,,reflections ,,on ,,the ,,painting ,,and ,,sculpture ,,of ,,the ,,greeks4 ,,reflections ,,on ,,the ,,painting and ,,sculpture ,,of ,,the ,,greeks3 ,,with ,,instructions for the ,,connoisseur1 ,,and ,an ,,essay on ,,grace in ,works of ,art4 ,translated from ,the ,german ,original of the ,abb ,,winkelmann1 ,librarian of the ,,vatican1 ,f4 ,r4 ,s4 c4 c4 ,by ,,henry ,,fusseli1 ,a4,m4 ,illustration ,,london3 ,printed for the ,,translator1 and ,sold by ,a4 ,,millar1 in the ,strand1 #agfe4 ,,to ,the ,lord ,,scarsdale4 ,,my ,,lord1 ,with becoming gratitude for your ,lordship's condescension in granting such a noble ,asylum to a ,stranger1 ,i humbly presume to shelter this ,translation under your ,lordship's ,patronage4 ,if ,i have been able to do justice to my ,author1 your ,lordship's accurate ,jugment1 and fine ,taste1 will naturally protect his ,work3 ,but ,i must rely wholly on your known ,candour and ,goodness for the pardon of many imperfections in the language4 ,i am1 with the most profound respect1 ,,my ,,lord1 ,your ,,lordship',s ,most obliged1 most obedient1 and most humble ,servant1 ,henry ,fusseli4 ,,london1 #aj ,april1 #agfe4 ,illustration3 ,,graiis ,,ingenium c4 ,,on ,,the ,,imitation ,,of ,,the ,,painting and ,,sculpture of the ,,greeks4 ,i4 ,,nature4 ,to the ,greek climate we owe the production of ,,taste1 and from thence it spread at length over all the politer world4 ,every invention1 communicated by foreigners to that nation1 was but the feed of what it became afterwards1 changing both its nature and size in a country1 chosen1 as ,plato#a says1 by ,minerva1 to be inhabited by the ,greeks1 as productive of every kind of genius4 ,but this ,,taste was not only original among the ,greeks1 but seemed also quite peculiar to their country3 it seldom went abroad without loss2 and was long ere it imparted its kind influences to more distant climes4 ,it was1 doubtless1 a stranger to the northern zones1 when ,painting and ,sculpture1 those offsprings of ,greece1 were despised there to such a degree1 that the most valuable pieces of ,corregio served only for blinds to the windows of the royal stables at ,stockholm4 ,there is but one way for the moderns to become great1 and perhaps unequalled2 ,i mean1 by imitating the antients4 ,and what we are told of ,homer1 that whoever understands him well1 admires him1 we find no less true in matters concerning the antient1 especially the ,greek arts4 ,but then we must be as familiar with them as with a friend1 to find ,laocoon as inimitable as ,homer4 ,by such intimacy our judgment will be that of ,nicomachus3 ,take these eyes1 replied he to some paltry critick1 censuring the ,helen of ,zeuxis1 ,take my eyes1 and she will appear a goddess4 ,with such eyes ,michael ,angelo1 ,raphael1 and ,poussin1 considered the performances of the antients4 ,they imbibed taste at its source2 and ,raphael particularly in its native country4 ,we know1 that he sent young artists to ,greece1 to copy there1 for his use1 the remains of antiquity4 ,an antient ,roman statue1 compared to a ,greek one1 will generally appear like ,virgil's ,diana amidst her ,oreads1 in comparison of the ,nausicaa of ,homer1 whom he imitated4 ,laocoon was the standard of the ,roman artists1 as well as ours2 and the rules of ,polycletus became the rules of art4 ,i need not put the reader in mind of the negligences to be met with in the most celebrated antient performances3 the ,dolphin at the feet of the ,medicean ,venus1 with the children1 and the ,parerga of the ,diomedes by ,dioscorides1 being commonly known4 ,the reverse of the best ,egyptian and ,syrian coins seldom equals the head1 in point of workmanship4 ,great artists are wisely negligent1 and even their errors instruct4 ,behold their works as ,lucian bids you behold the ,zeus of ,phidias2 ,zeus himself1 not his footstool4 ,it is not only ,nature which the votaries of the ,greeks find in their works1 but still more1 something superior to nature2 ideal beauties1 brain-born images1 as ,proclus says#b4 ,the most beautiful body of ours would perhaps be as much inferior to the most beautiful ,greek one1 as ,iphicles was to his brother ,hercules4 ,the forms of the ,greeks1 prepared to beauty1 by the influence of the mildest and purest sky1 became perfectly elegant by their early exercises4 ,take a ,spartan youth1 sprung from heroes1 undistorted by swaddling-cloths2 whose bed1 from his seventh year1 was the earth1 familiar with wrestling and swimming from his infancy2 and compare him with one of our young ,sybarits1 and then decide which of the two would be deemed worthy1 by an artist1 to serve for the model of a ,theseus1 an ,achilles1 or even a ,bacchus4 ,the latter would produce a ,theseus fed on roses1 the former a ,theseus fed on flesh1 to borrow the expression of ,euphranor4 ,the grand games were always a very strong incentive for every ,greek youth to exercise himself4 ,whoever aspired to the honours of these was obliged1 by the laws1 to submit to a trial of ten months at ,elis1 the general rendezvous2 and there the first rewards were commonly won by youths1 as ,pindar tells us4#c,to be like the ,god-like ,diagoras1 was the fondest wish of every youth4 ,behold the swift ,indian outstripping in pursuit the hart3 how briskly his juices circulate6 how flexible1 how elastic his nerves and muscles6 how easy his whole frame6 ,thus ,homer draws his heroes1 and his ,achilles he eminently marks for 8being swift of foot40 ,by these exercises the bodies of the ,greeks got the great and manly ,contour observed in their statues1 without any bloated corpulency4 ,the young ,spartans were bound to appear every tenth day naked before the ,ephori1 who1 when they perceived any inclinable to fatness1 ordered them a scantier diet2 nay1 it was one of ,pythagoras's precepts1 to beware of growing too corpulent2 and1 perhaps for the same reason1 youths aspiring to wrestling-games were1 in the remoter ages of ,greece1 during their trial1 confined to a milk diet4 ,they were particularly cautious in avoiding every deforming custom2 and ,alcibiades1 when a boy1 refusing to learn to play on the flute1 for fear of its discomposing his features1 was followed by all the youth of ,athens4 ,in their dress they were professed followers of nature4 ,no modern stiffening habit1 no squeezing stays hindered ,nature from forming easy beauty2 the fair knew no anxiety about their attire1 and from their loose and short habits the ,spartan girls got the epithet of ,phnomirides4 ,we know what pains they took to have handsome children1 but want to be acquainted with their methods3 for certainly ,quillet1 in his ,callipdy1 falls short of their numerous expedients4 ,they even attempted changing blue eyes to black ones1 and games of beauty were exhibited at ,elis1 the rewards consisting of arms consecrated to the temple of ,minerva4 ,how could they miss of competent and learned judges1 when1 as ,aristotle tells us1 the ,grecian youths were taught drawing expressly for that purpose8 ,from their fine complexion1 which1 though mingled with a vast deal of foreign blood1 is still preserved in most of the ,greek islands1 and from the still enticing beauty of the fair sex1 especially at ,chios2 we may easily form an idea of the beauty of the former inhabitants1 who boasted of being ,aborigines1 nay1 more antient than the moon4 ,and are not there several modern nations1 among whom beauty is too common to give any title to pre-eminence8 ,such are unanimously accounted the ,georgians and the ,kabardinski in the ,crim4 ,those diseases which are destructive of beauty1 were moreover unknown to the ,greeks4 ,there is not the least hint of the small-pox1 in the writings of their physicians2 and ,homer1 whose portraits are always so truly drawn1 mentions not one pitted face4 ,venereal plagues1 and their daughter the ,english malady1 had not yet names4 ,and must we not then1 considering every advantage which nature bestows1 or art teaches1 for forming1 preserving1 and improving beauty1 enjoyed and applied by the ,grecians2 must we not then confess1 there is the strongest probability that the beauty of their persons excelled all we can have an idea of8 ,art claims liberty3 in vain would nature produce her noblest offsprings1 in a country where rigid laws would choak her progressive growth1 as in ,egypt1 that pretended parent of sciences and arts3 but in ,greece1 where1 from their earliest youth1 the happy inhabitants were devoted to mirth and pleasure1 where narrow-spirited formality never restrained the liberty of manners1 the artist enjoyed nature without a veil4 ,the ,gymnasies1 where1 sheltered by public modesty1 the youths exercised themselves naked1 were the schools of art4 ,these the philosopher frequented1 as well as the artist4 ,socrates for the instruction of a ,charmides1 ,autolycus1 ,lysis2 ,phidias for the improvement of his art by their beauty4 ,here he studied the elasticity of the muscles1 the ever varying motions of the frame1 the outlines of fair forms1 or the ,contour left by the young wrestler on the sand4 ,here beautiful nakedness appeared with such a liveliness of expression1 such truth and variety of situations1 such a noble air of the body1 as it would be ridiculous to look for in any hired model of our academies4 ,truth springs from the feelings of the heart4 ,what shadow of it therefore can the modern artist hope for1 by relying upon a vile model1 whose soul is either too base to feel1 or too stupid to express the passions1 the sentiment his object claims8 unhappy he6 if experience and fancy fail him4 ,the beginning of many of ,plato's dialogues1 supposed to have been held in the ,gymnasies1 cannot raise our admiration of the generous souls of the ,athenian youth1 without giving us1 at the same time1 a strong presumption of a suitable nobleness in their outward carriage and bodily exercises4 ,the fairest youths danced undressed on the theatre2 and ,sophocles1 the great ,sophocles1 when young1 was the first who dared to entertain his fellow-citizens in this manner4 ,phryne went to bathe at the ,eleusinian games1 exposed to the eyes of all ,greece1 and rising from the water became the model of ,venus ,anadyomene4 ,during certain solemnities the young ,spartan maidens danced naked before the young men3 strange this may seem1 but will appear more probable1 when we consider that the christians of the primitive church1 both men and women1 were dipped together in the same font4 ,then every solemnity1 every festival1 afforded the artist opportunity to familiarize himself with all the beauties of ,nature4 ,in the most happy times of their freedom1 the humanity of the ,greeks abhorred bloody games1 which even in the ,ionick ,asia had ceased long before1 if1 as some guess1 they had once been usual there4 ,antiochus ,epiphanes1 by ordering shews of ,roman gladiators1 first presented them with such unhappy victims2 and custom and time1 weakening the pangs of sympathizing humanity1 changed even these games into schools of art4 ,there ,ctesias studied his dying gladiator1 in whom you might descry 8how much life was still left in him#d40 ,these frequent occasions of observing ,nature1 taught the ,greeks to go on still farther4 ,they began to form certain general ideas of beauty1 with regard to the proportions of the inferiour parts1 as well as of the whole frame3 these they raised above the reach of mortality1 according to the superiour model of some ideal nature4 ,thus ,raphael formed his ,galatea1 as we learn by his letter to ,count ,baltazar ,castiglione#e1 where he says1 8,beauty being so seldom found among the fair1 ,i avail myself of a certain ideal image40 ,according to those ideas1 exalted above the pitch of material models1 the ,greeks formed their gods and heroes3 the profile of the brow and nose of gods and goddesses is almost a streight line4 ,the same they gave on their coins to queens1 c4 but without indulging their fancy too much4 ,perhaps this profile was as peculiar to the antient ,greeks1 as flat noses and little eyes to the ,calmucks and ,chinese2 a supposition which receives some strength from the large eyes of all the heads on ,greek coins and gems4 ,from the same ideas the ,romans formed their ,empresses on their coins4 ,livia and ,agrippina have the profile of ,artemisia and ,cleopatra4 ,we observe1 nevertheless1 that the ,greek artists in general1 submitted to the law prescribed by the ,thebans3 8,to do1 under a penalty1 their best in imitating ,nature40 ,for1 where they could not possibly apply their easy profile1 without endangering the resemblance1 they followed ,nature1 as we see instanced in the beauteous head of ,julia1 the daughter of ,titus1 done by ,euodus#f4 ,but to form a 8just resemblance1 and1 at the same time1 a handsomer one10 being always the chief rule they observed1 and which ,polygnotus constantly went by2 they must1 of necessity1 be supposed to have had in view a more beauteous and more perfect ,nature4 ,and when we are told1 that some artists imitated ,praxiteles1 who took his concubine ,cratina for the model of his ,cnidian ,venus2 or that others formed the graces from ,lais2 it is to be understood that they did so1 without neglecting these great laws of the art4 ,sensual beauty furnished the painter with all that nature could give2 ideal beauty with the awful and sublime2 from that he took the ,humane1 from this the ,divine4 ,let any one1 sagacious enough to pierce into the depths of art1 compare the whole system of the ,greek figures with that of the moderns1 by which1 as they say1 nature alone is imitated2 good heaven6 what a number of neglected beauties will he not discover6 ,for instance1 in most of the modern figures1 if the skin happens to be any where pressed1 you see there several little smart wrinkles3 when1 on the contrary1 the same parts1 pressed in the same manner on ,greek statues1 by their soft undulations1 form at last but one noble pressure4 ,these master-pieces never shew us the skin forcibly stretched1 but softly embracing the firm flesh1 which fills it up without any tumid expansion1 and harmoniously follows its direction4 ,there the skin never1 as on modern bodies1 appears in plaits distinct from the flesh4 ,modern works are likewise distinguished from the antient by parts2 a crowd of small touches and dimples too sensibly drawn4 ,in antient works you find these distributed with sparing sagacity1 and1 as relative to a completer and more perfect ,nature1 offered but as hints1 nay1 often perceived only by the learned4 ,the probability still increases1 that the bodies of the ,greeks1 as well as the works of their artists1 were framed with more unity of system1 a nobler harmony of parts1 and a completeness of the whole1 above our lean tensions and hollow wrinkles4 ,probability1 'tis true1 is all we can pretend to3 but it deserves the attention of our artists and connoisseurs the rather1 as the veneration professed for the antient monuments is commonly imputed to prejudice1 and not to their excellence2 as if the numerous ages1 during which they have mouldered1 were the only motive for bestowing on them exalted praises1 and setting them up for the standards of imitation4 ,such as would fain deny to the ,greeks the advantages both of a more perfect ,nature and of ideal ,beauties1 boast of the famous ,bernini1 as their great champion4 ,he was of opinion1 besides1 that ,nature was possessed of every requisite beauty3 the only skill being to discover that4 ,he boasted of having got rid of a prejudice concerning the ,medicean ,venus1 whose charms he at first thought peculiar ones2 but1 after many careful researches1 discovered them now and then in ,nature#g4 ,he was taught then1 by the ,venus1 to discover beauties in common ,nature1 which he had formerly thought peculiar to that statue1 and but for it1 never would have searched for them4 ,follows it not from thence1 that the beauties of the ,greek statues being discovered with less difficulty than those of ,nature1 are of course more affecting2 not so diffused1 but more harmoniously united8 and if this be true1 the pointing out of ,nature as chiefly imitable1 is leading us into a more tedious and bewildered road to the knowledge of perfect beauty1 than setting up the ancients for that purpose3 consequently ,bernini1 by adhering too strictly to ,nature1 acted against his own principles1 as well as obstructed the progress of his disciples4 ,the imitation of beauty is either reduced to a single object1 and is individual1 or1 gathering observations from single ones1 composes of these one whole4 ,the former we call copying1 drawing a portrait2 'tis the straight way to ,dutch forms and figures2 whereas the other leads to general beauty1 and its ideal images1 and is the way the ,greeks took4 ,but there is still this difference between them and us3 they enjoying daily occasions of seeing beauty1 7suppose even not superior to ours17 acquired those ideal riches with less toil than we1 confined as we are to a few and often fruitless opportunities1 ever can hope for4 ,it would be no easy matter1 ,i fancy1 for our nature1 to produce a frame equal in beauty to that of ,antinous2 and surely no idea can soar above the more than human proportions of a deity1 in the ,apollo of the ,vatican1 which is a compound of the united force of ,nature1 ,genius1 and ,art4 ,their imitation discovering in the one every beauty diffused through ,nature1 shewing in the other the pitch to which the most perfect ,nature can elevate herself1 when soaring above the senses1 will quicken the genius of the artist1 and shorten his discipleship3 he will learn to think and draw with confidence1 seeing here the fixed limits of human and divine beauty4 ,building on this ground1 his hand and senses directed by the ,greek rule of beauty1 the modern artist goes on the surest way to the imitation of ,nature4 ,the ideas of unity and perfection1 which he acquired in meditating on antiquity1 will help him to combine1 and to ennoble the more scattered and weaker beauties of our ,nature4 ,thus he will improve every beauty he discovers in it1 and by comparing the beauties of nature with the ideal1 form rules for himself4 ,then1 and not sooner1 he1 particularly the painter1 may be allowed to commit himself to ,nature1 especially in cases where his art is beyond the instruction of the old marbles1 to wit1 in drapery2 then1 like ,poussin1 he may proceed with more liberty2 for 8a timid follower will never get the start of his leaders1 and he who is at a loss to produce something of his own1 will be a bad manager of the productions of another10 as ,michael ,angelo says2 ,minds favoured by ,nature1 ,quibus ,arte benigna1 ,et meliore luto1 finxit prcordia ,titan1 have here a plain way to become originals4 ,thus the account de ,piles gives1 ought to be understood1 that ,raphael1 a short time before he was carried off by death1 intended to forsake the marbles1 in order to addict himself wholly to ,nature4 ,true antient taste would most certainly have guided him through every maze of common ,nature2 and whatever observations1 whatever new ideas he might have reaped from that1 they would all1 by a kind of chymical transmutation1 have been changed to his own essence and soul4 ,he1 perhaps1 might have indulged more variety2 enlarged his draperies2 improved his colours1 his light and shadow3 but none of these improvements would have raised his pictures to that high esteem they deserve1 for that noble ,contour1 and that sublimity of thoughts1 which he acquired from the ancients4 ,nothing would more decisively prove the advantages to be got by imitating the ancients1 preferably to ,nature1 than an essay made with two youths of equal talents1 by devoting the one to antiquity1 the other to ,nature3 this would draw ,nature as he finds her2 if ,italian1 perhaps he might paint like ,caravaggio2 if ,flemish1 and lucky1 like ,jac4 ,jordans2 if ,french1 like ,stella3 the other would draw her as she directs1 and paint like ,raphael4 ,,ii4 ,,contour4 ,but even supposing that the imitation of ,nature could supply all the artist wants1 she never could bestow the precision of ,contour1 that characteristic distinction of the ancients4 ,the noblest ,contour unites or circumscribes every part of the most perfect ,nature1 and the ideal beauties in the figures of the ,greeks2 or rather1 contains them both4 ,euphranor1 famous after the epoch of ,zeuxis1 is said to have first ennobled it4 ,many of the moderns have attempted to imitate this ,contour1 but very few with success4 ,the great ,rubens is far from having attained either its precision or elegance1 especially in the performances which he finished before he went to ,italy1 and studied the antiques4 ,the line by which ,nature divides completeness from superfluity is but a small one1 and1 insensible as it often is1 has been crossed even by the best moderns2 while these1 in shunning a meagre ,contour1 became corpulent1 those1 in shunning that1 grew lean4 ,among them all1 only ,michael ,angelo1 perhaps1 may be said to have attained the antique2 but only in strong muscular figures1 heroic frames2 not in those of tender youth2 nor in female bodies1 which1 under his bold hand1 grew ,amazons4 ,the ,greek artist1 on the contrary1 adjusted his ,contour1 in every figure1 to the breadth of a single hair1 even in the nicest and most tiresome performances1 as gems4 ,consider the ,diomedes and ,perseus of ,dioscorides#h1 ,hercules and ,iole by ,teucer#i1 and admire the inimitable ,greeks4 ,parrhasius1 they say1 was master of the correctest ,contour4 ,this ,contour reigns in ,greek figures1 even when covered with drapery1 as the chief aim of the artist2 the beautiful frame pierces the marble like a transparent ,coan cloth4 ,the high-stiled ,agrippina1 and the three vestals in the royal cabinet at ,dresden1 deserve to be mentioned as eminent proofs of this4 ,this ,agrippina seems not the mother of ,nero1 but an elder one1 the spouse of ,germanicus4 ,she much resembles another pretended ,agrippina1 in the parlour of the library of ,st4 ,marc1 at ,venice#aj4 ,ours is a sitting figure1 above the size of ,nature1 her head inclined on her right hand2 her fine face speaks a soul 8pining in thought10 absorbed in pensive sorrow1 and senseless to every outward impression4 ,the artist1 ,i suppose1 intended to draw his heroine in the mournful moment she received the news of her banishment to ,pandataria4 ,the three vestals deserve our esteem from a double title3 as being the first important discoveries of ,herculaneum1 and models of the sublimest drapery4 ,all three1 but particularly one above the natural size1 would1 with regard to that1 be worthy companions of the ,farnesian ,flora1 and all the other boasts of antiquity4 ,the two others seem1 by their resemblance to each other1 productions of the same hand1 only distinguished by their heads1 which are not of equal goodness4 ,on the best the curled hairs1 running in furrows from the forehead1 are tied on the neck3 on the other the hair being smooth on the scalp1 and curled on the front1 is gathered behind1 and tied with a ribband3 this head seems of a modern hand1 but a good one4 ,there is no veil on these heads2 but that makes not against their being vestals3 for the priestesses of ,vesta 7,i speak on proof7 were not always veiled2 or rather1 as the drapery seems to betray1 the veil1 which was of one piece with the garments1 being thrown backwards1 mingles with the cloaths on the neck4 ',tis to these three inimitable pieces that the world owes the first hints of the ensuing discovery of the subterranean treasures of ,herculaneum4 ,their discovery happened when the same ruins that overwhelmed the town had nearly extinguished the unhappy remembrance of it3 when the tremendous fate that spoke its doom was only known by the account which ,pliny gives of his uncle's death4 ,these great master-pieces of the ,greek art were transplanted1 and worshipped in ,germany1 long before ,naples could boast of one single ,herculanean monument4 ,they were discovered in the year #agjf at ,portici near ,naples1 in a ruinous vault1 on occasion of digging the foundations of a villa1 for the ,prince d',elbeuf1 and immediately1 with other new discovered marble and metal statues1 came into the possession of ,prince ,eugene1 and were transported to ,vienna4 ,eugene1 who well knew their value1 provided a ,sala ,terrena to be built expressly for them1 and a few others3 and so highly were they esteemed1 that even on the first rumour of their sale1 the academy and the artists were in an uproar1 and every body1 when they were transported to ,dresden1 followed them with heavy eyes4 ,the famous ,matielli1 to whom ,his rule ,polyclet1 his chissel ,phidias gave1 ,algarotti4 copied them in clay before their removal1 and following them some years after1 filled ,dresden with everlasting monuments of his art3 but even there he studied the drapery of his priestesses1 7drapery his chief skill67 till he laid down his chissel1 and thus gave the most striking proof of their excellence4 ,,iii4 ,,drapery4 ,by ,drapery is to be understood all that the art teaches of covering the nudities1 and folding the garments2 and this is the third prerogative of the ancients4 ,the ,drapery of the vestals above1 is grand and elegant4 ,the smaller foldings spring gradually from the larger ones1 and in them are lost again1 with a noble freedom1 and gentle harmony of the whole1 without hiding the correct ,contour4 ,how few of the moderns would stand the test here6 ,justice1 however1 shall not be refused to some great modern artists1 who1 without impairing nature or truth1 have left1 in certain cases1 the road which the ancients generally pursued4 ,the ,greek ,drapery1 in order to help the ,contour1 was1 for the most part1 taken from thin and wet garments1 which of course clasped the body1 and discovered the shape4 ,the robe of the ,greek ladies was extremely thin2 thence its epithet of ,peplon4 ,nevertheless the reliefs1 the pictures1 and particularly the busts of the ancients1 are instances that they did not always keep to this undulating ,drapery#aa4 ,in modern times the artists were forced to heap garments1 and sometimes heavy ones1 on each other1 which of course could not fall into the flowing folds of the ancients4 ,hence the large-folded ,drapery1 by which the painter and sculptor may display as much skill as by the ancient manner4 ,carlo ,marat and ,francis ,solimena may be called the chief masters of it3 but the garments of the new ,venetian school1 by passing the bounds of nature and propriety1 became stiff as brass4 ,,iv4 ,,expression4 ,the last and most eminent characteristic of the ,greek works is a noble simplicity and sedate grandeur in ,gesture and ,expression4 ,as the bottom of the sea lies peaceful beneath a foaming surface1 a great soul lies sedate beneath the strife of passions in ,greek figures4 ',tis in the face of ,laocoon this soul shines with full lustre1 not confined however to the face1 amidst the most violent sufferings4 ,pangs piercing every muscle1 every labouring nerve2 pangs which we almost feel ourselves1 while we consider--not the face1 nor the most expressive parts--only the belly contracted by excruciating pains3 these however1 ,i say1 exert not themselves with violence1 either in the face or gesture4 ,he pierces not heaven1 like the ,laocoon of ,virgil2 his mouth is rather opened to discharge an anxious overloaded groan1 as ,sadolet says2 the struggling body and the supporting mind exert themselves with equal strength1 nay balance all the frame4 ,laocoon suffers1 but suffers like the ,philoctetes of ,sophocles3 we weeping feel his pains1 but wish for the hero's strength to support his misery4 ,the ,expression of so great a soul is beyond the force of mere nature4 ,it was in his own mind the artist was to search for the strength of spirit with which he marked his marble4 ,greece enjoyed artists and philosophers in the same persons2 and the wisdom of more than one ,metrodorus directed art1 and inspired its figures with more than common souls4 ,had ,laocoon been covered with a garb becoming an antient sacrificer1 his sufferings would have lost one half of their ,expression4 ,bernini pretended to perceive the first effects of the operating venom in the numbness of one of the thighs4 ,every action or gesture in ,greek figures1 not stamped with this character of sage dignity1 but too violent1 too passioniate1 was called 8,parenthyrsos40 ,for1 the more tranquillity reigns in a body1 the fitter it is to draw the true character of the soul2 which1 in every excessive gesture1 seems to rush from her proper centre1 and being hurried away by extremes becomes unnatural4 ,wound up to the highest pitch of passion1 she may force herself upon the duller eye2 but the true sphere of her action is simplicity and calmness4 ,in ,laocoon sufferings alone had been ,parenthyrsos2 the artist therefore1 in order to reconcile the significative and ennobling qualities of his soul1 put him into a posture1 allowing for the sufferings that were necessary1 the next to a state of tranquillity3 a tranquillity however that is characteristical3 the soul will be herself--this individual--not the soul of mankind2 sedate1 but active2 calm1 but not indifferent or drowsy4 ,what a contrast6 how diametrically opposite to this is the taste of our modern artists1 especially the young ones6 on nothing do they bestow their approbation1 but contorsions and strange postures1 inspired with boldness2 this they pretend is done with spirit1 with ,franchezza4 ,contrast is the darling of their ideas2 in it they fancy every perfection4 ,they fill their performances with comet-like excentric souls1 despising every thing but an ,ajax or a ,capaneus4 ,arts have their infancy as well as men2 they begin1 as well as the artist1 with froth and bombast3 in such buskins the muse of schilus stalks1 and part of the diction in his ,agamemnon is more loaded with hyperboles than all ,heraclitus's nonsense4 ,perhaps the primitive ,greek painters drew in the same manner that their first good tragedian thought in4 ,in all human actions flutter and rashness precede1 sedateness and solidity follow3 but time only can discover1 and the judicious will admire these only3 they are the characteristics of great masters2 violent passions run away with their disciples4 ,the sages in the art know the difficulties hid under that air of easiness3 ut sibi quivis ,speret idem1 sudet multum1 frustraque laboret ,ausus idem4 ,hor4 ,la ,fage1 though an eminent designer1 was not able to attain the purity of ancient taste4 ,every thing is animated in his works2 they demand1 and at the same time dissipate1 your attention1 like a company striving to talk all at once4 ,this noble simplicity and sedate grandeur is also the true characteristical mark of the best and maturest ,greek writings1 of the epoch and school of ,socrates4 ,possessed of these qualities ,raphael became eminently great1 and he owed them to the ancients4 ,that great soul of his1 lodged in a beauteous body1 was requisite for the first discovery of the true character of the ancients3 he first felt all their beauties1 and 7what he was peculiarly happy in67 at an age when vulgar1 unfeeling1 and half-moulded souls overlook every higher beauty4 ,ye that approach his works1 teach your eyes to be sensible of those beauties1 refine your taste by the true antique1 and then that solemn tranquillity of the chief figures in his ,attila1 deemed insipid by the vulgar1 will appear to you equally significant and sublime4 ,the ,roman bishop1 in order to divert the ,hun from his design of assailing ,rome1 appears not with the air of a ,rhetor1 but as a venerable man1 whose very presence softens uproar into peace2 like him drawn by ,virgil3 ,tum pietate gravem ac