
as an image of Pan particularly by the hair because it is curled
, ,
over the forehe a d quite dif e rently fro m that on the heads o
f f
Jupite r The nose is a restoration
.
A statue o Pan o the size of life in a s itting posture and o

.
, , f
f
pretty good workmanship may be found in the villa B orghese
, .
B ut the most admirable head o Pan is in the mansion Ro ndinini ;

it may even dispute s uperiority with the C apitoline Mask just ,
mentioned The nose an d mouth and also some locks Of the

.
,
beard and hair are new , .
f
Furthermore there is a Pan s head but little Obse rved in the
,
’
, ,
garden o the villa M edici ; it stands on a He rmes in front of the ,
pavilion in whi ch formerly stood the C leopatra or p roperly A riadn e , ,
now i n Florence The ideal character that is the mixture of

.
, ,
human with goatish feature s i s cle arly and admirably exp re s s ed

,
.
G ER M E D
. .
82 H I S T O R Y OF A N C I EN T A RT
V enus as Ibycus says has reared o n roses but befitti n g

, , ,
a noble youth d estined t o noble purposes Hence

, .
A pollo was the most beautiful among the gods Health .
f
blooms in his youth and strength manifests itself like , ,
the ruddiness o morning o n a bea utiful day I do not .

,
f
however mean to say that all statues Of A pollo possess
,
f
this lofty beauty or even the A pollo of t h e villa ,
M ed ic i so highly prized by o u r sculptors and so re

p
, ,
P The knee and al so the legs towards the ankle o the A p ol l in o

, ,
f ,
f
s o called formerly in the villa M edici
, but now in the Tribune at ,
Florence are usually conside red les s beautiful than the rest o the
,
figure There may perhaps be some truth in the c riticis m if it

.
, , ,
f
be viewed in detail and not according to i t s general s ignification
,
f
a n d e ect as a whole F o r our o wn part however we think ve ry
.
, ,
favorably o it and afte r repeated attentive examination have

, , ,
f
n ever been able t o detect those st rikingly neglected portions by
which the harmony o the whole i s disturbed E ven if the legs .
near the ankle joint do appear too much de veloped and too little
fi
-
you t hful it p roceed s from the circum s tance that the gure was
, ,
broken precisely in this place and p robably h a s been retouched , ,
f
as the uneven outline leads on e to infer .
In j udging o this work we must reflect that it i s in the highe s t

degree probable that it wa s executed in the time o A lexander s
,
f ’
successors and therefo re in the late r periods of Greek art when

,
artists began to ai m at a gene ral pleasing ef ect rathe r than to f

f
,
f f
produce t h e exact shape and perfect finish o each particular part .
Hence the idea o the head o this figure is c ertainly very beau
,
tiful indeed lofty in general ; but still we are not always willing
, ,
f
in this case as we are for example in that Of the N iobe and her
, , ,
two loveliest daughters to follow closely the drawing o the forms ,
into its details It was neithe r the artist s intention to rende r

.
’
f
every particular accurately nor di d so s evere and punctilious treat ,
ment comport with the flowing softness o this late r style If .
such points are taken into conside ration each fresh view Of the ,
f f
A p ol l i n o will reveal n ew beauties to every pe rson competent to
ju dge o art The fl ow an d soft undulation o the outlines is
.
84 H I S T O R Y OF A N C I E N T ART
size of a well made youth If the imaginatio n filled -

.
,
with the single beauties everywhere displayed in nature ,
and occupied in the contemplation of that beauty which

flows from Go d and leads to God were to shape during , ,
f
f
sleep a vision of an an gel whose countenance was
, ,
f f
brightened by the divine e ulgence and whose form ,
was seemingly an e fl u en c e from the source o the

highest harmony —i n such a form let the reader s et
before himself this lovely image It might be said .
,
f
that nature with God s approval had fashioned it after
,
’
f
the beauty o th e angels ‘
.
1 3 The most beautiful head o A pollo next to that

.
,
of the B elvedere as it appears to me belongs to a , ,
sitting statue of this god larger than life in the villa , ,
f
L u d o vi s i It is quite as uninjured as that of the
.
B elvedere and more conformable to o u r idea o A pollo

, ,
as a benignant and gentle deity This statue which .

,
A f
slight sketch o thi s monument is to be found in the s econd
f
v olume of the S c u l t u re d el Pa l a zz o d ell a Vi l l a B o g h es e S tan z a I X r ,
.
f
NO 1 1
. In the explanation (p 94 o the same volume ) it is mo re
. .
, ,
f
over asserted that the appellation o Genius is probably n o t correct
, ,
pose carried n either bow n or arrow

f
and that the work might very well be an imitation o the celebrated
Thespian C upid o Praxiteles whi ch there is good reason to sup , ,
.
,
It is ou r beli ef that there are mode rn additions to this figure ,
n amel y the left leg as far as the foot both fore arms the tip Of the
f f
-
, , ,
nose the larger portion o the wings and also the u ppe r part o the
, ,
f
f
drape ry which is th rown over the t runk o a tree a gainst which
, ,
W
the figure leans The lower anti que fragment o this drape ry falls
.
in very admirable folds — GERM E D

f f
. . .
r
This i s the figure o which Flaminio Vacca (M on t a uc D i a ri o .
, ,
I t a l p 1 9 3) speaks ; he believes it to be an A pollo but with win gs

f
.
, .
,
M ontfaucon h as ha d it engraved from a frightful drawing (M on t . .
A nt i q E xp l Tom I Plate 1 1 5 N o
. . .
— .
, , . .
has b een but little noticed deserves remark a s the , ,

’
only o n e having a shepherd s crook an emblem ascribed ,
to Apollo It lies on the stone o n which the figure is

.
’
s itting and shows that A pollo the shepher d N o u ro s is
, , ,
represented here — with especial reference to his service

,
f ,
f
in this capacity with A dmetus king o T hessaly
, ,
.
1 4 F rom the head o a statue of A pollo in the villa

.
B elvedere at F rascati likewise from the bust with the

, ,
f
u ninjured head in t h e gal leries of the C onservatori of
f
the C apitol and also from t w o other heads o the same
s
,
f
deity— o n e o which is in the C apitoline museum and ,
f
the other in the F arnesina o n e can get an idea o that -
fi
style o arranging the hair which the Greeks termed
x o
p é xog and
,
of which there remain no clear d e sc rip
tions This word when applied to young men has the

.
, ,
’
same signification as x op vp fl o g in the case of young
f
maidens that i s hair collected in a knot o n the bac k
, ,
part o the head W ith young men the hair was .

,
smoothed upwards around the head and then gathered ,
together o n the cro wn without a n y visible band to ,
f fi
confine it The hair is knotted together in precisely
.
f f
the same m an ner o n the head o a female gu re— in
one o the most b eautiful o the pictures from H erc u
l a n e u m— which is resting o n o n e knee near a tragic ,
personage and writing o n a tablet

, .
f f
1 5 This si milarity of head dress in both sexes may
.
-
, ,
be some e x cuse or those who have given the name o

s
The A pollo in the room s o the C onservatori is a beautiful
fi
f
f
executed half gure without arms which appears to represent the
-
god in boyhood and not large r than li e The hair is con fined very
, .
elegantly on the crown Of the head and the eyeballs are denoted by ,
a cavity —GERM ED
. . .
86 H I ST O R Y OF A N C I E N T A RT
B erenice t o a beautiful bust o A pollo o bron ze in f f , ,
the Herculaneum museum which has the hair thus ,
f
smoothed upward and perfectly resembles in idea the
,
four heads o A pollo just mentioned— especially since
f f
these last could not have been known to them ; but
the ground or the a ppellation —namely a medal o ,
this E gyptian queen o n which i s an impression Of a,
f
female head with the hair thus arranged together with ,
the name of B erenice— is no t su ficient F or all heads

f
.
f
and statues Of Amazons all figures o D iana indeed all , ,
f
figures o virgins have the hair smoothed upward
,
.
N ow as the braids o n the hinder part o the head o n

,
the medal are twisted into a knot after the invariable ,
custo m of virgins it is impossible that a married queen

,
can be represented by it I am therefore o opinion .

, ,
f ,
that the head on the coin is a D iana notwithstanding ,
the n ame B erenice stamped around it .
1 6 The yout h whic h is so beautiful in A pollo

.
advances to maturer years in other youthful gods and ,
t
becomes manly in Mercury and Mars Mercury is .
distinguished by a particular delicacy of countenance ,

’
w hich A ristophanes would have called A m i t y Bxew o g ,
f f
an A ttic l ook and his hair is short and curly Men
,
.
tion has already been made o figures o him with a

beard o n E truscan works and by the earliest Greek
, ,
“
artists .
1 7 The modern artist who restored the head and a

.
t Plate 5 From a bust in white m arble o about the siz e o

.
life and the loveliest and most beautiful o all the heads o this f
f ,
f
f
,
deity yet kn own It is probably to be found among the antiques

.
of the D uke of B uccleuch —GERM ED . . .
Winckelmann s Works V ol III p 1 9 5 § l 4 —G ERM E D

’
,
. .
, .
, . . .
88 H I ST O R Y OF A N C I EN T A RT
f
f f
or perhaps A cacal lis daughter o Minos ; o r Herse one
, ,
o the daughters o C ecrops by whom also Mercury ,
had children I am inclined to favor the last con

.
j ec t u re because I suppose that this group w a s discovered

,
f
o n the A ppian W ay together with the two celebrated
,
columns which stood by the tomb of R egil l a wife o ,
f
Herod A tticus o n the sam e spot and which were
, ,
formerly in the palace F arnese The ground o my .
conj ecture is the inscription on the tomb which i s n o w ,
f
in the villa B orghese in which it is stated that Herod
,
A tticus derives his descent from C eryx s on o Mercury ,
a n d Herse ; I believe therefore t h at t his group stood , ,
f
in that tomb I take this occasion to remark that the
.
,
only statue o Mercury in which the usual antique ,
f f
W
purse in the left hand h a s been preserved lies in the ,
cellar o the palace o the villa B orghese Y

.
f
Y The M ercury with a well p reserv ed antique purse in the hand
-
was s et up in the palace o the villa B orghese after inckelmann s ’
f f
time It is a large well executed statue and in a remarkable state
.
,
-
f
o preservation ; it does n ot however belon g t o the best class o
, ,
images representing M ercury To s ay nothing 0 t l1 8 (S O called ) .

‘
B elvedere A n t in oii s which Visconti has shown to be probably a

,
f f
M ercury it is excelled by the seated M ercu ry in bronze from Her
, , ,
c u l a n eu m and also by an e rect statue in marble o

, the siz e o life , , ,
in the Florentine gallery In the latter the right leg is crossed

.
,
o ver the left on e hand is placed on the side and the other rests on
, ,
the trunk of a tree A lthough it has been b roken into many frag
.
m ents still only the hands and fore arms and a piece of the right
,
-
f
foot appear to be mode rn The features are pleasin g an d delicate
, .
,
and the outlines o the whole figure v ery flowing .
The beautiful littl e statue in the Pi c C l emen t M useum (Vol I -

. .
Plate 5 ) also merits mention in this place It represents M ercury .
a s a child with the finger placed upon the mouth cunnin gly as
,
though he had j ust committed some little bit o roguery and wa s f ,

,
AMO N G TH E G R EE KS . 89
18 Mars is commonly found represented as a young

,
.
hero and without beard as on e o the ancient authors , f

f
also test ifies B ut it never occurred t o any sculptor
.
o ancient times to represent hi m as the writer whom 2
I have already censured would have him represented ,
that is as o n e in who m every fibre even the smallest

, , ,
m ay express strengt h boldness and the fire which , ,
f f
animates him S uch a M a rs is not to be found in the
.
'
entire range o anti quity The th ree figures o him .
that are best known are a sitting statue with C upid 3

,
at i t s feet in the villa Lu d o vi si —

i n which as in all
, , ,
figures of deities there is neither sinew nor vein visible

—a small figure on o n e o the bases o the two beautiful
,
f f ,
f
begging the spectato r to keep si lence The re are s eve ral antique
copies o thischarming monument on e o which is in the villa B org ,
.
f
f
hese an d still another is mentioned by W inckelmann in the s econd
,
f
volume (p 31 2) o t h e present edition
. .
f B ut a head o M ercury covered with the Petasus or little hat , , ,
W
ar excels in point Of artistic me rit all the monuments just en u m e
rated I t is sai d to be no longe r in Ro me but to haye been sent to

.
,
E ngland C asts and numerous copies have made it known in

.
almost all cultivated coun tries (S ee an outline in Plate .
G ER M E D . .
f
a t el et Ar t de Peind re chant 1 p 13
2
, , ,
. .
a
The celebrated seated statue o M ars in the v illa L u dovi si i s
f
executed in a soft and pleasin g manne r in Greek marble The .
position announces careless repose ; the forms o the limbs are beau
f
tiful yet their beauty does not in the least detract from the expres
,
sion o heroic strength The head has a glorious noble approp riate .
, ,
f
f
charac te r O n the left shoulder marks are visible a s if something
.
,
had been broken O — an appearance which suggests the inference

fi
,
W
that originally anothe r gure stood close to it The nose and the .
,
f
right hand and foot are modern restorations O f the C upid which
, .
s its at the feet o the god the head and also the arms an d right , ,
foot are n e —
, GERM E D . . .
90 H IS TO RY or A N C I E N T AR T
marble candelabra which were in the palace B arberini “

,
and a third o n the round work in the C apitol described ,
f
in the second chapter of the t hi rd book The last two .
are standing A ll three are o youthful age and in

.
,
a quiet position and action He is represented as such .
a young hero on medals and engraved gems B ut if a .
f
bearded Mars is to be found o n other medals and
°
gems I should be al m ost o opinion that this latter

,
’
f
figure may represent that Mars whom the Greeks call
E vv > wo s ; he was distinct fro m the other and was his
a
inferior and assistant .

,
1 9 Hercules is likewise represented i n the most

.
f
beautiful youth with features which leave the dis t in c
d
,
tion o s ex almost d o u b t u l as t h e beauty of a young f ,
b
The candelabra here mentioned pas s ed aft erwar ds from the
B arbe ri ni palace into the Pi o C lement m useum D rawings of them
-
.
have frequently been made but the best and most correct is to be
,
found in the Pi a C l emen t M u3 V ol I V Plates 1 —8 —GERM E D

-
.
, . .
, . . .
f
0
S everal modern antiquarians believe that they have discove red
an image o the be ar ded M ars in the admi rably executed coloss al
figure in the c apitoline museum kn own unde r the name of Pyrrhus ,
.
Winckelmann in the tenth book eleventh chap t e r conj ectures that

, , ,
it may represent A gamemnon ; and in t h e same place he also , ,
f
denies that a beard has been given to Mars i n any on e ins t ance in
works o ancient art .
, ,
f
In the villa B orghese stands a fig ure simi lar to the C apitoli ne ,
f
but smal le r the head o whi ch being lost was resto red by a c op y
, , ,
from the latter O n t h e other h an d the anti q ue legs o the former

.
, ,
with their armour have been preserved whi ch in t h e C apito line

,
figure were wanting and have been badly restored O n coin s o the
,
,
. f
B ru t t i i and M amertin i are to be seen bearded heads whi ch also pass ,
for images of M arS — GER M ED . . .
d V isconti (Pi a C l emen t M us eu m V ol I p 6 2) considers the

fi
-
, . .
, .
f
statue in the villa Pa m l i which is known by the name of C l odi u s
, ,
to be a youn g Hercul es o thi s desc ri ption in female garb W e .

,
92 HI S T O RY OF AN C I E N T A RT
an engraving o n a carnelian belo n ging to the S t o sch

museum B ut generally his forehead projects with a
.
, ,
f
f
f f
“
roundish fat fulness which arches and as it were pu s , , ,
—
,
ou t ,
the upper bone o the socket o the eye to
signify his strength and his constant toil in sadness ,
which a s the poet says m akes the heart swell

, ,
.
2 0 Hercules i s distinguishable particularly by his

.
hair which is short curly and smoothed upwards Over

, , ,
the forehead This characteristic i s especially useful

.
f
in a young Hercules ; for I have remarked that by the
absence o such a disposition o the h air the heads o f ,
,
f
f
young heroes which might otherwi se have been taken
,
f
or h eads of Hercules have been instantly distinguished ,
.
f
F rom my observation o the hair generally and par ,
f
t i c u l arl y over the forehead o Hercules I cannot c on ,
s ent to call by this name the fragme n t o a small figure
which o n account of some similarity in the heads is

, ,
now in process of restoration as a Hercules B ut since .
this single head cannot be an exception to the general
f
rule I should be inclined to regard the figure inasmuch
f
, ,
as it has the ears o a Pa n c ra t i a st as representing a ,
f
to u s remarkable — they have not wholly the characte r o s uch an
ear but me rely the commencement o it or a tendency to it The
, f ,
.
f
arti s t by whom the nose was awkwardly restored may also have
worked o something from the damaged chin and from the under ,
,
lip hence these parts although properly not n ew contrast ill with
, ,
the others —GERM E D . .
f f
Plate 6 A is intended as far as an outline can to give an idea
f f
9
, , , ,
f
the forms o the forehead and the arrangement o the hair o
o
that he a d of He rcules o which mention is made in N ote (m ) p 1 0 1 ; , .
in the marble howe ver the forms are more blended and the tran
, , ,
s i t i on s softe n — GERM ED . .
f Plate 7 B S ee Part , ch v 30
. . .
, .
AMO N G TH E GR EEK S . 93
philosopher who had been an athlete in his younger

d ays as L ycon was
,
This admirable work which was .
,
carried to E ngland some years ago and agai n brought ,
f
back to R ome was repaired for General von W all ,
f
moden o Hanover , .
2 1 The second kind o ideal youth is drawn from

.
the conformation of eunuchs It is represented blended .

,
f
f
with masculine youth in B a c c h u s g
He appears under , .
this form at di erent ages until he attains his full ,
growth and in the most beautiful statues always with

, , ,
delicate round limbs and the full expanded hips of the

, ,
f
female sex for according to the fab l e he was brought
, , ,
f
up as a maiden Pliny indeed mentions a statue o a
.
, ,
S atyr holding a figure o B acchus clothed as a V enus

hence S eneca also describes him in shape gait and , , ,
dress as a disguised virgin The forms of his limbs

, .
f
are soft and flowing as though inflated by a gentle ,
f
breath and with scarcely any indication o the bones
,
f
and cartilages o the knees just as these joints are ,
f f
formed in youths o the most beautiful shape and ,
in eunuchs The type o B acchus is a lovely boy

.
f
who is treading the boundaries o the spring time -
o life and adolescence in whom emotions of vo l u p ,
t u o u s n ess like the tender shoots of a plant are

, ,
f
budding and wh o as if bet ween sleeping and waking
, , ,
f
half rapt in a dream o exquisite delight is begin ,
f
n ing to collect and verify the pictures o his fancy ,
h i s features are full o sweetness but the j oyousness ,
f
S eefrontispiece and plate 8 a profile o the head in the
f
8
, ,
frontispiece N ote (i ) p 9 6 gives a furthe r ac count o thi s lovely

.
,
.
,
head —GERM ED
. . .
94 H I S T O RY OF A N C I E N T ART
o f
his soul is
h
n ot manifested wholly upon his coun
t en a n c e .
22 The ancient artists have retained this quiet joy

.
o u s n es s in B acchus even when represented as a hero o r,
warrior on his Indian campaigns as it appears from an

, ,
armed figure of him o n an altar in the villa A lbani and , ,
o n a mutilated relievo in my possession It is from .
f
this consideration probably that this deity is never, ,
represented in company with Mars— o r B acchus is n o t

f
o n e o the twelve superior deities ; and hence E uripides
f
f f
h
A mong
the monuments o ancient art there have been p re s e rved ,
not only many image s o B ac chus but al so some few of high p er ec ,
f
tion In our judgment the upright figure of him in the garden
.
, ,
buildin g at the entrance of the villa L u d ovi s i near Rome is on e o , ,
the most beautiful The noble forms of the body flow in to on e

.
f
an other with incomparabl e softn ess and grac e like gentle waves ,
o bland oil and the eye of the beholder glides over them back
, ,
and forth with insatiable delight The head whi ch may n ot i n

,
.
, ,
deed be the original head belonging to the statue h as a fright

, ,
ful modern nose and i n other respects is by no means excellent

, .
The left knee is modern and s o also appear to be both a rms , .
V isconti (Mu s Pi o C l emen t V ol I V p 9 9) believes that t h e little

.
, . .
, .
winged heads ; which as buckles or latchets adorn the shoe s traps

, ,
-
f
o n the feet of this statue denote A crat u s , .
f
O f equal beauty with thi s monument i s the glo rious torso o
another statue o the god which may be found engraved and ,
explained in the M u s Pi a C l emen t V ol II Plate 2 8 wi th the

.
, . .
, ,
accompanyi ng remark that it was valued very highly by M en gs

, .
The gallery of antiques at Paris contains a statue co rresponding

to the torso just mentioned whi ch it i s sai d i s admirably executed , , , ,
and also well prese rved

f
.
O mitting othe r beautiful image s of B acchu s whi ch adorn di e r

ent museums we will mention further only a torso o a seated
,
figure large r than life and of exceeding beauty and art which
f
, , ,
was formerly an ad mired Obj ect among the Farnese antiquities ,
but will now be found i n N aple s GERM E D -

. .
96 H I S T O RY OF A N C I E N T A RT
us ual crown o vine leaf or ivyf

fillet around the forehea d and by the absence o the
-
, f
.
f
O ne cannot but be astonish ed that the best artists ,
f f
even in R ome after the restoration o art entertained
, ,
S O erroneous ideas o the person o B acchus The best .
painter now living in R ome when he was asked how ,
this deity appeared to A riadne represented him of a ,
i
brownish red color -
.
2 5 B acchus wa s worshipped not only under a youth

.
f
f
i
A mong the m ost exquisite detached heads o B acchus we do ,
f
not hesitate to assign the first place to that wonderful work o
known by the name o the C apitoline A riadne W inckelmann
fi
art,
.
was the rst to relin quish this appellation thinkin g that he recog ,
n i s ed in it a L eucothea from the band on the forehead His

, .
reasons for thi s supposition were p roperly disputed by Visconti .
The monument then passed among antiquarians al most universally

fo r the most beauti ful of the heads o B acchus an d as such it was f ,
,
,
removed to Paris The origin al name however appe ars to have

.
, ,
agai n become gradua lly the favo rite M odern French works which .
treat of antiquities refe r to it anew as A riadne W e acknowledge .
ourselves however particularly in clin ed to the opinion that it is a

, ,
f
head of B acchus ; for as our readers will have learnt from the text ,
the equivocal character o the con formation waveri n g between male

and female is in part conformable to the ideal character o B ac chus
,
,
f ,
f
and in part belongs to the modern restorations — namely a conside r
able piece o the nose the unde r lip and the uppe r par t o the
,
breast— which were made un de r the c onviction that the head was
,
,
f
female In regard howeve r to this truly wonderful monument we
.
, , ,
may still be perm itted to remark that the re are few others i n which ,
the extreme subtil ty with which the idea is conceived is carried ou t

s o consummately in execution A lthough the fo rms are uncommo n ly
.
delicate they are not on this account any the less large ; a n d the
, , ,
execution with extraordinary softness is still very decided In a

,
word if we were t o choose among all the collected wo rks o G reek

,
,
f
.
f
sculpture we should be un able to s elect one more exquisite in itself
,
than this and more worthy o the m os t bril liant period of art and
, , ,
A MO N G TH E GR EEKS 97
fform f
.
ul bu t also under the form o manhood . The

f
,
f f
moreove r of the most celebrated masters o this period (Plate 8 an
,
.
,
outline o the head o this

f
f
In the miscellaneous room o t h e C apitoline museum another
head o B acchus is to be found which is little inferior in excellence ,
of execution to the on e just mentioned the A riadne as it is cal led ; , ,
like the latter it has a fillet round the forehead The nose is
f
.
,
mode rn ; cheek and neck inj ured ; eyes excavated perhaps or the ,
f
purpose of being filled with some other substance .
A second head o B acchus in the same place has a lofty character , ,

.
The tip of the nose the chin and the neck are restoration s — A
, , ,
third and smal ler one in the same place also with a fillet round
, , ,
the forehead has always been acknowledged as a B acchus and very

, ,
much prized on account of its pleasing features although the ex ecu ,
tion does not indicate t h e best age of art for the hair is deeply h ol
lowed by the drill the ears are placed much too low the left eye is
, ,
f
turned a little obliquely u pwards and is also a little smaller than ,
t h e other A s the eyes however are in other respects o pleasi n g

.
, ,
f
shape and may be regarded as characteristic in reference to the
, ,
f
B acchus ideal an engravin g o them is give n in Plate 9 fig B B
-
, ,
.
, .
f
In conclusion we will mention a fourth head o B acchus i n the
,
f
same collection It stands in a gallery in front o the chambers on
.
,
f
a high column and or this reason i s rarely Observed It is large r
, .
f
than life and crowned with i vy The locks o hair fallin g down
, .
,
f
somewhat over the forehead— which i s in itself o a very noble c h a
ra c t er— point out to o u r recognition the s on o Jupiter L ove and .
f
j oyousness look forth from the Oblong an d narrow eyes ; the mouth
f
seems to Open or pleasu re for enjoyme n t the plump cheeks denote ,
f
a cheerful state o comfort and are delicately rounded , .
f
The execution o this monument shows an indust ry quite remar k
able and the handling is in a style wholly pecul iar to itself ; or the
,
f
h ai r the eyelids & c are deeply h ollowed underneath for the pur
, , .
, ,
f
pose O obtaining stronger shadows and thereby greater distinctness , , ,
f f
w hen t h e head is viewed at a distance The restorations consist o .
f
a few locks o hair and the larger portion o the nose ; the lips also
have su e red much — GERM ED
,
. .
S ee fron t i sp i ec e — T E . .
98 H I S T O RY OF A N C I ENT AR T
latter however is distinguished solely by a long beard

, , ,
s o that the countenance in its h ero expression
f
and -
f f
softness of features presents an image o the j oyousness ,
o youth The intention o the artist in representing

.
,
f
him in this form was to sho w him as o n hi s campaig n ,
f
in India when he su ered his beard to gro w ; and such
,
an image o hi m presented an opportunity t o the ancient

artists to exhibit partly a peculiar ideal— manliness , ,
f f
blended with youth— and partly their art and skill in ,
the execution o the hair O f the heads and busts o .
f
this Indian B acchus the most celebrated are those
f
crowned with ivy o n S ilver coins fro m the island o ,
k
N axos the reverse side o which represents S ilenus
,
with a bowl in his hand ; a n d in marble a head in the , ,
f
palace F arnese which passe s very erroneously under
,
the name o Mithridates B ut the most beautiful of .
‘
these heads i s a Hermes belonging to the sculptor ,
f
Plate 9 S ee N ote ( ) p
Figures B B represent the eyes
f
i
fi
k
.
, . 96 .
, ,
o B acchus denoting t h e e emi n a cy o h i s characte r — GE R M ED
f
’
. .
, .
1 The Hermes o a bearded or I ndian B acchus mentioned in the ,
f f
text a s belonging to the sc ulptor C a ac ep p i is no longer in Ro me v , .
f
B ut there is no lack of beautiful heads o the kind in dif erent
f
museums O f the entire figures o this B acchus the most beautiful
.
, ,
without doubt is the on e which is called by the name o S ardana

fi
,
palus (M us Pi a C l emen t V ol I Plate

. .
,
-
A h al f gure not . .
,
-
remark able for much merit is still to be found in the Vatican ,
museum W e will moreover mention in this place the meritorious

.
, ,
head of a bearded B acchus on coins of T has us ; and a s the B acchus

ideal is very clearly expressed in it we have thought prope r to intro ,
f
duce an enlarged o utline of it (Plate 9 fig A .
,
. .
The shape as well as the workmanship o thi s head displays a

, ,
f
style which is nobl e grand indeed and at the same time severe
, , ,
leading us to infer that it is a copy from a glorious temple s t atue o -
the high style ; and the s ame characte ristics justify us i n ascribing
1 00 H I S T O RY OF A N C I E N T A RT
f f
f
f
conception o the divine nature which neither su ers ,
f
change fro m time nor passes through gradations o
,
age and in regard to which we must think o existence

,
without succession S uch elevated ideas of the god

.
f f
head ought to be peculiar to o u r artists rather than ,
f
to the ancients ; and yet i n most o the figures o the
E ternal F ather —according to the Italian manner o
,
speaking of the D eity— w e s e e an aged man with a
f
bald head E ven Jupiter himself is represented by
.
the scholars o Raphael in the F ea s t o the Gods in ,
f f ,
f
the F arnesina with the hair o the head a s w ell as
, ,
o the beard snow white ; and A lbano h a s expressed

,
-
the same idea in a similar manner in his Jupiter on , ,
the famous ceiling painted by him in the palace
f
V ero sp i .
f
28 The beauty of deities o a manly age consists
.
f
in a combi n ation u niting the robustness o mature
,
years with the j oyousness o youth which in them as , ,
in the images of more youthfu l divinities is denoted ,
by the concealment of muscles and sinews which i n , ,
the spring time of life make but little S how Together

-
,
.
f
fi
with these characteristics there is also to be seen an
f
expression S ignifyi ng the all su c ien c y of the divine -
f
nature to itself that it has no need o those parts
,
which are destined to the nutrition o human bodies .
f
This elucidates a passage fro m E picurus relative to ,
the shape o the gods t o whom he gives a body but , ,
only an apparent body and blood but only apparent , ,
blood a sentence which C icero finds Obscure and

incomprehensible The presence o r the absence o
. f
these parts distinguishes the Hercules who had to con
tend against monsters and fierce men and had not yet ,
AMO N G THE GR EEKS 1 01
f
.
“
reached the end o his toils fro m him whose body ,
f
had been purified by fire and who had been raised to ,
the enjoyment of the happiness o O lympus The .
former is represented in the H erc u l es e F arnese and ,
“
the latter in the torso of the B elvedere It becomes .
f
m
Plate 7 A Hercules Farnese Plate 6 B He rcule s de i fied
, , .
, , .
These two heads are introduced here in order to S how the dif erence ,
W
bet ween the more common and the nobler ideal of Hercules The .
f
head B was taken from a silver coin which is ascribed to A myn t a s
, , ,
II king of M acedonia ; it i s consequently a monument o the

, ,
0
f
f
high style of Greek a rt — GERM E D .
The di erence in the images o Hercules pe rt inently noticed f

.
f
by inckelmann demands especial attention fo r it furnishes a key
, ,
whereby we may obtai n a clear insight into the seemin g myste ry o

the conformation of this he ro especial ly in the celebrated Farn ese
,
f
sta tue and also in some heads engraved on gems
, .
W e are obliged indeed to assume two essentially di e rent ideal

, , , ,
conformations of Hercules The one which represents him i n the

.
career of his exploits and h i s labors does not aim to ennoble him ,
but merely to express the extreme measure of the capacity of

physical strength and action which can be exhibited in the human
shape A s such a design was not to be accomplished in any othe r
.
way than by an exaggeration of the usual lineaments and forms art ,
f
created the powerful bull neck the strong broad sh oulders the
-
, , ,
firmly interlocking attachments o the massy muscles : n either did

it neglect t h e full proj ecting sinews and veins —the former being
re quisite to denote strength generally ; the latter to indicate
exertions either actual or past This is t h e class o images o r
.
ideals of Hercules considered in his human condition o which the

,
f
f
,
f
Farnese statue may be regarded as the universal representati ve .
The other ideal conformation o higher conception aims to

fi
, ,
f
present Hercules in a perfect dei ed state He has achie ved the .
deeds which prepared or him the way to O lym pus ; he is raised

above all earthly needs ; he enjoys a blissful rep ose and is even a
fi
.
,
b en e c en t deity .
W e n ow clearly comprehend what a great di erence of shape the f

admirable art of the Greeks could and mus t give to a n image
1 02 H I ST O RY OF AN C I E N T A RT
evident from these ch aracteristics whether statues

, ,
which through the loss of heads and other marks of

, ,
—
distinction might be doubtful represent a god or a
,
design ed on this prin ciple in c ontradistinction to t h e othe r ; how

,
much more noble pleasing mild and beautiful it must have been
, , ,
.
These considerations le a d also to the co nclusio n t hat the torso

,
f
, ,
f f
which stood in the B elvedere o the Vatican is to be regarded as
the prin cipal monument o the nobler ideal o Hercules He re we .
anticipate the objection that many statue s as well as relievi

, , ,
represent the hero under the n oble r image n otwithstanding he is

engaged in the performance o his exploits W e might perhaps f ,
.
, ,
evade this objection by replying that even the ancients have not
always un derstood the spirit o an cient a rt and o its greate s t f ,
f
f
f
masters for from this very cause originated the degeneracy o taste
,
f
and the decline o art B ut the circumstance can be explained
.
satisfactorily in yet another way It is susceptible o p roof that .

