In the ancient Greek forms, Winckelmann distinguishes four kinds of grace--lofty, pleasing, humble, and comic--but the grace exhibited by sculptured forms necessarily depends upon the harmony of expression, character of form, and pose. This should be the case with painted portraits also, but drapery restrictions and accessories commonly compel a limitation in the design of the artist. In three quarter and full length portraits it is impossible to depart from the dress customary at the period of execution, unless the sitter assume a classical character, and this is only possible in comparatively few instances. In any case the pose should always be subordinated to the expression. [a] Free translation (quoted by Wharton), the term "artless grace" being implied but not expressed by Sappho. NOTE 54. PAGE 167 The remarkable range of Raphael in expression has been commented upon by many critics, and practically all agree with Lanzi in his eloquent summary[a]: There is not a movement of the soul, there is not a character of passion known to the ancients and capable of being expressed in art, that he (Raphael) has not caught, expressed, and varied in a thousand different ways, and always within the bounds of propriety.... His figures are passions personified; and love, hope, fear, desire, anger, placability, humility, and pride, assume their places by turns as the subject changes; and while the spectator regards the countenances, the air, and the gestures of the figures, he forgets that they are the work of art, and is surprised to find his own feelings excited, and himself an actor in the scene before him. [a] _History of Painting in Italy_, vol. i., Roscoe translation. NOTE 55. PAGE 169 This Pompeian fresco is supposed to be a copy of the picture of Timanthes, but there is an ancient marble relief of the same subject at Florence, the design of which is also said to have been taken from the Grecian painter, though it differs considerably from the fresco. Quintilian observes as to the work of Timanthes, that having rendered Calchas sad, Ulysses still more sad, and Menelaus with the deepest expression of grief possible in art, the painter could not properly portray the countenance of Agamemnon, who as father of Iphigenia was presumed to be the most deeply affected of all present, and so covered his head, leaving the intensity of his suffering to be understood.[a] [a] _School of Oratory_, ii. NOTE 56. PAGE 172