meritis1 si forte virum quem ,conspexere1 silent1 adrectisque auribus adstant3 n4 ,i4 full of confidence in ,god1 he faces down the barbarian3 the two ,apostles descend not with the air of slaughtering angels1 but 7if sacred may be compared with profane7 like ,jove1 whose very nod shakes ,olympus4 ,algardi1 in his celebrated representation of the same story1 done in bas-relief on an altar in ,st4 ,peter's church at ,rome1 was either too negligent1 or too weak1 to give this active tranquillity of his great predecessor to the figures of his ,apostles4 ,there they appear like messengers of the ,lord of ,hosts3 here like human warriors with mortal arms4 ,how few of those we call connoisseurs have ever been able to understand1 and sincerely to admire1 the grandeur of expression in the ,st4 ,michael of ,guido1 in the church of the ,capuchins at ,rome6 they prefer commonly the ,archangel of ,concha1 whose face glows with indignation and revenge#ab2 whereas ,guido's ,angel1 after having overthrown the fiend of ,god and man1 hovers over him unruffled and undismayed4 ,thus1 to heighten the hero of ,the ,campaign1 victorious ,marlborough1 the ,british poet paints the avenging ,angel hovering over ,britannia with the like serenity and awful calmness4 ,the royal gallery at ,dresden contains now1 among its treasures1 one of ,raphael's best pictures1 witness ,vasari1 c4 a ,madonna with the ,infant2 ,st4 ,sixtus and ,st4 ,barbara kneeling1 one on each side1 and two ,angels in the fore-part4 ,it was the chief altar-piece in the cloister of ,st4 ,sixtus at ,piacenza1 which was crouded by connoisseurs1 who came to see this ,raphael1 in the same manner as ,thespis was in the days of old1 for the sake of the beautiful ,cupid of ,praxiteles4 ,behold the ,madonna6 her face brightens with innocence2 a form above the female size1 and the calmness of her mien1 make her appear as already beatified3 she has that silent awfulness which the ancients spread over their deities4 ,how grand1 how noble is her ,contour6 ,the child in her arms is elevated above vulgar children1 by a face darting the beams of divinity through every smiling feature of harmless childhood4 ,st4 ,barbara kneels1 with adoring stillness1 at her side3 but being far beneath the majesty of the chief figure1 the great artist compensated her humbler graces with soft enticing charms4 ,the ,saint opposite to her is venerable with age4 ,his features seem to bear witness of his sacred youth4 ,the veneration which ,st4 ,barbara declares for the ,madonna1 expressed in the most sensible and pathetic manner1 by her fine hands clasped on her breast1 helps to support the motion of one of ,st4 ,sixtus's hands1 by which he utters his extasy1 better becoming 7as the artist judiciously thought1 and chose for variety's sake7 manly strength1 than female modesty4 ,time1 'tis true1 has withered the primitive splendour of this picture1 and partly blown off its lively colours2 but still the soul1 with which the painter inspired his godlike work1 breathes life through all its parts4 ,let those that approach this1 and the rest of ,raphael's works1 in hopes of finding there the trifling ,dutch and ,flemish beauties1 the laboured nicety of ,netscher1 or ,douw1 flesh ivorified by ,van der ,werf1 or even the licked manner of some of ,raphael's living countrymen2 let those1 ,i say1 be told1 that ,raphael was not a great master for them4 ,v4 ,,workmanship ,,in ,,sculpture4 ,after these remarks on the ,nature1 the ,contour1 the ,drapery1 the simplicity and grandeur of ,expression in the performances of the ,greek artists1 we shall proceed to some inquiries into their method of working4 ,their models were generally made of wax2 instead of which the moderns used clay1 or such like unctuous stuff1 as seeming fitter for expressing flesh1 than the more gluey and tenacious wax4 ,a method however not new1 though more frequent in our times3 for we know even the name of that ancient who first attempted modelling in wet clay2 'twas ,dibutades of ,sicyon2 and ,arcesilaus1 the friend of ,lucullus1 grew more famous by his models of clay than his other performances4 ,he made for ,lucullus a figure of clay representing ,happiness1 and received #fj1jjj sesterces3 and ,octavius1 a ,roman ,knight1 paid him a talent for the model only of a large dish1 in plaister1 which he designed to have finished in gold4 ,of all materials1 clay might be allowed to be the fittest for shaping figures1 could it preserve its moistness2 but losing that by time or fire1 its solider parts1 contracting by degrees1 lessen the bulk of the mass2 and that which is formed1 being of different diameters1 grows sooner dry in some parts than in others1 and the dry ones being shrunk to a smaller size1 there will be no proportion kept in the whole4 ,from this inconvenience wax is always free3 it loses nothing of its bulk2 and there are also means to give it the smoothness of flesh1 which is refused to modelling2 viz4 you make your model of clay1 mould it with plaister1 and cast the wax over it4 ,but for transferring their models to the marble1 the ,greeks seem to have possessed some peculiar advantages1 which are now lost3 for you discover1 every where in their works1 the traces of a confident hand2 and even in those of inferior rank1 it would be no easy matter to prove a wrong cut4 ,surely hands so steady1 so secure1 must of necessity have been guided by rules more determinate and less arbitrary than we can boast of4 ,the usual method of our sculptors is1 to quarter the well-prepared model with horizontals and perpendiculars1 and1 as is common in copying a picture1 to draw a relative number of squares on the marble4 ,thus1 regular gradations of a scale being supposed1 every small square of the model has its corresponding one on the marble4 ,but the contents of the relative masses not being determinable by a measured surface1 the artist1 though he gives to his stone the resemblance of the model1 yet1 as he only depends on the precarious aid of his eye1 he shall never cease wavering1 as to his doing right or wrong1 cutting too flat or too deep4 ,nor can he find lines to determine precisely the outlines1 or the ,contour of the inward parts1 and the centre of his model1 in so fixed and unchangeable a manner1 as to enable him1 exactly1 to transfer the same ,contours upon his stone4 ,to all this add1 that1 if his work happens to be too voluminous for one single hand1 he must trust to those of his journeymen and disciples1 who1 too often1 are neither skilful nor cautious enough to follow their master's design2 and if once the smallest trifle be cut wrong1 for it is impossible to fix1 by this method1 the limits of the cuts1 all is lost4 ,it is to be remarked in general1 that every sculptor1 who carries on his chisselings their whole length1 on first fashioning his marble1 and does not prepare them by gradual cuts for the last final strokes2 it is to be remarked1 ,i say1 that he never can keep his work free from faults4 ,another chief defect in that method is this3 the artist cannot help cutting off1 every moment1 the lines on his block2 and though he restore them1 cannot possibly be sure of avoiding mistakes4 ,on account of this unavoidable uncertainty1 the artists found themselves obliged to contrive another method1 and that which the ,french academy at ,rome first made use of for copying antiques1 was applied by many even to modelled performances4 ,over the statue which you want to copy1 you fix a well-proportioned square1 dividing it into equally distant degrees1 by plummets3 by these the outlines of the figure are more distinctly marked than they could possibly be by means of the former method3 they moreover afford the artist an exact measure of the more prominent or lower parts1 by the degrees in which these parts are near them1 and in short1 allow him to go on with more confidence4 ,but the undulations of a curve being not determinable by a single perpendicular1 the ,contours of the figure are but indifferently indicated to the artist2 and among their many declinations from a straight surface1 his tenour is every moment lost4 ,the difficulty of discovering the real proportions of the figures1 may also be easily imagined3 they seek them by horizontals placed across the plummets4 ,but the rays reflected from the figure through the squares1 will strike the eye in enlarged angles1 and consequently appear bigger1 in proportion as they are high or low to the point of view4 ,nevertheless1 as the ancient monuments must be most cautiously dealt with1 plummets are still of use in copying them1 as no surer or easier method has been discovered3 but for performances to be done from models they are unfit for want of precision4 ,michael ,angelo went alone a way unknown before him1 and 7strange to tell67 untrod since the time of that genius of modern sculpture4 ,this ,phidias of latter times1 and next to the ,greeks1 hath1 in all probability1 hit the very mark of his great masters4 ,we know at least no method so eminently proper for expressing on the block every1 even the minutest1 beauty of the model4 ,vasari#ac seems to give but a defective description of this method1 viz4 ,michael ,angelo took a vessel filled with water1 in which he placed his model of wax1 or some such indissoluble matter3 then1 by degrees1 raised it to the surface of the water4 ,in this manner the prominent parts were unwet1 the lower covered1 'till the whole at length appeared4 ,thus says ,vasari1 he cut his marble1 proceeding from the more prominent parts to the lower ones4 ,vasari1 it seems1 either mistook something in the management of his friend1 or by the negligence of his account gives us room to imagine it somewhat different from what he relates4 ,the form of the vessel is not determined2 to raise the figure from below would prove too troublesome1 and presupposes much more than this historian had a mind to inform us of4 ,michael ,angelo1 no doubt1 thoroughly examined his invention1 its conveniencies and inconveniencies1 and in all probability observed the following method4 ,he took a vessel proportioned to his model2 for instance1 an oblong square3 he marked the surface of its sides with certain dimensions1 and these he transferred afterwards1 with regular gradations1 on the marble4 ,the inside of the vessel he marked to the bottom with degrees4 ,then he laid1 or1 if of wax1 fastened his model in it2 he drew1 perhaps1 a bar over the vessel suitable to its dimensions1 according to whose number he drew1 first1 lines on his marble1 and immediately after1 the figure2 he poured water on the model till it reached its outmost points1 and after having fixed upon a prominent part1 he drew off as much water as hindered him from seeing it1 and then went to work with his chissel1 the degrees shewing him how to go on2 if1 at the same time1 some other part of the model appeared1 it was copied too1 as far as seen4 ,water was again carried off1 in order to let the lower parts appear2 by the degrees he saw to what pitch it was reduced1 and by its smoothness he discovered the exact surfaces of the lower parts2 nor could he go wrong1 having the same number of degrees to guide him1 upon his marble4 ,the water not only pointed him out the heights or depths1 but also the ,contour of his model2 and the space left free on the insides to the surface of the water1 whose largeness was determined by the degrees of the two other sides1 was the exact measure of what might safely be cut down from the block4 ,his work had now got the first form1 and a correct one3 the levelness of the water had drawn a line1 of which every prominence of the mass was a point2 according to the diminution of the water the line sunk in a horizontal direction1 and was followed by the artist 'till he discovered the declinations of the prominences1 and their mingling with the lower parts4 ,proceeding thus with every degree1 as it appeared1 he finished the ,contour1 and took his model out of the water4 ,his figure wanted beauty3 he again poured water to a proper height over his model1 and then numbering the degrees to the line described by the water1 he descried the exact height of the protuberant parts2 on these he levelled his rule1 and took the measure of the distance1 from its verge to the bottom2 and then comparing all he had done with his marble1 and finding the same number of degrees1 he was geometrically sure of success4 ,repeating his task1 he attempted to express the motion and re-action of nerves and muscles1 the soft undulations of the smaller parts1 and every imitable beauty of his model4 ,the water insinuating itself1 even into the most inaccessible parts1 traced their ,contour with the correctest sharpness and precision4 ,this method admits of every possible posture4 ,in profile especially1 it discovers every inadvertency2 shews the ,contour of the prominent and lower parts1 and the whole diameter4 ,all this1 and the hope of success1 presupposes a model formed by skilful hands1 in the true taste of antiquity4 ,this is the way by which ,michael ,angelo arrived at immortality4 ,fame and rewards conspired to procure him what leisure he wanted1 for performances which required so much care4 ,but the artist of our days1 however endowed by nature and industry with talents to raise himself1 and even though he perceive precision and truth in this method1 is forced to exert his abilities for getting bread rather than honour3 he of course rests in his usual sphere1 and continues to trust in an eye directed by years and practice4 ,now this eye1 by the observations of which he is chiefly ruled1 being at last1 though by a great deal of uncertain practice1 become almost decisive3 how refined1 how exact might it not have been1 if1 from early youth1 acquainted with never-changing rules6 ,and were young artists1 at their first beginning to shape the clay or form the wax1 so happy as to be instructed in this sure method of ,michael ,angelo1 which was the fruit of long researches1 they might with reason hope to come as near the ,greeks as he did4 ,,vi4 ,,painting4 ,greek ,painting perhaps would share all the praises bestowed on their ,sculpture1 had time and the barbarity of mankind allowed us to be decisive on that point4 ,all the ,greek painters are allowed is ,contour and ,expression4 ,perspective1 ,composition1 and ,colouring1 are denied them2 a judgment founded on some bas-reliefs1 and the new-discovered ancient 7for we dare not say ,greek7 pictures1 at and near ,rome1 in the subterranean vaults of the palaces of ,mcenas1 ,titus1 ,trajan1 and the ,antonini2 of which but about thirty are preserved entire1 some being only in ,mosaic4 ,turnbull1 to his treatise on ancient painting1 has subjoined a collection of the most known ancient pictures1 drawn by ,camillo ,paderni1 and engraved by ,mynde2 and these alone give some value to the magnificent and abused paper of his work4 ,two of them are copied from originals in the cabinet of the late ,dr4 ,mead4 ,that ,poussin much studied the pretended ,aldrovandine ,nuptials2 that drawings are found done by ,annibal ,carracci1 from the presumed ,marcius ,coriolanus2 and that there is a most striking resemblance between the heads of ,guido1 and those on the ,mosaic representing ,jupiter carrying off ,europa1 are remarks long since made4 ,indeed1 if ancient ,painting were to be judged by these1 and such like remains of ,fresco pictures1 ,contour and ,expression might be wrested from it in the same manner4 ,for the pictures1 with figures as big as life1 pulled off with the walls of the ,herculanean theatre1 afford but a very poor idea of the ,contour and ,expression of the ancient painters4 ,theseus1 the conqueror of the ,minotaur1 worshipped by the ,athenian youths2 ,flora with ,hercules and a ,faunus2 the pretended judgment of the ,decemvir ,appius ,claudius1 are on the testimony of an artist who saw them1 of a ,contour as mean as faulty2 and the heads want not only ,expression1 but those in the ,claudius even ,character4 ,but even this is an evident instance of the meanness of the artists3 for the science of beautiful ,proportions1 of ,contour1 and ,expression1 could not be the exclusive privilege of ,greek sculptors alone4 ,however1 though ,i am for doing justice to the ancients1 ,i have no intention to lessen the merit of the moderns4 ,in ,perspective there is no comparison between them and the ancients1 whom no earned defence can intitle to any superiority in that science4 ,the laws of ,composition and ,ordonnance seem to have been but imperfectly known by the ancients3 the reliefs of the times when the ,greek arts were flourishing at ,rome1 are instances of this4 ,the accounts of the ancient writers1 and the remains of ,painting are likewise1 in point of ,colouring1 decisive in favour of the moderns4 ,there are several other objects of ,paintings which1 in modern times1 have attained greater perfection3 such are landscapes and cattle pieces4 ,the ancients seem not to have been acquainted with the handsomer varieties of different animals in different climes1 if we may conclude from the horse of ,m4 ,aurelius2 the two horses in ,monte ,cavallo2 the pretended ,lysippean horses above the portal of ,st4 ,mark's church at ,venice2 the ,farnesian bull1 and other animals of that groupe4 ,i observe1 by the bye1 that the ancients were careless of giving to their horses the diametrical motion of their legs2 as we see in the horses at ,venice1 and the ancient coins3 and in that they have been followed1 nay even defended1 by some ignorant moderns4 ',tis chiefly to oil-painting that our landscapes1 and especially those of the ,dutch1 owe their beauties3 by that their colours acquired more strength and liveliness2 and even nature herself seems to have given them a thicker1 moister atmosphere1 as an advantage to this branch of the art4 ,these1 and some other advantages over the ancients1 deserve to be set forth with more solid arguments than we have hitherto had4 ,,vii4 ,,allegory4 ,there is one other important step left towards the atchievement of the art3 but the artist1 who1 boldly forsaking the common path1 dares to attempt it1 finds himself at once on the brink of a precipice1 and starts back dismayed4 ,the stories of martyrs and saints1 fables and metamorphoses1 are almost the only objects of modern painters--repeated a thousand times1 and varied almost beyond the limits of possibility1 every tolerable judge grows sick at them4 ,the judicious artist falls asleep over a ,daphne and ,apollo1 a ,proserpine carried off by ,pluto1 an ,europa1 c4 he wishes for occasions to shew himself a poet1 to produce significant images1 to paint ,allegory4 ,painting goes beyond the senses3 there is its most elevated pitch1 to which the ,greeks strove to raise themselves1 as their writings evince4 ,parrhasius1 like ,aristides1 a painter of the soul1 was able to express the character even of a whole people3 he painted the ,athenians as mild as cruel1 as fickle as steady1 as brave as timid4 ,such a representation owes its possibility only to the allegorical method1 whose images convey general ideas4 ,but here the artist is lost in a desart4 ,tongues the most savage1 which are entirely destitute of abstracted ideas1 containing no word whose sense could express memory1 space1 duration1 c4 these tongues1 ,i say1 are not more destitute of general signs1 than painting in our days4 ,the painter who thinks beyond his palette longs for some learned apparatus1 by whose stores he might be enabled to invest abstracted ideas with sensible and meaning images4 ,nothing has yet been published of this kind1 to satisfy a rational being2 the essays hitherto made are not considerable1 and far beneath this great design4 ,the artist himself knows best in what degree he is satisfied with ,ripa's ,iconology1 and the emblems of ancient nations1 by ,van ,hooghe4 ,hence the greatest artists have chosen but vulgar objects4 ,annibal ,caracci1 instead of representing in general symbols and sensible images the history of the ,farnesian family1 as an allegorical poet1 wasted all his skill in fables known to the whole world4 ,go1 visit the galleries of monarchs1 and the publick repositories of art1 and see what difference there is between the number of allegorical1 poetical1 or even historical performances1 and that of fables1 saints1 or madonnas4 ,among great artists1 ,rubens is the most eminent1 who first1 like a sublime poet1 dared to attempt this untrodden path4 ,his most voluminous composition1 the gallery of ,luxembourg1 has been communicated to the world by the hands of the best engravers4 ,after him the sublimest performance undertaken and finished1 in that kind1 is1 no doubt1 the cupola of the imperial library at ,vienna1 painted by ,daniel ,gran1 and engraved by ,sedelmayer4 ,the ,apotheosis of ,hercules at ,versailles1 done by ,le ,moine1 and alluding to the ,cardinal ,hercules de ,fleury1 though deemed in ,france the most august of compositions1 is1 in comparison of the learned and ingenious performance of the ,german artist1 but a very mean and short-sighted ,allegory1 resembling a panegyric1 the most striking beauties of which are relative to the almanack4 ,the artist had it in his power to indulge grandeur1 and his flipping the occasion is astonishing3 but even allowing1 that the ,apotheosis of a minister was all that he ought to have decked the chief cieling of a royal palace with1 we nevertheless see through his fig-leaf4 ,the artist would require a work1 containing every image with which any abstracted idea might be poetically inverted2 a work collected from all mythology1 the best poets of all ages1 the mysterious philosophy of different nations1 the monuments of the ancients on gems1 coins1 utensils1 c4 ,this magazine should be distributed into several classes1 and1 with proper applications to peculiar possible cases1 adapted to the instruction of the artist4 ,this would1 at the same time1 open a vast field for imitating the ancients1 and participating of their sublimer taste4 ,the taste in our decorations1 which1 since the complaints of ,vitruvius1 hath changed for the worse1 partly by the grotesques brought in vogue by ,morto da ,feltro1 partly by our trifling house-painting1 might also1 from more intimacy with the ancients1 reap the advantages of reality and common sense4 ,the ,caricatura-carvings1 and favourite shells1 those chief supports of our ornaments1 are full as unnatural as the candle-sticks of ,vitruvius1 with their little castles and palaces3 how easy would it be1 by the help of ,allegory1 to give some learned convenience to the smallest ornament6 ,reddere person scit convenientia cuique4 ,hor4 ,paintings of ceilings1 doors1 and chimney-pieces1 are commonly but the expletives of these places1 because they cannot be gilt all over4 ,not only they have not the least relation to the rank and circumstances of the proprietor1 but often throw some ridicule or reflection upon him4 ',tis an abhorrence of barrenness that fills walls and rooms2 and pictures void of thought must supply the vacuum4 ,hence the artist1 abandoned to the dictates of his own fancy1 paints1 for want of ,allegory1 perhaps a satire on him to whom he owes his industry2 or1 to shun this ,charybdis1 finds himself reduced to paint figures void of any meaning4 ,nay1 he may often find it difficult to meet even with those1 'till at last ----velut gri ,somnia1 van ,finguntur ,species4 ,hor4 ,thus ,painting is degraded from its most eminent prerogative1 the representation of invisible1 past and future things4 ,if pictures be sometimes met with1 which might be significant in some particular place1 they often lose that property by stupid and wrong applications4 ,perhaps the master of some new building ,dives agris1 dives positis in fnore nummis ,hor4 may1 without the least compunction for offending the rules of perspective1 place figures of the smallest size above the vast doors of his apartments and salloons4 ,i speak here of those ornaments which make part of the furniture2 not of figures which are often1 and for good reasons1 set up promiscuously in collections4 ,the decorations of architecture are often as ill-chosen4 ,arms and trophies deck a hunting-house as nonsensically1 as ,ganymede and the eagle1 ,jupiter and ,leda1 figure it among the reliefs of the brazen gates of ,st4 ,peter's church at ,rome4 ,arts have a double aim3 to delight and to instruct4 ,hence the greatest landscape-painters think1 they have fulfilled but half their task in drawing their pieces without figures4 ,let the artist's pencil1 like the pen of ,aristotle1 be impregnated with reason2 that1 after having satiated the eye1 he may nourish the mind3 and this he may obtain by ,allegory2 investing1 not hiding his ideas4 ,then1 whether he chuse some poetical object himself1 or follow the dictates of others1 he shall be inspired by his art1 shall be fired with the flame brought down from heaven by ,prometheus1 shall entertain the votary of art1 and instruct the mere lover of it4 ,a ,,letter1 ,,containing ,,objections ,,against ,the foregoing ,,reflexions4 ,,sir1 ,as you have written on the ,greek arts and artists1 ,i wish you had made your treatise as much the object of your caution as the ,greek artists made their works2 which1 before dismissing them1 they exhibited to publick view1 in order to be examined by everybody1 and especially by competent judges of the art4 ,the trial was held during the grand1 chiefly the ,olympian1 games2 and all ,greece was interested on tion's producing his picture of the nuptials of ,alexander and ,roxana4 ,you1 ,sir1 wanted a ,proxenidas to be judged by1 as well as that artist2 and had it not been for your mysterious concealment1 ,i might have communicated your treatise1 before its publication1 to some learned men and connoisseurs of my acquaintance1 without mentioning the author's name4 ,one of them visited ,italy twice1 where he devoted all his time to a most anxious examination of painting1 and particularly several months to each eminent picture1 at the very place where it was painted2 the only method1 you know1 to form a connoisseur4 ,the judgment of a man able to tell you which of ,guido's altar-pieces is painted on taffeta1 or linnen1 what sort of wood ,raphael chose for his transfiguration1 c4 the judgment of such a man1 ,i fancy1 must be allowed to be decisive4 ,another of my acquaintance has studied antiquity3 he knows it by the very smell2 ,callet ,artificem solo deprendere ,odore4 ,sectan4 ,sat4 ,he can tell you the number of knots on ,hercules's club2 has reduced ,nestor's goblet to the modern measure3 nay1 is suspected of meditating solutions to all the questions proposed by ,tiberius to the grammarians4 ,a third1 for several years past1 has neglected every thing but hunting after ancient coins4 ,many a new discovery we owe to him2 especially some concerning the history of the ancient coiners2 and1 as ,i am told1 he is to rouse the attention of the world by a ,prodromus concerning the coiners of ,cyzicum4 ,what a number of reproaches might you have escaped1 had you submitted your ,essay to the judgment of these gentlemen6 they were pleased to acquaint me with their objections1 and ,i should be sorry1 for your honour1 to see them published4 ,among other objections1 the first is surprized at your passing by the two ,angels1 in your description of the ,raphael in the royal cabinet at ,dresden2 having been told1 that a ,bolognese painter1 in mentioning this piece1 which he saw at ,st4 ,sixtus's at ,piacenza1 breaks into these terms of admiration3 ,o6 what ,angels of ,paradise#ad6 by which he supposes those ,angels to be the most beautiful figures of the picture4 ,the same person would reproach you for having described that picture in the manner of ,raguenet#ae4 ,the second concludes the beard of ,laocoon to be as worthy of your attention as his contracted belly3 for every admirer of ,greek works1 says he1 must pay the same respect to the beard of ,laocoon1 which father ,labat paid to that of the ,moses of ,michael ,angelo4 ,this learned ,dominican1 ,qui mores hominum multorum vidit urbes1 has1 after so many centuries1 drawn from this very statue an evident proof of the true fashion in which ,moses wore his own individual beard1 and whose imitation must1 of course1 be the distinguishing mark of every true ,jew#af4 ,there is not the least spark of learning1 says he1 in your remarks on the ,peplon of the three vestals3 he might perhaps1 on the very inflection of the veil1 have discovered to you as many curiosities as ,cuper himself found on the edge of the veil of ,tragedy in the ,apotheosis of ,homer#ag4 ,we also want proof of the vestals being really ,greek performances3 our reason fails us too often in the most obvious things4 ,if unhappily the marble of these figures should be proved to be no ,lychnites1 they are lost1 and your treatise too3 had you but slightly told us their marble was large-grained1 that would have been a sufficient proof of their authenticity2 for it would be somewhat difficult to determine the bigness of the grains with such exactness as to distinguish the ,greek marble from the ,roman of ,luna4 ,but the worst is1 they are even denied the title of vestals4 ,the third mentioned some heads of ,livia and ,agrippina1 without that pretended profile of yours4 ,here he thinks you had the most lucky occasion to talk of that kind of nose by the ancients called ,quadrata1 as an ingredient of beauty4 ,but you no doubt know1 that the noses of some of the most famous ,greek statues1 viz4 the ,medicean ,venus1 and the ,picchinian ,meleager1 are much too thick for becoming the model of beauty1 in that kind1 to our artists4 ,i shall not1 however1 gall you with all the doubts and objections raised against your treatise1 and repeated to nauseousness1 upon the arrival of an ,academician1 the ,margites of our days1 who1 being shewed your treatise1 gave it a slight glance1 then laid it aside1 offended as it were at first sight4 ,but it was easy to perceive that he wanted his opinion to be asked1 which we accordingly all did4 8,the author1 said he very peremptorily1 seems not to have been at much pains with this treatise3 ,i cannot find above four or five quotations1 and those negligently inserted2 no chapter1 no page1 cited2 he certainly collected his remarks from books which he is ashamed to produce40 ,yet cannot ,i help introducing another gentleman1 sharp-sighted enough to pick out something that had escaped all my attention2 viz4 that the ,greeks were the first inventors of ,painting and ,sculpture2 an assertion1 as he was pleased to express himself1 entirely false1 having been told it was the ,egyptians1 or some people still more ancient1 and unknown to him4 ,even the most whimsical humour may be turned to profit3 nevertheless1 ,i think it manifest that you intended to talk only of good ,taste in those arts2 and the first ,elements of an art have the same proportion to good ,taste in it1 as the seed has to the fruit4 ,that the art was still in its infancy among the ,egyptians1 when it had attained the highest degree of perfection among the ,greeks1 may be seen by examining one single gem3 you need only consider the head of ,ptolomus ,philopator by ,aulus1 and the two figures adjoining to it done by an ,egyptian#ah1 in order to be convinced of the little merit this nation could pretend to in point of art4 ,the form and taste of their ,painting have been ascertained by ,middleton4#ai ,the pictures of persons as big as life1 on two mummies in the royal cabinet of antiquities at ,dresden1 are evident instances of their incapacity4 ,but these relicks being curious1 in several other respects1 ,i shall hereafter subjoin a short account of them4 ,i cannot1 my friend1 help allowing some reason for several of these objections4 ,your