DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5596#0239
208
MODERN ART.
nized in sounds, that, intrinsically and even conventionally, have
no meaning; in poetry, when the free variety of thought and
expression compels us to forget an almost unvarying form or
rhythm ; and in architecture, when the union of fitness and cha-
racter, (the attribute of the most perfect productions of nature,)
is accomplished in a new creation........
" To conclude: it appears that, of all the Fine Arts, (except
perhaps theatrical representation,) sculpture is most liable to be
partially confounded with reality. Of the attributes of material
objects, it first possesses substance and form; and when in addi-
tion to these qualities it happens to have colour and surface in
common with nature, it is evidently in danger of sacrificing its
general consistency, and the illusion which art proposes. Again,
in consequence of the absence of colour, identity with nature is
impossible in the chief object of imitation, the living figure. These
two circumstances—the impossibility of absolute resemblance to
nature in the principal object, and the extreme facility of such
resemblance in many inanimate substances—define the style of
sculpture ; a style fully exemplified in the works of the ancients.
On the authority of these works, it has been shown that this art,
on the one hand, aims at the closest imitation of the living figure
in its choicest forms; for such can best compensate for the want
of colour, and enable the art to rival nature. In subordination to
this, its first aim, sculpture affects the imitation of elastic and
flexible substances generally. On the other hand it is distin-
guished by the greater or less conventional treatment, or the
entire omission of all particulars which are more literally imitable
than the flesh. The instances of such conventional treatment,
including alteration of costume and omissions of various circum-
stances, which are observable in the sculpture of the Greeks, are
perhaps the most remarkable liberties, with a view to consistency
of style, which the history of art presents."—(Sir) C. L. Eastlake,
R.A., Contributions to tlie Literature of the Fine Arts.
From the above it will be seen that the ancient
artist was careful to keep down his accessories in
order that they should not interfere with his main
MODERN ART.
nized in sounds, that, intrinsically and even conventionally, have
no meaning; in poetry, when the free variety of thought and
expression compels us to forget an almost unvarying form or
rhythm ; and in architecture, when the union of fitness and cha-
racter, (the attribute of the most perfect productions of nature,)
is accomplished in a new creation........
" To conclude: it appears that, of all the Fine Arts, (except
perhaps theatrical representation,) sculpture is most liable to be
partially confounded with reality. Of the attributes of material
objects, it first possesses substance and form; and when in addi-
tion to these qualities it happens to have colour and surface in
common with nature, it is evidently in danger of sacrificing its
general consistency, and the illusion which art proposes. Again,
in consequence of the absence of colour, identity with nature is
impossible in the chief object of imitation, the living figure. These
two circumstances—the impossibility of absolute resemblance to
nature in the principal object, and the extreme facility of such
resemblance in many inanimate substances—define the style of
sculpture ; a style fully exemplified in the works of the ancients.
On the authority of these works, it has been shown that this art,
on the one hand, aims at the closest imitation of the living figure
in its choicest forms; for such can best compensate for the want
of colour, and enable the art to rival nature. In subordination to
this, its first aim, sculpture affects the imitation of elastic and
flexible substances generally. On the other hand it is distin-
guished by the greater or less conventional treatment, or the
entire omission of all particulars which are more literally imitable
than the flesh. The instances of such conventional treatment,
including alteration of costume and omissions of various circum-
stances, which are observable in the sculpture of the Greeks, are
perhaps the most remarkable liberties, with a view to consistency
of style, which the history of art presents."—(Sir) C. L. Eastlake,
R.A., Contributions to tlie Literature of the Fine Arts.
From the above it will be seen that the ancient
artist was careful to keep down his accessories in
order that they should not interfere with his main