УКАЗАТЕЛЬ.
Achilles, sceptre of, 98;
shield of, 113.
Action, culminating point of an, not the point to be represented by the artist, 16.
Albani, Cardinal Alexander, his discovery of a vase which illustrated the date of the Laocoon, 178 et seq.
Anacreon, two odes of, 133, 139.
Apelles, his picture of Diana, 143.
Ariosto, his description of Alcina, 128, 138.
Aristophanes, element of disgust used by, 161.
Aristotle, advice of, to Protogenes, 76;
his reason why we receive pleasure from a faithful copy of the disagreeable, 154.
Art should express nothing essentially transitory, 17.
Arts among the ancients, subject to the control of law, 10.
Bacchus, how represented in poetry and painting, 56 et seq.
Beauty, the supreme law of the imitative arts, 11;
subordinated in modern art to other ends, 16;
representations of physical, the province of painting, not of poetry, 126.
Boivin, his explanations of Homer, 118, 121.
Calaber, Quintus, his rendering of the story of Laocoon, 34;
his account of the death of Thersites, 150.
Callimachus, his picture of famine, 165.
Caricature, law against, among the Thebans, 9.
Caylus, Count, some points in his work considered, 71, 77, 80, 82, 86, 87, 93;
his sketch for a picture of Helen, 140.
Chateaubrun, his representation of Philoctetes, 25.
Cicero, his views in regard to bodily pain, 28.
Cleyn, Francis, illustrations by, 39.
Constancy, how represented in art, 68 et seq.
Dacier, Madame, her translation of Homer, 113.
Dante, his description of the starvation of Ugolino, 166.
Deformity, physical, in art, produces disgust, 159.
Disgust produced more through the other senses than through that of sight, 160;
object of, in painting, 167.
Disgusting, the, its use in expressing the horror of famine, 164.
Dolce, his dialogue on Painting, 131.
Drama, expression of suffering in the, 21 et seq.
Dryden, his Ode on Cecilia’s Day, 89.
Flaccus, Valerius, his description of an angry Venus, 57 et seq.
French language, not adapted to translation of Homer, 112.
German language, compared to the Greek, 113.
Gladiator, Borghese, the author’s theory in regard to the, 184 et seq.
Gladiatorial shows, effect of, 29.
Галлер, фон, описание, цитируемое из его «Альп», 103.
Hercules, as represented by Sophocles, 6;
the, of Sophocles, 31.
Hogarth, his criticism of the Apollo Belvidere, 145.
Homer, expressions of pain in his heroes, 4;
representation of his heroes, 79 et seq.;
his descriptions not generally available for pictures, 83, 143;
his picture of Pandarus, 89;
style of, 93;
his description of the chariot of Juno, 94;
his description of the sceptre of Agamemnon, 95;
of the shield of Achilles, 98, 113, 118;
of the bow of Pandarus, 99;
his indebtedness to the flexibility of the Greek language, 112;
his description of the beleaguered city, 121;
avoids detailed description, 127;
his representation of Helen, 136;
his Thersites, 148 et seq.
Imitations of the poet by the artist and the reverse, 49 et seq.
Invention required less of the artist than of the poet, 72 et seq.
Junius, Francis, an unsafe authority, 188.
Juno, how represented in ancient art, 57.
Клейст, фон, его собственное суждение о своей поэме «Весна», 108.
Klotzius, on the effects of different forms of the disagreeable in art, 158.
Laocoon, of Virgil, 20 et seq.;
compared with the statue, 36 et seq.;
contains traits unavailable for the artist, 42;
the group of, possibly suggested by Virgil’s description, 43 et seq.;
the, probable date of, 170 et seq.
Longinus, his remarks in regard to eloquence and poetry, 188.
Lucian represents physical beauty by comparison with statues, 135.
Manasses, Constantinus, his pictures of Helen, 127.
Martiani, his opinion in regard to the date of the Laocoon, 34 et seq.
Маццуоли, его «Похищение сабинянок», 109.
Mengs, his criticism on Raphael’s drapery, 110.
Milton furnishes few subjects for a painter, 87.
Minerva, how represented in ancient art, 57, 78.
Montfaucon, his want of taste, 14;
his opinions in regard to the date of the Laocoon, 33 et seq.
