DOI Page / Citation link:
https://doi.org/10.11588/diglit.5596#0340
APPENDIX.
305
his own, (fig. 4,) is preferred to the beautiful forms exhibited in
Corinthian capitals, (ii. 17.)
" The Corinthian fluting is a mean multiplication and deepening of the
Doric, and is always rigid and meagre." (i. 293.)
"The classical cornice is a sophistication." (i. 304.)
"These pediments, and stylobates, and architraves never excited a pleasur-
able feeling in you, and never will, to the end of time." [Lectures, p. 52.)
"The putting sculpture at the top of an edifice [on the frieze] under the
cornice, was a Greek way of doing things. I can't help it: that does not
make it a wise one." (p. 71.) The putting it at the top is " the utmost pitch
of absurdity." (p. 126.)
"The Doric manner of ornament admitted no temptation, it was the fasting
of an anchorite; the Venetian ornament embraced, while it governed, all
vegetable and animal forms ; it was the temperance of a man, the command
of Adam over creation." (Seven Lamps, p. 88.)
This style of writing, and the above may be regarded as a fair
specimen, whether understood or not, may be considered very
poetical; but is it true ? Or did the Doric temple possess no
delicate lines of bas-relief, no bold metopes, no magnificent pedi-
niental sculpture, no picturesque acroterial ornaments, no glitter-
ing antifixte, no painted and gilt tiling ? Did it contain under its
porticos no fresco paintings ? Was it embellished with no bronze
and marble sculpture ? "Was the whole temple not set off with
the most exquisite painting and coloured ornaments ? And was
not the whole, not merely rich and picturesque, but chaste,
imposing, beautiful, of most wondrous symmetry, perfect, and
hopelessly unequalled ?
SCULPTURE.
The following are his dicta on sculpture :—
The perfection of art in the Elgin marbles is denied, because "the draperies
are unfinished, the hair and wool of the animal are unfinished, and the entire
bas-reliefs are roughly cut." (Stones of Venice, ii. 171.)
" Greek statues are blank fields of stone, or depths of shadow, relieving the
form of the statue, as the world of lower nature which they despised retired
in darkness from their hearts." (Two Paths, p. 36.)
305
his own, (fig. 4,) is preferred to the beautiful forms exhibited in
Corinthian capitals, (ii. 17.)
" The Corinthian fluting is a mean multiplication and deepening of the
Doric, and is always rigid and meagre." (i. 293.)
"The classical cornice is a sophistication." (i. 304.)
"These pediments, and stylobates, and architraves never excited a pleasur-
able feeling in you, and never will, to the end of time." [Lectures, p. 52.)
"The putting sculpture at the top of an edifice [on the frieze] under the
cornice, was a Greek way of doing things. I can't help it: that does not
make it a wise one." (p. 71.) The putting it at the top is " the utmost pitch
of absurdity." (p. 126.)
"The Doric manner of ornament admitted no temptation, it was the fasting
of an anchorite; the Venetian ornament embraced, while it governed, all
vegetable and animal forms ; it was the temperance of a man, the command
of Adam over creation." (Seven Lamps, p. 88.)
This style of writing, and the above may be regarded as a fair
specimen, whether understood or not, may be considered very
poetical; but is it true ? Or did the Doric temple possess no
delicate lines of bas-relief, no bold metopes, no magnificent pedi-
niental sculpture, no picturesque acroterial ornaments, no glitter-
ing antifixte, no painted and gilt tiling ? Did it contain under its
porticos no fresco paintings ? Was it embellished with no bronze
and marble sculpture ? "Was the whole temple not set off with
the most exquisite painting and coloured ornaments ? And was
not the whole, not merely rich and picturesque, but chaste,
imposing, beautiful, of most wondrous symmetry, perfect, and
hopelessly unequalled ?
SCULPTURE.
The following are his dicta on sculpture :—
The perfection of art in the Elgin marbles is denied, because "the draperies
are unfinished, the hair and wool of the animal are unfinished, and the entire
bas-reliefs are roughly cut." (Stones of Venice, ii. 171.)
" Greek statues are blank fields of stone, or depths of shadow, relieving the
form of the statue, as the world of lower nature which they despised retired
in darkness from their hearts." (Two Paths, p. 36.)