Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Stray Thoughts On The Origin And Progress Of The Fine Arts.
STRAY THOUGHTS ON THE ORIGIN AND PROGRESS OF THE FINE ARTS .
ZONDON , SATURDAY , OCTOBER 20 , 1 SC 0 .
NO . IV . BT DIAGOBAS . The Greek ideas of beauty , with respect to tlie head , "were in harmony with a noble and dignified expression , as may be perceived in -what is called the Greek st yle in
our own time . The Grecian profile consists of a- line almost straight , or AA ith such slight deflections as are scarcely distinguishable , the forehead and uose forming a line nearly perpendicular . The Greeks considered a small forehead a mark of beauty , and a high forehead a
deformity . To give an oval appearance to the face , and to contract the apparent size of the forehead , it Avas usual to represent the forehead as partiall y hidden by the hair , which made a curve about the temples and prevented an angular appearance , of the face . In Greek statues the eye forms a very remarkable and
characteristic feature , - the eyes of Jupiter , Juno , and Apollo are large and round ; those of Pallas are also large , butsoftened by the lowering of the eyelids , but large ej-es
are not , as is generally supposed , essential to beauty . We have a forcible exam ple of this in the Venus de Medicis . In this inimitable statue the eyes are peculiarly small , the IOAAXT eyelid being slightly raised , which gives an air of sAveetness to the face ; this statue is world-famous for its beauty . The more eminent scul ptors
considered the joining together of the eyebrows a deformity , yet examples are not Avanting Avhere this seeming defect is introduced with much advantage , as in the statue of Jupiter Olympus , by Phidias . Hitch of the expression of the face depends upon the formation of
the mouth . The Greeks were aware of this , and evidently bestowed great care in designing and executing this feature . In the most celebrated statues , the lower lip appears fuller than than the upper , which gives an elegant rotundity to the chin . The teeth are seldom
shown in Greek statues ; dimples were considered deformities b y the Grecians , and therefore are only introduced to distinguish different individuals . The care bestowed on the finish of the ears is a
remarkable feature in Grecian sculpture . In their portraits they Averc as careful to secure an exact \ counterpart of the ear as airy other feature ; indeed the j finish of the ear sometimes affords the only clue whereby ! to distinguish the date of a statue . The Greek sculptors ; were i-ery skilful in the disposition of drapery , which is ;
always so arranged in their figures as to heighten the j general effect . The arrangement or style of the drapery ! enables us to judge with considerable accuracy of tho I position in life or rank of the individual represented ; ; thus , the largest and coarsest garment worn by men Avas
the pallium , a large piece of woollen cloth , square or nearl y so : this Avas usually worn by being folded over and around the bod y in a manner somewhat similar to that in which the modern Scottish plaid is worn . It
was disposed in a variet y of ways , according to the convenience or caprice of the wearer . " Sometimes one arm was wrapped in it , sometimes the other , sometimes both . All the statues of the philosophers except the cynics , are clothed in the pallium . The peplus was a garment similar to the pallium , the ]) rineipal difference
being the fineness of the material aud the more numerous folds into which it consequently fell . The peplus was usually ornamented at the corners with tassels or knots . The chlosna was still lighter and finer than the peplus , but still , of an ollonrj sc / uare form ; it is usually seen in the statues of youthful heroes . The tunic or 7 citon was
an undergarment , having no sleei'es , hung over the left shoulder , leaving the right entirely bare , so as not to impede action ; latterly it was made with short sleeves , Avas full in the body , and when not girded hung down below the middle , but when girded did not reach below
the knees . The cJiUmi / s was a garment fastened with , a button on the right shoulder , as that ivoru by tho Apollo Belvidere , the clilamys aud hi ton were both military or hunting dresses . The dress of the Greek females ivas nob essentially different from that of the
males , the . tunic generally jMSsed over both shoulders , except in the case of the Amazons , who sometimes left the right arm bare . The tunic of females reached to the feet , and was lower than the ancles , even when girded with a zone ; the long veil worn by females was a characteristic of dignity . Juuo , Minerva , Vesta or Ceres ,
when in a placid state , are always represented with it . The only other form of drapery that seems to me ivorthy of notice is the Soman lof / a , so exclusively used by the I ? . omaus that they were thence named r / ens logata . Collected in folds it appears to have been of an oi'al
figure , through the opening of which the head , right arm , and body passed ; the garment resting on the left shoulder and supported by the left hand . It fell below the middle of the leg , and presented numerous folds , encircling the figure before and behind , from the left shoulder downivards . This garment ivas worn by emperors , consuls , patricians , and Roman citizens . It
was usually made of fine AVOOIICU cloth , as most Roman garments were . Grecian sculp ture is usually distinguished as belonging to the ancient style , the grand style , and the graceful style . The most trustworthy records of the ancient style are medals , Avhich contaiu
inscri p tions written from left to ri ght . This suflicicntl y pvoves their antiquity , as this method was abandoned in the time of Herodotus . The statue of -Agamemnon at Elis . which ivas made by Omatas , has an inscription from left to ri g ht . Omatas lived fifty years before
Phidias . In the primitive schools of sculpture , from the time of Dicdalus to that of Phidias , sculp ture can hardly be considered as a regular art , tho founders of those schools being little more than ingenious men who followed carving among other avocations . Such were Endauis ,
of Athens , famous for three statues of Minerva ; CEpeus , the fabricator of the celebrated Trojan horse ; Iemulous , spoken of in the Odyssey as having sculp tured the
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Stray Thoughts On The Origin And Progress Of The Fine Arts.