,
the n obler ideal of Hercule s wa s invented and perfected at an

earlier date than that accordin g to which the hero is represe n ted
f
in the Farnese statue and some othe r monuments The latte r .
,
indeed was n ot generally adopted before the age o Lysippus and

, , ,
f
altho u gh completed appears neve r to have attai ned a legitimate
,
f
authority since the images o this second class vary in respect to
, ,
the features of the face far more than those o the first The , .
fundamental idea however remai n s always the same N ow if in

, , .
many works of a later age we s ee the nobler or if I may S O express

myself the divine shape o Hercules predominan t —even in images
, ,
f , ,
representin g him i n the performance of his labors — such monu

ments are either to be viewed a s imitations o more ancient works f ,
f
or as we have reason to believe o we thei r o rigin to a mi s u n d er ,
standin g o the conception

f .
f
f
The m ost beauti ul of the heads of Hercules o the nobler ki nd
still extan t larger than life and representing the hero at the age o
, ,
manhood we know only from casts which are frequentl y seen in

, ,
f
Rome as well as i n collections elsewhere The marble is said to
, .
f
have gone t o E ngland The fragment o an other still larger head
.
, ,
f
Hercules admi rably executed stands in the smaller garden
o , ,
palace o the villa L u dovis i at Rome The mouth beard ears , .

, , ,
1 04 ~
H I S T O RY O F A N C I E N T A RT
f antiquity and as ntinous is known by the

v id u a l s o ; , A
hair and eyes f

lower portion of his face and Marcus urelius by the , A
a mutilated cameo in the museu
o ,
m
S trozzi at R ome so would A pollo be known by his
, ,
f
forehead o r Jupiter by the hair of his forehead o r
, ,
by his beard if heads should be found o which these

,
parts alone remained .
30 Jupiter was figured with a countenance always

.
serene ; and they mistake who wish to find a statue

°
,
f In this passage in which W inckelmann ascribe s to the image s

f
0
,
o Jupiter a unifo rm look o serenity as a characte ristic expressio n

he appears to have thought principally o two heads only to be
,
f ,
,
f
mentioned hereafte r and others similar to them which were pro
, ,
bably C opied from the great masterp iece o Phi dias at O lympia , ,
if not immediately and exactly still with sufficient fidelity to m ak e ,
us acquainted generally at least with the idea the spirit and the
, , , ,
features of it I t is however more than probable that there may

.
, ,
have been deviations — not de viations from the shape which havin g , ,
been once accepted had become as it were a legal standar d

, , ,
f
but variations in expression ; and Vi s con t i s remark provided it is ’
not extended beyond t h e limits o the con ditions speci fied appears ,
to be very correct— th at the epithets applied to Jupiter as H xix g ,

er ro ,
“the Grac ious “ “

the A venger ; t on a n s the Thunderer ; ”
; u l t or , ,
f
“ the Guardian of O aths
to ; an d e qually also a passage i n
a g ,
f
Pau s anias (lib 6 cap . justify the inference that a difference o
,
.
f
expression co n orming to these epithets e xi sted in the seve ral images
o the god to which they were applied
f .
f
A mong the statues o Jupiter stil l in existence the large seated ,
f f
figure formerly in the man sion o the V erosp i but now in the
, ,
mus eum o the Vatican is perhaps on e o the most excellent , .
A mong the busts and si n gle heads the colossal one which was found ,
f
in the excavations at O tricoli is the most valued Visconti assert s
th at it is the largest o al l the heads of Jupiter n ow i n exi stence
.
B ut he is certainly in error ; for there i s t o be found in the Floren
f
tine galle ry a similar head just as large and also in as good per
, , ,
haps in even a still better sta te o preservation ; a kin d lofty , , ,

AMO N G TH E G R EEKS 1 05
”
fThe Terri le
.
of Jupiter with the epith et o in a b

colossal head of black basalt p
, in the villa Mattei ,
glorious being ; noble se rene and grand beyond all imaginati on , , ,
especial ly when viewed in profile The gentle inclination of the .
head to the right side gives hi m an uncommon still grace and ,
becoming mildness The hair and beard which are ve ry elegan tly .
,
arranged encircle the godlike face with clustering curls The nose
, .
is n ew ; al so some small portions Of the hair and breast .
A nothe r head of Jupiter consi derably larger but muc h inj u red
formerly stood outside and near the palace o the villa M edici I t ,
,
,
f ,
.
,
f
was removed thence to Flore n ce an d n ow adorn s the garden B oboli , .
(Plate 1 A shows the fo rehead eyes an d arrangement o t h e hair )

, , , , .
In respect to high moral expression and lofty majesty it has per , , ,
haps pre eminence even over those mentione d above

-
.
f
The C apitoline mu seum also possesses an admirable thou gh
sm alle r h ead o Jupiter which formerly stood i n the mansion della
, ,
,
V alle and was very much esteemed The nose is new and the hair
, .
,
slightly damage d ; mo reover the head doe s not appear to be well ,
placed upon th e bust ; it does not in fact s eem to belong to i t , ,

.
GERM E D . .
P This Pluto afte rwards passed from the villa M attei into the Pio
C lement museu m
under the name o S e rapis says that it is made o iron gray basaltf
Visconti wh o has engraved and explained it
,
,
f -
.
He approves however the name given to it by W inckelman n be

, , ,
f
cause several image s of S erapis were found which had the attribute
o Pluto namely the dog C erberus
, B ut these images belong only to
, .
the S inope A lexandrian idolatry with which the purely Greek Pluto
-
had nothing in common — as on e may see on many ha s reliefs rep re

f f
-
senting the Rape o Proserpine “in none o which Pluto has thi s
ff
head dress -
.
f
Visconti remarks furth e r that all the statues o Pluto still extant ,
f
f
are o moderate workmanship and n ot decid edly di erent from ,
S erapis The sole head o Pluto wi thout a M odius and the physio
.
g
f
n omy attributed to S erapis is in t he possession of the prince C higi
It is a work o wonderful me rit The severe coun tenance and .

.
l
P at e 1 0 .
—T hi h s ea d is en
gra ve d a ft er t h a t i n t he P i a -
Cl m
e en t M us eu m , Vol .
VI .
, Pl a t e 1 1 .
-
TR .
1 06 H I ST O RY O F A N C I ENT A RT
which bears a great resemblance to the F ather o the f

gods but has a stern countenance
,
q
They did not .
observe that the head in question — as well as all those

supposed heads of Jupiter which have not a kind and
benevolent expression— wears o r has worn the Modius ; , ,
”
nor did they recollect that Pluto according to S eneca , ,
”
resembles Jupiter the Thunderer and like S erapis , , ,
wears the Modius — as may be seen on the seated

statu e among others which was formerly in his temple
, ,
at Pozzuoli and is now to be found at Portici and , ,
likewise o n a relief in the bishop s residence at O stia ’

.
It has moreover not been observed with respect to

fi
‘
, ,
this gu re erroneously assumed to be a Jupiter the

,
”
T errible th at Pluto and S erapis are o n e and the same
,
deity who is distinguished by the Modius on his head

, .
B esides these heads may be known from those of

,
f
Jupiter by the hair which hangs down over the fore ,
head whilst that O Jupiter is carried upward from the

,
forehead C onsequently such heads represent not

.
, ,
f f
Jupiter under any name but Pluto ; a n d since neither ,
statues nor heads of the latter deity o the size o life , ,
have been known until now the number of forms ,
tangled hair at once procl a im the sovereign o the lower world

GERM E D
f .
. .
q Plate 1 0 .
fPlate 1 1 Jupiter S erapis with a M odi us A on the head

, , , ,
.
Plate 1 2 an othe r head of Jupiter S erapi s The fo rmer is from a

, .
f
colossal bust in the Pio C lement museum It is a valuable monu
f f
-
.
ment o ancient art and one o the best o those images which
,
represent this E gypto Grecian divi nity Though the M odi us and
-
.
rays are modern restorations they are justified by marks whi ch ,
f
show them to have been there ancie n tly The l atter is a small .
head fo rm erly in the collection o the poet Goeth e — G E RM E D

, . .
1 08 H I S T O RY O F A N C I E N T A RT
f
Hitherto no notice has been taken of this character
i st i c o the countenance ; and modern artists have ,
consequently supposed that they could designate Pluto

,
fi
in no other way than by a two tined sceptre o r rather -
,
by a fork The re forks with which devils in hell are

.
-
f
usually painted appear to have suggested the first idea
o this fork O n ancient works Pluto holds a long
.
,
sceptre like the other gods as may be seen among

, , ,
other examples I n the piece at O stia just mentioned

, ,
and on a round altar belonging to the Marquis R ondi

,
nini in which he h a s C erberus on o n e side and Proser

, ,
f
p ine o u the other .
31 Jupiter is distinguished fro m other deities o

.
mature age and with a beard— from N eptune Pluto

f
and E sc u l a p iu s— b y his forehead beard and hair not , ,
,
,
,
less than by the serenity of his expression The hair .
i s raised upward o n the forehead and parted ; it the n ,
describes a short curve and again falls do w n on each

,
side a s shown in a C opperplate engravi n g copied from

, ,
f
a head of him ou t in relief on a n ag ate This arrange
, .
ment o the hair has been considered as so essential a
f f
characteristic of Jupiter that it has been used to indi ,
f
cat e the resemblance o the sons o this go d to their
h —
fat er a s on e may rea d ily perceive in the heads o
f
C astor and Pollux the t wo colossal statues on the
,
f
C ampidoglio especially in the head o the former which
,
is antique ; that o the latter is a restoration .

,
f
resembles a basket o rushes or reeds A beautiful head of white .
marble in the cloister of S ant A mbrogio at N aples —which accord ,
f
f
ing to the assigned char ac te r must be a Pluto —is deser ing o
, v
note because an Olive branch together with ears o grai c a be

,
-
, n ,
n
seen in the bushel o r Modiu s wh ich it wear s — F .

AMO N G TH E GR EEKS 1 09
f
.
32 . the forehead o E s c u l ap i u s th e hair is

On ,
f
f
usually carried upwards in a similar though somewhat ,
di erent manner and having formed an arch o n each

, , ,
side again falls downward In this particular there

,
f
.
,
f
fore there is no special di erence between the F ather
,
f
o the gods and his grandson— which can be proved by
the most beautiful head o this divinity on a statue ,
“
above the natural S ize in the villa A lbani and by many , ,
‘
1
The statue of E s c ul a p i us a n d especially the head o it in the
v illa A lbani is the most beautiful known image o this deity ; it
, f
f f ,
even surpasses a colossal figure which stands in t h e garden o the

villa B orghese in a temple built expressly for it although the latter
, ,
f
is highly remarkable partly on account of the goodness of the
,
execution and partly on account o i t s rare siz e The attitude is

,
that most u sual in statues o this deity ; the right hand holds a f .
staff entwined by a serpent ; the left hand together with the arm , ,
i s folded in the mantle and rests upon the side The head c on
, .
,
s i d ered by itself has a kind benevolent wise character ; but is

, , ,
softer and less grand a n d vigorous than Jupiter s which it almost

f f
’
exactly resembles in the disposition o the hair—thus af ording a

f
f
confirmation o Winckelmann s remark The right arm togethe r
with the staf and snake and also the toes o the right foot are
’
.
f ,
, ,
modern restorations .
A cco rding to Visconti the charming group of ZE s c ul a p i u s and

,
Hygeia in the Pio C lement museum is the sole round work in

,
-
marble which represents these divinities united Though the heads .
of both are ancient still t hey did not originally belong to the
,
figure s
f
.
A remarkable sta tue beari n g the name o E s c ul ap i us formerly

, ,
stood in the Pitti palace at Florence an d is p robably there stil l , , .
f
The head re s embles those of the (s o called ) Plato or Indian ,
B acchus and is p robably the portrait of a celebrated physician o

,
an t iquity i n whose whole figure the artist intended to give an

f
"
f f
approximate likeness to the character o ZEsc ul ap i u s The e ecu . . x
tion o the n ude part o the breast shoulders & c is soft beautiful , , .
, , ,
and natural The folds of the robe are admirably arranged simple
.
, ,
110 H I S T O RY O F A N C I E N T A RT
f f
other images o him and among them a statue o ,
burnt clay in the Hercula n eu m museum B ut E s c u l a

,
,
.
,
f
f
pius i s distinguished by smaller eyes and older features ,
f
by the other part o his head hair and by his beard -
, ,
especially o n the upper lip wh ich ha s more o a bow ,
f
shape whilst the moustache of Jupiter turns down at
,
once about the corner o the mouth and unites with ,
the beard o n h is c h in This strong resemblance .
between grandch ild and grandfathe r might even be

grounded o n the fact that the c h ild oftentimes less
,
f f
resembles his father than his grandfather E xperience .
,
drawn rom the observation o beasts and especially ,
horses has shown that N ature in the confor mation of

, ,
f
her creatures occasionally takes such skips
,
I II a .
f f f
Greek epigram it i s said o the statue of S arpedon s o n
, ,
o Jupiter that th e race o the F ather o

,
the gods was
manifest in the countenance ; but according to the ,
foregoing remark we must believe that the likeness

,
could not have been denoted by the eyes as it is there ,
stated but that the hair o n the forehead was the

,
f
distinctive mark of his origin .
f
33 The arrangement of the front hair o n heads o
.
S erapis o r Pluto is the reverse o that of Jupiter It .
hangs down 0 11 the forehead in order to impart to the ,
countenance a sadder and sterner expressio n— as is
and elegan t It i s much t o be regretted that this noble work o

. f
art h a s been broken into many pieces and been twice restore d
The earlie r resto rations consist o the nose a piece o the right f ,
,
f .
f
cheek the left hand the right arm and both feet ; the late r of a
, ,
fi f
,
piece o the forehead above the right eye the fore n ger o the
ffi
-
mode rn left hand and the tips o the n gers of the right which i s
, ,
placed upon the hip —GERM E D . .

1 12 H I ST O RY O F A N C I E N T A RT
resemble him in the arrangement o their front hair f

by the hair which hangs down from h i s temples and ,
completely covers h is ears It is longer than on other .
deities and arranged n ot in curls but in softly wavi ng

, , ,
f
lines and resembles as I have before remarked the
, , ,
f
mane of a lion This resemblance and the shaking o .
,
the lion s mane as well as the motion o his eyebrows

’
, ,
f
appear to have been in the poet s mind in hi s celebrated ’
f f
description o Jupiter who Shakes O lympus by the ,
f
wavi ng o his hair and the movement o his eyebrows .
f
f
36 The beautiful head of the unique statue o N ep
.
f
tune at R ome in the villa M ed i c i appears to di er
”
, ,
z
from the heads o Jupiter only in the beard and hair .
The beard is n o t longer but curly and is thicker on , ,
f
f
the upper lip The hair is curled in l o oks and rises
.
,
upward on the forehead in a manner di erent from its

usual arrangement with Jupiter A n almost colossal .
f
head with a garland of sedge in the F arnesina cannot
, , , ,
f
therefore represent a N eptune ; for the hair o the
,
beard as well as o the head ha n gs directly down in

, ,
waves ; and i t s aspect is not serene as in t h e statue ; ,
Y P ] 1 3 A This statue was after wards carried t o L eghorn

.
, .
.
f f
The nose is probably modern — GERM E D . .
2
This sta tue o N eptune o whi ch the style is good and the exe ,
c u t i on commendable was carried from the villa M edici to Florence

, .
(Plate 1 3 L etter A ) A nothe r statue conj ectured though without

, .
, ,
full certainty to be a N eptune and restored as such may be found

, , ,
in the Pi a C l emen t Mu seum (V ol I Plate

-
. .
,
The images of this deity seem to be on the whole very rare , ,
f
s ince in addi tion to the two large statues just mentioned and a we l l
,
,
executed small one among the antiquities at D resden we know o ,
only a few othe r figure s on relievi but n ot a s in gle remarkable head ,
o r bus t — GERM ED . .
conse quently a s ea god o r river go d must be here

,
-
,
-
figured .
37 A passage in Phil o st ra t u s which h a s been mis

.
,
f
understood occur s to me at this moment He says
, .
,
d escribing a picture o N eptune and A mymone K vua ,
f d
y p 737
7 IC U
p 7
T U a L es
‘
7 0 1
y
'
u o vO f
yw'
T Ov en mu TO U ! r a ,
”
,
‘
x pa on o v 7
'
p 0 7ro v w o c v o v v S e a v r o O H O G
pp p
f
yp p
c et a ,
f
A lready the wave is arching for the nuptials ; though
green still and o an azure hue yet N eptune is paint
, ,
f
i n g it purple O l eari u s in his commentaries on this
”
.
,
writer has understo od the last clause o the quotation

,
f
as applyi ng to a golden light which surrounds the head
f
o N eptune and censures o n this occasion the scholiast
, , ,
o H omer who interprets the word 7ro p ¢ z§p eo s by

,
~
0 65curus
”
dark He is wrong on both points Phi
fi
'
. . .
,
l os t ra t u s says
”
The s ea begins to be arched x vp r r a t
, ,
'
o
'
,
“
and N eptune is painting it purple This remark is .
”
f
d erived from observation of the Mediterranean S ea
after a calm ; or when it begins to be agitated it pre , ,
sents in the distance a red appearance s o that the ,
waves appear purple colored -

.
f
38 This is t h e most appropriate place to notice the
.
f f
facial conformation o the other inferior sea deities -
thou gh it is entirely di erent from that o N eptune

f
.
It is the most strongly m arked in two colossal heads o
f
Tritons in the villa A lbani if we except a bust in th e
, ,
C apitoline museum an engraving o o n e of them may
f
be found in my A n ci en t M o nu men ts They are distin .
“
u i sh ed by a sort o fins which form the eyebrows and
g , ,
a
head of a Triton in the Pi o—C lemen t museum — T R
P1 1 4 , .
,
. .
V isconti (Mu s Pi c C l emen t Plate 5 Vol V I ) remarks in the

.
-
,
. .
following terms upon the head from whi ch this e n graving i s copied
114 H I S T O RY O F A N C I ENT A RT
resemble the eyebrows

—
g Glaucus In o f
the marine od ,
Pll i l ost ra S O¢p 69 A da m

t u ant O v vciw ro va a t mobs l iXa s ' ' '
a ,
”
his shaggy eyebrows j oining each other These fins .
The eyebro ws and s caly cheek s the beard and hair falling i n ,
waves like wate r the dolphins fancifully entangled in t h e beard

, , ,
and finally the waves which encircle the chest and shoulders of this
, ,
colossal Hermes are all characters which lead us to conjecture that

,
a marine god is here represented A t the fi rst glance it might be

supposed to be O ceanus the rst born o the Titan s but on close r
, fi -
.
f ,
f
examination we recogn ise a s ea deity Of the second rank as or
,
-
, ,
instance a Triton
,
The B acchic wreath of vi ne
.
leaves and i vy is worn by N erei ds and Tritons who are freque n tly
seen celebratin g the orgies and festivals o B acchus and decorated
with his emblems and habiliments It is uncertain why the ancient
f ,
f
artists denoted so close a conn ection between B acchus and the deitie s
o the sea ; whether because they regarded him a s the symbol of the
watery element ; or whether because his religious rite s having been ,
brought into Greece from transmarine colonies may be said to have ,
come as it were from the s ea and to have been carried thithe r by

, ,
the N erei d s ; o r whether in fine this community o emblems and ,

,
, f
s ymbols which the marine deities have with him may have been
, ,
f
derived from L eucothea the aunt and nurse of B acchus and also a
, ,
s ea goddess
-
and from Pa l mmon her s on the god o harbours and
, , ,
f
seamen and his cousin and foster brother The ho rn s
f
-
, .
,
like those o a calf proj ecting from his temples instead o nippers or
, ,
f
claws which are observed on other antiques evidently refe r both t o
the roarin g o the stormy s ea and to earthquakes which in ancient ,
,
, ,
times were supposed with some reason to have had their cause in
, , ,
s ubterranean waters — a terrible phenome n on which it was cus , ,
t oma ry t o ascribe to N eptune principally an d indirectly to the secon ,
dary deities Of the s ea A S the B acchic Hermae were used as orna

.
ments for the walks in the beautiful gardens of ancient Rome s o ,
these Triton figures served a similar purpo s e in the maritime place s

in which he r citizens loved to dwell —T R . .
The two colossal Tritons heads in the villa A lban i mention ed ’
, ,
f
in the text although equally well executed are far inferio r in
, ,
artistic merit and in noblen es s and dignity o characte r to the

, ,
116 H I S T O RY O F A N C I EN T A RT
divine nature without passing beyond them and with

, ,
o u t blending the very nice distinctions which separated
the two B attus o n medals o C yrene might easily

.
,
f ,
f
be made to represent a B acchus by a S ingle expression ,
o tender delight and an A pollo by o n e trait of god

, ,
f
like nobleness Minos on coins of Gnossus if it were
.
, ,
not or a proud regal look woul d resemble a Jupiter

, , ,
full of graciousness and mercy

f
.
4 0 The artist Shaped the forms o Heroes heroically

.
,
and gave to certain parts a preternat ural development ;
f
placed in the muscles quickness of action and of motion ,
and in energetic ef orts brought into operation all the

motive powers of nature The object which he sought .
to attain was variety in its utmost extent ; and in this
f
respect Myron exceeded all his predecessors It is
,
.
v isible even in the Gladiator erroneously so called o , ,
A ga s i a s of E phesus in the villa B orghese whose face

, ,
is evidently copied after that of some p articular i n divi

dual The serrated muscles on the S ides as well as
.
,
others are more prominent active and contractile

, , ,
than is natural The same thing is yet more clearly

.
seen in the same muscles in the L a o c o On —

f
, who is an
,
n
ideally elevated being — i this portion of the body be

compared w ith the corresponding portion in deified or
godlike figu res as the Hercules and A pollo of the B el
,
vedere The acti on of these muscles in the L a o c o On

.
, ,
is carried beyond truth to the limits of possibility ; they
f
lie like hills which are drawing themselves together
f
for the purpose o expressing the extremest exertion
in anguish and resistance In the torso o Hercules .
f
d eified there is a high ideal form and beauty in these
,
same muscles ; they resemble the undulations o th e

calmed sea flowing though elevated a n d rising and

, ,
f
sinking wi t h a soft alternate swell I II the A pollo an
, .
,
image of the m ost beautiful o the gods these muscles ,
are smooth and like molten glass blown into scarce

, ,
v isible waves are more obvio u s to touch than to sight

, .
4 1 In all these respects beauty was uniformly the

.
,
principal object at which the artist aimed and both ,
f
fable and the poets justified him in representing even
young heroes with such a conformation o face a s to
f
leave the s ex doubtful — as I have already rem a rked
f
o Hercules ; and this might easily be the case with a
figure o A chilles who from the charms of his face
, , ,
assisted by female dress lived undetected with the,
dau ghters of L ycomedes as their companion He is , .
thus represented o n a relievo in the villa B elvedere ,
at F rascati — which is placed over the preface to my

A nc i en t M on umen ts — and also o n another raised work
I n the villa Pa m li fi .
O n first looking at the relievo which represents the

recognition of Telephus by his mother A n g e at the , ,
f f
m oment when sh e is about to kill him I was in some ,
doubt as to the s ex o his figure The face o the .
young hero is perfectly feminine when looked at from ,
below upwards ; but viewed from above downward it ,
has something masculine blended wit h it This relievo .

,
in the palace R uspoli which has never before been
f
,
explained may be ranked among the most beautiful

,
f
in the world : it may be seen among my Monumen ts o
A n ti qui ty
. B eauty o the same equivocal kind would
be fo u nd in Theseus also if he should be figured a s he
,
came from T roez en e t o A thens dressed in a long robe ,
reaching to his feet The workmen o n the temple

.
o fpollo looked upon

A h i m as a beautiful virgin and ,
were astonished to see o n e whom they supposed to be ,
a handsome girl going into the city unattended c on , ,
t ra ry to the usual custom of that day .
f
f
4 2 N o regard has been paid either to this idea o
.
beauty o r to the age o Theseus in a picture i n the

“
, ,
Herculaneum muse um i n which the ancient painter ,
has represented him with the A thenian boys and

maidens kissing his hand o n his return from C rete , ,
after slaying the Minotaur B ut N icholas Poussin has .
f
deviated still farther fro m the truth and from the ,
1
beauty o youthful age in a picture belonging to ,
0
f
L ewis V anvitelli royal architect at N aples in which , ,
Theseus in presence o his mother ZE t h ra discovers

, , ,
f
’
his father s sword and shoe concealed beneath a stone .
This event took place in the S ixteenth year o his a ge ;

b u t in the picture he is represented as already having
,
f ,
f
fi
a beard and o a manly age divested o all youthful
, ,
rou n dness I will s a y nothi n g of the edi ce and tri

.
u m p h a l arch
f
which are wholly incongruous with the
,
times o Theseus .
4 3 The reader will pardon me if I am ob liged once

.
,
more to direct the attention of that poetical writer c
b
The picture by Pou s sin here mentioned or at least on e wholly ,
s imilar is in the Florentine gallery

, The Obj ections made by W ino .
f
kelmann are well grounded for Theseus has a pretty strong beard , ,
and t h e back ground o the picture is ornamente d with extensive

-
W
ruin s amidst which among other things incongr uous with the s ub
, ,
j cet represented occurs a n arch having C orinthian p ilas ters How

, .
f f
eve r this landscape in the back ground i s p recisely the most valuable -
portion o the painting or the figures are n either well conceived n or

well arranged nor are they carefully draw n —GERM E D
,
.
, .
a t el et L A rt de Peindre
’
, .
1 20 H I S T O RY O F A N C I E N T A RT E TC
the same master in the cabinet f

f
.
,
o Prince
, W enzel von o
L ichtenstein in V ienna This head notwithstanding

.
,
the beard expresses the highest manly beauty and may

, ,
be commended as the most perfect model .
45 If on e will now reascend the steps from heroes

.
to gods which we have just descended from gods to

,
heroes pursui ng exactly the gradation by which deities

,
f
f
have been formed from heroes it will appear that the ,
e ect h a s been produced rather by subtraction than by

f
addition that is to sa y by the gradual abstraction o
, ,
all those parts which even in natu re are sharply and

, ,
strongly expressed until the shape becomes refined to

,
such a degree that only the spirit withi n appears to

have brought it into being .
C H A P T E R II .
TH E C O N F ORMA T I O N AN D B EA UT Y O F TH E F E MA L E D E I T I E S AND
H ERO I N E S
f
.
f f
1 . the female as in the male divinities di erent
IN ,
ages and even di erent ideas o beauty are observable

, , ,
at least in their heads for V enus is the only goddess

,
f
w h o is entirely nude In regard to forms and develop
.
f
f
ment however there are not s o many gradations o
, ,
di erence in the figures of beautiful females because ,
that development is varied on l y according t o their age .
The limbs are e qually ro u nded and fu ll in heroines as

in goddesses — for even the former are found rep re
sented as well as the latter ; and if the artist had i m
,
parted a more marke d development to certain parts in
f
heroines he would have deviated from the charac
,
f
t erist i c s o their s ex F or the same reason that I find
.
f
less t o notice in the beauty o the female sex t h e ,
study o the ar t ist in this department i s much more
f f
limite d a n d easy ; even N ature appears to act with
more facility in the formation o the female than o
the male sex since there are fewer male than female
,
f
ch i ldren born Hence A ristotle says that the opera
.
,
f
tions o N ature tend to perfection even in the forma ,
tion o human b eings ; but if a male cannot b e pro

1 22 H I S T O RY O F A N C I EN T A RT
d u c ed , owing to the resistance o matter then a female f ,
i s the result There is also another reason not less

.
,
f
easy to be understood why the consideration as well , ,
as the imitation o beauty of shape in female statues

,
may requ ire less labour whic h i s that most of the , ,
goddesses as well as all the heroines are draped — a n

, ,
Observation which is repeated in the dissertation o n
f f
D rapery ; whilst o n the contrary the greater number
, ,
o statues o the male s e x are in a nude state .
f2 I would observe however that my remark as to

f
.
, ,
f f
the S imilarity o the nude parts of female i gure s is to
be understood only o the S hape o the body and does ,
not exclude a distinctive character in their heads .
This has been strongly expressed in each goddess as
f
well a s in the heroines s o that both superior and i n ,
eri o r goddesses can be distinguished even when the ,
emblems usually adj oined to them are wanting E ach .
goddess had her peculiar aspect as well as each ,
o d ; and the ancient artists constantly adhered to it

g .
W ith this characteristic individual expression of the

face they also endeavoured to associate beauty in its
,
highest degree ; but they did not stop here — they

impressed similar beauty likewise u pon the female
masks .
f
3 A mong the goddesses V enus stands fairly pre
.
,
eminent not only as the goddess o beauty but b e

, ,
cause sh e alone with the Graces and t h e S easons o r

, ,
’
Hours is undraped and also because sh e is found
, ,
represented more fre quently than any other goddess ,
a
Al so D ian a a s V is co n ti
, s hows (M u s . Pi c C l emen t
-
,
Vol . 1 .
Plate 1 0 N ote b) — F
, . .
one finger only i s wanting and there are n o fractures ,
fi
in it ; in the villa A lbani is another ; there is still
copied by o n e M en op h a n t u s o m a V enus
f
d
a n o t h er
'
which stood at Troas The last di ers from the "
f f
.
d The V e n us o M en op h a n t u s
disco vered on the slope o was
M onte C elio in R ome and subsequently came into possessio n of
, ,
f
f
Prince C higi The attitude o this statue is n early the same a s
.
that o the V enus de M edici ; but with he r left hand she holds
’
befo re he rself the en d Of a drapery trimmed with fringe which , ,
falls down on the scroll or a s Visconti (M u s Pi c Clemen t Vol I

, .
-
, . .
,
pp 9 1 9 2) supposes it the j ewel box— bearin g the inscription and

.
, ,
-
s erves as a suppo rt to the figure .
The head possesses much that is lovely and a s respect s the ideal , ,
expressed in it and also in the arrangement of the hair it resemble s

, ,
f
the heads of the M edicean C apitoline D resden and other exquisite
, , ,
statues o V enus The forms generally are elegant and S lender ;

.
, ,
and the faultless propo rtions justify the supposition that the original
copied by M en oph an t u s was an admirable work
ff
Though the handling o the lesh a s well a s o the hair indicate s ,
.
f ,
a practised and skilful artist still it i s far from having attained that
,
f
bewitching tender s oftness which we perceive i n the C apitoline
f
'
V enus and other works o the best period s o art A s far as we

, .
ca n judge from the
belong even to the earlier times O the Roman empire The nosef
mechanical indications it does not seem to ,
and both arms are modern ; some repairs have also been made
in the drape ry ; and there are some slight injuries on the lips .
( S ee the eng ra v ing M us P i c C l emen t

, V o l I
. V Plate -
, . .
,
GERM E D . .
9
This i s s tated in the following ins cription on a c ube at he r ,
feet on which falls the drapery that sh e hold s before he r ab

,
domen
AHO T HC
eN T Pw A A I
A O PO A I T H C
MH N O A NT O C
GH O I GI
M en op h an t u s made [me] after the Ve n us i n Troas .

