Chapter II (5)

God, tendency to humanize and degrade, 198;
the justice of, 200;
supposed ideas of, held by Marcus Aurelius, 199–202;
man cannot comprehend, 203;
yet man makes, 203;
Christian and pagan conceptions of, compared, 199–208;
representations of, in art, inferior to pagan works, 208.

Gods, images of, in early Greece, with clothes and false hair, 152;
the ancient, but anthropomorphic symbols, 210.

Gonsalvi, Cardinal, and Michel Angelo, 13.

Good, real, done only by gradual changes, 197.

Gorgasus, 117, 146.

Gorgias, 88.

Greek and Roman art, the spirit of, 19.

Greek sculptors not accustomed to put their names on statues, 107.

Guarini, 3.

Guelphs end Ghibellines, 3.

Guicciardini, 8.

Gypsum, not used by the ancients in casting, 157–159, 169;
Pliny on, 169.

Hamlet, the warnings of, needed by English actors, 234, 235;
not Hamlet on the English stage, 238;
mental aberration of, compared with that of Macbeth, 249, 250.

Hegias, 88.

Hermitage, Museum of the, 163.

Hercules, statue of, by Dædalus, 182, 186.

Hesychius, cited, 70, 103.

History, who knows, 214;
must be interpreted by imagination, 214.

Homer, and Virgil, 30;
relief in the British Museum, representing the deification of, 109.

Honesty of intention, not enough, 221.

Horace, quotation from, 126.

Horse-Tamer, the, statue of, ascribed to Phidias, 67, 70–79.

Hugo, Victor, and Lamartine, 30.

Hunt, Leigh, 233.

Iasos, 94.

Iconic statues, first made by Antenor, 129.

Ictinus, works of, 113.

Idealisti, motto of the, 232.

Images, draped with real stuffs by the Greeks and Romans, 152;
false hair on, 152.

Imagination in art, 232;
may work independently of real feelings, 251.

Inevitable, the, should be accepted without murmuring, 229.

Isis, 221.

Isocrates, quoted, 66.

Italy, the land of the Renaissance, 5.

Jehovah, the, of the Jews, development of, 205.

Jeremiah, figure of, by Michel Angelo, 27.

Jesus, reverenced by Marcus Aurelius, 199, 220.

John of Bologna, the Rape of the Sabines by, 6.

Julian, statement by, about Phidias, 84.

Julius II., Pope, and Michel Angelo, 21–25;
strikes Michel Angelo with a cane, 25.

Juno, the Temple of, at Argos, 53.

Jupiter, the true philosophic idea of, 204–207.

Jupiter Pluvius, 216.

Kalamis, 88;
works of, 93;
compared with Phidias, 96.

Kallimachus, 88.

Kallon, 88.

Kean, Charles, 236, 237.

Kean, the elder, 236.

Kemble, John, as Hamlet, 238, 239.

Kertch, excavations at, 163;
so-called casts from, in the British Museum, 164, 165.

Kleoitas, 88.

Knight, Richard Payne, opinion of, on the Elgin marbles, 99.

Kolotes, an assistant of Phidias, 55;
statue of Athena attributed to, by Pliny, 66, 70, 91.

Lacon, 88.

Lactantius, 206.

Lamartine, Victor Hugo and, 30.

Lanzi, 8.

Laocoön, the, 19.

Latin, modern pronunciation of, unintelligible to Marcus
Aurelius, 217.

Laurentian Library, the, 42.

Lazarus, and Dives, 223.

Lear, the aberration of mind of, different from that of Macbeth,
249, 250.

Leo X., Pope, 13, 14.

Leochares, statues by, 130.

Leonardo, 43;
competition of, with Michel Angelo, 22;
story about his death, 74.

Libeccio, the howling, 190.

Libon, 113.

Lippi, 7.

Loclos, 94.

Lomazzo, statement by, about Leonardo’s death, 74.

Lorenzo, Duke of Urbino, 14.

Lorenzo the Magnificent, 3;
favors Michel Angelo, 10.

Lucan, lofty idea of God expressed by, 207.

Lucian, cited, 65, 67;
his ideal image of the most beautiful woman, 96;
comment by, on Demetrius, 130;
the “Tragic Jupiter” of, citations from, 181–185;
the “Somnium, seu Gallus,” of, quoted, 187.

