DOI Page / Citation link:
https://doi.org/10.11588/diglit.802#0043
34 MINUTES OF EVIDENCE BEFORE SELECT COMMITTEE
FranasChauntry, Are they not more according to common, but beautiful nature, than theApolfo?—Certainly;
------------------, I mean nature in the grand style, not the simplicity of the composition visible in every part: but
simplicity and grandeur are so nearly allied, it is almost impossible to make a distinction.
Do you place the metopes, and the frieze of the Festival, in the highest class of art ? — The frieze,
I do unquestionably; the bas relief, I mean.
Do you think that superior, in execution and design, to the alto relievo ? — I do not know, speaking
of them comparatively; they are different in their style.
Do they appear to you to be of the same age ? — I think they do; I never thought otherwise.
Do the horses appear to you to be treated in the same manner, and to be formed according to the
same principles? — Considering the difference between basso relievo and alto relievo, I think they are;
but that makes a great difference in the general appearance of them.
In what class of art do you place the draped female figures ? — As applied to their situation,
I place them also in the first class; but, if they were for the inside of a building, I should say they
were not in the first class; those were for a broad light, consequently the drapery is cut into small
parts, for the sake of producing effect; for we find through the whole of that Collection, effect has
been their principal aim, and they have gained it in every point. ,
Have you ever looked at this Collection, with a view towards its value in money ? — I really do
not know what to compare them with.
In what class should you estimate these, as compared with the Townley Marbles?—In the
Townley Marbles we find individual excellence, but in these we find a great deal more; we find
individual excellence combined with grand historical composition.
Do you reckon these of superior value, from never having been restored or retouched ? — I should
certainly think them not the worse for being in their present state.
Have you seen the Greek bas reliefs, lately brought to the Museum ? — Yes, I have seen them.
How do you estimate them as works of art, as compared with the Elgin bas reliefs ? — I look upon
them as very fine in composition; but in execution, what we must expect in works taken from the
outside of buildings; works done by different people: they are very fine of their kind, but in point of
execution much inferior to Lord Elgin's, and indeed inferior in design.
Which appears to you to be of the highest antiquity? — I cannot say.
As compared with the figures on Monte Cavallo, how do you rate the Theseus ? — It is very much
in the same style.
Do you judge they are nearly of the same age? — That I cannot say; that is a point that has been
so much disputed.
Do you think it of great importance to the art of sculpture, that this Collection should become the
property of the Public ? — I think it of the greatest importance in a national point of view.
When you mention that these statues are rather calculated for a distant effect, do you mean they
are not very highly finished ? — Yes; and that is very surprising; they are finished to a high degree,
but the arrangement is calculated to be seen at a great distance.,
Charles Rossi, Esq. R. A. called in, and Examined.
Charles Rossi, Ake you well acquainted with the Elgin Marbles ? — Yes.
______sq' In what class of art do you reckon them ? — The finest that I have ever seen.
Do you think any figures in Lord Elgin's Collection equal to the Apollo Belvidere and the Lao-
coon ?— I think they are superior in my judgment.
Which do you consider as superior? — The Theseus and the River God, and the Torsos also;
there are one or two of them, but they are very much mutilated.
In what class of art do you reckon the metopes ? — The metopes I do not think so fine as the rest
of the bas reliefs.
FranasChauntry, Are they not more according to common, but beautiful nature, than theApolfo?—Certainly;
------------------, I mean nature in the grand style, not the simplicity of the composition visible in every part: but
simplicity and grandeur are so nearly allied, it is almost impossible to make a distinction.
Do you place the metopes, and the frieze of the Festival, in the highest class of art ? — The frieze,
I do unquestionably; the bas relief, I mean.
Do you think that superior, in execution and design, to the alto relievo ? — I do not know, speaking
of them comparatively; they are different in their style.
Do they appear to you to be of the same age ? — I think they do; I never thought otherwise.
Do the horses appear to you to be treated in the same manner, and to be formed according to the
same principles? — Considering the difference between basso relievo and alto relievo, I think they are;
but that makes a great difference in the general appearance of them.
In what class of art do you place the draped female figures ? — As applied to their situation,
I place them also in the first class; but, if they were for the inside of a building, I should say they
were not in the first class; those were for a broad light, consequently the drapery is cut into small
parts, for the sake of producing effect; for we find through the whole of that Collection, effect has
been their principal aim, and they have gained it in every point. ,
Have you ever looked at this Collection, with a view towards its value in money ? — I really do
not know what to compare them with.
In what class should you estimate these, as compared with the Townley Marbles?—In the
Townley Marbles we find individual excellence, but in these we find a great deal more; we find
individual excellence combined with grand historical composition.
Do you reckon these of superior value, from never having been restored or retouched ? — I should
certainly think them not the worse for being in their present state.
Have you seen the Greek bas reliefs, lately brought to the Museum ? — Yes, I have seen them.
How do you estimate them as works of art, as compared with the Elgin bas reliefs ? — I look upon
them as very fine in composition; but in execution, what we must expect in works taken from the
outside of buildings; works done by different people: they are very fine of their kind, but in point of
execution much inferior to Lord Elgin's, and indeed inferior in design.
Which appears to you to be of the highest antiquity? — I cannot say.
As compared with the figures on Monte Cavallo, how do you rate the Theseus ? — It is very much
in the same style.
Do you judge they are nearly of the same age? — That I cannot say; that is a point that has been
so much disputed.
Do you think it of great importance to the art of sculpture, that this Collection should become the
property of the Public ? — I think it of the greatest importance in a national point of view.
When you mention that these statues are rather calculated for a distant effect, do you mean they
are not very highly finished ? — Yes; and that is very surprising; they are finished to a high degree,
but the arrangement is calculated to be seen at a great distance.,
Charles Rossi, Esq. R. A. called in, and Examined.
Charles Rossi, Ake you well acquainted with the Elgin Marbles ? — Yes.
______sq' In what class of art do you reckon them ? — The finest that I have ever seen.
Do you think any figures in Lord Elgin's Collection equal to the Apollo Belvidere and the Lao-
coon ?— I think they are superior in my judgment.
Which do you consider as superior? — The Theseus and the River God, and the Torsos also;
there are one or two of them, but they are very much mutilated.
In what class of art do you reckon the metopes ? — The metopes I do not think so fine as the rest
of the bas reliefs.