Part 16
Olympic judges, law of the, 10.
Ovid, his description of Lesbia, 137; his description of the punishment of Marsyas, 163; his picture of famine, 165.
Pain, expression of, in Sophocles, 3; in Homer, 4, 5; among Europeans, 4; among the Greeks, 5; in its disfiguring extreme, not compatible with beauty, 13; expression of, among the English, 26.
Painting among the Greeks confined to imitation of beauty, 8.
Passion, violent, not expressed in ancient art, 12.
Pauson, character of his pictures, 9.
Phidias, his indebtedness to Homer, 144 _et seq._
Philoctetes of Sophocles, the, his sufferings compared with those of Laocoon, 3; the, of Pythagoras Leontinus, 14; of Sophocles, the embodiment of physical and mental suffering, 23, 24, 30.
Picturesque, the, in poetry, 88.
Pisander, possibly Virgil’s predecessor in the history of Laocoon, 34.
Pliny, his mention of the Laocoon, 172; of famous Greek sculptors, 173 _et seq._
Poetry, how it surpasses art in description of physical beauty, 137 _et seq._
Polygnotus, pictures of, 123 _et seq._
Pope, contempt of, for descriptive poems, 108; his explanations of Homer, 122 _et seq._
Pordenone, his picture of the entombment, 167.
Pyreicus, character of his pictures, 9.
Religion, influence of, on art, 62 _et seq._
Richardson, remarks of, on Virgil’s Laocoon, 45; his criticism of Pordenone, 167.
Ridiculous, the, heightened by an element of disgust, 161.
Sadolet, extract from, 46.
Shakespeare, his use of ugliness in the character of Richard III., 151.
Sophocles, a Laocoon among his lost works, 6; his description of the desert cave of Philoctetes, 163.
Spence, Rev. Mr., criticism of his work “Polymetis,” 50; notions of, in regard to the resemblance between painting and poetry, 55, 57.
Statius, his description of an angry Venus, 57 _et seq._
Statues, beautiful, produced beautiful men, 10.
Stoicism not adapted to the drama, 6.
Stosch, Herr von, his opinion of the Borghese Gladiator, 183.
Symbols, use of, in poetry and painting, 67 _et seq._
Temperance, how represented in art, 68 _et seq._
Timanthes, picture of Iphigenia by, 12.
Timomachus, his representations of Ajax and Medea, 18.
Titian, his picture of the Prodigal Son, 109.
Ugliness, as used in poetry, 149, 156; as used in painting, 153, 156.
Urania, how represented in art, 67.
Vesta, how worshipped, 64 _et seq._
Virgil, description from the Georgics, 106; his description of the shield of Æneas, 114; the Dido of, 133; his introduction of the Harpies, 166.
Winkelmann, quoted, 1; soundness of his criticism doubted, 2; his opinion of the Laocoon, 168; his opinion of the Borghese Gladiator, 183; criticism of, 187 _et seq._
Zeuxis, his picture of Helen, 140 _et seq._
Footnote 1:
Von der Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst, p. 21, 22.
Footnote 2:
Brumoy Théât. des Grecs, T. ii. p. 89.
Footnote 3:
Iliad v. 343. Ἡ δὲ μέγα ἰάχουσα.
Footnote 4:
Iliad v. 859.
Footnote 5:
Th. Bartholinus. De Causis contemptæ a Danis adhuc Gentilibus Mortis, cap. 1.
Footnote 6:
Iliad vii. 421.
Footnote 7:
Odyssey iv. 195.
Footnote 8:
Chateaubrun.
Footnote 9:
See Appendix, note 1.
Footnote 10:
See Appendix, note 2.
Footnote 11:
Aristophanes, Plut. v. 602 et Acharnens. v. 854.
Footnote 12:
Plinius, lib. xxx. sect. 37.
Footnote 13:
De Pictura vet. lib. ii. cap. iv. sect. 1.
Footnote 14:
Plinius, lib. xxxiv. sect. 9.
Footnote 15:
See Appendix, note 3.
Footnote 16:
See Appendix, note 4.