STRAY THOUGHTS ON THE ORIGIN AND PROGRESS OF THE FINE ARTS .
ZONDON , SATURDAY , OCTOBER 20 , 1 SC 0 .
NO . IV . BT DIAGOBAS . The Greek ideas of beauty , with respect to tlie head , "were in harmony with a noble and dignified expression , as may be perceived in -what is called the Greek st yle in
our own time . The Grecian profile consists of a- line almost straight , or AA ith such slight deflections as are scarcely distinguishable , the forehead and uose forming a line nearly perpendicular . The Greeks considered a small forehead a mark of beauty , and a high forehead a
deformity . To give an oval appearance to the face , and to contract the apparent size of the forehead , it Avas usual to represent the forehead as partiall y hidden by the hair , which made a curve about the temples and prevented an angular appearance , of the face . In Greek statues the eye forms a very remarkable and
characteristic feature , - the eyes of Jupiter , Juno , and Apollo are large and round ; those of Pallas are also large , butsoftened by the lowering of the eyelids , but large ej-es
are not , as is generally supposed , essential to beauty . We have a forcible exam ple of this in the Venus de Medicis . In this inimitable statue the eyes are peculiarly small , the IOAAXT eyelid being slightly raised , which gives an air of sAveetness to the face ; this statue is world-famous for its beauty . The more eminent scul ptors
considered the joining together of the eyebrows a deformity , yet examples are not Avanting Avhere this seeming defect is introduced with much advantage , as in the statue of Jupiter Olympus , by Phidias . Hitch of the expression of the face depends upon the formation of
the mouth . The Greeks were aware of this , and evidently bestowed great care in designing and executing this feature . In the most celebrated statues , the lower lip appears fuller than than the upper , which gives an elegant rotundity to the chin . The teeth are seldom
shown in Greek statues ; dimples were considered deformities b y the Grecians , and therefore are only introduced to distinguish different individuals . The care bestowed on the finish of the ears is a
remarkable feature in Grecian sculpture . In their portraits they Averc as careful to secure an exact \ counterpart of the ear as airy other feature ; indeed the j finish of the ear sometimes affords the only clue whereby ! to distinguish the date of a statue . The Greek sculptors ; were i-ery skilful in the disposition of drapery , which is ;
always so arranged in their figures as to heighten the j general effect . The arrangement or style of the drapery ! enables us to judge with considerable accuracy of tho I position in life or rank of the individual represented ; ; thus , the largest and coarsest garment worn by men Avas
the pallium , a large piece of woollen cloth , square or nearl y so : this Avas usually worn by being folded over and around the bod y in a manner somewhat similar to that in which the modern Scottish plaid is worn . It
was disposed in a variet y of ways , according to the convenience or caprice of the wearer . " Sometimes one arm was wrapped in it , sometimes the other , sometimes both . All the statues of the philosophers except the cynics , are clothed in the pallium . The peplus was a garment similar to the pallium , the ]) rineipal difference
being the fineness of the material aud the more numerous folds into which it consequently fell . The peplus was usually ornamented at the corners with tassels or knots . The chlosna was still lighter and finer than the peplus , but still , of an ollonrj sc / uare form ; it is usually seen in the statues of youthful heroes . The tunic or 7 citon was
an undergarment , having no sleei'es , hung over the left shoulder , leaving the right entirely bare , so as not to impede action ; latterly it was made with short sleeves , Avas full in the body , and when not girded hung down below the middle , but when girded did not reach below
the knees . The cJiUmi / s was a garment fastened with , a button on the right shoulder , as that ivoru by tho Apollo Belvidere , the clilamys aud hi ton were both military or hunting dresses . The dress of the Greek females ivas nob essentially different from that of the
males , the . tunic generally jMSsed over both shoulders , except in the case of the Amazons , who sometimes left the right arm bare . The tunic of females reached to the feet , and was lower than the ancles , even when girded with a zone ; the long veil worn by females was a characteristic of dignity . Juuo , Minerva , Vesta or Ceres ,
when in a placid state , are always represented with it . The only other form of drapery that seems to me ivorthy of notice is the Soman lof / a , so exclusively used by the I ? . omaus that they were thence named r / ens logata . Collected in folds it appears to have been of an oi'al
figure , through the opening of which the head , right arm , and body passed ; the garment resting on the left shoulder and supported by the left hand . It fell below the middle of the leg , and presented numerous folds , encircling the figure before and behind , from the left shoulder downivards . This garment ivas worn by emperors , consuls , patricians , and Roman citizens . It
was usually made of fine AVOOIICU cloth , as most Roman garments were . Grecian sculp ture is usually distinguished as belonging to the ancient style , the grand style , and the graceful style . The most trustworthy records of the ancient style are medals , Avhich contaiu
inscri p tions written from left to ri ght . This suflicicntl y pvoves their antiquity , as this method was abandoned in the time of Herodotus . The statue of -Agamemnon at Elis . which ivas made by Omatas , has an inscription from left to ri g ht . Omatas lived fifty years before
Phidias . In the primitive schools of sculpture , from the time of Dicdalus to that of Phidias , sculp ture can hardly be considered as a regular art , tho founders of those schools being little more than ingenious men who followed carving among other avocations . Such were Endauis ,
of Athens , famous for three statues of Minerva ; CEpeus , the fabricator of the celebrated Trojan horse ; Iemulous , spoken of in the Odyssey as having sculp tured the