Olympic judges, law of the, 10.
Ovid, his description of Lesbia, 137;
his description of the punishment of Marsyas, 163;
his picture of famine, 165.
Pain, expression of, in Sophocles, 3;
in Homer, 4, 5;
among Europeans, 4;
among the Greeks, 5;
in its disfiguring extreme, not compatible with beauty, 13;
expression of, among the English, 26.
Painting among the Greeks confined to imitation of beauty, 8.
Passion, violent, not expressed in ancient art, 12.
Pauson, character of his pictures, 9.
Phidias, his indebtedness to Homer, 144 et seq.
Philoctetes of Sophocles, the, his sufferings compared with those of Laocoon, 3;
the, of Pythagoras Leontinus, 14;
of Sophocles, the embodiment of physical and mental suffering, 23, 24, 30.
Picturesque, the, in poetry, 88.
Pisander, possibly Virgil’s predecessor in the history of Laocoon, 34.
Pliny, his mention of the Laocoon, 172;
of famous Greek sculptors, 173 et seq.
Poetry, how it surpasses art in description of physical beauty, 137 et seq.
Polygnotus, pictures of, 123 et seq.
Pope, contempt of, for descriptive poems, 108;
his explanations of Homer, 122 et seq.
Pordenone, his picture of the entombment, 167.
Pyreicus, character of his pictures, 9.
Religion, influence of, on art, 62 et seq.
Richardson, remarks of, on Virgil’s Laocoon, 45;
his criticism of Pordenone, 167.
Ridiculous, the, heightened by an element of disgust, 161.
Sadolet, extract from, 46.
Shakespeare, his use of ugliness in the character of Richard III., 151.
Sophocles, a Laocoon among his lost works, 6;
his description of the desert cave of Philoctetes, 163.
Spence, Rev. Mr., criticism of his work “Polymetis,” 50;
notions of, in regard to the resemblance between painting and poetry, 55, 57.
Statius, his description of an angry Venus, 57 et seq.
Statues, beautiful, produced beautiful men, 10.
Stoicism not adapted to the drama, 6.
Stosch, Herr von, his opinion of the Borghese Gladiator, 183.
Symbols, use of, in poetry and painting, 67 et seq.
Temperance, how represented in art, 68 et seq.
Timanthes, picture of Iphigenia by, 12.
Timomachus, his representations of Ajax and Medea, 18.
Titian, his picture of the Prodigal Son, 109.
Ugliness, as used in poetry, 149, 156;
as used in painting, 153, 156.
Urania, how represented in art, 67.
Vesta, how worshipped, 64 et seq.
Virgil, description from the Georgics, 106;
his description of the shield of Æneas, 114;
the Dido of, 133;
his introduction of the Harpies, 166.
Winkelmann, quoted, 1;
soundness of his criticism doubted, 2;
his opinion of the Laocoon, 168;
his opinion of the Borghese Gladiator, 183;
criticism of, 187 et seq.
Zeuxis, his picture of Helen, 140 et seq.
1. Von der Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst, стр. 21, 22.
2. Brumoy Théât. des Grecs, Т. II, стр. 89.
3. Илиада V, 343. Ἡ δὲ μέγα ἰάχουσα.
4. Илиада V, 859.
5. Th. Bartholinus. De Causis contemptæ a Danis adhuc Gentilibus Mortis, гл. 1.
6. Илиада VII, 421.
7. Одиссея IV, 195.
8. Шатобрен.
9. См. Приложение, примечание 1.
10. См. Приложение, примечание 2.
11. Аристофан, «Плутос», ст. 602 и «Ахарняне», ст. 854.
12. Плиний, кн. XXX, разд. 37.
13. De Pictura vet. кн. II, гл. IV, разд. 1.
14. Плиний, кн. XXXIV, разд. 9.
15. См. Приложение, примечание 3.
16. См. Приложение, примечание 4.
17. Плиний, кн. XXXV, разд. 35. Cum mœstos pinxisset omnes, præcipue patruum, et tristitiæ omnem imaginem consumpsisset, patris ipsius vultum velavit, quem digne non poterat ostendere.