Footnote 17:
Plinius, lib. xxxv. sect. 35. Cum mœstos pinxisset omnes, præcipue patruum, et tristitiæ omnem imaginem consumpsisset, patris ipsius vultum velavit, quem digne non poterat ostendere.
Footnote 18:
Valerius Maximus, lib. viii. cap. 2. Summi mœroris acerbitatem arte exprimi non posse confessus est.
Footnote 19:
Antiquit. expl. T. i. p. 50.
Footnote 20:
See Appendix, note 5.
Footnote 21:
Bellorii Admiranda, Tab. 11, 12.
Footnote 22:
Plinius, lib. xxxiv. sect. 19.
Footnote 23:
See Appendix, note 6.
Footnote 24:
Philippus, Anthol. lib. iv. cap. 9, ep. 10.
Ἀιεὶ γὰρ διψᾷς βρέφεων φονον. ἦ τις Ἰήσων Δεύτερος, ἤ Γλαύκη τις πάλι σoὶ πρόφασις; Ἐῤῥε καὶ ἐν κηρῷ παιδοκτόνε....
Footnote 25:
Vita Apoll. lib. ii. cap. 22.
Footnote 26:
See Appendix, note 7.
Footnote 27:
Mercure de France, April, 1755, p. 177.
Footnote 28:
“The Theory of Moral Sentiments,” by Adam Smith, part i. sect. 2, chap 1. (London, 1761.)
Footnote 29:
Trach. v. 1088, 1089:
ὅστις ὥστε παρθένος Βέβρυχα κλαίων....
Footnote 30:
Topographiæ Urbis Romæ, lib. iv. cap. 14. Et quanquam hi (Agesander et Polydorus et Athenodorus Rhodii) ex Virgilii descriptione statuam hanc formavisse videntur, &c.
Footnote 31:
Suppl. aux Ant. Expliq. T. i. p. 242. Il semble qu’Agésandre, Polydore, et Athénodore, qui en furent les ouvriers, aient travaillé comme à l’envie, pour laisser un monument qui répondait à l’incomparable description qu’a fait Virgile de Laocoon, &c.
Footnote 32:
See Appendix, note 8.
Footnote 33:
Paralip. lib. xii. v. 398–408.
Footnote 34:
Or rather serpent, for Lycophron mentions but one:
καὶ παιδοβρῶτος πορκέως νήσους διπλᾶς·
Footnote 35:
See Appendix, note 9.
Footnote 36:
See Appendix, note 10.
Footnote 37:
Their destined way they take, And to Laocoon and his children make; And first around the tender boys they wind, Then with their sharpened fangs their limbs and bodies grind. The wretched father, running to their aid With pious haste, but vain, they next invade.—DRYDEN.
Footnote 38:
See Appendix, note 11.
Footnote 39:
With both his hands he labors at the knots.
Footnote 40:
Twice round his waist their winding volumes rolled, And twice about his gasping throat they fold. The priest thus doubly choked,—their crests divide, And towering o’er his head in triumph ride.—DRYDEN.
Footnote 41:
See Appendix, note 12.
Footnote 42:
See Appendix, note 13.
Footnote 43:
His holy fillets the blue venom blots.—DRYDEN.
Footnote 44:
See Appendix, note 14.
Footnote 45:
See Appendix, note 15.
Footnote 46:
See Appendix, note 16.
Footnote 47:
The first edition was issued in 1747; the second, 1755. Selections by N. Tindal have been printed more than once.
Footnote 48:
Val. Flaccus, lib. vi. v. 55, 56. Polymetis, dial. vi. p. 50.
Footnote 49:
See Appendix, note 17.
Footnote 50:
See Appendix, note 18.
Footnote 51:
See Appendix, note 19.
Footnote 52:
Tibullus, Eleg. 4, lib. iii. Polymetis, dial. viii.
Footnote 53:
Statius, lib. i. Sylv. 5, v. 8. Polymetis, dial. viii.
Footnote 54:
See Appendix, note 20.
Footnote 55:
Æneid, lib. viii. 725. Polymetis, dial. xiv.