Lysias, cited, 101, _note_.

Lysippus, statue of Opportunity by, 68;
varies the canon of proportion, 73;
gives a new impulse to the school of portraiture, 131;
praised by Nicephorus Chumnus, 132.

Lysistratus, and the art of casting in plaster, 116, 117, 139,
141, 143, 145;
and the practice of portraiture, 131;
probable use of color by, 154.

Macbeth, the true character of, 239–285;
not understood by Lady Macbeth till after the murder of Duncan, 241,
242, 244, 277;
Shakespeare’s worst villain, save Iago, 284.

Macbeth, Lady, the real, 230–241, 251–282.

Macchiavelli, 3, 8.

Maderno, Carlo, St. Peter’s injured by, 42.

Madonna di San Sisto, the, 32.

Mai, Cardinal, 122, _note_.

Mammon, worshiped, 227.

Man, inferior to woman in adjusting details, 259.

Marathon, the use made of spoils taken from the Medes at, 59.

Marbles, the Elgin and Phigaleian, work on, in the Library of
Entertaining Knowledge, 99, 110.

Masaccio, 7.

Mausolus, statue of, 131.

Medicean Chapel, the, 9, 11;
great works of Michel Angelo in, 13–21, 39.

Medici, real mausoleum of the, 9;
burial chapel of the, 44–48;
coffins of the, neglected and robbed, 45–47;
sad lesson of their fate, 48.

Medici, Giuliano dei, mausoleum to, 14.

Melzi, cited, 74.

Metagenes, and the Temple of Initiation at Eleusis, 52.

Metoscopi, a story about, 132.

Middle Ages, the, 2.

Middleton, the witches of, different from Shakespeare’s weird
sisters, 285, 286.

Miltiades, portrait statue of, at Delphi, 129.

Minerva, Church of the, 20.

Mini, Antonio, 21.

Mini, Giovanni Battista, letter by, 21.

Mirandola, Pico della, 3.

Mithras, 221, 225.

Mnesicles, 52.

Molière and Racine, 30.

Moses, statue of, by Michel Angelo, 39.

Mount Mithridates, excavations at, 163.

Mozart, Beethoven and, 30.

Müller, cited, 59, 101, _note_, 185.

Music, development of, 4.

Myron, 88;
great skill of, 89, 90;
inscription on his Discobolos, 108.

Mys, carving by, 64.

Myths, enchanting, 212.

Naiads, 1.

Narrow-mindedness, development of truth impeded by, 225.

Naturalisti, motto of the, 232.

Nature and art, 232.

Nemesis, statue of, at Rhamnus, 67, 70, 71;
inscription on, 109.

Nero, 77, 79;
like Macbeth, 243.

Nestocles, 88.

Nicephorus Chumnus, Apelles and Lysippus praised by, 132.

Nicias, statues colored by, 153.

Night, Michel Angelo’s colossal figure of, 14–21.

Odeum, the, 52, 53.

Olympia, the Temple of Zeus at, 53, 54.

Opinion, arrogance of, development of truth impeded by, 225.

Opinions but running streams, 229.

Orcagna, the Loggia of, 6.

Oreads, 1.

Orpheus, as the Good Shepherd, 1.

Othello, the trance of, unlike Macbeth’s aberration of mind, 249, 250.

Ovid, quoted, 122, 151.

Pæonios, 55, 88;
works of, 92, 93.

Pagan religion and pagan art, 1.

Painting, and sculpture, 1;
substances used by the ancients in, 145.

Palazzo Farnese, the, 41.

Pan, 1.

Pantarces, a victor in the Olympian games, 129.

Parrhasius, 64;
paints portrait of himself, 132.

Parthenon, the, sculptures in, 49, 50, 52–55;
builders of, 51, 52;
built between 444 and 438 B. C., 54;
the extant fragments of, not in the style of Phidias, 84–86;
probably executed by various hands, 94.

Pasiteles, 135.

Pauline Chapel, the, 11.

Pausanias, statements by, 59, 64–71, 75, 91;
the marble statues ascribed to Phidias by, 105–107;
on the invention of casting in bronze, 137.