AMO N G TH E GR EEK S . 1 25
others in that the right hand is nearer the bosom the ,
second finger resting u pon the centre of it ; the left

hand supports a drapery B ut both are represented in .
f
a riper age and even larger than the V enus de M edici
,
’
.
f
A shape o beautiful maidenhood resembli n g hers may , ,
be seen in the half draped Thetis o the size of life in -
, ,
the villa A lbani who appears here of the age when ,
s h e was given in marri a ge to Peleus : this statue will
be described hereafter in the second chapter o the ,

f
twelfth book
f f
.
4 The celestial V en u s daughter o Jupiter and

.
,
f
W e know however n othing more respectin g this artist than
, ,
o the o ri ginal from which he copied Troas lay in the Trojan
f
.
W
terri tory othe rwise called also A lexandria and An tigonia ; and we
,
find a victor mentioned (co S caliger Poet lib 1 c ap 24 ) who n .

, , .
, .
f
had obta ined the first prize in the great games of Greece In .
regard to the form o the letters the reader can s ee my remarks ,
f
(M on u m A t i q I ed i t
. pn2 2 1 ) on the
. statue
n recently discove
.
, r ed
.
,
f
,
bearing the n ame o S ardanapalus — . .
f S everal antiquarians are disposed to doubt the existence o such

f
antique higher ideals o V enus or images o the V enus U rania , f .
f
B ut Pausanias (lib 1 c a p 1 9 ) mentions a Hermes that was to be
.
, ,
found at A thens in the character o V enus U rania ; also (lib 3

, .
,
c ap 2 3) an image in wood representing the goddess as armed ; and

f
.
(lib. 6 c a p 2 5 ) a statue by Phidias o

, . ivory an d gold in which t h e , ,
V enus U ran ia was represented as stand ing with o e foot on a tor n
toise It is not to be supposed that an artist like Phidias would

.
have given to his image no definite character suitable to the idea to

be expressed S uch a supposition is rendered even the less pro
.
f
bable when we know that i n the vicinity of the V enus U rania of
f
Phi di as stood a V enus Vul gi a ga o bronze seated on a goat— a work v ,
by S copas U nless there had been s t riki n g dif erences i the two
. n
statues Pausan ias woul d not have contrasted them with one anothe r
,
i n the way he has done Hence we believe with Winckelmann .

,
f
that such statues of Venus U rania did re al ly exist and do exist now ; ,
and that they are distingui shed from othe r images o Venus partly
f
f
f
Harmonia i s di erent from the other V enus who is the
, ,
f
daughter o D ione S he i s distinguished by a high
.
diadem o the kind peculiar t o Juno a similar diadem
by loftie r maj esty and earne s tness and partly by the diadem which , ,
is higher in the middle and slopes gradually to each extremity

,
.
f
Winckelmann has contented himself in anothe r place with a d , ,
d a cing as an example o this V enus a bust o r rathe r a head — for the ,
rest is modern —i n the villa B orghese it posse s se s howeve r but

f
little merit o execution .
, ,
The most beautiful known heads of the heav enly V enus are
O ne of admirable G reek marble in the museu m at M antua .
f
It is adorn ed with a diadem like a Juno ; but the features are the
,
features o V enus with the exception that a far higher more earnest
, , ,
f
meaning than usual pervades them Thi s remarkable monument .
has su ered somewhat in the eyes and also in othe r places , .
In the Florentine gallery there i s a well known estimable -
statue which bears the name of V enus U rania (Gori Mus F l or Vol ,
. . .
III Plate
.
, it ben d s slightly forward and holds the gathered ,
drapery before its middle B oth arms togethe r with the right foot
.
, ,
f
are new and the drapery has been retouched The head which i s a
, .
,
masterpiece o beauty and noble grace surpasses the body and appa , ,
ren t l
y does not belong to it although the statue rightly owes its,
f
n ame to the head It is a pity that it is s o much inj ured The
. .
f
nose t h e under lip the chin the greate r portion o the neck and
,
the two locks o hair kn otted on the crown o the head are modern
restorations ; but the diadem is a genuine antique The features
,
f .
,
,
gene rally exhibit about the same characte r a s those in the mon ument
f
j ust mentioned at M antu a
, .
f
A head furnished with a diadem and o which the fo rms not
, , ,
less beautiful than app ropriate proclaim it to be a head o V enus ,
f
,
was formerly in the museum at C assel .
f
The gallery o antiques at D resden also po s se s ses a beautiful
fragment o s uch a head which by being s et upon a figu re n ot o rigi
, ,
nally belongin g to it h a s been restored a s a C eres

,
.
In Plate 1 5 L etters B and C we present two eye s one drawn

, , ,
after the D re s den fragment and the othe r afte r the head forme rly
,
to be found at C as sel B y these e n gravin gs we hope t o S how how

.
f
6 W hen I remarked that V enu s with the Graces
.
,
and Hours is the only one o the goddesses who is not

,
draped I did not mean to be understood to say that She

,
f
is uniformly represented n ude because we k n ow the ,
f
contrary of the V enus o Praxiteles at C O S There is , .
also a beautiful d raped statue o this goddess which ,
was formerly in the pal ace S pada but has since been ,
f
sent to E ngland ; and she is thus represented in a relief
o n o n e o the two beautiful candelabra which were for
merly in the palace B arberini and n o w belong t o the ,
sculptor C a v a c ep p i .
7 A s a wife and goddess Juno i s seen preeminent

.
,
above the other goddesses in development as well as

regal pride S he may be known n o t only by her lofty
.
,
f
diade m but by her l arge eyes and an imperious mouth
, ,
,
the line o which is s o characteri stic that on e can sa y

fi
f
simply from seeing such a mouth in a mere p ro l e
the sole remains o a female head on a mutilated gem
f
cut in high relief in the museum S trozzi — that it
,
f
is a head o Juno The beauty in the expression of
.
f
her large roundly arched eyes is o an imperious cha
,
ra c t e r like that o
, a queen who wills to rule and ,
f
w h o cannot fail t o command respect and inspire love .
The colossal head o this goddess in the villa L udo

g
8 f
W ell known to t h e lovers o antiquity by the name Of the L udo
f
v isi Juno It is incomparably grand and lofty and yet lovely an d bean
.
,
ff
ti l beyond measure The tip of the ose is the only restoration
u . n
in othe r respects the marks o a ew bruises on the right cheek ex

-
f
c e t ed — this glorious work is not perceptibly inj ur ed The left eye
p .
seems to be somewhat flatter than the right ; the di erence how ,
ever i s probably not original ; time and acciden t may have occasioned
,
some abrasion at thi s point (S ee Plate 1 5 L etter A the face of

.
, ,
this Juno in p rofile ) .

f
.
i
vi s iis the most beautiful head o her another smaller ,
hea d may also be found there which merits the second

, ,
rank The most beautiful statue is in the palace

.
"
B a rb a ri n i in w hich there is besides a colossal head
, , ,
of her ; but it does not equal in beauty the one first

mentioned .
8 Pallas on the contrary is always a virgin of

.
, , ,
l
mature form and age S he and D iana are always .
serious The former in particular who appears to

.
, ,
f
f
f
B esides this colossal head o Juno there are t wo other admirable ,
f
heads the same goddess in the villa L do i s i O ne o them
o u v .
,
somewhat larger than life stands near the former in the library o ,
the villa The features are lovely yet without detracting a ything
.
, n
from the maj esty and loft iness of the character ; a drapery or veil
f
floats from the head behind the high diadem This beautiful monu , .
me t is not perceptibl y injured with the exception of the t i p o the

n ,
nose which is modern and a few inj uries to the neck where it unites
, ,
with the chest — The other which is twice as large as life and c o
.
, , n ,
sequently must be classed among the colossal heads of Juno may ,
be found in t he smaller garden palace of the same villa o the stair -
,
n
case leading to t h e upp er apartments The features are large and .
noble ; but the handling of the flesh and the deep grooves between ,
the locks of hair appear to point to the times of the Roman empire
, .
of W e will add t hat the imperial m u seum at Paris possesses a head

Juno resembling the smaller L do i si h ead which is likewise u v ,
f f
larger than life and has a veil behind the diadem (M m A t
, . on u . n .
d u M us é N p o l e Tom I Plate
e a A colossal head o Juno o
on , . .
,
superior execution but without a diadem may it is said he found

, , , ,
at S arsko S elo near S t Petersburgh —GE R M E D

f f
-
. .
, .
i Plate 1 5 A Profile o the colossal head o Juno in the villa

, .
L u dovi s i — G E R M E D . . .
f f
k
N ow in the Pi c C lement museum -
.
f
Plate 1 6 Profile o the Pallas o V elletri so called because it
.
,
was found at V elletri in 1 7 9 7 It is a st tue colossal propor . a o
tions and is almost entirely uninjure d —GE RM E D

,
. .
,
f
f
have divested herself o all feminine weakness and ,
f
even to have conquered L ove himself is an image o ,
m aiden modesty Hence the eyes more especially o

.
,
f
Pallas explain the name whic h wa s given by the Greeks
,
and Romans t o the pupil o the eye : the latter term

’
ing it pupilla y ou ng virg i n the former x p n which
, , o ,
had the same signification Her eyes are moderately .
full and less open than those of Juno Her head is

, .
not carried proudly erect but her look is rather cast ,
slightly downward as if she was in quiet meditation

, .
f
The contrary is observable in the heads of R oma who ”
, ,
a s the mistress o s o many kingdoms bears a regal ,
m R oma was occasionally represented with a sh ort tucked u p robe -
almost like an A mazon She may be see n draped in this manner on

f
di erent relievi ; but at times sh e has lo n g drapery and is armed , ,
f
and so far resembles Pallas O f this kind are in particular some
.
, ,
f
few seated figures among which the one o porphyry over the foun
, ,
tain by the palace o the senator on the C apitol h as the most ar ,
t i s t i c merit Her charming face is S lightly averted ; the drapery

.
clings to the body in folds which are numerou s it is true but yet , ,
f f
arranged with uncommon prettiness .
In the court o the palace o the C onservatori is another Roma ,
f
of marble somewhat large r likewise seated but far inferior to the
, , ,
former The folds o the drapery are meagre and deep and form
.
,
no masses The head and shoulders as low as the breasts are

.
modern ; also the hands and the advanced left foot T h e antique
, .
picture in the palace B a rba ri n i represents Roma in long clothes and
f
,
f
seated ; a tolerably successful colored engraving of it may be found
-
in the A l ma n a c o R ome o the year 1 8 1 0 published by S ickler

, ,
and Reinhart .
W e must not omit the almost colossal marble head of Roma in

the villa B orghese In regard to the skill displayed in the ex ec u
.
f
tion it is unquestionably to be esteemed more h i gh l y than any othe r
,
o the known monuments relating to this subj ect O n the helmet

R omulus and Remu s are wrought in relief —The breast and one .
1 32 H I S T O RY O F A N C I E NT ART
her helmeted head — which is an unusual positi on

f
on .
T h e most beautiful statue her is in the villa °

o
A l ba n i P
.
Plate 1 7 A Profile Of the glorious statue o Pallas in the

, . f
f ,
f
hi gh style in t h e villa A lbani B Front view o t h e mouth of the
, . .
same statue o t h e size Of the original — GE R M E D

,
P W inckelmann means here the perfectly preserved statue o Pallas

.
-
. .
f ,
f
which as far as we know still stands in the v illa A lbani and is
, , ,
f
certainly on e o the admirable monuments of the high style (S ee a .
f
profile outline o t h e face in Plate 1 7 L etter A ) The forms are not ,
.
f
delicate for that would be contrary to the idea o power : n either are
,
f
they soft or softness would detract from the severe earnestness the
, ,
loftiness o her coun tenance ; they are not even to be termed ele
,
f
gan t fo r that would not comport with the elevation and grandeu r
,
which were the principal obj ects o the artist ; but th ey ar e divinely
f
pure beautiful and lofty The folds of the drapery are master
, , .
pieces o drawing a n d of the finest selection although they are n ot

, ,
f
kept in masses s o broad and undisturbed as to enable them to pro
duce by shade an d light a strong and particularly a pleasin g e ect
, ,
.
f
This monu ment however may have been executed before light and
, ,
shade had been accurately observed a n d the rules o their appli ca ,
f
tion to the plastic arts discovered .
It will be seen from these remarks that we are nearly o the same
opinion as Winckelmann in regard to the high merit of this noble
f
monument W e do not howeve r by any means intend on this
.
, , ,
f
account to disparage in the least other celebrated ima ges o M inerva .
The former Giustiniani statue — now in the posse s sion o t h e S ena
f
t or L ucien B uonaparte if we do n o t mistake — is no less valuable ,
f f
and al though it seems to come fro m the same age o the severe
style still for the taste o the present day it possesses more o
, , ,
those ch aracteristics that invite a n d attract O f late greater i n .

, ,
deed n early the greatest reputation has fallen to the share of the
almost colossal Pallas o V elletri (s ee an outline o the face in f
,
f “
Plate al though in pure merit as a work of art it is probably
f
inferior to the two just named ; at leas t it does not excel them , .
A n outline o this monum e nt may be found in M illin (M on um .
A n t I n ed V ol II Plate
. . and a beautifully executed engraving
, . .
,
-
AMO N G T HE GR EEK S . 1 33
f
9 D ian a has in a greater degree than any other of
.
,
the su p erior goddesses the shape and carriage o a ,
virgin E nd o wed with all the attractions Of her s ex

.
,
f
s h e appears to be unconscious of them herself Her .
look is not downcast like that o Pallas but frank , , ,
sprightly and cheerful It is turned towards the source

,
.
of her enjoyments the chase — especially as sh e is

,
generally represented in running o r walki n g — so that it

is directed straight forwards and away into the di s ,
tance beyond all near Objects Her hair is smoothed

, .
upwards o n all sides around her head and then ga ,
thered into a knot behind o n the crown of the head , ,
just above the neck after the manner of virgins or

, ,
even at a d istance from her head S he is witho u t .
diadem o r other orna ments which have been given to ,
her in modern times Her figure is lighter a n d more.
slender than that of Jun o and even of Pallas A , .
mutilated D iana would be as readily distinguishable

among the other goddesses as sh e is in Homer among
all her beauteous O reads S he generally wears a dress .
which is tucked up and descends no lower than the

,
knee ; but she is also represented in longer garments ;

and is t h e only o n e of the goddesses who in some ,
figures has her right breast b a red

,
q
.
in the M us é e F ra n go is by R obillard Peronville (l i vr

, S imilar .
f
to it or else admirably copied like it fro m the same exquisite
, , ,
f
prototype is the bust which fo rmerly stood i n the villa A lbani o
, ,
proportions about as large as tho s e o the statue last nam ed an d ,
f
which is to be less highly valued o n ly in s o far as it is not i n
s o good a state o preservation ; for a considerable portion of the
nose i s n ew a n d restorations are obse rvable in the under lip also
1 In the gallery of the

,
as well as on the lower eyelid — G E R M E D

alace olonna
.
_
s a glo rious D iana in long

f .
, ,
p i
‘
C
1 34 H I S T O RY O F A N C I ENT A RT
f
10C eres I S nowhere presen ted more beautiful than
.
o n a silver coin of the city o M et a o n t u s
f
f
p in Magna ,
Gras cia which is in the museum of the D uke C ara a

,
f
N oia at N aples ; o n its reverse is stamped a s usual an , ,
ear o wheat o n which a m ouse is seated In this as ,
f
, .
f
d rapery the wonderful head o which is probably the most beau
,
f
tiful o all the heads of this goddess now remaining The features .
are delicate and o exceeding beauty ; he r bearing di vinely lofty ;

,
and undisturbed by nearer objects she looks with an earnest eager

, , ,
f f
gaz e straight forward into the far distance A slight expression
, .
o pride and coyness relieves or rather elevates the indi erence , ,
of her character The dr apery of thi s noble S lende r figure lies

.
, ,
in elegant folds The execution i s generally good and the monu

.
,
ment s o well preserved throughout that even the hands are for ,
the most part antique O n the head me rely the nose needed to .
,
f
be restored .
f
A mong the most beautiful images o D iana we m u st enumerate
f
also the torso o a slende r figure having long d rapery in the villa , ,
B orghese which i s known by the name o L a Z ingarella The

, ,
Gypsy Girl
f
”
.
f
The statue o D i ana in short drapery which has been in France ,
sin ce the time o Henry the Fourth is also celebrated and with , ,
f
ou t doubt j ustly although we say s o not from our own j udgment
, ,
f
having never seen it It represents her in the action o running
.
,
with a hind by her side E ngravings o this valued m onument .
may be found in the M u s é e F r n co i s L i vr 1 5 and M on um A n t a , .

, . .
d a M us é e N a p o l eon Tom I Plate 5 1 — GERM E D , . .

, . . .
r
There i s nothing more common than to s ee in museums figures
f
restored as C eres and nothi n g on the contrary i s more rare than
, , ,
really genuine statues o this goddess E ven W inckelmann him .
s e l f was un able to refer to a single one
f f
.
The sole figure in marble o the S ize o life which can be re , ,
garded with certainty as an image Of C eres sta nds in the villa ,
B orghese The head is of lofty beauty and wears the pointed

.
diadem about which lies a wreath o wheat ears The mantle is

,
f ,
-
.
admirably executed wi th the single exception that the folds are

,
t oo numerou s — The nose i s a restoration ; the upper lip is some

12 . f Hebe are more rare than those f

F igures o any o
her body vis ble and on one of them in the villa f

other goddes O n two relievi only the upper part of
s .
,
is i
f
; , o
C A
A
the ardinal lessand o lbani which represents the r ,
R econ c i l i a ti on o H erc ul es her name i s near her There , .
is another figure perfectly si milar to this on a large

, ,
f
marble c u p in t h e same villa This cup will appear in .
the third volume o my A n c i en t M on umen ts These ’

.
f
figures however give no particular idea of Hebe because
, , ,
they have none o the attributes ascribed to her O n .
a third relievo in the villa B orghese— i n wh ich sh e is

,
seen as a suppliant on her knees because her o ice

, , ,
f
f
f
was taken from her and conferred on Ganymedes— the
subject o the marble enables us to recognise her eve n ,
although other indications had been wanting by whic h

she might be distinguished B ut her dress is tucked .
f
up high after the m anner of the boys who attended o n
fi
,
sacri ces C a mi l l i and o servants who waited at table

, , ,
and thus distinguishes her from other goddesses .
1 3 O f the inferior and subordinate goddesses I

.
,
shall mention particularly the Graces Hours N ym phs , , ,
f
Muses Parc ae Furies and Gorgo n s
, , , .
1 4 The Graces were the nymphs and playmates o

.
V enus and in the most ancient t imes were like her

, , ,
represented fully d raped A S far as I know however .

, ,
only a S ingle monument remains which exhibits them

in this mann er n amely the triangular E truscan altar
, , ,
in the villa B orghese to which reference has already ,
f
been frequently made In the palace Ruspoli there .
are figures of nude Graces about half the S ize o life

f
, .
3
The third volume o the M on umen t i A n t i c hi I n ed i t i never ap
peere d —GERM E D . .
AM O N G TH E GR EEKS . 1 37
They are the largest most beautiful and best preserved

, ,
of all that remain The heads in this instance are th e

.
, ,
Original heads of th e statues where a s those of the ,
Graces in the villa B orghese are modern and ugly ; our

, ,
judgment will consequently be based upon the former .
They are entirely without ornament ; the hair is con
f
fined by a fine cord passing round the head and in two ,
o the figures it is gathered together behind near the ,
neck Their countenances express neither gaiety nor

.
f
seriousness but a quiet contentment appropriate to the
, ,
innocence o their years .
f f
"
1 5 The Hours O p e n are the companions and attend
.
, ,
f
—
ants o the Graces that i s they are the goddesses o ,
the seasons and of n atural beauties and daughters o ,
f
Themis by Jupiter o r accordi n g to other poets d a u gh
, , ,
ters of the S un In the earliest periods o art they

.
,
were represented by two figures only ; but their number

was afterwards increased to three b ec a u s e t h e year was
'
divid e d into three seasons spri n g autumn and wint er , , ,
their names are E unomia D ice and Irene They are , , .
f
generally represented d ancing by poets as well as ,
artists a n d in most works by the latter as being o

, , ,
the same age Their garments are S hort reachi n g only

.
,
f
to the knee as dancers were accustomed to wear thei rs ;
,
and their heads are crowned with a wreat h o upright

palm leaves as they m a y be seen on a three S ided base
-
,
-
in the villa Albani which is engraved in my A n ci en t

,
Mon umen ts W hen after a time fou r seasons were

.
, ,
established four H o urs were also introduced into art

, ,
f
as may be seen on a sepulchral urn in the same villa ,
o which an engraving is given in the work just men

t i o n ed I n this instance however they are represented
.
, ,
‘
di f
f
o
f
erent ages and in longer vestments and also
without t h e garland o palm leaves so that S pring -
,
,
resembles an innoce n t virgin at that age when her shape

h a s attained what an epigram terms the growth of the
S pring Hour and the three other sisters ascend in age
-
by a regular gradation W he n more than four figures .
appear in the dance as in the well known relief in the

,
-
v illa B orghese then we have the Hours in company

,
with the Graces .
f
1 6 In regard to t h e N ymphs it may be said that ,
f
.
f
each o n e o the superior divinities as well o the male ,
f
as o the female sex had special Nymphs ; even the
,
Muses were ranked among them a s the N ymphs o ,
f
A pollo B u t those with who m we are most fam iliar
.
are in the first place the Nymphs o D iana o r the

, , ,
O reads and the N ymph s of the trees o r the Hama

, ,
dryads ; and in the second place the N ereids or

, , ,
N ymphs of the sea and the S irens ,

.
f f
1 7 The Muses m a y be seen represented o n dif
.
,
eren t monuments with far greater diversity o

, coun
t en a n c e as well as of position and action than any
, ,
other N ym phs ; for the tragic Muse Melpomene i s , ,
distinguishable even without her emblems from the

, ,
f
—
comic Muse Thalia and his latter i t is unnecessary
t
, ,
to mention the n ames o the others —from E rato and
f
Terpsichore who presided over d ancing The peculiar
, .
characteristic o the two last n a med Muses was for -
f
gotten by those among the moderns who placed a
f
garland in the left hand o the celebrated lightly
draped statue in the court o the palace F arnese
f
which holds u p its under dress with the right hand -
after the manner o dancing girls — a n d then imagined

1 40 H I S T O RY OF AN C I ENT A RT
f f
a pen on a scroll A t times there are only two Parc ae .
,
a s there were but two statues o
f
them in the porch o
the temple o A pollo at D elphi , .
1 9 E ven the F uries a re represented as beautiful

.
young virgins eithe r wit h o r without snakes about

’
,
thei r heads S ophocles calls them . virgins ever
f
young O n a vase in the Po rc i na ri collection at
.
,
f
N aples o which an engraving has been published in
,
the second volume o th e H a mi l ton Vas es there is ,
a painting whi c h represents them with snakes and ,
blazing torches and bared arms seeking vengeance o n , ,
f
f
O restes These avenging goddesses appear likewise
.
, ,
young and beautiful on di erent reliefs in R ome ,
descriptive of the same incident i n relation to this

hero .
f
f
2 0 The Gorgons the last named o the inferior
.
,
goddesses are with the exception of the head o

, ,
f
Medusa not represented on any antique work B ut if
,
.
,
images o them had been preserved their shape would ,
hav e been found not to correspond to t h e description

given of them by the most ancient poets in which they ,
f
are armed with long teeth like tusks ; since Medusa , ,
f
one o the three sisters has been to artists an image ,
o high beauty and fable also presents her to us in a

,
similar aspect A ccording to some accounts which are

.
,
S ophocles te rms the Furies i w e g always virgins in ’
oce a fi
'
s vo v ,
“
,
”
Aj a x verse 8 37
, The tragic writer E s ch yl u s was the first as
.
,
Pausanias (lib 1 cap 2 8 ) relates who represented them with

.
, .
,
snakes in their hair B ut the statues of these divinities in the

.
temple consecrated to them which was situated on the A reopagus at ,
f
A thens did not have a fearful character any more than the images
, ,
o the other s ubterranean deities stan ding in the s ame temple .

AMO N G TH E GR EEK S 1 41
f
.
quoted by Pausanias S h e was the daughter o Pho rc u s , .
’
A fter her father s death sh e assumed the government ,
Of h is dominions which bordered o n L ake Tritonis , ,
f
in A frica and even led her subj ects in war S he was
, .
slain in an attack upon the army o Perseus against ,
f
f
whom she had marched The hero astonished at the .
,
f f
beauty displayed even by her lifeless body cut o her ,
f
head o r the purpose o showing it to the Greeks
, .
“
The most beautiful head in marble o a dead Medusa
f
‘
1
Visconti (M s P ic C l m t Vol X L p 6 4) thinks that the
u .
-
e en , .
, .
f
arm o the Perseus i n the palace L anti at R ome mentioned by
, ,
Winckelmann and also the M edusa s head are o mode rn work

,
’
manship He likewise expresses many doubts in regard to the

.
name of this statue S ince the aegis over the shoulde r belongs not
,
to Pers eu s but rather to a statue of Jupite r or o a deified

, , f
A ugustus The decisi on of this latter point we will leave to others
.
more learn ed than ourselves B ut on account of the M edusa s .

