Chapter XXIX (3)

Dacier, Madame, her translation of Homer, 113.

Dante, his description of the starvation of Ugolino, 166.

Deformity, physical, in art, produces disgust, 159.

Disgust produced more through the other senses than through that of
sight, 160;
object of, in painting, 167.

Disgusting, the, its use in expressing the horror of famine, 164.

Dolce, his dialogue on Painting, 131.

Drama, expression of suffering in the, 21 _et seq._

Dryden, his Ode on Cecilia’s Day, 89.

Flaccus, Valerius, his description of an angry Venus, 57 _et seq._

French language, not adapted to translation of Homer, 112.

German language, compared to the Greek, 113.

Gladiator, Borghese, the author’s theory in regard to the, 184 _et
seq._

Gladiatorial shows, effect of, 29.

Haller, Von, description quoted from his “Alps,” 103.

Hercules, as represented by Sophocles, 6;
the, of Sophocles, 31.

Hogarth, his criticism of the Apollo Belvidere, 145.

Homer, expressions of pain in his heroes, 4;
representation of his heroes, 79 _et seq._;
his descriptions not generally available for pictures, 83, 143;
his picture of Pandarus, 89;
style of, 93;
his description of the chariot of Juno, 94;
his description of the sceptre of Agamemnon, 95;
of the shield of Achilles, 98, 113, 118;
of the bow of Pandarus, 99;
his indebtedness to the flexibility of the Greek language, 112;
his description of the beleaguered city, 121;
avoids detailed description, 127;
his representation of Helen, 136;
his Thersites, 148 _et seq._

Imitations of the poet by the artist and the reverse, 49 _et seq._

Invention required less of the artist than of the poet, 72 _et seq._

Junius, Francis, an unsafe authority, 188.

Juno, how represented in ancient art, 57.

Kleist, Von, his own judgment of his poem “Spring,” 108.

Klotzius, on the effects of different forms of the disagreeable in art,
158.

Laocoon, of Virgil, 20 _et seq._;
compared with the statue, 36 _et seq._;
contains traits unavailable for the artist, 42;
the group of, possibly suggested by Virgil’s description, 43 _et
seq._;
the, probable date of, 170 _et seq._

Longinus, his remarks in regard to eloquence and poetry, 188.

Lucian represents physical beauty by comparison with statues, 135.

Manasses, Constantinus, his pictures of Helen, 127.

Martiani, his opinion in regard to the date of the Laocoon, 34 _et
seq._

Mazzuoli, his “Rape of the Sabines,” 109.

Mengs, his criticism on Raphael’s drapery, 110.

Milton furnishes few subjects for a painter, 87.

Minerva, how represented in ancient art, 57, 78.

Montfaucon, his want of taste, 14;
his opinions in regard to the date of the Laocoon, 33 _et seq._

Olympic judges, law of the, 10.

Ovid, his description of Lesbia, 137;
his description of the punishment of Marsyas, 163;
his picture of famine, 165.

Pain, expression of, in Sophocles, 3;
in Homer, 4, 5;
among Europeans, 4;
among the Greeks, 5;
in its disfiguring extreme, not compatible with beauty, 13;
expression of, among the English, 26.

Painting among the Greeks confined to imitation of beauty, 8.

Passion, violent, not expressed in ancient art, 12.

Pauson, character of his pictures, 9.

Phidias, his indebtedness to Homer, 144 _et seq._

Philoctetes of Sophocles, the, his sufferings compared with those of
Laocoon, 3;
the, of Pythagoras Leontinus, 14;
of Sophocles, the embodiment of physical and mental suffering, 23,
24, 30.

Picturesque, the, in poetry, 88.

Pisander, possibly Virgil’s predecessor in the history of Laocoon, 34.

Pliny, his mention of the Laocoon, 172;
of famous Greek sculptors, 173 _et seq._

Poetry, how it surpasses art in description of physical beauty, 137 _et
seq._

Polygnotus, pictures of, 123 _et seq._

Pope, contempt of, for descriptive poems, 108;
his explanations of Homer, 122 _et seq._

Pordenone, his picture of the entombment, 167.

Pyreicus, character of his pictures, 9.

Religion, influence of, on art, 62 _et seq._

Richardson, remarks of, on Virgil’s Laocoon, 45;
his criticism of Pordenone, 167.

Ridiculous, the, heightened by an element of disgust, 161.

Sadolet, extract from, 46.

Shakespeare, his use of ugliness in the character of Richard III., 151.

Sophocles, a Laocoon among his lost works, 6;
his description of the desert cave of Philoctetes, 163.

Spence, Rev. Mr., criticism of his work “Polymetis,” 50;
notions of, in regard to the resemblance between painting and poetry,
55, 57.

Statius, his description of an angry Venus, 57 _et seq._

Statues, beautiful, produced beautiful men, 10.