Pelichus, statue of, by Demetrius, 130.

Pensiero, Il, 18.

Pericles, appoints Phidias director of public works in Athens, 49, 51;
directs the building of the Odeum, 52;
said by Strabo to have been director of public works, 52;
sole administrator of public affairs, 53;
likeness of, by Phidias, 60, 129.

Perkins, Charles C., his “Du Moulage en Plâtre chez les Anciens,”
115 ff.;
confounds modeling and casting, 162.

Perugino, 31.

Peruzzi Chapel, the, 7.

Petrarca, 3, 42;
admired by Michel Angelo, 35.

Petronius, cited, 90.

Phædrus, quoted, 108.

Phidias, 19;
painter and architect, as well as sculptor, 43;
and the Elgin marbles, 49–114;
appointed director of public works by Pericles, 49;
his chryselephantine statue of Athena, 50–68, 82, 83, 97, 98, 111;
doubtful if he ever made statues in marble, 51, 98–113;
testimony of Plutarch, 51, 52;
of Strabo, 52;
impossible for him to have done all the work that is attributed to
him, 53–58, 63, 68;
a slow and elaborate worker, 55;
disadvantages of, 56, 57;
date of his birth, 58–62;
likeness of, by himself, 60, 129;
works ascribed to, 62–68;
incredible stories about, 71–73;
peculiarly celebrated for his statues of Athena, 75;
the Horse-Tamer, not the work of, 76–79;
compared with Michel Angelo, 80;
his style, 80, 81;
elaboration of his great works, 81–84, 86;
the Cellini of Athens, 84;
introduces the art of making statues in ivory and gold, 87;
estimation of, among his contemporaries, 96;
Propertius and Quinctilian on, 98;
appellation applied to, by Aristotle, 99–102;
skill of, in the toreutic art, 101;
marble statues ascribed to, by Pausanias, 105–107;
prosecuted for impiety, 129.

Phigaleia, the Temple of Apollo at, 53.

Photias, 72.

Phradmon, 67;
competes with Phidias, 97.

Phryne, portrait of, by Apelles, 132.

Phyromachos, 94.

Piece-moulds apparently not used by the ancient Greeks and Romans,
156, 157, 176, 178.

Pindar, quotation from, 206.

Pius VIII., monument of, by Tenerani, 61.

Plaster, the art of casting in, among the Greeks and Romans, 115–189.

Platæa, 53, 59.

Plautus, quoted, 121, 135.

Pliny, cited, 65–68, 70, 71, 76, 89, 90;
story by, about Phidias, Polyclitus, Ctesilaus, Cydon, and
Phradmon, 97, 98;
statements by, about Phidias, 103, 104;
quotation from his Natural History, 116;
meaning of the quotation considered, 117 ff.;
the Natural History characterized, 118, 119;
stories by, about Apelles and Parrhasius, 132, 133;
Bostick and Riley’s translation of, 135;
his use of the term “cera,” 144;
chapter on “Plastices,” in the Natural History, 146–150;
chapter on the honor attached to portraits, 150, 151.

Plutarch, statements by, about Pericles and Phidias, 51, 52, 56, 57;
quoted, 66.

Plyntheria, the colossal Athena’s gold drapery washed at, 152.

Poliziano, Angelo, teacher of Michel Angelo, 3, 10.

Polybius, referred to, 146, _note_.

Polyclitus, 67;
his canon of proportion, 73;
his works, 88, 89;
compared with Phidias, 96, 97, 101;
price received by, for his Doryphoros, 176.

Polygnotus, the “Rape of Cassandra” by, 132.

Polyxines, 6.

Pompeii, works of art found in, 177.

Pomponius Mela, cited, 70.

Popes, the, and Michel Angelo, 12.

Portrait statues, erection of, in public, seldom allowed by the
Greeks, 129.

Portraiture, in its true sense, the beginning of, 130;
development of, by Lysippus and Lysistratus, 131;
earliest specimen of, by a great painter, 132;
use of, by the Romans, 150.

Possis, excellent work of, 148.

Praxias, 88, 92, 94, 95.

Praxiteles, statue of Alexander taming Bucephalus, ascribed to,
77, 78;
praised by Lucian, 96;
and Nicias, 153;
price offered by Athens for the Venus of, 175.

