Reflections on the painting and sculpture of the Greeks : $b with instructions for the connoisseur, and an essay on grace in works of artWinckelmann, Johann Joachim
Philosophy
Reflections on the painting and sculpture of the Greeks : $b with instructions for the connoisseur, and an essay on grace in works of art
Winckelmann, Johann Joachim
Aesthetics -- Early works to 1800; Art -- Philosophy; Art, Greek
But though they were beautiful, and by their law early initiated into
pleasure, they were not effeminate Sybarites. As an instance of which
we shall only repeat what Pericles pleaded in favour of the Athenian
manners, against those of Sparta, which were as different from those
of the rest of Greece, as their public oeconomy was: “The Spartans,
says Pericles, employ their youth to get, by violent exercises, manly
strength: but we, though living indolently, encounter every danger as
well as they; calmly, not anxiously, mindful of its approaches, we meet
it with voluntary magnanimity, and without any compulsion of the law. Not
disconcerted by its impending threats, we meet its most furious attacks,
with no less boldness than they, whom perpetual practice has prepared for
its strokes. We are fond of elegance, without loving finery; of genius,
without being emasculate. In short, to be fit for every great enterprize,
is the characteristic of the Athenians[135].”
I cannot, nor will I pretend to fix a rule without allowing exceptions.
There was a Thersites in the army of the Greeks. But it is worth
observing, that the beauty of a nation was always in proportion to their
cultivation of the arts. Thebes, wrapt up in a misty sky, produced a
sturdy uncouth race[136],[137]according to Hippocrates’s observation on
fenny, watry soils[138]; and its sterility in producing men of genius,
Pindar only excepted, is an old reproach. Sparta was as defective in this
respect as Thebes, having only Alcman to boast of; but the reasons were
different: whereas Attica enjoyed a pure and serene sky, which refined
the senses[139], and of course shaped their bodies in proportion to that
refinement; and Athens was the seat of arts. The same remark may be made
with regard to Sicyon, Corinth, Rhodes, Ephesus, &c. all which having
been schools of the arts, could not want convenient models. The passage
of Aristophanes, insisted on in the letter[140], I take for a joke, as
it really is—and thereby hangs a tale: to have the parts, whereon
_Sedet æternumque sedebit_
_Infelix Theseus,_
Virg.
moderately complete, were Attick beauties. Theseus[141], made prisoner by
the Thesprotians, was delivered from his captivity by Hercules, but not
without some loss of the parts in question; a loss bequeathed to all his
race. This was the true mark of the Thesean pedigree; as a natural mark,
representing a spear[142], signified a Spartan extraction; and we find
the Greek artists imitating in those places the sparing hand of nature.
Public-domain text, read in full here on John Shaqi.
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