Stoicism not adapted to the drama, 6.

Stosch, Herr von, his opinion of the Borghese Gladiator, 183.

Symbols, use of, in poetry and painting, 67 _et seq._

Temperance, how represented in art, 68 _et seq._

Timanthes, picture of Iphigenia by, 12.

Timomachus, his representations of Ajax and Medea, 18.

Titian, his picture of the Prodigal Son, 109.

Ugliness, as used in poetry, 149, 156;
as used in painting, 153, 156.

Urania, how represented in art, 67.

Vesta, how worshipped, 64 _et seq._

Virgil, description from the Georgics, 106;
his description of the shield of Æneas, 114;
the Dido of, 133;
his introduction of the Harpies, 166.

Winkelmann, quoted, 1;
soundness of his criticism doubted, 2;
his opinion of the Laocoon, 168;
his opinion of the Borghese Gladiator, 183;
criticism of, 187 _et seq._

Zeuxis, his picture of Helen, 140 _et seq._

-----

Footnote 1:

Von der Nachahmung der griechischen Werke in der Malerei und
Bildhauerkunst, p. 21, 22.

Footnote 2:

Brumoy Théât. des Grecs, T. ii. p. 89.

Footnote 3:

Iliad v. 343. Ἡ δὲ μέγα ἰάχουσα.

Footnote 4:

Iliad v. 859.

Footnote 5:

Th. Bartholinus. De Causis contemptæ a Danis adhuc Gentilibus Mortis,
cap. 1.

Footnote 6:

Iliad vii. 421.

Footnote 7:

Odyssey iv. 195.

Footnote 8:

Chateaubrun.

Footnote 9:

See Appendix, note 1.

Footnote 10:

See Appendix, note 2.

Footnote 11:

Aristophanes, Plut. v. 602 et Acharnens. v. 854.

Footnote 12:

Plinius, lib. xxx. sect. 37.

Footnote 13:

De Pictura vet. lib. ii. cap. iv. sect. 1.

Footnote 14:

Plinius, lib. xxxiv. sect. 9.

Footnote 15:

See Appendix, note 3.

Footnote 16:

See Appendix, note 4.

Footnote 17:

Plinius, lib. xxxv. sect. 35. Cum mœstos pinxisset omnes, præcipue
patruum, et tristitiæ omnem imaginem consumpsisset, patris ipsius
vultum velavit, quem digne non poterat ostendere.

Footnote 18:

Valerius Maximus, lib. viii. cap. 2. Summi mœroris acerbitatem arte
exprimi non posse confessus est.

Footnote 19:

Antiquit. expl. T. i. p. 50.

Footnote 20:

See Appendix, note 5.

Footnote 21:

Bellorii Admiranda, Tab. 11, 12.

Footnote 22:

Plinius, lib. xxxiv. sect. 19.

Footnote 23:

See Appendix, note 6.

Footnote 24:

Philippus, Anthol. lib. iv. cap. 9, ep. 10.

Ἀιεὶ γὰρ διψᾷς βρέφεων φονον. ἦ τις Ἰήσων
Δεύτερος, ἤ Γλαύκη τις πάλι σoὶ πρόφασις;
Ἐῤῥε καὶ ἐν κηρῷ παιδοκτόνε....

Footnote 25:

Vita Apoll. lib. ii. cap. 22.

Footnote 26:

See Appendix, note 7.

Footnote 27:

Mercure de France, April, 1755, p. 177.

Footnote 28:

“The Theory of Moral Sentiments,” by Adam Smith, part i. sect. 2, chap
1. (London, 1761.)

Footnote 29:

Trach. v. 1088, 1089:

ὅστις ὥστε παρθένος
Βέβρυχα κλαίων....

Footnote 30:

Topographiæ Urbis Romæ, lib. iv. cap. 14. Et quanquam hi (Agesander et
Polydorus et Athenodorus Rhodii) ex Virgilii descriptione statuam hanc
formavisse videntur, &c.

Footnote 31:

Suppl. aux Ant. Expliq. T. i. p. 242. Il semble qu’Agésandre,
Polydore, et Athénodore, qui en furent les ouvriers, aient travaillé
comme à l’envie, pour laisser un monument qui répondait à
l’incomparable description qu’a fait Virgile de Laocoon, &c.

Footnote 32:

See Appendix, note 8.

Footnote 33:

Paralip. lib. xii. v. 398–408.

Footnote 34:

Or rather serpent, for Lycophron mentions but one:

καὶ παιδοβρῶτος πορκέως νήσους διπλᾶς·

Footnote 35:

See Appendix, note 9.

Footnote 36:

See Appendix, note 10.

Footnote 37:

Their destined way they take,
And to Laocoon and his children make;
And first around the tender boys they wind,
Then with their sharpened fangs their limbs and bodies grind.
The wretched father, running to their aid
With pious haste, but vain, they next invade.—DRYDEN.

