The History of Ancient Art Among the GreeksJohn Chapman, 1850 - 254 Seiten |
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admirable Amazons ancient art ancient artists antique Apollo appear arms Bacchus beard beautiful head belonging Bernini body breast bronze bust Campidoglio Capitoline museum celebrated character chin coins colossal conformation copied countenance deities denoted diadem Diana distinguished divinities drapery ears elevated especially executed expression eyebrows eyes face Farnese Faun feet female figures foot forehead former GERM goddesses gods Greek artists hair hand Herculaneum Hercules hero horses idea ideal images Juno Jupiter Laocoon latter legs less likewise lips lofty male manner marble ment mentioned Mercury Metapontus modern artists nature Niobe noble nose observed painter painting palace Pallas Pancratiast passage Pausanias Phidias Philostratus Pio-Clement museum Plate Plato Pluto poets Praxiteles probably proportion regard relievo remark represented resembles restorations Roman Rome Satyrs sculptors seen Serapis shape signifies Silenus statue style tion Venus villa Albani villa Borghese villa Ludovisi villa Medici Visconti Winckelmann young youthful
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Seite 56 - Venus of bronze, in the museum of the Roman College. This commingling is especially peculiar to Apollo and Bacchus. 39. Art went still farther ; it united the beauties and attributes of both sexes in the figures of hermaphrodites. The great number of hermaphrodites, differing in size and position, shows that artists sought to express in the mixed nature of the two sexes an image of higher beauty ; this image was ideal.
Seite 79 - ... in the eyes, — which are sunken, after the manner of those of Homer. An engraving of this head will appear in the third volume of my Ancient Monuments. The god Pan was not always represented with the feet of a goat, for a Greek inscription mentions a figure of him, of which the head resembled the usual one with goat's horns, whilst the body and chest were shaped in imitation of those of Hercules, and the feet were winged like Mercury's. 11. The highest conception of ideal male beauty is especially...
Seite 121 - Hours, is undraped(l), and also because she is found represented more frequently than any other goddess, and in different ages. The Medicean Venus, at Florence, resembles a rose which, after a lovely dawn, unfolds its leaves to the rising sun; resembles one who is passing from an age which is hard and somewhat harsh — like fruits before their perfect ripeness — into another, in which all the vessels of the animal system are beginning to dilate, and the breasts to enlarge, as her bosom indicates,...
Seite 81 - Genius (14), in the villa Borghese, of the size of a well-made youth. If the imagination, filled with the single beauties everywhere displayed in nature, and occupied in the contemplation of that beauty which flows from God and leads to God, were to shape, during sleep, a vision of an angel, whose...
Seite 153 - Zeuxis — namely, that they had no ^#o?, expression — can be applied either to expression or action. I will explain myself on this point hereafter. 3. Expression, in its limited as well as more extended signification, changes the features of the face, and the posture, and consequently alters those forms which constitute- beauty. The greater the change, the more unfavorable it is to beauty. On this account, stillness was one of the principles observed here, because it was regarded, according to...
Seite 48 - The soul, though a simple existence, brings forth at once, and in an instant, many different ideas ; so it is with the beautiful youthful outline, which appears simple, and yet at the same time has infinitely different variations, and that soft tapering which is difficult of attainment in a column, is still more so in the diverse forms of the youthful body. Among the innumerable kinds of columns in Rome some appear pre-eminently elegant on account of this very tapering ; of these I have particularly...
Seite 92 - He appears under this form at different ages, until he attains his full growth, and, in the most beautiful statues, always with delicate, round limbs, and the full expanded hips of the female sex, for, according to the fable, he was brought up as a maiden. Pliny, indeed, mentions a statue of a Satyr holding a figure of Bacchus clothed as a Venus ; hence Seneca also describes him, in shape, gait, and dress, as a disguised virgin.
Seite 153 - In this view, even abstraction is required in an image not less than in him who designs it; for the idea of lofty beauty cannot be conceived otherwise than when the soul is wrapt in quiet meditation, and abstracted from all individuality of shape. Besides, a state of stillness and repose, both in man 'and beast, is that state which allows us to examine and discover their real nature and characteristics, just as one sees the bottom of a river or lake only when their waters are still and unruffled,...
Seite 170 - The former, however, being obliged to select the most beautiful parts of the most beautiful conformations, is limited, in the expression of the passions, to a degree which will not conflict with the physical beauty of the figure which he models. 13. The truth of this remark is apparent in two of the most beautiful works of antiquity. One of them is a representation of the fear of death ; the other, of extreme suffering and pain. The daughters of Niobe, at whom Diana has • aimed her fatal shafts,...
Seite 51 - ... sorts upon the same stock ; and, as a bee gathers from many flowers, so were their ideas of beauty not limited to the beautiful in a single individual, — as at times are the ideas of both ancient and modern poets, and of the majority of artists of the present day, — but they sought to unite the beautiful parts of many beautiful bodies ; this we learn also from the dialogue between Socrates and the celebrated painter Parrhasius. They purified their images from all personal feelings, by which...