[927]. Pac. 614. seq.
[928]. By Winkelmann, Hist. de l’Art, i. 2.
[929]. It is remarked by Winkelmann that Rubens painted the figures of Flemings after many years’ residence in Italy.—i. 60. The Greek grew up from infancy in the presence of the beauty he afterwards represented: his mother, his sisters, his father, and all around him. What he saw constituted the basis of what he painted or sculptured. In most modern nations the school models of our youth are Greek; but their home models, and which are to them models from the cradle, are of a different style. Hence they are under two sets of influences, the one neutralising the other, and producing that coldness which the mock classical exhibits. This may, perhaps, be one cause of the slow progress of art among us.
[930]. Plato, jocularly perhaps, bestows the same praise on Egyptian art, and Muretus seriously adopts his notions: “Meritoque Ægyptios commendat Plato, apud quos et pictorum et musicorum licentia legibus coërcebatur, quod permagni interesse judicarent, ut adolescentes à teneris annis honestis picturis, et honestis cantibus assuefierent.”—In Aristot. Ethic. p. 249. But perhaps Plato had not looked very narrowly into the sacred sculptures of Egypt which in reality abound with images offensive to decency.
[931]. See Winkel. t. i. p. 7.—Pollux gives a list of the names under which the representations of the gods were classed.—i. 7.
[932]. Plat. de Repub. t. vi. p. 354. Cf. Hipp. Maj. t. v. p. 410.—Winkelmann slightly misinterprets the sense of Plato.—Hist. de l’Art, t. i. p. 12.
[933]. Cf. Winkelmann, t. i. p. 22.
[934]. Paus. vii. 24. 4.
[935]. Id. ix. 22. 1.
[936]. Id. ix. 22. 3.