Footnote 38:

See Appendix, note 11.

Footnote 39:

With both his hands he labors at the knots.

Footnote 40:

Twice round his waist their winding volumes rolled,
And twice about his gasping throat they fold.
The priest thus doubly choked,—their crests divide,
And towering o’er his head in triumph ride.—DRYDEN.

Footnote 41:

See Appendix, note 12.

Footnote 42:

See Appendix, note 13.

Footnote 43:

His holy fillets the blue venom blots.—DRYDEN.

Footnote 44:

See Appendix, note 14.

Footnote 45:

See Appendix, note 15.

Footnote 46:

See Appendix, note 16.

Footnote 47:

The first edition was issued in 1747; the second, 1755. Selections by
N. Tindal have been printed more than once.

Footnote 48:

Val. Flaccus, lib. vi. v. 55, 56. Polymetis, dial. vi. p. 50.

Footnote 49:

See Appendix, note 17.

Footnote 50:

See Appendix, note 18.

Footnote 51:

See Appendix, note 19.

Footnote 52:

Tibullus, Eleg. 4, lib. iii. Polymetis, dial. viii.

Footnote 53:

Statius, lib. i. Sylv. 5, v. 8. Polymetis, dial. viii.

Footnote 54:

See Appendix, note 20.

Footnote 55:

Æneid, lib. viii. 725. Polymetis, dial. xiv.

Footnote 56:

In various passages of his Travels [Remarks on Italy] and his
Dialogues on Ancient Medals.

Footnote 57:

Polymetis, dial. ix.

Footnote 58:

Metamorph. lib. iv. 19, 20. When thou appearest unhorned, thy head is
as the head of a virgin.

Footnote 59:

Begeri Thes. Brandenb. vol. iii. p. 242.

Footnote 60:

Polymetis, dial. vi.

Footnote 61:

Polymetis, dial. xx.

Footnote 62:

Polymetis, dial. vii.

Footnote 63:

Argonaut. lib. ii. v. 102–106. “Gracious the goddess is not emulous to
appear, nor does she bind her hair with the burnished gold, letting
her starry tresses float about her. Wild she is and huge, her cheeks
suffused with spots; most like to the Stygian virgins with crackling
torch and black mantle.”

Footnote 64:

Thebaid. lib. v. 61–64. “Leaving ancient Paphos and the hundred
altars, not like her former self in countenance or the fashion of her
hair, she is said to have loosened the nuptial girdle and have sent
away her doves. Some report that in the dead of night, bearing other
fires and mightier arms, she had hasted with the Tartarean sisters to
bed-chambers, and filled the secret places of homes with twining
snakes, and all thresholds with cruel fear.”

Footnote 65:

See Appendix, note 21.

Footnote 66:

See Appendix, note 22.

Footnote 67:

See Appendix, note 23.

Footnote 68:

Polymetis, dial. vii.

Footnote 69:

See Appendix, note 24.

Footnote 70:

See Appendix, note 25.

Footnote 71:

Lipsius de Vesta et Vestalibus, cap. 13.

Footnote 72:

Pausanias, Corinth. cap. xxxv. p. 198 (edit. Kuhn).

Footnote 73:

Pausanias, Attic. cap. xviii. p. 41.

Footnote 74:

Polyb. Hist. lib. xvi. sect. 2, Op. T. ii. p. 443 (edit Ernest.).

Footnote 75:

See Appendix, note 26.

Footnote 76:

See Appendix, note 27.

Footnote 77:

Polymetis, dial. viii.

Footnote 78:

Statius, Theb. viii. 551.

Footnote 79:

Polymetis, dial. x.

Footnote 80:

See Appendix, note 28.

Footnote 81:

See Appendix, note 29.

Footnote 82:

Betrachtungen über die Malerei, p. 159.

Footnote 83:

Ad Pisones, v. 128–130. “Thou wilt do better to write out in acts the
story of Troy, than to tell of things not yet known nor sung.”

Footnote 84:

Lib. xxxv. sect. 36.

Footnote 85:

See Appendix, note 30.

Footnote 86:

Iliad xxi. 385.

Footnote 87:

She only stepped
Backward a space, and with her powerful hand
Lifted a stone that lay upon the plain,
Black, huge, and jagged, which the men of old
Had placed there for a landmark.—BRYANT.

Footnote 88:

See Appendix, note 31.

Footnote 89:

See Appendix, note 32.

Footnote 90:

Iliad iii. 381.

Footnote 91:

Iliad v. 23.

Footnote 92:

Iliad xx. 444.

Footnote 93:

Iliad xx. 446.

Footnote 94:

Iliad xx. 321.

Footnote 95:

See Appendix, note 33.

Footnote 96:

Iliad i. 44–53. Tableaux tirés de l’Iliade, p. 70.