negligence in your quotations was1 no doubt1 somewhat prejudicial to your authenticity3 the art of changing blue eyes to black ones1 certainly deserved an authority4 ,you imitate ,democritus2 who being asked1 8,what is man80 every body knows what was his reply4 ,what reasonable creature will submit to read all ,greek scholiasts6 ,ibit eo1 quo vis1 qui ,zonam perdidit-- ,hor4 ,considering1 however1 how easily the human mind is biassed1 either by friendship or animosity1 ,i took occasion from these objections to examine your treatise with more exactness2 and shall now1 by the most impartial censure1 strive to clear myself from every imputation of prepossession in your favour4 ,i will pass by the first and second page1 though something might be said on your comparison of the ,diana with the ,nausicaa1 and the application3 nor would it have been amiss1 had you thrown some more light on the remark concerning the misused pictures of ,corregio 7very likely borrowed from ,count ,tessin's letters71 by giving an account of the other indignities which the pictures of the best artists1 at the same time1 met with at ,stockholm4 ,it is well known that1 after the surrender of ,prague to ,count ,konigsmark1 the #aeth of ,july #afdh1 the most precious pictures of the ,emperor ,rodolph ,,ii4 were carried off to ,sweden#bj4 ,among these were some pictures of ,corregio1 which the ,emperor had been presented with by their first possessor1 ,duke ,frederick of ,mantua2 two of them being the famous ,leda1 and a ,cupid handling his bow#ba4 ,christina1 endowed at that time rather with scholastic learning than taste1 treated these treasures as the ,emperor ,claudius did an ,alexander of ,apelles2 who ordered the head to be cut off1 and that of ,augustus to fill its place#bb4 ,in the same manner heads1 hands1 feet were here cut off from the most beautiful pictures2 a carpet was plastered over with them1 and the mangled pieces fitted up with new heads1 c4 ,those that fortunately escaped the common havock1 among which were the pieces of ,corregio1 came afterwards1 together with several other pictures1 bought by the ,queen at ,rome1 into the possession of the ,duke of ,orleans1 who purchased #bej of them1 and among those eleven of ,corregio1 for #ijjj ,roman crowns4 ,but ,i am not contented with your charging only the northern countries with barbarism1 on account of the little esteem they paid to the arts4 ,if good taste is to be judged in this manner1 ,i am afraid for our ,french neighbours4 ,for having taken ,bonn1 the residence of the ,elector of ,cologne1 after the death of ,max4 ,henry1 they ordered the largest pictures to be cut out of their frames1 without distinction1 in order to serve for coverings to the waggons1 in which the most valuable furniture of the electoral castle was carried off for ,france4 ,but1 ,sir1 do not presume on my continuing with mere historical remarks3 ,i shall proceed with my objections2 after making the two following general observations4 ,i4 ,you have written in a style too concise for being distinct4 ,were you afraid of being condemned to the penalty of a ,spartan1 who could not restrain himself to only three words1 perhaps that of reading ,picciardin's ,pisan ,war8 ,distinctness is required where universal instruction is the end4 ,meats are to suit the taste of the guests1 rather than that of the cooks1 ----,cn fercula nostr ,malim convivis quam placuisse coquis4 ,,ii4 ,there appears1 in almost every line of yours1 the most passionate attachment to antiquity2 which perhaps ,i shall convince you of1 by the following remarks4 ,the first particular objection ,i have to make is against your third page4 ,remember1 however1 that my passing by two pages is very generous dealing3 non temere a me ,quivis ferret idem3 ,hor4 but let us now begin a formal trial4 ,the author talks of certain negligences in the ,greek works1 which ought to be considered suitably to ,lucian's precepts concerning the ,zeus of ,phidias3 8,zeus himself1 not his footstool20#bc though perhaps he could not be charged with any fault in the foot-stool1 but with a very grievous one in the statue4 ,is it no fault that ,phidias made his ,zeus of so enormous a bulk1 as almost to reach the cieling of the temple1 which must infallibly have been thrown down1 had the god taken it in his head to rise8#bd ,to have left the temple without any cieling at all1 like that of the ,olympian ,jupiter at ,athens1 had been an instance of more judgment#be4 ',tis but justice to claim an explication of what the author means by 8negligences04 ,he perhaps might be pleased to get a passport1 even for the faults of the ancients1 by sheltering them under the authority of such titles2 nay1 to change them into beauties1 as ,alcus did the spot on the finger of his beloved boy4 ,we too often view the blemishes of the ancients1 as a parent does those of his children3 ,strabonem ,appellat ptum pater1 pullum1 male parvus ,si cui filius est4 ,hor4 ,if these negligences were like those wished for in the ,jalysus of ,protogenes1 where the chief figure was out-shone by a partridge1 they might be considered as the agreeable neglige of a fine lady2 but this is the question4 ,besides1 had the author consulted his interest1 he never would have ventured citing the ,diomedes of ,dioscorides3 but being too well acquainted with that gem1 one of the most valued1 most finished monuments of ,greek art2 and being apprehensive of the prejudice that might arise against the meaner productions of the ancients1 on discovering many faults in one so eminent as ,diomedes2 he endeavoured to keep matters from being too nearly examined1 and to soften every fault into negligence4 ,how6 if by argument ,i shall attempt to shew that ,dioscorides understood neither perspective1 nor the most trivial rules of the motion of a human body2 nay1 that he offended even against possibility8 ,i'll venture to do it1 though incedo per ignes ,suppositos cineri doloso4 ,hor4 ,and perhaps ,i am not the first discoverer of his faults3 yet ,i do not remember to have seen any thing relative to them4 ,the ,diomedes of ,dioscorides is either a sitting1 or a rising figure2 for the attitude is ambiguous4 ,it is plain he is not sitting2 and rising is inconsistent with his action4 ,our body endeavouring to raise itself from a seat1 moves always mechanically towards its sought-for centre of gravity1 drawing back the legs1 which were advanced in sitting#bf2 instead of which the figure stretches out his right leg4 ,every erection begins with elevated heels1 and in that moment all the weight of the body is supported only by the toes1 which was observed by ,felix#bg1 in his ,diomedes3 but here all rests on the sole4 ,nor can ,diomedes1 7if we suppose him to be a sitting figure1 as he touches with his left leg the bottom of his thigh7 find1 in raising himself1 the centre of his gravity1 only by a retraction of his legs1 and of course cannot rise in that posture4 ,his left hand resting upon the bended leg1 holds the palladion1 whilst his right touches negligently the pedestal with the point of a short sword2 consequently he cannot rise1 neither moving his legs in the natural and easy manner required in any erection1 nor making use of his arms to deliver himself from that uneasy situation4 ,there is at the same time a fault committed against the rules of perspective4 ,the foot of the left bended leg1 touching the cornice of the pedestal1 shews it over-reaching that part of the floor1 on which the pedestal and the right foot are situated1 consequently the line described by the hinder-foot is the fore on the gem1 and vice versa4 ,but allowing even a possibility to that situation1 it is contrary to the ,greek character1 which is always distinguished by the natural and easy4 ,attributes neither to be met with in the contortions of ,diomedes1 nor in an attitude1 the impossibility of which every one must be sensible of1 in endeavouring to put himself in it1 without the help of former sitting4 ,felix1 supposed to have lived after ,dioscorides1 though preserving the same attitude1 has endeavoured to make its violence more natural1 by opposing to him the figure of ,ulysses1 who1 as we are told1 in order to bereave him of the honour of having seized the ,palladion1 offered to rob him of it1 but being discovered1 was repulsed by ,diomedes2 which being his supposed action on the gem1 allows violence of attitude#bh4 ,diomedes cannot be a sitting figure1 for the ,contour of his buttock and thigh is free1 and not in the least compressed3 the foot of the bent leg is visible1 and the leg itself not bent enough4 ,the ,diomedes represented by ,mariette is absurd2 the left leg resembling a clasped pocket-knife1 and the foot being drawn up so high as to make it impossible in nature that it should reach the pedestal#bi4 ,faults of this kind cannot be called negligences1 and would not be forgiven in any modern artist4 ,dioscorides1 'tis true1 in this renowned performance did but copy ,polycletus1 whose ,doryphorus 7as is commonly agreed7 was the best rule of human proportions#cj4 ,but1 though a copyist1 ,dioscorides escaped a fault which his master fell into4 ,for the pedestal1 over which the ,diomedes of ,polycletus leans1 is contrary to the most common rules of perspective2 its cornices1 which should be parallel1 forming two different lines4 ,i wonder at ,perrault's omitting to make objections against the ancient gems4 ,i mean not to do any thing derogatory to the author1 when ,i trace some of his particular observations to their source4 ,the food prescribed to the young wrestlers1 in the remoter times of ,greece1 is mentioned by ,pausanias#ca4 ,but if the author alluded to the passage which ,i have in view1 why does he talk in general of milk-food1 when ,pausanias particularly mentions soft cheese8 ,dromeus of ,stymphilos1 we learn there1 first introduced flesh meat4 ,my researches1 concerning their mysterious art of changing blue eyes to black ones1 have not succeeded to my wish4 ,i find it mentioned but once1 and that only by the bye by ,dioscorides#cb4 ,the author1 by clearing up this art1 might perhaps have thrown a greater lustre over his treatise1 than by producing his new method of statuary4 ,he had it in his power to fix the eyes of the ,newtons and ,algarotti's1 on a problem worth their attention1 and to engage the fair sex1 by a discovery so advantageous to their charms1 especially in ,germany1 where1 contrary to ,greece1 large1 fine1 blue eyes are more frequently met with than black ones4 ,there was a time when the fashion required to be green eyed3 ,et si bel oeil vert riant clair3 ,le ,sire de ,coucy1 chans4 ,but ,i do not know whether art had any share in their colouring4 ,and as to the small-pox1 ,hippocrates might be quoted1 if grammatical disquisitions suited my purpose4 ,however1 ,i think1 no effects of the small-pox on a face can be so much the reverse of beauty1 as that defect which the ,athenians were reproachfully charged with1 viz4 a buttock as pitiful as their face was perfect#cc4 ,indeed ,nature1 in so scantily supplying those parts1 seemed to derogate as much from the ,athenian beauty1 as1 by her lavishness1 from that of the ,indian ,enotocets1 whose ears1 we are told1 were large enough to serve them for pillows4 ,as for opportunities to study the nudities1 our times1 ,i think1 afford as advantageous ones as the ,gymnasies of the ancients4 ',tis the fault of our artists to make no use of that#cd proposed to the ,parisian artists1 viz4 to walk1 during the summer season1 along the ,seine1 in order to have a full view of the naked parts1 from the sixth to the fiftieth year4 ',tis perhaps to ,michael ,angelo's frequenting such opportunities that we owe his celebrated ,carton of the ,pisan war#ce1 where the soldiers bathing in a river1 at the sound of a trumpet leap out of the water1 and make haste to huddle on their cloaths4 ,one of the most offensive passages of the treatise is1 no doubt1 the unjust debasement of the modern sculptors beneath the ancients4 ,these latter times are possessed of several ,glycons in muscular heroic figures1 and1 in tender youthful female bodies1 of more than one ,praxiteles4 ,michael ,angelo1 ,algardi1 and ,sluter1 whose genius embellished ,berlin1 produced muscular bodies1 ----,invicti membra ,glyconis1 ,hor4 in a style rivalling that of ,glycon himself2 and in delicacy the ,greeks are perhaps even outdone by ,bernini1 ,fiammingo1 ,le ,gros1 ,rauchmller1 ,donner4 ,the unskilfulness of the ancients1 in shaping children1 is agreed upon by our artists1 who1 ,i suppose1 would for imitation choose a ,cupid of ,fiammingo rather than of ,praxiteles himself4 ,the story of ,m4 ,angelo's placing a ,cupid of his own by the side of an antique one1 in order to inform our times of the superiority of the ancient art1 is of no weight here3 for no work of ,michael ,angelo can bring us so near perfection as ,nature herself4 ,i think it no hyperbole to advance1 that ,fiammingo1 like a new ,prometheus1 produced creatures which art had never seen before him4 ,for1 if from almost all the children on ancient gems#cf and reliefs#cg1 we may form a conclusion of the art itself1 it wanted the true expression of childhood1 as looser forms1 more milkiness1 and unknit bones4 ,faults which1 from the epoch of ,raphael1 all children laboured under1 till the appearance of ,francis ,quesnoy1 called ,fiammingo1 whose children having the advantages of suitable innocence and nature1 became models to the following artists1 as in youthful bodies ,apollo and ,antinous are3 an honour which ,algardi1 his contemporary1 may be allowed to share4 ,their models in clay are1 by our artists1 esteemed superior to all the antique marble children2 and an artist of genius and talents assured me1 that during a stay of seven years at ,vienna1 he saw not one copy taken from an ancient ,cupid in that academy4 ,neither do ,i know on what singular idea of beauty1 the ancient artists founded their custom1 of hiding the foreheads of their children and youths with hair4 ,thus a ,cupid was represented by ,praxiteles#ch2 thus a ,patroclus1 in a picture mentioned by ,philostratus#ci3 and there is no statue nor bust1 no gem nor coin of ,antinous1 in which we do not find him thus dressed4 ,hence1 perhaps1 that gloom1 that melancholy1 with which all the heads of this favourite of ,hadrian are marked4 ,is not there in a free open brow more nobleness and sublimity8 and does not ,bernini seem to have been better acquainted with beauty than the ancients1 when he removed the over-shadowing locks from the forehead of young ,lewis ,,xiv4 whose bust he was then executing8 8,your ,majesty1 said ,bernini1 is ,king1 and may with confidence shew your brow to all the world40 ,from that time ,king and court dressed their hair la ,bernini#dj4 ,his judgment of the bas-reliefs on the monument of ,pope ,alexander ,,vi#da4 leads us to some remarks on those of antiquity4 8,the skill in bas-relief1 said he1 consists in giving the air of relief to the flat3 the figures of that monument seem what they are indeed1 not what they are not40 ,the chief end of bas-relief is to deck those places that want historical or allegorical ornaments1 but which have neither cornices sufficiently spacious1 nor proportions regular enough to allow groupes of entire statues3 and as the cornice itself is chiefly intended to shelter the subordinate parts from being directly or indirectly hurt1 no bas-relief must exceed the projection thereof2 which would not only make the cornice of no use1 but endanger the figures themselves4 ,the figures of ancient bas-reliefs shoot commonly so much forward as to become almost round4 ,but bas-relief being founded on fiction1 can only counterfeit reality2 its perfection is well to imitate2 and a natural mass is against its nature3 if flat1 it ought to appear projected1 and vice versa4 ,if this be true1 it must of course be allowed that figures wholly round are inconsistent with it1 and are to be considered as solid marble pillars built upon the theatre1 whose aim is mere illusion2 for art1 as is said of tragedy1 wins truth from fiction1 and that by truth4 ,to art we often owe charms superior to those of nature3 a real garden and vegetating trees1 on the stage1 do not affect us so agreeably1 as when well expressed by the imitating art4 ,a rose of ,van ,huisum1 mallows of ,veerendal1 bewitch us more than all the darlings of the most skilful gardener3 the most enticing landscape1 nay1 even the charms of the ,thessalian ,tempe1 would not1 perhaps1 affect us with that irresistible delight which1 flowing from ,dietrick's pencil1 enchants our senses and imagination4 ,by such instances we may safely form a judgment of the ancient bas-reliefs3 the royal cabinet at ,dresden is possessed of two eminent ones3 a ,bacchanal on a tomb1 and a sacrifice to ,priapus on a large marble vase4 ,the bas-relief claims a particular kind of sculpture2 a method that few have succeeded in1 of which ,matielli may be an instance4 ,the ,emperor ,charles ,,vi4 having ordered some models to be prepared by the most renowned artists1 in bas-relief1 intended for the spiral columns at the church of ,s4 ,charles ,borromo2 ,matielli1 already famous1 was principally thought of2 but however refused the honour of so considerable a work1 on account of the enormous bulk of his model1 which requiring too great cavities1 would have diminished the mass of the stone1 and of course weakened the pillars4 ,mader was the artist1 whose models were universally applauded1 and who by his admirable execution proved that he deserved that preference4 ,these bas-reliefs represent the story of the patron of this church4 ,it is in general to be observed1 first1 that this kind of sculpture admits not indifferently of every attitude and action2 as for instance1 of too strong projections of the legs4 ,secondly1 ,that1 besides disposing of the several modelled figures in well-ranged groupes1 the diameter of every one ought to be applied to the bas-relief itself1 by a lessened scale3 as for instance1 the diameter of a figure in the model being one foot1 the profile of the same1 according to its size1 will be three inches1 or less3 the rounder a figure of that diameter1 the greater the skill4 ,commonly the relief wants perspective1 and thence arise most of its faults4 ,though ,i proposed to make only a few remarks on the ancient bas-relief1 ,i find myself1 like a certain ancient ,rhetor1 almost under a necessity of being new-tuned4 ,i have strayed beyond my limits2 though at the same time ,i remembered that there is a law among commentators1 to content themselves with bare remarks on the contents of a treatise3 and also sensible that ,i am writing a letter1 not a book1 ,i consider that ,i may draw some instructions for my own use1 ----ut vineta egomet cdam mea1 ,hor4 from some peoples impetuosity against the author2 who1 because they are hired for it1 seem to think that writing is confined to them alone4 ,the ,romans1 though they worshipped the deity ,terminus 7the guardian ,god of limits and borders in general2 and1 if it please these gentlemen1 of the limits in arts and sciences too71 allowed nevertheless an universal unrestrained criticism3 and the decisions of some ,greeks and ,romans1 in matters of an art1 which they did not practise1 seem nevertheless authentick to our artists4 ,nor can ,i find1 that the keeper of the temple of peace at ,rome1 though possessed of the register of the pictures there1 pretended to monopolize remarks and criticisms upon them2 ,pliny having described most of them4 ,publica materies privati juris sit-- ,hor4 ',tis to be wished1 that1 roused by a ,pamphilus and an ,apelles1 artists would take up the pen themselves1 in order to discover the mysteries of the art to those that know how to use them1 ,ma di costor'1 che lavorar s'accingono1 ,quattro quinti1 per ,dio1 non sanno leggere4 ,salvator ,rosa1 ,sat4 ,,iii4 ,two or three of these are to be commended2 the rest contented themselves with giving some historical accounts of the fraternity4 ,but what could appear more auspicious to the improvement of the art1 even by the remotest posterity1 than the work attempted by the united forces of the celebrated ,pietro da ,cortona#db and ,padre ,ottonelli8 ,nevertheless this same treatise1 except only a few historical remarks1 and these too to be met with in an hundred books1 seems good for nothing1 but ,ne scombris tunic desint1 piperique cuculli4 ,sectan4 ,sat4 ,how trivial1 how mean are the great ,poussin's reflexions on painting1 published by ,bellori1 and annexed to his life of that artist#dc8 ,another digression6--let me now again resume the character of your ,aristarchus4 ,you are bold enough to attack the authority of ,bernini1 and to challenge a man1 the bare mention of whose name would do honour to any treatise4 ,it was ,bernini1 you ought to recollect1 ,sir1 who at the same age in which ,michael ,angelo performed his ,studiolo#dd1 viz4 in his eighteenth year1 produced his ,daphne1 as a convincing instance of his intimacy with the ancients1 at an age in which perhaps the genius of ,raphael was yet labouring under darkness and ignorance6 ,bernini was one of those favourites of nature1 who produce at the same time vernal blossoms and autumnal fruits2 and ,i think it by no means probable1 that his studying nature in riper years misled either him or his disciples4 ,the smoothness of his flesh was the result of that study1 and imparted to the marble the highest possible degree of life and beauty4 ,indeed 'tis nature which endows art with life1 and 8vivifies forms10 as ,socrates says#de1 and ,clito the sculptor allows4 ,the great ,lysippus1 when asked which of his ancestors he had chosen for his master1 replied1 8,none2 but nature alone40 ,it is not to be denied1 that the too close imitation of antiquity is very often apt to lead us to a certain barrenness1 unknown to those who imitate nature3 various herself1 nature teaches variety1 and no votary of her's can be charged with a sameness3 whereas ,guido1 ,le ,brun1 and some other votaries of antiquity1 repeated the same face in many of their works4 ,a certain ideal beauty was become so familiar to them1 as to slide into their figures even against their will4 ,but as for such an imitation of nature1 as is quite regardless of antiquity1 ,i am entirely of the author's opinion2 though ,i should have chosen other artists as instances of following nature in painting4 ,jordans certainly has not met with the regard due to his merit2 let me appeal to an authority universally allowed4 8,there is1 says ,mr4 d',argenville1 more expression and truth in ,jordans1 than even in ,rubens4 8,truth is the basis and origin of perfection and beauty2 nothing1 of any kind whatever1 can be beautiful or perfect1 without being truly what it ought to be1 without having all it ought to have40 ,the solidity of this judgment presupposed1 ,jordans1 according to ,rochefoucault's maxims1 ought rather to be ranked among the greatest originals1 than among the mimicks of common nature1 where ,rembrandt may fill up his place1 as ,raoux or ,vatteau that of ,stella2 though all these painters do nothing but what ,euripides did before them2 they draw man ad vivum4 ,there are no trifles1 no meannesses in the art1 and if we recollect of what use the ,caricatura was to ,bernini1 we should be cautious how we pass judgment even on the ,dutch forms4 ,that great genius1 they say#df1 owed to this monster of the art1 a distinction for which he was so eminent1 the 8,franchezza del ,tocco40 ,when ,i reflect on this1 ,i am forced to alter my former opinion of the ,caricatura1 so far as to believe that no artist ever acquired a perfection therein without gaining a farther improvement in the art itself4 8,it is1 says the author1 a peculiar distinction of the ancients to have gone beyond nature30 our artists do the same in their ,caricaturas3 but of what avail to them are the voluminous works they have published on that branch of the art8 ,the author lays it down1 in the peremptory style of a legislator1 that 8,precision of ,contour can only be learned from the ,greeks30 but our academies unanimously agree1 that the ancients deviate from a strict ,contour in the clavicles1 arms1 knees1 c4 over which1 in spite of apophyses and bones1 they drew their skin as smooth as over mere flesh2 whereas our academies teach to draw the bony and cartilaginous parts1 more angularly1 but the fat and fleshy ones more smooth1 and carefully to avoid falling into the ancient style4 ,pray1 ,sir1 can there be any error in the advices of academies in corpore8 ,parrhasius himself1 the father of ,contour1 was not1 by ,pliny's account#dg1 master enough to hit the line by which completeness is distinguished from superfluity3 shunning corpulency he fell into leanness3 and ,zeuxis's ,contour was perhaps like that of ,rubens1 if it be true that1 to augment the majesty of his figures1 he drew with more completeness4 ,his female figures he drew like those of ,homer#dh1 of robust limbs3 and does not even the tenderest of poets1 ,theocritus1 draw his ,helen as fleshy and tall#di as the ,venus of ,raphael in the assembly of the gods in the little ,farnese8 ,rubens then1 for painting like ,homer and ,theocritus1 needs no apology4 ,the character of ,raphael1 in the treatise1 is drawn with truth and exactness3 but well may we ask the author1 as ,antalcidas the ,spartan asked a sophist1 ready to burst forth in a panegyrick on ,hercules1 8,who blames him80 ,the beauties however of the ,raphael at ,dresden1 especially the pretended ones of the ,jesus1 are still warmly disputed4 ,what you admire1 we laugh at4 ,why did not he rather display his patriotism against those ,italian connoisseurs1 whose squeamish stomachs rise against every ,flemish production8 ,turpis ,romano ,belgicus ore color4 ,propert4 ,l4 ,,ii4 ,eleg4 #h4 ,and indeed are not colours so essential1 that without them no picture can aspire to universal applause8 ,do not their bewitching charms cover the most grievous faults8 ,they are the harmonious melody of painting2 whatever is offensive vanishes by their splendor1 and souls animated with their beauties are absorbed in beholding1 as the readers of ,homer are by his flowing harmony1 so as to find no faults4 ,these1 joined to that important science of ,chiaro-,oscuro1 are the characteristicks of ,flemish painting4 ,agreeably to affect our eye is the first thing in a picture#ej1 which to obtain1 obvious charms are wanted2 not such as spring only from reflection4 ,colouring moreover belongs peculiarly to pictures2 whereas design ought to be in every draught1 print1 c4 and indeed seems easier to be attained than colouring4 ,the best colourists1 according to a celebrated writer#ea1 have always come after the inventors and contourists2 we all know the vain attempts of the famous ,poussin4 ,in short1 all those ,qui rem ,romanam ,latiumque augescere student1 ,ennius4 must here acknowledge the superiority of the ,flemish art2 the painter being really but nature's mimick1 is the more perfect the better he mimicks her4 ,ast heic1 quem nunc tu tam turpiter increpuisti1 ,ennius4 the delicate ,van der ,werf1 whose performances1 worth their weight in gold1 are the ornaments of royal cabinets only1 has made nature inimitable to every ,italian pencil2 he allures the connoisseur's eye as well as that of the clown2 and1 as an ,english poet says1 8that no pleasing poet ever wrote ill10 surely the ,flemish painter obtained that applause which was denied to ,poussin4 ,i should be glad to see many pictures as happily fancied1 as well composed1 as enticingly painted as some of ,gherard ,lairesse3 let me appeal to every unprepossessed artist at ,paris1 acquainted with the ,stratonice1 the most eminent1 and no doubt the first ranked picture in the cabinet of ,mr4 de la ,boixieres#eb4 ,the subject is of no trivial choice3 ,king ,seleucus ,i4#ec resigned his wife ,stratonice1 a daughter of ,demetrius ,poliorcetes1 to his son ,antiochus1 whom a violent passion for his mother-in-law had thrown into a dangerous sickness3 after many unsuccessful inquiries1 the physician ,erasistratus discovered the true cause1 and found that the only means of restoring the prince's health1 was1 the condescension of the father to the love of his son3 the ,king resigned his ,queen1 and at the same time declared ,antiochus ,king of the ,east4 ,stratonice1 the chief person1 is the noblest figure1 a figure worthy ,raphael himself4 ,the charming ,queen1 ,colle sob ido vincere digna deas1 ,ovid4 ,art4 with slow and hesitating steps1 approaches the bed of her new lover2 but still with the countenance of a mother1 or rather of a sacred vestal4 ,in the profile of her face you may read shame mingled with gentle resignation to the will of her lord4 ,she has the softness of her sex1 the majesty of a queen1 an awful submission to the sacred ceremony1 and all the sageness required in so extraordinary and delicate a situation4 ,dressed with a masterly skill1 the artist1 from the colour of her cloaths1 may learn how to paint the purple of the ancients2 for it is not generally known that it resembled fadeing1 ruddy1 vine-leaves#ed4 ,behind her stands the ,king1 dressed in a darker habit1 in order to give the more relief to the ,queen1 to spare confusion to her1 shame to the ,prince1 and not to interrupt his joy4 ,expectation and acquiescence are blended in his face1 which is taken from the profile of his best coins4 ,the ,prince1 a beautiful half-naked youth1 sitting in his bed1 has some resemblance of his father2 his pale face bears witness of the fever1 that lately had raged in his veins2 but fancy sees returning health1 not shame1 in that soft-rising ruddiness diffused over his cheeks4 ,the physician and priest ,erasistratus1 venerable like the ,calchas of ,homer1 standing before the bed1 is the only speaker1 authorised by the ,king1 whose will he declares to the ,prince2 and whilst1 with one hand1 he leads the ,queen to the embraces of her lover1 with the other he presents him with the diadem4 ,joy and astonishment flash from the ,prince's face on the approach of his ,queen ----darting all the soul in missive love3 though nobly restrained by reverence1 he bends his head1 and seems to comprise his happiness in a single thought4 ,the characters indeed are distributed with so much ingenuity1 that they seem to give a lustre and energy to each other4 ,the largest share of light is displayed on ,stratonice3 she claims our first regard4 ,the priest1 though in a weaker light1 is raised by his gesture3 he is the speaker1 and around him reign solemn stillness and attention4 ,the ,prince1 the second person1 has a larger share of light2 and though the artist1 led by his skill1 chose rather to make a beautiful ,queen the chief support of his groupe than a sick ,prince1 ,he nevertheless maintains his due rank1 and becomes the most eminent person of the whole1 by his expression4 ,his face contains the greatest secrets of the art1 ,quales nequeo monstrare sentio tantum4 ,juvenal4 ,sat4 ,,vii4 ,even those motions of the soul1 which otherwise seem opposite to each other1 mingle here with peaceful harmony2 a timid red spreading over his sickly face1 announces health1 like the faint glimmerings of the morn1 which1 though veiled by night1 announce the day1 and even a bright one4 ,the genius and taste of the artist shines forth in every part of his work3 even the vases are copied from the best antique ones2 the table before the bed1 is1 like ,homer's1 of ivory4 ,the distances behind the figures represent a magnificent ,greek building1 whose decorations seem allegorical4 ,the roof of a portal is supported by ,cariatides embracing each other1 as images of the tender friendship between father and son1 and alluding1 at