Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art, Shearjashub Spooner [big screen ebook reader .TXT] 📗

1759, was in tolerable preservation, had so entirely disappeared, that its foundation was no longer to be ascertained. Another temple near Olympia had shared a similar fate within the recollection of many. The temple of Minerva had been converted into a powder magazine, and was in great part shattered from a shell falling upon it during the bombardment of Athens by the Venetians, towards the end of the seventeenth century; and even this accident has not deterred the Turks from applying the beautiful temple of Neptune and Erectheus to the same use, whereby it is still constantly exposed to a similar fate. Many of the statues over the entrance of the temple of Minerva, which had been thrown down by the explosion, had been powdered to mortar, because they offered the whitest marble within reach; and parts of the modern fortification, and the miserable houses where this mortar had been so applied, are easily traced. In addition to these causes of degradation, the Turks will frequently climb up the ruined walls and amuse themselves in defacing any sculpture they can reach; or in breaking columns, statues, or other remains of antiquity, in the fond expectation of finding within them some hidden treasures.

Under these circumstances, Lord Elgin felt himself irresistibly impelled to endeavor to preserve, by removal from Athens, any specimens of sculpture he could, without injury, rescue from such impending ruin. He had, besides, another inducement, and an example before him, in the conduct of the last French embassy sent to Turkey before the Revolution. French artists did then attempt to remove several of the sculptured ornaments from several edifices in the Acropolis, and particularly from the Parthenon. In lowering one of the Metopes the tackle failed, and it was dashed to pieces; one other object was conveyed to France, where it is held in the highest estimation, and where it occupies a conspicuous place in the gallery of the Louvre, and constituted national property during the French Revolution. The same agents were remaining at Athens during Lord Elgin's embassy, waiting only the return of French influence at the Porte to renew their operations. Actuated by these inducements, Lord Elgin made every exertion; and the sacrifices he has made have been attended with such entire success, that he has brought to England from the ruined temples at Athens, from the modern walls and fortifications, in which many fragments had been used as blocks for building, and from excavations from amongst the ruins, made on purpose, such a mass of Athenian sculpture, in statues, alti and bassi rilievi, capitals, cornices, friezes, and columns as, with the aid of a few of the casts, to present all the sculpture and architecture of any value to the artist or man of taste which can be traced at Athens.

In proportion as Lord Elgin's plan advanced, and the means accumulated in his hands towards affording an accurate knowledge of the works of architecture and sculpture in Athens and in Greece, it became a subject of anxious inquiry with him, in what way the greatest degree of benefit could be derived to the arts from what he had been so fortunate as to procure.

In regard to the works of the architects employed by him, he had naturally, from the beginning, looked forward to their being engraved; and accordingly all such plans, elevations, and details as to those persons appeared desirable for that object, were by them, and on the spot, extended with the greatest possible care for the purpose of publication. Besides these, all the working sketches and measurements offer ample materials for further drawings, if they should be required. It was Lord Elgin's wish that the whole of the drawings might be executed in the highest perfection of the art of engraving; and for this purpose a fund should be raised by subscription, exhibition, or otherwise; by aid of which these engravings might still be distributable, for the benefit of artists, at a rate of expense within the means of professional men.

Great difficulty occurred in forming a plan for deriving the utmost advantage from the marbles and casts. Lord Elgin's first attempt was to have the statues and bassi rilievi restored; and in that view he went to Rome to consult and to employ Canova. The decision of that most eminent artist was conclusive. On examining the specimens produced to him, and making himself acquainted with the whole collection, and particularly with what came from the Parthenon, by means of the persons who had been carrying on Lord Elgin's operations at Athens, and who had returned with him to Rome, Canova declared, "That however greatly it was to be lamented that these statues should have suffered so much from time and barbarism, yet it was undeniable that they never had been retouched; that they were the work of the ablest artists the world had ever seen; executed under the most enlightened patron of the arts, and at a period when genius enjoyed the most liberal encouragement, and had attained the highest degree of perfection; and that they had been found worthy of forming the decoration of the most admired edifice ever erected in Greece. That he should have had the greatest delight, and derived the greatest benefit from the opportunity Lord Elgin offered him of having in his possession and contemplating these inestimable marbles." But (his expression was) "it would be sacrilege in him or any man to presume to touch them with his chisel." Since their arrival in this country they have been laid open to the inspection of the public; and the opinions and impressions, not only of artists, but of men of taste in general, have thus been formed and collected.

