Corinne; Or, Italy. Volume 1 (of 2)Staël, Madame de (Anne-Louise-Germaine)
History
Corinne; Or, Italy. Volume 1 (of 2)
Staël, Madame de (Anne-Louise-Germaine)
Italy -- History -- 1789-1815 -- Fiction; Nobility -- Scotland -- Fiction; Women poets -- Fiction
In the midst of these magnificent porticos, which afford an asylum to so
many wonders of art, there are fountains, which, flowing incessantly,
seem to tell us how sweetly the hours glided away two thousand years
ago, when the artists who executed these masterpieces were yet alive.
But the most melancholy impression which we experience at the Vatican,
is in contemplating the remains of statues which are collected there:
the torso of Hercules, heads separated from the trunks, and a foot of
Jupiter, which indicates a greater and more perfect statue than any that
we know. We fancy a field of battle before us, where time has fought
with genius; and these mutilated limbs attest its victory, and our
losses.
After leaving the Vatican, Corinne conducted him to the Colossi of Mount
Cavallo; these two statues represent, as it is said, Castor and Pollux.
Each of the two heroes is taming with one hand a fiery steed. These
colossal figures, this struggle between man and the animal creation,
gives, like all the works of the ancients, an admirable idea of the
physical power of human nature. But this power has something noble in
it, which is no longer found in modern society, where all bodily
exercises are for the most part left to the common people. It is not
merely the animal force of human nature, if I may use the expression,
which is observable in these masterpieces. There seems to have been a
more intimate union between the physical and moral qualities among the
ancients, who lived incessantly in the midst of war, and a war almost of
man to man. Strength of body and generosity of soul, dignity of features
and boldness of character, loftiness of stature and commanding
authority, were ideas almost inseparable, before a religion, entirely
intellectual, had placed the power of man in his mind. The human figure,
which was also the figure of the gods, appeared symbolical; and the
nervous colossus of Hercules, as well as every other ancient statue of
this sort, do not convey vulgar ideas of common life; but an omnipotent
and divine will, which shews itself under the emblem of a supernatural
physical force.
Public-domain text, read in full here on John Shaqi.
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