Down he came,
Down from the summit of the Olympian mount,
Wrathful in heart; his shoulders bore the bow
And hollow quiver; there the arrows rang
Upon the shoulders of the angry god,
As on he moved. He came as comes the night,
And, seated from the ships aloof, sent forth
An arrow; terrible was heard the clang
Of that resplendent bow. At first he smote
The mules and the swift dogs, and then on man
He turned the deadly arrow. All around
Glared evermore the frequent funeral piles.—BRYANT.

Footnote 97:

Iliad iv. 1–4. Tableaux tirés de l’Iliade, p. 30.

Meantime the immortal gods with Jupiter
Upon his golden pavement sat and held
A council. Hebe, honored of them all,
Ministered nectar, and from cups of gold
They pledged each other, looking down on Troy.

BRYANT.

Footnote 98:

See Appendix, note 34.

Footnote 99:

See Appendix, note 35.

Footnote 100:

See Appendix, note 36.

Footnote 101:

Iliad v. 722.

Hebe rolled the wheels,
Each with eight spokes, and joined them to the ends
Of the steel axle,—fellies wrought of gold,
Bound with a brazen rim to last for ages,—
A wonder to behold. The hollow naves
Were silver, and on gold and silver cords
Was slung the chariot’s seat; in silver hooks
Rested the reins; and silver was the pole
Where the fair yoke and poitrels, all of gold,
She fastened.—BRYANT.

Footnote 102:

Iliad ii. 43–47.

He sat upright and put his tunic on,
Soft, fair, and new, and over that he cast
His ample cloak, and round his shapely feet
Laced the becoming sandals. Next, he hung
Upon his shoulders and his side the sword
With silver studs, and took into his hand
The ancestral sceptre, old but undecayed.—BRYANT.

Footnote 103:

Iliad ii. 101–108.

He held
The sceptre; Vulcan’s skill had fashioned it,
And Vulcan gave it to Saturnian Jove,
And Jove bestowed it on his messenger,
The Argus-queller Hermes. He in turn
Gave it to Pelops, great in horsemanship;
And Pelops passed the gift to Atreus next,
The people’s shepherd. Atreus, when he died,
Bequeathed it to Thyestes, rich in flocks;
And last, Thyestes left it to be borne
By Agamemnon, symbol of his rule
O’er many isles and all the Argive realm.—BRYANT.

Footnote 104:

Iliad i. 234–239.

By this my sceptre, which can never bear
A leaf or twig, since first it left its stem
Among the mountains,—for the steel has pared
Its boughs and bark away,—to sprout no more,
And now the Achaian judges bear it,—they
Who guard the laws received from Jupiter.

BRYANT.

Footnote 105:

Iliad iv. 105–111.

He uncovered straight
His polished bow made of the elastic horns
Of a wild goat, which, from his lurking-place,
As once it left its cavern lair, he smote,
And pierced its breast, and stretched it on the rock.
Full sixteen palms in length the horns had grown
From the goat’s forehead. These an artisan
Had smoothed, and, aptly fitting each to each,
Polished the whole and tipped the work with gold.

BRYANT.

Footnote 106:

Von Haller’s Alps.

The lofty gentian’s head in stately grandeur towers
Far o’er the common herd of vulgar weeds and low;
Beneath his banners serve communities of flowers;
His azure brethren, too, in rev’rence to him bow.
The blossom’s purest gold in curving radiations
Erect upon the stalk, above its gray robe gleams;
The leaflets’ pearly white with deep green variegations
With flashes many-hued of the moist diamond beams.
O Law beneficent! which strength to beauty plighteth,
And to a shape so fair a fairer soul uniteth.

Here on the ground a plant like a gray mist is twining,
In fashion of a cross its leaves by Nature laid;
Part of the beauteous flower, the gilded beak is shining,
Of a fair bird whose shape of amethyst seems made.
There into fingers cleft a polished leaf reposes,
And o’er a limpid brook its green reflection throws;
With rays of white a striped star encloses
The floweret’s disk, where pink flushes its tender snows.
Thus on the trodden heath are rose and emerald glowing,
And e’en the rugged rocks are purple banners showing.

Footnote 107:

Breitinger’s kritische Dichtkunst, vol. ii. p. 807.

Footnote 108:

Georg. lib. iii. 51 and 79.

If her large front and neck vast strength denote;
If on her knee the pendulous dewlap float;
If curling horns their crescent inward bend,
And bristly hairs beneath the ear defend;
If lengthening flanks to bounding measure spread;
If broad her foot and bold her bull-like head;
If snowy spots her mottled body stain,
And her indignant brow the yoke disdain,
With tail wide-sweeping as she stalks the dews,
Thus, lofty, large, and long, the mother choose.

DRYDEN.

Footnote 109:

Georg. lib. iii. 51 and 79.

