DOI Page / Citation link:
https://doi.org/10.11588/diglit.18825#0022
VI HISTORY OF ART. [lECT. i.
celestial beings : and certainly, if gods such as ido-
latry supposed, had thought proper to appear on
earth, they could hardly have adopted forms more
expressive than those the Artists of Greece had al-
ready appointed to them.
Indeed, the Grecian Artists have unanimously been
acknowledged to surpass those of every other na-
tion : they carried to their height most branches of
Art, though we are at present little acquainted with
their success in any other than purity of design.
This we admire in their sculptures; but, it is incre-
dible that contemporary painters and designers, whose
works were the boast of their times, should be defi-
cient in the principles peculiar to their art; and, as
by the statues which remain, we judge of the profi-
ciency of ancient Artists in design, so had their best
pictures been fortunate enough to have reached us,
we may justly believe, they also would have com-
manded our applause.
Notwithstanding this admission, it is not easy to
determine how far we may rely on the reports of
ancient writers with respect to the pictures of which
they speak ; they might be excellent, we grant it;
and yet we may doubt whether, on comparison
with the esteemed works of modern times, they
would retain the same primary rank as the sculptures
are universally placed in. Some of the noblest prin-
ciples of Art (such as forming the figures into
groups, and the judicious conduct of light and
shade) seem peculiar to the moderns; no ancient
author recommending them, nor any ancient picture
now remaining possessing them. It is true, those
works
celestial beings : and certainly, if gods such as ido-
latry supposed, had thought proper to appear on
earth, they could hardly have adopted forms more
expressive than those the Artists of Greece had al-
ready appointed to them.
Indeed, the Grecian Artists have unanimously been
acknowledged to surpass those of every other na-
tion : they carried to their height most branches of
Art, though we are at present little acquainted with
their success in any other than purity of design.
This we admire in their sculptures; but, it is incre-
dible that contemporary painters and designers, whose
works were the boast of their times, should be defi-
cient in the principles peculiar to their art; and, as
by the statues which remain, we judge of the profi-
ciency of ancient Artists in design, so had their best
pictures been fortunate enough to have reached us,
we may justly believe, they also would have com-
manded our applause.
Notwithstanding this admission, it is not easy to
determine how far we may rely on the reports of
ancient writers with respect to the pictures of which
they speak ; they might be excellent, we grant it;
and yet we may doubt whether, on comparison
with the esteemed works of modern times, they
would retain the same primary rank as the sculptures
are universally placed in. Some of the noblest prin-
ciples of Art (such as forming the figures into
groups, and the judicious conduct of light and
shade) seem peculiar to the moderns; no ancient
author recommending them, nor any ancient picture
now remaining possessing them. It is true, those
works