It is difficult to speak of the beauty of the countenance, or to make intelligible in words, from what such astonishing loveliness results.
The head, resting somewhat backward upon the full and flowing contour of the neck, is as in the act of watching an event momently to arrive. The hair is delicately divided on the forehead, and a gentle beauty gleams from the broad and clear forehead, over which its strings are drawn. The face is of an oval fulness, and the features conceived with the daring of a sense of power. In this respect it resembles the careless majesty which Nature stamps upon the rare masterpieces of her creation, harmonising them as it were from the harmony of the spirit within. Yet all this not only consists with, but is the cause of the subtlest delicacy of clear and tender beauty—the expression at once of innocence and sublimity of soul—of purity and strength—of all that which touches the most removed and divine of the chords that make music in our thoughts—of that which shakes with astonishment even the most superficial.
The Minerva.
The head is of the highest beauty. It has a close helmet, from which the hair delicately parted on the forehead, half escapes. The attitude gives entire effect to the perfect form of the neck, and to that full and beautiful moulding of the lower part of the face and mouth, which is in living beings the seat of the expression of a simplicity and integrity of nature. Her face, upraised to heaven, is animated with a profound, sweet, and impassioned melancholy, with an earnest, and fervid, and disinterested pleading against some vast and inevitable wrong. It is the joy and poetry of sorrow making grief beautiful, and giving it that nameless feeling which, from the imperfection of language, we call pain, but which is not all pain, though a feeling which makes not only its possessor, but the spectator of it, prefer it to what is called pleasure, in which all is not pleasure. It is difficult to think that this head, though of the highest ideal beauty, is the head of Minerva, although the attributes and attitude of the lower part of the statue certainly suggest that idea. The Greeks rarely, in their representations of the characters of their gods,—unless we call the poetic enthusiasm of Apollo a mortal passion,—expressed the disturbance of human feeling; and here is deep and impassioned grief animating a divine countenance. It is, indeed, divine. Wisdom (which Minerva may be supposed to emblem,) is pleading earnestly with Power,—and invested with the expression of that grief, because it must ever plead so vainly. The drapery of the statue, the gentle beauty of the feet, and the grace of the attitude, are what may be seen in many other statues belonging to that astonishing era which produced it; such a countenance is seen in few.
This statue happens to be placed on a pedestal, the subject of whose relief is in a spirit wholly the reverse. It was probably an altar to Bacchus—possibly a funeral urn. Under the festoons of fruits and flowers that grace the pedestal, the corners of which are ornamented with the skulls of goats, are sculptured some figures of Mænads under the inspiration of the god. Nothing can be conceived more wild and terrible than their gestures, touching, as they do, the verge of distortion, into which their fine limbs and lovely forms are thrown. There is nothing, however, that exceeds the possibility of nature, though it borders on its utmost line.
The tremendous spirit of superstition, aided by drunkenness, producing something beyond insanity, seems to have caught them in its whirlwinds, and to bear them over the earth, as the rapid volutions of a tempest have the ever-changing trunk of a waterspout, or as the torrent of a mountain river whirls the autumnal leaves resistlessly along in its full eddies. The hair, loose and floating, seems caught in the tempest of their own tumultuous motion; their heads are thrown back, leaning with a strange delirium upon their necks, and looking up to heaven whilst they totter and stumble even in the energy of their tempestuous dance.
One represents Agave with the head of Pentheus in one hand, and in the other a great knife; a second has a spear with its pine cone, which was the Thyrsus; another dances with mad voluptuousness; the fourth is beating a kind of tambourine.
This was indeed a monstrous superstition, even in Greece, where it was alone capable of combining ideal beauty and poetical and abstract enthusiasm with the wild errors from which it sprung. In Rome it had a more familiar, wicked, and dry appearance; it was not suited to the severe and exact apprehensions of the Romans, and their strict morals were violated by it, and sustained a deep injury, little analogous to its effects upon the Greeks, who turned all things—superstition, prejudice, murder, madness—to beauty.
On the Venus called Anadyomine.
She has just issued from the bath, and yet is animated with the enjoyment of it.