the same time1 to the nuptial ceremony4 ,though faithful to history1 the painter was nevertheless a poet3 in order to represent some circumstances1 he filled even the furniture with sentiments4 ,the ,sphinxes by the ,prince's bed allude to his problematic sickness1 the enquiries of ,erasistratus1 and his sagacity in discovering its true cause4 ,i have been told that some young ,italian artists1 when considering this picture1 and perceiving the ,prince's arm perhaps a trifle too big1 went off without enquiring into the subject itself4 ,should even ,minerva herself1 as she once did to ,diomedes1 attempt to deliver some people from the mist they labour under1 by heaven6 the attempt were vain6 ----pauci dignoscere possunt ,vera bona1 atque illis multum diversa1 remota ,erroris nebula4 ,juv4 ,x4 ,i have run into this long digression1 in order to throw some light on one of the first productions of the art1 which is nevertheless but little known4 ,the idea of noble simplicity and sedate grandeur in ,raphael's figures1 might rather1 as two eminent authors express it#ee1 be called 8still life40 ,it is indeed the standard of the ,greek art3 however1 indiscreetly commended to young artists1 it might beget as dangerous consequences1 as precepts of energetick conciseness in the style2 the direct method to make it barren and unpleasing4 8,in youths1 says ,cicero#ef1 there must be some superfluity1 something to be taken off3 prematurity spoils the juices1 and it is easier to lop the young rank branches of a vine1 than to restore its vigour to a worn out trunk40 ,not to mention1 that figures wanting gesture would1 by the bulk of mankind1 be received as a speech before the ,areopagites1 where1 by a severe law1 the speaker was forbid to raise any passions1 though ever so gentle#eg3 nay1 pictures of this kind would be so many portraits of young ,spartans1 who1 with hands hid under their coats1 and down-cast eyes1 stalk forth in silent solemnity#eh4 ,neither am ,i quite of the author's opinion with regard to allegory2 the applying of which would too frequently do in painting1 what was done in geometry by introducing algebra3 the one would soon be as difficult as the other1 and painting would degenerate into ,hieroglyphicks4 ,the author attempts1 in vain1 to persuade us1 that the majority of the ,greeks thought as the ,egyptians4 ,there was no more learning in the painting of the platfond of the temple of ,juno at ,samos1 than in that of the ,farnese gallery4 ,it represented the love-intrigues of ,jupiter and ,juno#ei3 and1 in the front of a temple of ,ceres at ,eleusis1 there was nothing but representations of a ceremony at the rites of that goddess#fj4 ,how to represent abstract ideas ,i do not yet distinctly conceive4 ,there may be the same difficulties which attend the endeavours of representing to the senses a mathematical point--perhaps nothing less than impossibility2 and ,theodoretus#fa has some reason in confining painting to the senses4 ,for those ,hieroglyphicks which hint at abstract ideas1 in such a manner as to express1 for instance#fb1 youth by the number ,,xvi2 impossibility by two feet standing on water3 those1 ,i say1 are monograms1 not images3 to indulge them in painting is fostering chimras1 is adding to ,chinese pictures ,chinese explications4 ,an adversary of allegory believes that ,parrhasius1 without any help from it1 could represent the contradictions in the character of the ,athenians2 that he did it perhaps in several pictures4 ,supposing which ,et sapit1 mecum facit1 ,jove judicat quo4 ,hor4 ,the sentence of death pronounced against the leaders of the ,athenian navy1 after their victory over the ,spartans near the ,arginuses1 afforded the artist a very sensible and rich image1 to represent the ,athenians1 at the same time1 merciful and cruel4 ,the famous ,theramenes1 one of the leaders1 accused his fellow-chieftains of having neglected to gather and bury the bodies of their slain countrymen3 a charge sufficient to rouse the rage of the mob against the victors2 only six of whom had returned to ,athens1 the rest having declined the storm4 ,theramenes harangued the people in the most pathetick manner2 intermixing his speech with frequent pauses1 in order to give vent to the loud plaints of those who1 in the battle1 had lost their parents or relations4 ,he1 at the same time1 produced a man1 who protested he had heard the last words of the drowned1 imprecating the publick revenge on their leaders4 ,in vain did ,socrates1 then a member of the council1 with a few others1 oppose the accusation3 the brave chieftains1 instead of the honours they hoped for1 were condemned to die4 ,one of them was the only son of ,pericles and ,aspasia4 ,was it not in the power of ,parrhasius1 who was then alive1 to enlarge the meaning of his picture beyond the extent of bare history1 only by drawing the true characters of the authors of this scene1 without the least help from allegory8 ,it would have been in his power1 had he lived in our days4 ,your pretensions concerning allegory seem indeed as reasonable an imposition upon the painter1 as that of ,columella upon his farmer2 who wished to find him a philosopher like ,democritus1 ,pythagoras1 or ,eudoxus#fc4 ,no better success1 in my opinion1 is to be expected from applying allegory to decorations3 the author would1 at least1 meet with as many difficulties as ,virgil1 when hammering on the names of a ,vibius ,caudex1 ,tanaquil ,lucumo1 or ,decius ,mus2 to fit them for his ,hexameter4 ,custom has given its sanction to the use of shells in decorations3 and is not there as much nature in them as in the ,corinthian capital8 ,you know its origin3 a basket set upon the tomb of a young ,corinthian girl1 filled with some of her play-things1 and covered with a large brick1 being overgrown with the creeping branches of an acanthus1 which had taken root under it1 was the first occasion of forming that capital4 ,callimachus#fd the sculptor1 surprized at the elegant simplicity of that composition1 took thence a hint for enriching architecture with a new order4 ,thus this capital1 destined to support all the entablature of the column1 is but a basket of flowers2 something so apparently inconsistent with the ideas of architecture1 that there was no use made of it in the time of ,pericles3 for ,pocock#fe thinks it strange that the temple of ,minerva at ,athens had ,doric1 instead of ,corinthian pillars4 ,but time soon changed this seeming oddity into nature2 the basket lost1 by custom1 all its former offensiveness1 and ,quod fuerat vitium desinit esse mora4 ,ovid4 ,art4 ,we acknowledge no ,egyptian law to forbid arbitrary ornaments2 and so fond have the artists of all ages been1 both of the growth and form of shells1 as to change even the chariot of ,venus into an enormous one4 ,the ancile1 that ,palladium of the ,romans1 was scooped into the form of a shell#ff3 we find them on antique lamps#fg4 ,nay1 nature herself seems to have produced their immense variety1 and marvellous sinuations1 for the benefit of the art4 ,i have no mind to plead the bad cause of our unskilful decorators3 only let me adduce the arguments used by a whole tribe1 7if the artists will forgive the term71 in order to prove the reasonableness of their art4 ,the painters and sculptors of ,paris1 endeavouring to deprive the decorators of the title of artists1 by alledging that they employed neither their own intellectual faculties1 nor those of the connoisseurs1 upon works not produced by nature1 but rather the offsprings of capricious art2 the others are said to have defended themselves in the following manner3 8,we are the followers of nature3 like the bark of a tree1 variously carved1 our decorations grow into various forms3 then art joins sportive nature1 and corrects her3 we do what the ancients did3 consult their decorations40 ,variety is the great and only rule to which decorators submit4 ,perceiving that there is no perfect resemblance between two things in nature1 they likewise forsake it in their decorations2 and careless of anxious twining1 leave it to the parts themselves to find their like1 as the atoms of ,epicurus did4 ,this liberty we owe to the very nation1 which1 after having nobly exceeded all the narrow bounds of social formalities1 bestows so much pains upon communicating her improvements to her neighbours4 ,this style in decorations got the epithet of ,barroque taste1 derived from a word signifying pearls and teeth of unequal size#fh4 ,shells have at least as good a claim for being admitted among our decorations1 as the heads of sheep and oxen4 ,you know that the ancients placed those heads1 stript of the skin1 on the frizes1 especially of the ,doric order1 between the ,triglyphs1 or on the ,metopes4 ,we even meet with them on the ,corinthian frise of an old temple of ,vesta1 at ,tivoli#fi2 on tombs1 as on one of the ,metellus-family near ,rome1 and another of ,munatius ,plancus near ,gaeta#gj2 on vases1 as on a pair in the royal cabinet at ,dresden4 ,some modern artists1 finding them perhaps unbecoming1 changed them into thunderbolts1 like ,vignola1 or to roses1 like ,palladio and ,scamozzi#ga4 ,we conclude from all this1 that learning never had1 nor indeed ought to have1 any share in an art so nearly related to what we call ,lusus ,natur4 ,thus the ancients thought3 for1 pray1 what could be meant by a lizard on ,mentor's cup8#gb ,the ,picti squallentia terga lacerti ,virg4 ,g4 ,,iv4 make1 to be sure1 a lovely image amidst the flowers of a ,rachel ,ruysch1 but a very poor figure on a cup4 ,of what mysterious meaning are birds picking grapes from vines1 on an urn8#gc ,images1 perhaps1 as void of sense1 and as arbitrary1 as the fable of ,ganymede embroidered on the mantle1 which neas presented to ,cloanthus1 as a reward of his victory in the naval games#gd4 ,to conclude3 is there any thing contradictory between trophies and the hunting-house of a ,prince8 ,surely the author1 though so zealous a champion for the ,greek taste1 cannot pretend to propose to us that of ,king ,philip and the ,macedonians1 who1 by the account of ,pausanias#ge1 did not erect their own trophies4 ,diana perhaps1 amidst her nymphs and hunting-equipages1 ,qualis in ,eurot ripis1 aut per juga ,cynthi1 ,exercet ,diana choros1 quam mille secut1 ,hinc atque hinc glomerantur1 ,oreades-- ,virg4 might better suit the place2 but we know that the antient ,romans hung up the arms of their defeated enemies over the out-sides of their doors1 to be everlasting monitors of bravery to every succeeding owner of the house4 ,can trophies1 having the same design1 ever be misplaced on any building of the ,great8 ,i wish for a speedy answer to this letter4 ,you cannot be angry at seeing it published4 ,the tribe of authors now imitate the conduct of the stage1 where the lover1 with his soliloquy1 entertains the pit4 ,for the same reason ,i shall receive1 with all my heart1 an answer1 ,quam legeret tereretque viritim publicus usus3 ,hor4 for ,hanc veniam petimusque damusque vicissim4 ,id4 ,,an ,,account ,,of ,a ,,mummy1 ,,in ,the ,royal ,cabinet of ,antiquities at ,,dresden4 ,among the ,egyptian ,mummies of the royal cabinet1 there are two preserved perfectly entire1 and not in the least damaged1 viz4 the bodies of a man and woman4 ,the former1 among all those that were brought into1 and publickly known in ,europe1 is perhaps the only one of its kind2 on account of an inscription thereon1 which none of those who have written on ,mummies1 except ,della ,valle alone1 discovered on those bodies2 and ,kircher1 among all the drawings of ,mummies communicated to him1 and published in his ,oedipus1 has but one1 7the same which ,della ,valle had been possessed of17 with an inscription2 though his wooden cut#gf is as faulty as all the copies made afterwards#gg4 ,on that ,mummy there are these letters 4 ,this same inscription is on the royal ,mummy1 of which ,i propose to give a brief account1 and in examining which ,i have employed all my attention1 that ,i might be certain of its being genuine1 and not drawn by a modern hand from the inscription of ,della ,valle3 for 'tis well known1 that those bodies frequently pass through the hands of ,jews4 ,but the letters are evidently drawn with the same blackish colour with which the face1 hands1 and feet are stained4 ,the first letter on our ,mummy has the form of a large ,greek 1 expressed by ,della ,valle with an ,e angular1 the other not being usual in printing-presses4 ,all the four ,mummies of the royal cabinet being bought at ,rome1 ,i proposed to examine whether the ,mummy with the inscription1 was that which ,della ,valle was possessed of1 and found that both the entire royal ,mummies were exact resemblances of those described by him4 ,both1 besides the linnen bandages1 of a ,barracan-texture1 rolled innumerable times around the bodies1 are wrapt up in several 7and1 according to an observation made in ,england#gh1 in three7 kinds of coarser linnen2 which1 by particular bandages of the girdle-kind1 is fastened in such a manner as to involve even the smallest prominence of the face4 ,the first covering is a nice bit of linnen1 slightly tinged with a certain ground1 much gilt1 decked with various figures1 and with a painted one of the deceased4 ,on the ,mummy marked with the inscription1 this figure represents a man1 who died in the flower of life1 with a thin curled beard1 not as represented by ,kircher1 like an old man with a long pointed one4 ,the colour of the face and hands is brown3 the head encircled with gilt diadems1 marked with the sockets of jewels4 ,from the gold chain1 painted around the neck1 a sort of medal hangs down1 marked with various characters1 crescents1 c4 and this over-reaches the neck of a bird1 that of a hawk perhaps1 as on the breasts of other ,mummies#gi4 ,in the right hand of the figure is a dish filled with a red stuff1 which being like that used by the sacrificers#hj1 the deceased may be supposed to have been a priest4 ,the first and last finger of the left hand have rings2 and in the hand itself there is something round1 of a dark-brown colour2 which1 as ,della ,valle pretends1 is a well-known fruit4 ,the feet and legs are bare1 with sandals2 the strings of which appearing between the great toes1 are1 with a slip1 fastened on the foot itself4 ,the inscription1 above-mentioned1 is beneath the breast4 ,the second ,mummy is the still more refined figure of a young woman4 ,among a great many medals1 seemingly gilt1 and other figures1 there are certain birds1 and quadrupeds something analogous to lions2 and towards the extremities of the body there is an ox1 perhaps an apis3 ,down from one of the neck-chains hangs a gilt image of the sun4 ,she has ear-rings1 and double bracelets on both her arms3 rings on each hand1 and on every finger of the left one1 but two on the first3 whereas the right hand has but two3 with this hand she holds1 like ,isis1 a small gilt vessel1 of the ,greek ,spondeion-kind1 which was a symbol of the fertility of the ,nile1 when held by the goddess#ha4 ,in the left hand there is a sort of fruit1 like an ear of corn1 of a greenish cast4 ,the leaden seals1 mentioned by ,della ,valle1 still remain on the first ,mummy4 ,compare this description with that in his travels#hb1 and you'll find the ,mummies of the royal cabinet to be the same with those1 which were taken out of a deep well or cave1 covered with sand1 and sold to this celebrated traveller by an ,egyptian2 and ,i believe they were purchased from his heirs at ,rome1 though in the manuscript catalogue1 joined to that cabinet of antiquities1 there is not the least hint of any such purchase4 ,i have no design to attempt an explication of the ornaments and figures2 some remarks of that kind having already been made by ,della ,valle4 ,the following observations concern only the inscription4 ,the ,egyptians1 we know1 employed a double character in expressing themselves#hc1 the sacred and the vulgar3 the first was what is called hieroglyphick2 the other contained the characters of their national language1 and this is commonly said to be lost4 ,all we know is confined to the twenty-five letters of their alphabet4#hd ,della ,valle seems inclined to give an instance of the contrary1 in that inscription2 which ,kircher1 pushing his conjectures still farther1 endeavours to lay down as a foundation for a new scheme of his2 and to support it by two other remains of the same kind4 ,for1 he attempts to prove#he1 that the dialect was the only difference between the old ,egyptian and ,greek tongue4 ,according to his talent of finding what no body looks for1 he makes free with some ancient historical accounts2 upon which he obtrudes a fictitious sense1 in order to make them tally with his scheme4 ,herodotus1 according to him1 tells us1 that ,king ,psammetichus desired some ,greeks1 who were perfect masters of their language1 to go over to ,egypt1 in order to instruct his people in the purity of the tongue4 ,hence he concludes1 that there was but one language in both countries4 ,but that ,greek historian#hf gives an account entirely opposite3 he tells us1 that ,psammetichus1 having received some services from the ,carians and ,ionians1 permitted them to settle in ,egypt1 for the instruction of youth in the ,greek language1 in order to bring up interpreters4 ,there is no solidity in the rest of the ,kircherian arguments2 such as those deduced from the frequent voyages of the ,greek sages into ,egypt1 and the mutual commerce between the two nations2 which have not even the strength of conjectures4 ,for the very skill of ,democritus1 in the sacred tongue of the ,babylonians and ,egyptians#hg1 proves only1 that the travelling sages learned the languages of the nations they conversed with4 ,nor does the testimony of ,diodorus1 that ,attica was originally an ,egyptian colony#hh1 seem to be here of any weight4 ,the inscription of the ,mummy might indeed admit of ,kircherian1 or such like conjectures1 were the ,mummy itself of the antiquity pretended by ,kircher4 ,cambyses1 the conqueror of ,egypt1 partly exiled1 and partly killed the priests2 from which fact ,kircher confidently deduces as consequences1 the total abolition of the sacred rites1 and from that the ceasing to embalm bodies4 ,he again appeals to a passage of ,herodotus#hi1 which1 upon his word alone1 others have as confidently quoted4 ,nay1 a certain pedant went so far as to pretend1 that the ,egyptian custom of painting their dead1 upon the varnished linnen of the ,mummies1 ceased with the epoch of ,cyrus#ij4 ,but ,herodotus says not a word1 either of the total abolition of the sacred rites1 or of the abolition of the custom of preserving the dead from putrefaction1 after the time of ,cambyses2 nor does ,diodorus ,siculus give any such hint3 we may1 on the contrary1 from his account of the funeral rites of the ,egyptians1 rather conclude1 that this custom prevailed even in his time2 that is to say1 when ,egypt was changed into a ,roman province4 ,hence it cannot be demonstrated that our ,mummy was embalmed before the ,persian conquest4--,but supposing it to be of that date1 is it a necessary consequence that a body preserved in the ,egyptian manner1 or even taken care of by their priests1 should be marked with ,egyptian words8 ,perhaps it is the body of some naturalised ,ionian or ,carian4 ,we know that ,pythagoras entered into the ,egyptian confession2 nay1 even consented to be circumcised#ia1 in order to shorten his way to the mysteries of their priests4 ,the ,carians themselves observed the sacred solemnities of ,isis1 and even went so far in their superstition1 as to mangle their faces during the sacrifices offered to that deity#ib4 ,change the letter 1 in the inscription1 into the diphthong 1 and you have a ,greek word3 such negligences are often to be met with in ,greek marbles#ic1 and still more in ,greek manuscripts2 and with the same termination it is to be found on a gem1 and signifies1 8,,farewell0#id1 which was the usual ejaculation addressed by the living to the deceased2 the same we meet with on ancient epitaphs#ie2 public decrees#if2 and of letters it was the final conclusion#ig4 ,there is on an ancient epitaph the word #ih2 the form of the on ancient stones and manuscripts is exactly the same#ii with the third letter of 1 which was perhaps confounded with it4 ,but supposing the ,mummy to be of later times1 the adoption of a ,greek word becomes yet easier4 ,the round form of the might be something suspicious1 with regard to its pretended antiquity2 that form being never found on the gems or coins before ,augustus#ajj4 ,but this suspicion becomes of no weight1 by supposing that the ,egyptians continued their embalming1 even after the time of that ,emperor4 ,however1 the word cannot be an ,egyptian one1 being inconsistent with the remains of that ancient tongue in the modern ,coptick1 as well as with their manner of writing2 which was from the right to the left1 as the ,etrurians did#aja2 whereas the word in question 7like some ,egyptian characters#ajb17 is traced from the left to the right4 ,as for the inscription discovered by ,maillet#ajc1 no interpreter has yet been found4 ,the ,grecians1 on the contrary1 wrote in the occidental manner1 for six hundred years before the christian ra1 witness the ,sigan inscription1 which is said to be of that date#ajd4 ,what has been said relates also to an inscription upon a piece of stone#aje1 with ,egyptian figures1 communicated to ,kircher by ,carolo ,vintimiglia1 a ,palerman patrician4 ,the letters are two words1 and signify1 8,let the soul come40 ,this stone has met with the same fate as the gem engraved with the head of ,ptolomus ,philopator3 for here an ,egyptian has joined two random figures1 and there the inscription may be of a ,greek hand4 ,the litterati know what little change it wants to be orthographical4 ,,an ,,answer ,,to ,,the ,,foregoing ,,letter1 ,,and ,a further ,,explication of the ,,subject4 ,i could not presume that so small a treatise as mine would be thought of consequence enough to be brought to a publick trial4 ,as it was written only for a few connoisseurs1 it seemed superfluous to give it a learned air1 by multiplying quotations4 ,artists want but hints3 their task1 according to an ancient ,rhetor1 is 8to perform1 not to peruse20 consequently every author1 who writes for them1 ought to be brief4 ,being besides convinced1 that the beauties of the art are founded rather on a quick sense1 and refined taste1 than on profound meditation1 ,i cannot help thinking that the principle of ,neoptolemus#ajf1 8to philosophize only with the few10 ought to be the chief consideration in every treatise of this kind4 ,several passages of my ,essay are susceptible of explications1 and1 having been publickly tried by an anonymous author1 should be explained and defended at the same time1 if my circumstances would permit me to enlarge#ajg4 ,as to his other remarks1 the author1 ,i hope1 will guess at my answer1 without my giving one explicitly4--,indeed they do not require any4 ,i am not in the least moved by the clamours concerning those pieces of ,corregio1 which1 by undoubted accounts1 were not only brought to ,sweden#ajh1 but even hung up in the stables at ,stockholm4 ,reasoning is of no use here3 arguments of this kind admit of no other evidence but that of milius ,scaurus against ,valerius of ,sucro3 8,he denies2 ,i affirm3 ,romans6 'tis yours to judge40 ,and why should there be any thing more derogatory to the honour of the ,swedes1 in my repeating ,count ,tessin's relation1 than in his giving it8 ,perhaps1 because the learned author of the circumstantial life of ,queen ,christina omits her indiscreet generosity towards ,bourdon1 and that bad treatment which the pictures of ,corregio met with8 or was ,hrleman#aji himself charged with indiscretion or malice1 on his relating that1 at ,lincping1 he found a college1 and seven professors1 but not one physician or artificer8 ,it was my design to explain myself more particularly1 concerning the negligences of the ,greeks1 had ,i been allowed time4 ,the ,greeks1 as their criticism on the partridge of ,protogenes1 and his blotting it#aaj1 evidently shews1 were not ignorant in learned negligence4 ,but the ,zeus of ,phidias was the standard of sublimity1 the symbol of the omnipresent ,deity2 like ,homer's ,eris1 he stood upon the earth1 and reached heaven2 he was1 in the style of sacred poesy1 8,what encompasses him8 c40 ,and the world has been candid enough to excuse1 nay1 even to justify on such reasons1 the disproportions in the ,carton of ,raphael1 representing the fishing of ,peter#aaa4 ,the criticism on the ,diomedes1 though solid1 is not against me3 his action1 abstractedly considered1 with his noble and expressive contour1 are standards of the art2 and that was all ,i advanced#aab4 ,the reflections on the ,painting and ,sculpture of the ,greeks may be reduced to four heads1 viz4 ,i4 ,the perfect ,nature of the ,greeks2 ,,ii4 ,the ,characteristicks of their works2 ,,iii4 ,the ,imitation of these2 ,,iv4 ,their manner of ,thinking upon the ,art2 and ,allegory4 ,probability was all ,i pretended to1 with regard to the first2 which cannot be fully demonstrated1 notwithstanding all the assistance of history4 ,for1 these advantages of the ,greeks were1 perhaps1 less founded on their nature1 and the influences of the climate1 than on their education4 ,the happy situation of their country was1 however1 the basis of all2 and the want of resemblance1 which was observed between the ,athenians and their neighbours beyond the mountains1 was owing to the difference of air and nourishment#aac4 ,the manners and persons of the new-settled inhabitants1 as well as the natives of every country1 have never failed of being influenced by their different natures4 ,the ancient ,gauls1 and their successors the ,german ,franks1 are but one nation3 the blind fury1 by which the former were hurried on in their first attacks1 proved as unsuccessful to them in the times of ,csar#aad1 as it did to the latter in our days4 ,they possessed certain other qualities1 which are still in vogue among the modern ,french2 and the ,emperor ,julian#aae tells us1 that in his time there were more dancers than citizens at ,paris4 ,whereas the ,spaniards1 managing their affairs cautiously1 and with a certain frigidity1 kept the ,romans longer than any other people from conquering the country#aaf4 ,and is not this character of the old ,iberians re-assumed by the ,west-,goths1 the ,mauritanians1 and many other people1 who over-ran their country8#aag ,it is easy to be imagined what advantages the ,greeks1 having been subject to the same influences of climate and air1 must have reaped from the happy situation of their country4 ,the most temperate seasons reigned through all the year1 and the refreshing sea-gales fanned the voluptuous islands of the ,ionick sea1 and the shores of the continent4 ,induced by these advantages1 the ,peloponnesians built all their towns along the coast2 see ,dicearchus1 quoted by ,cicero#aah4 ,under a sky so temperate1 nay balanced between heat and cold1 the inhabitants cannot fail of being influenced by both4 ,fruits grow ripe and mellow1 even such as are wild improve their natures2 animals thrive well1 and breed more abundantly4 8,such a sky1 says ,hippocrates#aai1 produces not only the most beautiful of men1 but harmony between their inclinations and shape40 ,of which ,georgia1 that country of beauty1 where a pure and serene sky pours fertility1 is an instance#abj4 ,among the elements1 beauty owes so much to water alone1 that1 if we believe the ,indians1 it cannot thrive1 in a country that has it not in its purity#aba4 ,and the ,oracle itself attributes to the lymph of ,arethusa a power of forming beauty#abb4 ,the ,greek tongue affords us also some arguments in behalf of their frame4 ,nature moulds the organs of speech according to the influences of the climate4 ,there are nations that rather whistle than speak1 like the ,troglodytes#abc2 others that pronounce without opening their lips#abd2 and the ,phasians1 a ,greek people1 had1 as has been said of the ,english#abe1 a hoarse voice3 an unkind climate forms harsh sounds1 and consequently the organs of speech cannot be very delicate4 ,the superiority of the ,greek tongue is incontestible3 ,i do not speak now of its richness1 but only of its harmony4 ,for all the northern tongues1 being over-loaded with consonants#abf1 are too often apt to offend with an unpleasing austerity2 whereas the ,greek tongue is continually changing the consonant for the vowel1 and two vowels1 meeting with but one consonant1 generally grow into a diphthong#abg4 ,the sweetness of the tongue admits of no word ending with these three harsh letters 1 1 1 and for the sake of ,euphony1 readily changes letters for their kindred ones4 ,some seemingly harsh words cannot be objected here2 none of us being acquainted with the true ,greek or ,roman pronunciation4 ,all these advantages gave to the tongue a flowing softness1 brought variety into the sounds of its words1 and facilitated their inimitable composition4 ,and from these alone1 not to mention the measure which1 even in common conversation1 every syllable enjoyed1 a thing to be despaired of in occidental tongues2 from these alone1 ,i say1 we may form the highest idea of the organs by which that tongue was pronounced1 and may more than conjecture1 that1 by the language of the ,gods1 ,homer meant the ,greek1 by that of ,men1 the ,phrygian tongue4 ,it was chiefly owing to that abundance of vowels1 that the ,greek tongue was preferable to all others1 for expressing by the sound and disposition of its words the forms and substances of things4 ,the discharge1 the rapidity1 the diminution of strength in piercing1 the slowness in gliding1 and the stopping of an arrow1 are better expressed by the sound of these three verses of ,homer1 ,iliad 4 #abe4 1 ' 1 ' #abh #ace4 ' 1 #acf4 1 than even by the words themselves4 ,you see it discharged1 flying through the air1 and piercing the belt of ,menelaus4 ,the description of the ,myrmidons in battle-array1 ,iliad 4 v4 #bae4 ' ' 1 ' 4 is of the same kind1 and has never been hit by any imitation3 what beauties in one line6 ,plato's periods were1 from their harmony1 compared#abi to a noiseless smooth-running stream4 ,but we should be mistaken in confining the tongue to the softer harmonies only3 it became a roaring torrent1 boisterous as the winds by which ,ulysses' sails were torn1 split only in three or four places by the words1 but rent by the sound into a thousand tatters#acj4 ,this was the 8vivida expressio10 the living sound2 supremely beautiful1 when properly and sparingly used6 ,how quick1 how refined must the organs have been1 which were the depositaries of such a tongue6 ,the ,roman itself could not attain its excellence3 nay1 a ,greek father1 of the second century of the christian ra#aca1 complains of the horrid sound of the ,roman laws4 ,nature keeps proportion2 consequently the frame of the ,greeks was of a fine clay1 of nerves1 and muscles most sensibly elastic1 and promoting the flexibility of the body3 hence that easiness1 that pliant facility1 accompanied with mirth and vigour1 which animated all their actions4 ,imagine bodies most nicely balanced between leanness and corpulency3 both extremes were ridiculed by the ,greeks1 and their poets sneer at the ,philesiases#acb1 ,philetases#acc1 and ,agoracrituses#acd4 ,but though they were beautiful1 and by their law early initiated into pleasure1 they were not effeminate ,sybarites4 ,as an instance of which we shall only repeat what ,pericles pleaded in favour of the ,athenian manners1 against those of ,sparta1 which were as different from those of the rest of ,greece1 as their public oeconomy was3 