’
head which Winckelmann pronounces the m ost beautiful in marble

, ,
we should be pleased to hear the reasons why Visconti holds it

to be a modern work W e have frequently examined with atte n
.
tion and never without astonishment this admirable and in o r

, , , , u
f f
opinion antique monument It is an ide al in which there is a
, .
ff
glorious blending o the pleasing with the terrible o soft forms
fi
,
with ercen es s of characte r The good ef ect o the whole is dis .
t rb ed or at least impaired by the badly restored nose and the

u , ,
-
,
awkward way in which the injured lips have been botched The .
f
c hi n is very small but very prominent ; the mouth is l a rge ; the
,
f
corners o the mo uth deep The line of the forehead and the .
beginni g o the nose as far as the antiqu e part extends waves

n , ,
and bends in a gentle and pleasing ma ner ; the eyes are Closed ; n
the cheeks p retty in form not very round yet showing with soft
, , ,
outline s the muscles and bones .
f
It is ve ry probable that Winc kelmann did not know the cele
b ra t ed head — properly fa ce or mask — o M edusa which S tood
in the p al ace Ro ndinini large r than life and wrought o white , ,
,
f
marble in high relief This admirable work is executed with rare
,
.
f f
f
is that in the hand o a much repaired statue o -
Perseus in the palace L anti O ne o the most beauti

, .
ful heads on gems is a cameo in the royal F arnese
f
museum at N aples ; another o n carnelian is in the
, , ,
museum S trozzi B oth of these are o a loftier charac .
ter than the more celebrated o n e in this same museum ,
“
m arked with the name of S olon This last celebrated .
Medusa is cut on a chalcedony It was found in a .
f
f
vineyar d near the church of S aints John an d Paul
, ,
f f
o n Mount C oel i u s by a gardener who o ered it for , ,
sale to a purchaser o things o the kind which we ,
f
call antiques on the square Montanara near the , ,
f
theatre o Marcellus This man who could have no .
,
f
particular k n owle d ge o such articles wished to take ,
an impression rOm the stone on wax It happened to , .
be w inter and early in the m orning ; th e wax of

, ,
f
course was not su fli c i en t l y soft and the stone was
, ,
broken into two pieces The finder received two .
sequins (four dollars ) o r it F ro m the buyer it passed .
f
into the possession of S a b a t t i n i a practical antiquarian ,
o some note who purchased it for three sequins , He .
industry but conceived in a much severer sense and with less

, ,
loveliness t h a n the head just mentioned in the palace L anti or

, , ,
f f
the beautiful small M edusa head wrought in high relief o n the -
cuirass o a bust o the E mperor A drian in the C apitoline museum .
The forms however are large and even beautiful altho u gh they
, , , ,
incline as the artist intended to the fierce and terrible For this
, , .
purpose the teeth also are exhibited in the open poison exhaling
, , , ,
-
m on t h A certain hardness and sharpness visible in t h e features

. ,
f
as an expression Of rigidity is another masterly and intentional ,
stroke O ne wing of the nose and the extreme tip o it together

.
,
with some trifling restorations of the snakes are the sole modern ,
parts — GERM E D
. . .
x
Plate 1 3 B , .
21W ith the goddesses I associate the Heroines or

.
f
A mazons as ideal images They all resemble each
’
, .
other i n conformation even to the hair o the head ; ,
2
The most important of the still extant statues o A mazons
appear to be copied principally from t wo o ri gi nals of ancient
f
f
celebrity which nearly resembled each other in shape and features
, ,
but di ered in action This circumstance W inckelmann has over .
l ooked and hence erroneously supposes that all A mazon statues

,
-
are made with a wound i n the breast or more properly un der it , , , .
The A maz on statue which formerly stood in the villa M attei

-
,
f
and was after wards transferred to the Pi o C lement mu s eum n u -
f
doubtedly possesses the most merit a s a work o art A n engraving
o this monument may be found in the M us P i c C l emen t Vol X I .
-
.
. .
,
Pl at e 28 in the M us é e F ra n co is L iv 5 7 and in the S t a t u es

, , .
,
f
published by Piranesi
fi
.
f
This gure may without hesitation be classed among works o
the severe style o Greek art at the time when it was gradually
becoming milder and was beginning to incline to the more tende r
, ,
t o the beaut i ful and the pleasing W e s ee in i t — and the idea

, .
is carried into execution with a felicity that cannot be surpassed
f
a noble vigo rous female for m perfectly developed in every limb by
, ,
constant exercise standing i n a state o repose with the right hand

, ,
bent ac ross the head and with the left hand whi ch hangs by its , ,
f
side holding a bow — The modern restorations are the ri ght leg
, .
as low as the an cle includi n g a portion o the knee ; l ikewise both,
f
arms the nose chin and u nder lip the neck is d oubtful
f
.
, , ,
O ne o the A mazon statues i n the C apitoline museum o whi ch -
the text makes mention in the following paragraph — is perfectly
f
similar to that just described especially since it has been lately ,
restore d and one o those well prese rved heads formerly kept i n
,
-
the miscellaneous room been placed upon it as W inckelmann

fi
wished Thi s gu re also has an extrao rdinary degree o merit
.
, ,
f ,
and if it must yield the superiority in loft y pure beauty to the ,
above men tion ed statue in the Pi c C lement museum it appears

- -
f
able nevertheless to dispute with it t h e palm in pleasing grace .
, ,
O ne half o the nose the rai sed right hand and also the left the , , ,
left foot an d the toe s Of the right are modern ; the leg from
, , ,
and their countenances appear to have been executed

after on e and the same model A mong the Heroines .
,
t he
o r else is a modern restoratio n
f
lower edge o the knee to the an kle is eithe r badly join ed
.
, ,
A nother A mazon in the C apitoline museum i s remarkable partly ,
f
f
because the name c mC I K A H is engraved on the trunk of a tree
, ,
which se rves as a support and partly because it di ers from the ,
figures before m entioned not only in posture and in the folds of,
the drapery but even in expression S he h a s a woun d belo w the

,
.
right bre ast ; the right a rm is held up over the head whilst the left ,
is e mployed in lifting the robe from the wound Hence the face
f
exh ibits an expression o pain and su e ring ; whilst on the other f
f .
f
hand the two figu res first mentioned are without a wound and
, ,
a ppear merely se ri ous and un concerned The work of S osi cl es — i .
it be as s umed that t h e name engraved denotes the artist by whom

the work was executed — is howe ver not altogether s o sl en der , ,
of
in its p ropo rtions as t h e others ; it may also have lost somewhat
f
its ori ginal sharpness and the learni n g of its finish rubbed o , f
f f
by the hands o modern artis t s The head h as never been broken .
from the trunk ; a n d with the exception o the tip o the nose an d
,
a small portion of the un der lip it has al so no restorations O n

f , .
the other hand the whole o the raised right arm and the left fore
a rm together with that piece o
,
,
the robe which the hand raises

from the woun d are modern work as are al so two toes o the left
f ,
f
, ,
foo t It is p robable that the legs are the o riginal antique legs but
.
,
f
f
that they have been retouched about the ankles where t hey were
broke n o from the feet ; on this account the latte r appear some ,
f
what heavy and the forme r t o o slender
,
.
f
Plin y (lib 34 ca p 8 1 9 ) speaks o five A maz ons by celebra te d
.
, .
,
maste rs which were kept in the temple o D iana at E phesus

, .
The on e most esteemed was by Polycletus ; the second by Phidias

the thi rd by C t es il a u s ; the fourth by C ydon an d t h e fifth by
Ph ra d mon The A mazon C t esil au s showed her wound ; it is
.
,
f
therefore scarcely to be doubted tha t in the above mentioned
, , ,
-
C apitoline statue bearing the name o

f
S os icl es and in other ,
similar works we possess more o r les s ac c urate C opies o it

, .
Though the a ction of the A mazon of Polycletus is not kn own

the A mazons are the most celebrated ; and they are

represented in many statues and o n relievi Thei r , .
look is serious blended with an expression of pain or

,
s orrow for all these statues have a wound in the

,
f
breast ; this must have been the case with those also ,
,
o which only the heads remain The eyebrows are .
defined with an energetic S harpness ; now a s this

m anner was us u al in the m ore ancient style o art
,
f ,
p ositively still it i s possible that the gure s holding a bow may

, fi
be copies from it ; for the mo s t esteemed work would probably , ,
be copied the most frequently and with the greatest exactness , .
Indeed if it were not that Pliny include s all the above mentioned
fi
-
e A ma z ons in t h e temple of D iana at E phesus among the

f
v
f
b ronz e image s that glorious statue o the villa M attei might pass
,
for the original executed by Polycletus himself The A maz on o .
f
Phidias stood leaning on a lan c e as L ucian relates (I ma gi n lib , , .
f
1 1 cap
, but a s yet we have no known copy o it O f the
. .
f
works o C ydon and Ph ra dmon we posses s no circumstantial
account an d therefore can not recognise the c opies o which the re
, ,
are perhaps s ome still extant W e find ourselves in a similar

fi
.
embarrassment in regard to a sixth celebrated A maz on gu re -
f
executed in b ronze by S t ron gyl i on which obtained the epithet ,
p g o n account of the beauty o i t s leg s Pliny lib

’’
Et x rn t o
z
( 34 .
, .
,
c ap . 1 9,
f f
It deserves howeve r a passing remark that we occasionally also
, , ,
s ee A mazons on ho r seback in dif erent attitudes as or example

,
-
, ,
f
the He rculaneum figure in bron z e (M us E rec t V ol V I Plates
fi
. .
, .
,
63 , and the marble gure in t h e garden o the villa B orghese ,
d ashing again s t a warrio r who suppo rted on on e knee is defending

, , ,
himself with s word and Sh ield against he r assault ; beneath t h e

horse sits c rouched together another warrior who serves as a
, , ,
s uppo r t t o the A mazo n
n ese two single figures o m ounted A maz ons

fi
f
There were fo rmerly in the pal ace Far
.
O f the numerous .
A ma z on gu res which have been preserved on relievi e n graved

-
gem s an d i n pai ntings on va s e s our p re s e n t purpose does n ot

require us to speak —GERM E D
, ,
. .
1 48 H I S T O RY OF AN CI EN T ART
t h an these if the idea o using them or this purpose

, f f
had ever occurred t o any o n e
fi
.
f
f
In the villa Pa m l i is an A mazon above the size o ’
,
life— as these figures always are— which the process o

restoration has converted into a D iana though the ,
f f
drapery and head ought t o have point e d o u t its true
character The sight o a single head o a n A mazon
.
would have removed all the doubts o a certain

“
f
a uthor
f
who finds himself unable to decide whether
,
a head crowned with laurel— o n the coins o the C ity of

Myrin a in A sia Minor which wa s built by the A ma
, ,
zons — represents an A pollo o r o n e of these heroines ,

.
I will not again repeat here what I have already
f
remarked in more t han one place that among all the , ,
statues o A mazons there is n o t a single instance i n ,
which the left breast is wanting .
2 3 In the heads of particular in d ividuals the ancient

.
artists approximated as closely to the ideal as it could

b a doue without injury to the resemblance These .
heads show with how much good judgment certa in ‘
details which do not add t o the likeness are passed over .
a
The D iana V en a t ri x (so called) stan ds in the round hall o the
fi
palace Pa m l i It is dressed in a S hort robe almost after the
f
f
.
,
m anne r o the A mazons ; s o that there appears to be some ground
f
for W inckelmann s co nj ecture It is worth inquiry by future
’
.
in vestigators whether the partly antique dog by the side o t h e

,
figure belong ed originally to it o r whethe r it is an ancient frag ,
ment arbitrarily adjoined to it in modern times In the forme r .
c ase this figur e is distinguished in a remarkable manne r from all

,
other A mazons
f
The workmanship of this monument is good
. .
A portion o the head and likewise the arm s and legs are new
, , .
~ GE RM E D . .
c a p 33 p 2 5 9 — GERM E D
b Peti t D e A ma zo n
, , .
, . . . .
f
Many of those wrinkles which are the necessa ry a ecom
f
a n i men t s o age are omitted ; those which detract
p
nothing from our conception o be auty are expressed
as for instance beneath the chin and on the neck The
, ,
.
precept of the ancient sage was observed here namely , ,
to m ake the g ood as good as p ossible but to concea l ,
f
and diminish the bad O n the other hand those parts .
,
of the face o an individual whic h are beautiful but ,
which neither add to nor detract from the likeness m a y ,
f
be brought particularly into view This rule has been .
judiciously observed in the heads o L ouis the F our

t e en t h on his coins as is evident from a comparison of
, ,
them with R a n t eu i l s beautifu lly engraved heads of this

’
monarch .
2 4 A s animals cannot b e excluded from our O b ser

.
f
v a t i o ns on beauty a few remarks relative to them will
,
be subj oined It has been observed o horses by critics

.
,
who can speak kn o wi n gly upon the subj ect that those "
,
0
It will be difficult to adjust the dispute between the l over s of
f f
a rt and the connoisseurs in horses respecting the beauty or ugliness
,
ff
o the antique images o ho rs e s For he whose taste h a s been cul
.
f
t i va t ed in the noblest and most beautiful forms o wo rks of a rt will
judge di erently fro m o n e who is accustomed to pre er that which

,
is rare or useful or perh aps merely customary A n E nglish horse

, , .
f
wi thout a docked tail would not please the latter ; whi lst on the ,
f f
o the r hand the former considers docking o the tail to be a n outrage
,
f
against nature The same dif erence o opinion may be s ai d to exist
.
f
in regard also to beauty o shap e in men B ut enough ! The horse .
f
o M arcu s A ur elius o n the C apitol is mo re admirable than any on e
that has been executed by modern artists ; yet it is not o s o fine ,
elegant and active an appearance as the horses of the two B albi i n

,
the B ourb on museum at N aples an d these in their turn must yield

t o the fo ur horses which ador n the po rtal of the Church o S t M ark f .
,
at V e n ic e —GERM E D . .
150 H I S T O RY O F A N C I E NT A RT
f f
which remain to us in marble and bronze are copied
from a coarse breed o the animal In confirmation o .
f
their assertion they point especially to the supposed
,
clumsy make o the parts between the neck and spine ,
at the place where the S houl der blades are situated in -
man which in horses is called the wi th ers I n the A ra

, .
bian S panish N eapolitan and E nglish horses this par t

, , , ,
is finer lighter and more flexible S ome other ani

, , .
f f
d
mals especially l i on s have received from the ancient
, ,
a rtists an ideal shap e— a piece o information
f
or th os e
to whom lions in marble appear di erent from lions in
f
life The same remark may be made yet more strongly
.
, ,
o the dolphin ; it cannot be found i n nature as it i s

represented o n antiqu e works ; yet its imaginary form
has b een adopted by all modern artists as a reality "
.
d W in ckelmann is right in s ayi n g th at the an cient lio n s are ide al

in shape They are s o in s o far as art w hen fo rmin g her creations
.
, , ,
poeti call y elevated them above the bare reality of nature B ut they
f .
f
who suppose that it substituted i n the plac e o lions an other an d an
imagin ary race o an imals are very much in error an d their censure
, ,
on this account is misapplied It has done to lions neither more nor.
less than to other beasts and to beasts general ly n ot more than t o

,
man It can be asserted with just as much appearance of tru th

. , ,
f
that the ancient statues ar e unl ike actual m en as that the ancient
image s o lions are unlike real li ons The C olossus o Phidi as on
M onte C avallo i n R ome looks i n truth no more like a piti ul
.
,
f
f
,
, , , , ,
Oppre ss ed starved citi z en tha n the great lion couchant before the
, , , ,
f
A rsenal at V e ni ce or the standin g li on wrought i n relief on the
lion of a mena geri e — GERM ED

,
s taircase o the p al ac e B arberini at R ome i s t o a mi s e rable worried
.
,
.
,
, ,
,
The paragraph s 2 3and 24 which are inserted here are ta ke n

f
e
, ,
from the N otes to the Hi sto ry o A rt It is true that their i n s er .
f
tion he re inter rupts in some degree the connection between 22 and
2 5 ; but as the a utho r s r emarks upon the portrait gu res o the
,
’
-
fi
the ancient works before one s eyes C oins and engraved ’

.
gems o r impressions from them are to be Obtained

, ,
even in lauds which have never seen any admirable

work from a Greek chisel and from these the whole ,
world can form an idea of the lofty conceptions expressed
f f f
i n the heads of the divinities A head of Jupiter on .
the coins o Philip o Macedo n o n those o the firs t ,
f
Ptolemies and likewise those of Pyrrhus is not inferior
, ,
f f
in maj esty o conformation to h is image in marble The .
f
head of C eres on silver coins o the city o M et a p o n t u s
, ,
f
f f
in Magna G raec i a and the head o Proserpine o n two
, ,
di erent silver coins o S yracuse in the royal F a rnese ,
f
museum at N aples surpass anything that can be ima
,
g i n ed The
. same remark might be made o other
beautiful female figures o n numerous coins and en
graved gems .
f
2 7 N othi n g mean o r ordinary i ndeed could be
.
, ,
introduced into the images o the deities because their ,
conformation was s o universally settled amon g Greek

artists as apparently to h ave been prescribed by some
f
law The head of Jupiter on coins of Ionia or stamped
.
,
f f
by D oric Greeks is pe rfectly similar to that o the same
,
god o n coins o S icilian or other cities The heads o .
A pollo Mercury B acchus L iber Pater and Hercules

, , , , ,
either in youthfu l o r more manly age are on coins and , ,
gems a s well as statues designed after o n e and the

, ,
f
same idea The law referred to was found in the most
beautiful o the images produced by the most celebrated
fartists to who m the gods were believed to have mani

,
es t e d themselves i n special visions Thus Pa rrh a si u s .

,
boasted that Hercules had appeared to him in the very

for m in which he had painted the hero This appears .
AMO N G TH E GR EEKS . 153
f f
to have been the idea of Q uintilian where he says that
,
f
the statue o Jupiter from the hand o Phidias had done
f
much t o awaken a greater degree o reverence towards
f
this god The Jupiter of Phidias the Juno o Poly
.
,
f f
cletus the V enus o A l c a menes and afterwards the
, ,
V enus o Praxiteles were the noblest prototypes o

,
these deities to all succeeding artists and thus embo

, ,
died they were adopted and worshipped by a ll Greece

, .
However the highest beauty cannot be imparted in an

,
equal degree to every o n e even among the deities a s

, ,
C otta remarks in C icero any more than to all the fi gu res

,
in the most b ea u t iu l picture indee d this is not more

,
admissible tha n it would be to introduce only heroes in

a tragedy .
C H A P T E R III .
E X PRE SS I O N O F B E A U T Y I N F E A T U RE S C T I ON
f
TH E AND A .
1 . N E X T to a knowledge b e auty expression and

o ,
action are t o b e considered as the points most essential

t o an artist just as D emosthenes regarded action a s the
,
first second and third requisite in an orator A ction

, , .
alone may cause a figure to appear beautiful ; but it c a n
f
never be considered so if the action is faulty An .
observance o propriety in expression and action ought ,
f
therefore to be inculcated at the same time wit h the
,
f
principles o beautiful forms because it is o n e of the,
f
constituents o grace F or this reason the Graces are
f
.
,
represented a s the attendants o V enus the goddess of ,
beauty C onsequently the phrase t o s a cri ice t o the

.
f
Gra ces signifies among artists to be attentive to the
,
f
expression and action o their figures .
2 In art the ter m exp ress i on signifies imitation o

,
f
.
f
the active and passive states o the mind and b ody and ,
o the passions as well as of the actions In its widest .
sense it comprehends action ; but i n its more limite d

meaning it is restricted to those emotions which are
,
denoted by looks and the features of the face A ction .
relates rather to the movements of the limbs and the
f
whole body ; it sustains the expression Th e censure .
which A ristotle passed o n the pictures o Z euxis

namely that they had no 73
,
00 9 exp ress i on—c a n be ,
artists therefore beauty was the chief Object o expres

, , f
sion just as the cymbal guides all the other instruments
,
in a band although they seemingly overpower it A

, .
figure may however be called beautiful even though

, , ,
f
expression should preponderate over beauty just as we ,
give the n ame of wine to a liquor o which the larger

portion is water Here we also see an indication of the
.
celebrated doctrine of E mpedocles relative to discord

and harmony by whose opposi n g actions the things of
,
this world are arranged in their present situation .
B eauty without expression might properly be termed
f
insignificant and expression without beauty u n p l ea s
fi
, ,
f
ing ; but om the action o o n e upon the other and
,
'
f
the union o the two opposing qualities beauty derives ,
additional power t o a ect to persuade and to convince , , .
5 R epose and stillness are likewise to be regarded

.
as a consequence o the propriety which the Greeks f

al ways endeavoured to observe both in feature and “
a ction insomuch that even a quick walk was regarded

,
f
as in a certain measure opposed to their ideas of
, ,
decorum
‘
It seemed to involve a kind o boldness

. .
D emosthenes reproaches N i c ob u l u s with such a mode
f
of walking ; and he connects impudent talking with
f
quick walking In conformity to this mode o think
.
f
ing the ancients regarded S low movements o the body
,
a s characteristic o great minds I find it hardly n ec es .
f
sary to remark that a post ure which denotes servitude
, ,
f
is di erent fro m o n e that conforms to propriety and
good manners In this attitude a few statues o cap
.
tive kings are represented ; they stand with their hands

crossed o n e over the other— a n act indicative of the
AMO N G TH E GR EEKS . 1 57
deepest submission—i n the manner in which Tigranes

f
king o A rmenia caused himself to be served by four
,
,
f
kings who were his vassals .
6 The ancient a rtists have observed this sort o pro

.
ri e t even i their dancing figures with the exception

p y n ,
f
'
of the Bacchante s It has bee n thought by some that

.
,
the action o these figures was measured and regulated

by a style belonging to dances of a period anterior t o
that in which t hey were executed and that i n s u b se , ,
q uent d ances of the ancient Greeks they in their turn ,
were adopted as a standard by which female d ancers
f
S O governed themselves a s not to overstep the limits
f
of modest propriety The proof o this can be seen
.
in many lightly dressed female statues o which the

-
greater por t ion have no girdle wear no emblems and , ,
are represented a s if engaged in a very modest dance .
E ven where the arms are wanting it is apparent that ,
one was occupied in supporting the dress upon t h e

shoulder and the other in S lightly raising it from below
,
.
This action gives to these figures S ignificance and at
f
the same time serves to explain their true character .
A s se veral o them have ideal heads o n e of the two ,
Muses who specially presided over dancing namely , ,
E rato a n d Terpsichore m a y be represented by them

, .
S tatues in this attitude are to be found in the villa s
f f
Medici A lbani and elsewhere Two figures in t h e
, , .
f
villa Lu d ovis i o the S ize o life and similar to these
, , ,
f
and a e w among the Herculaneum statues have n o t ,
f
ideal heads O ne o those in the villa Lu d ovisi has a
.
head o high beauty but the hair is deficient in th a t

,
S implicity which is us u al in ideal heads ; it is artistically

twisted together and braide d so as to resemble a fashion
,
1 58 H I S T ORY O F A N C I E N T A RT
f nother which stands over the entrance

to the palace ara f
f
o o ur d av. A ,
f high beauty encircled by a garland f

a C
at aples has a head C o l u bra n o , N ,
“
o flowers
, It o .
may therefore be the case that these statues were

, ,
actually erected to b eautiful female dancers for the ,
Greeks conferred on them this undeserved honor and ,
several Greek epigrams o n such statues are still extant .
f
S ome of these statues have on e breast bared : it is a
sure S ign that neither o the two Muses above men
f
t i o n ed is intended because such exposure in them
,
f
would be a violation o decency .
f
7 T h e highest conception o these principles espe
.
,
f f
c ia ll y o repose and stillness i s embodied in the figures ,
f
o the divinities which from t h e F ather o the gods
, ,
down to the inferior deities show n o trace o emotion , .
Thus Homer pictures to u s his Jupiter as shaking O lym

,
f
f f
u s solely by the bending o his eyebrows and the w a v
p
ing o his hair Most of the images o the gods are
.
e qually tranquil and passionless Hence th e high .

,
beauty exh ibited by the Genius in the villa B orghese , ,
could be expressed only in such a state .
a
T his D anc e r wa s afterwards tran s ferred to the Pi c C lement -
museum V isconti (V ol III Plate 30 pp 39 4 0) has given an

. .
engraving and explanation o it He rst says that the Chaplet f fi .

,
.
, .
,
f
with which the beautiful head of this figure is ado rn ed is formed , ,
n ot o flowe rs but Of ivy blossoms He then goes on to remark

,
-
.
f
Though this s tatue does not exhibit i n its forms the noblene s s and
slendernes s obse rvable i n other yet more admirable works o s culp
f
f
ture still it is to be cl assed among the masterpiece s o antiquity on
, ,
accoun t o the truth grace and softness with which the shape an d
, ,
features of a beautiful woman are copie d who in the C ampanian plea , ,
sure gardens— whe re the statue was discovered— had probably once
-
, ,
fascinated by he r allurements a voluptuous c rowd —G ERM E D .

”
. .
ol d poets being its appropriate seat — and the con

,
f
tempt o n the lips The latter emotion is manifested .
by the elevation o the lower lip by which the chin is ,
raised at the same time ; the former is visible in the

dilated nostrils .
1 0 A s the position and action usually correspond to

.
the passions expressed in the face both are made to ,
f f
conform t o the divine excellence in statues and figures ,
o the gods The union o these two qualities may

.
f
be termed D ec orum There is not a S ingle instance in .
f
which a go d o mature age stands with his legs crossed .
A statue o a hero with the legs crossed would have

been censured by the Greeks ; for such a posture
would have been considered unseemly in an orator as ,
i t was amo n g the Pythagoreans to throw the right

, ,
thigh over the left I therefore do not believe that .
the statue at E lis — which stoo d with its legs crossed ,
and leaned with both hands o n a spear— represented a

N eptune as Pausanias was m ad e to believe
"
, A pollo .
,
B acchus and Mercury are the only deities thus rep re

,
f
f
sented : the first to personify frolicsome Y outh ; the
,
f
second E eminacy
, There are however but few .
, ,
f
statues o the kind A n A pollo in the C apitoline .
museum a few similar figures o him in the villa

,
Medici and o n e other in the palace F arnese stand in

, ,
this position : the last surpasses all the others in the
W
Pau sa n lib 6 ca p 2 5 T ranslators have not ri ghtly u nder
.
, .
, . .
stood this for m Of speech T 5 g g u w as m w m 53 E gp , » r e ov T .

’
sv r
’
ex 7 n
’
.
They have rendered it by p ed em p ed e p remere to s et one foot on ,
the other whereas it shoul d have been rendered by d ecuss a ti s

fi
”
“
p ed ibus which in Ita l ian signi es g a mbe i n cro c i c c hi a t e
, with the ,
legs crossed — . .
f f
.
beauty o its shape and o its head In one of the .
f
paintings from Herculaneum his attitude is precisely ,
t h e same A mong the figures o Mercury there is

.
,
only a S ingle o n e known to me which stands thus ,
namely a statue in the grand ducal gallery at F lorence

,
-
upon which the Mercury in bronze of the S ize of life , ,
in the palace F arnese w as moulded and cast This , .
f
position is peculiar to Meleager and Paris ; the statue
o the latter in the palace La nc el o t t i stands in this
, ,
manner The young S atyrs Or F auns — t w o of the

f
.
most beautiful o which are in the palace Ruspoli

have one foot awkwardly and as it were clownishly , , , ,
placed behind the other to denote their charact e r This,
i s precisely the attitude o the young A pollo Z a vp o m c

vo s til e L i z a r d ki l l er
f
f
o whom t h ere are two figures in
-
.
f
, ,
marble in the villa B orghese and o n e in bronze in the ,
f
villa A lbani They probably represent h i m duri n g the
.
period o his servitude as herdsman to K i ng A dmetus , .
O f the female divinities I know not o n e that i s rep re

sented in this attitude which would be less becoming ,
f
in them than in the gods ; I therefore leave it unde
.
f
cided whether a coin o the E mperor A urelian on
, ,
fi
which is a figure o Providence with crossed l egs is ,
f f f
a n antique This position may however b e t Nym phs ;
.
, ,
o ne o the m o the s ize o life which formerly b e

, ,
d If this doubt f Wi nckelm n wer to obtain credit

o many an e , how
f
other coins would be rej e ted as not ge uine rovidence standing
c n ! P ,
an d resting against a column i s seen in thi s attitude on a coin O

,
Al exander S everus (M us el l ii N u mi sma t A n t i q Part 1 1 Tab 7 5 . .

, , .
,
f
No . anothe r female figure (N O 8 ) in a similar position ; Per .
f
p et ua l S ecurity on a coin o the E mperor Gallienus (Tab 2 2 3 .
, ,
No . a n d o n a coin o the E mperor Tacitus (Tab 2 34 N O 4 ; .

, .
M
f
longed to the family Giustiniani stands th us ; also on e ,
f
f
o the three N ymphs w h o are carrying o Hylas in
the palace A lbani F rom observation o these par . f ,
f
t i cu l a rs I believe myself authorized to doubt the
,
antiquity o an e ngraved gem o n which is represented

th e (so called ) Minerva Medica—holding a sta en f
f
twined by a s erpent and having o n e leg thrown over ,
the other — more especially a s the figure in question
f
has the right breast bared an exposure which is not ,
to be found in a single figure o Pallas This fact .
f
recurred to my recollection wh en a similar figure on a
g e m was shown to me as an antique work ; but or the ,
reasons j ust m entioned I recognised it as n o t being ,
such This attitude was regarded as appropriate to

.
persons in grief ; for thus in a picture described by ,
f
Phil o st ra t u s the weeping warriors stood around t h e
,
body o A ntilochus s o n o N estor a n d bewailed h is , f ,
f
death ; and in this attit u de A ntilochus com municates
to A chilles the death o Patroclus as seen on a relief ,
in the palace Mattei and also on a cam eo — both of ,
which have been published in my A n c ien t Monu men ts

—a n d in a pictu re from Herculaneum .
f
1 1 The ancient artists displayed the same wisdom
.
f
in their conception o figures drawn fr o m the heroic
age and in the representation o merely h um an pas
,
Public Joy
N os 2 .
,
f
f
the reverse o two coins o Julia Ma mmaea (Tab 1 8 2
on
the Peace o A ugustus on a coin o ZE mil ian u s (B an

ff .
,
duri N u mi s m I mp era t R oma n T om I p 9 2) —F

, . .
,
. .
, . .
This attitude is however u s ually given only to fi gures in

, ,
all o f
which it is intended to express stability an d repose Hence
them as far as we kno w lean a gain st the stump o a
, ,
.
f
,
column — GERM E D . .
the most beaut iful works o a n t i qu it y O ne o them i s f

f
.
’
f
f
f
a representation of the fear o death the other o ex
treme su ering and pain The daughters o N iobe at . f ,
f
whom D iana has aimed her fatal shafts are represented ,
in that state o indescribable anguish their senses hor ,
ror struck and benumbed in which all the mental

-
f f
powers are completely overwhelmed and paral yzed by
f
the near approach o inevitable death The t ra n s or .
f f
mation o N iobe into a rock in the fable is an image , ,
o this state o de ath like anguish and for this reason

-
E s c h yl u s introduced her as a S ilent personage in his

tragedy o n this subj ect A state such as this i n which .
,
sensation and reflection cease and which resem bles ,
apathy does n o t disturb a limb o r a feature and thus

, ,
enabled the great artist to repres ent in this instance the

highest beauty just a s he h a s represented it ; for N iobe
f
and her daughters are beautiful accordi n g to the high
e s t conceptions o beauty
"
.
9
Winckelman n deserves infinite credit for h a ing discovered v
f
and unfolded more clearly than any other anti quari an the hi gh
, ,
f
merit o these maste rp i eces B ut when he says that this state of
.
unspeakable anguish o horror struck sensibility leaves the features

,
-
unchanged and thus allowed t h e embodiment in these figures of the
f
,
highe st and purest beauty it seems as if he wi shed to d e en d t h e

,
artist o N iobe and her daughters merely by an ingenious explana

f
of f
tion or to praise him conditionally and t acitly concede the justice
,
the matter o fact obj ection usually made by incompetent judges

- -
,
f ,
that the work is deficient in force o expression B ut we maintain

that it nee d s for i t s defe ce no such display o elaborate reasons
n f
.
f
W e must simply acknowledge what is obvious —that the artist s c o ’
n
f
c e t io
p o his
n figures i s raised far above the level of common nature ,
f
and that in the execution o his idea he has everywhere c ontinued
,
true to that j ustness and purity o taste whi ch avoids whatever is not
beau t iful In a word in order to judge correctly of this wonder of
,
.
,
f
.
14 . Laoc oo n f
is an
image of t h e most intense su er
ing It manifests itself in his muscles sinews and
.
, ,
veins The poison introduced into the blood by the

.
,
d ea dly bite of the serpents has caused the utmost ex ,
c i t em en t in the circulation ; every part of the body

seems as if straining with agony B y this means the .
artist brought into action all the natural motive po w ers ,
f
and at the same time displayed the wonders of his
f
science a n d skill B ut in the representation o this .
i n tense suf ering is seen the determined S pirit of a great
f
man who struggles with necessity and strives to s u p
press all audible manifestations o pain — as I have
endeavoured to S ho w when describing this statue in , ,
the second part of this work .
1 5 E ven Philoctetes
.
,
ancient art must soar into the region s o poesy and n ot erro
, we f ,
f
‘
n eou sl y s u
p p os e that the p rogress of the action in a hi ghly tragic
work o art shoul d be the same as where death happens in the ordi
nary way C onsidered in this manner N iobe and her daughters
.
,
need no justification or any supposition of inexpressiveness resem

,
bling the stupefaction of anguish but they are unconditionally cor l ,

-
rect and excellent in conception and execution —GERM E D

f
. .
f The expression o pain is much stronger in the L aocoon than

i n the N iobe B ut it must be considered t hat this work wa s i
. n
f
tended to solve the problem of expressing a real bodily pai n and ,
therefore admitted ind eed required the manifestation o painful sen

, ,
s a t i on s to be more strongly indicated M oreover this work is the .

