DOI Page / Citation link:
https://doi.org/10.11588/diglit.870#0015
The truth is, that if these works had really been what I expected, they would have contained
beauties superficial and alluring, but by no means such as would have entitled them to the great
reputation which they have so long and so justly attained."
The foregoing candid confession of Sir Joshua Reynolds bears a strong analogy to the present
subject; for it is a fact, that not only connoisseurs, but even modern artists of considerable celebrity,
have viewed the specimens of sculpture in the Elgin collection with the same indifference, and in
some instances without the same eventual conviction.*
In the arrangement and execution of the Plates with which this work is embellished, the
Author has adopted the plan of giving duplicate designs of those specimens that are mutilated;
conceiving that it would not be unacceptable to the majority of his readers. But he has not ventured
to make restorations except in those instances where some trace was perceptible of the original
situation and course of the dilapidated part.
The great expense of engraving, and the desire to render the price of the publication as
moderate as possible, induced him to confine the drawings to outlines only; and he hopes that
* It is not a little remarkable, however, that Sir Joshua should have made such an observation as the following, when speaking of the
works of KafTaelle, without being sensible of its self-application. For lie says, " had they really been what I expected, they would have
contained beauties superficial and alluring, but by no means such as would have entitled them to the great reputation which they have so
long and so justly acquired."
That his own style was botli superficial and alluring, cannot be disputed. Being deficient in drawing, lie painted for a general and
distant effect. Hence the markings of the nostrils, mouth and fingers, were all effected by a dasli of colour only.
This system, managed in the masterly way in which he practised it, gave a seductive splendour and a deceptive freedom to his works,
but was very ill adapted for the grand, defined, and severe character, that is so essential in producing force and dignity.
■
Y
beauties superficial and alluring, but by no means such as would have entitled them to the great
reputation which they have so long and so justly attained."
The foregoing candid confession of Sir Joshua Reynolds bears a strong analogy to the present
subject; for it is a fact, that not only connoisseurs, but even modern artists of considerable celebrity,
have viewed the specimens of sculpture in the Elgin collection with the same indifference, and in
some instances without the same eventual conviction.*
In the arrangement and execution of the Plates with which this work is embellished, the
Author has adopted the plan of giving duplicate designs of those specimens that are mutilated;
conceiving that it would not be unacceptable to the majority of his readers. But he has not ventured
to make restorations except in those instances where some trace was perceptible of the original
situation and course of the dilapidated part.
The great expense of engraving, and the desire to render the price of the publication as
moderate as possible, induced him to confine the drawings to outlines only; and he hopes that
* It is not a little remarkable, however, that Sir Joshua should have made such an observation as the following, when speaking of the
works of KafTaelle, without being sensible of its self-application. For lie says, " had they really been what I expected, they would have
contained beauties superficial and alluring, but by no means such as would have entitled them to the great reputation which they have so
long and so justly acquired."
That his own style was botli superficial and alluring, cannot be disputed. Being deficient in drawing, lie painted for a general and
distant effect. Hence the markings of the nostrils, mouth and fingers, were all effected by a dasli of colour only.
This system, managed in the masterly way in which he practised it, gave a seductive splendour and a deceptive freedom to his works,
but was very ill adapted for the grand, defined, and severe character, that is so essential in producing force and dignity.
■
Y