18. Валерий Максим, кн. VIII, гл. 2. Summi mœroris acerbitatem arte exprimi non posse confessus est.
19. Antiquit. expl. Т. I, стр. 50.
20. См. Приложение, примечание 5.
21. Bellorii Admiranda, табл. 11, 12.
22. Плиний, кн. XXXIV, разд. 19.
23. См. Приложение, примечание 6.
24. Филипп, Anthol. кн. IV, гл. 9, эпигр. 10.
Ἀιεὶ γὰρ διψᾷς βρέφεων φονον. ἦ τις Ἰήσων
Δεύτερος, ἤ Γλαύκη τις πάλι σoὶ πρόφασις;
Ἐῤῥε καὶ ἐν κηρῷ παιδοκτόνε....
25. Vita Apoll. кн. II, гл. 22.
26. См. Приложение, примечание 7.
27. Mercure de France, апрель 1755 г., стр. 177.
28. «Теория нравственных чувств», Адам Смит, часть I, разд. 2, гл. 1. (Лондон, 1761 г.)
29. «Трахинянки», ст. 1088, 1089:
ὅστις ὥστε παρθένος
Βέβρυχα κλαίων....
30. Topographiæ Urbis Romæ, кн. IV, гл. 14. Et quanquam hi (Agesander et Polydorus et Athenodorus Rhodii) ex Virgilii descriptione statuam hanc formavisse videntur, &c.
31. Suppl. aux Ant. Expliq. Т. I, стр. 242. Il semble qu’Agésandre, Polydore, et Athénodore, qui en furent les ouvriers, aient travaillé comme à l’envie, pour laisser un monument qui répondait à l’incomparable description qu’a fait Virgile de Laocoon, &c.
32. См. Приложение, примечание 8.
33. Paralip. кн. XII, ст. 398–408.
34. Или скорее змея, ибо Ликофрон упоминает лишь одну:
καὶ παιδοβρῶτος πορκέως νήσους διπλᾶς·
35. См. Приложение, примечание 9.
36. См. Приложение, примечание 10.
37.
Their destined way they take,
And to Laocoon and his children make;
And first around the tender boys they wind,
Then with their sharpened fangs their limbs and bodies grind.
The wretched father, running to their aid
With pious haste, but vain, they next invade.—Dryden.
38. См. Приложение, примечание 11.
39. Обеими руками он борется с узлами.
40.
Twice round his waist their winding volumes rolled,
And twice about his gasping throat they fold.
The priest thus doubly choked,—their crests divide,
And towering o’er his head in triumph ride.—Dryden.
41. См. Приложение, примечание 12.
42. См. Приложение, примечание 13.
43. Его священные повязки оскверняет синий яд. — Драйден.
44. См. Приложение, примечание 14.
45. См. Приложение, примечание 15.
46. См. Приложение, примечание 16.
47. Первое издание вышло в 1747 году; второе — в 1755 году. Избранные места в переводе Н. Тиндала печатались неоднократно.
48. Вал. Флакк, кн. VI, ст. 55, 56. Polymetis, диалог VI, стр. 50.
49. См. Приложение, примечание 17.
50. См. Приложение, примечание 18.
51. См. Приложение, примечание 19.
52. Тибулл, элегия 4, кн. III. Polymetis, диалог VIII.
53. Стаций, кн. I, Sylv. 5, ст. 8. Polymetis, диалог VIII.
54. См. Приложение, примечание 20.
55. Энеида, кн. VIII, 725. Polymetis, диалог XIV.
56. В различных отрывках его «Путешествий» [«Заметки об Италии»] и его «Диалогов о древних медалях».
57. Polymetis, диалог IX.
58. Метаморфозы, кн. IV, 19, 20. Когда ты являешься без рогов, твоя голова подобна голове девы.
59. Begeri Thes. Brandenb. том III, стр. 242.
60. Polymetis, диалог VI.
61. Polymetis, диалог XX.
62. Polymetis, диалог VII.
63. Аргонавтика, кн. II, ст. 102–106. «Богиня не стремится казаться милостивой, не перевязывает она волосы начищенным золотом, позволяя своим звездным локонам развеваться. Она дика и огромна, щеки ее покрыты пятнами; больше всего похожа она на стигийских дев с трещащим факелом и черным плащом».