,
production of art at a late r period when it was more finished in ,
itself and requir ed more finish in its productions — when i t s style

,
was refined noble and beautiful — but n ot s o elevated as that of the

, ,
N iobe N O one can pri z e the L aoco on more highly than we do it

'
f
is a miracle the sum and abstract of all art ; but a godlike spirit
,
streams from the N iobe and impels heavenward the feelin gs o the ,
spectato r —GERM E D . . .
1 66 H I ST O RY OF A N C I ENT A RT
uod ej ul a t u que s ta gemi t u remi t i bu s

Q , ,
R es ona n do multum fl eb i l es voces re ert

, ff .
,
E nnius ap u ti C i c d e F i n B 2 ch 2 9
. .
, .
, . .
C ombi n e with tearful words o wan despai r f

Who s e shrieks and groan s wide echoing through the air
,
,
,
f
has been represented by these judicious artists m ore in
accordance with the principles o wisdom than with the
description of the poet — as is shown by the figures of
this hero in marble and on engraved gems which have ,
f
been publ i shed in my A n c ien t M onumen ts The frantic .
f
Ajax o the celebrated painter T im o ma c h u s w a s n o t
f
represented in the act o slaughtering the rams under ,
th e impression that they were the chiefs o the Grecian
f
forces ; but after it was completed and when restored , ,
to the possession o his senses and over w helmed by ,
f
f
despair and buried in the deepest sadness he sa t an d
, ,
brooded over his o ence In this manner he is figured

.
”
in the (so cal led ) Troj an Tablet in t h e C apitoline ,
museum and o n several engraved gems There i s h o w

,
.
,
ever an antique cast in glass taken from a cameo

, , ,
f
which represents Ajax as S ophocles has done in his ,
tragedy o Aj a x that i s killing a large ram w hile two

, , ,
f f
herdsmen and U lysses are standing n ear to the latter ,
o whom Pallas i s S howing this display o rage on the
f
part Of his enemy This rare piece will appear in the
.
third volume o the A n cien t M on umen ts

fi
.
1 6 In women particu l arly artists followed the

.
, m
,
d a m en t a l principle— tau ght by A risto t le and observed

f
in all the tragedies o the ancients which are known to
,
u s— never to represent women in such a way that they
shall violate th e characteristics of their s ex or appear ,
excessively daring and fierce F o r thi s r ea son the

.
,
1 68 H I S T O RY OF A N C I EN T A RT
18 .D isting u ished men and rulers are conceived

, ,
and represented i n a manner worthy of them and as ,
they would appear before the eyes of the whole world .
The statues of the R oman empresses rese mble Hero

ines ; displaying no artificial graces either in feature ,
position o r action ; we see in them as it were that

, , ,
f
social propriety which in the opinion of Plato is no
, ,
f
obj ect o sense E ven as the two celebrated S ch ools
.
f
o ancient philosophers placed the greatest good in a
mode o life which conformed to nature but the ,
f
S toics in decorum and propriety so in this case also , , , ,
f
the observation o artists was directed to the workings
o nature when left to herself unchecked and when , ,
controlled by the observance of decency .
1 9 O n public monuments the R oman emperors a l

.
,
f f
ways appear a s principal citizens among their fellows ,
exhibiting nothi n g o the pride o sovereigns and

-
seemingly havi ng no prerogatives greater than the by

standers l a o vouo r
,
’
. The surrounding personages are
apparently equal to their ruler who is distinguished ,
f
f
as such from the others only by the principal action
being given to him N o on e who o ers anything to
.
f
the emperor does so o n bended knee and no on e , ,
with the exception o captive kings bows his body ,
o r head when addressi n g him A lthough adulation .
was carried to great excess— since we know that the

R oman S enate fell at the feet of Tiberius yet A rt -
f
still hel d herself as proudly erect a s when in the
height o her glory at A thens I have observed that .
f
captive kings are an exception to the general a p p l i
cation o my remark even when limited to the monu
,
men t s which remain to us ; but we also know that

f f
kings not conquered S howed to R oman generals this
, ,
mark o submission as Plutarch informs us o Ti ,
granes king of A rmenia W hen th i s despot went to

,
.
visit Pompey he dis m ounted from his horse in front of

,
the R oman camp unbuckled his sword and delivered

, ,
it to the two lictors who advanced to meet him ; o n

coming into Pompey s presence he laid his cap at his
’
feet and pros t rated himself before him

,
.
2 0 A mong other examples which I might adduce

.
to sho w the degenerate tone of thought and the exten t ,
to whic h violation of the principle in question has been
f
carried in modern times is a large relievo on the foun ,
tain of Trevi at R o m e which was executed a e w ,
years a go It represents the architect of thi s aqueduct

.
f
presenting on his knees the plan of it to Marcus
, ,
A grippa I will si m ply remark that the lo n g beard o

.
g
f
this distinguished R oman is in contra di ction to every
known likeness o him whether on coins or in m arble , .
2 1 W hen I reflect on the fundamental principles of

.
decency entertained by the ancient artists I cannot ,
f
persuade mys elf that it is the E mperor A drian w h o is
represente d among the figures on the pediment o the
temple of Pallas at A thens because as Po c o c ke assures , ,
us, the figure in question is embracing a nother a ,
f
female figure S uch an act would have been regarded
.
f
f
as o ending a gainst the dignity o an emperor and the ,
sanctity O the place I do n ot believe therefore that

.
, ,
either A drian or his wife S abina is here impersonated

, , ,
as S pon claims to have discovered ; for I do not so far
g M arcus A grippa on this work has no beard ; the architect and

soldie r have beard s — F .
1 70 H I ST O RY OF AN C I E N T A RT
confide in this author s knowledge o such subjects as ’

f
to take all h is assertions upon trust .
2 2 It must also be considered here that in general

.
, , ,
f
all excess i n the passions was rigorously excluded espe ,
f
c ia l l y fro m public works o art and that the rep re ,
s en t a t i o n o them o n public monume n ts was not allow
able even in a degree which might be very proper and

,
decent in other works n o t public If this be assumed , .
as proved it may also serve as a principle by which to

,
distinguish counterfeit fro m genuine objects o anti

—
f
q u i t y a test which may be applied to a coin in O cco ,
and M ez za b a rba which exhibits a n A ssyrian man and

,
woman bound to a pal m tree and tearing the hair from ,
their heads with the inscription

, ASS Y R I A E T . .
PA LA E S T I N A I N P O T E S T P R B E DA G S C
”
. . . . . . . .
A connoisseur in coins is obliged to seek the proof that

“
this coi n is a counterfeit in the word Pa l a es ti n a ,
which according to his sho wing is not found on a

, ,
single L atin R oman coin ; but the same conclusion at

-
which even this learned inquiry arrives might have ,
f
bee n drawn from the foregoing remark I do not pre .
tend to decide whether a person not o the male but , ,
11
A mong the an c ient Romans the symbol on coin s and othe r ,
mo n uments of the conquest of a pro v ince was a woman i n a sitting ,
posture supporting her head on h er hand and he r elbo w on the

,
knee which was drawn up In this manne r the conquest o Judea

,
.
,
f
f
is symbolically repres ented on numerous coins of Vespasian and
,
f
f
Titus ; s o likewise is the conquest o Germany S armatia A r
, , ,
f
menia ; and that o D acia may be seen on a beautiful bas relief -
under the statu e o Roma T ri u mp h a n s in the palace o the C on
f
s erva t o ri on the C apitol S till I do not venture to doubt the
,
.
,
genuineness o the coin adduced by W inckelmann because old coins ,
of a n imp res sion hitherto unknown are daily foun d —F .

ff
1 72 H I ST O RY or AN C I EN T A RT
consequently signifies the magn i yi ng o trifles i n to un due

,
i mp ort a nc e I introduce this expla n ation here because

.
,
I do n o t think that the precise meaning of the word
p p fi
ara é v v a o s has been given by commentators o n L on
'
‘
ginns I t would however exactly designate the faults

.
, ,
in expression committed by most modern artists F o r .

,
f
as regards action their figures resemble the comic per
,
for mers o the ancient amphitheatres who were obliged ,
f
to violate the truth of nature by exaggeration in order ,
to make themselves intelligible in the broad light o ,
f
day to the most ordinary classes of the people o n the
,
outermost rows of seat s ; whilst in the expression o ,
f
their faces they are like the ancient masks for the dis
, ,
t ort i o n o which we may find an explanation in the

cause j ust stated This exaggerated style of expression
.
f
is even inculcated by C harles l e B run in his T rea ti s e ,
o n i
t el P a s s i o n s — a work in the hands o most young
students of art In his illustrat ive drawings the pas
.
,
sions are not only represented in the face in an extrem e , ,
degree but in several instances the expression of them

,
amounts even to frenzy It is supposed th at expres .
sion is taught o n the principle by which D iogenes lived ;

“ I imitate musicians “ ”
said he who strike a higher
, ,
note in the scale than the o n e upon which they wish to

fall.
”
B ut as t h e impetuosity natural to the young ,
rather disposes them to adopt extremes than a mean ,
f f
they will in this way hardly acquire the right tone from ,
the di ficulty o keeping it when once struck There is .
an analogy in this case with the passions themselves ,
which as C hrysippus the S toic taught resemble the

, ,
passage do w n a steep precipitous descent ; if a traveller

,
thereon once gets to running he can neither stop him ,

self nor yet turn back Horace says that the S hades
,
.
,
in the E lysian F ields listen less attentively to the ten
f
der Odes of S appho than to the lyrics Of A lc aeus who
, ,
W
sings o battle and t yrants deposed ; and s o it is that
, , ,
from youth upward we are more captivated by wild,
tumults and dread alarms than by peaceful incidents

and i sdom s tranquil life Hence the youthful designer
fi
’
.
,
is more readily guided by Mars into the battle el d -

,
f f
than by Pallas to the calm society of the wise The .
doc t rine o repose and stillness in the drawing o his ,
figu res is as repugnant to his feelings but yet as n ec e s

, ,
sary as precepts of virtue are to all youthful persons

,
.
A s according to Hippocrates the cure of the foot de

, ,
pends o n repose so also m ust improvement with such

,
artists commence in repose .
f
2 4 Moreover we do not find in those figures Of t h e
.
,
ancients which are in a still position any o th a t mere
f f
tricious artificial grace so common among the moderns :
,
to mention one instance O it the hinder foot is re ,
quently made t o rest upon the toes alone N o w t h e .

,
ancients gave this position to the foot only when the

action represented runni n g o r walking : never when a
figure was in repose It is true that a relievo in my .
possession and copied into the A n ci en t M onumen ts

, ,
f
shows Philoctetes with his right foot thus placed ; but
the position o the foot in this instance expresses t h e , ,
pain endured by the hero from the serpent s bite which ’
d isabled him from bearing his weight on it .
2 5 These explanat ions and reflectio n s in relation t o

.
,
f
action deserve more attention o n some accounts from
, , ,
f
those w h o are beginning to stu d y works O art th a n ,
even conceptions O beauty because they are more ,

1 74 H I S T O RY OF A N C I E N T ART
f
readily comprehended and also better appreciated by
, ,
those who d o n o t possess a quick perception o the
f
beautiful O n compari n g ancient and modern works
.
,
the dif erence in this particular is so striking that the ,
f
latter appear to be the reverse of the former E very .
o n e perceives that the greater number o mode rn artists ,
f f
especially sculptors have been governed by principles
,
o an entirely dif erent spirit fro m those just considered
fi f
.
They con dently believe d that art was capable o

improvement by such principles and imagined that , ,
f
like several other arts it had not yet attained the high
,
f
es t degree O excellence in action F o r this reason .
,
f
the successors o Raphael deserted him ; and the s i m
l i c i t y o his ma n ner in which he imitated the ancients
p , ,
was termed a marble manner that is one in which t h e

, ,
repose resembles death This corruption advanced

f
.
f
with steady and gradual i ncrease from the time o
f f
Michael An ge lo t o that o B ernini ; a n d althou gh the
constant tendency o the manners and customs o social
life to becom e more and more n atural and unrestrained
threw light upon this portion Of art still a trace o the , f ,
n ew school w a s always perceptible O ne Of the most

f
'
d istinguished painters n o w living in his picture o H er

,
cul es bet ween Vi r t u e n

a d l a ur —
P e s e which h a s recently
been sent to Russia —
f
fi
supposed that V irtue was n o t
represented su cientl y beautifu l under the shape of
Pallas unless her right forward foot was made to rest
, ,
f
upon the toes only— just as if sh e were about to crack
a nut S uch an elevation o the foot would have been
.
considered by the ancients a sign o pride ; o r accord f ,
f
ing to Petronius of shameles s ness ; according to E uri
,
pides this was the attitude O the B acchantes

,
.
1 76 H I S T O RY O F AN C I EN T A RT
f
’
III in S t Peter s church , by Guglielmo della Porta
.
, .
,
f
the scholar o Michael Angelo then the much admired ,
-
head Of S t S u sa nn a by F iammingo and that o S t

I
.
, .
m
B ibi a n a by B ernini : I name the last statue because ,
it is always selected by those who wish to extol the

artist If any o n e S hould think me too severe when I
.
,
assert in another place that Michael A ngelo originated

, ,
f f
esteemed ; but the latter is a celebrated work S he is young beauti .
,
ul
, and of a voluptuous cast o countenance ; sh e is moreover a , ,
f
little more nude than is prope r From C hristian decency there .
,
fore and be cause a S paniard once became enamoured o her s he

, ,
f
h a s been invested with a bron z e garment S O constructed however , , ,
tha t it can be unscrewed and a gratuity from the lovers o n udities

will procure its removal — GERM E D . .
1 The S anta S usanna of F ran ois

c Q uesn oy called Fiammingo , ,
stands in the chu rch of the Madonna di L oretto in Rome It is a .
marble statue about o r perhaps a little above the natural siz e A

, , , .
c rown and sceptre lie at her feet ; in her right hand s h e holds a
palm twig and with he r left it was p robably i n t ended that sh e
-
s hould point at the crown and scept r e at he r feet but S he actually
f
points ove r and beyond the m The exe cution o this work is very
elaborate ; the style o the forms inclines to the tende r beautiful
. f
, ,
and noble ; the drawing is well understood the pro p ortions faultless , ,
the features charming and the turn Of the figure very pleasing ,
.
The drapery as a whole is prettily disposed but the masses are

, , ,
f
wantin g in purity and repos e — GERM E D . .
f
“ The statue Of S anta B ibiana stands in the church o the s ame
1
name in Rome It is accounted t h e maste rpiece o the celeb rated

.
B ernin i It is a figure in white marble o about the S iz e O life

.
and i s executed with extreme industry polished and hollowed o ut

, f f ,
, ,
beneath The handling Of the flesh is uncommonly soft and tender

. .
This work considered in regard to conception is fun damentally

, ,
poetical and good The artist wished to represent the sa int as

.
f
looking towards heave n with rapture a n d delight in the enj oyment
f
o its blessedness B ut the idea is not carried ou t with the re qui
.
site degree o elevation W e s ee in the holy B ibiana nothing more .

f
.
and promoted this corruption O taste even in sculp ,
f
ture let h i m consider among other examples a relievo
, , ,
by him in marble in the possession o the sculptor

, ,
f
B artolommeo C a va c ep p i This work which represents .
,
A pollo fla ying Mars yas is in the very reverse o good ,
f f
taste I can moreover justify my assertion by refer
.
, ,
ence t o the sketches o this great artist o which the ,
f
sculptor above mentioned has a rare collection These .
manifest the spirit o his genius in the clearest light ,
f
and the wildness Of it is everywhere visible W hat .
f
imperfect ideas o youthful beauty the celebrated A l
gardi had is proved by h is well kno w n relievo o S t
f
-
, .
A gnes in the church o S t A gnes o n the Piazza

,
.
,
N avona Her fi gure is rather ugly than beautiful ; and

.
the head is absolutely drawn awry A nd yet a copy of .
this piece in gypsum is suspended a s a study in the

, ,
F rench A cademy at R ome .
f
2 8 It is found on comparin g modern with ancient
.
,
painting that the result o the comparison is less u n

,
favorable to it than to modern sculpture The reason .
probably is that painting since its restoration has

, , ,
been more practised and consequently has furnished ,
greater facilities than sculpture for the formation Of

eminent masters L eonardo d a V inci and A ndrea del .
S arto who s a w but few works Of the ancients th ought

, ,
and toiled as we cannot but imagine the Greek artists
fi
than a youthful gure in an attractive attitude with a pretty face ,
an d delicate hands but who s e features and whole ai r express a ter

,
restrial s ensual well being and pleasure rathe r than the pious
,
-
, ,
enraptured joy of a blessed s ai nt The drapery is prettily arranged .

,
but its folds according to this master s usua l manner are extra
,
’
ordinarily deep —GERM E D . . .

did The C nr i st a n d the P a r i s ees rom the hand o

. fi f
f f
f
the former and the Ma d on n a a el S a cco o the latter
“
,
’ °
,
f
at F lorence are worthy o antiquity Indeed there is
,
.
,
s o much o innocence and innate grace in the heads of

A ndrea that a Pyth a gorean wo uld sa y the soul of Pro
, ,
t ogen es or A pelles had found a dwelling place in his -
body It may be said generally that the spirit of

.
, ,
f
grace manifested itself more fully to those painters
f
who flourished in t he golden age o the art at the ,
commencement o the sixteenth century than to their ,
successors A fter a long interval it re appeared in A 11

.
,
- 7
nibal C aracci The D ea d C it ri st in the R oyal F arnese

p
.
,
Gallery at N aples is one among others of his imperish

, , ,
f
able works which testify h o w worthily his conceptions
,
corresponded t o the dignity O his subject T he altar .
This celebrated picture with half gures by L eon ardo da Vinci -

fi , ,
wa s fo rmerly in the B orghese A l d obra n di n i gallery at R ome but it ,
i s said to have been removed to E ngland a few years since The .
g ether exquisite ; the heads o

,
the P f
purity Of form and t h e expression in the youthful C hrist are alto
hari sees are full o character
,
f ,
and seemingly alive ; the coloring also appears to b e more lively

and florid in thi s picture than in othe r works o the same artist
GERM E D . .
, ,
f .
f
The M adonna del S acco a s it is called is a fresco paintin gin
f
0
, ,
the c ross passage o the convent o the S anta A nnunziata i n a

-
lunette over the door whi ch leads into the church It represents .
the Holy Family reposing whilst on their flight into E gyp t .
GERM E D . .
f
P The Piet a o A nnibal C aracci r ep resents M ary with the dead
body Of C h rist in her lap and t wo small weeping angel s The

, .
f
grouping drawin g and expression are glorious grand and vigor
, , , ,
o us l y pure ; the strong and somewhat darke r colou ring o whi ch this
f
artist made u s e in his earlier li fe harmoniz e s well with t h e tragic
s ubj ect o the pictur e — GE R M E D . .
1 80 H I ST O RY OF A N C I ENT A RT E TC
, .
ntique works have c o n sequ en t l y b een more confined

f f
'
a ,
to an imitation O the style o the ancients ; whereas ,
f
prior to this time art was almost exclusively devoted
,
to churches and monasteries where the style o A l ga rdi

,
and B ernini was regarded as the evan gelical law from ,
which there was to be no d evi a tion .

C H A PT E R IV .
RO PORT I O N —C OM PO S I T I O N
P . .
1 N EXT t o
f
. the consideration Of beauty in general I ,
proceed to speak first o the proportion and then of t h e ,
beauty of single parts of the human body Indeed it

, .
,
f
is impossible t o conceive of beauty with out proportion ;
the latter is the basis o the former S ingle portions of .
the body however can be beautiful in Shape yet n o t

, , ,
beautiful in their relation t o the whole figure It is .
appropriate therefore t o m ake some special remarks

, ,
f
u pon proportion as a distinct idea and unconnected
, ,
with the spiritual attributes o beauty T hese remarks .

,
with a few thoughts on grace I append as supple

“
mentary to the general consideration Of beauty .
2 A S health without any other enj oyment seems to

.
, ,
f
be no great blessin g S O exactness in proportion is not
,
o itself su fli c i en t to make a figure beautiful S cience .
f
being entirely distinct from good taste and sensibility
to beauty t h e proportions O a figure which are founded
,
on scien c e may be faultless and yet the figure itself ,
not be beautiful Many artists are skilled in propor

.
tion ; but few have produced beauty because soul and ,
feeling rather t h an intellect are required in its creation

, , .
The ideal par t of beauty was always regarded by the

ancient artists as the higher part Of it ; they therefore
made accuracy of proportion subordinate and a djusted , ,
1 82 H I S T O RY OF A N C I ENT A RT
as it were proportion to beauty with a freedom which

, ,
f f
i s justifiable w hen warranted by good reasons
, Thus .
,
or example the lengt h o the chest fro m the neck

,
pit to the pit Of the stomach ought to be only o n e '
face ; yet it is generally an inch and freque n tly more ,
than an inch longer that the chest may have a grand

, ,
f
arch S o likewise the distance between the pit of the
.
, ,
s tomach and the navel — the usual length o which is

o n e face —was increased when the artist wished to give
slimness to his figure : this deviation is actually fo und
f
in the shape of fine well built men ,
-
.
3 The structure o the human body co n sists of

.
f
triads Three is the first uneven number and the first
.
,
number O relation for it contains in itself the first ,
even number a nd another which unites the t w o t o

,
gether T w o things as Plato says cannot exist with

.
, ,
o u t a third The best band is that which binds together

.
m ost securely itself and the thing bound in such a ,
m anner that the first is related to the second as the

second i s to the intermediate Hence the number .
three contains in itself beginning middle and end It , , .
was regarded as the most complete Of all numbers and ,
f
by it according to the doctrines of the Pythagoreans
, ,
all thi n gs were determined E ven the stature o o u r .
f
bodies bears a relation to this number ; for it has been
f
observed t h at in the third year o life man attains o n e
, , ,
half o h is height .
f
4 The body as well as its principal mem b ers is
,
.
,
f
composed o three parts The body consists of trunk .
,
thighs and legs ; the lower extremity o thighs legs

, , , ,
and feet ; and a similar disposition is true Of the arms ,
hands a n d feet The same construction can be shown

, .
1 84 H I ST O RY OF A N C I E N T A RT
—
fi ve chiefs who went against Thebes o n e must either
f
sa
y that the proportion of colum ns has not been deter
f
mined from nature or that the assertion o V itruvius
,
is not correct : I am o the latter opinion If he had .
studied the proportion Of the oldest D oric columns

of which ho w ever he makes not the least mention
, , ,
notwithstanding their importance — h e would himself

have perceived that h i s comparison O columns with the f
f f
human body is arbitrary and unfounded F o r the pur .
pose O lendi n g at least some degree o probability to
f f
his hypothesis I supposed that it might be based on
,
the proportion o some ancient figures O which the

head constitutes a larger portion than it does in nature .
B ut even this supposition is not generally true ; i ndeed ;
f
the more ancient the figures the less ground there is ,
o r it ; for in the most ancient small E truscan figures

,
Of bronze the head is sca rc e ly the tenth part of their

‘
whole height .
6 It is generally the case th at the side o the head

.
,
f
which is averted is made flatter th an the other This .
f
i s very evident in the heads of N iobe but even more ,
s o in some e w —
almost colossal heads for example t h e ,
portrait head belonging to the scu l ptor C a va c ep p i It

-
.
f
was a remark Of the celebrated C ount C aylus that the ,
heads o antique figures are generally very large and

coarse ; but so far as I can j udge there is no ground
, ,
f
for this censure which was suggested by Pliny s oriti
,
’
c i sm o Z euxis and E u p h ra n o r who are said to have,
formed their figures with big heads and j oints T h e .
distinguished C ount ought to have let this criticism pass

without a nycomment ; as one of little o r no meanin g ,
S ince the reverse of it is a pparen t to every on e who

f
.
attentively Observes the works o anti quity W hence .

,
do you suppose originated the absurd notion that the

, ,
head of the Hercules F arnese was found some miles

apart from the body ? S imply from the fact that to , ,
the vulgar conception Of a Hercules the head seems ,
rather small S uch critics as these would find a similar

.
occasion for censure in more than o n e Hercules espe ,
f
c i a ll if they were t o exam ine the figures and heads Of
y
the hero engraved on gems The reverse o C a yl u s s .
’
f
opinion is far more susceptible of proof W e can form .
an idea o the proportion observed in this particular by

the ancient artists from the proportion Of the Ionic
,
capital which in columns of this order was regarded

, , ,
as the h ea d b
N ow as modern artists have far exceeded
.
,
the ancient proportion in the Ionic capital we are at ,
f
liberty to infer that t hey have also erred by making the
f f
heads Of their figures too large It is i mpossible o r .
f
m e t h ere ore to su bscribe to the Opinion either o the
'
, ,
f
ancient or the modern writer F or the proportion O .
the head to the neck and t h e rest o the body was bet
ter known to the ancients and especially to artists like
,
Z euxis than to us — which is apparent among other

‘
, ,
examples from a passage in the hymeneal song by C a

,
tullus on occasion of the marriage of Peleus a n d Thetis

, .
”
The nurse says the poet
, w hen sh e see s Thetis o n
,
the day following her bridal night will no longer be ,
able to make the thread meet round her neck By .
consulting t h e commentators o n this passage the reader ,
can see whether it has been made perfectly clear The .
custom to which allusion is made is not u n known even ,
b
The au tho r appears to contradict here wh at he ha s s ai d in the
previous paragraph — GERM E D . .
at the present day in some p arts of It aly an d may

,
“
serve as an illustrat i on Of the passage in question T he .
f
neck of a marriageable youth o r maiden is measured
with a thread o r ribbon A string o double t h e length
.
f
i s then taken the two ends are brought together a n d
, ,
f
the middle o it is held between the teeth If now it .
, ,
is su fi ciently lon g to be carried from the mouth over

the head without d ifli c u l t y it is a S ign that the person ,
is still a virgi n ; but if not the contrary may be i h ,

"
ferred I have made this trial on some young persons

.
,
and as it has seemed to m e successfully

, , .
7 It is probable that the Grecian like the E gyptian

.
, ,
artists h a d rules by which not only the greater but the ,
smaller proportions of the body were accurately deter

,
f
mined ; and that the length breadth and circumference , ,
o parts suitable to each age and station were laid down
with precision and taught in the writings of those artists

,
w h o treated Of symmetry The accuracy with which .
f
these proportions were established is likewise the rea
s on why the same system o art is found in all even ,
f
f
ordinary figures b v the ancient artists F or n o t wi t h
, .
,
'
standing di erences in execution which had become a
f
subj ect of observation even t o the ancients as early a s ,
the works o Myron Polycletus and L ysippus still all

, , ,
the O l d works appear to have been executed by followers
f
It seems as though we ought t o infer just the reve rse for t h e ,
co n nection o the text thro u ghout S hows that the neck is believed to
s well after indulgence in the pleasures o love Twice the measure f .
f f
Of the neck must therefore lengthen t h e string It i s c o s e
, ,
.
,
n
quently a S ign of inviolate chastity i when the middle o the mea

, , ,
sure is held i n the mouth the two ends scarcely me et up on the

,
head a grea te r length indicates the revers e — GERM E D . .

f
parallel with the nose fall below it Incorrect drawing , .
may also be Observed in a head o V enus which is a ,
beautiful head in other respects in the villa A lbani ; ,
the outline of it is the most beautiful that can be ima

g i n ed and
, the mouth is most lovely ; but o n e eye is
awry T wo female figures in two Herculaneum paint
f
.
,
ings are manifes tly faulty in every proportion and much

, ,
t o o lo n g In the H i s tory o A r t I remarked that in

.
e
,
an E gyptian statue and th e A pollo B elvedere th e re ,
treating foot is larger than that which is stationary I .
am now convinced more than ever that its increased , ,
size was intended to compensate for what it might appa
f
ren t l y lose by being drawn back I have remarked in .
,
the L a oc o On the same i nequality in the size o the feet

,
.
The left leg in fact of the A pollo which is the retreat

f
, , ,
ing leg is longer than the right by a couple of in c h es

,
.
9
V ol I B ook 2 chap 2
. .
,
8 —T R , .
, . .
f The aut hor was unquestion ably wrong in his belief that t h e feet
f f
f
o the L aocoon are o une q ual len gth It is objected to the right .
leg o the larger boy that it i s longer from the knee to the foot than
,
f
the other The same excuse is u sually made in this in stance as
.
, ,
for the undue length of the left foot o the A pollo B elvedere namely , ,
that the artist intentionally added s o much to these more remote

parts because their increased distance would necessarily detract from
,
their size as seen by the Observer B ut we m uch fear that this jus
fi
.
f
t i ca t i on is a greater fault than those it is intended to excuse S uch .
respo di ng diminution O the n igher limbs if introduced into a

n f
a system o enlargement of the more distant and consequently co r ,
f
plastic work of art would necessari ly unset t le all proportions and
, ,
produce profiles o ensive both to the eye and taste Fortunately t h e .

