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Updated: May 13, 2025
It is what Goethe calls his Gewahrwerden der griechischen Kunst, his FINDING of Greek art. Through the tumultuous richness of Goethe's culture, the influence of Winckelmann is always discernible, as the strong, regulative under-current of a clear, antique motive. "One learns nothing from him," he says to Eckermann, "but one becomes something."
Another benefaction has been added to the many which art and science owe to Your Highness by the most gracious permission to publish the following letters of Winckelmann.
Winckelmann was the second volume of the celebrated Abbe de Voisenon. He called for me next day, and we went to Villa Albani to see the Chevalier Mengs, who was then living there and painting a ceiling. Roland came from Avignon and was fond of good living.
Naples brought him into the more congenial society of Wilkes with whom, he says, he 'enjoyed many classical scenes with peculiar relish. When Churchill had died at Boulogne in the arms of Wilkes, the latter had retired to Naples to inscribe his sorrow 'in the close style of the ancients' upon an urn of alabaster which had been the gift of Winckelmann, and in that city now he was, as the literary executor, preparing annotations on the works of Churchill.
In a very large majority of cases to-day we can observe how sadly our scholars fall short of the standard of culture which the efforts of Goethe, Schiller, Lessing, and Winckelmann established; and this falling short shows itself precisely in the egregious errors which the men we speak of are exposed to, equally among literary historians whether Gervinus or Julian Schmidt as in any other company; everywhere, indeed, where men and women converse.
This extension of our knowledge has not, it is true, as yet much affected contemporary art, as art was affected by the teachings of Winckelmann and the publishing of the marbles of the Parthenon. Until last year there was no book in English setting forth the results of the excavations of Delphi; and there is even now no book in English performing the same service for the excavations at Olympia.
But then the artistic interest was that by desperate faithfulness to which Winckelmann was saved from the mediocrity, which, breaking through no bounds, moves ever in a bloodless routine, and misses its one chance in the life of the spirit and the intellect.
The sculptor, and Winckelmann, and Lavater, will tell you how significant a feature is the nose; how its forms express strength or weakness of will, and good or bad temper. The nose of Julius Caesar, of Dante, and of Pitt, suggest "the terrors of the beak." What refinement, and what limitations, the teeth betray! "Beware you don't laugh," said the wise mother, "for then you show all your faults."
It deals almost exclusively with youth, where the moulding of the bodily organs is still as if suspended between growth and completion, indicated but not emphasised; where the transition from curve to curve is so delicate and elusive, that Winckelmann compares it to a quiet sea, which, although we understand it to be in motion, we nevertheless regard as an image of repose; where, therefore, the exact degree of development is so hard to apprehend.
As much value as Winckelmann placed upon the world's esteem, as much as he desired a literary reputation, as much as he endeavored to present his work in the best form and to elevate it by a certain dignified style, he was nevertheless in no wise blind to its faults, but rather was the first to observe them, as one would expect from a man of his progressive nature, always seizing upon and working over new materials.
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