DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.69192#0199
[ 3
the original has been so long lost> sevetal strokes
copied from it, are to be seen in the Roman
writers who enjoyed a sight of it, and have mark-
ed out some of its beauties. In them (he appears
as just born from the sea, complete at once in her
form, with all her beauties frefli about her, and
with her body as still wet and humid from the
waves which produced her g.
Venus is seen more frequently under the cha*
raster of the Venus Marina than under any other h.
The most famous Venus of Medici is not only
formed as just come out of the water, but has a
dolphin at her feet, ,to determine what Venus ihe
is. There is another beautiful figure of her, on
g Some of.these pasiages are so strong that they might have
helped a Raphael or a Correggio to have .restored this lost
beauty of Apelles t^the world. Perhaps Titian had thoroughly
considered some of them before he drew his beautisul Venus, now
jn the collection of the duke of Orleans, at Paris. From these
pasiages it appears, I. That this Venus fliould .be without dra-
pery. Ovid, Aer. Epist. 7. v. 60. Fast iv. v. 143. 2. That
her hair (the finest possible) ihould be very wet, and her body
humid and Alining. Ovid, ex Pont. 1. iv. ep. i. v. 30. Id. Am.
1. i. el. 14. v. 34. Id. Trist. 1. i. v. 528. 3. That the colour-
ing might have been borrowed from Tibullus’s Apollo (Tibul. 1.
iii. esi iv. v. 34.) had not Cicero given fo strong an idea of it in
this picture itself. Cic. de Nat. Deor. 1. 1. p. id. In the collection
of Greek epigrams, there are feveral relating to Apelles’s Venus,
two of which speak of her holding up her hair, and the water
ssowing from it.
b The figures representing her as just coming from bathing,
as well as many others, ought, probably, to be ranked under
tliis head'.
a relievo
the original has been so long lost> sevetal strokes
copied from it, are to be seen in the Roman
writers who enjoyed a sight of it, and have mark-
ed out some of its beauties. In them (he appears
as just born from the sea, complete at once in her
form, with all her beauties frefli about her, and
with her body as still wet and humid from the
waves which produced her g.
Venus is seen more frequently under the cha*
raster of the Venus Marina than under any other h.
The most famous Venus of Medici is not only
formed as just come out of the water, but has a
dolphin at her feet, ,to determine what Venus ihe
is. There is another beautiful figure of her, on
g Some of.these pasiages are so strong that they might have
helped a Raphael or a Correggio to have .restored this lost
beauty of Apelles t^the world. Perhaps Titian had thoroughly
considered some of them before he drew his beautisul Venus, now
jn the collection of the duke of Orleans, at Paris. From these
pasiages it appears, I. That this Venus fliould .be without dra-
pery. Ovid, Aer. Epist. 7. v. 60. Fast iv. v. 143. 2. That
her hair (the finest possible) ihould be very wet, and her body
humid and Alining. Ovid, ex Pont. 1. iv. ep. i. v. 30. Id. Am.
1. i. el. 14. v. 34. Id. Trist. 1. i. v. 528. 3. That the colour-
ing might have been borrowed from Tibullus’s Apollo (Tibul. 1.
iii. esi iv. v. 34.) had not Cicero given fo strong an idea of it in
this picture itself. Cic. de Nat. Deor. 1. 1. p. id. In the collection
of Greek epigrams, there are feveral relating to Apelles’s Venus,
two of which speak of her holding up her hair, and the water
ssowing from it.
b The figures representing her as just coming from bathing,
as well as many others, ought, probably, to be ranked under
tliis head'.
a relievo