From these the judgment pronounced by Canova has been universally sanctioned; and all idea of restoring the marbles deprecated. Meanwhile the most distinguished painters and sculptors have assiduously attended the Museum, and evinced the most enthusiastic admiration of the perfection to which these marbles now prove to them that Phidias had brought the art of sculpture, and which had hitherto only been known through the medium of ancient authors. They have attentively examined them, and they have ascertained that they were executed with the most scrupulous anatomical truth, not only in the human figure, but in the various animals to be found in this collection. They have been struck with the wonderful accuracy, and at the same time, the great effect of minute detail; and with the life and expression so distinctly produced in every variety of attitude and action. Those more advanced in years have testified great concern at not having had the advantage of studying these models; and many who have had the opportunity of forming a comparison (among these are the most eminent sculptors and painters in this metropolis), have publicly and unequivocally declared, that in the view of professional men, this collection is far more valuable than any other collection in existence.

With such advantages as the possession of these unrivalled works of art afford, and with an enlightened and encouraging protection bestowed on genius and the arts, it may not be too sanguine to indulge a hope, that, prodigal as nature is in the perfections of the human figure in this country, animating as are the instances of patriotism, heroic actions, and private virtues deserving commemoration, sculpture may soon be raised in England to rival these, the ablest productions of the best times of Greece. The reader is referred to the synopsis of the British Museum, and to the Chevalier Visconti's Memoirs, before quoted, for complete and authentic catalogues of these marbles, but the following brief abstract is necessary to give a view of what they consist, to readers who may reside at a distance from the metropolis, or have not those works at hand.

In that part of the collection which came from the eastern pediment of the Parthenon are several statues and fragments, consisting of two horses' heads in one block, and the head of one of the horses of Night, a statue of Hercules or Theseus, a group of two female figures, a female figure in quick motion, supposed to be Iris, and a group of two goddesses, one represented sitting, and the other half reclining on a rock. Among the statues and fragments from the western pediment are part of the chest and shoulders of the colossal figure in the centre, supposed to be Neptune, a fragment of the colossal figure of Minerva, a fragment of a head, supposed to belong to the preceding, a fragment of a statue of Victory, and a statue of a river god called Ilissus, and several fragments of statues from the pediments, the names or places of which are not positively ascertained, among which is one supposed to have been Latona, holding Apollo and Diana in her arms; another of the neck and arms of a figure rising out of the sea, called Hyperion, or the rising Sun; and a torso of a male figure with drapery thrown over one shoulder. The metopes represent the battles between the Centaurs and Lapithæ, at the nuptials of Pirithous. Each metope contains two figures, grouped in various attitudes; sometimes the Lapithæ, sometimes the Centaurs victorious. The figure of one of the Lapithæ, who is lying dead and trampled on by a Centaur, is one of the finest productions of the art, as well as the group adjoining to it of Hippodamia, the bride, carried off by the Centaur Eurytion; the furious style of whose galloping in order to secure his prize, and his shrinking from the spear that has been hurled after him, are expressed with prodigious animation. They are all in such high relief as to seem groups of statues; and they are in general finished with as much attention behind as before.

They were originally continued round the entablature of the Parthenon, and formed ninety-two groups. The frieze which was carried along the outer walls of the cell offered a continuation of sculptures in low relief, and of the most exquisite beauty. It represented the whole of the solemn procession to the temple of Minerva during the Panathenaic festival; many of the figures are on horseback, others are about to mount, some are in chariots, others on foot, oxen and other victims are led to sacrifice, the nymphs called Canephoræ, Skiophoræ, &c., are carrying the sacred offering in baskets and vases; there are priests, magistrates, warriors, deities, &c., forming altogether a series of most interesting figures in great variety of costume, armor, and attitude.

From the Opisthodomus of the Parthenon, Lord Elgin also procured some valuable inscriptions, written in the manner called Kionedon or columnar. The subjects of these monuments are public decrees of the people, accounts of the riches contained in the treasury, and delivered by the administrators to their successors in office, enumerations of the statues, the silver, gold, and precious stones, deposited in the temple, estimates for public works, &c.

ODEON, OR ODEUM.

The first Odeon, (ὡδειον, from ὡδη, a song), was built by Pericles at Athens. It was constructed on different principles from the theatre, being of an eliptical form, and roofed to preserve the harmony and increase the force of musical sounds. The building was devoted to poetical and musical contests and exhibitions. It was injured in the siege of Sylla, but was subsequently repaired by Ariobarzanes Philopator, king of Cappadocia. At a later period, two others were built at Athens by Pausanias and Herodes Atticus, and other Greek cities followed their example. The first Odeon at Rome was built in the time of the emperors; Domitian erected one, and Trajan another. The Romans likewise constructed them in several provincial cities, the ruins of one of which are still seen at Catanea, in Sicily.

PERPETUAL LAMPS.

According to Pausanias, Callimachus made a golden lamp for