64. Фиваида, кн. V, 61–64. «Покинув древний Пафос и сто алтарей, не похожая на себя прежнюю лицом или прической, говорят, она развязала брачный пояс и отослала своих голубей. Некоторые сообщают, что глубокой ночью, неся другие огни и более могучее оружие, она поспешила с тартарскими сестрами в опочивальни и наполнила тайные места домов извивающимися змеями, а все пороги — жестоким страхом».
65. См. Приложение, примечание 21.
66. См. Приложение, примечание 22.
67. См. Приложение, примечание 23.
68. Polymetis, диалог VII.
69. См. Приложение, примечание 24.
70. См. Приложение, примечание 25.
71. Lipsius de Vesta et Vestalibus, гл. 13.
72. Павсаний, Коринф, гл. XXXV, стр. 198 (изд. Кюна).
73. Павсаний, Аттика, гл. XVIII, стр. 41.
74. Полибий, История, кн. XVI, разд. 2, Op. Т. II, стр. 443 (изд. Эрнеста).
75. См. Приложение, примечание 26.
76. См. Приложение, примечание 27.
77. Polymetis, диалог VIII.
78. Стаций, Фиваида, VIII, 551.
79. Polymetis, диалог X.
80. См. Приложение, примечание 28.
81. См. Приложение, примечание 29.
82. Betrachtungen über die Malerei, стр. 159.
83. Ad Pisones, ст. 128–130. «Ты лучше сделаешь, если изложишь в действиях историю Трои, чем будешь рассказывать о вещах еще не известных и не воспетых».
84. Кн. XXXV, разд. 36.
85. См. Приложение, примечание 30.
86. Илиада XXI, 385.
87.
She only stepped
Backward a space, and with her powerful hand
Lifted a stone that lay upon the plain,
Black, huge, and jagged, which the men of old
Had placed there for a landmark.—Bryant.
88. См. Приложение, примечание 31.
89. См. Приложение, примечание 32.
90. Илиада III, 381.
91. Илиада V, 23.
92. Илиада XX, 444.
93. Илиада XX, 446.
94. Илиада XX, 321.
95. См. Приложение, примечание 33.
96. Илиада I, 44–53. Tableaux tirés de l’Iliade, стр. 70.
Down he came,
Down from the summit of the Olympian mount,
Wrathful in heart; his shoulders bore the bow
And hollow quiver; there the arrows rang
Upon the shoulders of the angry god,
As on he moved. He came as comes the night,
And, seated from the ships aloof, sent forth
An arrow; terrible was heard the clang
Of that resplendent bow. At first he smote
The mules and the swift dogs, and then on man
He turned the deadly arrow. All around
Glared evermore the frequent funeral piles.—Bryant.
97. Илиада IV, 1–4. Tableaux tirés de l’Iliade, стр. 30.
Meantime the immortal gods with Jupiter
Upon his golden pavement sat and held
A council. Hebe, honored of them all,
Ministered nectar, and from cups of gold
They pledged each other, looking down on Troy.
Bryant.
98. См. Приложение, примечание 34.
99. См. Приложение, примечание 35.
100. См. Приложение, примечание 36.
101. Илиада V, 722.
Hebe rolled the wheels,
Each with eight spokes, and joined them to the ends
Of the steel axle,—fellies wrought of gold,
Bound with a brazen rim to last for ages,—
A wonder to behold. The hollow naves
Were silver, and on gold and silver cords
Was slung the chariot’s seat; in silver hooks
Rested the reins; and silver was the pole
Where the fair yoke and poitrels, all of gold,
She fastened.—Bryant.
102. Илиада II, 43–47.
He sat upright and put his tunic on,
Soft, fair, and new, and over that he cast
His ample cloak, and round his shapely feet
Laced the becoming sandals. Next, he hung
Upon his shoulders and his side the sword
With silver studs, and took into his hand
The ancestral sceptre, old but undecayed.—Bryant.
103. Илиада II, 101–108.