8,the ,spartans1 says ,pericles1 employ their youth to get1 by violent exercises1 manly strength3 but we1 though living indolently1 encounter every danger as well as they2 calmly1 not anxiously1 mindful of its approaches1 we meet it with voluntary magnanimity1 and without any compulsion of the law4 ,not disconcerted by its impending threats1 we meet its most furious attacks1 with no less boldness than they1 whom perpetual practice has prepared for its strokes4 ,we are fond of elegance1 without loving finery2 of genius1 without being emasculate4 ,in short1 to be fit for every great enterprize1 is the characteristic of the ,athenians#ace40 ,i cannot1 nor will ,i pretend to fix a rule without allowing exceptions4 ,there was a ,thersites in the army of the ,greeks4 ,but it is worth observing1 that the beauty of a nation was always in proportion to their cultivation of the arts4 ,thebes1 wrapt up in a misty sky1 produced a sturdy uncouth race#acf1acg;according to ,hippocrates's observation on fenny1 watry soils#ach2 and its sterility in producing men of genius1 ,pindar only excepted1 is an old reproach4 ,sparta was as defective in this respect as ,thebes1 having only ,alcman to boast of2 but the reasons were different3 whereas ,attica enjoyed a pure and serene sky1 which refined the senses#aci1 and of course shaped their bodies in proportion to that refinement2 and ,athens was the seat of arts4 ,the same remark may be made with regard to ,sicyon1 ,corinth1 ,rhodes1 ,ephesus1 c4 all which having been schools of the arts1 could not want convenient models4 ,the passage of ,aristophanes1 insisted on in the letter#adj1 ,i take for a joke1 as it really is--and thereby hangs a tale3 to have the parts1 whereon ,sedet ternumque sedebit ,infelix ,theseus1 ,virg4 moderately complete1 were ,attick beauties4 ,theseus#ada1 made prisoner by the ,thesprotians1 was delivered from his captivity by ,hercules1 but not without some loss of the parts in question2 a loss bequeathed to all his race4 ,this was the true mark of the ,thesean pedigree2 as a natural mark1 representing a spear#adb1 signified a ,spartan extraction2 and we find the ,greek artists imitating in those places the sparing hand of nature4 ,but this liberality of nature was confined to ,greece1 in a narrower sense4 ,its colonies underwent the same fate1 which its eloquence met with when going abroad4 8,as soon1 says ,cicero#adc1 as eloquence set out from the ,athenian port1 she plumed herself with the manners of all the islands in her way1 adopted the ,asiatick luxury1 and forsaking her sound ,attick expression1 lost her health40 ,the ,ionians1 transplanted by ,nileus from ,greece into ,asia1 after the return of the ,heraclides1 grew still more voluptuous beneath that glowing sky4 ,heaps of vowels brought wantonness into every word2 the neighbouring islands partook of their climate and manners1 which a single ,lesbian coin may convince us of#add4 ,no wonder then1 if their bodies degenerated as much from those of their ancestors1 as their manners4 ,the remoter the colonies the greater the difference4 ,those ,greeks1 who had chosen their abode in ,africa1 about ,pithicussa1 fell in with the natives in adoring apes2 nay1 even gave the names of those animals to their children#ade4 ,the modern ,greeks1 though composed of various mingled metals1 still betray the chief mass4 ,barbarism has destroyed the very elements of science1 and ignorance over-clouds the whole country2 education1 courage1 manners are sunk beneath an iron sway1 and even the shadow of liberty is lost4 ,time1 in its course1 dissipates the remains of antiquity3 pillars of ,apollo's temple at ,delos#adf1 are now the ornaments of ,english gardens3 the nature of the country itself is changed4 ,in days of yore the plants of ,crete#adg were famous over all the world2 but now the streams and rivers1 where you would go in quest of them1 are mantled with wild luxuriant weeds1 and trivial vegetables#adh4 ,unhappy country6 ,how could it avoid being changed into a wilderness1 when such populous tracts of land as ,samos1 once mighty enough to balance the ,athenian power at sea1 are reduced to hideous desarts#adi6 ,notwithstanding all these devastations1 the forlorn prospect of the soil1 the free passage of the winds1 stopped by the inextricable windings of entangled shores1 and the want of almost all other commodities2 yet have the modern ,greeks preserved many of the prerogatives of their ancestors4 ,the inhabitants of several islands1 7the ,greek race being chiefly preserved in the islands71 near the ,natolian shore1 especially the females1 are1 by the unanimous account of travellers1 the most beautiful of the human race#aej4 ,attica still preserves its air of philanthropy#aea3 all the shepherds and clowns welcomed the two travellers1 ,spon and ,wheeler2 nay1 prevented them with their salutations#aeb3 neither have they lost the ,attick salt1 or the enterprising spirit of the former inhabitants#aec4 ,objections have been made against their early exercises1 as rather derogating from1 than adding to1 the beauteous form of the ,greek youths4 ,indeed1 the continual efforts of the nerves and muscles seem rather to give an angular gladiatorial turn1 than the soft ,contour of beauty1 to youthful bodies4 ,but this may partly be answered by the character of the nation itself3 their fancy1 their actions1 were easy and natural2 their affairs1 as ,pericles says1 were managed with a certain carelessness1 and some of ,plato's dialogues#aed may give us an idea of that mirth and chearfulness which prevailed in all the ,gymnastick exercises of their youth4 ,hence his desire of having these places1 in his commonwealth1 frequented by old folks1 in order to remind them of the joys of their youth#aee4 ,their games commonly began at sun rise#aef2 and ,socrates frequented them at that time4 ,they chose the morning-hours1 in order to avoid being incommoded by the heat3 as soon as their garments were laid down1 the body was anointed with the elegant ,attick oil1 partly to defend it from the bleak morning-air2 as it was usual to practice1 even during the severest cold#aeg2 and partly to prevent a too copious perspiration1 where it was intended only to carry off superfluous humours#aeh4 ,to this oil they ascribed also a strengthening quality#aei4 ,the exercises being over1 they went to bathe1 and there submitted to a fresh unction2 and a person leaving the bath in this state 8appears1 says ,homer1 taller1 stronger1 and similar to the immortal ,gods#afj40 ,we may form a very distinct idea of the different kinds and degrees of wrestling among the ancients1 from a vase once in the possession of ,charl4 ,patin1 and1 as he guesses1 the urn of a gladiator#afa4 ,had it been a prevailing custom among the ,greeks to walk1 either barefooted1 like the heroes in their performances#afb1 or with a single sole1 as we commonly believe1 their feet must have been bruised4 ,but there are many instances of their extreme nicety in this respect2 for1 they had names for above ten different sorts of shoes#afc4 ,the coverings of the thighs were thrown off at the publick exercises1 even before the flourishing of the art#afd2 which was a great advantage to the artists4 ,as for the nourishment of the wrestlers in remoter times1 ,i found it more proper to mention milk in general1 than soft cheese4 ,if ,i remember right1 you think it strange1 and even undemonstrable1 that the primitive church should have dipped their proselytes1 promiscuously3 consult the note#afe4 ,as ,i am now entering upon the discussion of my second point1 ,i could wish that these probabilities of a more perfect nature1 among the ,greeks1 might be allowed to have some conclusive weight2 and then ,i should have but a few words to add4 ,charmoleos1 a ,megarian youth1 a single kiss of whom was valued at two talents#aff1 was1 no doubt1 beautiful enough to serve for a model of ,apollo3 ,him1 ,alcibiades1 ,charmides1 and ,adimanthus#afg1 the artists could see and study to their wish for several hours every day3 and can you imagine those trifling opportunities proposed to the ,parisian artists1 equivalents for the loss of advantages like these8 ,but granting that1 pray1 what is there to be seen more in a swimmer than in any other person8 ,the extremities of the body you may see every where4 ,as for that author#afh1 who pretends to find in ,france beauties superior to those of ,alcibiades1 ,i cannot help doubting his ability to maintain what he asserts4 ,what has been said hitherto might also answer the objection drawn from the judgment of our academies1 concerning those parts of the body which ought to be drawn rather more angular than we find them in the antiques4 ,the ,greeks1 and their artists1 were happy in the enjoyment of figures endowed with youthful harmony2 for1 we have no reason to doubt their exactness in copying nature1 if we only consider the angular smartness with which they drew the wrist-bones4 ,agasias's celebrated ,gladiator1 in the ,borghese1 has none of the modern angles1 nor the bony prominences authorised by our artists3 all his angular parts are those we meet with in the other ,greek statues4 ,and this statue1 which was perhaps one of those that were erected1 in the very places where the games were held1 to the memory of the several victors1 may be supposed an exact copy of nature4 ,the artist was bound to represent any victor in the very attitude1 and instantaneous motion1 in which he overcame his antagonist1 and the ,amphictyones were the judges of his performance#afi4 ,many authors having written on this1 and the following point of the treatise1 ,i have contented myself with giving a few remarks of my own4 ,superficial arguments1 in matters of this kind1 can neither suit the deeper views of our times1 nor lead to general conclusions4 ,nevertheless we do not want authors whose premature decisions often get the better of their judgment1 and that not in matters concerning the art alone4 ,pray1 what decisions of an author may be depended upon1 who1 when designing to write on the arts in general1 shews himself so ignorant of their very elements1 as to ascribe to ,thucydides1 whose concise and energetick style was not without difficulties1 even for ,tully#agj1 the character of simplicity8#aga ,another of that tribe1 seems as little acquainted with ,diodorus ,siculus1 when he describes him as hunting after elegance#agb4 ,nor want we blockheads enough who admire1 in the ancient performances1 such trifles as are below any reasonable man's attention4 8,the rope1 says a travelling scribler1 which ties together ,dirce and the ox1 is to connoisseurs the most beautiful object of the whole groupe of the ,toro ,farnese#agc40 ,ah miser grota putruit cui mente salillum6 ,i am no stranger to those merits of the modern artists which you oppose to the ancients3 but at the same time ,i know1 that the imitation of these alone has elevated the others to that pitch of merit2 and it would be easy to prove that1 whenever they forsook the ancients1 they fell into the faults of those1 whom alone ,i intended to blame4 ,nature undoubtedly misled ,bernini3 a ,carita of his1 on the monument of ,pope ,urban the ,v,i,i,ith1 is said to be corpulent1 and another on that of ,alexander the ,v,i,ith1 even ugly#agd4 ,certain it is1 that no use could be made of the ,equestrian statue of ,lewis ,,xiv4 on which he had bestowed fifteen years1 and the ,king immense sums4 ,he was represented as ascending1 on horseback1 the mount of honour3 but the action both of the rider and of the horse was exaggerated1 and too violent2 which was the cause of baptizing it a ,curtius plunging into the gulph1 and its having been placed only in the ,thuilleries3 from which we may infer1 that the most anxious imitation of nature is as little sufficient for attaining beauty1 as the study of anatomy alone for attaining the justest proportions3 these ,lairesse1 by his own account1 took from the skeletons of ,bidloo2 but1 though a professor in his art1 committed many faults1 which the good ,roman school1 especially ,raphael1 cannot be charged with4 ,however1 it is not meant that there is no heaviness in his ,venus2 nor does it clear him from the faults imputed to him in the ,massacre of the ,innocents1 engraved by ,marc4 ,antonio1 as has been attempted in a very rare treatise on painting#age2 for there the female figures labour under an exuberance of breasts2 whereas the murderers look ghastly with leanness3 a contrast not to be admired3 the sun itself has spots4 ,let ,raphael be imitated in his best manner1 and when in his prime2 those works want no apology3 it was to no purpose to produce ,parrhasius and ,zeuxis in order to excuse ,him1 and the ,dutch proportions6 ',tis true1 the passage of ,pliny#agf1 which you quote concerning ,parrhasius1 meets commonly with the same interpretation1 viz4 that1 shunning corpulency he fell into leanness#agg4 ,but supposing ,pliny to have understood what he wrote1 we must clear him of contradicting himself4 ,a little before he allowed to ,parrhasius a superiority in the contour1 or in his own words1 in the outlines2 and in the passage before us1 ,parrhasius1 compared with himself1 seems1 in ,,point ,,of ,,the ,,middle ,,parts1 to fall short of himself4 ,the question is1 what he means by middle parts8 ,perhaps the parts bordering on the outlines3 but is not the designer obliged to know every possible attitude of the frame1 every change of its contour8 ,if so1 it is ridiculous to give this explication to our passage3 for the middle parts of a full face are the outlines of its profile1 and so on4 ,consequently1 there is no such thing as middle parts to be met with by a designer3 the idea of a painter1 well-skilled in the contour of the outlines1 but ignorant of their contents1 is an absurd one4 ,parrhasius perhaps either wanted skill in the ,chiaroscuro1 or ,keeping in the disposition of his limbs1 and this seems the only explication1 which the words of ,pliny can reasonably admit of4 ,unless we choose to make him another ,la ,fage1 who1 though a celebrated designer1 never failed spoiling his contours with his colours4 ,or1 perhaps1 to indulge another conjecture1 ,parrhasius smoothed the outlines of his contour1 where it bordered on the grounds1 in order to avoid being rough2 a fault committed1 as it seems1 by his contemporaries1 and by the artists who flourished in the beginning of the sixteenth century1 who circumscribed their figures1 as it were with a knife2 but those smooth contours wanted the support of keeping1 and of masses gradually rising or sinking1 in order to become round1 and to strike the eye3 by failing in which1 his figures got an air of flatness2 and thus ,parrhasius fell short of himself1 without being either too corpulent or too lean4 ,we cannot conclude1 from the ,homeric shape which ,zeuxis gave his female figures1 that he raised them1 like ,rubens1 into flesh-hills4 ,there is some reason to believe1 from the education of the ,spartan ladies1 that they had something of a masculine vigour1 though they were the chief beauties of ,greece2 and such a one is the ,helena of ,theocritus4 ,all this makes me doubt of finding among the ancients any companion for ,jacob ,jordans1 though he is so zealously defended in your letter4 ,nor am ,i afraid of maintaining what ,i have said concerning him4 ,mr4 d',argenville is indeed a very industrious collector of criticisms upon the artists2 but as his design is not very extensive1 so his decisions are often too general1 to afford us characteristical ideas of his heroes4 ,a good eye must be allowed to be a better judge1 in matters of this kind1 than all the ambiguous decisions of authors3 and to fix the character of ,jordans1 ,i might content myself with appealing to his ,diogenes1 and the ,purification1 in the royal cabinet at ,dresden4 ,but1 for the reader's sake1 let me inquire into the meaning of what you call ,truth in painting4 ,for if truth1 in the general sense1 can by no means be excluded from any branch of the arts1 we have1 in the decision of ,mr4 d',argenville1 a riddle to unfold1 which1 if it has any meaning at all1 must have the following3 ,rubens1 enabled by the inexhaustible fertility of his genius1 to pour forth fictions like ,homer himself1 displays his riches even to prodigality3 like him he loved the marvellous1 as well in thought and grandeur of conception1 as in composition1 and chiar'-oscuro4 ,his figures are composed in a manner unknown before him1 and his lights1 jointly darting upon one great mass1 diffuse over all his works a bold harmony1 and amazing spirit4 ,jordans1 a genius of a lower class1 cannot1 in the ideal part of painting1 by any means be compared with his great master4 ,he had no wings to soar above nature2 for which reason he humbly followed1 and painted her as he found her3 and if this be truth1 he1 no doubt1 had a larger share of it than ,rubens4 ,if the modern artists1 with regard to forms and beauty1 are not to be directed by antiquity1 there is no authority left to influence them4 ,some1 in painting ,venus1 would give her a ,frenchified air#agh2 another would present her with an ,aquiline nose1 the ,medicean ,venus1 as they would say1 having such a one#agi3 her hands would be provided with spindles instead of fingers2 and she would ogle us with ,chinese eyes1 like the beauties of a new ,italian school4 ,every artist1 in short1 would1 by his performance1 betray his country3 but1 as ,democritus says#ahj1 if the artists ought to pray the gods to let them meet with none but auspicious images1 those of the ancients will best suit their wishes4 ,let us1 however1 make some exception in favour of ,fiamingo's children4 ,for1 lustiness and full health being the common burden of the praises of children1 whose infant forms are not strictly susceptible of that beauty1 which belongs to the steadiness of riper years2 the imitation of his children has reasonably become a fashion among our artists4 ,but neither this1 nor the indulgence of the academy at ,vienna1 can be1 or indeed was meant to be decisive1 in favour of the modern children2 it only leads us to make a distinction4 ,the ancients went beyond nature1 even in their children3 the moderns only follow her2 and1 provided their infant forms1 exuberant as they are1 do not influence their ideas of youthful and riper bodies1 they may be allowed to be in the right1 though1 at the same time1 the ancients were not in the wrong4 ,our artists are1 likewise1 at full liberty to dress the hair of their figures as they please3 but1 being so fond of nature1 they1 must needs know1 that it is nature which shades1 with pendant locks1 the forehead and temples of all those1 whose life is not spent between the comb and the looking-glass3 and finding this manner carefully observed in most statues of the ancients1 they may take it as a proof of their attachment to simplicity and truth2 a proof of the more weight1 as they did not want people1 busier in adorning their bodies than their minds1 and as nice in adjusting their hair1 as the most elegant of our ,european courtiers4 ,but it was commonly looked upon as a mark of an ingenuous and noble extraction1 to dress the hair in the manner of the statues#aha4 ,the imitation of the ancient contour has indeed never been rejected1 not even by those whose chief want was that of correctness3 but we differ about imitating that 8noble simplicity and sedate grandeur0 in their works4 ,an expression which hath seldom met with general approbation1 and never pronounced without hazard of being misunderstood4 ,in the ,hercules of ,bandinelli1 the idea of it was deemed a fault#ahb3 an usurpation in ,raphael's ,massacre of the ,innocents#ahc4 ,the idea of 8nature at rest10 ,i own1 might1 perhaps1 produce figures like the young ,spartans of ,xenophon2 nor would the bulk of mankind be better pleased with performances in the taste of my treatise1 7supposing even all its precepts authorised by the judges of the art7 than with a speech made before the ,areopagites4 ,but it is not on the bulk of mankind that we ought to confer the legislative power in the art4 ,and though works of an extensive composition ought certainly to have the support of a vigour and spirit proportioned to their extent1 yet there are limits which must not be overleapt3 use not so much spirit as to represent the everlasting ,father like the cruel ,god of war1 or an ecstasied saint like a priestess of ,bacchus4 ,indeed1 in the eyes of one unacquainted with this characteristick of the sublime1 a ,madonna of ,trevisani will seem preferable to that of ,raphael in the royal cabinet at ,dresden4 ,i know that even artists were of opinion1 that its being placed so near one of the former1 was not a little disadvantageous to it4 ,hence it seemed not superfluous to enquire into the true grandeur of that inestimable picture1 as it is the only production of this ,apollo of painters1 that ,germany is possessed of4 ,no comparison1 indeed1 is to be made of its composition with that of the transfiguration2 which1 however1 ,i think fully compensated by its being genuine3 whereas ,julio ,romano might perhaps claim one half of the other as his own4 ,the difference of the hands is visible3 but in the ,madonna1 the spirit of that epoch1 in which ,raphael performed his ,athenian school1 shines with so full a lustre1 as to make even the authority of ,vasari superfluous4 ',tis no easy matter to convince a critick1 conceited enough to blame the ,jesus of the ,madonna1 that he is mistaken4 ,pythagoras1 says an antient philosopher#ahd1 and ,anaxagoras look at the sun with different eyes3 the former sees a ,god1 the latter a stone4 ,we want but experience to discover truth and beauty in the faces of ,raphael1 without enquiring into their dignity3 beauty pleases1 but serious graces charm#ahe4 ,such are the beauties of the ancients1 which gave that serious air to ,antinous1 which we generally ascribe to his shading locks4 ,sudden raptures1 or the enticement of a glance1 are often momentary2 let an attentive eye dwell upon those confused beauties which the transient look conveys1 and the paint will vanish4 ,true charms owe their durability to reflection1 and hidden graces allure our enquiries3 reluctant and unsatisfied we leave a coy beauty1 in continual admiration of some new-fancied charm3 and such are the beauties of ,raphael and the ancients2 not agreeably trifling ones1 but regular and full of real graces#ahf4 ,by that ,cleopatra became the beauty of all ensuing ages3 nobody#ahg was astonished at her face1 but her air engaged every eye1 and subdued the melted heart4 ,a ,french ,venus at her toilet is much like ,seneca's wit3 which1 if put to the test1 disappears#ahh4 ,the comparison of ,raphael and some of the most celebrated ,dutch1 and new ,italian painters1 concerns only the management1 7,trattamento74 ,the endeavours of the former of these1 to hide the laborious industry that appears in all their works1 gives an additional sanction to my judgment2 for1 hiding is labour4 ,the most difficult part in performances of the arts1 is to spread an air of easiness1 the 8,,ut ,,sibi ,,quivis0 over them#ahi2 of which1 among the ancients1 the pictures of ,nicomachus were entirely destitute#aij4 ,all this1 however1 is not meant to derogate from ,vanderwerf's superior merit3 his works give a lustre even to the cabinets of kings4 ,he diffused over them an inconceivable polish2 every trace of his pencil1 one would think1 is molten2 and1 in the colliquation of his tints1 there reigns but one predominant colour4 ,he might be said to have enamelled rather than painted4 ,his works indeed please4 ,but does the character of painting consist in pleasing alone8 ,denner's bald pates please likewise4 ,but what1 do you imagine1 would the wise ancients think of them8 ,plutarch1 from the mouth of some ,aristides or ,zeuxis1 would tell him1 that beauty never dwells in wrinkles#aia4 ',tis said1 the ,emperor ,charles ,,vi4 when he first saw one of ,denner's pictures1 was loud in its praise1 and in admiration of his industry4 ,the painter was immediately desired to make a fellow to the first1 and was magnificently rewarded3 but the ,emperor1 comparing each of them with some pieces of ,rembrandt and ,vandyke1 declared1 8that having now satisfied his curiosity1 he would on no account have any more from this artist40 ,an ,english nobleman was of the same opinion3 for being shewn a picture of ,denner's1 8,you are in the wrong1 said he1 if you believe that our nation esteems performances1 which owe their merits to industry rather than to genius40 ,i am far from applying these remarks to ,vanderwerf2 the difference between him and ,denner is too great3 ,i only joined them in order to prove1 that a picture which only pleases can no more pretend to universal approbation than a poem4 ,no2 their charms must be durable2 but here we meet with causes of disgust in the very parts1 where the painter endeavoured to please us4 ,those parts of nature that are beyond observation1 were the chief objects of these painters3 they were particularly cautious of changing the situation even of the minutest hair1 in order to surprize the most sharp-sighted eye with all the microcosm of nature4 ,they may be compared to those disciples of ,anaxagoras1 who placed all human wisdom in the palm of the hand--but mark1 as soon as they attempt to stretch their art beyond these limits1 to draw larger proportions1 or the nudities1 the painter appears ,infelix operis summ1 quia ponere totum nescit4 ,hor4 ,design is as certainly the painter's first1 second1 and third requisite1 as action is that of the orator4 ,i readily allow the solidity of your remarks1 concerning the 8reliefs0 of the ancients4 ,in my treatise ,i myself charged them with a want of sufficient skill in perspective2 and hence the faults in their reliefs4 ,the fourth point chiefly concerns ,allegory4 ,in painting we commonly call fiction allegory3 for1 though imitation arises from the very principles of painting as well as of poetry1 it constitutes1 by itself1 neither of them#aib4 ,a picture1 without allegory1 is but a vulgar image1 and resembles ,davenant's ,gondibert1 an epope without fiction4 ,colouring and design are to painting what metre and truth1 or the fable1 are to poetry2 a body without soul4 ,poetry1 says ,aristotle1 was first inspired with its soul1 with fiction1 by ,homer2 and with that the painter must animate his work4 ,design and colouring are the fruits of attention and practice3 perspective and composition1 in the strictest sense1 are established on fixed rules2 they are of course but mechanical2 and1 if ,i may be allowed the expression1 only mechanical souls are wanting to understand and to admire them4 ,pleasures in general1 save only those which rob the bulk of mankind of their invaluable treasure1 time1 become durable1 and are free from tediousness and disgust1 in proportion as they engage our intellectual faculties4 ,mere sensual sentiments soon languish2 they do not influence our reason3 such is the delight we take in the common landscape1 flower1 and fruit paintings3 the artist1 in performing them1 thinks but very little2 and the connoisseur1 in considering them1 thinks no more4 ,a mere history-piece differs from a landscape only in the object3 in the former you draw facts and persons1 in the latter1 sky1 land1 seas1 c4 both1 of course1 being founded on the same principle1 imitation1 are essentially but of one kind4 ,if it be not a contradiction to stretch the limits of painting1 as far as those of poetry1 and consequently1 to allow the painter the same ability of elevating himself to the pitch of the poet as the musician enjoys2 it is clear that history1 though the sublimest branch of painting1 cannot raise itself to the heighths of tragick or epick poetry1 by imitation alone4 ,homer1 as ,cicero tells us#aic1 has transformed man into ,god3 which is to say2 he not only exceeded truth1 but1 to raise his fiction1 preferred even the impossible1 if probable1 to the barely possible#aid4 ,in this ,aristotle fixes the very essence of poetry1 and tells us that the pictures of ,zeuxis had that characteristick4 ,the possibility and truth1 which ,longinus requires of the painter1 as opposites to absurdity in poetry1 are not contradictory to this rule4 ,this heighth the history-painter cannot reach1 only by a contour above common nature1 or a noble expression of the passions3 for these are requisite in a good portrait-painter1 who is able to execute them without diminishing the likeness of his model4 ,they are but imitation1 only prudently managed4 ,the heads of ,vandyke are charged with too exact an observation of nature2 an exactness that would be faulty in a history-piece4 ,truth1 lovely as it is in itself1 charms more1 penetrates deeper1 when invested with fiction3 fable1 in its strictest sense1 is the delight of childhood2 allegory that of riper years4 ,and the old opinion1 that poetry was of earlier date than prose1 as unanimously attested by the annals of different people1 makes it evident1 that even in the most barbarous times1 truth was preferred1 when appearing in this dress4 ,our understanding1 moreover1 labours under the fault of bestowing its attention chiefly on things1 whose beauties are not to be perceived at first sight1 and of inadvertently slighting others1 because clear as day3 images of this kind1 like a ship on the waves1 leave but momentary traces in our memory4 ,hence the ideas of our childhood are the most permanent1 because every common occurrence then seems extraordinary4 ,thus1 if nature herself instructs us1 that she is not to be moved by common things1 let art1 as the ,orator1 ad ,herennium1 advises us1 follow her dictates4 ,every idea increases in strength1 if accompanied by another or more ideas1 as in comparisons2 and the more still as they differ in kind3 for ideas1 too analogous to each other1 do not strike3 as for instance1 a white skin compared to snow4 ,hence the power of discovering a similarity1 in the most different things1 is what we commonly call wit2 ,aristotle1 8unexpected ideas03 and these he requires in an orator#aie4 ,the more you are surprized by a picture1 the more you are affected2 and both those effects are to be obtained by allegory1 like to fruit hid beneath leaves and branches1 which when found surprizes the more agreeably1 the less it was thought of4 ,the smallest composition is susceptible of the sublimest powers of art3 all depends upon the idea4 ,necessity first taught the artists to use allegory4 ,no doubt1 they began with the representation of single objects of one class3 but as they improved1 they attempted to express what was common to many particulars2 i4 e4 general ideas4 ,all the qualities of single objects afford such ideas3 but to become general1 and at the same time sensible1 they cannot preserve the particular shape of such or such an object1 but must be submitted to another shape1 essential to that object1 but a general one4 ,the ,egyptians were the first1 who went in search of images of that kind4 ,such were their hieroglyphicks4 ,all the deities of antiquity1 especially those of ,greece1 nay1 their very names1 were originally ,egyptian#aif4 ,their personal theology was quite allegorical2 and so is ours4 ,but the symbols of these inventors1 partly preserved by the ,greeks1 were often so mysteriously arbitrary1 as to make it altogether impossible to find out their meaning1 even by the help of those authors that are still extant2 and such a discovery was looked upon as a nefarious profanation#aig4 ,thus sacredly mysterious was the pomegranate#aih in the hand of the ,samian ,juno3 and to divulge the ,eleusinian rites1 was thought worse than the robbery of a temple#aii4 ,the relation of the sign to the thing signified1 was in