Mr. Falconet has observed, in a note on this passage in his translation of Pliny, that the circumstance of covering the face of Agamemnon was probably not in consequence of any fine imagination of the painter—which he considers as a discovery of the critics—but merely copied from the description of the sacrifice, as it is found in Euripides.
The words from which the picture is supposed to be taken are these: Agamemnon saw Iphigenia advance towards the fatal altar; he groaned, he turned aside his head, he shed tears, and covered his face with his robe.
Falconet does not at all acquiesce in the praise that is bestowed on Timanthes; not only because it is not his invention, but because he thinks meanly of this trick of concealing, except in instances of blood, where the objects would be too horrible to be seen; but, says he, "in an afflicted Father, in a King, in Agamemnon, you, who are a painter, conceal from me the most interesting circumstance, and then put me off with sophistry and a veil. You are (he adds) a feeble Painter, without resource: you do not know even those of your Art: I care not what veil it is, whether closed hands, arms raised, or any other action that conceals from me the countenance of the Hero. You think of veiling Agamemnon; you have unveiled your own ignorance. A Painter who represents Agamemnon veiled is as ridiculous as a Poet would be, who, in a pathetic situation, in order to satisfy my expectations, and rid himself of the business, should say, that the sentiments of his hero are so far above whatever can be said on the occasion, that he shall say nothing."
To what Falconet has said, we may add, that supposing this method of leaving the expression of grief to the imagination to be, as it was thought to be, the invention of the painter, and that it deserves all the praise that has been given it, still it is a trick that will serve but once: whoever does it a second time will not only want novelty, but be justly suspected of using artifice to evade difficulties. If difficulties overcome make a great part of the merit of Art, difficulties evaded can deserve but little commendation.
DISCOURSE IX.
Delivered at the Opening of the Royal Academy, in Somerset Place, October 16, 1780.
ON THE REMOVAL OF THE ROYAL ACADEMY TO SOMERSET PLACE.—THE ADVANTAGES TO SOCIETY FROM CULTIVATING INTELLECTUAL PLEASURE.
The honour which the Arts acquire by being permitted to take possession of this noble habitation is one of the most considerable of the many instances we have received of His Majesty's protection; and the strongest proof of his desire to make the Academy respectable.