Miss Graham, Limekilns.

Miss Emily Gregg, London.

Greig, Esq., Inner Temple, London. Alexander M'Neill, Esq., Advocate, Edinburgh.

David Booth, Esq., London.

Mrs. Mary Somerville, Chelsea.

Mrs. Macalister, of Glen Barr.
E. Cathcart, Esq. of Auchindrane.

Moses Steven, Esq. of Polmadie.

David Cathcart, Esq., W.S., Edinburgh.
John Cathcart, Esq., Edinburgh.

Mrs. Charles Stirling, Kenmure.

Mrs. Wallington, Hawkwell Rectory.
Edward Wallington, Esq., Cheltenham.

Miss Clifford, Frampton Court.
Thomas Williams, Esq., Dursley.

Miss Isabel Herries.

P. S. Deas, Esq., Edinburgh.

Henry Cood, Esq.

Archibald Bogle, Esq. of Gilmour Hill.

James Smith, Esq. of Jordanhill.

R. C. Wyllie, Esq., Hertford Street, May Fair.

A. D. Anderson, Esq., M.D., Glasgow.

James A. Lawrie, Esq., M.D., Glasgow.
James Davidson, Esq., Glasgow.
John Ronald, jun., Esq., Glasgow.
Archibald M'Lellan, Esq., Glasgow.

Robert Bartholomew, Esq., Glasgow.
Mrs. William Gray, Glasgow.

James Donaldson, Esq., Glasgow.
Matthew Pearce, Esq., Glasgow.

Fred. A. Bell, Esq., Glasgow.
Mrs. D. Walkinshaw, Glasgow.
Lachlan M'Kinnon, Esq., Glasgow.
Mrs. James Connel, Glasgow.
Robert Dalglish, jun., Esq., Glasgow.
William Whyte, Esq., Glasgow.
John Thomson, Esq., Glasgow.

John Pattison, Esq., Glasgow.

John Taylor, Esq., Glasgow.
D. J. Hutcheson, Esq., Glasgow.
Alexander Graham, Esq., Glasgow.

LAOCOON.

FIRST SECTION.

Consideration of Winkelmann's Theory, that the primary Law of the Arts of Design among the Ancients consisted in a noble Simplicity and tranquil Grandeur, both in Attitude and Expression.

The general characteristics of the Grecian masterpieces in Painting and Sculpture, are held by Winkelmann to consist in a noble simplicity, and a majestic composure, both of attitude and expression. "As the depths of the "remain always at rest, let the surface be ever so agitated, even so the expression in the figures of the Greeks denotes,

ocean," he observes,*

* Von der Nachahmung der Griechische Werke in der Mahlerey und Bildhauerkunst.

B

through every variety of emotion, a great and tranquil soul."

"This grandeur of soul, combined with the most vehement affliction, is visible in the countenance of the Laocoon; and not in the countenance alone. The pain which displays itself in every muscle and sinew of the body, and which fancy might almost detect in the very contractions of the abdomen, independent of the countenance and other parts, is yet expressed without extravagance either in the face or in the attitude. He does not, like the Laocoon of Virgil, give utterance to a terrific shriek; the aperture of the mouth does not admit of this. The sound he breathes is rather, as Sadoleto describes it, the stifled sigh of anguish. Bodily pain and grandeur of soul are divided with equal strength and accurate balance throughout the whole construction of the figure. Laocoon suffers, but he suffers like the Philoctetes of Sophocles. The spectacle of his affliction, while it penetrates the soul, inspires us with a wish that we too might be able to bear affliction with equal magnanimity."

"The expression of this grandeur of soul far exceeds the representation of beautiful nature. The artist must have felt within himself the same strength of spirit which he impressed upon his marble. Greece possessed artists and philosophers united in the persons of the same individuals, and could boast of more than one Metrodorus. Knowledge gave a helping hand to art, and infused a superior spirit into her productions."

The observation on which this reasoning is founded, namely, that pain is not expressed in the countenance of Laocoon with that violence which its intensity might lead us to expect, is perfectly correct. It is equally undeniable that in this very peculiarity, for which a tasteless pretender to criticism might presume to censure the sculptor as not having reached the true expression of nature, is the skill of the artist most eminently developed.

It is only on the reasons to which Winkelmann attributes this skill, and on the generality of the rule which he deduces from those reasons, that I venture to differ from him in opinion.