Pre-Raphaelites, error of the, 233.

Printing, among the ancient Romans, 167.

Propertius, quoted, 98.

Propylæa, 53.

Pulci, the three, 3.

Pythagoras, 88.

Quinctilian, quoted, 98, 125;
criticises Demetrius, 130.

Quincy, M. Quatremere de, on chryselephantine statues, 100.

Quirinal Hill, statue of the Horse-Tamer on the, 67, 76.

Racine, Molière and, 30.

Raffaelle, 4, 8;
and the Sistine Chapel, 24;
and Michel Angelo, 30–33, 35;
character and style of, 31;
his finest work, 32;
his early death, 32;
characterized by contemporaries, 33;
and the Fornarina, 31, 34;
accomplished in many arts, 43.

Ravenna, Dante’s grave at, 8.

Reform, slow movement of, in England, 235.

Rehoboam, group by Michel Angelo, 29.

Religion, and art, hand in hand, 208;
no system of, ever embraced all truth, 224.

Religious controversy, nothing so bitter as, 225.

Religious ideas, each age has its, 196.

Renaissance, the, 3–5.

Revolutionizing the world, 227.

Rhamnus, statue of Nemesis at, 67, 70, 71.

Rhœcus, cast in bronze, 136.

Riches, denounced by Christ, 222.

Riley and Bostick, translation of Pliny by, 135.

Roman and Greek art, the spirit of, 19.

Rousseau and Voltaire, 30.

S. Justinus, 206.

S. Theophilus Antiochenus, 206.

Sallust, quoted, 152.

San Gallo, Antonio, architect of St. Peter’s, 39.

San Lorenzo, Church of, 9, 13.

Santa Croce, Church of, 7, 8.

Saurus, 107.

Savonarola, 5;
his influence on Michel Angelo, 17, 35.

Scheffer, Ary, Delacroix and, 30.

Scopas, 67;
celebrated for heroic figures and demigods, 75;
a worker in marble, 76.

Sculpture, and idolatry, 1;
considered more dignified than painting, by the Athenians, 133.

Second-sight, Macbeth’s, 246.

Secretive nature, the, always a puzzle to the frank nature, 244.

Semele and Zagreus, 161.

Seneca, quoted, 110;
sentiments of, regarding God, 207, 208.

Shakespeare, and Sir Philip Sidney, 30;
testimony of, as to English actors, 235;
interpreted by the Germans, 237;
his meaning perverted on the English stage, 238, 240;
no serious character of, rants like Macbeth, 251;
a master-stroke of, 259;
Iago and Macbeth his worst villains, 284;
his weird sisters a new creation, 285.

Sibylline verses, fragment of the, 206.

Sibyls, representations of, by Michel Angelo, 27, 28.

Siddons, Mrs., as Lady Macbeth, 239, 240, 264.

Sidney, Sir Philip, Shakespeare and, 30.

Sistine Chapel, the, 11;
Michel Angelo’s frescoes in, 21–29, 44;
opened to exhibit the frescoes in 1508 on All-Saints’ Day, 23.

Sixtus V., 77.

Smith, Philip, cited, 59, 61, 76.

Socrates, 88.

Solon, cited, 70.

Sophocles, unity and universality of God proclaimed by, 200.

Spartianus, statues modeled in plaster spoken of by, 160.

St. Paul, quoted, 231.

St. Peter’s, the Dome of, 5, 8, 11;
Michel Angelo’s work upon, 39–42;
the type of the universal church, 41;
Michel Angelo not responsible for it as it now stands, 42;
changes made in, by Carlo Maderno, 42.

Sta. Maria degli Angeli, Church of, 41.

Stage, tradition and convention on the English, 234–240.

Statius, quoted, 144.

Statues, ancient, singular defects in, 173.

Strabo, statements by, about Pericles and Phidias, 52;
opinion of, on the statue of Nemesis, at Rhamnus, 70;
on the work of Polyclitus, 89, 96.

Strozzi, Giovan’ Battista, quatrain by, 17.

Suidas, 72.

Sunium, 64.

Tartuffe, Macbeth not like, 254.

Tasso, 3, 42.

