I deem this a pendant to Camper's discovery of the facial angle, and one too which was not quite so obvious or so easy to be made. It disposes of this middle or intermediate part of the face, and shows that the Greeks in beings of the highest character, desired the gradual predominance of emotion over pa.s.sion, and of ideas or intellect over emotion.

A vague feeling of the curious fact I have here explained, Alison, as a man of taste, had, when he said: "Apply, however, this beautiful form, to the countenance of the warrior, the bandit, the martyr, &c., or to any countenance which is meant to express deep or powerful _pa.s.sion_, and the most vulgar spectator would be sensible of dissatisfaction, if not disgust."

In endeavoring to a.s.sign a reason for the configuration which I have just explained, Winckelmann, in ascribing it to the mere production of effect, is driven into a ridiculous inconsistency. He thinks that for large statues seen at a distance, it was necessary, and so came to be used for small medals seen near, for which it was not necessary.

"In the heads of statues, and particularly in ideal heads, the eyes are deeper set: the bulb remains more deep than is usual in nature, in which sunken eyes render the countenance austere and cunning instead of calm and joyful. In this respect, art has departed with reason from nature; for, in figures placed to be seen at a distance, if the bulb of the eye were level with the edge of the orbit, there would be no effect produced of light and shade; and the eye itself, placed under the eyebrows which do not project, would be dull and inexpressive. This maxim, adopted for large statues, became in time universal; so that it may be observed even on medals, not only in ideal heads but in portraits." And elsewhere he says: "Art subsequently established it as a rule to give this form to the eyes even in small figures, as may be seen in the heads on coins."

Thus Winckelmann's reason avowedly explains only the half of that to which it is applied, and in reality explains nothing, because it leaves a gross inconsistency, of which Greek genius was incapable.

Of the general outline thus formed of the face, Winckelmann more truly says: "In the formation of the face, the Greek profile is the princ.i.p.al characteristic of sublime beauty. This profile is produced by the straight line, or the line but very slightly indented, which the forehead and nose form in youthful faces, especially female ones. Nature seems less disposed to accord this form to the face in cold than in mild and temperate climes; but wherever this profile is found, it is always beautiful. The straight full line expresses a kind of greatness, and, gently curved, it presents the idea of agreeable delicacy. That in these profiles exists one cause of beauty is proved by the character of the opposite line; for the greater the inflection of the nose, the less beautiful is the face; and if, when seen sidewise, it presents a bad profile, it is useless to look for beauty in any other view."

A _third rule_ of the Greek artists, in heads of the highest character, is greatly ill.u.s.trated by the new views just stated. If, in these, they desired to render ideas and intellect more dominant than emotions of pleasure or pain, and emotions more dominant than pa.s.sion, it becomes evident why they equally sought to avoid the convulsions of impa.s.sioned expression.

A very beautiful object of this, is mistaken by Winckelmann. I quote his words:--

"Taken in either sense [of action or of pa.s.sion], expression changes the features of the face, and the disposition of the body, and, consequently, the forms which const.i.tute beauty; and the greater the change, the greater the loss of beauty. Therefore, the state of tranquillity and repose was considered as a fundamental point in the art. Tranquillity is the state proper to beauty.

"The handsomest men are generally the most mild and the best disposed.

"Besides, tranquillity and repose, both in men and animals, is the state which allows us best to examine and represent their nature and qualities; as we can see the bottom of the sea or rivers only when the waves are tranquil and the stream runs smoothly.

"Therefore, the Grecian artists, wishing to depict, in their representations of their deities, the perfection of human beauty, strove to produce, in their countenances and actions, a certain placidity without the slightest change or perturbation, which, according to their philosophy, was at variance with the nature and character of the G.o.ds. The figures produced in this state of repose, expressed a perfect equilibrium of feeling.

"But, as complete tranquillity and repose cannot exist in figures in action, and even the G.o.ds are represented in human form, and subject to human affections, we must not always expect to find in them the most sublime idea of beauty. This is then compensated for by expression. The ancient artists, however, never lost sight of it: it was always their princ.i.p.al object, to which expression was in some sort made subservient.

"Beauty without expression would be insignificant, and expression without beauty would be unpleasing; but, from their influence over each other, from combining together their apparently discordant qualities, results an eloquent, persuasive, and interesting beauty."

Some of these remarks are true and beautiful; but _the great object of the Greeks, in suppressing the convulsions of impa.s.sioned expression, was the bestowal of grace_, the highest quality in all representation. It is surprising that this should have been so universally overlooked, that, even among artists, nothing is more common than to hear regrets that the Greeks gave so little expression to their figures! Let the reader now peruse again Dr. Smith's and Mr. Alison's account of grace, and if he is acquainted with the productions of ancient art, he will see that the Greeks suppressed impa.s.sioned expression only to bestow the highest degree of grace. Those, therefore, who complain of this, show themselves ignorant of the best object of their art.

If the explanation of this great purpose be clearly borne in mind, the remaining observations of Winckelmann will receive a better application than that to which he limited them:--

"Repose and tranquillity may be regarded as the effect of that composed manner which the Grecians studied to show in their actions and gestures.