He held
The sceptre; Vulcan’s skill had fashioned it,
And Vulcan gave it to Saturnian Jove,
And Jove bestowed it on his messenger,
The Argus-queller Hermes. He in turn
Gave it to Pelops, great in horsemanship;
And Pelops passed the gift to Atreus next,
The people’s shepherd. Atreus, when he died,
Bequeathed it to Thyestes, rich in flocks;
And last, Thyestes left it to be borne
By Agamemnon, symbol of his rule
O’er many isles and all the Argive realm.—Bryant.
104. Илиада I, 234–239.
By this my sceptre, which can never bear
A leaf or twig, since first it left its stem
Among the mountains,—for the steel has pared
Its boughs and bark away,—to sprout no more,
And now the Achaian judges bear it,—they
Who guard the laws received from Jupiter.
Bryant.
105. Илиада IV, 105–111.
He uncovered straight
His polished bow made of the elastic horns
Of a wild goat, which, from his lurking-place,
As once it left its cavern lair, he smote,
And pierced its breast, and stretched it on the rock.
Full sixteen palms in length the horns had grown
From the goat’s forehead. These an artisan
Had smoothed, and, aptly fitting each to each,
Polished the whole and tipped the work with gold.
Bryant.
106. «Альпы» фон Галлера.
The lofty gentian’s head in stately grandeur towers
Far o’er the common herd of vulgar weeds and low;
Beneath his banners serve communities of flowers;
His azure brethren, too, in rev’rence to him bow.
The blossom’s purest gold in curving radiations
Erect upon the stalk, above its gray robe gleams;
The leaflets’ pearly white with deep green variegations
With flashes many-hued of the moist diamond beams.
O Law beneficent! which strength to beauty plighteth,
And to a shape so fair a fairer soul uniteth.
Here on the ground a plant like a gray mist is twining,
In fashion of a cross its leaves by Nature laid;
Part of the beauteous flower, the gilded beak is shining,
Of a fair bird whose shape of amethyst seems made.
There into fingers cleft a polished leaf reposes,
And o’er a limpid brook its green reflection throws;
With rays of white a striped star encloses
The floweret’s disk, where pink flushes its tender snows.
Thus on the trodden heath are rose and emerald glowing,
And e’en the rugged rocks are purple banners showing.
107. Breitinger’s kritische Dichtkunst, том II, стр. 807.
108. Георгики, кн. III, 51 и 79.
If her large front and neck vast strength denote;
If on her knee the pendulous dewlap float;
If curling horns their crescent inward bend,
And bristly hairs beneath the ear defend;
If lengthening flanks to bounding measure spread;
If broad her foot and bold her bull-like head;
If snowy spots her mottled body stain,
And her indignant brow the yoke disdain,
With tail wide-sweeping as she stalks the dews,
Thus, lofty, large, and long, the mother choose.
Dryden.
109. Георгики, кн. III, 51 и 79.
Light on his airy crest his slender head,
His belly short, his loins luxuriant spread;
Muscle on muscle knots his brawny breast, &c.
Dryden.
110. De Art. Poet. 16.
111. См. Приложение, примечание 37.
112. См. Приложение, примечание 38.
113. Gedanken über die Schönheit und über den Geschmack in der Malerei, стр. 69.
114. Илиада V, 722.
115. Илиада XII, 296.
116. Дионисий Галикарнасский в «Жизни Гомера» у Th. Gale в Opusc. Mythol., стр. 401.
117. См. Приложение, примечание 39.
118. Энеида, кн. VIII, 447.
Their artful hands a shield prepare.
One stirs the fire, and one the bellows blows;
The hissing steel is in the smithy drowned;
The grot with beaten anvils groans around.
By turns their arms advance in equal time,
By turns their hands descend and hammers chime;
They turn the glowing mass with crooked tongs.
Dryden.
119. См. Приложение, примечание 40.
120. Илиада XVIII, 497–508.
Meanwhile a multitude
Was in the forum where a strife went on,—
Two men contending for a fine, the price
Of one who had been slain. Before the crowd
One claimed that he had paid the fine, and one
Denied that aught had been received, and both
Called for the sentence which should end the strife.
The people clamored for both sides, for both
Had eager friends; the herald held the crowd
In check; the elders, upon polished stones,
Sat in a sacred circle. Each one took
In turn a herald’s sceptre in his hand,
And rising gave his sentence. In the midst