Tenerani, 61.

Tennyson, Browning and, 30.

Terra cotta, an ancient manufactory of, 178.

Tertullian, on the persecution of the Christians, 222.

Themistius, a saying of, 56;
cited, 80.

Theocosmos, 67, 92;
said to have been assisted by Phidias, 75.

Theocritus, 206.

Theodorus of Samos, cast in bronze, 136.

Theophrastus, treatise on mineralogy by, 159.

Thiersch, cited, 59, 61, 68.

Thoughts, our whole nature colored by our, 229.

Thrasymedes of Paros, 66, 70.

Thundering Legion, the, true story of, 215, 216.

Tintoretto, 4.

Tiridates, King of Armenia, 77, 79.

Titian, 4.

Toreutic art, the, 100.

Tradition, in English church and theatre, 235;
Shakespeare’s meaning perverted by, 238, 240.

Traditions about artists, unreliable, 74.

Troughton, Mr., 233.

Truth, infinite in form and spirit, 195;
a continual progression towards the divine, 195;
not all embraced in one system of religion, 224;
the growth of, impeded by narrow-mindedness, 225.

Tussaud, Madame, 154.

Tzetzes the Grammarian, story told by, 72;
an untrustworthy gossip, 73;
on Phidias, 103.

Urban VIII., 78.

Urbino, Michel Angelo’s servant, 37.

Valerius Maximus, quoted, 110, 111.

Valerius Soranus, God represented by, as the Father and Mother of
us all, 207.

Valori, Bartolommeo, letter to, 21.

Varro, quoted, as to the meaning of “cera,” 144.

Vasari, Giorgio, doubtful assertion of, 25;
on Raffaelle, 33;
account by, of Verrocchio’s making casts, 188.

Veronese, 4.

Verrocchio, 43;
casting in plaster introduced by, 188.

Via Latina, tombs in the, 157.

Vigenero, description of Michel Angelo by, 38.

Villari, 3.

Virgil, Homer and, 30;
quoted, 122, 136.

Visconti, quoted, 99, 100;
his views examined, 100–104.

Vitruvius, 145;
description of process used in finishing walls by, 153.

Voltaire, Rousseau and, 30.

Walls, ancient process used in finishing, 153.

Wardour Street, the portraits of, 152.

Wax, the common vehicle of ancient painters, 144.

“Weird Sisters,” the, but outward personifications of evil
thoughts, 285.

Welcker and Preller, cited, 59, 60.

Wilkins, William, opinion of, on the Elgin marbles, 99.

Wilson, Mr. Charles Heath, close examination of Michel Angelo’s
frescoes by, 25.

“Wisdom of Solomon,” the, cited, 150.

Woman, superior to man in adjusting details, 259;
unable to bear the remembrance of what she has gone through, 277.

World, the, needs revolutionizing, 227.

Xenocles of Cholargos, finishes the Temple of Initiation at
Eleusis, 52.

Xenophon, classes Polyclitus with Homer, Sophocles, and Zeuxis, as
an artist, 89.

Zacharias, figure of, by Michel Angelo, 27.

Zagreus and Semele, 161.

Zenobius, cited, 70.

Zeus, chryselephantine statue of, by Phidias, 63, 59–63, 65, 81,
86, 98, 209;
inscription on, 109.

Zeus, the Temple of, at Olympia, 53.

FOOTNOTES

[1] Whether this inscription was placed there during the life
of Phidias does not appear; but it is highly improbable,
and not in harmony with the practice of the Greeks.

[2] Themistius, Orat. adeum qui postulaverat ut ex tempore
sermonem haberet.

[3] τέκτονες, πλάσται, χαλκοτύποι, λιθουργοί, βαφεῖς, χρυσοῦ
μαλακτῆρες καὶ ἐλέφαντος ζωγράφοι, ποικιλταῖ, τορευταῖ.
This passage is generally cited as a statement by Plutarch
that Phidias employed all these men; but in fact he is only
urging, in justification of Pericles, and in answer to
attacks made against him for expending such large sums of
money in the public works, that these works gave employment
to the enumerated classes of artists and mechanics.

