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.
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