DOI Page / Citation link:
https://doi.org/10.11588/diglit.61012#0197
THE TENTH DISCOURSE.
163
attention will convince us that the incorrectness of some
parts which we find in their works does not contribute to
grace, but rather tends to destroy it. The Madonna, with
the sleeping Infant, and beautiful group of Angels, by
Parmegiano, in the Palazzo Piti, would not have lost any of
its excellence if the neck, fingers, and, indeed, the whole
figure of the Virgin, instead of being so very long and
incorrect, had preserved their due proportion.
In opposition to the first of these remarks, I have the
authority of a very able Sculptor of this Academy, who has
copied that figure, consequently measured and carefully
examined it, to declare that the criticism is not true. In
regard to the last, it must be remembered that Apollo is
here in the exertion of one of his peculiar powers, which is
swiftness; he has therefore that proportion which is best
adapted to that character. This is no more incorrectness
than when there is given to an Hercules an extraordinary
swelling and strength of muscles.
The art of discovering and expressing grace is difficult
enough of itself, without perplexing ourselves with what is
incomprehensible. A supposition of such a monster as
Grace, begot by Deformity, is poison to the mind of a young
Artist, and may make him neglect what is essential to his
art—correctness of Design—in order to pursue a phantom,
which has no existence but in the imagination of affected
and refined speculators.
I cannot quit the Apollo without making one observation
on the character of this figure. He is supposed to have
just discharged his arrow at the Python ; and, by the head
retreating a little towards the right shoulder, he appears
attentive to its effect. What I would remark is the differ-
ence of this attention from that of the Discobolus, who is
engaged in the same purpose, watching the effect of his
163
attention will convince us that the incorrectness of some
parts which we find in their works does not contribute to
grace, but rather tends to destroy it. The Madonna, with
the sleeping Infant, and beautiful group of Angels, by
Parmegiano, in the Palazzo Piti, would not have lost any of
its excellence if the neck, fingers, and, indeed, the whole
figure of the Virgin, instead of being so very long and
incorrect, had preserved their due proportion.
In opposition to the first of these remarks, I have the
authority of a very able Sculptor of this Academy, who has
copied that figure, consequently measured and carefully
examined it, to declare that the criticism is not true. In
regard to the last, it must be remembered that Apollo is
here in the exertion of one of his peculiar powers, which is
swiftness; he has therefore that proportion which is best
adapted to that character. This is no more incorrectness
than when there is given to an Hercules an extraordinary
swelling and strength of muscles.
The art of discovering and expressing grace is difficult
enough of itself, without perplexing ourselves with what is
incomprehensible. A supposition of such a monster as
Grace, begot by Deformity, is poison to the mind of a young
Artist, and may make him neglect what is essential to his
art—correctness of Design—in order to pursue a phantom,
which has no existence but in the imagination of affected
and refined speculators.
I cannot quit the Apollo without making one observation
on the character of this figure. He is supposed to have
just discharged his arrow at the Python ; and, by the head
retreating a little towards the right shoulder, he appears
attentive to its effect. What I would remark is the differ-
ence of this attention from that of the Discobolus, who is
engaged in the same purpose, watching the effect of his