Light on his airy crest his slender head,
His belly short, his loins luxuriant spread;
Muscle on muscle knots his brawny breast, &c.

DRYDEN.

Footnote 110:

De Art. Poet. 16.

Footnote 111:

See Appendix, note 37.

Footnote 112:

See Appendix, note 38.

Footnote 113:

Gedanken über die Schönheit und über den Geschmack in der Malerei, p.
69.

Footnote 114:

Iliad v. 722.

Footnote 115:

Iliad xii. 296.

Footnote 116:

Dionysius Halicarnass. in Vita Homeri apud Th. Gale in Opusc. Mythol.
p. 401.

Footnote 117:

See Appendix, note 39.

Footnote 118:

Æneid lib. viii. 447.

Their artful hands a shield prepare.
One stirs the fire, and one the bellows blows;
The hissing steel is in the smithy drowned;
The grot with beaten anvils groans around.
By turns their arms advance in equal time,
By turns their hands descend and hammers chime;
They turn the glowing mass with crooked tongs.

DRYDEN.

Footnote 119:

See Appendix, note 40.

Footnote 120:

Iliad xviii. 497–508.

Meanwhile a multitude
Was in the forum where a strife went on,—
Two men contending for a fine, the price
Of one who had been slain. Before the crowd
One claimed that he had paid the fine, and one
Denied that aught had been received, and both
Called for the sentence which should end the strife.
The people clamored for both sides, for both
Had eager friends; the herald held the crowd
In check; the elders, upon polished stones,
Sat in a sacred circle. Each one took
In turn a herald’s sceptre in his hand,
And rising gave his sentence. In the midst
Two talents lay in gold, to be the meed
Of him whose juster judgment should prevail.

BRYANT.

Footnote 121:

Iliad xviii. 509–540.

Footnote 122:

See Appendix, note 41.

Footnote 123:

Phocic. cap. xxv.-xxxi.

Footnote 124:

See Appendix, note 42.

Footnote 125:

Betrachtungen über die Malerei, p. 185.

Footnote 126:

Written in 1763.

Footnote 127:

“She was a woman right beautiful, with fine eyebrows, of clearest
complexion, beautiful cheeks; comely, with large, full eyes, with
snow-white skin, quick-glancing, graceful; a grove filled with graces,
fair-armed, voluptuous, breathing beauty undisguised. The complexion
fair, the cheek rosy, the countenance pleasing, the eye blooming; a
beauty unartificial, untinted, of its natural color, adding brightness
to the brightest cherry, as if one should dye ivory with resplendent
purple. Her neck long, of dazzling whiteness; whence she was called
the swan-born, beautiful Helen.”

Footnote 128:

See Appendix, note 43.

Footnote 129:

Orlando Furioso, canto vii. st. 11–15.

Her shape is of such perfect symmetry,
As best to feign the industrious painter knows;
With long and knotted tresses; to the eye
Not yellow gold with brighter lustre glows.
Upon her tender cheek the mingled dye
Is scattered of the lily and the rose.
Like ivory smooth, the forehead gay and round
Fills up the space and forms a fitting bound.

Two black and slender arches rise above
Two clear black eyes, say suns of radiant light,
Which ever softly beam and slowly move;
Round these appears to sport in frolic flight,
Hence scattering all his shafts, the little Love,
And seems to plunder hearts in open sight.
Thence, through ’mid visage, does the nose descend,
Where envy finds not blemish to amend.

As if between two vales, which softly curl,
The mouth with vermeil tint is seen to glow;
Within are strung two rows of orient pearl,
Which her delicious lips shut up or show,
Of force to melt the heart of any churl,
However rude, hence courteous accents flow;
And here that gentle smile receives its birth,
Which opes at will a paradise on earth.

Like milk the bosom, and the neck of snow;
Round is the neck, and full and round the breast;
Where, fresh and firm, two ivory apples grow,
Which rise and fall, as, to the margin pressed
By pleasant breeze, the billows come and go.
Not prying Argus could discern the rest.
Yet might the observing eye of things concealed
Conjecture safely from the charms revealed.

To all her arms a just proportion bear,
And a white hand is oftentimes descried,
Which narrow is and somedeal long, and where
No knot appears nor vein is signified.
For finish of that stately shape and rare,
A foot, neat, short, and round beneath is spied.
Angelic visions, creatures of the sky,
Concealed beneath no covering veil can lie.

WILLIAM STEWART ROSE.

Footnote 130:

See Appendix, note 44.

Footnote 131:

See Appendix, note 45.

Footnote 132:

See Appendix, note 46.

Footnote 133:

See Appendix, note 47.

Footnote 134:

See Appendix, note 48.

Footnote 135:

Æneid iv. 136.

The queen at length appears;
A flowered cymar with golden fringe she wore,
And at her back a golden quiver bore;
Her flowing hair a golden caul restrains;
A golden clasp the Tyrian robe sustains.—DRYDEN.