Footnote 56:
In various passages of his Travels [Remarks on Italy] and his Dialogues on Ancient Medals.
Footnote 57:
Polymetis, dial. ix.
Footnote 58:
Metamorph. lib. iv. 19, 20. When thou appearest unhorned, thy head is as the head of a virgin.
Footnote 59:
Begeri Thes. Brandenb. vol. iii. p. 242.
Footnote 60:
Polymetis, dial. vi.
Footnote 61:
Polymetis, dial. xx.
Footnote 62:
Polymetis, dial. vii.
Footnote 63:
Argonaut. lib. ii. v. 102–106. “Gracious the goddess is not emulous to appear, nor does she bind her hair with the burnished gold, letting her starry tresses float about her. Wild she is and huge, her cheeks suffused with spots; most like to the Stygian virgins with crackling torch and black mantle.”
Footnote 64:
Thebaid. lib. v. 61–64. “Leaving ancient Paphos and the hundred altars, not like her former self in countenance or the fashion of her hair, she is said to have loosened the nuptial girdle and have sent away her doves. Some report that in the dead of night, bearing other fires and mightier arms, she had hasted with the Tartarean sisters to bed-chambers, and filled the secret places of homes with twining snakes, and all thresholds with cruel fear.”
Footnote 65:
See Appendix, note 21.
Footnote 66:
See Appendix, note 22.
Footnote 67:
See Appendix, note 23.
Footnote 68:
Polymetis, dial. vii.
Footnote 69:
See Appendix, note 24.
Footnote 70:
See Appendix, note 25.
Footnote 71:
Lipsius de Vesta et Vestalibus, cap. 13.
Footnote 72:
Pausanias, Corinth. cap. xxxv. p. 198 (edit. Kuhn).
Footnote 73:
Pausanias, Attic. cap. xviii. p. 41.
Footnote 74:
Polyb. Hist. lib. xvi. sect. 2, Op. T. ii. p. 443 (edit Ernest.).
Footnote 75:
See Appendix, note 26.
Footnote 76:
See Appendix, note 27.
Footnote 77:
Polymetis, dial. viii.
Footnote 78:
Statius, Theb. viii. 551.
Footnote 79:
Polymetis, dial. x.
Footnote 80:
See Appendix, note 28.
Footnote 81:
See Appendix, note 29.
Footnote 82:
Betrachtungen über die Malerei, p. 159.
Footnote 83:
Ad Pisones, v. 128–130. “Thou wilt do better to write out in acts the story of Troy, than to tell of things not yet known nor sung.”
Footnote 84:
Lib. xxxv. sect. 36.
Footnote 85:
See Appendix, note 30.
Footnote 86:
Iliad xxi. 385.
Footnote 87:
She only stepped Backward a space, and with her powerful hand Lifted a stone that lay upon the plain, Black, huge, and jagged, which the men of old Had placed there for a landmark.—BRYANT.
Footnote 88:
See Appendix, note 31.
Footnote 89:
See Appendix, note 32.
Footnote 90:
Iliad iii. 381.
Footnote 91:
Iliad v. 23.
Footnote 92:
Iliad xx. 444.
Footnote 93:
Iliad xx. 446.
Footnote 94:
Iliad xx. 321.
Footnote 95:
See Appendix, note 33.
Footnote 96:
Iliad i. 44–53. Tableaux tirés de l’Iliade, p. 70.
Down he came, Down from the summit of the Olympian mount, Wrathful in heart; his shoulders bore the bow And hollow quiver; there the arrows rang Upon the shoulders of the angry god, As on he moved. He came as comes the night, And, seated from the ships aloof, sent forth An arrow; terrible was heard the clang Of that resplendent bow. At first he smote The mules and the swift dogs, and then on man He turned the deadly arrow. All around Glared evermore the frequent funeral piles.—BRYANT.
Footnote 97:
Iliad iv. 1–4. Tableaux tirés de l’Iliade, p. 30.
Meantime the immortal gods with Jupiter Upon his golden pavement sat and held A council. Hebe, honored of them all, Ministered nectar, and from cups of gold They pledged each other, looking down on Troy.
BRYANT.
