Laocoon : $b An essay upon the limits of painting and poetry. With remarks illustrative of various points in the history of ancient art.Lessing, Gotthold Ephraim
Philosophy
Laocoon : $b An essay upon the limits of painting and poetry. With remarks illustrative of various points in the history of ancient art.
Lessing, Gotthold Ephraim
Aesthetics -- Early works to 1800; Agesander. Laocoön group
believe that there were two pictures, placed one above the other? Not I
for one. The words “cujus supra caput tabula bigæ dependet” must be a
corruption. “Tabula bigæ,” a picture of a two-horse chariot, does not
sound much like Pliny, although Pliny does elsewhere use “biga” in the
singular. What sort of a two-horse chariot? Such as were used in the
races at the Nemæan games, so that this little picture should, from its
subject, be related to the chief one? That cannot be; for not two but
four horse chariots were usual in the Nemæan games. (Schmidius in Prol.
ad Nemeonicas, p. 2.) At one time, I thought that Pliny might, instead
of “bigæ,” have written a Greek word, πτυχίον, which the copyists did
not understand. For we know, from a passage in Antigonus Carystius,
quoted by Zenobius (conf. Gronovius, T. ix. Antiquit. Græc. Præf. p. 7),
that the old artists did not always put their name on the work itself,
but sometimes on a separate tablet, attached to the picture or statue,
and this tablet was called πτυχίον. The word “tabula, tabella,” might
have been written in the margin in explanation of the Greek word, and at
last have crept into the text. πτυχίον was turned into “bigæ,” and so we
get “tabula bigæ.” This πτυχίον agrees perfectly with what follows; for
the next sentence contains what was written on it. The whole passage
would then read thus: “cujus supra caput πτυχίον dependet, quo Nicias
scripsit se inussisse.” My correction is rather a bold one, I
acknowledge. Need a critic feel obliged to suggest the proper reading
for every passage that he can prove to be corrupted? I will rest content
with having done the latter, and leave the former to some more skilful
hand. But to return to the subject under discussion. If Pliny be here
speaking of but a single picture by Nicias, on which he had inscribed
his name in definite past time, and if the second picture thus inscribed
be the above-mentioned one of Lysippus, where is the third? That I
cannot tell. If I might look for it elsewhere among the old writers, the
question were easily answered. But it ought to be found in Pliny; and
there, I repeat, I am entirely unable to discover it.
NOTE 56, p. 186.
Thus Statius says “obnixa pectora” (Thebaid. lib. vi. v. 863):
... rumpunt obnixa furentes
Pectora.
which the old commentator of Barths explains by “summa vi contra
nitentia.” Thus Ovid says (Halievt. v. ii.), “obnixa fronte,” when
describing the “scarus” trying to force its way through the fish-trap,
not with his head, but with his tail.
Non audet radiis obnixa occurrere fronte.
NOTE 57, p. 192.
Public-domain text, read in full here on John Shaqi.
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