* * * * *
THE CHIEF CAUSES OF THE SUCCESS OF PAINTING AND SCULPTURE IN GREECE AND
ROME.
(_For the Mirror._)
A cursory glance at the principal occasion of the amazing success
obtained by the Greeks and Romans, in painting and sculpture, during the
early ages, may perhaps prove interesting to the lovers of the arts in
this country.
The elevation to which the arts in Greece arrived was owing to the
concurrence of various circumstances. The imitative arts, we are told,
in that classic country formed a part of the administration, and were
inseparably connected with the heathen worship. The temples were
magnificently erected, and adorned with numerous statues of pagan
deities, before which, in reverential awe, the people prostrated
themselves. Every man of any substance had an idol in his own
habitation, executed by a reputed sculptor. In all public situations the
patriotic actions of certain citizens were represented, that beholders
might be induced to emulate their virtues. On contemplating these
masterpieces of art, which were so truly exquisite that the very coldest
spectator was unable to resist their _almost magical_ influence, the
vicious were reclaimed, and the ignorant stood abashed. Indeed, it has
often been asserted, that the statues by Phidias and Praxiteles were so
inimitably executed, that the people of Paros adored them as living
gods. Those artists who performed such extraordinary wonders as these
were held in an esteemed light, of which we cannot form the least idea.
We are certain they were paid most enormous prices for their
productions, and consequently could afford to adorn them with every
beauty of art, and to bestow more time on them than can ever be expected
from any modern artist.
As soon as the arts had arrived at their highest pitch of excellency in
Greece, the country was laid waste by the invading power of the Romans.
All the Greek cities which contained the greatest treasures were
demolished, and all the pictures[5] and statues fell into the hands of
the victorious general, who had them carefully preserved and conveyed
from the land where they had been adored. Of the estimation in which
these great works were held by the Romans, we may form some idea by the
general assuring a soldier, to whose charge he gave a statue by
Praxiteles, that if he broke it, he should get another as well made in
its place. War is a very destructive enemy to painting and sculpture;
the intestine quarrels which ensued after the Romans had conquered the
country, rendered the exercise of the art impracticable.
The arts were neglected in Rome until the introduction of the popish
religion. At that eventful era, statues and pictures were eagerly sought
for; the admirable Grecian works were appropriated to purposes quite
contrary to their pagan origin, for in many cases heathen deities were
converted into apostles. The labours of Phidias, Myron, Praxiteles,
Lysippus, and Scopas,[6] were highly valued by the Romans, who became
the correct imitators, and in time the rivals, of those celebrated
sculptors. G.W.N.
[5] The pictures alluded to were the works of Apelles,
Apollodorus, and Protogenes.
[6] These sculptors, according to Pliny, were the most reputed
among the ancients.
* * * * *
SPIRIT OF THE
PUBLIC JOURNALS
* * * * *