Footnote 98:
See Appendix, note 34.
Footnote 99:
See Appendix, note 35.
Footnote 100:
See Appendix, note 36.
Footnote 101:
Iliad v. 722.
Hebe rolled the wheels, Each with eight spokes, and joined them to the ends Of the steel axle,—fellies wrought of gold, Bound with a brazen rim to last for ages,— A wonder to behold. The hollow naves Were silver, and on gold and silver cords Was slung the chariot’s seat; in silver hooks Rested the reins; and silver was the pole Where the fair yoke and poitrels, all of gold, She fastened.—BRYANT.
Footnote 102:
Iliad ii. 43–47.
He sat upright and put his tunic on, Soft, fair, and new, and over that he cast His ample cloak, and round his shapely feet Laced the becoming sandals. Next, he hung Upon his shoulders and his side the sword With silver studs, and took into his hand The ancestral sceptre, old but undecayed.—BRYANT.
Footnote 103:
Iliad ii. 101–108.
He held The sceptre; Vulcan’s skill had fashioned it, And Vulcan gave it to Saturnian Jove, And Jove bestowed it on his messenger, The Argus-queller Hermes. He in turn Gave it to Pelops, great in horsemanship; And Pelops passed the gift to Atreus next, The people’s shepherd. Atreus, when he died, Bequeathed it to Thyestes, rich in flocks; And last, Thyestes left it to be borne By Agamemnon, symbol of his rule O’er many isles and all the Argive realm.—BRYANT.
Footnote 104:
Iliad i. 234–239.
By this my sceptre, which can never bear A leaf or twig, since first it left its stem Among the mountains,—for the steel has pared Its boughs and bark away,—to sprout no more, And now the Achaian judges bear it,—they Who guard the laws received from Jupiter.
BRYANT.
Footnote 105:
Iliad iv. 105–111.
He uncovered straight His polished bow made of the elastic horns Of a wild goat, which, from his lurking-place, As once it left its cavern lair, he smote, And pierced its breast, and stretched it on the rock. Full sixteen palms in length the horns had grown From the goat’s forehead. These an artisan Had smoothed, and, aptly fitting each to each, Polished the whole and tipped the work with gold.
BRYANT.
Footnote 106:
Von Haller’s Alps.
The lofty gentian’s head in stately grandeur towers Far o’er the common herd of vulgar weeds and low; Beneath his banners serve communities of flowers; His azure brethren, too, in rev’rence to him bow. The blossom’s purest gold in curving radiations Erect upon the stalk, above its gray robe gleams; The leaflets’ pearly white with deep green variegations With flashes many-hued of the moist diamond beams. O Law beneficent! which strength to beauty plighteth, And to a shape so fair a fairer soul uniteth.
Here on the ground a plant like a gray mist is twining, In fashion of a cross its leaves by Nature laid; Part of the beauteous flower, the gilded beak is shining, Of a fair bird whose shape of amethyst seems made. There into fingers cleft a polished leaf reposes, And o’er a limpid brook its green reflection throws; With rays of white a striped star encloses The floweret’s disk, where pink flushes its tender snows. Thus on the trodden heath are rose and emerald glowing, And e’en the rugged rocks are purple banners showing.
Footnote 107:
Breitinger’s kritische Dichtkunst, vol. ii. p. 807.
Footnote 108:
Georg. lib. iii. 51 and 79.
If her large front and neck vast strength denote; If on her knee the pendulous dewlap float; If curling horns their crescent inward bend, And bristly hairs beneath the ear defend; If lengthening flanks to bounding measure spread; If broad her foot and bold her bull-like head; If snowy spots her mottled body stain, And her indignant brow the yoke disdain, With tail wide-sweeping as she stalks the dews, Thus, lofty, large, and long, the mother choose.
DRYDEN.
Footnote 109:
Georg. lib. iii. 51 and 79.
Light on his airy crest his slender head, His belly short, his loins luxuriant spread; Muscle on muscle knots his brawny breast, &c.
DRYDEN.
Footnote 110:
De Art. Poet. 16.
Footnote 111:
See Appendix, note 37.