Among them, a hurried gait was regarded as contrary to the idea of decent deportment, and partaking somewhat of expressive boldness.... While on the other hand, slow and regulated motions of the body were proofs among the ancients of a great mind.

"The highest idea of tranquillity and composure is found expressed in the representations of the divinities; so that from the father of the G.o.ds to the inferior deities, their figures appear free from the influence of any affection. The greatest of the poets thus describes Jupiter as making all Olympus tremble by merely moving his eyebrow or shaking his locks.... All the figures of Jupiter are not however made in the same style.

"The Vatican Apollo represents this G.o.d quiet and tranquil after the death of the serpent Python which he had slain with a dart, and should also express a certain contempt for a victory so easy to him. The skilful artist, who wished to imbody the most beautiful of the G.o.ds, has depicted anger in the nose, which according to the most ancient poets was the seat of it, and contempt in the lips: contempt is expressed by the drawing up of the under lip, and anger by the expansion of the nostrils.

"The expression of the pa.s.sions in the face should accord with the att.i.tude and gestures of the body; and the latter should be suitable to the dignity of the G.o.ds in their statues and figures: from this results its propriety.

"In representing the figures of heroes, the ancient artist exercised equal care and judgment; and expressed only those human affections which are suitable for a wise man, who represses the violence of his pa.s.sions, and scarcely allows a spark of the internal flame to be seen, so as to leave to those who are desirous of it, the trouble of finding out what remains concealed.

"We have examples of this in two of the most beautiful works of antiquity, one of which is the image of the fear of certain death, the other of suffering exceeding anguish.

"Niobe and her daughters, against whom Diana shot her fatal arrows, are represented as seized with terror and horror, in that state of indescribable anguish, when the sight of instant and inevitable death deprives the mind of the power of thought. Of this state of stupor and insensibility, the fable gives us an idea in the metamorphosis of Niobe into a stone; and hence aeschylus introduces her in his tragedy as stunned and speechless. In such a moment, when all thought and feeling ceases, in a state bordering upon insensibility, the appearance is not altered nor any feature of the face disturbed, and the mighty artist could here depict the most sublime beauty, and has indeed done so. Niobe and her daughters are, and ever will be, the most perfect models of beauty.

"Laoc.o.o.n is the image of the most acute grief, that puts the nerves, the muscles, and the veins, in action. His blood is in a state of extreme agitation from the venomous bite of the serpents; every part of his body evinces pain and suffering; and the artist has put in motion, so to speak, all the springs of nature, and thus made known the extent of his art and the depth of his knowledge. In the representation, however, of this excessive torment, we can still recognise the conduct of a brave man struggling against his misfortunes, stifling the emotions of his anguish, and striving to repress them."

"The ancient artists have preserved this air of composure even in their dancing figures, except the Baccha.n.a.ls; and thus an opinion obtained that the action of their figures should be modelled on the manners adopted in their ancient dances, and therefore, in their later dances, the ancient figures served as a model to the performers to prevent their overstepping the bounds of a modest deportment:

Molli diduc.u.n.t candida gestu Brachia. _Propert._

"No immoderate or violent pa.s.sions are ever found expressed in the public works of the ancients.

"The knowledge of the ancients cannot be better known than by comparing their performances with the majority of those of the moderns, in which a little is expressed by much, instead of much by a little. This is what the Greeks call [Greek: parenthyrsos]; a word that aptly expresses the defect produced by too much expression in modern artists. Their figures resemble in action the comedians of the ancient theatre, who, to render themselves visible even to the most distant portion of the audience, were compelled to exceed the limits of nature and truth; and the faces of modern figures are like the ancient masks, which for the same reason, the increase of expression, became hideous.

"This excess of expression is taught in a book which goes into the hands of all young artists, 'A Treatise on the Pa.s.sions,' by Carlo Le Brun, and in the annexed drawings, not only is the highest degree of pa.s.sion expressed on the face, but in some even to madness."

Hence, we may say with Azara, that "the Greeks possessed that art in such perfection, that in their statues one scarcely discovers that they had thought of expression, and nevertheless each says that which it ought to say. They are in a repose which shows all the beauty without any alteration; and a soft and sweet motion, of the mouth, the eyes, or the mere action, expresses the effect, enchanting at once the mind and the senses."

In the inferior beings, however, when pa.s.sion is expressed, the features are varied by the Greek artists as they are in nature.

Such are the great ideal rules with regard to the head and the functions of thought.

With regard to the body and the NUTRITIVE SYSTEM, the Greeks similarly idealized. "Seeking for images of worship, consequently of a nature superior to our own, so that they might awaken in the mind veneration and love, they thought that the representations most worthy of the Divinity, and most likely to attract the attention of man, would be those expressing the continuance of the G.o.ds in eternal youth and in the prime of life.

"To the idea derived from the poets, of the eternal youth of the deities, whether male or female, was added another by which they supposed the female divinities should have all the appearance of virgins.