Footnote 136:

Od. xxviii., xxix.

Footnote 137:

Εἰκόνες, § 3, T. ii. p. 461 (edit. Reitz).

Footnote 138:

Iliad iii. 121.

Footnote 139:

Ibid. 319.

Footnote 140:

Ibid. 156–158.

Small blame is theirs if both the Trojan knights
And brazen-mailed Achaians have endured
So long so many evils for the sake
Of that one woman. She is wholly like
In feature to the deathless goddesses.—BRYANT.

Footnote 141:

Val. Maximus lib. iii. cap. 7. Dionysius Halicarnass. Art. Rhet. cap.
12. περὶ λόγων ἐξετάσεως.

Footnote 142:

So be it; let her, peerless as she is,
Return on board the fleet, nor stay to bring
Disaster upon us and all our race.—BRYANT.

Footnote 143:

Fabricii Biblioth. Græc. lib. ii. cap. 6, p. 345.

Footnote 144:

See Appendix, note 49.

Footnote 145:

Iliad i. 528. Valerius Maximus, lib. iii. cap. 7.

As thus he spoke the son of Saturn gave
The nod with his dark brows. The ambrosial curls
Upon the Sovereign One’s immortal head
Were shaken, and with them the mighty mount
Olympus trembled.—BRYANT.

Footnote 146:

See Appendix, note 50.

Footnote 147:

Hogarth’s Analysis of Beauty, chap. xi.

Footnote 148:

Iliad iii. 210.

Footnote 149:

Philos. Schriften des Herrn Moses Mendelssohn, vol. ii. p. 23.

Footnote 150:

De Poetica, cap. v.

Footnote 151:

Paralipom. lib. i. 720–778.

Footnote 152:

King Lear, Act i. scene 2.

Footnote 153:

King Richard III. Act i. scene 1.

Footnote 154:

Briefe, die neueste Literatur betreffend, Part v. p. 102.

Footnote 155:

De Poetica, cap. iv.

Footnote 156:

Klotzii Epistolæ Homericæ, p. 33 et seq.

Footnote 157:

Klotzii Epistolæ Homericæ, p. 103.

Footnote 158:

Nubes, 170–174. _Disciple._ But he was lately deprived of a great idea
by a weasel. _Strepsiades._ In what way? tell me. _Disciple._ He was
studying the courses of the moon and her revolutions, and, while
gazing upward open-mouthed, a weasel in the dark dunged upon him from
the roof.

Footnote 159:

See Appendix, note 51.

Footnote 160:

Περὶ Ὕψους, τμῆμα ή. p. 15 (edit. T. Fabri).

Footnote 161:

Scut. Hercul. 266.

Footnote 162:

Philoct. 31–39.

Footnote 163:

Æneid, lib. ii. 277.

Footnote 164:

Metamorph. vi. 387. “The skin is torn from the upper limbs of the
shrieking Marsyas, till he is nought but one great wound: thick blood
oozes on every side; the bared sinews are visible; and the palpitating
veins quiver, stripped of the covering of skin; you can count the
protruding entrails, and the muscles shining in the breast.

Footnote 165:

Metamorph. lib. viii. 809. “Seeing Famine afar off, she delivers the
message of the goddess. And after a little while, although she was yet
at a distance and was but approaching, yet the mere sight produced
hunger.”

Footnote 166:

Hym. in Cererem, 111–116.

Footnote 167:

Argonaut. lib. ii. 228–233. “Scarcely have they left us any food that
smells not mouldy, and the stench is unendurable. No one for a time
could bear the foul food, though his stomach were beaten of adamant.
But bitter necessity compels me to bethink me of the meal, and, so
remembering, put it into my wretched belly.”

Footnote 168:

See Appendix, note 52.

Footnote 169:

Richardson de la Peinture, vol. i. p. 74.

Footnote 170:

Geschichte der Kunst, p. 347.

Footnote 171:

Not Apollodorus, but Polydorus. Pliny is the only one who mentions
these artists, and I am not aware that the manuscripts differ in the
writing of the name. Had such been the case, Hardouin would certainly
have noticed it. All the older editions also read Polydorus.
Winkelmann must therefore have merely made a slight error in
transcribing.

Footnote 172:

Ἀθηνόδωρος δὲ καὶ Δαμέας ... οὗτοι δὲ Ἀρκάδες εἰσὶν ἐκ Κλείτορος.
Phoc. cap. ix. p. 819 (edit. Kuhn).

Footnote 173:

Plinius, lib. xxxiv. sect. 19.