Footnote 112:
See Appendix, note 38.
Footnote 113:
Gedanken über die Schönheit und über den Geschmack in der Malerei, p. 69.
Footnote 114:
Iliad v. 722.
Footnote 115:
Iliad xii. 296.
Footnote 116:
Dionysius Halicarnass. in Vita Homeri apud Th. Gale in Opusc. Mythol. p. 401.
Footnote 117:
See Appendix, note 39.
Footnote 118:
Æneid lib. viii. 447.
Their artful hands a shield prepare. One stirs the fire, and one the bellows blows; The hissing steel is in the smithy drowned; The grot with beaten anvils groans around. By turns their arms advance in equal time, By turns their hands descend and hammers chime; They turn the glowing mass with crooked tongs.
DRYDEN.
Footnote 119:
See Appendix, note 40.
Footnote 120:
Iliad xviii. 497–508.
Meanwhile a multitude Was in the forum where a strife went on,— Two men contending for a fine, the price Of one who had been slain. Before the crowd One claimed that he had paid the fine, and one Denied that aught had been received, and both Called for the sentence which should end the strife. The people clamored for both sides, for both Had eager friends; the herald held the crowd In check; the elders, upon polished stones, Sat in a sacred circle. Each one took In turn a herald’s sceptre in his hand, And rising gave his sentence. In the midst Two talents lay in gold, to be the meed Of him whose juster judgment should prevail.
BRYANT.
Footnote 121:
Iliad xviii. 509–540.
Footnote 122:
See Appendix, note 41.
Footnote 123:
Phocic. cap. xxv.-xxxi.
Footnote 124:
See Appendix, note 42.
Footnote 125:
Betrachtungen über die Malerei, p. 185.
Footnote 126:
Written in 1763.
Footnote 127:
“She was a woman right beautiful, with fine eyebrows, of clearest complexion, beautiful cheeks; comely, with large, full eyes, with snow-white skin, quick-glancing, graceful; a grove filled with graces, fair-armed, voluptuous, breathing beauty undisguised. The complexion fair, the cheek rosy, the countenance pleasing, the eye blooming; a beauty unartificial, untinted, of its natural color, adding brightness to the brightest cherry, as if one should dye ivory with resplendent purple. Her neck long, of dazzling whiteness; whence she was called the swan-born, beautiful Helen.”
Footnote 128:
See Appendix, note 43.
Footnote 129:
Orlando Furioso, canto vii. st. 11–15.
Her shape is of such perfect symmetry, As best to feign the industrious painter knows; With long and knotted tresses; to the eye Not yellow gold with brighter lustre glows. Upon her tender cheek the mingled dye Is scattered of the lily and the rose. Like ivory smooth, the forehead gay and round Fills up the space and forms a fitting bound.
Two black and slender arches rise above Two clear black eyes, say suns of radiant light, Which ever softly beam and slowly move; Round these appears to sport in frolic flight, Hence scattering all his shafts, the little Love, And seems to plunder hearts in open sight. Thence, through ’mid visage, does the nose descend, Where envy finds not blemish to amend.
As if between two vales, which softly curl, The mouth with vermeil tint is seen to glow; Within are strung two rows of orient pearl, Which her delicious lips shut up or show, Of force to melt the heart of any churl, However rude, hence courteous accents flow; And here that gentle smile receives its birth, Which opes at will a paradise on earth.
Like milk the bosom, and the neck of snow; Round is the neck, and full and round the breast; Where, fresh and firm, two ivory apples grow, Which rise and fall, as, to the margin pressed By pleasant breeze, the billows come and go. Not prying Argus could discern the rest. Yet might the observing eye of things concealed Conjecture safely from the charms revealed.
To all her arms a just proportion bear, And a white hand is oftentimes descried, Which narrow is and somedeal long, and where No knot appears nor vein is signified. For finish of that stately shape and rare, A foot, neat, short, and round beneath is spied. Angelic visions, creatures of the sky, Concealed beneath no covering veil can lie.
WILLIAM STEWART ROSE.
Footnote 130:
See Appendix, note 44.
