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Updated: May 3, 2025
"You know," says Lavater, speaking of Winckelmann's countenance, "that I consider ardour and indifference by no means incompatible in the same character. If ever there was a striking instance of that union, it is in the countenance before us." "A lowly childhood," says Goethe, "insufficient instruction in youth, broken, distracted studies in early manhood, the burden of school-keeping!
He became acquainted with many artists, above all with Oeser, Goethe's future friend and master, who, uniting a high culture with the practical knowledge of art, was fitted to minister to Winckelmann's culture. And now there opened for him a new way of communion with the Greek life.
One morning he entered Winckelmann's room, under pretence of taking leave; Winckelmann was then writing "memoranda for the future editor of the History of Art," still seeking the perfection of his great work. Arcangeli begged to see the medals once more. As Winckelmann stooped down to take them from the chest, a cord was thrown round his neck.
Plato, however, saved so often for his redeeming literary manner, is excepted from Winckelmann's proscription of the philosophers. The modern student most often meets Plato on that side which seems to pass beyond Plato into a world no longer pagan, based on the conception of a spiritual life.
The impression which Winckelmann's literary life conveyed to those about him was that of excitement, intuition, inspiration, rather than the contemplative evolution of general principles.
This is the duty assumed by the writer of the present sketch, the difficulty of which will be seen by connoisseurs, who, it is hoped, will point out its deficiencies and correct its imperfections, thereby making a satisfactory future work possible. WINCKELMANN'S LETTERS To BERENDIS Letters are among the most important monuments which the individual leaves behind him.
It cannot be denied that Winckelmann's change of religion considerably heightens in our imagination the romantic side of his life and being. But to Winckelmann himself the Catholic religion presented nothing attractive. He saw in it only the masquerade dress which he threw around him, and expressed himself bitterly enough about it.
Winckelmann's History of Ancient Art; Müller's Ancient Art and its Remains; A.J. Guattani, Antiquités de la Grande Grèce; Mazois, Antiquités de Pompeii; Sir W. Gill, Pompeiana; Donaldson's Antiquities of Athens; Vitruvius, Stuart, Chandler, Clarke, Dodwell, Cleghorn, De Quincey, Fergusson, Schliemann, these are some of the innumerable authorities on Architecture among the ancients.
"In dressing every woman should study her own figure." "There is nothing beautiful save draperies that follow the lines of the figure and fall in folds," put in Gamelin. "Everything that is cut out and sewn is hideous." These sentiments, more appropriate in a treatise of Winckelmann's than in the mouth of a man talking to Parisiennes, met with the scorn they deserved, being entirely disregarded.
Winckelmann's history of Greek sculpture, which was not a history in the proper sense of the word, had been translated by Lodge, but Hawthorne does not mention it, and it would not have been much assistance to him if he had read it. Like Winckelmann and Lessing, however, he admired the "Laocoon," an admiration now somewhat out of fashion.
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