some measure founded on the known or pretended qualities of the latter4 ,the ,egyptian ,horsemarten was of that kind2 an image of the sun1 because his species was said to have no female1 and to live six months under and six above ground#bjj4 ,in like manner the cat1 being supposed to bring forth a number of kittens equal to that of the days in a month1 became the symbol of ,isis1 or the moon#bja4 ,the ,greeks1 on the contrary1 endowed with more wit1 and undoubtedly with more sensibility1 made use of no signs but such as had a true relation to the thing signified1 or were most agreeable to the senses3 all their deities they invested with human forms#bjb4 ,wings1 among the ,egyptians1 were the symbol of eager and effectual services2 a symbol conformable to their nature1 and continued by the ,greeks3 and if the ,attick ,victoria had none1 it was meant to signify1 that she had chosen ,athens for her abode#bjc4 ,a goose1 among the ,egyptians1 was the symbol of a cautious leader2 in consequence of which the prows of their ships were formed like geese#bjd4 ,this the ,greeks preserved also1 and the ancient ,rostrum resembled the neck of a goose#bje4 ,of all the figures1 whose relation to their intended meaning is somewhat obscure1 the ,sphinx perhaps alone was continued by the ,greeks4 ,placed in the front of a temple1 it was1 among the ,greeks1 almost as instructive1 as it was significant among the ,egyptians#bjf4 ,the ,greek ,sphinx was winged#bjg1 its head bare1 without that stole which it wears on some ,attick coins#bjh4 ,it was in general a characteristic of the ,greeks1 to mark their productions with a certain chearfulness3 the muses love not hideous phantoms3 and ,homer himself1 when by the mouth of some god he cites an ,egyptian allegory1 always cautiously begins with 8,,we ,,are ,,told40 ,nay1 the elder ,pampho#bji1 though he exceeds the ,egyptian oddities1 by his description of ,jupiter wrapt up in horse-dung1 approaches nevertheless the sublime idea of the ,english poet3 ,as full1 as perfect1 in a hair as heart2 ,as full1 as perfect1 in vile man that mourns1 ,as the rapt seraph1 that adores and burns4 ,pope4 ,it will be no easy matter to find1 among the old ,greek coins1 an image like that of a snake encircling an egg#baj1 on a ,syrian coin of the third century4 ,none of their monuments are marked with any thing ghastly3 of these they were1 if possible1 still more cautious than of ill-omen'd words4 ,the image of death is not to be seen1 perhaps1 but on one gem#baa1 and that in the shape commonly exhibited at their feasts#bab2 viz4 dancing to a flute1 with intent to make them enjoy the present pleasures of life1 by reminding them of its shortness4 ,on another gem#bac1 with a ,roman inscription1 there is a skeleton1 with two butterflies as images of the soul1 one of which is caught by a bird2 a pretended symbol of the metempsychosis3 but the performance is of latter times4 ,it has been likewise observed1 that#bad among those myriads of altars1 sacred even to the most whimsical deities1 there never was one set apart to death2 save only on the solitary coasts1 which were deemed the borders of the world#bae4 ,the ,romans1 in their best times1 thought like the ,greeks2 and always1 in adopting the iconology of a foreign nation1 traced the footsteps of these their masters4 ,an elephant1 one of the latter mysterious symbols of the ,egyptians#baf 7for there is on the most ancient monuments neither elephant#bag nor hart1 ostrich nor cock1 to be found71 was the image of different things#bah1 and perhaps of eternity1 as on some ,roman#bai coins1 because of his longevity4 ,but on a coin of the emperor ,antoninus1 this animal1 with the inscription1 ,,munificentia1 cannot possibly hint at any other thing but the grand games1 the magnificence of which was augmented by those animals4 ,but it is no more my design to attempt an inquiry into the origin of every allegorical symbol among the ,greeks and ,romans1 than to write a system of allegory4 ,all ,i propose is1 to defend what ,i have advanced concerning it1 and at the same time to direct the artist to the images of those ancients1 in preference to the iconologies and ill-judged symbols of some moderns4 ,we may1 from a little specimen1 form a judgment of the turn of mind of those ancients1 and of the possibility of subjecting abstracted ideas to the senses4 ,the symbols of many a gem1 coin1 and monument1 enjoy their fixed and universally received interpretation2 but some of the most memorable1 not yet brought to a proper standard1 deserve a nearer determination4 ,perhaps the allegory of the ancients might be divided1 like painting and poetry in general1 into two classes1 viz4 the sublime1 and the more vulgar4 ,symbols of the one might be those by which some mythological or philosophical allusion1 or even some unknown or mysterious rite1 is expressed4 ,such as are more commonly understood1 viz4 personified virtues1 vices1 c4 might be referred to the other4 ,the images of the former give to performances of the art the true epick grandeur3 one single figure is sufficient to give it3 the more it contains1 the sublimer it is3 the more it engages our attention1 the deeper it penetrates1 and we of course feel it the more4 ,the ancients1 in order to represent a child dying in his bloom1 painted him carried off by ,aurora#bbj3 a striking image6 taken1 perhaps1 from the custom of burying youths at day-break4 ,the ideas of the bulk of our artists1 in this respect1 are too trivial to be mentioned here4 ,the animation of the body1 one of the most abstracted ideas1 was represented by the loveliest1 most poetical images4 ,an artist1 who should imagine he could express this idea by the ,mosaick creation1 would be mistaken2 for his image would be merely historical1 and nothing but the creation of ,adam3 a history altogether too sacred for being either admitted as the allegory of a mere philosophical idea1 or into every place3 neither does it seem poetical enough for the flights of the art4 ,this idea appears on coins and gems#bba1 as described by the most ancient poets and philosophers3 ,prometheus forming a man of that clay1 of which large petrified heaps were found in ,phocis in the time of ,pausanias#bbb2 and ,minerva holding a butterfly1 as an image of the soul1 over his head4 ,the snake encircling a tree behind ,minerva1 on the above coin of ,antoninus ,pius1 is a supposed symbol of his prudence and sagacity4 ,it cannot be denied that the meaning of many an ancient allegory is merely conjectural1 and therefore not to be applied on every occasion4 ,a child catching a butterfly on an altar was pretended to signify ,amicitia ad aras1 or1 8which is not to exceed the borders of justice#bbc40 ,on another gem1 ,love1 endeavouring to pull off the branch of an old tree1 where a nightingale is perching1 is said to allegorize love of wisdom#bbd4 ,eros1 ,himeros1 and ,pathos1 the symbols of ,love1 ,appetite1 and ,desire1 are represented1 they say#bbe1 on a gem1 encompassing the sacred fire on an altar2 ,love behind the fire1 his head only over-reaching the flames2 ,appetite and ,desire on both sides of the altar2 ,appetite with one hand only in the fire1 with the other holding a garland2 ,desire with both his hands in the flames4 ,a ,victoria crowning an anchor1 on a coin of king ,seleucus1 was formerly regarded as an image of peace and security procured by victory1 till by the help of history we have been enabled to give it its true interpretation4 ,seleucus is said to have been born with a mark resembling an anchor#bbf1 which not only he himself1 but all his descendants1 the ,seleucid1 have preserved on their coins#bbg4 ,there is another ,victoria with butterfly's wings#bbh1 fastened on a trophy4 ,this1 they say1 is the symbol of a hero1 who1 like ,epaminondas1 died in the very act of conquering4 ,at ,athens such a statue#bbi1 and an altar to an unwinged ,victoria1 was the symbol of their perpetual success in battle3 ours may admit of the same explication as ,mars in chains at ,sparta#bcj4 ,nor was she1 as ,i presume1 provided at random with wings usually given to ,psyche1 her own being those of an eagle3 they perhaps signify the soul of the deceased3 however1 all these conjectures might be tolerable1 if a ,victoria fastened on trophies of conquered enemies could reasonably correspond with their being vanquished4 ,indeed the sublimer allegory of the ancients has not been transmitted to us1 without the loss of its most valuable treasures3 it is poor1 when compared with the second kind1 which is often provided with several symbols for one idea4 ,two different ones1 signifying the happiness of the times1 are expressed on coins of the emperor ,commodus3 the one a lady#bca1 sitting with an apple or ball in her right1 and a dial in her left hand1 beneath a leafy tree3 three children are before her1 two in a vase or flower-pot1 the usual symbol of fertility3 the other represents four children1 who1 as is clear by the things they bear1 are the seasons4 ,both have the subscription ,,felicitas ,,temporvm4 ,but these1 and all the symbols that want inscriptions1 are of a lower rank2 and some of them might as well be taken for signs of different ideas4 ,hope#bcb and ,fertility#bcc1 for instance1 might be ,ceres1 ,nobility#bcd1 ,minerva4 ,patience#bce1 on a coin of ,aurelian1 wants her true characteristick1 as does ,erato2 and the ,parc#bcf are only by their garments distinguished from the ,graces4 ,on the contrary1 ideas which are often confounded in morality1 as ,justice and ,equity1 are extremely well distinguished by the ancients4 ,the former is represented1 as drawn by ,gellius#bcg1 with a stern look1 a diadem1 and dressed hair#bch2 the latter with a mild countenance1 and waving ringlets2 ears of corn arising from her balance1 as symbols of the advantages of equity2 and sometimes she holds in her other hand#bci a cornu-copia4 ,peace1 on a coin of the emperor ,titus1 is to be ranked among those of a more energetick expression4 ,the goddess of ,peace leans on a pillar with her left arm1 in the hand of which she holds the branch of an olive-tree1 whilst the other waves the caduceus over the thigh of a victim on a little altar1 which hints at the bloodless sacrifices of that goddess3 the victims were slaughtered out of the temple1 and nothing but the thighs were offered at the altar1 which was not to be stained with blood4 ,peace usually appears with the olive-branch and the caduceus1 as on another coin of this emperor#bdj2 or on a stool placed on a heap of arms1 as on a coin of ,drusus#bda4 ,on some of ,tiberius's and ,vespasian's coins#bdb ,peace appears in the act of burning arms4 ,on a coin of the ,emperor ,philip there is a noble image2 a sleeping ,victory3 which1 with better reason1 may be taken for the symbol of confidence in conquest1 than for that in the security of the world as the inscription pretends4 ,of an analogous idea was the picture1 by which the ,athenian ,general ,timotheus was ridiculed1 for the blind luck with which he obtained his victories3 he was represented asleep1 with ,fortune catching ,towns in her ,net#bdc4 ,the ,nile1 with his sixteen children1 is of this same class#bdd4 ,the child that reaches the ears of corn1 and the fruits1 in his ,cornu1 is the symbol of the highest fertility2 but those that over-reach them are signs of miscarrying seasons4 ,pliny explains the whole#bde4 ,egypt is at the height of its fertility1 when the ,nile rises sixteen feet3 but if it either falls short of1 or exceeds that measure1 it equally blasts the land with unfruitfulness4 ,rossi1 in his collection1 neglected the children4 ,satyrical pictures belong also to this class3 the ,ass of ,gabrias1 for instance#bdf1 which imagines itself worshipped by the people1 as they bow to the statue of ,isis on its back4 ,it is impossible to give a livelier image of the pride of the ,vulgar-,great4 ,the sublimer allegory might be supplied by the lower class1 had it not met with the same fate4 ,we are1 for instance1 not acquainted with the figure of ,eloquence1 or ,peitho2 or that of the ,goddess of ,comfort1 ,parergon1 represented by ,praxiteles1 as ,pausanias tells us#bdg4 ,oblivion had an altar among the ,romans#bdh1 and perhaps a figure3 as may also be supposed of ,chastity1 whose altar is to be found on coins#bdi2 and of ,fear1 to which ,theseus offered sacrifices#bej4 ,however1 the remains of ancient allegory are not yet worn out3 there are still many secret stores3 the poets1 and other monuments of antiquity1 afford numbers of beautiful images4 ,those1 who in our time1 and that of our fathers1 were busy in improving allegory1 and in facilitating the endeavours of the artists2 those1 ,i say1 should reasonably have had recourse to so rich and pure a fountain4 ,but there was an epoch to appear1 in which a shocking croud of pedants should1 with downright madness1 conspire in an universal uproar against every the lead glimpse of good taste4 ,nature1 in their eyes1 was puerile1 and ought to be fashioned3 blockheads1 both young and old1 vied in painting devices and emblems1 for the benefit of artists1 philosophers1 and divines2 and woe to him who made a compliment1 without dressing it up in an emblem6 ,symbols void of sense were illustrated with inscriptions1 giving an account of what they meant1 and meant not3 these are the treasures which are dug for1 even in our times1 and which1 being then in high fashion1 out-shone all antiquity had left4 ,the ancients1 for instance1 represented ,munificence by a woman holding a ,cornucopia in one hand1 and the table of the ,roman ,congiarium in the other#bea3 an image which looked too parsimonious for modern liberality2 another therefore was contrived#beb1 with two horns2 one of them inverted1 the better to pour out its contents2 an eagle1 the meaning of which is too hard for me to guess at1 was set upon her head2 others painted her with a pot in each hand#bec4 ,eternity was1 by the ancients1 drawn either sitting on a ,globe1 or rather ,sphere#bed1 with a ,hasta in her hand2 or standing#bee1 with the ,sphere in one hand1 and the ,hasta in the other2 or with the ,sphere in her hand1 and no ,hasta2 or else covered with a floating ,veil#bef4 ,these are the images of ,eternity on the coins of the ,empress ,faustina3 but there was not gravity enough in them for the modern artists4 ,eternity1 so frightful to many1 required a frightful image#beg2 a form female down to the breast1 with ,globes in each hand2 the rest of the ,body a circling star-marked ,snake turning into itself4 ,providence very often has a ,globe at her feet1 and a ,hasta in her left hand#beh4 ,on a coin of the ,emperor ,pertinax#bei1 she stretches out both her hands1 towards a ,globe falling from the clouds4 ,a female figure1 with two heads1 seemed more expressive to the moderns#bfj4 ,constancy1 on some of ,claudius's coins#bfa1 is either fitting or standing1 with a ,helmet on her head1 and a ,hasta in her left hand2 or without ,helmet and ,hasta1 but always with a finger pointing to her face1 as if closely debating some point4 ,for distinction sake the moderns joined a couple of pillars#bfb4 ,it is very probable1 that ,ripa was often at a loss with his own figures4 ,chastity1 in his ,iconology1 holds in one hand a ,whip#bfc1 7a strange incitement to virtue7 in the other a ,sieve3 ,the first inventor1 perhaps1 hinted at ,tuccia the vestal2 which ,ripa not remembring1 indulges the most absurd whims1 not worth repeating4 ,by thus contrasting ancient and modern allegory1 ,i mean not to divert our times of their right of settling new allegories3 but from the different manners of thinking1 ,i shall draw some rules1 for those that are to tread these paths4 ,the character of noble simplicity was the chief aim of the ,greeks and ,romans3 of which ,romeyn de ,hooghe has given the very contrast4 ,his book1 in general1 may very fitly be compared to the elm in ,virgil's hell3 ,hanc sedem somnia vulgo ,vana tenere ferunt1 foliisque sub omnibus hrent4 n4 ,,vi4 ,the distinctness of the ancient allegory was owing to the individuation of its images4 ,their rule1 7if we except only a few of those above-mentioned71 was to avoid every ambiguity2 a rule slightly observed by the moderns3 the ,hart1 for instance1 symbolizing#bfd baptism1 revenge1 remorse1 and flattery2 the ,cedar1 a preacher1 worldly vanities1 a scholar1 and a woman dying in the pangs of child-birth4 ,that simplicity and distinctness were always accompanied by a certain decency4 ,a hog signifying1 among the ,egyptians1 a scrutator of mysteries#bfe1 together with all the swine of ,csar ,ripa and some of the moderns1 would have been thought1 by the ,greeks1 too indecent a symbol of any thing whatever3 save only where that animal made part of the arms of a place1 as it appears to be on the ,eleusinian coins#bff4 ,the last rule of the ancients was to beware of signs too near a-kin to the thing signified4 ,let the young allegorist observe these rules1 and study them1 jointly with mythology1 and the remotest history4 ,indeed some modern allegories1 7if those ought to be called modern that are entirely in the taste of antiquity71 may perhaps be compared with the sublimer class of the ancient4 ,two brothers of the ,barbarigo-family1 immediately succeeding each other#bfg1 in the dignity of ,doge of ,venice1 are allegorized by ,castor and ,pollux#bfh2 one of whom1 as the fable tells us1 gave the other part of that immortality which ,jupiter had conferred on him alone4 ,pollux1 in the allegory1 presents his brother1 represented by a skull1 with a circling snake1 as the symbol of eternity2 on the reverie of a fictitious coin1 beneath the described figures1 there drops a broken branch from a tree1 with the ,virgilian inscription1 ,primo avulso non deficit alter4 ,another idea on one of ,lewis ,x,i,vth's coins1 is as worthy of notice2 being struck#bfi on occasion of the ,duke of ,lorrain's quiting his dominions1 after the surrender of ,marsal1 for having betrayed both the ,french and ,austrian courts4 ,the ,duke is ,proteus overcome by the arts of ,menelaus1 and bound1 after having1 in vain1 tried all his different forms4 ,at a distance the conquered citadel is to be seen1 and the year of its surrender marked in the inscription4 ,there was no occasion for the superfluous epigraph3 ,protei ,artes delus4 ,patience1 or rather a longing earnest desire#bgj1 represented by a female figure1 with folded hands1 gazing on a watch1 is a very good image of the lower class4 ,it must indeed be owned1 that the inventors of the most picturesque allegories have contented themselves with the remains of antiquity2 none having been authorised to establish images of their own fancy1 for the general imitation of the artists4 ,neither has any attempt of latter times deferred the honour3 for in the whole ,iconology of ,ripa1 of two or three that are tolerable ones1 ,nantes in gurgite vasto2 an ,ethiopian washing himself1 as an allusion to labour lost#bga1 is perhaps the best4 ,there are indeed images1 and useful hints1 dispersed in some books of greater note1 7as for instance1 ,the ,temple of ,stupidity in the ,spectator#bgb17 which ought to be collected1 and made more general4 ,thus1 were the treasures of science joined to those of art1 the time might come1 when a painter would be able to represent an ode1 as well as a tragedy4 ,i shall myself submit to the publick some images3 for rules instruct1 but examples still more4 ,friendship1 ,i find every where pitifully represented1 and its emblems are not worth mentioning3 their flying scribbled labels shew us the depth of their inventors4 ,this noblest of human virtues ,i would paint in the figures of those two immortal friends of heroic times1 ,theseus and ,pirithous4 ,the head of the former is said to be on gems#bgc3 he likewise appears with the club#bgd won from ,periphetes1 a son of ,vulcan1 on a gem of ,philemon4 ,theseus consequently might be drawn with some resemblance4 ,friendship1 at the brink of danger1 might be taken from the idea of an old picture at ,delphos1 as described by ,pausanias#bge4 ,theseus was painted in the action of defending himself and his friend against the ,thesprotians1 with his own sword in one hand1 and another drawn from the side of his friend1 in the other4 ,the beginning of their friendship1 as described by ,plutarch#bgf1 might also be an image of that idea4 ,i am astonished not to have met1 among the emblems of the great men of the ,barbarigo-family1 with an image of a good man and eternal friend4 ,such was ,nicolas ,barbarigo1 who contracted with ,marco ,trivisano a friendship worthy of immortality2 ,monumentum re perennius3 a little rare treatise alone has preserved their memory#bgg4 ,a little hint of ,plutarch's might furnish an image of ,ambition3 he mentions#bgh the sacrifices of ,honour1 as being performed bareheaded1 whereas all other sacrifices1 save only those of ,saturn#bgi1 were offered with covered heads4 ,this custom he believes to have taken its rise from the usual salutation in society2 though it may as well be vice versa3 perhaps it sprung from the ,pelasgian rites#bhj1 which were performed bareheaded4 ,honour is likewise represented by a female figure1 crowned with laurels1 a ,cornucopia and ,hasta in her hands#bha4 ,accompanied by ,virtue1 a male figure with a helmet1 she is to be found on a coin of ,vitellius#bhb3 and the heads of both on those of ,gordian and ,galien#bhc4 ,prayers might be personified from an idea of ,homer4 ,phnix1 the tutor of ,achilles1 endeavouring to reconcile him to the ,greeks1 makes use of an allegory4 8,know ,achilles1 says he1 that prayers are the daughters of ,zeus#bhd2 they are bent with kneeling2 their faces sorrowful and wrinkled1 with eyes lifted up to heaven4 ,they follow ,ate2 who1 with a bold and haughty mien marches on1 and1 light of foot as she is1 runs over all the world1 to seize and torment mankind2 for ever endeavouring to escape the ,prayers1 who incessantly press upon her footsteps1 in order to heal those whom she hath hurt4 ,whoever honours these daughters of ,zeus1 on their approach1 may obtain much good from them2 but meeting with repulse1 they pray their fire to punish by ,ate the hard-hearted wretch40 ,the following well-known old fable might also furnish a new image4 ,salmacis1 and the youth beloved by her1 were changed to a fountain1 unmanning to such a degree1 that ,quisquis in hos fontes vir venerit1 exeat inde ,semivir3 tactis subito mollescat in undis1 ,ovid4 ,metam4 ,l4 ,,iv4 ,the fountain was near ,halicarnassus in ,caria4 ,vitruvius#bhe thought he had discovered the truth of that fiction3 some inhabitants of ,argos and ,trzene1 says he1 going thither with a mind to settle1 dispossessed the ,carians and ,leleges2 who1 sheltering themselves among the mountains1 began to harass the ,greeks with their excursions3 but one of the inhabitants having discovered some particular qualities in that fountain1 erected a building near it1 for the convenience of those who had a mind to make use of its water4 ,greeks and ,barbarians mingled there2 and these at length1 accustomed to the ,greek civility1 lost their savageness1 and were insensibly moulded into another nature4 ,the fable itself is well known to the artists3 but the narrative of ,vitruvius might instruct them how to draw the allegory of a people taught humanity and civilised1 like the ,russians by ,peter the ,first4 ,the fable of ,orpheus might serve the same purpose4 ,expression only must decide the choice4 ,supposing the above general observations upon allegory insufficient to evince its necessity in painting1 the examples will at least demonstrate1 that painting reaches beyond the senses4 ,the two chief performances in allegorical painting1 mentioned in my treatise1 viz4 the ,luxemburg gallery1 and the cupola of the ,imperial ,library at ,vienna1 may shew how poetical1 how happy an use their authors made of allegory4 ,rubens proposing to paint ,henry ,,iv4 as a humane victor1 with lenity and goodness prevailing1 even in the punishment of unnatural rebels1 and treacherous banditti1 represents him as ,jupiter ordering the gods to overthrow and punish the vices3 ,apollo and ,minerva let fly their darts upon them1 and the vices1 hideous monsters1 in a tumultuous uproar tumble over each other3 ,mars1 entering in a fury1 threatens total destruction2 but ,venus1 image of celestial love1 gently lays hold of his arm3--you fancy you hear her blandishing petition to the mailed god3 8rage not with cruel revenge against the vices--they are punished40 ,the whole performance of ,daniel ,gran#bhf is an allegory1 relative to the ,imperial ,library1 and all its figures are as the branches of one single tree4 ',tis a painted ,epopee1 not beginning from the eggs of ,leda2 but1 as ,homer chiefly rehearses the anger of ,achilles1 this immortalizes only the ,emperor's care of the sciences4 ,the preparations for the building of the library are represented in the following manner3 ,imperial majesty appears as a lady fitting1 her head sumptuously dressed1 and on her breast a golden heart1 as a symbol of the ,emperor's generosity4 ,with her sceptre the gives the summons to the builders2 at her feet sits a genius with an angle1 palette1 and chissel2 another hovers over her with the figures of the ,graces1 as symbols of that good taste which prevailed in the whole4 ,next to the chief figure sits general ,liberality1 with a purse in her hand2 below her a genius1 with the table of the ,roman ,congiarius1 and behind her the ,austrian ,liberality1 her mantle embroidered with larks4 ,several ,genii gather the treasures that flow from her ,cornucopia1 in order to distribute them among the votaries of the arts and sciences1 chiefly those1 whose good offices to the library had entitled them to regard4 ,the execution of the ,imperial orders personified1 directs her face to the commanding figure1 and three children present the model of the house4 ,next her an old man1 the image of ,experience1 measures on a table the plan of the building1 a genius standing beneath him with a plummet1 as ready to begin4 ,next the old man sits ,invention1 with a statue of ,isis in her right1 and a book in her left hand1 signifying1 that ,nature and ,science are the fathers of ,invention1 the puzzling schemes of which are represented by a ,sphinx lying before her4 ,this performance was compared to the great platfond of ,le ,moine at ,versailles1 with an eye to the newest productions of ,france and ,germany alone3 for the great gallery of the same palace1 painted by ,charles le ,brun1 is1 without doubt1 the sublimest performance of poetick painting1 since the time of ,rubens2 and being possessed of this1 as well as of the gallery of ,luxemburg1 ,france may boast of the two most learned allegorical performances4 ,the gallery of ,le ,brun contains the history of ,louis ,,xiv4 from the ,pyrenan peace1 to that of ,nimeguen1 in nine large1 and eighteen smaller pieces3 that in which the ,king determines war against ,holland1 contains1 in itself alone1 an ingenious and sublime application of almost the whole mythology#bhg3 its beauties are too exuberant for this treatise2 let the artist's ideas be judged only by two of the smaller compositions4 ,he represents the famous passage over the ,rhine3 his hero sits in a chariot1 a thunderbolt in his hand1 and ,hercules1 the image of heroism1 drives him through the midst of tempestuous waves4 ,the figure representing ,spain is borne down by the current3 the river god1 aghast1 lets fall his oar3 the victories1 approaching on rapid wings1 present shields1 marked with the names of the towns conquered after the passage4 ,europa astonished beholds the scene4 ,another represents the conclusion of the peace4 ,holland1 though with-held by the ,imperial ,eagle1 snatching her robe1 runs to meet peace1 descending from heaven1 surrounded by the ,genii of gaiety and pleasure1 scattering flowers all around her4 ,vanity1 crowned with peacocks feathers2 endeavours to with-hold ,spain and ,germany from following their associate3 but perceiving the cavern where arms are forged for ,france and ,holland1 and hearing same threatening in the skies1 they likewise follow her example4 ,is not the former of these two performances comparable1 in sublimity1 to the ,neptune of ,homer1 and the strides of his immortal horses8 ,but let examples be never so striking1 allegory will still have adversaries3 they rose in times of old1 against that of ,homer himself4 ,there are people of too delicate a conscience1 to bear truth and fiction in one piece3 they are scandalized at a poor river-god in some sacred story4 ,poussin met with their reproaches1 for personifying the ,nile in his ,moses#bhh4 ,a still stronger party has declared against the obscurity of allegory2 for which they censured1 and still continue to censure1 ,le ,brun4 ,but who is there so little experienced as not to know1 that perspicuity and obscurity depend often upon time and circumstances8 ,when ,phidias first added a tortoise#bhi to his ,venus1 'tis likely that few were acquainted with his design in it1 and bold was the artist who first dared to fetter her3 time1 however1 made the meaning as clear as the figures themselves4 ,allegory1 as ,plato says#bij of poetry in general1 has something enigmatick in itself1 and is not calculated for the bulk of mankind4 ,and should the painter1 from the fear of being obscure1 adapt his performance to the capacity of those1 who look upon a picture as upon a tumultuous mob1 he might as well check every new and extraordinary idea4 ,the design of the famous ,fred4 ,barocci1 in his ,martyrdom of ,st4 ,vitalis1 by drawing a little girl alluring a magpye with a cherry1 must have been very mysterious to many2 the cherry#bia alluding to the season1 in which that saint suffered4 ,the painting of the greater machines1 and of the larger parts of publick buildings1 palaces1 c4 ought to be allegorical4 ,grandeur is relative to grandeur2 and heroick actions are not to be sung in elegiack strains4 ,but is every fiction allegorical in every place8 ,the ,venetian ,doge might as well pretend to enjoy his superiority in ,terra firma4 ,i am mistaken if the ,farnesian gallery is to be ranked among the allegorical performances4 ,nevertheless ,annibal1 perhaps not having it in his power to choose his subject1 may have been too roughly used in my treatise3 it is known that the ,duke of ,orleans desired ,coypel to paint in his gallery the history of neas#bib4 ,the ,neptune of ,rubens#bic1 in the gallery at ,dresden1 painted on purpose to adorn the magnificent entry of the ,infant ,ferdinand of ,spain into ,antwerp1 as governor of the ,netherlands1 was there1 on a triumphal arch1 allegorical#bid4 ,the god of the ocean frowning his waves into peace1 was a poetick image of the ,princes escaping the storm1 and arriving safe at ,genoa4 ,but now he is nothing more than the ,neptune of ,virgil4 ,vasari1 when pretending to find allegory in the ,athenian school of ,raphael#bie1 viz4 a companion of philosophy and astronomy with theology1 seems to have required1 and1 by the common opinion of his time1 to have been authorised to require something grand and above the vulgar1 in the decorations of a grand apartment3 though indeed there be nothing but what is obvious at first look1 and that is1 a representation of the ,athenian academy#bif4 ,but in ancient times1 there was no story in a temple1 that was not1 at the same time1 allegorical2 allegory being closely interwoven with mythology3 the gods of ,homer1 says an ancient1 are the most lively images of the different powers of the universe2 shadows of elevated ideas3 and the gallantries of ,jupiter and ,juno1 in the platfond of a temple of that goddess at ,samos1 were looked on as such2 air being represented by ,jupiter1 and earth by ,juno#big4 ,here ,i think it incumbent upon me to clear up what ,i have said concerning the contradictions in the character of the ,athenians1 as represented by ,parrhasius4 ,this you think an easy matter2 the painter having done it either in the historical way1 or in several pictures3 which latter is absurd4 ,has not there been even a statue of that people1 done by ,leochares1 as well as a temple#bih8 ,the composition of the picture in question1 has still eluded all probable conjectures#bii2 and the help of allegory having been called in1 has produced nothing but ,tesoro's#cjj ghastly phantoms4 ,this fatal picture of ,parrhasius1 ,i am afraid1 will of itself be a perpetual instance of the superior skill of the ancients in allegory4 ,what has been said already of allegory1 in general1 contains likewise what remarks may be made upon its being applied to decorations2 nevertheless as you insist upon that point particularly1 ,i shall lightly mention it too4 ,there are two chief laws in decoration1 viz4 to adorn suitably to the nature of things and places1 and with truth2 and not to follow an arbitrary fancy4 ,the first1 as it concerns the artists in general1 and dictates to them the adjusting of things in such a manner1 as to make them relative to each other1 claims especially a strict propriety in decorations3 ----,non ut placidis coeant immitia-- ,hor4 ,the sacred shall not be mixed with the profane1 nor the terrible with the sublime3 this was the reason for rejecting the sheeps-heads#cja1 in the ,doric ,metopes1 at the chapel of the palace of ,luxemburg at ,paris4 ,the second law excludes licentiousness2 nay circumscribes the architect and decorator within much narrower limits than the painter2 who sometimes must1 in spite of reason1 subject his own fancy1 and ,greece1 to fashion1 even in history-pieces3 but publick buildings1 and such works as are made for futurity1 claim decorations that will outlast the whims of fashion2 like those that1 by their dignity and superior excellence1 bore down the attacks of many a century3 otherwise they fade away1 grow insipid and out of fashion1 perhaps before the finishing of the very work to which they are added4 ,the former law directs the artist to allegory3 the latter to the imitation of antiquity2 and this concerns chiefly the smaller decorations4 ,such ,i call those that make not up of themselves a whole1 or those that are additional to the larger ones4 ,the ancients never applied shells1 when not required by the fable2 as in the case of ,venus and the ,tritons2 or by the place1 as in the temples of ,neptune3 and lamps decked with shells#cjb are supposed to have made part of the implements of those temples4 ,for the same reason they may give lustre2 and be very significant1 in proper places2 as in the festoons of the ,stadthouse at ,amsterdam#cjc4 ,sheep and ox-heads stripped of their skin1 so far from justifying a promiscuous use of shells1 as the author seems inclined to think1 are plain arguments to the contrary3 for they not only were relative to the ancient sacrifices1 but were thought to be endowed with a power of averting lightning#cjd2 and ,numa pretended to have been secretly instructed about them by ,jupiter#cje4 ,nor can the ,corinthian capital serve for an instance of a seemingly absurd ornament1 authorised and rendered fashionable by time alone3 for it seems of an origin more natural and reasonable than ,vitruvius makes it2 which is1 however1 an enquiry more adapted to a treatise on architecture4 ,pocock believed that the ,corinthian order had not much reputation in the time of ,pericles1 who built a temple to ,minerva3 but he should have been reminded1 that the ,doric order belonged to the temples of that goddess1 as ,vitruvius informs us#cjf4 ,these decorations ought to be treated like architecture in general1 which owes its grandeur to simplicity1 to a system of few parts1 which being not complex themselves1 branch out into grace and splendour4 ,remember here the channelled pillars of the temple of ,jupiter1 at ,agrigentum1 7,girgenti now7 which were large enough to contain1 in one single gutter1 a man at full length#cjg4 ,in the same manner these decorations must not only be few1 but those must likewise consist of few parts1 which are to appear with an air of grandeur and ease4 ,the first law 7to return to allegory7 might be lengthened out into many a subaltern rule3 but the nature of things and circumstances is1 and ever must be1 the artist's first aim2 as for examples1 refutation promises rather more instruction than authority4 ,arion riding on his dolphin1 as unmeaningly represented upon a ,sopra-porta1 in a new treatise on architecture#cjh1 though a significant image in the apartments of a ,french ,dauphin1 would be a very poor one in any place where ,philanthropy1 or the protection of artists like him1 could not immediately be hinted at4 ,on the contrary1 he would even to this day1 though without his lyre1 be an ornament to any publick building at ,tarentum1 because the ancient ,tarentines1 stamped on their coins the image of ,taras1 one of the sons of ,neptune1 riding on a dolphin1 on a supposition of his being their first founder4 ,the allegorical decorations of a building1 raised by the contributions of a whole nation1 ,i mean the ,duke of ,marlborough's palace at ,blenheim1 are absurd3 enormous lions of massy stone1 above two portals1 tearing to pieces a little cock#cji4 ,the hint sprung from a poor pun4 ,nor can it be denied that antiquity furnishes some ideas seemingly analogous to this3 as for instance1 the lioness on the tomb of ,lena1 the mistress of ,aristogiton1 raised in honour of her constancy amidst the torments applied by the tyrant1 in order to extort from her a confession of the conspirators against him4 ,but from this1 ,i am afraid1 nothing can arise in behalf of the above pitiful decoration3 that mistress of the martyr of liberty having been a notorious woman1 and whose name could not decently stand a publick trial4 ,of the same nature are the lizards and frogs on a temple#caj1 alluding to the names of the two architects1 ,saurus and ,batrachus#caa3 the above-mentioned lioness having no tongue1 made the allegory still more expressive4 ,the lioness on the tomb of the famous ,lais#cab1 holding with her fore-paws a ram1 as a symbol of her manners#cac1 was perhaps an imitation of the former4 ,the lion was1 in general1 set upon the tombs of the brave4 ,it is not indeed to be pretended that every ornament and image of the ancient vases1 tools1 c4 should be allegorical2 and to explain many of them1 in that way1 would be equally difficult and conjectural4 ,i am not bold enough to maintain1 that an earthen lamp#cad1 in the shape of an ox's-head1 means a perpetual remembrance of useful labours1 on account of the perpetuity of the fire2 nor to decypher here a mysterious sacrifice to ,pluto and ,proserpine#cae4 ,but the image of a ,trojan ,prince1 carried off by ,jupiter1 to be his favourite1 was of great and honourable signification in the mantle of a ,trojan4 ,birds pecking grapes seem as suitable to an urn1 as the young ,bacchus brought by ,mercury to be nursed by ,leucothea1 on a large marble vase of the ,athenian ,salpion#caf4 ,the grapes may be a symbol of the pleasures the deceased enjoy in ,elysium3 the pleasures of hereafter being commonly supposed to be such2 as the deceased chiefly delighted in when alive4 ,a bird1 ,i need not say1 was the image of the soul4 ,a ,sphinx1 on a cup sacred to ,bacchus1 is supposed to be an allusion to the adventures of ,oedipus at ,thebes1 ,bacchus's birth place#cag2 as a ,lizard on a cup of ,mentor1 may hint at the possessor1 whose name perhaps was ,saurus4 ,there is some reason to search for allegory1 in most of the ancient performances1 when we consider1 that they even built allegorically4 ,such an allusive building was a gallery at ,olympia#cah1 sacred to the seven liberal arts1 and re-echoing seven times a poem read aloud there4 ,a temple of ,mercury1 supported1 instead of pillars1 by ,herms1 or1 as we now spell1 ,terms1 on a coin of ,aurelian#cai1 is of the same kind3 there is on its front a dog1 a cock1 and a tongue2 figures that want no explication4 ,yet the temple of ,virtue and ,honour1 built by ,marcellus1 was still more learnedly executed3 having consecrated his ,sicilian spoils to that purpose1 he was disappointed by the priests1 whom he first consulted on that design2 who told him1 that no single temple could admit of two divinities4 ,marcellus therefore ordered two temples to be built1 adjoining to each other1 in such a manner that whoever would be admitted to that of ,honour must pass through that of ,virtue#cbj2 thus publickly indicating1 that virtue alone leads to true honour3 this temple was near the ,porta ,capena#cba4 ,and here ,i cannot help remembering those hollow statues of ugly satyrs#cbb1 which1 when opened1 were found replete with little figures of the graces1 to teach1 that no judgment is to be formed from outward appearances1 and that a fair mind makes amends for a homely body4 ,perhaps1 ,sir1 some of your objections may have been omitted3 if so1 it was against my will----and at this instant1 ,i remember one concerning the ,greek art of changing blue eyes to black ones4 ,dioscorides is the only writer that mentions it#cbc4 ,attempts of this kind have been made in our days3 a certain ,silesian countess was the favourite beauty of the age1 and universally acknowledged to be perfect1 had it not been for her blue eyes1 which some of her admirers wished were black4 ,the lady1 informed of the wishes of her adorers1 by repeated endeavours overcame nature2 her eyes became black1--and she blind4 ,i am not satisfied with myself1 nor perhaps have given you satisfaction3 but the art is inexhaustible1 and all cannot be written4 ,i only wanted to amuse myself agreeably at my leisure hours2 and the conversation of my friend ,,frederic ,,oeser1 a true imitator of ,aristides1 the painter of the soul1 was not a little favourable to my purpose3 the name of which worthy friend and artist#cbd shall spread a lustre over the end of my treatise4 ,,instructions ,,for ,,the ,,connoisseur4 ----,non1 si quid turbida ,,roma ,elevet1 accedas3 examenve improbum in illa ,castiges trutina3 nec te qusiveris extra4 ,nam ,rom est ,quis non8---- ,you call yourself a ,connoisseur1 and the first thing you gaze at1 in considering works of art1 is the workmanship1 the delicacy of the pencilling1 or the polish given by the chissel4----,it was the idea however1 its grandeur or meanness1 its dignity1 fitness1 or unfitness1 that ought first to have been examined3 for industry and talents are independent of each other4 ,a piece of painting or sculpture cannot1 merely on account of its having been laboured1 claim more merit than a book of the same sort4 ,to work curiously1 and with unnecessary refinements1 is as little the mark of a great artist1 as to write learnedly is that of a great author4 ,an image anxiously finished1 in every minute trifle1 may be fitly compared to a treatise crammed with quotations of books1 that perhaps were never read4 ,remember this1 and you will not be amazed at the laurel leaves of ,bernini's ,apollo and ,daphne1 nor at the net held by ,adams's statue of water at ,potzdam3 you will only be convinced that workmanship is not the standard which distinguishes the antique from the modern4 ,be attentive to discover whether an artist had ideas of his own1 or only copied those of others2 whether he knew the chief aim of all art1 ,beauty1 or blundered through the dirt of vulgar forms2 whether he performed like a man1 or played only like a child4 ,books may be written1 and works of art executed1 at a very small expence of ideas4 ,a painter may mechanically paint a ,madonna1 and please2 and a professor1 in the same manner1 may write ,metaphysics to the admiration of a thousand students4 ,but would you know whether an artist deserves his name1 let him invent1 let him do the same thing repeatedly3 for as one feature1 may modify a mien1 so1 by changing the attitude of one limb1 the artist may give a new hint towards a characteristic distinction of two figures1 in other respects exactly the same1 and prove himself a man4 ,plato1 in ,raphael's ,athenian school1 but slightly moves his finger3 yet he means enough1 and infinitely more than all ,zucchari's meteors4 ,for as it requires more ability to say much in a few words1 than to do the contrary2 and as good sense delights rather in things than shews1 it follows1 that one single figure may be the theatre of all an artist's skill3 though1 by all that is stale and trivial6 the bulk of painters would think it as tyrannical to be sometimes confined to two or three figures1 in great only1 as the ephemeral writers of this age would grin at the proposal of beginning the world with their own private stock1 all public hobby-horses laid aside3 for fine cloaths make the beau4 ',tis hence that most young artists1 ,enfranchis'd from their tutor's care1 choose rather to make their entrance with some perplexed composition1 than with one figure strongly fancied and masterly executed4 ,but let him1 who1 content to please the few1 wants not to earn either bread or applause from a gaping mob1 let him remember that the management of a 8little0 more or less really distinguishes artist from artist2 that the truly sensible produces a multiplicity1 as well as quickness and delicacy of feelings1 whilst the dashing quack tickles only feeble senses and callous organs2 that he may consequently be great in single figures1 in1 the smallest compositions1 and new and various in repeating things the most trite4 ,here ,i speak out of the mouth of the ancients3 this1 their works teach3 and both our writers and painters would come nearer them1 did not the one busy themselves with their words only1 the other with their proportions4 ,in the face of ,apollo pride exerts itself chiefly in the chin and nether lip2 anger in the nostrils2 and contempt in the opening mouth2 the graces inhabit the rest of his divine1 head1 and unruffled beauty1 like the sun1 streams athwart the passions4 ,in ,laocoon you see bodily pains1 and indignation at undeserved sufferings1 twist the nose1 and paternal sympathy dim the eye-balls4 ,strokes like these are1 as in ,homer1 a whole idea in one word2 he only finds them who is able to understand them4 ,take it for certain1 that the ancients aimed at expressing much in little1 ,their ore was rich1 and seven times purg'd of lead3 whereas most moderns1 like tradesmen in distress1 hang out all their wares at once4 ,homer1 by raising all the gods from their seats1 on ,apollo's appearing amongst them#cbe1 gives a sublimer idea than all the learning of ,callimachus could furnish4 ,if ever a prejudice may be of use1 'tis here2 hope largely from the ancient works in approaching them1 nor fear disappointments2 but examine1 peruse1 with cool sedateness and silenced passions1 lest your disturbed brain find ,xenophon flat and ,niobe insipid4 ,to original ideas1 we oppose copied1 not imitated ones4 ,copying we call the slavish crawling of the hand and eyes1 after a certain model3 whereas reasonable imitation just takes the hint1 in order to work by itself4 ,domenichino1 the painter of ,tenderness1 imitated the heads of the pretended ,alexander at ,florence1 and of the ,niobe at ,rome#cbf2 but altered them like a master4 ,on gems and coins you may find many a figure of ,poussin's3 his ,salomon is the ,macedonian ,jupiter3 but whatever his imitation produced1 differs from the first idea1 as the blossoms of a transplanted tree differ from those that sprung in its native soil4 ,another method of copying is1 to compile a ,madonna from ,maratta2 a ,s4 ,joseph from ,barocci2 other figures from other masters1 and lump them together in order to make a whole4 ,many such altar-pieces you may find1 even at ,rome2 and such a painter was the late celebrated ,masucci of that city4----,copying ,i call1 moreover1 the following a certain form1 without the least consciousness of one's being a blockhead4 ,such was he who1 by the command of a certain ,prince1 painted the nuptials of ,psyche1 or1 if you will1 the ,queen of ,sheba3--'twas a pity there was no other ,psyche to be found1 but that dangerous one of ,raphael4 ,most of the late great statues of the saints1 in ,st4 ,peter's at ,rome1 are of the same stuff--the block at #ejj ,roman crowns from the quarry4 ,the second characteristic of works of art is ,beauty4 ,the highest object of meditation for man is man1 and for the artist there is none above his own frame4 ',tis by moving your senses that he reaches your soul3 and hence the analysis of the bodily system has no less difficulties for him1 than that of the human mind for the philosopher4 ,i do not mean the anatomy of the muscles1 vessels1 bones1 and their different forms and situations2 nor the relative measure of the whole to its parts1 and vice versa3 for the knife1 exercise1 and patience1 may teach you all these4 ,i mean the analysis of an attribute1 essential to man1 but fluctuating with his frame1 allowed by all1 misconstrued by many1 known by few3--the analysis of beauty1 which no definition can explain1 to him whom heaven hath denied a soul for it4 ,beauty consists in the harmony of the various parts of an individual4 ,this is the philosopher's stone1 which all artists must search for1 though a few only find it3 'tis nonsense to him1 who could not have formed the idea out of himself4 ,the line which beauty describes is elliptical1 both uniform and various3 'tis not to be described by a circle1 and from every point changes its direction4 ,all this is easily said2 but to apply it--there is the rub4 ',tis not in the power of ,algebra to determine which line1 more or less elliptic1 forms the divers parts of the system into beauty--but the ancients knew it2 ,i attest their works1 from the gods down to their vases4 ,the human form allows of no circle1 nor has any antique vase its profile semicircular4 ,after this1 should any one desire me to assist him more sensibly in his inquiries concerning beauty1 by setting down some rules 7a hard task71 ,i would take them from the antique models1 and in want of these1 from the most beautiful people ,i could meet with at the place where ,i lived4 ,but to instruct1 ,i would do it in the negative way2 of which ,i shall give some instances1 confining myself however to the face4 ,the form of real beauty has no abrupt or broken parts4 ,the ancients made this principle the basis of their youthful profile2 which is neither linear nor whimsical1 though seldom to be met with in nature3 the growth1 at least1 of climates more indulgent than ours4 ,it consists in the soft coalescence of the brow with the nose4 ,this uniting line so indispensably accompanies beauty1 that a person wanting it may appear handsome full-faced2 but mean1 nay even ugly1 when taken in profile4 ,bernini1 that destroyer of art1 despised this line1 when legislator of taste1 as not finding it in common nature1 his only model2 and therein was followed by all his school4 ,from this same principle it necessarily follows1 that neither chin nor cheeks1 deep-marked with dimples1 can be consistent with true beauty4 ,hence the face of the ,medicean ,venus is to be degraded from the first rank4 ,her face1 ,i dare say1 was taken from some celebrated fair one1 contemporary with the artist4 ,two other ,venuses1 in the garden behind the ,farnese1 are manifestly portraits4 ,the form of real beauty has neither the projected parts obtuse1 nor the vaulted ones sharp4 ,the eye-bone is magnificently raised1 the chin thoroughly vaulted4 ,thus the best ancients drew3 though1 when taste declined amongst them1 and the arts were trampled on in modern times1 these parts changed too3 then the eye-bone became roundish and obtusely dull1 and the chin mincingly pretty4 ,hence we may safely affirm1 that what they call ,antinous1 in the ,belvedere1 whose eye-bone is rather obtuse1 cannot be a work of the highest antiquity1 any more than the ,venus4 ,as these remarks are general1 they likewise concern the features of the face1 the form only4 ,there is another charm1 that gives expression and life to forms1 which we call ,grace2 and we shall give some loose reflexions on it separately1 leaving it to others to give us systems4 ,the figure of a man is as susceptible of beauty as that of a youth3 but as a various one1 not the various alone1 is the ,gordian knot1 it follows1 that a youthful figure1 drawn at large1 and in the highest possible degree of beauty1 is1 of all problems that can be proposed to the designer1 the most difficult4 ,every one may convince himself of this3 take the most beautiful face in modern painting1 and it will go hard1 but you shall know a still more beautiful one in nature4----,i speak thus1 after having considered the treasures of ,rome and ,florence4 ,if ever an artist was endowed with beauty1 and deep innate feelings for it2 if ever one was versed in the taste and spirit of the ancients1 'twas certainly ,raphael3 yet are his beauties inferior to the most beautiful nature4 ,i know persons more beautiful than his unequalled ,madonna1 in the ,palazzo ,petti at ,florence1 or the ,alcibiades in his academy4 ,the ,madonna in the ,christmas-night of ,corregio1 7a piece justly celebrated for its chiar'-oscuro7 is no sublime idea2 still less so is that of ,maratta at ,dresden3 ,titian's celebrated ,venus#cbg in the ,tribuna at ,florence is common nature4 ,the little heads of ,albano have an air of beauty2 but it is a different thing to express beauty in little1 and in great4 ,to have the theory of navigation1 and to guide a ship through the ocean1 are two things4 ,poussin1 who had studied antiquity more than his predecessors1 knew perfectly well what his shoulders could bear1 and never ventured into the great4 ,the ,greeks alone seem to have thrown forth beauty1 as a potter makes his pot4 ,the heads on all the coins of their ,free-states have forms above nature1 which they owe to the line that forms their profile4 ,would it not be easy to hit that line8 ,yet have all the numismatic compilers deviated from it4 ,might not ,raphael1 who complained of the scarcity of beauty1 might not he have recurred to the coins of ,syracuse1 as the best statues1 ,laocoon alone excepted1 were not yet discovered8 ,farther than those coins no mortal idea can go4 ,i wish my reader an opportunity of seeing the beautiful head of a genius in the ,villa ,borghese1 and those images of unparalleled beauty1 ,niobe and her daughters4 ,on the western side of the ,alps he must be contented with gems and pastes4 ,two of the most beautiful youthful heads are a ,minerva of ,aspasius1 now at ,vienna1 and a young ,hercules in the ,museum of the late ,baron ,stosch1 at ,florence4 ,but let no man1 who has not formed his taste upon antiquity1 take it into his head to act the connoisseur of beauty3 his ideas must be a parcel of whims4 ,of modern beauties ,i know none that could vie with the ,greek female dancer of ,mr4 ,mengs1 big as life1 painted in ,crayons on wood1 for the ,marquis ,croimare at ,paris1 or with his ,apollo amidst the muses1 in the ,villa ,albano1 to whom that of ,guido in the ,aurora1 compared1 is but a mortal4 ,all the modern copies of ancient gems give us another proof of the decisive authority of beauty in criticisms on works of art4 ,natter has dared to copy that head of ,minerva mentioned above1 in the same size and smaller1 but fell short4 ,the nose is a hair too big1 the chin too flat1 and the mouth mean4 ,and this is the case of modern imitators in general4 ,what can we hope then of self-fancied beauties8 ,conclude not1 however1 from this1 against the possibility of a perfect imitation of antique heads3 'tis enough to say1 that it has not yet existed3 'twas probably the fault of the imitators themselves4 ,natter's treatise on ancient gems is rather shallow2 and what he wrought and wrote1 even on that single branch of engraving1 for which he was chiefly celebrated1 has neither the strength nor the ease of genius4 ,to this consciousness of inferiority we owe the scarcity of modern supposititious gems and coins4 ,any man of taste may1 upon comparison1 distinguish even the best modern coin from the antique original4--,i speak of the best antiques3 for as to the lower ,imperial coins1 where the cheat was easier1 the artists have been liberal enough4 ,padoano's stamps1 for copying antique coins1 are in the ,barberini ,collection at ,rome1 and those of one ,michel1 a ,frenchman1 and false coiner in taste1 at ,florence1 in that of the late ,baron ,stosch4 ,the third characteristic of works of art is ,execution2 or1 the sketch being made1 the method of finishing4 ,and even here we commend good sense above industry4 ,as in judging of styles1 we distinguish the good writer by the clearness1 fluency1 and nervousness of his diction2 so in works of art1 we discover the master by the manly strength1 freedom1 and steadiness of his hand4 ,the august contour1 and easiness of mien1 in the figures of ,christ1 ,st4 ,peter1 and the other apostles1 on the right side of the ,transfiguration1 speak the classic hand of ,raphael1 as strongly as the smooth1 anxious nicety of some of ,julio ,romano's figures1 on the left1 the more wavering one of the disciple4 ,never admire either the marble's radiant polish1 or the picture's glossy surface4 ,for that the journeyman sweated2 for this the painter vegetated only4 ,bernini's ,apollo is as polished as ,,he in the ,belvedere2 and there is much more labour hid in one of ,trevisani's ,madonnas1 than in that of ,corregio4 ,whenever trusty arms and laborious industry prevail1 we defy all the ancients4 ,we are not their inferiors even in managing porphyry1 though a mob of scriblers1 with ,clarencas in their rear-guard1 deny it4 ,nor 7whatever ,maffei thinks#cbh17 did the ancients know a peculiar method of giving a nicer polish to the figures of their concave gems 7,intagli47 ,our artists polish as nicely3 but statues and gems may be detestable1 for all their polish1 as a face may be ugly1 with the softest skin4 ,this however is not meant to blame a statue for its polish1 as it is conducive to beauty3 though ,laocoon informs us1 that the ancients knew the secret of finishing statues1 merely with the chissel4 ,nor does the cleanness of the pencil1 on a picture1 want its merit3 yet it ought to be distinguished from enamelled tints4 ,a barked statue1 and a bristly picture are alike absurd4 ,sketch with fire1 and execute with phlegm4 ,we blame workmanship only as it claims the first rank2 as in the marbles la ,bernini1 and the linnen of ,scybold and ,denner4 ,friend1 these instructions may be of use4 ,for as the bulk of mankind amuse themselves with the shells of things only1 your eye may be captivated by polish and glare1 as they are the most obvious2 to put you on your guard against which1 is leading you the first step to true knowledge4 ,for daily observation1 during several years1 in ,italy1 has taught me how lamentably most young travellers are duped by a set of blind leaders4 ,to see them skip about in the temple of art and genius1 all quite sober and cool1 puts me in mind of a swarm of new-fledged grashoppers wantoning in the spring4 ,,on ,,grace4 ---- 4 ,grace is the harmony of agent and action4 ,it is a general idea3 for whatever reasonably pleases in things and actions is gracious4 ,grace is a gift of heaven2 though not like beauty1 which must be born with the possessor3 whereas nature gives only the dawn1 the capability of this4 ,education and reflection form it by degrees1 and custom may give it the sanction of nature4 ,as water1 ,that least of foreign principles partakes1 ,is best3 ,so ,grace is perfect when most simple1 when freest from finery1 constraint1 and affected wit4 ,yet always to trace nature through the vast realms of pleasure1 or through all the windings of characters1 and circumstances infinitely various1 seems to require too pure and candid a taste for this age1 cloyed with pleasure1 in its judgments either partial1 local1 capricious1 or incompetent4 ,then let it suffice to say1 that ,grace can never live where the passions rave2 that beauty and tranquillity of soul are the centre of its powers4 ,by this ,cleopatra subdued ,csar2 ,anthony slighted ,octavia and the world for this2 it breathes through every line of ,xenophon2 ,thucydides1 it seems1 disdained its charms2 to ,grace ,apelles and ,corregio owe immortality2 but ,michael ,angelo was blind to it2 though all the remains of ancient art1 even those of but middling merit1 might have satisfied him1 that ,grace alone places them above the reach of modern skill4 ,the criticisms on ,grace in nature1 and on its imitation by art1 seem to differ3 for many are not shocked at those faults in the latter1 that certainly would incur their displeasure in the former4 ,this diversity of feelings lies either in imitation itself1 which perhaps affects the more the less it is akin to the thing imitated2 or in the senses being little exercised1 and in the want of attention1 and of clear ideas of the objects in question4 ,but let us not from hence infer that ,grace is wholly fictitious3 the human mind advances by degrees2 nor are youth1 the prejudices of education1 boiling passions1 and their train of phantoms1 the standard of its real delight--remove some of these1 and it admires what it loathed1 and spurns what it doted on4 ,myriads1 you say1 the bulk of mankind1 have not even the least notion of ,grace--but what do they know of beauty1 taste1 generosity1 or all the higher luxuries of the soul8 ,these flowers of the human mind were not intended for universal growth1 though their seeds lie in every breast4 ,grace1 in works of art1 concerns the human figure only2 it modifies the attitude and countenance1 dress and drapery4 ,and here ,i must observe1 that the following remarks do not extend to the comic part of art4 ,the attitude and gestures of antique figures are such as those have1 who1 conscious of merit1 claim attention as their due1 when appearing among men of sense4 ,their motions always shew the motive2 clear1 pure blood1 and settled spirits2 nor does it signify whether they stand1 sit1 or lie2 the attitudes of ,bacchanals only are violent1 and ought to be so4 ,in quiet situations1 when one leg alone supports the other which is free1 this recedes only as far as nature requires for putting the figure out of its perpendicular4 ,nay1 in the ,fauni1 the foot has been observed to have an inflected direction1 as a token of savage1 regardless nature4 ,to the modern artists a quiet attitude seemed insipid and spiritless1 and therefore they drag the leg at rest forwards1 and1 to make the attitude ideal1 remove part of the body's weight from the supporting leg1 wring the trunk out of its centre1 and turn the head1 like that of a person suddenly dazzled with lightning4 ,those to whom this is not clear1 may please to recollect some stage-knight1 or a conceited young ,frenchman4 ,where room allowed not of such an attitude1 they1 lest unhappily the leg that has nothing to do might be unemployed1 put something elevated under its foot1 as if it were like that of a man who could not speak without setting his foot on a stool1 or stand without having a stone purposely put under it4 ,the ancients took such care of appearances1 that you will hardly find a figure with crossed legs1 if not a ,bacchus1 ,paris1 or ,nireus2 and in these they mean to express effeminate indolence4 ,in the countenances of antique figures1 joy bursts not into laughter2 'tis only the representation of inward pleasure4 ,through the face of a ,bacchanal peeps only the dawn of luxury4 ,in sorrow and anguish they resemble the sea1 whose bottom