"The form of the breast in the figures of the divinities, is like that of a virgin, which, to be beautiful, must possess a moderate fulness. This was particularly shown in the b.r.e.a.s.t.s, which the artists represented without nipples, like those of young girls, whose cincture, in the poet's phrase, Lucina has not yet undone.

On their treatment of the limbs and LOCOMOTIVE SYSTEM, Hogarth throws light; and, as I am not aware that he was antic.i.p.ated in this respect, I quote him:--

"May be," he says, "I cannot throw a stronger light on what has been hitherto said of proportion, than by animadverting on a remarkable beauty in the Apollo Belvidere, which hath given it the preference even to the Antinous: I mean a superaddition of greatness, to at least as much beauty and grace as is found in the latter.

"These two masterpieces of art are seen together in the same apartment at Rome, where the Antinous fills the spectator with admiration only, while the Apollo strikes him with surprise, and, as travellers express themselves, with an appearance of something more than human; which they of course are always at a loss to describe: and this effect, they say, is the more astonishing, as, upon examination, its disproportion is evident even to a common eye. One of the best sculptors we have in England, who lately went to see them, confirmed to me what has been now said, particularly as to the legs and thighs being too long, and too large for the upper parts.

"Although, in very great works, we often see an inferior part neglected, yet here it cannot be the case, because, in a fine statue, just proportion is one of its essential beauties: therefore, it stands to reason, that these limbs must have been lengthened on purpose, otherwise it might have been easily avoided.

"So that if we examine the beauties of this figure thoroughly we may reasonably conclude, that what has been hitherto thought so unaccountably excellent in its general appearance, has been owing to what has seemed a blemish in a part of it: but let us endeavor to make this matter as clear as possible, as it may add more force to what has been said.

"Statues, by being bigger than life (as this one is, and larger than the Antinous), always gain some n.o.bleness in effect, according to the principle of quant.i.ty, but this alone is not sufficient to give what is properly to be called greatness in proportion.... Greatness of proportion must be considered as depending on the application of quant.i.ty to those parts of the body where it can give more scope to its grace in movement, as to the neck for the larger and swanlike turns of the head, and to the legs and thighs, for the more ample sway of all the upper parts together.

"By which we find that the Antinous being equally magnified to the Apollo's height, would not sufficiently produce that superiority of effect, as to greatness, so evidently seen in the latter. The additions necessary to the production of this greatness in proportion, as it there appears added to grace, must then be, by the proper application of them to the parts mentioned only.

"I know not how farther to prove this matter than by appealing to the reader's eye, and common observation, as before.... The Antinous being allowed to have the justest proportion possible, let us see what addition, upon the principle of quant.i.ty, can be made to it, without taking away any of its beauty.

"If we imagine an addition of dimensions to the head, we shall immediately conceive it would only deform--if to the hands or feet, we are sensible of something gross and ungenteel--if to the whole lengths of the arms, we feel they would be dangling and awkward--if, by an addition of length or breadth to the body, we know it would appear heavy and clumsy--there remains then only the neck, with the legs and thighs to speak of; but to these we find, that not only certain additions may be admitted without causing any disagreeable effect, but that thereby greatness, the last perfection as to the proportion, is given to the human form, as is evidently expressed in the Apollo."

This is well done by Hogarth. It required but a little anatomical knowledge to see the reason of this. The length of the neck, by which the head is farther detached from the trunk, shows the independence of the higher intellectual system upon the lower one of mere nutrition; and the length of limbs shows that the mind had ready obedience in locomotive power.

I have now to obviate some OBJECTIONS to the existence of simple, pure, high, and perfect ideal beauty, objections, which writers on this subject have hitherto neglected.

Alison says: "The proportions of the form of the infant are very different from those of youth; these again from those of manhood; and these again perhaps still more from those of old age and decay.... Yet every one knows, not only that each of these periods is susceptible of beautiful form, but, what is much more, that the actual beauty in every period consists in the preservation of the proportions peculiar to that period, and that these differ in every article almost from those that are beautiful in other periods of the life of the same individual."

But the beauty of the infant is not perfect beauty: it is that, on the contrary, of mere promise, not that of fulfilment. So also the beauty of old age is not perfect beauty: it is that, on the contrary, which affects and interests us chiefly by the regret we feel that its perfection has pa.s.sed, or is gradually vanishing.

"The same observation," says Alison, "is yet still more obvious with regard to the difference of s.e.x. In every part of the form, the proportions which are beautiful in the two s.e.xes are different; and the application of the proportions of the one to the form of the other, is everywhere felt as painful and disgusting." So also says Burke: "Let us rest a moment on this point; and consider how much difference there is between the measures that prevail in many similar parts of the body, in the two s.e.xes of this single species only. If you a.s.sign any determinate proportions to the limbs of man, and if you limit human beauty to these proportions, when you find a woman who differs in the make and measure of almost every part, you must conclude her not to be beautiful in spite of the suggestions of your imagination; or in obedience to your imagination you must renounce your rules; you must lay by the scale and compa.s.s, and look out for some other cause of beauty. For, if beauty be attached to certain measures which operate from a principle in nature, why should similar parts with different measures of proportion be found to have beauty, and this, too, in the very same species?"