Footnote 174:

Lib. xxxvi. sect. 4. “Nor are there many of great repute the number of
artists engaged on celebrated works preventing the distinction of
individuals; since no one could have all the credit, nor could the
names of many be rehearsed at once: as in the Laocoon, which is in the
palace of the emperor Titus, a work surpassing all the results of
painting or statuary. From one stone he and his sons and the wondrous
coils of the serpents were sculptured by consummate artists, working
in concert: Agesander, Polydorus, and Athenodorus, all of Rhodes. In
like manner Craterus with Pythodorus, Polydectes with Hermolaus,
another Pythodorus with Artemon, and Aphrodisius of Tralles by
himself, filled the palaces of the Cæsars on the Palatine with
admirable statuary. Diogenes, the Athenian, decorated the Pantheon of
Agrippa, and the Caryatides on the columns of that temple rank among
the choicest works, as do also the statues on the pediment, though
these, from the height of their position, are less celebrated.”

Footnote 175:

Bœotic. cap. xxxiv. p. 778 (edit. Kuhn).

Footnote 176:

Plinius, lib. xxxvi. sect. 4, p. 730.

Footnote 177:

Geschichte der Kunst, part ii. p. 331.

Footnote 178:

Plinius, xxxvi. sect. 4.... “which would make the glory of any other
place. But at Rome the greatness of other works overshadows it, and
the great press of business and engagements turns the crowd from the
contemplation of such things; for the admiration of works of art
belongs to those who have leisure and great quiet.”

Footnote 179:

See Appendix, note 53.

Footnote 180:

Plinius, xxxvi. sect. 4.

Footnote 181:

Geschichte der Kunst, part ii. p. 347.

Footnote 182:

Lib. xxxvi. sect. 4.

Footnote 183:

See Appendix, note 54.

Footnote 184:

Prefatio Edit. Sillig. “Lest I should seem to find too much fault with
the Greeks, I would be classed with those founders of the art of
painting and sculpture, recorded in these little volumes, whose works,
although complete and such as cannot be sufficiently admired, yet bear
a suspended title, as Apelles or Polycletus ‘was making’; as if the
work were always only begun and still incomplete, so that the artist
might appeal from criticism as if himself desirous of improving, had
he not been interrupted. Wherefore from modesty they inscribed every
work as if it had been their last, and in hand at their death. I think
there are but three with the inscription, ‘He made it,’ and these I
shall speak of in their place. From this it appeared that the artists
felt fully satisfied with their work, and these excited the envy of
all.”

Footnote 185:

See Appendix, note 55.

Footnote 186:

Geschichte der Kunst, part i. p. 394.

Footnote 187:

Cap. i. “He was also reckoned among their greatest leaders, and did
many things worthy of being remembered. Among his most brilliant
achievements was his device in the battle which took place near
Thebes, when he had come to the aid of the Bœotians. For when the
great leader Agesilaus was now confident of victory, and his own hired
troops had fled, he would not surrender the remainder of the phalanx,
but with knee braced against his shield and lance thrust forward, he
taught his men to receive the attack of the enemy. At sight of this
new spectacle, Agesilaus feared to advance, and ordered the trumpet to
recall his men who were already advancing. This became famous through
all Greece, and Chabrias wished that a statue should be erected to him
in this position, which was set up at the public cost in the forum at
Athens. Whence it happened that afterwards athletes and other artists
[or persons versed in some art] had statues erected to them in the
same position in which they had obtained victory.”

Footnote 188:

See Appendix, note 56.

Footnote 189:

Περὶ Ὕψους, τμῆμα, ιδ’ (edit. T. Fabri), ρ. 36, 39. “But so it is that
rhetorical figures aim at one thing, poetical figures at quite
another; since in poetry emphasis is the main object, in rhetoric
distinctness.”

Footnote 190:

“So with the poets, legends and exaggeration obtain and in all
transcend belief; but in rhetorical figures the best is always the
practicable and the true.”

Footnote 191:

De Pictura Vet. lib. i. cap. 4, p. 33.

Footnote 192:

Von der Nachahmung der griech. Werke, &c., 23.

Footnote 193:

Τμῆμα, β. “Next to this is a third form of faultiness in pathos, which
Theodorus calls _parenthyrsus_; it is a pathos unseasonable and empty,
where pathos is not necessary; or immoderate, where it should be
moderate.”

Footnote 194:

Geschichte der Kunst, part i. p. 136.

Footnote 195:

Herodotus de Vita Homeri, p. 756 (edit. Wessel).

Footnote 196:

Iliad, vii.

Footnote 197:

Geschichte der Kunst, part i. p. 176. Plinius, lib. xxxv. sect. 36.
Athenæus, lib. xii. p. 543.

Footnote 198:

Geschichte der Kunst, part ii. p. 353. Plinius, lib. xxxvi. sect. 4.

Footnote 199:

See Appendix, note 57.

------------------------------------------------------------------------

_Messrs. Roberts Brothers’ Publications._

GOETHE’S

HERMANN AND DOROTHEA

TRANSLATED FROM THE GERMAN

BY ELLEN FROTHINGHAM.