is calm1 whilst the surface raves4 ,even in the utmost pangs of nature1 ,niobe continues still the heroine1 who disdained yielding to ,latona4 ,the ancients seem to have taken advantage of that situation of the soul1 in which1 struck dumb by an immensity of pains1 she borders upon insensibility2 to express1 as it were1 characters1 independent of particular actions2 and to avoid scenes too terrifying1 too passionate1 sometimes to paint the dignity of minds subduing grief4 ,those of the moderns1 that either were ignorant of antiquity1 or neglected to enquire into ,grace in nature1 have expressed1 not only what nature feels1 but likewise what she feels not4 ,a ,venus at ,potzdam1 by ,pigal#cbi1 is represented in a sentiment which forces the liquor to flow out at both sides of her mouth2 seemingly gasping for breath2 for she was intended to pant with lust3 yet1 by all that's desperate6 was this very ,pigal several years entertained at ,rome to study the antique4 ,a ,carita of ,bernini1 on one of the papal monuments in ,st4 ,peter's1 ought1 you'll think1 to look upon her children with benevolence and maternal fondness2 but her face is all a contradiction to this3 for the artist1 instead of real graces1 applied to her his nostrum1 dimples1 by which her fondness becomes a perfect sneer4 ,as for the expression of modern sorrow1 every one knows it1 who has seen cuts1 hair torn1 garments rent1 quite the reverse of the antique1 which1 like ,hamlet's1 ----hath that within1 which passeth shew3 ,these1 but the trappings1 and the suits of woe4 ,the gestures of the hands of antique figures1 and their attitudes in general1 are those of people that think themselves alone and unobserved3 and though the hands of but very few statues have escaped destruction1 yet may you1 from the direction of the arm1 guess at the easy and natural motion of the hand4 ,some moderns1 indeed1 that have supplied statues with hands or fingers1 have too often given them their own favourite attitudes--that of a ,venus at her toilet1 displaying to her levee the graces of a hand1 ----far lovelier when beheld4 ,the action of modern hands is commonly like the gesticulation of a young preacher1 piping-hot from the college4 ,holds a figure her cloths8 ,you would think them cobweb4 ,nemesis1 who1 on antique gems1 lifts her peplum softly from her bosom1 would be thought too griping for any new performance--how can you be so unpolite to think any thing may be held1 without the three last fingers genteely stretched forth8 ,grace1 in the accidental parts of antiques1 consists1 like that of the essential ones1 in what becomes nature4 ,the drapery of the most ancient works is easy and slight3 hence it was natural to give the folds beneath the girdle an almost perpendicular direction4--,variety indeed was sought1 in proportion to the increase of art2 but drapery still remained a thin floating texture1 with folds gathered up1 not lumped together1 or indiscreetly scattered4 ,that these were the chief principles of ancient drapery1 you may convince yourself from the beautiful ,flora in the ,campidoglio1 a work of ,hadrian's times4 ,bacchanals and dancing figures had1 indeed1 even if statues1 more waving garments1 such as played upon the air2 such a one is in the ,palazzo ,riccardi at ,florence2 but even then the artists did not neglect appearances1 nor exceed the nature of the materials4 ,gods and heroes are represented as the inhabitants of sacred places2 the dwellings of silent awe1 not like a sport for the winds1 or as wafting the colours3 floating1 airy garments are chiefly to be met with on gems--where ,atalanta flies ,as meditation swift1 swift as the thoughts of love4 ,grace extends to garments1 as such were given to the ,graces by the ancients4 ,how would you wish to see the ,graces dressed8 ,certainly not in birth-day robes2 but rather like a beauty you loved1 still warm from the bed1 in an easy neglige4 ,the moderns1 since the epoch of ,raphael and his school1 seem to have forgot that drapery participates of ,grace1 by their giving the preference to heavy garments1 which might not improperly be called the wrappers of ignorance in beauty3 for a thick large-folded drapery may spare the artists the pains of tracing the ,contour under it1 as the ancients did4 ,some of the modern figures seem to be made only for lasting4 ,bernini and ,peter of ,cortona introduced this drapery4 ,for ourselves1 we choose light easy dresses2 why do we grudge our figures the same advantage8 ,he that would give a ,history of ,grace1 after the revolution of the arts1 would perhaps find himself almost reduced to negatives1 especially in sculpture4 ,in sculpture1 the imitation of one great man1 of ,michael ,angelo1 has debauched the artists from ,grace4 ,he1 who valued himself upon his being 8a pure intelligence0 despised all that could please humanity2 his exalted learning disdained to stoop to tender feelings and lovely grace4 ,there are poems of his published1 and in manuscript1 that abound in meditations on sublime beauty3 but you look in vain for it in his works4--,beauty1 even the beauty of a ,god1 wants ,grace1 and ,moses1 without it1 from awful as he was1 becomes only terrible4 ,immoderately fond of all that was extraordinary and difficult1 he soon broke through the bounds of antiquity1 grace1 and nature2 and as he panted for occasions of displaying skill only1 he grew extravagant4 ,his lying statues1 on the ducal tombs of ,st4 ,lorenzo at ,florence1 have attitudes1 which life1 undistorted1 cannot imitate3 so careless was he1 provided he might dazzle you with his mazy learning1 of that decency1 which nature and the place required1 that to him we might apply1 what a poet says of ,st4 ,lewis in hell3 ,laissant le vray pour prendre la grimace1 ,il fut toujours au del de la ,grace1 ,et bien plus loin que les commandements4 ,he was blindly imitated by his disciples1 and in them the want of ,grace shocks you still more3 for as they were far his inferiors in science1 you have no equivalent at all4 ,how little ,guilielmo della ,porta1 the best of them all1 understood grace and the antique1 you may see in that marble groupe1 called the ,farnese-bull2 where ,dirce is his to the girdle4 ,john di ,bologna1 ,algardi1 ,fiammingo1 are great names1 but likewise inferior to the ancients1 in ,grace4 ,at last ,lorenzo ,bernini appeared1 a man of spirit and superior talents1 but whom ,grace had never visited even in dreams4 ,he aimed at encyclopdy in art2 painter1 architect1 statuary1 he struggled1 chiefly as such1 to become original4 ,in his eighteenth year he produced his ,apollo and ,daphne2 a work miraculous for those years1 and promising that sculpture by him should attain perfection4 ,soon after he made his ,david1 which fell short of ,apollo4 ,proud of general applause1 and sensible of his impotency1 either to equal or to offuscate the antiques2 he seems1 encouraged by the dastardly taste of that age1 to have formed the project of becoming a legislator in art1 for all ensuing ages1 and he carried his point4 ,from that time the ,graces entirely forsook him3 how could they abide with a man who begun his career from the end opposite to the ancients8 ,his forms he compiled from common nature1 and his ideas from the inhabitants of climates unknown to him2 for in ,italy's happiest parts nature differs from his figures4 ,he was worshipped as the genius of art1 and universally imitated2 for1 in our days1 statues being erected to piety only1 none to wisdom1 a statue la ,bernini is likelier to make the kitchen prosper than a ,laocoon4 ,from ,italy1 reader1 ,i leave you to guess at other countries4 ,a celebrated ,puget1 ,girardon1 with all his brethren in ,on1 are worse4 ,judge of the connoisseurs of ,france by ,watelet1 and of its designers1 by ,mariette's gems4 ,at ,athens the ,graces stood eastward1 in a sacred place4 ,our artists should place them over their work-houses2 wear them in their rings2 seal with them2 sacrifice to them2 and1 court their sovereign charms to their last breath4 ,,footnotes #a ,plato in ,timo4 ,edit4 ,francof4 p4 #ajdd4 #b ,in ,timum ,platonis4 #c ,vide ,pindar4 ,olymp4 ,od4 ,,vii4 ,arg4 ,schol4 #d ,some are of opinion1 that the celebrated ,ludovisian gladiator1 now in the great sallon of the capitol1 is this same whom ,pliny mentions4 #e ,vide ,bellori ,descriz delle ,imagini dipinte da ,raffaelle d',vrbino1 c4 ,roma4 #afie fol4 #f ,vide ,stosch ,pierres grav4 pl4 ,,xxxiii4 #g ,baldinucci ,vita del ,cav4 ,bernini4 #h ,vide ,stosch ,pierres ,grav4 pl4 ,,xxix4 ,,xxx4 #i ,vide ,mus4 ,flor4 ,t4 ,,ii4 t4 ,v4 #aj ,vide ,zanetti ,statue nell' ,antisala della libraria di ,s4 ,marco4 ,venez4 #agdj4 fol4 #aa ,among the busts remarkable for that coarser ,drapery1 we may reckon the beauteous ,caracalla in the royal cabinet at ,dresden4 #ab ,vide ,wright's ,travels4 ,the victorious ,st4 ,michael of ,guido1 treads on the body of his antagonist1 with all the precision of a dancing-master4 ,webb's ,inquiry1 c4 #ac ,vasari vite de ,pittori1 ,scult4 et ,arch4 edit4 #aefh4 ,part ,,iii4 p4 #ggf4----8,quattro prigioni bozzati1 che possano insegnare cavare de' ,marmi le figure con un modo sicuro da non istorpiare i sassi1 che il modo questo1 che s' e' si pigliassi una figura di cera d' altra materia dura1 e si metessi giacere in una conca d' acqua1 la quale acqua essendo per la sua natura nella sua sommit piana et pari1 alzando la detta figura poco del pari1 cosi vengono scoprirsi prima le parti piu relevate e nascondersi i fondi1 cio le parti piu basse della figura1 tanto che nel fine ella cosi viene scoperta tutta4 ,nel medesimo modo si debbono cavare con lo scarpello le figure de' ,marmi1 prima scoprendo le parti piu rilevate1 e di mano in mano le piu basse1 il quale modo si vede osservato da ,michael ,angelo ne' sopra detti prigioni1 i quali sua ,eccellenza vuole1 che servino per esempio de suoi ,academici40 #ad ,lettere d'alcuni ,bolognesi1 ,vol4 ,i4 p4 #aei4 #ae ,compare a description of a ,st4 ,sebastian of ,beccafumi1 another of a ,hercules and ,antus of ,lanfranc1 c4 in ,raguenet's ,monumens de ,rome1 ,paris1 #abmo4 #af ,labat voyage en ,espagne en ,ital4 ,t4 ,,iii4 p4 #bac4----8,michel ,ange toit aussi savant dans l'antiquit que dans l'anatomie1 la sculpture1 la peinture1 et l'architecture2 et puisqu' il nous a represent ,moyse avec une si belle et si longue barbe1 il est sr1 et doit passer pour constant1 que le prophete la portoit ainsi2 et par une consequence necessaire les ,juifs1 qui pretendent le copier avec exactitude1 et qui font la plus grande partie de leur religion de l'observance des usages qu' il a laiss1 doivent avoir de la barbe comme lui1 ou renoncer la qualit de ,juifs40 #ag ,apotheos4 ,homeri1 p4 #ha1 #hb4 #ah ,stosch ,pierr4 ,grav4 pl4 ,,xix4 #ai ,monum4 ,antiquit4 p4 #bee4 #bj ,puffendorf ,rer4 ,suec4 ,l4 ,,xx4 4 #ej4 p4 #gif4 #ba ,sandrart ,acad4 ,p4 ,,ii4 ,l4 #b4 c4 #f4 p4 #aah4 ,conf4 ,st4 ,gelais descr4 des ,tabl4 du ,palais ,royal1 p4 #ab4 seq4 #bb ,plin4 ,hist4 ,nat4 ,l4 #ce4 c4 #aj4 #bc ,lucian de ,hist4 ,scrib4 #bd ,strabo ,geogr4 ,l4 ,,viii4 p4 #edb4 #be ,vitruv4 ,l4 ,,iii4 c4 #a4 #bf ,borell4 de motu animal4 ,p4 ,i4 c4 #ah4 prop4 #adb4 p4 #adb4 edit4 ,bernoull4 #bg ,stosch4 ,pierr4 ,grav4 pl4 ,,xxxv4 #bh ,stosch ,pierr4 ,grav4 pl4 ,,xxxv4 #bi ,mariette ,pierr4 ,grav4 ,t4 ,,ii4 n4 #id4 #cj ,stosch ,pierr4 ,grav4 pl4 ,,liv4 #ca ,pausanias1 ,l4 ,,vi4 c4 #g4 p4 #dgj4 #cb ,dioscorid4 de ,re ,medica1 ,l4 ,v4 c4 #agi4 ,conf4 ,salmas4 ,exercit4 ,plin4 c4 #ae4 p4 #acd4 b4 #cc ,aristoph4 ,nub4 v4 #aagh4 ibid4 v4 #acfc4 ,et ,scholiast4 #cd ,observat4 sur les arts1 sur quelques morceaux de peint4 sculpt4 exposs au ,louvre en #agdh1 p4 #ah4 #ce ,riposo di ,raffaello ,borghini1 ,l4 ,i4 p4 #df4 #cf ,see the ,cupid by ,,solon1 ,stosch4 #fd4 the ,cupid leading the ,lioness1 by ,,sostratus1 ,stosch4 #ff4 and a ,child and ,faun1 by ,,axeochus1 ,stosch #bj4 #cg ,vide ,bartoli ,admiranda ,rom4 fol4 #ej1 #ea1 #fa4 ,zanetti ,stat4 ,antich4 ,p4 ,,ii4 fol4 #cc4 #ch ,vide ,callistrat4 p4 #ijc4 #ci ,vide ,philostrati ,heroic4 #dj ,vide ,baldinucci vita del ,caval4 ,bernin4 p4 #dg4 #da ,vide ,baldinucci vita del ,caval4 ,bernin4 p4 #gb4 #db ,trattato della pittura e scultura1 uso et abuso loro1 composto da un theologo e da un pittore4 ,fiorenza1 #afeb4 #d4 #dc ,bellori vite de' pittori1 c4 p4 #cjj4 #dd ,richardson1 ,tom4 ,,iii4 p4 #id4 #de ,xenophon ,memorab4 ,l4 ,,iii4 c4 #f1 #g4 #df ,vide ,baldinucci vita del ,cav4 ,bernini1 p4 #ff4 #dg ,plin4 ,hist4 ,nat4 ,l4 #ce4 c4 #aj4 #dh ,quintilian4 ,instit4 ,or4 ,l4 #ab4 c4 #ai4 #di ,idyll4 #ah4 v4 #bi4 #ej ,de ,pile's ,conversat4 sur la peint4 #ea ,du ,bos ,refl4 sur la poesie sur la peint4 #eb ,the ,stratonice was twice painted by ,lairesse4 ,the picture we talk of is the smallest of the two3 the figure is about one foot and a half1 and differs from the other in the disposition of the ,parerga4 #ec ,see ,plutarch4 in ,demetr4 ,lucian4 de ,dea ,syria4 #ed ,vide ,lettre de ,mr4 ,huet sur la ,pourpre3 dans les ,dissertat4 de ,tilladet4 ,tom4 ,,ii4 p4 #afi4 #ee ,st4 ,real ,csarion1 ,t4 ,,ii4 ,le ,blanc ,lettre sur l',expos4 des ,ouvrages de ,peint1 c4 #agdg4 #ef ,de ,oratore1 ,l4 ,,ii4 c4 #ba4 #eg ,aristot4 ,rhet4 ,l4 ,i4 c4 #a4 4 #d4 #eh ,xenophon ,resp4 ,laced4 c4 #c4 4 #e4 #ei ,origines ,contra ,cels4 ,l4 ,,iv4 p4 #aif4 ,edit4 ,cantabr4 #fj ,perrault sur ,vitruve ,explic4 de la ,planche ,,ix4 p4 #fb4 #fa ,dialog4 ,inconfus4 p4 #gf4 #fb ,horapoll4 ,hierogl4 c4 #cc4 ,conf4 ,blackwell's ,enq4 into ,hom4 p4 #agj4 #fc ,de ,re rust4 prf4 ad ,l4 ,i4 4 #cb4 p4 #cib4 ,edit4 ,gesn4 #fd ,vitruv4 ,l4 ,,iv4 c4 #a4 #fe ,travels1 ,t4 ,,ii4 #ff ,plutarch4 ,numa4 p4 #adi4 ,l4 #ad4 ,edit4 ,bryani4 #fg ,passerii ,lucern4 #fh ,menage ,diction4 ,etymol4 v4 ,barroque4 #fi ,vide ,desgodez ,edifices antiq4 de ,rome1 p4 #ia4 #gj ,bartoli ,sepolcri ,antichi1 p4 #fg4 ibid4 fig4 #ia4 #ga ,perrault notes sur ,vitruv4 ,l4 ,,iv4 ch4 #b4 n4 #ba4 p4 #aah4 #gb ,martial1 ,l4 ,,iii4 ,ep4 #da4 #a4 #gc ,bellori ,sepolchri ant4 f4 #ii4 #gd ,virgil1 n4 ,v4 v4 #bej4 seq4 #ge ,pausanias1 ,l4 ,,ix4 c4 #dj4 p4 #gid4 ,conf4 ,spanhem4 ,not4 sur les ,cesars de l',emp4 ,julien4 p4 #bdj4 #gf ,kircheri ,oedip4 gypt4 ,t4 ,,iii4 p4 #dje1 #dcc4 #gg ,bianchini ,istor4 ,univ4 p4 #dab4 #gh ,nehem4 ,grew ,musum ,societ4 ,reg4 ,lond4 #afha4 fol4 p4 #a4 #gi ,vide ,gabr4 ,bremond ,viaggi nell',egitto4 ,roma4 #aegi4 #d4 ,l4 ,i4 c4 #ae4 p4 #gg4 #hj ,clemens ,alex4 ,strom4 ,l4 ,,vi4 p4 #def4 #ha ,shaw1 ,voyage1 ,t4 ,,ii4 p4 #abc4 #hb ,della ,valle ,viaggi4 ,lettr4 #aa4 4 #i4 p4 #cbe4 seq4 #hc ,herodot4 ,l4 ,,ii4 c4 #cf4 ,diod4 ,sic4 #hd ,plutarch4 de ,isid4 ,osirid4 p4 #cgd4 #he ,kircher ,oed4 ,i4 c4 ej4 ,prodrom4 ,copt4 c4 #g4 #hf ,herodot4 ,l4 ,,ii4 c4 #aec4 #hg ,diogen4 ,laert4 v4 ,democr4 #hh ,diodor4 ,sic4 ,l4 ,i4 c4 #bi4 ,edit4 ,wessel4 #hi ,kircher ,oedip4 ,i4 c4--it4 ejusd4 ,china illustrata4 ,,iii4 c4 #d4 p4 #aea4 #ij ,alberti ,englische ,briefe1 ,b----4 #ia ,clem4 ,alex4 ,strom4 ,l4 ,i4 p4 #ced4 ,edit4 ,pott4 #ib ,herodot4 ,l4 ,,ii4 c4 #fa4 #ic ,montfaucon ,palogr4 ,grc4 ,l4 ,,iii4 c4 #e4 p4 #bcj4 ,kuhn4 ,not4 ad ,pausan4 ,l4 ,,ii4 p4 #abh4 #id ,augustin4 ,gem4 ,p4 ,,ii4 l4 #cb4 #ie ,gruter4 ,corp4 ,inscr4 p4 ,,dccclxi4 1 1 c4 #if ,prideaux ,marm4 ,oxon4 #d4 #agi4 #ig ,demosth4 ,orat4 pro ,corona1 p4 #dhe1 #dii4 ,edit4 ,frc4 #afjd4 #ih ,gruter1 ,corp4 ,inscript4 p4 ,,dcxli4 #h4 #ii ,montfaucon ,palogr4 ,l4 ,,iv4 c4 #aj4 p4 #ccf1 #cch4 #ajj ,montf4 ,l4 ,i4 c4 #d4 ,,ii4 c4 #f4 p4 #aeb4 #aja ,herod4 ,l4 ,,ii4 #ajb ,descript4 de l',egypte1 par ,mascriere1 ,lettr4 ,,vii4 #bc4 #ajc ,descript4 de l',eg4 ,l4 c4 #ajd ,chishul4 ,inscr4 ,sig4 p4 #ab4 #aje ,kircher4 ,obelisc4 ,pamph4 c4 #h4 p4 #adg4 #ajf ,cicero de ,oratore1 ,l4 ,,ii4 c4 #cg4 #ajg ,the author was then preparing for a journey to ,rome4 #ajh ,argenville abreg de la ,v4 d4 ,p4 ,t4 ,,ii4 p4 #bhg4 #aji ,reise1 p4 #ba4 #aaj ,strabo1 ,l4 ,,xiv4 p4 #feb4 al4 #ife4 l4 #aa4 #aaa ,richardson ,essay1 c4 p4 #ch1 #ci4 #aab ,diomedes1 for ought ,i can see1 is neither a sitting nor a standing figure1 in both which cases the critick must be allowed to be just4 ,he descends4 ,remark of the ,t4 ,l4 #aac ,cicero de ,fato1 c4 #d4 #aad ,strabo1 ,l4 ,,iv4 p4 #aif4 al4 #bii4 l4 #bb4 #aae ,misopog4 p4 #cdb4 l4 #ac4 #aaf ,strabo1 ,l4 ,,iii4 p4 #aeh4 al4 #bch4 #aag ,du ,bos ,reflex4 sur la ,poesie et s4 l4 ,p4 ,,ii4 #add4 #aah ,herodot4 ,l4 ,,iii4 c4 #ajf4 ,cicero ad ,attic4 ,l4 ,,vi4 cp4 #b4 #aai 4 p4 #bhh4 edit4 ,foesii4 ,galenus 4 fol4 #aga4 ,b4 ,i4 #dc4 edit4 ,ald4 ,t4 ,i4 #abj ,chardin voyage en ,perse1 ,t4 ,,ii4 p4 #abg4 seq4 #aba ,journal des ,savans l',an4 #afhd4 ,aur4 p4 #aec4 #abb ,apud ,euseb4 ,prpar4 ,evang4 ,l4 ,v4 c4 #bi4 p4 #bbf4 edit4 ,colon4 #abc ,plin4 ,hist4 ,nat4 ,l4 ,v4 c4 #h4 #abd ,lahontan ,memoir4 ,t4 ,,ii4 p4 #bag4 ,cons4 ,wldike de ling4 ,grnland1 p4 #add1 seq4 ,act4 ,hafn4 ,t4 ,,ii4 #abe ,clarmont de re1 ,locis1 aquis ,angli4 ,lond4 #afgb4 #ab4 #abf ,wotton's ,reflex1 upon ancient and modern ,learning1 p4 #d4 ,pope's ,letter to ,mr4 ,walsh1 ,t4 ,i4 #gd4 #abg ,lakemacher ,observ4 ,philolog4 ,p4 ,,iii4 ,observ4 ,,iv4 p4 #bej1 c4 #abh ,th' impatient weapon whizzes on the wing2 ,sounds the tough horn1 and twangs the quiv'ring string1 c4 ,,pope4 #abi ,longin4 4 ,sect4 #ac4 4 #a4 #acj ,odyss4 4 v4 #ga4 ,conf4 ,iliad1 4 v4 #cfc4 ,eustath4 ad h4 l4 p4 #dbd4 ,l4 #aj4 edit4 ,rom4 #aca ,gregor4 ,thaumat4 ,orat4 ,paneg4 ad ,origen4 #di4 #acb ,aristoph4 ,ran4 v4 #adhe4 #acc ,athen4 ,deipnos4 ,l4 ,,xii4 c4 #ac4 lian1 ,v4 ,h4 ,i4 ix4 #ad4 #acd ,aristoph4 ,equit4 #ace ,thucyd4 ,l4 ,,ii4 c4 #ci4 #acf ,horat4 ,l4 ,,ii4 ,ep4 ,i4 v4 #bdd4 #acg ,cicero de fato4 c4 #d4 #ach 4 p4 #bjd4 #aci ,cicero ,orat4 c4 #h4 ,conf4 ,dicarch1 ,geogr4 edit4 ,h4 ,steph4 c4 #b4 p4 #af4 #adj ,nubes1 v4 #acfe4 #ada ,schol4 ad ,aristoph4 ,nub4 v4 #ajaj4 #adb ,plutarch1 de ,sera ,numin4 ,vindicta1 p4 #efc4 #i4 #adc ,cicero de ,orat4 #add ,golzius1 ,tab4 ,,xiv4 ,t4 ,,ii4 #ade ,diodorus ,sic4 ,l4 ,,xx4 p4 #gfc4 al4 #ddi4 #adf ,stukely's ,itinerar4 ,,iii4 p4 #cb4 #adg ,theophrast4 ,hist4 ,pl4 ,l4 ,,ix4 c4 #af4 p4 #aaca4 l4 #g4 ed4 ,amst4 #afdd4 fol4 ,galen de ,antidot4 ,i4 fol4 #fc4 ,b4 ,i4 #bh4 ,idem de ,theriac4 ad ,pison4 fol4 #he4 ,a4 ,i4 #bj4 #adh ,tournefort ,voyage1 ,lett4 ,i4 p4 #aj4 edit4 ,amst4 #adi ,belon4 ,observ4 ,l4 ,,ii4 ch4 #i4 p4 #aea4 a4 #aej ,idem4 ,l4 ,,iii4 ch4 #cd4 p4 #cej4 b4 ,corn4 le ,brun4 ,v4 fol4 p4 #afi4 #aea ,dicarch4 ,geogr4 c4 #a4 p4 #a4 #aeb ,voyage de ,spon et ,wheeler1 ,t4 ,,ii4 p4 #ge1 #gf4 #aec ,wheeler's ,journey into ,greece1 p4 #cdg4 #aed ,conf4 ,lysis1 p4 #dii4 ,edit4 ,fref4 #afjb4 #aee ,de ,republ4 #aef ,de ,leg4 ,l4 ,,vii4 p4 #hib1 l4 #cj-f4 ,conf4 ,petiti ,leg4 att4 p4 #bif4 ,maittaire ,marm4 ,arund4 p4 #dhc4 ,gronov4 ad ,plaut4 ,bacchid4 v4 ,ante ,solem ,exorientem4 #aeg ,galen1 de ,simpl4 ,medic4 ,facult4 ,l4 ,,ii4 c4 #e4 fol4 #i4 ,a4 ,opp4 ,tom4 ,,ii4 ,frontin4 ,stratag4 ,l4 ,i4 c4 #g4 #aeh ,lucian ,gymn4 p4 #ijg4 ,opp4 ,t4 ,,ii4 ,edit4 ,reitz4 #aei ,dion4 ,halic4 ,a4 ,r4 c4 #a4 4 #f4 de vi dicendi in ,demost4 c4 #bi4 ,edit4 ,oxon4 #afj 4 v4 #afc4 #afa ,numism4 ,imp4 p4 #afj4 #afb ,philostrat4 ,epist4 #bb4 p4 #ibb4 ,conf4 ,macrob4 ,sat4 ,l4 ,v4 c4 #ah4 p4 #ceg4 ,edit4 ,lond4 #afid4 #h4 ,hygin4 ,sat4 #ab4 #afc ,conf4 ,arbuthnot's ,tabl4 of ,anc4 ,coins1 ch4 #f4 p4 #aaf4 #afd ,thucyd4 ,l4 ,i4 c4 #f4 ,eustath4 ad ,iliad4 4 p4 #acbd4 l4 #af4 #afe ,cyrilli ,hieros4 ,catech4 ,mystag4 ,,ii4 c4 #b1 #c1 #d4 p4 #bhd4 ed4 ,thom4 ,miles1 ,oxon4 #agjc4 fol4 #cje4 ,vice ,comitis ,observ4 de ,antiq4 ,baptismi rit4 ,l4 ,,iv4 c4 #aj4 p4 #bhf-hi4 ,binghami ,orig4 ,eccles4 ,t4 ,,iv4 ,l4 ,,xi4 c4 #aa4 ,godeau ,hist4 de l',eglise1 ,t4 ,i4 ,l4 ,,iii4 p4 #fbc4 #aff ,lucian4 ,dial4 ,mort4 ,x4 4 #c4 #afg ,idem4 ,navig4 ,e4 #b4 p4 #bdh4 #afh ,de la ,chambre ,discours2 o il est prouv que les ,franois font les plus capables de tous les peuples de la perfection de l'loquence1 p4 #ae4 #afi ,lucian1 pro ,imagin4 p4 #dij4 ,edit4 ,reitz4 ,t4 ,,ii4 #agj ,cic4 ,brut4 c4 #g4 #hc4 #aga ,considerations sur les ,revolutions des ,arts4 ,paris1 #agee1 p4 #cc4 #agb ,pagi4 ,discours sur l',histoire ,grecque1 p4 #de4 #agc ,nouveau ,voyage d',hollande1 de l',allem41 de ,suisse d',italie1 par ,m4 de ,blainville4 #agd ,richardson's ,account1 c4 #bid1 #bie4 #age ,chambray ,ide de la ,peint4 p4 #df4 au ,mans1 #affb4 #dto4 #agf ,plin4 ,hist4 ,nat4 ,l4 ,,xxxv4 c4 #aj4 #agg 7,durand7 ,extrait de l',histoire de la ,peint4 de ,pline4 p4 #ef4 #agh ,observat4 sur les ,arts sur quelques morceaux de ,peint4 de ,sculpt4 exposs au ,louvre1 #agdh4 p4 #fe4 #agi ,nouvelle ,division de la ,terre par les diffrentes ,espces d',hommes1 c4 dans le ,journ4 des ,sav4 #agjd4 ,avr4 #aeb4 #ahj ,plutarch4 ,vit4 mil4 p4 #adg4 ed4 ,bryani4 ,t4 ,,ii4 #aha ,lucian4 ,navig4 ,s4 ,votum4 c4 #b4 p4 #bdi4 #ahb ,borghini ,riposo1 ,l4 ,,ii4 p4 #abi4 #ahc ,chambray ,ide de la ,peint4 p4 #dg4 #ahd ,maxim4 ,tyr4 ,diss4 #be4 p4 #cjc4 ,edit4 ,markl4 #ahe ,vide ,spectator1 ,n4 #dah4 #ahf ,philostrat4 ,icon4 ,anton4 p4 #ia4 #ahg ,plutarch4 ,ant4 #ahh ,observat4 sur les ,arts1 c41 p4 #fe4 #ahi ,quintil4 ,l4 ,,ix4 c4 #ad4 #aij ,plutarch1 ,timoleon4 ,p4 #adb4 #aia ,plutarch4 ,adul4 ,amici discrim4 p4 #ec4 ,d4 #aib ,aristot4 ,rhet4 ,l4 ,i4 c4 #aa4 p4 #fa4 ,edit4 ,lond4 #afai4 #dto4 ,plato ,phd4 p4 #df4 ,i4 #dd4 #aic ,cicero ,tusc4 ,l4 ,i4 c4 #bh4 #aid ,aristot4 ,poet4 c4 #bh4 #aie ,aristot4 ,rhet4 ,,iii4 c4 #b4 4 #d4 #aif ,herodot4 ,l4 ,,ii4 c4 #ej4 #aig ,herodot4 ,l4 ,,ii4 c4 #c4 c4 #dg4 ,conf4 ,l4 ,,ii4 c4 #fa4 ,pausan4 ,l4 ,,ii4 p4 #ga4 l4 #de4 p4 #aad4 l4 #eg4 ,l4 ,v4 p4 #cag4 l4 #f4 #aih ,pausan4 ,l4 ,,ii4 c4 #ag4 p4 #adi4 l4 #bd4 #aii ,arrian4 ,epict4 ,l4 ,,iii4 c4 #ba4 p4 #dci4 ,edit4 ,upton4 #bjj ,plutarch1 de ,isid4 ,osir4 p4 #cee4 ,clem4 ,alex4 ,strom4 ,l4 ,v4 p4 #feg1 #eh4 ,edit4 ,potteri4 lian4 ,hist4 ,anim4 ,l4 #aj4 c4 #ae4 #bja ,plut4 ,l4 ,c4 p4 #cgf4 ,androvand4 de ,quadr4 digit4 ,vivipar4 ,l4 ,,iii4 p4 #egd4 #bjb ,strabo1 ,l4 ,,xvi4 p4 #gfj4 al4 #aajd4 #bjc ,pausan4 ,l4 ,,iii4 p4 #bde4 l4 #ba4 #bjd ,kircher ,oedip4 g4 ,t4 ,,iii4 p4 #fd4 ,lucian4 ,nav4 #c ,vol4 c4 #a4 ,bayf4 de re ,nav4 p4 #acj4 edit4 ,bas4 #aecg4 #d4 #bje ,schaffer de re ,nav4 ,l4 ,,iii4 c4 #c4 p4 #aif4 ,passerii ,luc4 ,t4 ,,ii4 tab4 #ic4 #bjf ,lactant4 ad v4 #bec4 ,l4 ,,vii4 ,thebaid4 #bjg ,beger4 ,thes4 ,palat4 p4 #bcd4 ,numism4 ,musell4 ,reg4 et ,pop4 ,t4 #h4 #bjh ,haym4 ,tesoro ,britt4 ,t4 ,i4 p4 #afh4 #bji ,ap4 ,philostr4 ,heroic4 p4 #fic4 #baj ,vaillant ,num4 ,colon4 ,rom4 ,t4 ,,ii4 p4 #acf4 ,conf4 ,bianchini ,istor4 ,unic4 p4 #gd4 #baa ,mus4 ,flor4 ,t4 ,i4 ,tab4 #ia4 p4 #age4 #bab ,petron4 ,sat4 c4 #cd4 #bac ,spon4 ,miscell4 ,sect4 ,i4 ,tab4 #e4 #bad ,kircher ,oedip4 ,t4 ,,iii4 p4 #eee4 ,cuper de ,elephant4 ,exercit4 c4 #c4 p4 #cb4 #bae ,in ,extremis ,gadibus4 v4 ,eustath4 ad ,,ii4 ,a4 p4 #gdd4 l4 #d4 ad4 ,rom4 ,id4 ad ,dionys4 4 ad v4 #dec4 p4 #hd4 ,ed4 ,oxon4 #agab4 #baf ,kircher ,oed4 g4 ,t4 ,,iii4 p4 #eee4 #bag ,horapoll4 ,hierogl4 ,l4 ,,ii4 c4 #hd4 #bah ,cuper4 l4 c4 ,spanh4 ,diss4 ,t4 ,i1 p4 #afi4 #bai ,agost1 ,dialog4 ,,ii4 p4 #fh4 #bbj ,homer4 4 41 v4 #aba4 ,conf4 ,heraclid4 ,pontic4 de ,allegoria ,homeri4 p4 #dib4 ,meurs4 de funere4 c4 #g4 #bba ,venuti ,num4 max4 moduli4 ,t4 #be4 ,rom4 #agci4 fol4 ,bellori ,admir4 fol4 #cj4 #bbb ,pausan4 ,l4 ,x4 p4 #hjf4 l4 #af4 #bbc ,licet4 ,gem4 ,anul4 c4 #dh4 #bbd ,beger4 ,theo4 ,brand4 ,t4 #a4 p4 #ahb4 #bbe ,ibid4 p4 #bha4 #bbf ,justin4 ,l4 ,,xv4 c4 #d4 p4 #dab4 edit4 ,gronov4 #bbg ,spanh4 ,diss4 ,t4 ,i4 p4 #djg4 #bbh ,ap4 ,d4 ,c4 de ,moezinsky4 #bbi ,paus4 ,l4 ,v4 p4 #ddg4 l4 #bb4 #bcj ,ibid4 ,l4 #a4 p4 #eb4 l4 #d4 #bca ,pausan4 ,l4 ,,iii4 p4 #bde4 l4 #bj4 ,morel ,specim4 ,rei4 ,n4 ,,xii4 #bcb ,spanhem4 ,diss4 ,t4 ,i4 p4 #aed4 #bcc ,spanhem4 ,obs4 ad ,juliani ,imp4 ,orat4 ,i4 p4 #bhb4 #bcd ,montfaucon ,ant4 expl4 ,t4 ,,iii4 #bce ,morell4 ,specim4 ,rei ,num4 ,t4 ,,viii4 p4 #ib4 #bcf ,artemidor4 ,oneirocr4 ,l4 ,,ii4 c4 #di4 #bcg ,noct4 ,attic4 ,l4 ,,xiv4 c4 #d4 #bch ,agost4 ,dialog4 ,,ii4 p4 #de4 ,rom4 #afej4 fol4 #bci ,tristan4 ,comm4 hist4 de l',emp4 ,t4 ,i4 p4 #big4 #bdj ,numism4 ,musell4 ,imp4 ,r4 tab4 #ch4 #bda ,ibid4 ,tab4 ,,ii4 #bdb ,ibid4 ,tab4 ,,xxix4 ,erisso ,dichiaraz4 di ,medagl4 ant4 ,p4 ,,ii4 p4 #acj4 #bdc ,plutarch ,syll4 p4 #ej1 #ea4 #bdd ,conf4 ,philostrat4 ,imag4 p4 #gcg4 #bde ,plin4 ,hist4 ,n4 ,l4 ,,xviii4 c4 #dg4 ,agost4 ,dial4 ,,iii4 p4 #ajd4 #bdf ,gabri ,fab4 p4 #afi4 in sop4 ,fab4 ,venet4 #agji4 #h4 #bdg ,pausan4 ,l4 ,i4 c4 #dc4 p4 #aje4 ,l4 #g4 #bdh ,plutarch4 ,sympos4 ,l4 ,,ix4 qu4 #f4 #bdi ,vaillant ,numism4 ,imp4 ,t4 ,,ii4 p4 #acc4 #bej ,plutarch4 ,vit4 ,thes4 p4 #bf4 #bea ,agost4 ,dial4 ,,ii4 p4 #ff1 #fg4 ,numism4 ,musell4 ,imp4 ,rom4 ,tab4 #aae4 #beb ,ripa ,iconol4 n4 #hg4 #bec ,thesaur4 de ,arguta ,dict4 #bed ,numism4 ,musell4 ,imp4 ,r4 ,tab4 #ajg4 #bee ,ibid4 ,tab4 #ajf4 #bef ,ibid4 ,tab4 #aje4 #beg ,ripa ,iconol4 ,p4 ,i4 n4 #ec4 #beh ,agost4 ,dial4 ,,ii4 p4 #eg4 ,numism4 ,musell4 l4 c4 ,tab4 #fh4 #bei ,agost4 l4 c4 #bfj ,ripa ,ic4 ,p4 ,i4 n4 #ace4 #bfa ,agost4 ,dial4 ,,ii4 p4 #dg4 #bfb ,ripa ,iconol4 ,p4 ,i4 n4 #ca4 #bfc ,ibid4 ,p4 ,i4 n4 #be4 #bfd ,vide ,picinelli ,mund4 ,symb4 #bfe ,shaw ,voyag4 ,t4 ,i4 #bff ,hayman ,tesoro ,brit4 ,t4 ,i4 p4 #bai4 #bfg ,egnatius de exempl4 illustr4 ,vir4 ,venet4 ,l4 ,v4 p4 #acc4 #bfh ,numism4 ,barbar4 ,gent4 n4 #cg4 ,padova4 #agcb4 fol4 #bfi ,medailles de ,louis le ,grand1 a4 #affc4 ,paris #agjb4 fol4 #bgj ,thesaur4 de ,argut4 ,dict4 #bga ,ripa ,iconol4 ,p4 ,,ii4 p4 #aff4 #bgb ,spectator1 ,edit4 #agbd4 ,vol4 ,,ii4 p4 #bja4 #bgc ,canini ,imag4 des ,heros4 ,n4 ,i4 #bgd ,stoch ,pier4 ,grav4 ,pl4 ,,li4 #bge ,pausan4 ,l4 ,x4 p4 #hgj4 #hga4 #bgf ,vit4 ,thesei4 p4 #bi4 #bgg ,de ,monstrosa ,amicitia respectu perfectionis inter ,nic4 ,barbar4 ,marc4 ,trivisan4 ,venet4 apud ,franc4 ,baba4 #afbh4 #d4 #bgh ,vita ,marcelli4 ,ortelii ,capita ,deor4 ,l4 ,,ii4 fig4 #da4 #bgi ,thomasin4 ,donar4 ,vet4 c4 #e4 #bhj ,plutarch4 ,qust4 ,rom4 ,p4 #bff4 ,f4 #bha ,vulp4 ,latium4 ,t4 ,i4 ,l4 ,i4 c4 #bg4 p4 #djf4 #bhb ,agostin4 ,dialog4 ,,ii4 p4 #ha4 #bhc ,ibid4 ,beger ,obs4 in ,num4 p4 #ef4 #bhd ,iliad1 i4 v4 #dih4 ,conf4 ,heraclides ,pontic4 de ,allegoria ,homeri1 p4 #deg1 #eh4 #bhe ,architect4 ,l4 ,,ii4 c4 #h4 #bhf ,vide ,representatio ,bibliothec ,cesare ,vienn #agcg4 fol4 obt4 #bhg ,this piece is engraved by ,simmoneau ,senior ,cons4 ,lepici ,vies des p4 ,p4 de ,r4 ,t4 ,i4 p4 #fd4 #bhh ,another representation of that story1 and one of ,poussin's best originals1 is in the gallery of ,dresden1 in which the river god is extremely advantageous to the composition of the whole4 #bhi ,plin4 #bij ,plato ,alcibiad4 ,,ii4 ,p4 #deg4 l4 #cj4 #bia ,baldinucci1 ,notiz4 de' ,p4 d4 ,d4 ,p4 #aah4 ,argenville seems not to have understood the word1 ,ciliegia3 he saw that it should be a symbol of spring1 and changed the cherry to a butterfly2 the chief object of the picture he omits1 and talks only of the girl4 #bib ,lepici ,vies des ,p4 ,r4 ,p4 ,,ii4 p4 #ag1 #ah4 #bic ,recueil d',estamp4 de la ,gall4 de ,dresd4 fol4 #dh4 #bid ,pompa ,introitus ,ferdinandi ,hisp4 ,inf4 p4 #ae4 ,antv4 #afda4 fol4 #bie ,vasari vite4 ,p4 ,,iii4 ,vol4 ,i4 p4 #gf4 #bif ,chambray ,ide de la ,p4 p4 #ajg1 #ajh4 ,bellori ,descriz4 delle ,imagini dip4 da ,raffaello1 c4 #big ,heraclid4 ,pontic4 de ,allegoria ,homeri1 p4 #ddc4 #bih ,josephi ,antiq4 ,l4 ,,xiv4 c4 #h4 ,edit4 ,haverc4 #bii ,dati vite de' ,pittori4 p4 #gc4 #cjj ,thesaur4 ,idea ,arg4 ,dict4 ,c4 ,,iii4 p4 #hd4 #cja ,blondel ,maisons de ,plaisance1 ,t4 ,,ii4 p4 #bf4 #cjb ,passerii ,lucern fict4 ,tab4 #ea4 #cjc ,quellinus ,maison de la ,ville d',amst4 #afee4 fol4 #cjd ,arnob41 adv4 ,gentes ,l4 ,v4 p4 #aeg4 ,edit4 ,lugd4 #afea4 #d4 #cje ,an ox-head on the reverse of an ,attick gold coin1 stamped with the head of ,hercules and his club1 is supposed to allude to his labours1 7,haym4 ,tesoro ,britt4 l4 #ahb47 and to be1 in general1 a symbol of strength1 industry1 or patience1 7,hypnerotomachia ,polyphili4 ,venet4 ,ald4 fol47 #cjf ,vitruv4 ,l4 ,i4 c4 #b4 #cjg ,diodor4 ,sic4 ,l4 ,,xiii4 p4 #cge4 al4 #ejg4 #cjh ,blondel ,maisons de ,plaisance4 #cji ,vide ,spectator1 ,no4 #ea4 #caj ,pausan4 ,l4 ,i4 c4 #dc4 l4 #bb4 #caa ,plin4 ,hist4 ,n4 ,l4 ,,xxxvi4 c4 #e4 #cab ,paus4 ,l4 ,,ii4 c4 #b4 ,p4 #aae4 l4 #aa4 #cac ,idem4 ,l4 ,,ix4 c4 #dj4 ,p4 #gie4 l4 #aa4 #cad ,aldrovand4 de ,quadrup4 bisulc4 p4 #ada4 #cae ,bellori ,lucern4 ,sepulcr4 ,p4 ,i4 fig4 #ag4 #caf ,spon4 ,misc4 ,sect4 ,,ii4 ,art4 ,i4 ,p4 #be4 #cag ,vide ,buonarotti ,osserv4 sopra alcuni ,medagli4 ,proem4 p4 ,,xxvi4 ,roma4 #afic4 #d4 #cah ,plutarch4 de ,garrulit4 p4 #ejb4 #cai ,tristan ,comment4 ,hist4 des ,emper4 ,t4 ,i4 p4 #fcb4 #cbj ,plutarch4 ,marcell4 p4 #bgg4 #cba ,vulpii ,latium1 ,t4 ,,ii4 ,l4 ,,ii4 c4 #bj4 p4 #age4 #cbb ,banier ,mythol4 ,t4 ,,ii4 ,l4 ,i4 ch4 #aa4 p4 #aha4 #cbc ,dioscorid4 de ,re ,med4 ,l4 ,v4 c4 #agi4 #cbd ,fred4 ,oeser1 one of the most extensive geniuses which the present age can boast of1 is a ,german1 and now lives at ,dresden2 where1 to the honour of his country1 and the emolument of the art1 he gets his livelihood by teaching young blockheads1 of the ,saxon-race1 the elements of drawing2 and by etching after the ,flemish painters4 ,n4 of ,transl4 #cbe ,hymn4 in ,apoll4 #cbf ,alexander1 in his ,s4 ,john1 in ,st4 ,andrea della ,valle at ,rome2 ,niobe1 in a picture belonging to the ,tesoro di ,s4 ,gennaro1 at ,naples4 #cbg ,so are the goddesses of the ,theopgnia at ,blenheim1 in ,oxfordshire2 and hence it is clear1 that another ,venus1 analogous to that in the ,tribuna1 among the pictures of a gentleman in ,london1 cannot be the production of that genius-in-flesh only4 ,this daughter of the ,idalian graces seems to thrill with inward pleasure1 and to recollect a night of bliss---- ,there is language in her eye1 her cheek1 her lip3 ,nay1 her foot speaks---- ,,shakespear4 #cbh ,veron4 illustr4 ,p4 ,,iii4 c4 #g4 p4 #bfi4 #cbi 8,et toi1 rival des ,praxiteles des ,phidias2 toi dont les anciens auroient employ le ciseau leur faire des dieux capables d'excuser nos yeux leur idolatrie2 inimitable ,pigal1 ta main se rsoudra a vendre des magots1 ou il faudra qu'elle demeure oisive40 ,j4 ,j4 ,rousseau ,disc4 sur le ,retabl4 d4 ,a4 ,s4 c4 ,this1 my dear countryman6 is the only passage of thine1 where posterity will find the orator forgot the philosopher4 ,n4 of ,tr4 ,,the ,,end4 ,,errata4 ,page #bj4 ,line #ac4 for comma after says1 place semi-colon4 ,p4 #fa4 ,l4 #g4 for ,morte read ,morto4 ,p4 #hc4 ,note1 for ,bernoue read ,bernoull4 ,p4 #id4 ,l4 #c4 after ,nature add a colon--after flat add it4 ,p4 #aje4 ,l4 #aj4 dele ,lucian1 ,ep4 ,i4 ,p4 #aff4 ,note f4 instead of 4 4 v4 #bcj4 read 4 v4 #afc4 ,p4 #aha4 ,l4 #ac4 for on read in4 ,p4 #ahi4 ,l4 #bj4 for or read on4 ,p4 #aig4 ,note d4 for adv4 read ad v4 ,p4 #bbg4 ,l4 #ab4 for the read her4 ,transcriber's ,note ,the errata have been corrected4 ,the notes referenced above are1 with the new numbering in this e-text1 notes #bf1 #afj and #bjf4 ,list of other changes made to the text3 ,page #e1 repeated 8a0 removed 7,take a ,spartan youth7 ,page #dh1 8hindred0 changed to 8hindered0 7as much water as hindered7 ,page #fb1 8barenness0 changed to 8barrenness0 7',tis an abhorrence of barrenness7 ,page #hi1 8celelebrated0 changed to 8celebrated0 7his celebrated ,carton of the ,pisan war7 ,page #agd1 8,parrhabasius0 changed to 8,parrhasius0 7,parrhasius1 compared with himself7 ,page #ahg1 8,rembrant0 changed to 8,rembrandt0 7some pieces of ,rembrandt and ,vandyke7 ,page #bbi1 8born0 changed to 8borne0 7,spain is borne down by the current7 ,page #bei1 repeated 8a0 removed 7though a few only find it7 ,page #bgj1 repeated 8the0 removed 7in the temple of art and genius7 ,footnote #g1 8,barnini0 changed to 8,bernini0 7,vita del ,cav4 ,bernini7 ,footnote #cbi1 8si0 changed to 8sur0 7,rousseau ,disc4 sur le ,retabl4 d4 ,a4 ,s4 c47 ,archaic spellings remain as printed4 ,amendments to punctuation are not otherwise noted4