Phidias was the first in this reformation. Minerva, under his hand, became young and beautiful, who had before been harsh and elderly; and Jupiter was awful, as when his nod shook the poles, but benignant, as when he smiled on his daughter Venus. Apollo and Bacchus then assumed youthful resemblances of their sire; the first more majestic, the latter more feminine; whilst Mercury, as patron of gymnastic exercises, was represented as more robust than his brother. Hercules became gradually more powerful; and the forms of inferior heroes displayed a nearer resemblance to common nature; from which, both sentiment and beauty can alone be given to imitative art. The near approach of ancient art to nature, considering their high advance to accuracy of imitation, should likewise encourage the modern to imitate the ancient artists. The moderns now also enjoy superior auxiliary assistance from engraving, printed books, &c., which the ancients did not possess.
Mechanism of the Human Frame.—The human figure with the limbs extended, may be inclined and bounded by the circle and square; the centre of gravity, its change of situation, is susceptible of description, and may be exemplified in rest and motion;—running, striving, leaping, walking, rising, and falling. Those principles of motion may be exhibited in a skeleton, by the bending of the backbone backwards and forwards, whilst the limbs uniformly describe sections of circles in their motions, constantly moving on their axis.
Dimensions of the Human Figure, as exhibited in Grecian Statuary.—The height, eight heads (or usually ten faces); two heads across the shoulders; one head and a half across the hips; three noses, the thickest part of the thigh; two, to the calf of the leg; one, the narrowest part of the shin, &c. The above is the general proportion of the male figure. The female figure is narrower across the shoulders, and wider across the hips than the male.
The beauty of the human figure is found in its proportion, symmetry, and expression; it really appears that the beauty of the human figure is the chief or ultimate of beauty observed in the visible works of creative Omnipotence. From thence every other species of beauty graduates in just ratios of proportion. From considering the intellectual faculties of man, we assimilate the idea, and connect beauty with utility, as this union of his physical and mental powers unquestionably renders him one of the most beautiful objects in the creation. This consideration leads us involuntarily to a train of thought, suggested by a principle laid down by Plato, “That nothing is beautiful which is not truly good;” which also induces the following corollary, and which is confirmed by reason, and sanctioned by revelation, that perfection of human beauty consists of the most virtuous soul in the most healthy and perfect body.
Inasmuch as painters and sculptors adhered to those principles in their work, they assisted to enforce a popular impression of divine attributes and perfections, even in ages of gross idolatry.
In the highest order of divinities, the energy of intellect was represented above the material accidents of passion and decay.
The statues of the Saturnian family, Jupiter, Neptune, and Pluto, were the most sublime and mighty of the superior divinities. Apollo, Bacchus, and Mercury, were youthful resemblances of the Saturnian family, in energetic, delicate, and more athletic beauty: Apollo-Belvidere supplies Homer’s description to the sight; he looks indignant, his hair is agitated; he steps forward in the discharge of his shafts; his arrows are hanging on his shoulder.
A youthful and infantine beauty of the highest class distinguish the Cupid of Praxiteles, and the group of Ganymede and the Eagle. The order of heroes or demigods excel in strength, activity, and beauty; Achilles, Ajax, Hæmon, Zethos, and Amphion, are examples in Grecian statuary to establish this remark.
The Giants are human to the waist; their figures terminate in serpentine tails. Ocean and the great Rivers have Herculean forms, and faintly resemble the Saturnian family, and have reclining positions. The Tritons resemble the Fauns in the head, and upper features, with finny tails, and gills on their jaws; their lower parts terminate in the tails of fish.
In the highest class of female characters, the beauty of Juno, is imperious; that of Minerva, wise, as she presides over peaceful arts; or warlike, as the protectress of cities. Venus is the example and patroness of milder beauty and the softer arts of reciprocal communication; of which the Venus Praxiteles and Venus de Medicis are instances. The Greeks had also a Venus Urania, the goddess of hymenial rites and the celestial virtues.