Footnote 131:
See Appendix, note 45.
Footnote 132:
See Appendix, note 46.
Footnote 133:
See Appendix, note 47.
Footnote 134:
See Appendix, note 48.
Footnote 135:
Æneid iv. 136.
The queen at length appears; A flowered cymar with golden fringe she wore, And at her back a golden quiver bore; Her flowing hair a golden caul restrains; A golden clasp the Tyrian robe sustains.—DRYDEN.
Footnote 136:
Od. xxviii., xxix.
Footnote 137:
Εἰκόνες, § 3, T. ii. p. 461 (edit. Reitz).
Footnote 138:
Iliad iii. 121.
Footnote 139:
Ibid. 319.
Footnote 140:
Ibid. 156–158.
Small blame is theirs if both the Trojan knights And brazen-mailed Achaians have endured So long so many evils for the sake Of that one woman. She is wholly like In feature to the deathless goddesses.—BRYANT.
Footnote 141:
Val. Maximus lib. iii. cap. 7. Dionysius Halicarnass. Art. Rhet. cap. 12. περὶ λόγων ἐξετάσεως.
Footnote 142:
So be it; let her, peerless as she is, Return on board the fleet, nor stay to bring Disaster upon us and all our race.—BRYANT.
Footnote 143:
Fabricii Biblioth. Græc. lib. ii. cap. 6, p. 345.
Footnote 144:
See Appendix, note 49.
Footnote 145:
Iliad i. 528. Valerius Maximus, lib. iii. cap. 7.
As thus he spoke the son of Saturn gave The nod with his dark brows. The ambrosial curls Upon the Sovereign One’s immortal head Were shaken, and with them the mighty mount Olympus trembled.—BRYANT.
Footnote 146:
See Appendix, note 50.
Footnote 147:
Hogarth’s Analysis of Beauty, chap. xi.
Footnote 148:
Iliad iii. 210.
Footnote 149:
Philos. Schriften des Herrn Moses Mendelssohn, vol. ii. p. 23.
Footnote 150:
De Poetica, cap. v.
Footnote 151:
Paralipom. lib. i. 720–778.
Footnote 152:
King Lear, Act i. scene 2.
Footnote 153:
King Richard III. Act i. scene 1.
Footnote 154:
Briefe, die neueste Literatur betreffend, Part v. p. 102.
Footnote 155:
De Poetica, cap. iv.
Footnote 156:
Klotzii Epistolæ Homericæ, p. 33 et seq.
Footnote 157:
Klotzii Epistolæ Homericæ, p. 103.
Footnote 158:
Nubes, 170–174. _Disciple._ But he was lately deprived of a great idea by a weasel. _Strepsiades._ In what way? tell me. _Disciple._ He was studying the courses of the moon and her revolutions, and, while gazing upward open-mouthed, a weasel in the dark dunged upon him from the roof.
Footnote 159:
See Appendix, note 51.
Footnote 160:
Περὶ Ὕψους, τμῆμα ή. p. 15 (edit. T. Fabri).
Footnote 161:
Scut. Hercul. 266.
Footnote 162:
Philoct. 31–39.
Footnote 163:
Æneid, lib. ii. 277.
Footnote 164:
Metamorph. vi. 387. “The skin is torn from the upper limbs of the shrieking Marsyas, till he is nought but one great wound: thick blood oozes on every side; the bared sinews are visible; and the palpitating veins quiver, stripped of the covering of skin; you can count the protruding entrails, and the muscles shining in the breast.
Footnote 165:
Metamorph. lib. viii. 809. “Seeing Famine afar off, she delivers the message of the goddess. And after a little while, although she was yet at a distance and was but approaching, yet the mere sight produced hunger.”
Footnote 166:
Hym. in Cererem, 111–116.
Footnote 167:
Argonaut. lib. ii. 228–233. “Scarcely have they left us any food that smells not mouldy, and the stench is unendurable. No one for a time could bear the foul food, though his stomach were beaten of adamant. But bitter necessity compels me to bethink me of the meal, and, so remembering, put it into my wretched belly.”
Footnote 168:
See Appendix, note 52.