,
masterpieces in question need no such elaborate justification The .
inequality in the length of the legs of the son of La oco on as well as '
in the feet of the A pollo is especially in the latter m uch more tri
, , ,
f
fling than i t is said to be These grounds Of defence based o per
s ect i e e ect are less applicable to t h e unequal length o
p v ,
.
t h e feet
,
f
n
A MO N G THE GR EEKS 1 89
f
.
It would be possible o r me to strengthen t his opinion

by additional examples .
f
9 The rules of proportion as adopted in art fro m ,
.
the proportions o the human body were probably first ,
established by sculptors A fter wards they becam e

.
,
f
canonical in architecture also A mong the ancients .
,
t h e fo ot w a s the standard o all large measurements ,
and by its length sculptors determined the height of
f
their statues giving t o them as V itruvius states six
, , ,
lengths of the foot ; o r the foot h a s a more d et ermi

n ate length than the head o r the face from which ,
f
modern scul p tors a n d painters generally deduce the pro
f
portions o their figures Hence Pythagoras calc ulated
.
,
the height of Hercules from the length o his foot wit h ,
which he measured the O lympic stadiu m at E lis W e .
f
are however by no means authorized to conclude fro m
, ,
f
this as L om azzo h a s done that the length O his foot
, ,
was o n e seventh o his whole height The statements .
f
Of this writer relative to the proportions established by
,
the ancient artists for the di erent divinities— such as

ten faces to the height Of a V enus nine to a Ju n o eight , ,
to a N eptune and seven to a Hercules— made by him

,
f
with all the confidence Of an eye witness and with a -
,
trustful r eliance 0 11 the credulity o his readers are ima ,
f
g i n ar
y and false .
1 0 This relatio n o the foot to the whole body

.
strikes a certain learned scholar as absurd and i n c o n

c ei va b l e ; and Perrault absolutely rej ects it It i s . .
however grounded o n observation of nature even in

, ,
o fome E gyptian statues

s in which the art is S imple r and ruder
, ,
than to G reek statues It is therefore best to consider the s e devia

.
tions S imply a s errors — GERM E o . .

f
persons o a slender make and is found n o t only i n ,
f
f
E gyptian figures o n accurate measurement o them , ,
but also in Grecian statues as most o them would ,
sho w if their feet had been preserved A ny o n e can

f .
f
convince himself of the existence o this proportion in
the figures O divinities although a greater length than ,
is natural has been given t o some few parts ; thus for ,
instan ce in the A pollo who w a s a little more than

, ,
f
seven heads high the foot upon which he s tands is o n e
,
1
quarter o a R oma n pal m (2 3 i n E ng ) longer than his . .
head A lbert D urer has given precisely the same pro

.
f f
portion to his figures eight heads tall ; he makes the ,
f
length O the foot o n e S ixt h o their height The shape .
o the V enus de Medici is uncommonly slender ; and’
yet notwithstanding her head is very small her height

, ,
does no t contai n more than seven heads and a half ;
f
her foot is a palm a n d half an inch in length
f
and her whole height S ix pal m s and a half t ) g
, . .
1 1 That portion o the body which extends from

.
f
the pit of the stomach to the navel usually contains a s ,
modern artists sa y only on e le n gth o the face ; they ,
f
therefore commonly request their pupils to notice that
f
the ancient sculptors made it in the figures o divini ,
ties longer than nature by half a length o the face

, . .
This is also an error ; for whoever has an opportunity

to see nature in beautiful sle n der men will find this ,
region formed as in those statues .
f
It seems a s though the re must be some mistake here or the
8
, f
f
height assign ed di e rs from that usually given to the V enus de ’
f
M edici In the G uide book o Florence the height is stated at
.
-
f
Fre n ch measure whi c h is equivalent in E nglish to
4 9 8 t
. . .
, , , ,
5 1 22 t .
-
TR .
f
parts into which the length o the face i s divided L et
f
.
f
curved lines be drawn from the extreme points o this
f
f
s et O
f f
line to the upper extremity o the fifth part originally
f
f
; these form the smaller end o the oval o the
f
ace N ow divide on e O the three parts o the length
.
f
o the face into twelve equal portions L et th ree of .
them that i s a fourth Of one o these three divisions

, , ,
f
f f f
o r o n e twelfth Of the length of the face
-
be measur e d ,
o o n both S ides o the point o intersection of the

horizontal a n d per p endicular lines ; those two portions
f f
indicate the space betwee n the eyes L et three oth er .
portions be measured O on both outer ex t remities o
f
the horizontal line The space which now remains i n
.
,
f
cluded bet ween the quarter at the outer end o the h o
of
riz o n t a l line and the quart e r at the point o
,
f
intersection
the two lines is equal to two quarters or six o the
f
twelve portions mentioned above and gives the length ,
o an eye O ne quarter is the width of the eye and

.
,
f f
also the distance from the tip of the nose to the open
ing o the lips and from this point to the curvature o
,
f f
the chi n and thence to the tip Of the chin Th e
, .
breadth o the nose to the wings o the nostrils con

tains j u st a quarter The length Of the mo u th requires
f
.
two quarters it i s therefore equal t o the length o the
f f f
eyes or to the height of the chin from its point to the
'
f
line o junction o the lips O ne half o the face mea .
,
f
sured from the roots o the hair gives the lengt h from ,
the chin to the pit at the lo wer extremity o the neck .
This m ethod Of drawing a face will I think be intel , ,
ligible without a plate and whoever Observes it cannot

,
h
fail to draw a face Of true and beautiful p rop ort i on
f
.
f we must read from the depression to the point

I n stead o
and thence the epression abo e the chin) to the
b
( d v
“
tip o the chin ,
AMO N G THE GR EEK S . 1 93
14 .To these remarks upon proportion I will annex
f
a few Observations upon C omposition The principal
‘
f f
rules o the ancient artists o n this point were first , ,
f
v
e w n es s O figures ; second repose in action It was a , .
r ule O the drama first introd u ced by S ophocles not to

, ,
allow more than three persons to be present o n the

stage at one time It appears from a very large number
.
of ancient works that the same principle was adopted

,
a n d Observed also in art i W e find indeed that the .

, ,
ancient artists strove to express much — a n entire a c

t ion in fact in a single
, ,g ure — as the painter Theon fi
attempted in his figure of a warrior to which he gave ,
the attitude and expression of on e repelling an assault ,
though no assailants were represented A S they all .
of the chin are parts that ist wo as much Space is iven to

; t o s ay, g
one S ixth f
the chin from its depression to its point as there is from this same
, ,
whole length f
depression to the lower extremity of the nose the , or -
o
the face The breadth of the nose to the edges

o .
understood mean that the nose must be as broad as the length f

Of the nostrils cont ins one such portion this passage must be
a ;
e ual its breadth to the length f

to , o
moreover to be inco rectly stated that the length f

an eye , or q in the c in It appears o h .
“
to us, ,
ther , o
W
mouth is equal to the length of the eyes whereas it is half as long
again as W inckelmann hi mself also thought since he adds and
, , ,
t o the height Of the chin measured to the Opening of the m on t h

whi ch is actually a length and a half of that o the eye s —GERM ED f .
,
f
i T hi s remark of the author is mo re applicable to plastic works
f f
than to painting e know . from man y passages o the ancient
,
writers that the painter s both O the earlier and later periods re
f
,
uently r epresented i n their works l a rge intricate compositions as
ff
q , ,
for instance Mi con in his B a t t l e o t h e A ma zon s wit h t h A t h

, ,
e e
n i a ns E u p h ra n or in hi s B a t t l e o M a n t i n ea
, , &c B ut it canno t be , .
de ni ed that in th e most valued works o the ancient pain ters the

, , . ,
utmost simplicity in compositio n an d the s eve rest economy in figures

were Observe d —GER M E D . .
drew their subj ects from the same source namely ,
f
k
H o me r they we re in fact limited to a certain number
,
o figures because in a great many of the scenes in that

,
f
poet only t w o o r three persons are engaged : such for ,
example is the celebrated interchange o arms by Gla u

,
f
cus and D iomedes so frequently represented in ancient
,
f
times ; also the enterprise o U lysses and D iomedes
against the Troj an camp together with the death o ,
D olon and numberless other incidents formerly rep re

,
sented It is t h e same with heroic h istory anterior to

.
the Trojan war a s every o n e knows ; most Of its i n

,
c i d en t s were fu lly comprised and completed in three
figures .
f
f
1 5 A s regards repose in composition the works o
.
,
f
ancient artists never present like those o modern ,
times an assemblage o persons all seeki ng to be

, ,
k If it be conceded that all the anci ent artists derived their sub
j ec t s from Homer the admission must at least n o t be unde rs tood in
,
of
a s trictly literal sense W e must not believe that they like s o many
.
the moderns translated the words of the poet into images If

,
,
f
this had been the case the inquiry might be made why s o many
fi
, ,
f
anti que monume n ts are d i i cul t o explanation ; and we might with ,
s ome S how of truth draw therefrom an i n ference u n avou rable t o the

,
f
excellence of ancient art B ut the case i s actually othe rwise The
. .
formative artist did n o t sacrifice his freedom o thought to the poet .
He did not even copy him He only worked up i n h i s own way the
.
m aterial which the poet elabo rated in his way ; but both drew from
f
the same primitive spring tradition It cannot however be denied
,
that the material o such plastic embodiments especially at a late r

.
,
, , ,
period was ta ken from Homer B ut the artist did n o t an xiously

, .
cling t o the words of the poet ; they we re to hi m rathe r a stimulus
f
to inv ent and compose in his o wn way For the ancients had a
better knowledge o what pertained to poetry and what to the plas
.
tic arts than the moderns appear to have —GERM E D

,
. .
,
H I S T O RY ET C
f
1 96 OF A N C I E N T A RT, .
the M as s a cre o tire I n n ocen ts engraved by Marco A n

,
tonio made his female figures stout and the murderers

, ,
lean He says that it was done for the purpose of con

.
trast that the m u rderers might thereby be rendered

,
still more horrible .

C HAPT E R V
B E A U TY I N D I V I D UA L PA RT S O F TH E B O DY
f
OF .
1 . N AT U RE i s
the best teacher as to the beauty o
single parts of the body In particulars sh e i s superior .
to art but in generals art can soar above h er This i s

,
.
true especially in regard to sculpture which cannot

, ,
represent life in those points in which painting i s able
f
to approach it very closely B ut since some few parts .
,
a soft profile for instance are seldom found in p er ec

, ,
tion even in the largest cities we must for this very

, ,
f
reason study them— to s a y nothi n g Of the nude parts
,
—i n the ancient figures A description o particulars

f
fi
.
is at all times di cult and consequently i s S O in this ,
instance .
2 In considering beauty I have proceeded ana

.
lytically that is fro m the whole to its parts E qual

, , .
benefit however might be derived from teaching it

, ,
syntheticall y and studying it as a whole after having

,
examined its parts separately The latter method is .
perhaps preferable in oral instruction imparted by ,
f f
m e a ns of questions in which the teacher requires from
,
f
his pupils some account o the form o single parts and ,
thus tries and proves their knowledge O the beautiful .
B ut as a know ledge of g eneral principles must in

, ,
every regular system be pres u med before any parti ,
cnlar Observations are made although the former have ,

;
the analytical mode O proceeding f

grown o u t of the latter I have given a pre erence to ,
.
f
3 In conside ri ng t h ese parts which individually c o n
.
t i t u t e beauty attention must be especially directed t o

,
the extremities Of the human figure n o t only because ,
f
in them reside life motion expression and action but
, , , ,
also because their configuration is the most di ficult

and principally determines the peculiar di erence which
disti nguishes the beautiful from the u gly and m odern
f
f ,
from ancient works In drawing head hands and feet

.
, , , ,
are the principal points ; they must therefore be t h e , ,
parts first tau ght .
4 In the conformation Of the face the Greek profile

.
, ,
f
as it is called is the first and principal attribute of a
,
high style o beauty This profile consists in a nearly

.
straight o r sligh tly depressed line which the forehead

-
f
and nose describe in youthful heads especially Of the ,
female s ex It is o less frequent occu rrence in c o l d

.
a
f f
than in mild climates but wherever it exists the for m
, , ,
o that face may be beautiful : o r grandeur is produced
f f
by stra igh tness and fulness ; but tenderness by gentle ,
f
i n fle x i on s o t h e forms That this kind o profile is a
.
source o beauty is proved by its opposite ; for t he

,
f f f
more t h e nose is depressed the greater is the deviation ,
o the line O the face from the form o beauty ; and if
f
a face when viewed sideways shows a bad profile it i s
, , ,
useless to look for beauty in it The nose o E gyptian .
figures which is very much depressed—in opposition to

,
a
The Greek profile as it is called in which the forehead an d
, ,
ff
n ose fo rm nearly a straight line is even now a c co r ding to the sta te
, ,
ments o travellers to be foun d in n ature and espe cial ly i n the

, ,
s outhe rn parts o E urop e —GE RM E D . .

2 00 H I S T O RY OF A N C I E N T ART
a con tradiction is very easily explained The forehea d

, .
f
should be low i n youth It generally is low i n t h e
.
bloom of life before the hair which covers it falls o ;

,
f f
and leaves it bare N ature herself has endowed the
.
f
age o beauty with this characteristic ; the absence o it ,
f f
therefore will always detract from the beauty o form
,
Of the ace It would consequently be a vi olation o

.
, ,
the characteristics of youth to give to it the high open , ,
f
forehead which belongs to manhood W e can easily .
convince ourselves o this by covering with the finger

the front hair Of a person who h a s a l o w forehead ; the
f
additio n al height thus given to it will S ho w the i n h a r
m on i o u sne ss o proportion if I may s o express myself
, ,
and enable us to understand o n what principle a h igh
f
forehead is u nfavourable to beauty E ven the C irc a S .
S ian women know this ; and for the p ur p ose o making ,
the forehead seem still lower than it really is they comb ,
down the frontal hair cut short for the purpose s o that
, ,
it reaches nearly to the eyebrows It may be inferred .
from what A rn o biu s says that women w h o had a high

,
forehead placed a band over it with t h e design Of ,
thereby making it seem lo w er
f
.
6 W hen Horace sings the praises Of i n s ignem t en u i

.
r on te L c or i d a he means to sa y L ycoris celebrated

g ,
;
, ,
for her low forehead He was at least s o understood

”
f
.
by the Old commentators who explai n the expression
f f
,
t en ui ron te in the following manner — A ng u sta et p a rva

r o n t e,
q uo d i r i t u d i n is
in p c / or ma co mmen d a r i l
s o et,
A narrow and small forehead which is usually com
f
,
”
mended i n a beautiful form B ut E rizzo did not
f
.
understand the passage ; for o n the words ten u i ron te

he remarks as fol l ows z— T en ui s et r otu n da rons i n den '
’
es t l i bi d inis et mobi l i ta ti s s im
p l i c i t a t i s ue
g , sine
p roca c i
d ol is que meretr i ci s ,
fi
p et ul a n t i a A low round forehead ,
denotes sensuality c kl en ess and simplicity u n a c c o m

, , ,
a n i e d by wanton forwardness or meretricious arts ”
p .
f
F rancis Junius likewise has not understood the mean
f
, ,
ing o the word ten u is in this passage ; he explains
f
ten uem ron tem by ci 7ra 7t Ov K a i Op o a ai des p é r an ro v from
f
”
A nacreon the soft and dewy forehead i e o B athyl
f
, , . .
“
l u s In Martial instead Of ron s t en ui s
.
, low forehead , ,
“ h
we have r ons brevi s s ort forehead a point of , ,
-
beauty which he wishes t o see in a handsom e boy .
7 The lower the forehead the shorter i s the hair on

f ,
.
it ; and the points o the lowest and shortest hairs
f
usually cur ve forwards over it W e observe th i s for .
ward curve of the hair on all beautiful heads o Her
f
cules both in his youth and manhood ; and it is in a
, ,
me asure s o characteristic Of them that it not u n re

, ,
q uently enables us to detect a modern head on e n graved

gems Petronius represents C irce with precisely such
.
hair ; but the beauty of it has not been understood .
either by his transcribers or commentators F or in the .

,
follo wing passage F ron s mi n i ma et qua? ra d ices cap i l

,
‘
l or um r etrrylea era t A very low forehead o n which the
'
, ,
ro ots of the hair turned backward we must ”

u n q u es ,
L
f
“ ”
t i o n a b l y substitute for the word r a d i ces roots the , ,
f
”
word ap ices points namely o the hair or some word
, , , ,
f
of similar meaning since ap ea signifies the point O a ,
’
thing H o w can the roots o the hair curve forward 7

.
The F rench translator of Petronius has in his remarks ,
o n this passage supposed an artificial head dress beneath

,
-
which the n atural roots of the hair were visible C an .
anything be more absurd ? The meaning Of the phrase ,

f
2 02 H I S T O RY OF AN C I EN T A RT
f
mi n i ma
a ve ry low forehead which is men
f
r on s , ,
t i on e d by Petronius i n his description o the form of

C irce is not e x pressed by ron t p eti t small forehead
, , ,
”
as the F rench translator has rendered it because the ,
forehead may be broad and at the same time l o w .
f
8 A low forehead is s o peculiar to the ideas which
.
the ancient artis t s had o a beautiful hea d that it is a ,
characteristic by which an antique can frequently be

distinguished from a modern work M any heads which .
I could not approach sufficiently near to examine I ,
have either recognised to be modern solely by the high ,
forehead o r else this conformation first excited doubts

,
a s to their age which were afterwards verified by fur

,
ther investigation .
9 To complete the beauty of a youthful head the

.
,
f
frontal hair should grow in a curve down over the t em
ples in order to give the ace an oval shape S uch a
,
.
foreh ead is to be found in all beautiful women ; and
f
this form Of it is s o peculiar to all ideal and other
youthful heads o the ancients t h at we do not see o n ,
any figures n o t even those Of mature m anhood the

, ,
recedi n g bare corners over the temples which usually

, ,
enlarge as life advances beyond that age wh en th e fore

head is naturally high F ew modern sculptors have
.
n oticed this peculiarity ; and wherever new youthful
male h eads are placed upon antique statues the hair is ,
f
carried obliquely over t h e forehead and stri kingly dis ,
f
plays the faulty co n ception o modern days in regard to
the n atural beauty O its disposition S ome Of o ur ar
fi
.
t i s t s have made port rait g u res of you n g persons of both

-
sexes with wh om I am acquainted and who h ave low

, ,
foreheads ; yet they have given s o little attention t o the

2 04 H I ST O R Y O F A N C I ENT A RT
f
tion of a beautiful head in intaglio which went by the , ,
name o Iole but was in fact a Hercules in the former

, ,
S t o s ch museum It is also to be seen i n a youthful

.
head crowned with laurel cut o n a carnelian by A llion , , ,
a Greek artist which is in the Grand ducal gallery at

,
-
F lorence A Hercules therefore is also represented

.
, ,
in this figure and n o t an A pollo as it is assumed t o be

, , .
A nother Hercules cut by O n esa s in the same gallery

, , ,
i s like the other crowned with laurel ; but in the en

, , ,
gravings Of it the forehead h a s been restored — as the

,
upper part of the head is wan ting in t h e gem — by per

sons who had never noticed the pec u liarity i n question .
f
Many coins especially of A lexander th e Great bea r
, ,
the impression o a youthful head covered with a lion s ’
f
skin ; if connoisseurs in coins had noticed the foregoing
f
fact they would h ave recognised the image o Hercules
, ,
instead Of erroneously supposing it to be the head o

A lexander or some other king
,
.
1 1 The frontal hair is likewise an invari able and

.
, ,
infallible characteristic by which the heads of A lexande r
f
the Great can be distinguished B ut it resembles in .
,
its arrangeme n t the hair o Ju p i t er — whose so n he

,
—
wished to be considered being smoothed upwards and ,
then falling down again in a curve o n each side of the

face in several divisions Plutarch in that passage of
,
.
,
the life of Pompey in which it is said that he w ere his
f
hair like A lexan der calls this manner Of dressing it
,
f
9 lady/ 79
civa o r o h j v 7 3 7 a pushing back o the hair my
1
'
rem arks upon it will be found in the second part o this
f
History .
1 2 F o r further co nfirmation o the utility of the

.
o b s ervation made by me as to the s h ort hairs curvi n g ,

f
.
forwards on the forehead o Hercules I will remark

, ,
that it may be applied in particular to a youthful head , , ,
which together with a shoulder is engraved on a gem

, ,
in the museum Of the king Of F ran ce This head pre .
sents a figure draped with a thin transparent tissue , ,
f
which is drawn from the S houlder upon the head and ,
even over the garland o laurel that encircles the head

at the same time it veils the lower part of the face s o
, ,
as to cover the tip Of the nose but still in such a man ,
ner that one can plain l y disti n guish and recognise the
features .
1 3 A S pecial treatise has been written upon this

.
stone in which it is pretended that the head represents

,
Ptolemy— king Of E gypt and father Of the famed C leo ,
patra— who bore the surname of A uletes or the F lute ,
player because he loved to play upon the flute ; and

,
that the drapery which veils the lower part Of his coun
t en a n c e — for the writer did not perplex himself about
t h e veil over the head and shoulder — is the band
termed ¢ op 8 ei a and ¢ 6p 8 w v which was tied by flute
, , ,
players over their mouths a n d had in it an aperture ,
t hrough which the flute was applied t o the lips There .
f
might be some plausibility in this explanatory state
ment if we had no definite idea o the band in q ues
,
“
tion ; but a triangular altar in the C ampidoglio Shows , ,
4
This triangular work i s in the p a lace of t h e C onservatori at .
Rome The workmanship is admirable

. O n on e side is a Faun . ,
with a band over hi s mouth blowin g two flutes O n the second ,

.
side is also a Faun O n the thi rd is a B acchan te The orna

. .
ment unde r thi s bas relief consisting of volutes an d chim aeras and
-
, ,
serving as feet seem to be an imitation of the more ancient Greek

,
S tyle —GERM ED
. . .
206 H I S T O RY O F A N C I ENT A RT
f
us a F aun with t his band over his mouth blowing two
, ,
f
flutes A s an engraving o this head is to be found in
.
several books it m ust o course have been known to

, , ,
the author of the treatise t o which I have alluded W e .
also see a fl u t e player with hi s mouth thus bandaged

-
"
, ,
i n a picture from Herculaneum It i s evident fro m .
both these instances that the qbop Bei a was a narro w ,
band which passed over the mouth and ears and was
, ,
tied o n the back part of the head ; s o that it has no

thing to do wit h the manner in which this fig ure is
f
veiled .
1 4 A S this head is the only o n e o its kind it de

. ,
fi
serves fur ther i n vestigation as some conjectures may ,
be made which will come nearer to it s true S ign i c a

tion If with this view it be compared with the heads
.
, ,
Of a young Hercules a perfect resemblance between ,
the m wi l l be discovered The forehead has the usual .
swollen roundness and bigness ; the front hair is ar

ranged i n the manner previously mentioned ; and the
cheeks as l o w do wn a s the under part Of the ear are
fi
, ,
fi f
beginning to be covered with hair a vyx a n o a a 5 l t d/1 ) ,
7 , 7
7 3 i o l w n a e} T O 0 13 the hair o his head uniting

5 p 9 , ,
near the c a r with the down Of his cheek ;

,
p rima jam nunc vern an t lanugine mal as

C ui ,
W hose c h ec ks are n o w puttin g forth their ve rn al do wn
which according , to an ancient com m entary is a pre ,
9 Tom I V Tav 4 2 The mouth b an d O

Pit t u re d E rco la n o
’
, . .
, . .
-
f
flute playe rs is also se en o n a youthful figure in long d rape ry on a
-
,
p ainted vase i n William Hamilton s first collectio n publ i s hed by

’
D H an ca r il l e (Vo l I Plate
'
v — GE R M E D . .
,
. .
f f
Of a S imilar custom among the Phrygians in that scene ,
f
o his tragedy o H ec uba in which A gamemnon is intro
f
d u c e d who seeing the murdered body o Polydorus
‘
, , ,
s on o that queen Of Troy lying before her tent i h , ,
quires who the dead Trojan is ; it cannot be a Greek ,
he says for he is wrapped in a mantle :

,
3 3 e rn
I 3’ 3 1 N
r w a v
pa r ow a xn voc i
'
g o e)
p
f
I 1 7 I
Ga T wwv , ya p A py ei wv irm
’
vo vr a ov '
e
A gn es ; w e s '
f
n rza a
'
ov'r eg ro s.
e p
He is not speaking here Of the vestment in which the
f
dead were clothed but of a garb peculiar to the Ph ry
,
gians and di ering from the dress of the Greeks B ut

, .
,
if the reader understands the passage as applicable to

the Phrygian dress generally my commentary may in , , ,
that case be passed by as unnecessary

, .
1 7 I did not make the closi n g remark Of the last

.
p aragraph from any mistrust Of the conj ecture proposed

by me— that it was a customary practice amon g the
f
L ydians to veil the face ; o n the contrary I think that ,
my explanation O the gem in question will receive all

the confirmation it needs from a painting on a vase of
terra cotta Of which an engraving may be found in the
,
large H a mi l ton C ollec t i on I will mention here that .

,
this vase was brought fro m A lexan dria in E gypt , ,
whithe r it had been carried at some earlier period

‘
, ,
from the kingdom Of N aples .
1 8 This picture undoubtedly represents Hercules

.
, ,
at the time when he was sold to O mphale w h o S i ts ,
here in company with three other female figures The .
queen is enveloped in a thin transparent drapery thrown , ,
over her other dress which not only completely covers

,
AM O N G TH E GR EEKS . 2 09
f
her left hand but is even drawn upwards over the lower
, ,
f
part o the face upon the nose precisely i n the manner
, ,
f
exhibited by the head on the gem If the engraver o .
this head therefore had exhibited the whole figu re o

, ,
Hercules he would have draped it precisely in this man

,
ner ; for even the men in L ydia wore a mantle which

descended to the feet and was called Ba a a p a Gene
“
rally i t was also denominated A 68i o s L ydian with the
,
, ,
f
a
”
.
, , ,
addition of k en 7 89 thin W e must notwithstanding

-
,
.
”
C a sa u b o n s conjecture give this reading to A then aeus

’
, ,
f
whose meaning i s at the same time elucidated by the
prece d ing remarks The right hand O Hercules who .
,
advances towards O mphale rests upon his club ; and ,
his left touches her knees— a form of supplication com

mon among those who desired to O btain a suit from
another . B etween these two figures hovers a small
male figure seemingly a Genius but it might probably
, ,
be Mercury by whom Hercules was sold to the L ydian

,
queen If s o it would be the sole instance a mong the

.
,
ancient monuments in which this go d h a s been figured
f f
with long wings on his back O r this wi n ged and per .
ec t l
y white child may represent the S oul o Iphitus ,
who m Hercules slew and may signify that he was sold ,
into slavery in Obedience to the oracle Of A pollo tha t ,
f
f
he migh t expiate the murder O r it may be C upid .
,
w h o calls O O mphale from her conversation that sh e ,
may receive in the youthful hero w h o presents himself

,
f
before her her future lover The female figure sitting
f
.
,
in front o O mphale has her hair cut o short behind ,
after the fashion Of men This is altogether unusual ; .
and it must therefore have some peculiar mean ing I

, ,
.
do not know whether to venture a conj ecture relativ e

P
to its sign ification B ut might not this figure per

.
,
f
chance represent a maiden who had been spayed — the
,
L ydians having been the first to e ect such a change ,
by artificial means in the nature of woman It is said

, .
that A n dra myt es who was the fourth king of the coun
,
try before O mphale invented the Operation in order

, ,
that he might use such female creatures instead of

eunuchs B y what personal mark was a woman Of this
.
kind to be indicated except by her hair ? which i s

,
short as young men usually wear it apparently for the

, ,
purpose of S ignifying thereby that her nature as a
f
woman had undergone a change Y oung eunuchs also .
, ,
f
w ere their hair in this manner The learned painter o .
this vase intimated therefore by means O such a per

, ,
f
f
s on
, more plainly than he could have done otherwise ,
f
f
the alteration sh e had su ered the land in which it was
e ected and also the presence o a queen o the
,
,
f f
L ydians He ma y possibly have had other reasons
.
, , ,
but it is unnecessary for me to inquire further regar ding

them as I may then pass over in silence what occurs
,
to me on this occasion relative to the Tribades and the ,
excessive wantonness Of the L ydian women .
f
1 9 The reader may by this time begin to think the
.
, ,
f
investigation o this remarkable gem a digression Pro .
perly therefore I ought to resume the thread o my

, ,
f
subj ect and notice the beauty of the remaining features
,
f
o the face B ut I cannot refrain from embracing the
.
opportuni ty to mention two heads o a young hero which
f
perfectly resemble each other Their confi guration is .
beautiful and ideal The arrangement o the hair on

.
the forehead is like that of Hercules ; and both are

encircled by a diadem The peculiarity in both i s a .
21 2 H I S T O RY OF AN C I E N T A RT
f
f
least o E gyptian lions opens in such a manner as to ,
describe a complete semicircle The eyes o heads in .
f
profile on relievi and especially on the most beautiful
, ,
coins for m an angle the opening o whic h is to wards

, ,
the nose The corner Of the eye towards the nose is

.
f
deeply sunken and the contour of it terminates at the
,
f
highest point o its curve— that is t o say the pupil ,
itself is in profile The Opening o the eye being .
truncated in this manner the head acquires an air Of ,
majesty and an open elevated look The pupil of the

, ,
.
eye i s also de n oted o n coins by means of a raised point

, ,
o n i t s centre .
I will not repeat here what has already been O b

served by others that the word 5 0 5 mm by which , ,
Homer in particular characterizes beautiful eyes does

, , ,
n o t signify a r e ed but merely remark that the 8

y 0v
-
, ,
in this as well as in many other words compounded

with it is a prefix as the gra mmarians sa y signifying
W
, , ,
f fi
enlargement Hence the scholiast Of Homer translates
.
“
Ba i n i s by ush a vo c fla kuo s
-
black eyed a n d Ic a h n T O
’
,
-
,
”
d “ ”
beautiful in face The reader can also
f
n ov
'
a r
o
p , .
s e e what the learned Martorelli says o n this point in ,
his A n ti qu i ti es o N ap l es .
2 1 The eyes in ideal heads are always more deeply

.
, ,
f
seated than they are commonly found to be in nature ,
a n d the upper edge o t h e socket consequently appears

to be more prominent D eeply seated eyes however .
-
, ,
are not a characteristic of be a uty and impart a not ,
very Open expression to the countenance B ut a s art .

