DOI Page / Citation link:
https://doi.org/10.11588/diglit.18732#0216
[ 57 ]
Prometheus's clay without his fire. On the other
hand, the moderns, by facrificing too liberally thofe
technical proportions, which, when religioufly ob-
ferved, produce beauty, to expreffion, have generally
loft the very point they contended for. They feemed
to think, that when a paffion was to be expreffed, it
could not be exprelTed too ftrongly; and that fym-
pathy always followed in an exadt proportion with
the ftrength of the paffion, and the force of its ex-
preffion. But paffions, in their extreme, inftead of
producing fympathy, generally excite feelings dia-
metrically oppohte. A vehement and clamorous
demand of pity is received with negle£t, and fome-
times with difguft; whilft a patient and filent
acquiefcence under the preffure of mental afflic-
tion, or fevere bodily pain, finds every heart in
unifon with its fufferings. The ancients knew to
what extent expreffion may be carried, with good
effect. The author of the famous Laocoon, in the
Vatican, knew where to flop, and if the figure had
been alone, it would have been perfecl ; there is ex-
quifite anguifh in the countenance, but it is borne in
filence, and without diftortion of features. Puget
thought he could °;o beyond the author of Laocoon j
he gave voice to his Milo ; he made him roaring with
pain, and loft the fympathy of the ipectator. In
confirmation of this doctrine, Mr. Lock defired, that
when I (hould arrive at Rome, I would examine,
with attention, the celebrated ftatue of Niobe, in the
Villa de Medici. I have done fn again and again,
and find his remarks moft ftrikingly juft. The
author of the Niobe has had the judgment not to
exhibit all the diftrefs which he might have placed
G in
Prometheus's clay without his fire. On the other
hand, the moderns, by facrificing too liberally thofe
technical proportions, which, when religioufly ob-
ferved, produce beauty, to expreffion, have generally
loft the very point they contended for. They feemed
to think, that when a paffion was to be expreffed, it
could not be exprelTed too ftrongly; and that fym-
pathy always followed in an exadt proportion with
the ftrength of the paffion, and the force of its ex-
preffion. But paffions, in their extreme, inftead of
producing fympathy, generally excite feelings dia-
metrically oppohte. A vehement and clamorous
demand of pity is received with negle£t, and fome-
times with difguft; whilft a patient and filent
acquiefcence under the preffure of mental afflic-
tion, or fevere bodily pain, finds every heart in
unifon with its fufferings. The ancients knew to
what extent expreffion may be carried, with good
effect. The author of the famous Laocoon, in the
Vatican, knew where to flop, and if the figure had
been alone, it would have been perfecl ; there is ex-
quifite anguifh in the countenance, but it is borne in
filence, and without diftortion of features. Puget
thought he could °;o beyond the author of Laocoon j
he gave voice to his Milo ; he made him roaring with
pain, and loft the fympathy of the ipectator. In
confirmation of this doctrine, Mr. Lock defired, that
when I (hould arrive at Rome, I would examine,
with attention, the celebrated ftatue of Niobe, in the
Villa de Medici. I have done fn again and again,
and find his remarks moft ftrikingly juft. The
author of the Niobe has had the judgment not to
exhibit all the diftrefs which he might have placed
G in