The vast issues dependent on this change in the conception of the ruling passion of the human soul, I will endeavor to show you on a future occasion: in my present Lecture, I shall limit myself to the definition of the temper of Greek sculpture, and of its distinctions from Florentine in the treatment of any subject whatever, be it love or hatred, hope or despair.
These great differences are mainly the following.
191. First. A Greek never expresses momentary passion; a Florentine looks to momentary passion as the ultimate object of his skill.
When you are next in London, look carefully in the British Museum at the casts from the statues in the pediment of the Temple of Minerva at Ægina. You have there Greek work of definite date—about 600 b. c., certainly before 580—of the purest kind; and you have the representation of a noble ideal subject, the combats of the Æacidæ at Troy, with Athena herself looking on. But there is no attempt whatever to represent expression in the features, none to give complexity of action or gesture; there is no struggling, no anxiety, no visible temporary exertion of muscles. There are fallen figures, one pulling a lance out of his wound, and others in attitudes of attack and defense; several kneeling to draw their bows. But all inflict and suffer, conquer or expire, with the same smile.
192. Plate XIV. gives you examples, from more advanced art, of true Greek representation; the subjects being the two contests of leading import to the Greek heart—that of Apollo with the Python, and of Hercules with the Nemean Lion. You see that in neither case is there the slightest effort to represent the λυσσα, or agony of contest. No good Greek artist would have you behold the suffering either of gods, heroes, or men; nor allow you to be apprehensive of the issue of their contest with evil beasts, or evil spirits. All such lower sources of excitement are to be closed to you; your interest is to be in the thoughts involved by the fact of the war; and in the beauty or rightness of form, whether active or inactive. I have to work out this subject with you afterwards, and to compare with the pure Greek method of thought that of modern dramatic passion, ingrafted on it, as typically in Turner's contest of Apollo and the Python: in the meantime, be content with the statement of this first great principle—that a Greek, as such, never expresses momentary passion.
XV.
HERA OF ARGOS.
ZEUS OF SYRACUSE.
XVI.
DEMETER OF MESSENE.
HERA OF CNOSSUS.