[4] The date of the birth of Pericles is unknown, but he began
to take part in public affairs in B. C. 469, when he could
not probably have been less than twenty-one years of age.
This would place his birth at 490. He died in 429; and this
reckoning would make him only sixty-one at his death.

[5] A full transcript of these inscriptions will be found in
Dr. Brunn’s _Geschichte der griechischen Künstler_, i. 249.

[6] See Lysias’s Frag., Περὶ τοῦ τύπου; also, Müller’s _Ancient
Art_, 360, and King’s _Antique Gems_.

[7] “Non ex ebore tantum sciebat Phidias facere simulacrum,
faciebat et ex ære. Si marmor illi, si adhuc viliorem
materiam obtulisses, fecisset quale ex illa fieri optimum
potuisset.”—Seneca, _Epist._ 86.

[8] _Du Moulage en Plâtre chez les Anciens_, par M. Charles C.
Perkins, correspondant de l’Académie des Beaux Arts, etc.
Paris, 1869.

[9] Pliny, _Nat. Hist._, lib. xxxv. ch. xii.

[10] So also Fronto in his _De differentiis Vocabulorum_,
published by Cardinal Mai from palimpsests, says: “Vultus
proprie hominis—os omnium—facies plurium.”

[11] According to Æschines, in his oration against Ctesiphon,
Miltiades desired that his name should be inscribed on this
portrait statue, which was placed in the Pœcile; but the
Athenians refused their permission.

[12] See _Cicero ad Atticum_, xii. 41.

[13] iii. 12, § 13; viii. 14, § 5.

[14] _Geschichte der griechischen Künstler_, vol. i. p. 403.

[15] vii. 3, ii 8. See, also, Pliny, xxv. 49.

[16] See, also, an account of these “imagines” in Polybius, vi.
53.

[17] Et quoniam animorum imagines non sunt, negliguntur etiam
corporum. Aliter apud majores, in atriis hæc erant quæ
spectarentur, non signa externorum artificum, nec æra
aut marmora. Expressi cera vultus singulis disponebantur
armariis ut essent imagines quæ comitarentur gentilicia
funera.—Book 35, ch. 2.

[18] Διαφέρην δὲ δοκεῖ καὶ πρὸς τὰ ἀπομάγματα πολὺ τῶν ἀλλῶν.

[19] Lib. ix. ch. 23; Lib. i. ch. 40; Lib. viii. ch. 22.

[20] Spartian., _Sev. Hadrian_, 22.

[21] _De Errore Profanarum Religionum._ Vid. _Lobeck aglaopham_,
p. 571.

[22] As Lysistratus and his brother lived about the 114th
Olympiad (324 B. C.), if these works found at Kertch were
plaster _casts_, it is plain that Lysistratus did not
invent casting, since these were before his time; and if
Pliny means to say that he did, he is evidently quite wrong.

[23] Pliny says “exemplar.”

[24] Ἐτύγχανον μὲν ἄρτι χαλκουργῶν ὕπο Πιττούμενος στέρνον τε
καὶ μετάφρενον· Θώραξ δέ μοι γελοῖος ἀμφὶ σώματι Πλασθεῖς
παρῃώρητο μιμήλῃ τέχνῃ Σφραγῖδα χαλκοῦ πᾶσαν ἐκτυπούμενος.

[25] See _Divin. Inst._, lib. i. c. 6.

[26] Val. Soranus, cited by St. Augustine, _De Civit. Dei_, lib.
vii. c. 9.

[27] See these passages and others cited in S. Justinus,
_Cohortat. ad Græc. et de Monarchia_; Clement of
Alexandria, _Stromat._, lib. v., _et Admonitio ad Gentes_;
S. Cyrillus Alexandrinus, _Contra Julianum_, lib. i.;
Athenagoras, _Legat. pro Christian._; Theodoretus, _Graec.
Affectionum: Curat_, lib. 7.

[28]
“I have no spur
To prick the sides of my intent, but only
Vaulting ambition.”

Transcriber’s Notes

Punctuation, hyphenation, and spelling were made consistent when a predominant preference was found in this book; otherwise they were not changed.

Simple typographical errors were corrected; occasional unbalanced quotation marks retained.

Ambiguous hyphens at the ends of lines were retained.

Index not checked for proper alphabetization or correct page references.