In fact, neither statuary nor painting was advanced by the Romans. They had no sensibility, or conception of ideal beauty. The divine spark of genius animated the Greeks alone. Still the wonders of Grecian art were possessed by the Romans, and were made to adorn those grand architectural monuments for which they had a taste. Greek productions were not merely matters of property, they were copied and reproduced in all the cities of the Mediterranean; and though no artist of original genius arose from Augustus to Constantine, galleries of art existed everywhere in which the masterpieces of Polygnotus, Pausias, Aristides, Timanthes, Zeuxis, Parrhasius, Pamphilus, Euphranor, Protogenes, Apelles, Timomachus, and of other illustrious men, were objects of as much praise as the galleries of Dresden and Florence.
[Sidenote: Probable perfection of the ancients in painting.]
"The glorious art of these masters, as far as regards tone, light, and local color," says Muller, "is lost to us, and we know nothing of it except from obscure notices and later imitations; on the contrary, the pictures on vases give us the most exalted idea of the progress and achievements of the arts of design." [Footnote: Muller, Ancient Art, 143.] It is surprising that, with four colors, the Greeks should have achieved such miracles of beauty and finish as are represented by the greatest cities of antiquity. The great wonders of the schools of Ephesus, Athens, and Sicyon have perished, and we cannot judge of their merits as we can of the statues which have fortunately been preserved. Whether Polygnotus was equal to Michael Angelo, Zeuxis to Raphael, and Apelles to Titian, we have no means of settling. But it is scarcely to be questioned that critics like the Greeks, whose opinions respecting architecture and sculpture coincide with our own, could have erred in their verdicts respecting those great paintings which extorted the admiration of the world, and were held, even in the decline of art, in such high value, not merely in the cities where they were painted, but in those to which they were transferred. What has descended to our times, like the mural decorations of Pompeii and the designs on vases, go to prove the perfection which was attained in painting, as well as sculpture and architecture.
[Sidenote: Perfection of art among the ancients.]
And thus, in all those arts of which modern civilization is proudest, and in which the genius of man has soared to the loftiest heights, the ancients were not merely our equals: they were our superiors. It is greater to originate than to copy. In architecture, in sculpture, and in painting the Greeks attained absolute perfection. Any architect of our time, who should build an edifice in different proportions than those which were recognized in the great cities of antiquity, would make a mistake. Who can improve upon the Doric columns of the Parthenon, or the Corinthian capitals of the Temple of Jupiter? Indeed, it is in proportion as we accurately copy the faultless models of the age of Pericles that excellence with us is attained. When we differ from them we furnish grounds of just criticism. So, in sculpture, the Greek Slave is a reproduction of an ancient Venus, and the Moses of Michael Angelo is a Jupiter in repose. It is only when the artist seeks to bring out the purest and loftiest sentiments of the soul, and such as only Christianity can inspire, that he may hope to surpass the sculpture of antiquity in one department of the art alone—in expression, rather than beauty of form, on which no improvement can be made. And if we possessed the Venus of Apelles, as we can boast of having the sculptured Venus of Cleomenes, we should probably discover greater richness of coloring, as well as grace of figure, than in that famous Titian which is one of the proudest ornaments of the galleries of Florence, and one of the greatest marvels of Italian art.
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REFERENCES.—Winckelmann's History of Ancient Art; Muller's Remains of Ancient Art; A. J. Guattani, Antiq. de la Grande Grece; Mazois, Antiq. de Pomp.; Sir W. Gill, Pompeiana; Donaldson's Antiquities of Athens; Vitruvius, Stuart, Chandler, Clarke, Dodwell, Cleghorn, De Quincey. These are some of the innumerable authorities on Architecture among the ancients.
In Sculpture, Pliny and Cicero are the most noted critics. There is a
fine article in the Encyclopedia Britannica on this subject. In Smith's
Dictionary are the lives and works of the most noted masters. Muller's
Ancient Art alludes to the leading masterpieces. Montfaucon's Antiquite
expliquee en Figures; Specimens of Ancient Sculpture, by the Society of
Diettanti, London, 1809; Ancient Marbles of the British Museum, by
Taylor Combe; Millin, Introduction a l'etude des Monumens Antiques;
Monumens Inedits d'Antiquite figuree, recuellis et publies par Raoul-
Rochette; Gerhard's Archaol. Zeit.; David's Essai sur le Classement
Chronol. des Sculpteurs Grecs les plus celebres.
In Painting, see Caylus, Memoires de l'ac des Inscr. Levesque, sur les Progres successifs de la Peinture chez les Grecs; I. I. Grund, Mahlerei der Griechen; Meyer's Kunstgischichte; Muller, Hist, of Ancient Art; Article on Painting, Ency. Brit., Article "Pictura," Smith's Dict.; Fuseli's Lectures; Sir Joshua Reynolds' Lectures. Lanzi's History of Painting refers to the revival of the art. Vitruvius speaks at some length on ancient wall paintings. The finest specimens of ancient painting are found in catacombs, the baths, and the ruins of Pompeii. On this subject, Winckelmann is the great authority.