[328]. In other countries, e.g., old Egypt and Japan (to anticipate a particularly foolish and shallow assertion), the sight of naked men was a far more ordinary and commonplace thing than it was in Athens, but the Japanese art-lover feels emphasized nudity as ridiculous and vulgar. The act is depicted (as for that matter it is in the “Adam and Eve” of Bamberg Cathedral), but merely as an object without any significance of potential whatsoever.
[329]. Kluge, Deutsche Sprachgesch. (1920), pp. 202 et seq.
[330]. A. Conze, Die Attischen Grabreliefs (1893 etc.).
[331]. Louvre. Replicas of the pair in the Vict. and Alb. Museum, London.—Tr.
[332]. Olympia—the only unquestioned original that we have from the “great age.” References would be superfluous, for few, if any, Classical works are better or more widely known.—Tr.
[333]. Of the several copies that have survived, all imperfectly preserved, that in the Palazzo Massimi is accounted the best. The restoration which, once seen, convinces, is Professor Furtwängler’s (shown in Ency. Brit., XI Ed., article Greek Art, fig. 68).—Tr.
[334]. A cast of this is in the British Museum (illustrated in the Museum Guide to Egypt. Antiq., pl. XXI).—Tr.
[335]. In the Bargello, Florence. Replica in Vict. and Alb. Museum, London.—Tr.
[336]. The “Apollo with the lyre” at Munich was admired by Winckelmann and his time as a Muse. Till quite recently a head of Athene (a copy of Praxiteles) at Bologna passed as that of a general. Such errors would be entirely impossible in dealing with a physiognomic art, e.g., Baroque.
[337]. In his portrait of Frau Gedon, already alluded to, p. 252.