WITH ILLUSTRATIONS.

_Thin 8vo, cloth, gilt, bevelled boards. Price $2.00.

A cheaper edition, 16mo, cloth. Price $1.00._

“Miss Frothingham’s translation is something to be glad of: it lends itself kindly to perusal, and it presents Goethe’s charming poem in the metre of the original.... It is not a poem which could be profitably used in an argument for the enlargement of the sphere of woman: it teaches her subjection, indeed, from the lips of a beautiful girl, which are always so fatally convincing; but it has its charm, nevertheless, and will serve at least for an agreeable picture of an age when the ideal woman was a creature around which grew the beauty and comfort and security of home.”—_Atlantic Monthly._

“The poem itself is bewitching. Of the same metre as Longfellow’s ‘Evangeline,’ its sweet and measured cadences carry the reader onward with a real pleasure as he becomes more and more absorbed in this descriptive wooing song. It is a sweet volume to read aloud in a select circle of intelligent friends.”—_Providence Press._

“Miss Frothingham has done a good service, and done it well, in translating this famous idyl, which has been justly called ‘one of the most faultless poems of modern times.’ Nothing can surpass the simplicity, tenderness, and grace of the original, and these have been well preserved in Miss Frothingham’s version. Her success is worthy of the highest praise, and the mere English reader can scarcely fail to read the poem with the same delight with which it has always been read by those familiar with the German. Its charming pictures of domestic life, the strength and delicacy of its characterization, the purity of tone and ardent love of country which breathe through it, must always make it one of the most admired of Goethe’s works.”—_Boston Christian Register._

_Sold everywhere. Mailed, postpaid, by the Publishers_,

ROBERTS BROTHERS, BOSTON.

SANSKRIT AND ITS KINDRED LITERATURES.

STUDIES IN COMPARATIVE MYTHOLOGY.

By LAURA ELIZABETH POOR.

16mo. Cloth. 400 pages Price, $2.00.

The book goes over ground which has been made new by the modern discoveries in philology and mythology. It describes and compares the literatures of the different Aryan families, and brings forward the comparative mythology, as it manifests itself in each different country, filling a place which is almost empty in that department, and giving in a brief space information which is scattered through hundreds of different volumes. In fact, there is no one book which contains just what this does,—a sketch of comparative mythology, with history enough to make it clear and connected. It creates and fills a place of its own.

Rev. Dr. F. H. Hedge, of Harvard University, Cambridge, says of it:—

“The unpretending volume with the above title is just what was needed to popularize the results of the researches of such scholars as Wilson, Spiegel, Grimm, Monier Williams, Müller, Whitney, and others, and to place them within easy reach of readers who may not have access to those writers. The author’s task seems to have been well executed; she has produced an entertaining and instructive work, full of interesting matter, illustrated by choice extracts, and written in an easy and animated style. Such books, of course, are not consulted as final authorities, but this is well worth reading by all who desire an initial acquaintance with the subjects discussed.”

“One of the chief merits of the volume is the clearness with which the author expresses her thoughts, and the skill with which she disentangles the subtleties of metaphysical and religious doctrines, making them plain to the most casual reader.”—_Boston Courier._

“The book, of course, is an elementary one, but it must be valuable to the young student who desires to get a complete view of literature and of the reciprocal relations of its various divisions. It can hardly fail to interest the reader in the new science of which it gives results, and lead him to more exhaustive studies for himself. If such a work could be made a school text-book it would give pupils a long start in their pursuit of a correct and systematic knowledge of language and literature.”—_Buffalo Courier._

“Let no intelligent reader be deterred from its diligent perusal by the learned name which introduces the interesting book now offered to the public to illustrate studies in comparative mythology. The word Sanskrit has an abstruse sound to unenlightened ears, but there is nothing abstruse in the subject as here presented, and nothing difficult to be understood by persons of ordinary culture.... The writer’s treatment of the subject is much to be commended. It is bright, fresh, earnest, and strong. She arouses the reader’s attention from the beginning, charms his imagination by choice extracts from the literary treasures of past ages, pleases his taste by drawing parallelisms between the myths of the past and the fables of the present, convinces him that one literature unites different nations and different centuries, and that each nation is a link in the great chain of development of the human mind. We earnestly commend this work to all who would understand the unity and continuity of literature. It is full of general information and instruction, the style is earnest and easy, the enthusiasm sympathetic, and the presentation specially thought-stirring and satisfactory.”—_Providence Journal._

------------------------------------------------------------------------

TRANSCRIBER’S NOTES

1. Silently corrected palpable typographical errors; retained non-standard spellings and dialect. 2. Reindexed footnotes using numbers and collected together at the end of the last chapter. 3. Enclosed italics font in _underscores_. 4. Enclosed blackletter font in =equals=.