,
could not in this particular always conform to the

, ,
f
t eachings of nature it adhered to the lofty style and
the grandeur o conception by which it is characterized
,
.
f
.
F o r, the eyes and eyebrows o large figures being

farther removed from t h e spectator than those of
smaller ones they would be scarcely visible at a dis
,
tance if the eyeball had been placed as prominently as

,
in nature — i t being or the most part quite smooth in

, , f ,
sculpture and not design ated as in painting — and if

, , ,
for the same reason the upper edge of the socket had ,
n o t been made more prom i nent O n this point there .

,
f f
fore art deviated fro m nature and thus brought forth
, , ,
by means o depth and Of elevation in this portion o ,
the face greater light and shadow and imparted more

, ,
f
animation and power to t h e eye which otherwise , , ,
w ould have been destitute o expressio n and as it , ,
f
were lifeless This would have been conceded even
,
.
by E lizabeth queen o E ngland who wished her portrait

, ,
to be painted entirely without shadow A rt in this .

,
f
case rose above nat u re and justly too and after wards
, , , ,
established from this form Of the eyes a ru le o almost
f
universal application eve n to small figures F or the ,
.
f f
eyes of heads on coins of the best days o art lie just
f
as deeply as in those o later date and the edge o the ,
f
socket is more prominent ; in proof o which let any
f
o n e examine the coins o A lexander the Great and his ,
successors In works o metal some things were s ig

fi
.
,
n i e d which in the bloom of art were omitted in those

, , ,
Of mar ble Thus for example t h e light —as artists

.
, , ,
term i t — or the pupil was denoted by a raised point

o n the centre o
,
f
the eye o n coins bearing the heads of
,
Gelon and Hiero even prior to the days Of Phidias

, .
f
B ut so far as we know a pupil was n o t given to heads
, ,
in marble until some time during the first century o

the C aesars and there are on l y a few w hich ha ve it
, .
O ne of them is the head of Marcellus grandson o , f

A ugustus in the C ampidoglio F or the reas on assigned
, .
above and with precisely the same view eyes appear

, ,
to have been inserted This was a common practice .
f ff
among E gyptian sculptors of the earliest ages In .
many heads o bronze the eyes have been hollo wed ,
f
o u t and substitutes o
, a dif erent material introduced .
The head Of the Pallas of Phidias was o ivory but the ,
f
pupil of the eye was a gem I shall S peak particularly .
o such eyes hereafter .
2 2 Thus it was well understood and settled what

.
con stituted beauty of the eye generally A nd yet .

,
f
without departing from this form the eye was s o dif ,
ere n t l
y shaped in the heads Of divinities and ideal ,
heads that it is of itself a characteristic by which they

,
can be distinguished In Jupiter A pollo and Juno

.
, , ,
the opening of the eye is large and roundly arched ; it ,
has also less length than usual that the curve which it
, , ,
makes may be more S pherical Pallas likew ise h as .

, ,
large eyes ; but the upper lid falls over them more than
f
in the three divinities just mentioned for the purpose ,
o giving her a modest maiden look B ut the eyes of

, .
V enus f are smaller ; and the elevation of the lower lid

imparts to them that love exciting and languishing look -
which the Greeks termed away liquid “ The celes .

”
f
tial V enus o r V enus U rania is d istinguished from
Juno by an eye o this ki n d ; but as li ke Juno sh e
g
,
, ,
wears a diadem sh e has been confounded with the lat

,
fThe eyes of the V e n us compared with the other parts o her

, f
f
face are not really small ; they are merely a little less Ope n ed for
, ,
the purpose of imparting a look o s weetnes s GERM ED .

-
. .
8 Plate 1 5 B an d C
, .
21 6 H I ST O RY OF A N C I E N T A RT
f
clearly seen in t h e finest ideal heads as in the A pollo , ,
the heads o N iobe and especially in the V enus In , .
colossal heads as the Juno i n the villa Lu d o vi si this

, ,
f
wavi ng line is drawn yet more distinctly and more per ,
c ep t i bl y expressed The heads o bronze in the Her

.
c u l a n eu m museum have m arks o n the edges Of the lids
which indicate that the eyelashes BA e¢ a p l 8es were ,

~
,
f
represented by small pins inserted in them .
2 4 The beauty o the eye itself is enhanced and as

.
, ,
f
it were crowned by the eyebrow ; and the eyebro w
, ,
is beautiful in proportion to the delicacy o the line

formed by the hairs which is denoted on the finest , ,
heads in sculpture by the sharp edge of the bone over
f
,
the eyes A mong the Greeks such eyebrows were

.
,
termed ey ebrows o tli e Gra ces B ut if they were much .

,
f
arched they were compared to a bent bow o r t o snails
, , ,
f
k
and in this case were never considered b eau t i ul The .
“ i'
former is the é gbp s v ez
yp i
/ n ov graceful line o a ,
f
the eyebrows whic h L ucian found s o beautiful in t h e
,
f
heads O Praxiteles Petronius in describing the cha .
,
ra c t eri s t i c s o bea u ty in an eyebrow uses the following ,
words — S up erci l i a u s que a d ma l a rum s crip tura m cur

ren t i a et rurs us c on n i o lu mi n u m ene p er mi a t a
, p fi E ye ’
,
f
brows which reach at o n e extremity even to the , ,
cheek and at the other almost j oin the confines o

, , ,
”
th e eye I believe that in this passage we m ight
.
, ,
read s tri ctura m instead Of s crip tura m as the latter ,
word conveys no meaning ; yet it must be acknow

ledged that s tri ctura cannot be applied here in the
sense in which it i s used by aut h ors B ut if we ex .
1‘
In Tu s cany persons with s uch eyebrows are called
, s t up ori ,
dullards —GE R M E D .
”
. .
AMO N G THE GR EEKS . 21 7
tend to it the signi fication of the verb s tringere from ,
which it is derived Petronius would be understood to ,
say even t o the boundary of the cheeks for s tri ng ere

,
means precisely the same as ra dere that is to j us t touch , ,
‘
i n p as s ing .
f
25 A S the h airs which compose the ev eb ro w s are
.
n o t an essential part o them it is not necessary that ,
they should be represented In portrait heads as well .

-
as ideal heads they may be omitted both by painters

,
f
and sculptors ; and this h a s been done by R aphael and
A nnibal C aracci The eyebrows O the most beautiful
.
heads in marble at least are not represented by sepa

, ,
rate hairs E yebro ws which meet have already been

.
mentioned I have stated my Opinion to be unfavor

.
able to them and have good reason to be astonished

,
that Theocritus the poet Of tenderness could find

, ,
j oined eyebrows beautiful and that other writers have ,
fi
imitated him in this particular A mong these is Is aac .
Po rp h yro gen et es who gives such eyebrows a vo gbp vs to

, , ,
U lysses ; the supposed Phrygian D ares also to S how , , ,
the beauty of B rise i s mentions the junction of her eye

'
brows B ayle although he h a d n o knowledge of art

.
, ,
considered this as rather a strange charm in a beautiful

woman like B risei s and thinks that such eyebrows
'
would not in o u r days be regarded as an attribute of

, ,
f
1
It is impossible that L ucian c an have consider ed the sharpness
o the edge of the bone over the eyes a beauty in the works of
Praxi teles because this arti st as W inckelmann himself Observes in
, ,
f
anothe r place (B ook I X chap renoun ced the m an ner Of form
.
, .
f
ing it The passage O L ucian might therefore be understood of
.
, ,
the beautiful sweep or arch which Pra xiteles gave to the edge o the
bone over whi ch the eyebrow is placed — a me ani n g al so which , ,
seems most applicable to the words 3 gyg p p —GERM E D 7 E a c t o vr . .

218 H I ST O RY OF AN C IE N T AR T
beauty . Bu t
he as well as others may be assured
, , ,
that connoisseurs Of beauty even in ancient times held , ,
precisely the same opinion as theirs ; among them I
f f
will mention A rist aen et u s w h o praises the parted eye ,
f
brows O a beautiful woman The eyebrows o Julia .
,
daughter o Titus i n t h e villa Medici and of another , ,
female head in the palace Giustiniani are j oined t o

, ,
f
gether W e are n o t however to suppose that their
.
, ,
f
junction in these instances was made o r the purpose
, ,
o adding to the be au ty of the indi viduals but simply ,
to produce a faithful likeness S uetonius mentions .
f
that the eyebrows of A u g ustus j oined ; they are not s o
represented however in a single head o him
, E ye ,
”
.
f
brows w hich meet are as a Greek epigram remarks an , ,
indication O pride and bitterness Of spirit .
f
2 6 N ext to the eyes the mouth is the most beau
.
,
tiful feature of the face The beauty o i t s form how .

,
ever is known to all a n d r equi res no special notice

, , .
The lips ans w er the purpose Of displaying a more bril

liant red than is to be seen elsewhere The under lip .
should be fu ller than the upper A s a consequence Of .
this formation there is found beneath it and above the

,
chin a depression the design of which is to impart

, ,
variety to this portion Of the face and give a fuller ,
f
roundness to the chin In o n e Of the two beautiful .
statues o Pallas in the villa A lbani the lower lip p ro

, ,
j e c t
, s but imperceptibly in order that a greater degree ,
Joined eyebrows such as S uetonius rep resents A ugustus to

f
m
,
have had are actually to be seen in an admirably executed head o

,
-
A ugustus Of white marble in the Pi c C l emen t M u seu m (Tom V I

, ,
-
. .
,
Plate This is also the sole known likeness Of him in advanced

l ife — GERM E D . .
2 20 H I S T O RY OF AN C I E N T A RT
f
imperceptibly and as it were pinched up or the pur
,
pose probably O indicating more distinctly the line Of

, , , f
, ,
f
it in figures which stood at a certain distance from the
spectator V ery few o the figures which have been
.
f
represented laughing as some S atyrs o r F auns are , ,
f
S how the teeth A mong the images o divinities only
.
,
o n e statue wit h such a mouth namely an A pollo o , ,
f
the older style in the palace C onti i s known t o me
, , .
2 7 In images whose beauties were o a lofty cast

.
,
f
the Greek artists never allowed a dimple to break the
f
’
uniformity o the chin s surface Its beauty indeed .
, ,
consists i n the rounded fulness o its arched form to ,
which the lo w er lip when short imparts additional , ,
size In order to give this form to the chin the ancient

.
,
artists made the lower j aw larger and deeper than na

ture usually fashions it having observed this to be the ,
case in the most beautiful of her conformations A s a .
dimple — by the Greeks termed wi ey—is an isolated n r ,
and somewhat accident a l adjunct to the chin it was , ,
not regarded by the Greek artists as an attribute of a b

stract and pur e beauty though it is s o considered by ,
modern writ ers q

Hence it is not to be found either
.
, ,
are rendered with the utmost possible exactness A ccurate O bs er

vers wi ll un doubte dl y have often noticed this S hap e o the edges o
the li ps as natural in youn g well formed pe rs ona — GERM E D -
.
f
.
f
W
, .
1 Franco
‘ D ia l d el l a B el l ezz a (Part I
,
. p Al so Paolo A n .
, .
ton io Roll i in the following lines (R i me p 1 3)

, , .
Mol l e p ozzet t a gli d ivi d e il men t o,

l
C h e l a b e t a c omp i sc e, e il ri s o, e il gioc o
Vo l an
’ ’
gl i n t orn o, e c en t o gra zi e e c en t o .
”
— .
H is c hi n, w h ere e very b ea u t y
’
n o w s e xp res se d ,
A d imp l e so ft di vi d es b y L ov e imp ress ed ;

,
l
f
Ab t it
ou smi es a n d S p orti ve j es t s a re foun d,
A n d t roop s o gra c es flu t t er i n i t s roun d .

”
AMO N G THE GR EEKS . 22 1
f
in N iob e and her daughters or in the A lbani Pallas or , ,
f
in C eres on coins o M et a p o n t u s or in Proserpine on ,
coins o S yracuse —images Of the highest female beauty .
f
O f the finest male heads neither the A pollo nor the Me ,
l ea ger o the B el vedere has it nor t h e B acc hus in the

"
,
f
villa Medici nor in deed any beautiful ideal figure which
,
f f f
has come down to us The head o an A pollo in bronze .
,
o the size O life in the museum o the R oman C ol ,
lege and the V enus at F lorence alone have it as a

,
s
, ,
peculiar charm not as anything appertaining to the ,
f f
beautiful form of the chin It was also given to the .
head o the statue o B a t h yl l u s which stood in the tem ,
ple of Juno at S amos as A puleius informs u s ; but not , ,
f
withstanding V arro calls this dimple an impress fro m
f
the finger o C upid it does n ot disprove the correctness ,
o my remarks .
28 A rounded fulness Of the chin therefore i s an

.
, ,
f
attribute Of its beauty which was universally acknow
ledged and introduced in all figures o superior merit
, .
f
C onsequently when in drawings made from them the , , ,
lower part o it seems as it were to be pinched in it , , ,
may be inferred with certainty that the contraction pro
The A n tinous (s o c al led) ; this statue Visc onti (M us Pi O O l e .

'
men t V ol I Plate 7 ) ta kes to be a M ercu ry —F

.
, . .
, .
S
In the T ra t t a t o Pr el C ap I V p 5 6 W inckelmann adds .
,
. .
, . .
,
S in ce the above n amed V enus has a dimple since one was also to
-
be seen on the statue of B a t hyl l us at S amos (A p ul F l o i d C ap XV , r , . .

,
T om
-
.
f
I have conjectured that the V enus might perhaps be a por
trai t statue o a beautiful woman who had a dimple in her chin A r .
t i s t s were therefore obliged i n regar d to this part t o deviate from , ,
the true an d ever p resent idea of the beautiful —F (C ompare -

. .
N ote g Part I ch 2 page

, .
, .
,
c ee d s from the ignorance of the copyist ; and when

such a chin is found in antique ideal heads it may j us t ly ,
be suspected that some modern ignorant hand has been
f
attempting t o improve upon them Therefore I doubt .
whether the beautiful Mercury o bronze in the Her ,
c u l a n eu m museum had originally such a chin as it now

,
h a s especially as we are assured that the head of it was

,
found broken into many pieces F ew heads from mo .
f
dern sculptors are unexceptionable in the chin In the .
f
larger number o them it is too small too pointed ; ,
f
sometimes it has the appearance o being pinched in
,
all around The figures in the works o Pietro da C or

.
tona are always distinguishable by their somewhat small

chi n — I forgot t o notice another imperfection in the
f
f
t
chin o the Medicean V enus namely its flattened tip , , ,
f
in the middle O which i s a dimple S uch flatness of .
sur ace is n o t to be found either in nature or in a single
f
antique head A s however o u r sculptors are continu
.
, ,
f
ally making copies i n marble o this statue they imitate ,
with the utmost exactness the unusual flatness o its

chin as a beauty and they can not be convinced that a
, ,
broad flat chin is n o t beautiful

, .
f
2 9 It w a s customary with the a n ec i n t artists to ela
.
borate no portion o the head more diligently than the

ears The beauty and especially the execution o the m
.
, , f
i s the surest S ign by which to discriminate the antique
t If the author had had the V enus befo re him when writin g this
remark it could hardly have escaped his Observation that the right
, ,
si d e Of the chin had been injured and repai red with stucco Proba
,
.
~
bly the entire chin has been retouched and its fulness s omewhat ,
diminished especially at i t s under part — GERM E D

,
. .
f
heads Of Hercules I conjectured that a secret meaning ,
w as involved in it The description given o Hector by

.
Ph il o st ra t u s has I think furnished me with a key to

, ,
its explanation .
f
31 This writer introduces Protesilaus speaking and
.
,
makes him describe the stature and characteristics O
f
the Greek and Troj an heroes in the Trojan war In .
this narration he particularly notices the ears o Hec

,
tor and says that (37 a Ica r ea f

, y b s 5p that is his ears '
c , ,
These I nj uri es were re

f
”
were broken and crushed .
c ei v e d not in games o the are n a as Phil ost ra t u s

, ,
expressly declares — because such exercises had not ,
at that time been introduced among the A siatics

,
f
but in contests with bulls He also explains his n u .
“
d ers t a n d i n g o the term x a r ea yas (3 broken ears ”
7 a , , ,
by a circumlocution dud) ; wa h a l rp a v a dr cs w en o vny eva

’
, a
‘
“
a di m that i s ears which have been belabored in
, ,
the p a l aes t ra z such ears he ascribes to N estor I do

”
.
f f
not understand however in what sense it could be
, ,
said o Hector that he go t ears o this description in

fighting with bulls ; and V igen ere the F rench trans ,
lator of Ph il os t ra t u s was no less perplexed by this ,
f f
statement than myself I therefore believe that in .
, , ,
the last version o this author o which an edition ,
f
was published at L eipsic the tran slator has sought ,
to evade all di fi culty by means of a general expres

sion inasmuch as he has rendered (37 a Ica r ea f
, yb s by .
'
r
a thl et i c o era t ha hi t u .
32 . in this instance is probably speak

Phi l o st ra t u s, ,
ing in the words of Plato who represents S ocrates

as maki n g the following inquiry o C a lli c l es Tell
,
f
me have the A thenians b een made b etter by Pericles
, ,
W
or o n the contrary loquacious and corrupt ? C a l l ic l es

, ,
”
answers W ho will say this except those whose ears

fi
,
are crushed ? T ii v 7 a x r ew d w u an o de“ r a

”
ra co ' a ra ;
r
y
fl : '
r
that is “
, h o will s a y this except people who kno w
,
nothing else than how to contend in the arena ? This ”
was probably intended as a sarcasm upon the S partans ,
who were less d evoted than other Greeks to the arts

which Pericles ha d introduced into A thens and fostered ,
f
there and who held in higher esteem athletic exercises
,
— although S erranus in his translation o the passage

f
f
f
, ,
has given to it a meaning entirely di erent from mine .
He renders it t hu s z— c a u d i s a h ii s
gui r a c t as ,
ohtus a s ue i s ti s ru mor i bus a ures ha hen t : that i s Y ou

g ,
W
hear these things from persons whose ears are broke n
f
and stunned by such tittle tattle My supposition in
-
.
”
regard to the S partans rests upon another passage o

Plato in t h e Protagoras which says in reference to the
, , ,
characteristics that distinguished the S partans fro m

other Greeks 0 7 May (37 a r e K a r d yvvvr a t
. .
“ ho i n '
, , ,
deed have their ears crushed

, B ut even this expres
.
sion h a s been wrongly explained by M eursiu s w h o ,
assumes that the S partans lacerated their o w n ears ,
a ures s i hi c on c i dun t and hence he understood no bet ,
ter the following words also ind w s r ep t eml r r o vr a t he

, a
'
supposed the meaning to be that the S partans after , ,
having man gled their o w n ears wound leathern thongs ,
around them B ut every one will readily understand

.
that the reference here is to the cestus w orn by boxers ,
f
which was bound about the hands The same explana .
f
f
tion O the passage had already been given by a learned
scholar before mine was O ered .
33 A n athlete with such ears is termed i n L ucian

.
Q
d we x dr a
ears
f “one
who has the marks o blo w s o n his
t s,
and L a ert iu s when speaking O the philosopher ,

f
f
L ycon who was a famous athlete uses the word 30 0
, ,
( 7
’
) a S La s which has a similar signification
t The latter .
word I s explained by H esyc h iu s and S u i d a s to signify

(gm
’
re e
«
xa a a evo s o n e with crushed ears it cannot
,
be understood in the sense of mutil a ted ea r s applied to ,
f
it by D aniel Heyne S a l ma si u s who quotes this pas .
,
f
’
sage O L a ert iu s dwells at length o n the word eum w is
fi
, ,
but passes over without comment the more di cul t

term d r da l a s
i o .
34 In the first place Hercules has such ears b e

.
, ,
cause he won the prize as Pancratiast in the games , ,
which he himself instituted at E lis in honor of Pelops , ,
s o n of Tantalus as well as i n those which A castus son

, ,
of Pelias celebrated at A rgos In the next place

, .
,
Pollux is represented with such ears because he O h ,
t a i n e d the victory as Pancratiast in the first Pythian

, ,
games at D elphi In the villa A lbani i s a large relievo

.
,
f
o n which is the figure of a young hero w ith an ear
o this form to who m I gave in consequence the name

, , ,
f
of Pollux and in my A n c i en t M on umen ts I have
, , ,
shown the correctness o the appellation S uch ears .
may also be Observed on the statue Of Pollux o n the

C ampidoglio and o n a small figure Of the same hero i n
,
the F arnesina B ut it is to be remarked that not all

.
the images of Hercules have the ear thus formed .
f
There are seven statues which represent him as a Pan
f
c ra t i a s t and consequently with the characteristic o
, , a ,
Pancratiast ; one o them in bronze is in the C ampi , ,
doglio ; of the other six in marble one is in the B elve , ,
dere another in the villa Medici the third in the

, ,
228 H I S T O RY OF A N C I E N T A RT
victor in the Pancratium apparently without exertion ,
f
o r resistance — did not have ears of a form similar to
f f
those o a Pancratiast and that in this respect it dif , , ,
ere d from the statues o other Pancratiasts .
35 The beautiful statue of A utolyc u s had such ears ;

.
and they were given as a distinctive mark to many Of , ,
the finest statues Of antiquity which represented Pan ,
f
c ra t ia s t s and were executed by Myron Pythagoras
, , ,
and L e o c ha res The right ear o the figure in the villa

.
B orghese erroneously ter med a Gladiator

, likewise 2
,
has this form though it escaped observation even at

,
the time when the left ear being mutilated was re , ,
f
stored Two ears thus formed may be seen o n th e
.
, ,
statue o a young hero in the villa A lbani and o n a ,
f
similar statue which formerly stood in the palace V e
f
rospi but i s now in the museum O Henry Jennings of
, ,
L ondon B y means o such ears I think that I have

.
,
f
discovered in the Hermes of a philosopher in the villa
, ,
f
A lbani the philosopher L ycon successor o S trato in
, , ,
the Peripatetic sect In hi s youth he had been a a .

,
f
mous Pancratiast and as far as I can recollect is the, , ,
only philosopher o whom this is stated A s accord .

,
ing to L a ert i u s he had crushed ears and his sh a pe still

, ,
fi
showed the development of an athlete 7 51 7 6 wa a i v
'
,
7 ) c
' ’
O
'
X w
e w'
d d h nr m v evri ba l vw v even after he had renounced

g .
all gymnastic exercises the name which I give to this ,
Hermes is thereby ren dered very probable A s more .

,
f
over the ears are thus formed o n the beautifu l youth
, ,
o bronze in the Herculaneum museum
f
,
which has the ,
f f
Shape Of a Hermes and is inscribed with the name o ,
the artist A pollonius s o n o A rchias o A thens I i n

, , ,
2
It is the right ear which h a s bee n re sto re d —GERM E D . .
AMO N G THE GR EEKS 229
f
.
fer it to be the likeness o a young athlete and not Of ,
the emperor Au gustus in hi s youth whom besides it , , ,
does not resemble I Observe in conclusion that a .

, ,
f
statue in the C apitoline museum which i s called a Pan ,
c ra t i a s t cannot represent a person o this description

, ,
because the ears are not shaped in the way which I have
described .
36 The ancient sculptors strove to display all their

.
skill not less in the hair than in the ears Hence .

,
the former as well as the latter is a S ign by w hich to

, ,
f
distingu i sh the modern from the antique ; for later ar
t i s t s di er s o much from the ancients in respect to the
f
f
hair partly in its arrangement and partly in its exe
, ,
c u t i on that the di erence must be immediately appa

,
rent even to a novice in knowledge Of the art O f the

a
.
hair upon the forehead I have already spoken remark ,
ing at the time how it and its peculiar arrangement

distinguish a Jupiter or a Hercules from other divi , ,
n i t i es
f
.
a
W inckelman n i s correct in h i s remark as to the striking di er
f
ence in the han dling of the hair between ancient and modern works
f f
o plastic art C areful investigators Of antiquity will also be more
.
f f
inclin ed to attach great importa ce to the very di erent modes o
fi fi
n
f f
f
treatment o this part as we can a rm from experience co r med
, ,
n
f
in m an y ways that in criticizing di erences o style and in deter
, , ,
mining the age to which any monument o art belongs the work ,
manship Of the h air is a character Of the utmost sign ificance The .
h a ir can never be represented by the plastic artist as natural in
f
appearance but only in a conventional manner ; i t s arrangement
, ,
therefore exp resses the prev ai ling taste t h e ideas and views o each
, ,
particular period L ater imitators probably paid even less atte tion
. n
f
to such accessories ; so that their peculiarities o rather the p ec ,
r u
l i ari t i es in style o their age are ma ifested m ost striki gly in the
,
n n
hair GERM E D
.
-
. .
37 The workmanship o the hair di ered accordi n g

. f f
f
to the quality of the stone Thus when the stone was .
,
o a hard kind the hair was represented as cut short

, ,
and aft erwards finely combed— which I shall again

mention in its proper place —because it is impossible to
work o u t loosely flowing and curled hair fro m stone o f
this sort since in addition to its too great hardness
, , ,
it is also brittle In marble o n the contrary and cer

.
, ,
f
t a i n l y in male figures executed at a flourishi n g period
art the hair was made to curl in ringlets —except in
fi f
o ,
portrait gu res o persons who had short o r straight

-
hair in which case the artist would necessarily imitate

,
f
it B ut though on female heads the hair is smoothed
.
,
upward and gathered in a kno t o n the back o the

,
head and co n sequently is without ringlets still we can

, ,
s ee that it follows a serpentine course and i s divided by ,
f
deep furro ws the Obj ect of which i s to produce variety
, ,
and light and shade The hair o all A mazons is exe .
f
c ut ed in this manner and it might serve as a model to
,
o u r artists in statues o the Madonna .
f
38 The hair Of all figures which belong to a flo u ri sh
.
b
ing period o art is curly abundant and executed , ,
f
f
The execution o the hair during the O l d style o G reek art was
somewhat sti f and deficient in variety E ven those monuments .
f
,
f
which approximate to the h igh style that is to the time of Phidias , , ,
s til l retain some traces o this harsh wiry manner though they sho w , ,
f
a constantly increasing beauty and elevation and that noble simpli
-
city which always accompanies and constitutes a part o the great, ,
a n d the noble A fter this epoch i n art the hair has mo re motion
.
,
and softness it appears to have been arranged n ow very elegantly

in ringlets especially in the images of V enus A pollo and B acch us
, , , ,
like dry yellow or brown hair which has a n atural curl This good
,
,
s tyle continued wi th various slight modifications from the time o ,

.
f
2 32 H I S T O RY OF A N C I ENT A R T
39 f
The hair O the F auns o r young S atyrs is Sti ; f
fif
.
fi
and but little curved at its points It wa s termed by
f
.
the Greeks e idp t straight hair and by S uetonius

l , ,
ca i ll us l en i ter i n l ea us hair slightly bent B y such

p
’
.
,
f
hair it was apparently intended to represent the m a s
, ,
f f
having a sort o goat s hair ; for the o l d S atyrs o r the
’
,
figures o Pan were made with the feet O a goat

, .
Hence the epithet ¢ p i § o x 6nm bristly has been a p

, , ,
”
f
plied to Pan B u t if in the S ong Of S olomon the hair
.
, ,
o the bride is compared to the fleece of a goat the ,
remark i s to be understood Of O riental goats whose ,
hair was s o long that they were sheared .
f
4 0 It i s common both to A pollo and B acchus and
.
,
to them alone o all the divinities to have the hair ,
hanging down upon both shoulders This fact merits

fi
.
particular attention because mutilated gu res may

,
°
f
thereby be recognised as figures of the m .
4 1 C hildren wore long hair until t h e age o puberty

.
,
f
as we learn from various sources and among these S ue ,
t on iu s in the passage where he speaks o the five thou

,
sand N eapolitan children with lon g hair whom N ero

assem bled at N aples Y ouths who had attained this .
f
age were accustomed to wear the hair cut shorter espe ,
c ia ll y behind — except the inhabitants O E ub oea whom ,
for this reason H omer terms 371 1 9 6 1 tra p doorr es long ) / ,
haired behind .
”
f
4 2 I cannot o n this occasion refrain from saying
.
, ,
a e w words also in regard to the color Of the hair ,
more especially since a misconception in re l ation to it
f
0
B y means of this obse rvation upon the hair Visconti also was ,
led to recognise a B acchus in the torso o a s tatue in the Pio C lement -
museum — GERM E D . .
F laxen a x9 )
, f
has grown ou t of several passages i n the ancient writers
hair h a s always been considered the
/ 7 ,
most beautiful ; and hair o this color has been a t t ri f

.
buted to the most beautiful of the gods as A pollo and ,
d
B acchus not less than to the H ero es ; even A lexander
,
had fla x en hair I have elsewhere c orrected the inter .
re t a t i o n Of a passage in A then aeus so as to make it

p ,
conform to this idea The passage in question has .
f
hitherto been understood even by F rancis Junius to , ,
mean that A pollo had black hair B ut a note o inter .
rogation placed at the end Of it entirely reverses its

, ,
meaning ; 0 13 3 O n o wr i) [Eq l l ag s ] Zgbn h ef

, '
wv
y xp va o ua / ,
f
'
“
p a v A 7r 7t 7\
’ '
lc
o co va D id not the poet S imonides call
o , ,
him the golden haired Apollo ? Hair o this color is

-
”
“
als o called n exi xp o o s honey colored and the remark’
-
Of L ucretius N igra p eh lxp o o s es t ,

Honey colored is ,
-
f
”
black is a confirmation of what I hav e asserted above ;
,
for the poet when S peaking o the false fl a t t eri es a d

,
dressed to women quotes on e in illustration namely , , ,
that a maiden with black hair is called nex xp s thus i o o —
f
ascribing to her a beauty which she does not possess .
f f
Moreover the interpretation o S imonides hitherto re
,
c ei v e d is a contradiction o the father O poets who ,
does n o t even once mention hair Of a black color .
d
As,for instance Theseus (S e n eca H ip p o lyt vers ,
(E di , .
,
.
pus (E uripides Ph cen is saa) Jason al S O wa s described in precisely the

, .
‘
same manner (Phil os t ra t I con 7 ; Op era Tom II ) — GERM E D .

