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Updated: June 9, 2025
The earlier sculpture confines itself to broad, central lines of heroic and divine character, as in the two masterpieces of Pheidias. The latter dealt in great elaboration with the details and elements of the stories and characters that formed its subjects, as in the Niobe group, or the Laocoon, to be mentioned later.
The cameos have a beauty and finesse which far surpass that of busts and statues; they evince the skill of grouping, which, with rare exceptions, such as the Niobe and Laocoon, is seldom aimed at in the more important pieces of sculpture. Cameos, moreover, let us, as it were, into the secrets of indoor life.
The city was set on fire; the people, overcome with feasting and sleep, put to the sword, and Troy completely subdued. One of the most celebrated groups of statuary in existence is that of Laocoon and his children in the embrace of the serpents. A cast of it is owned by the Boston Athenaeum; the original is in the Vatican at Rome.
She sat up in her bed, with her large, blue, distended eyes fixed on mine, turning paler and paler, brighter and brighter, as she gazed, until their lustre seemed opaline rather than spiritual, and with her slender white hands wreathed together like the interlacing marble snakes in the grasp of the Laocoon, so long, and lithe, and sinuous, seemed the polished, flexile fingers.
I have accordingly drawn another from the Laocoon statue, the most difficult of all the statues; have shown it to, the keeper of the Academy and am admitted for a year without the least difficulty. Mr. Allston was pleased to compliment me upon it by saying that it was better than two thirds of the drawings of those who had been drawing at the Academy for two years." "November 85, 1811.
Much of the argument of Lessing’s elaborate essay on the “Laocoon” is aimed at this point, which is brought out in its completeness in his discussion of Timomachus’ treatment of the raving Ajax. “Ajax was not represented at the moment when, raging among the herds he captures and slays goats and oxen, mistaking them for men.
This work brought great fame to Baccio, who, after finishing the Laocoon, set himself to draw a scene on a sheet of royal folio laid open, in order to carry out a design of the Pope, who wished to have the Martyrdom of S. Cosimo and S. Damiano painted on one wall of the principal chapel of S. Lorenzo in Florence, and on the other that of S. Laurence, when he was put to death by Decius on the gridiron.
At the same moment I looked at the halls of the Vatican, where the marble gods are enthroned. I shone upon the group of the Laocoon; the stone seemed to sigh. I pressed a silent kiss on the lips of the Muses, and they seemed to stir and move. But my rays lingered longest about the Nile group with the colossal god.
Sitting thus before the picture he could not reproduce, there rose before his mind another picture he had seen that day. It was a large photograph of the Laocoon. He had seen it in Brentano's window, and, now, with the eye of memory, he was looking at it again.
And it is by far the noblest use of the imagination, far nobler than carving a Laocoon, or painting a Last Judgment, or writing a "Paradiso" or a "Paradise Lost," to put ourselves into the places of other men so as to see with their eyes, and feel with their hearts, and sympathise with their principles, and even with their prejudices.
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