, .
,
. . . .
B EA U T Y O F
OF
TH E
THE
C HAP T E R VI
EX T REM I T I E S B RE A S T A N D A B D OME N
, ,
F I G U RE S O F A N I MA L S B Y G REE K MA S T ER S
.
D RA I N G . W
f
.
fi
1 . beauty of form of the other parts o the
THE
ure — the extreme parts hands and feet as well as
g , , ,
surfaces— was determined by the ancient artists in ,
f
their works with equal regard to congruity Plutarc h
, .
appears to sho w no more knowl edge o art o n this

point than o n any other He asserts that the atte n tion
.
Of the ancient masters was exclusively directed to the

face and that other parts of the figure were n o t elabo
,
rated with similar assiduity It is not more difficult in .
morals where the extreme of v irtue borders upon vice

, ,
f
to practise any virtue wi t hin its just limits t h an it is ,
in a rt to execute the extremities by the formation o ,
which the artist displays his knowledge of the beautiful .
B ut time an d man s violence have left few beautiful

feet and still fewer beautiful hands remaining The
, , .
“ ’
hands of the V enus de Medici which have been the ,
f
occasion of exposing the ignorance of those who oriti ,
c iz i n
g the m as antique prono u nced them aulty, are ,
moder n In this respect the V enus resembles t h e

f
.
,
a
The right arm o the V enus de M edici from the shoulder and ’
, ,
the left from the elbow are mo d ern — GERM E D

, . .
The hands are by B e rn ini and are a disgrace to the s tatue

,
.
TR .
f
one o n the Hermaphrodite in the villa B orghese and ,
two on the figure O Herse mentioned above : the

latter furnishes the very rare indeed the sole instance , ,
f f f f
in which both hands have been preserved I am now .
speaking o statues and figures o the size o life not o ,
relievi .
f
3 The most beautiful youthfu l legs and knees Of the
.
male s ex are indisputably in my opinio n those o the , ,
A pollo Ea vp o x r vo s in the villa B orghese an A pollo with

-
’
o , ,
a swan at his feet in the villa Medici a similar o n e in , ,
the palace F arnese and a B acchus in the villa Medici , .
The beautiful Thetis in t h e villa A lbani which I shall ,
hereafter describe has the most beautiful legs d Of all ,
f
the female figures in R ome The knees Of youthful .
figures are shaped in truthful im i tation o the beauty

that exists in nature where they do not S ho w the car ,
t i l a g es with anatomical distinctness but are rounded ,
with softness and smoothness a n d unmarked by mus ,
c u l a r movements ; s o t h at the space from the thigh t o
f likewise the feet f

antique Two female hands f
O a allas
P the most celebrated statues are
; so, , o
farian marble were found some years ago They are now in the
. natural size and exceeding beauty O ,
o P ,
.
possession of Prince B orghese In the right hand is a butterfly in .
the left a flute N ear the place where these b an d s were disinterred
, .
,
a s ma l l torch was discovered o n w h ich the butterfly had probably ,
rested— to signify the warmth which love imparts to the so ul — F

d The right leg of the elder son o L aocoon justly holds a place
f
f .
among the most beautiful legs o youthful fi gures for t h e shape Of
f
it is admirabl e incomparably pure and elegant O f aged male
,
figures the legs o L aoco on himself and also those of the B orghese
, ,
.
f
S ilenus holding the infant B acchus in his arms deserve the first ,
rank General Opinion pronounces the legs o the last mentioned

.
-
statue to be un questionably the most beautiful of all that remain

, , .
GERM E D . .
the leg forms a gentle and flowing elevation unbroken ,
f
by depressions or prominences W hoever has examined .
the impressions O footsteps o n the sand especially that ,
Of the sea shore w hich i s firm will have remarked that

-
, ,
f
the feet Of women are more arched in the sole and ,
those o men more hollowed at the S ides .
4 T hat this imperfect notice Of the shape of a

.
youthful knee may not appear superfluous let the ,
f
reader turn to the figures of a youthfu l a ge executed ,
f
by more modern artists F ew o them I will n o t say .
,
none but few o them are to be found which S how

,
that the natural beauty Of this part has been O b

served and imitated I am now speaking particularly.
Of figu res Of the male sex ; for rare as beautiful youth ,
ful knees are in nature they are always still more ra re

,
in art— both in pictures and statues : insomuch that I

cannot adduce any figure by R aphael as a model in
this particular and much less by the C aracci an d their
,
f
followers O ur painters m a y derive instruction o n this
.
point from the beautiful A pollo o Mengs in the villa ,
A lbani .
5 L ike the knee a beau t iful foot was more exposed

.
,
to sight among the ancients than with us The less it .
was compressed the better was its form ; and from the
,
special remarks upon the feet by the ancient p h il o s o

p h ers and , from the inferences which they presumed
might be drawn from them as to the natural inclina
f
tions it appears that their shape w a s the subj ect of
,
close Observation Hence in descriptions o beautiful

.
,
persons as Polyxena and A spasia even their beautiful

, ,
°
feet are mentioned and history notices the ugly feet
,
3
V ery m an y beautiful feet have come down to us ; s o that who
2 38 H I S T O RY OF A N C I EN T A RT
tique than o modern statues f

of D omitian The n ails are flatter on the feet o a n
.
.
f
f
6 Having now considered the beauty of the ex
.
t rem i t i e s I shall next touch u pon that o the surfaces

, ,
namely the breast and abdomen , A proudly arched .

-
f
chest w a s regarded as a universal attribute of beauty
in male figures The father o poets f describes N ep.
eve r attempts to designate the mo s t beauti ful may perchan c e omit

others fully as beautiful C asts o the feet of the M edicean V enus
. f
usu al ly serve artists as models of delicate female feet A mong the .
feet Of male fi gures those of the A pollo B elvedere the C apitoline

, ,
A n tinous the B orghese S ilenus the L aoco on and the Farnese

, , ,
Hercules are particularly esteeme d — GERM E D

, . .
A s W inckel man n has not thought proper to ente r more fully into
the detail s of beauty in a foot I will endeavour to supply the emis ,
sion A beautiful foot both of the male and female figure in youth
. , ,
is rounded i n its form ; and in the female the toes are delicate and ,
h ave di mples over their first j oints which should be very gently
m arked Though the foot O the male figure has greater squareness
. f ,
it shoul d n ot S how more distin ctly its anato mical structure The .
second toe is the longest of all and separated by a distinct in te rval ,
from the great toe from which it is turn ed by a sli ght inclin ation
,
outward The heel sho ul d not proj ect for this i s a distingui shing
.
,
mark of brutes The sole S hould be arched and the instep con se
.
,
f
quently raised ; the reverse is Observed in anim al s The foot Of a .
E ur opean is half the len gth o the leg measured to the top of the ,
f
kneepan ; its breadth in a straight lin e across the uppe r joint Of the
,
little toe i s one third o its length The anterior part of the foot is
,
in tended by N ature to be much broader than the heel ; but S hoe

.
makers and fashion have decided that this construction is erroneous .
It astonishes me that any mother who looks with fondness u pon her ,
infant s foot in all its natural beauty wi th i t s anterior b readth and

’
, ,
the toes smooth separate distinct can ever submit it to the p ai n ful
, , ,
and deforming compression whi ch the tyranny of custo m requ ires ,
an d from which as yet escape is almost impossibl e —T R
lib 2 vers —GERM E D

, ,
f S ee the graphic description o A gamemn on in Home r I l i a d

(
.
f .
.
, . .
i deal figures the A mazons alone have large and fully

,
developed breasts ; even the nipples are visible because ,
h
they represent not virgins but wo m en , , .
f
8 The nipples are not made vi sible on the breasts
.
either O virgins o r goddesses at least in marble ; in ,
paintings also in accordance with the form of the

,
breasts in the purity and innocence of life they should ,
n o t be prominent N ow as the nipples are fully visible

.
,
in the figure Of a supposed V enus Of th e size of life , ,
in an ancient painting in the palace B arberini I c on ,
elude from this circumstance that it canno t represent a
goddess S ome of the greatest modern artists are cen

.
s u ra b l e in this respect A mong them is the celebrated .
f
D omenichino who in a fresco painted on the ceiling
, ,
o a room in the C o s t a gu t i mansion a t R ome has re ,
presented Truth struggling to escape from Time wit h, ,
nipples which could not be larger more prominent o r , ,
f
pointed in a woman who had suckled many children
. .
N O painter has depictured the virginal for m o the
The author in this passage seems to i ntimate exactly the

f
h
, ,
reverse of what is stated in the first chapter second paragraph o , ,
this book To us the truth appears to lie between the two state
.
f
ments In the A maz ons the ancients wished to represent heroines
.
,
v igorous women able to endure the toils o war and who neithe r
, ,
courted nor shunned the j oys of love S uch a character requires .
f
perfectly developed forms without regard to aught else A ccord
-
, .
i n gl y the best images o A mazons do not appear a s scarcely buddi n g

,
-
maidens with breasts which are j ust begin ning to swell but exhibit
,
the fully matured ca pacities o youth O n thi s a ccount their breasts

-
are neithe r exub erant as in women who have h om e many chi ldren
f .
,
,
, ,
n or flat and ,
as it we re unripe as in figures of Pallas D iana and
, , , , ,
others designed as images of a maide n ly charac ter that shuns the

,
endearments Of lov e — GERM E D . .

A M ON G TH E GR EEKS . 24 1
breasts better than A ndrea del S arto ; and among other

instances is a half figure crowned with flowers and
, ,
also holding some in her hand it is in the museum of

the sculptor B artolommeo C a va c ep p i .
9 I cannot comprehend how the great artist of the

.
A n t in o ii s wrongly s o termed in the B elvedere hap

, , ,
pened to make a small incised circle about the right

nipple which consequently appears a s if inlaid and as
, ,
large as the part inclosed within the circle It was pro .
f
bably done for the purpose of denoting the extent Of
the glandular portion o the nipple This singularity is .
to be found in no other Greek figure ; moreover no o ne ,
can possibly consider it a beauty .
1 0 The ab d omen i s in male figures precisely a s it

.
, ,
would appear in a man after a sweet sleep or an easy , ,
of
healthful digestion — that is without prominence and,
that kind which physiologists consider a s an indica

,
tion Of a long life The navel is quite deep especially

.
,
f
in female fig u res in which it sometimes has the for m
,
o a b o w and sometimes that Of a small half circle

, ,
f f
which is turned partly upward and partly downward .
There are e w figures in which the execution o this

’
part is more beautiful than o n the V enus de Medici in ,
whom it is unusually deep and large .
1 1 E ven the private parts have their appropriate

.
beauty The left testicle i s always the larger as it is

.
,
f
in nature ; so likewise it h a s been Observed that the
, ,
f
sight o the left eye is keener than that Of the right .
In a few figur e s o A pollo and B acchus the genitals ,
f
seem to be cut ou t so as t o leave an excavation in
,
their place; and with a care which removes all idea o

wanton mutilation In the case o B acchus the re
. f ,
R
2 42 H I S TO RY OF AN C I EN T A RT
f
moval o these parts may have a secret meaning inas ,
much as he wa s occasionally confounded with A tys and ,
was emasculated like him S ince on the other hand .

, ,
f f
in the homage paid to B acchus A pollo also was w o r ,
shipped the mutilation o the same part i n figures o

,
him had precisely the same signification I leave it .
to the reader and t o the seeker after B eauty to turn

, ,
over coins and study particularly those parts which

,
f
the painter was unable to represent to the satisfaction
o A nacreon in the picture o h i s avorite
,
ff .
1 2 A ll the beauties here described in the figures Of

.
,
f
the ancients are embraced in the immortal works Of
,
A ntonio R aphael Mengs first painter to the courts o ,
f
S pain and Poland the greatest artist Of his o wn and
,
probably o the comi ng age also He arose a s it were

f
.
,
,
like a ph oenix new born ou t o the ashes Of the first ,
R aphael to teach the world what beauty is contained

,
in art and to reach the highest point o excellence in

,
f
f
it to which the genius of man has ever risen Thou gh .
Germany might well be proud o the man who enligh t
f
’
ened the wise in o ur fathers days and scattered among ,
f f
i
all nations the seeds o universal s c i enc e sh e still ,
lacked the glory o pointing t o on e o her citizens as a
f
restorer Of art and Of seeing him acknowledged and
,
a dmired even in R ome the home o

, the arts as the, ,
German R aphael .
1 3 T O this inquiry into B eauty I add a few remarks

.
,
which may be serviceable to young beginners and to ,
f
travellers in their Obs ervation of Greek figures The
, .
first is — S eek n o t to detect deficiencies and i mp er ec
i
L eibnitz .
24 4 H I S T O RY O F AN C I EN T A RT
f
alone are the subject o observation O f the same cha .
f
ra c t e r are the remarks m ade by the blind guides of
travellers at R ome and by the writers o travels in
,
Italy S ome few on t h e other hand err through u n

.
, ,
f
seasonable caution They wish wh en viewing the works
.
,
o the ancients t o s et aside all opinions previously con

,
c e i ve d in their favor They appear to have determined

.
to admire nothing because they believe admiration t o

,
f
be an expression of i gnorance ; and yet Plato says that ,
admiration is the sentiment o a philosophic m ind and ,
f
the avenue which leads t o philosophy B ut they ou ght .
f
to approach the works o Greek art favorably p rep o s
f
sessed rather than otherwise ; o r being fully assu red
, ,
f
o finding much that is beautiful they will seek for it , ,
and a portion O it will be made visible to th em L et .
them re n e w the search until it is found for it i s there , .
1 4 My second caution is — B e not governed in your

f
.
opinion by the judgment o the profession which

f
ge n erally prefers what is d i fi cult to what is bea u tiful
,
This piece Of advice is not less u seful than t h e fore

going because inferior artists who value not the kno w
, ,
ledge but only the workman ship displayed commonly

, , ,
f
f
decide in this way This error in judgment has had a
.
very unfavorable e ect upon art itself ; a n d hence it

is that in modern times the beautiful has bee n as it
, , ,
were banished from it F or by such pedantic stupid

,
.
,
artists— partly because they were incapable Of feeling

t h e beautiful and partly because incapable of re p re
,
senti n g i t — have been introduced the nu m erous and

exaggerated foreshortenings in paintings on plain and
vaulted ceilings This style Of painting has become so
.
peculiar to these places that if in a picture executed

, , ,
A M ON G TH E GR EEK S . 2 45
f
on either all the figures do not appear a s if viewed
,
fro m beneath it is thought to indicate a want o skill

,
in the artist In conformity to this corrupted taste

.
,
the two oval paintings 0 11 the ceiling of the gallery

in the villa A lbani are preferred to the principal and
—
more central piece all three by t h e same great a rt i st
,
k
,
f
— as he himself foresaw whilst engaged upon the work ;
and yet in the foreshortenings and the arrangement o
, ,
the drapery after the manner of the modern and the
f
ecclesiastical style he was w illing to cater to the taste
,
o minds of a coarser grade A n amateur will decide .
f
precisely in the same way if he wish to avoid the i m ,
putation o singularity and escape contradiction The , .
artist who seeks the approbation Of the multitude

chooses this style probably because he believes that
,
f
1
there is more skill shown in drilling a net in stone
than in producing a figure O correct design .
1 5 I n the third place the Observer should d i s c ri mi

.
,
nate a s the ancient artists apparently did between

, ,
what is essen t ial and what is only accessory in the

drawing— partly that he may avoid the expression Of an
incorrect judgment in censuring what is not deserving ,
f
of examination and partly that his attention may be
,
exclusively directed to the true purpose o the design .
k
Antoni o R aphael M engs .
f
1
W inkelmann in this passage undoubte dl y refers to a statue
, ,
enveloped in a net in the church o S anta M aria della Piet a at

, ,
N aples The subj ect is Vice undeceived ; a man is represented

.
f
struggling in a net and striving to escape from it The work is a
,
.
very remarkable one o r the patient industry which it proves as the ,
net is al most e n tirely detached touchi ng the fig u re itsel f only in a

,
few points It was executed by G ucc irol o —T R

. . .
T he slight regard paid by the ancient artists t o Obj ects

which were seemingly not within their province is ,
f
shown for instance by the painted vases o n which the
, , ,
chair o a seated figure is indicated simply by a bar

placed horizontally B ut though the artist did not
.
,
trouble himself as to the way in whic h a figure should

be represented sitting still in the figure itself he dis , , ,
plays all the skill of an accomplished master In making .
f
this remark I do not wish to excuse what is actually
,
ordinary o r bad in the works o the ancients B ut if

, , .
,
in any one w ork the principal figure is admirably beau

,
tiful and the adj unct or assigned emblem o r attribute

, , ,
is far inferior to it then I believe we may conclude ,
from this circumstance that the part which is deficient

in form and workmanship w a s regarded as an accessory
o r P a rer on as it was also termed by artists F these
g , o r .
f
accessories are n o t to be viewed in the same light as
the episodes O a poem o r the speeches in history in , ,
w hich the poet and historian have displayed their u t
most skill .
f
1 6 It is therefore requisite to ju d ge mildly in cri
.
, , ,
t i c iz in g the swan at the feet o the above mentioned -
beautifu l Apollo in the villa Medici since it resembl es ,
a goose more than a swan I will not however from .

, ,
this instance establish a rule in regard to all acces

,
s o ri es because in s o doing I should at the same time

,
f
contradict the express statements of ancient writers ,
and the evidence of facts F or the loops o the smallest .
cord s are indicated o n the apron of many fig ures clothed
f
in armour ; indeed there are feet o n which the stitch
, ,
ing between the upper and under soles o the sandal

is executed s o as to resemble the finest pearls W e .
248 H I S T O RY O F AN C I EN T A RT
so u ght to distinguish themselves by their figures o f

f
m
animals : C a l a m i s for instance by his horses ; N i c i a s
, ,
by his dogs The C ow o Myron is indeed more

.
, ,
famed than any Of his other works and has been cele ,
b ra t ed in song by many poets whose inscriptions still ,
remain ; a d og by this same artist was also famous

, , ,
as well as a calf by M en aec h mu s W e find that the .
f
ancient artists executed animals after life ; and when
Pa s i t el es made a figure o a lio n he h a d the living ,
f
animal before his eyes .
1 9 F igures o lions and horses Of uncommon beauty

.
have been preserved ; some are detached and some in ,
f
relievo ; others are o n coins and e n graved gems The .
sitting lion o white marble larger than li fe which

, , ,
f
once stood o n the Pir aeus at A thens and is now in , ,
f
front Of the gate o the arsenal at V enice is justly ,
reckoned among the superior works o art The stand .
ing lion in t h e palace B arberi n i likewise larger than ,
f
life and which was taken from a tomb exhibits this
, ,
f
king o beasts in all his formidable m ajesty How .
f
beautiful are the drawi n g and impression O the lions
o n coins o the city Of V elia ! It is asserted however , ,
even by those who have seen and examined more than

“ Pliny lib 3 cap The dogs Of L ysippus a r e
( 5 1 1
0
, .
, ,
.
p ra ised by Ph n y (lib 34 c ap 8 also on e pain ted by Proto

.
,
.
,
f
genes (lib 35 cap 1 0
.
, but Pl iny prized above them all a
.
,
f
bronze dog represented lickin g his wound which ormerly stood in
, ,
the temple o Juno on the C apitoline hill It was d estroyed when .
the C apitol was bu rnt during the popul ar commotions occasion ed by

,
the partisans Of V itellius This dog was esteemed s o highly that

.
,
guard s were appointed by a public decree to watch it an d their lives ,
were answerable for its safety (Pliny l i b 34 cap 7 .

, .
, .
,
G ERM E D
.
A M ON G TH E GR E E x s 2 49
f
.
one specimen o the living lion that there is a certain ,
f
f
ideal character in the ancient figures of this animal in ,
which they di er from the living reality .
2 0 In the representation of horses the ancient

.
,
a rtists are n o t perhaps surpassed by the moderns as

, , ,
D u B O S maintains o n the assumption that the Greek

,
and Italian horses are not s o handsome as the E nglish .
f
It is not to be denied that a better stock has been ,
produced by crossing the mares o E ngland and N aples

with the S panish stallion and that the breed of t h e ,
f
animal in these countries has been very much improved
by th is means This i s also true o other countri e s
. .
In some howe ver a contrary result has happened The

, , .
German horses which C aesar found very bad are now

, ,
very good ; and those of F rance which were prized in ,
his time are at present the worst in all E urope The

, .
ancients were unacquainted with the beautiful breed of

D anish horses ; the E nglish also were u n known to , ,
f
them B ut they had those Of C appadocia and E pirus
.
,
the n oblest O all races the Persian A ch aean Thessa , , ,
f
lian S icilia n E truscan and C eltic o r S panish Hippias
, , , .
,
in Plato says The finest breeds O horses belong t o

, ,
us The writer above mentio n ed also evinces a very

fi
super cial judgment when he seeks to maintain the
,
foregoing assertion by adducing certain defects in the
f
f
horse Of Marcus A urelius N o w this statue has natu .
rally su ere d havi ng been thrown down and buried in

,
rubbish A s regards the horses o n Monte C avallo I

.
,
must plainly contradict him ; the portions which are

antique are not faulty .
2 1 B ut even if Grecian art had left us no other

.
,
25 0 H I S T O R Y OF AN C I EN T A RT
specimens Of horses than those j ust mentioned we ,
might presume— since a thousand statues o n and with

horses were m ad e anciently where on e is made i n mo
der n days — that the ancient artists kne w the points Of
f
a fine horse as well as the ancient writers and poets did ,
f
and that C a l a mi s had as much discern ment o the good
qualities and beauties o the animal as Horace and V irgil ,
f
who describe them It seems to me that the two horses
.
,
o n Monte C avallo at R ome and the four o bronz e

, , ,
over the porch of S t Mark s church at V enice may be .

’
, ,
considered beautiful Of the kind ; and there cannot
f
exist in nature a head more finely shaped o r more ,
f
spirited than that o the horse of Marcus A urelius
, .
The four horses o bronze attached to t h e car which ,
stood o n the theatre at Herculaneu m were beautiful

f
but o a light breed like the B arbary horses O ne en
,
,
.
,
tire horse has been composed from the fragments Of the
f
four and i s to be seen in the court yard Of the royal
,
-
museum at Portici Two other bronze horses o a .

,
s m all size also in this museum may be mentioned

, ,
among its greatest rarities The first o n e with its .

,
rider wa s found in Herculaneum May 1 76 1 ; all four

, , ,
f
Of its legs however were wanting as were also the legs
, , ,
and right a rm o the rider It stands o n its original .
base which is inlaid with silver The horse is t w o

,
.
N eapolitan palms in length (2 0% in E n g ) ; h e is rep re .
f
sented on a gallop and is supported by a ship s rudder
,
’
.
f
The eyes a rosette on the frontal and a head o Medusa
, ,
o n the breastba n d are o S ilver The reins themselves

, .
f
are Of copper The figure o n the horse which resem
.
,
bles A lexander the Great also has eyes o silver and , ,

25 2 H I ST O RY OF AN C I EN T A RT
f
and Of those o N onius B a l bu s and his s on at Portici , .
O thers are positive that their movement is diagonal o r ,
crosswise— that is to s a y that they lift the left hind ,
foot after the right fore foot ; and this assertion they -
f
ground o n Observatio n and the laws Of mechanics In , .
f f
this way are disposed the feet o the horse Of Marcus
f
A urelius o the four horses attached to the chari ot o
,
this emperor in a relievo and o those which are on the ,
arch of Titus .
2 3 B esides these there are in R ome several other

.
,
animals executed by Greek artists in marble and o n

, ,
hard stone In the villa N egroni is a beautiful t iger

.
P
,
f
in basalt on w hich is mounted o n e Of the loveliest chil
,
dren in marble A large and beautiful sitting dog o

,
"
.
,
marble was carried a few years ago to E ngland It

,
.
f
f f
P It is o blackish marble (big i o mora t o) and partly resto red ,
.
Two O granite o n ot quite full si z e are in the Pio C lement m u

, ,
-
seum —F . .
l II p 34 ) says that the sitting dog which is

f
q Da l l a w a V
y( o 1 . .
, .
,
mentioned as having been carried to E n gland was sold a ew years , ,
previously by M r Jennings to M r D uncombe of Yorkshire for

,
. .
, ,
£ 1 00 0 sterling T wo S imilar ones are in the Pi e C lement m a

.
-
f
seum ; on e in the pal ace C higi ; and two in the gallery at Florence .
A l l o them are well executed The on e which went to E ngland .
ma y however have been the best

, ,
I t wa s repaired by C a va c ep p i .
,
who introduced an engravi ng of it into his R cco l t a d A n t i che S t a t ue

f
’
a ,
but who unaptly enough holds it up as a work o Phidias A n a d

, ,
.
mirable group of two greyhounds —called by the ancients S partan

hounds (A ri s t aen et Ep ist lib 1 epist 1 8 ) —playing with each
f
. .
. .
, ,
other is to be found in the Pi e C lement museum A repetition o

f f
-
.
,
it is in the museum o L ord To wnley o L ondon B oth these

f
.
,
groups together with severa l other figures o dogs were found on a

,
hill n ow called D og hill in the vicinity o the ancient city of L anu

,
-
,
f ,
v ium — GERM E D
. . .
AM ON G TH E GR EEKS . 25 3
was probably executed by L euco n who w a s celebrated ,
for his dogs The head of the well known goat in the
.
-
r
palace Giustiniani which is the most important part of ,
the animal is modern ,

s
.
f
2 4 I am well aware that in this treatise o n the
.
,
drawing O the nude figure by Greek artists the subject ,
f
is not exhausted B ut I believe that I have discovered .
the right end o the cle w which others can seize and , ,
I
N ot only the head but all the extremities of the celebrated ,
f
Giustiniani goat are by a modern han d In size it is larger than .
,
li e and the antique work is admirable and Of a truly grand

-
,
character .
A sitting wild boar in marble above the natural si z e is in the

f
-
, , ,
f
Florentine galle ry It is on e o the principal pieces among the
.
figures o animals now remaini ng It could not have been unknown .
f
to Winckelmann ho wever he may have accidentally omitted to no
,
tice it A powerful and noble style is manifest in all the forms O

.
thi s admirable beast The expression is in a hi gh degree natural .
f f
and lively The handl ing is bol d careful and worthy of a great
.
, ,
master and the stif harsh character o the bristles cannot be i m ,
proved In Go ri s M us eum F l oren t i num (Vol III Plate 6 9 ) there

.
’
. .
,
f
is a tole rable engraving of it In the villa B orghese is an antique .
repetition of it somewhat less in size o gray marble ; it is well exe

, ,
f
c u t ed — GERM E D . .
f
5
In the rich collection o an imal s in the Pi c C lement museum -
there is a very beautiful goat A mal th aea to the h ea rd o which the , ,
f
hand Of a chi ld still remains attached A lso a fall ow buck of natu
f
-
.
ral S iz e and color o O riental al abaster ; a sow o white marble

, ,
f ,
f
with twelve pigs un de r her ; an eagle and a stork o superior ex ecu ,
tion ; the head o a rhinoce ros less than the natural size ; a croco ,
dile Of touchstone about four palms long There is beside s in the

, ,
C ap i t o l i n e M useu m (Vol III p 1 6 2) a crocodile O natural s ize o . .

, .
.
f , ,
,
f
f
P ar ian marble It is however to be rem arked that antique figu res
.
, , ,
o an im al s are upon the whole rare C onsequently a large num

f , ,
.
,
be r Of counte rfei t s o all kin ds have been p repared an d s old by

rogues in modern times as ge n uine work s —F
, , .
25 4 H I S T O RY OF AN C IE N T A RT E TC , .
safely follow N O place can compare with Rome in the

.
,
f
abu n dance Of its facilities for verifying and applying the
f
Observations which I have o ered B ut it is i mp os .
sible o r any o n e to form a correct Opinion in regard to
f
them o r to obtain all the benefit which they are capa
,
ble o yielding in a hasty visit F or the impressions

,
.
f
first received may not seem to conform to the author s ’
ideas ; yet by o t repeated Observation they will a p

,
-
f
proximate more and more nearly to them and confirm ,
the experience o many years and the mature reflec ,
tions embodied in this treatise .
G . W
oo df l l
a an d i
S o n , Pr n t ers , A n g el C o u rt , S k i n n er S t ree t , L on d on .

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T H E

entitled by the author The general title was adopted

with a vie w as stated in the Preface of presenting to

the public at some fu ture time the remaining volumes

lumes will appear and as this one is complete in itself

A further deviation fro m th e A merican edition con

The Jupiter of O tricoli an engraving o the

forehead o which appears in the German edition was ,

head o the father and king o the gods has the

n o t only in the large rou n d eyes in the fulness o ,

the prominent and a s it were swollen forehead and

portrayed the head face and bust A s an illustration of

W inckelmann s idea it is a l most useless for obviously

when the lower part o the face a n d the bust were

o the Jupiter o O tricoli as selected by W inckel m ann , ,

In preparing the Illustrations care has been taken

copies were d rawn fro m which faithful tran scripts h ave

W inckelmann s H i s tory ( A n ci en t A r t I had no

intention of ever o ering it to the public It was

a pleasant task at which I la bored silently — solely

ever by the gentle solicitations o o n e whom I felt

this noble masterpiece by a d esire of making it more

t ermi n e d to take the responsibility o submitting o n e

ments o which are far m ore numerous and interest

presents a systematic exposition of the principles by

the lovers of beauty grace and m aj esty still gather

with admiration and reverence E steeming this v o

to make the selection as there is no necessary c o n

ence to the art o the E gyptians Phoenicians E t ru s , ,

cans and other nations

A s far as it was i n my po wer I have endeavoured,

to render this translation a worthy tribute to the

ing o the beautiful and elevated and whose m a s ,

t e rl y application of their principles to the formative

fel t t h e beauty and grandeur o ancient art and his ,

familiarity with the literature o Greece his mi n d had ,

acquired an antique cast ; and I can easily imagine ,

gazed upo n the splendors o art that were gathered

thought like a Greek standing in the O lympic S ta

d i um surrounded by the m atchless treasures of hi s

all the eloquence o an earnest and devoted spirit he ,

and the a ectation o modern art and fearless l y and ,

singly held up to admiration the repose the sim ,

dates and the names of works and artists ; he is

presenting t o view the most beautiful monuments o

sources o their beauty the characteristics of their

admiration o the world even as they did i n those ,

distant ages whe n like Mine rva th ey came into

being radiant with wisdom and beauty

feelings tell us that he is right when h e refers us ,

origin and cultivation of the arts—the circumstances

both external and intern a l which produced their ﬂ our ,

i sh i ng state a n d those which b ro u gl t about their de

cline and fall — and also the causes to which ma y

familiarity with every extant monument o ancient

which could elucidate the subj ect to which he had

cannot but think that a careful study o W inckel

consideration of the great principles embodied in it ,

must necessarily tend to form a pure correct and , ,

That I might render this volume more interesti n g

engravings selected from dif erent sources to those

Pancratiast fro m W inckel mann s M on u men ti A n t i cli i

other ﬁgure o this demigod under a more common