V 
 
 
 
 
ELGIN MARBLES, 
 
 FROM THE 
 
 PARTHENON AT ATHENS: 
 
 EXEMPLIFIED BY 
 
 FIFTY ETCHINGS, 
 
 SELECTED FROM THE MOST BEAUTIFUL AND LEAST MUTILATED SPECIMENS IN THAT COLLECTION; 
 
 AND ACCOMPANIED WITH 
 
 EXPLANATORY AND CRITICAL REMARKS ON THE STYLE, COMPOSITION, AND PECULIAR EXCELLENCE 
 OF THOSE TRANSCENDENT RELICS OF GRECIAN SCULPTURE. 
 
 BY RICHARD LAWRENCE. 
 
 “ Talisque apparuit illi, 
 
 Qualis ubi oppositas nitidissima Solis imago 
 Evicit nubes, nullaque obstante reluxit.” Ovid. 
 
 LONDON: 
 
 PRINTED BY THOMAS DAVISON, WHITEFRIARS ; 
 
 AND SOLD BY THE AUTHOR, 4, GREAT MARLBOROUGH-STREET; JOHN PORTER, PALL-MALL; NICOL AND SON, PALL-MALL; 
 
 AND RICHARDSON, CORNHILL. 
 
 1818 . 
 

 ' 
 
 ■ 
 
TO 
 
 HIS ROYAL HIGHNESS 
 
 GEORGE, PRINCE OF WALES, 
 
 liCBntt of tfje Untied Ifimjtioms, 
 
 UNDER WHOSE AUSPICES THE ELGIN COLLECTION OF GRECIAN SCULPTURE HAS ENRICHED THE 
 
 NATIONAL TREASURES OF ANCIENT ART; 
 
 THIS WORK, 
 
 WITH THE MOST PROFOUND RESPECT, AND BY HIS ROYAL HIGHNESS’S GRACIOUS PERMISSION, 
 
 IS HUMBLY DEDICATED, 
 
 BY HIS MOST DEVOTED SUBJECT AND SERVANT, 
 
 RICHARD LAWRENCE, 
 
LIST OF SUBSCRIBERS 
 
 THE KING’S LIBRARY. 
 
 HER MAJESTY THE QUEEN. 
 
 HIS ROYAL HIGHNESS THE PRINCE REGENT. 
 
 HER ROYAL HIGHNESS THE PRINCESS AUGUSTA. 
 
 HER ROYAL HIGHNESS THE PRINCESS OF HESSE HOMBERG. 
 HER ROYAL HIGHNESS THE DUCHESS OF CUMBERLAND. 
 
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Vll 
 
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 viii 
 
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TO THE READER 
 
 IN presenting the following work to the tribunal of public taste, the Author is not insensible of the 
 critical situation in which he stands. 
 
 Encouraged, however, by the hope of indulgence towards its defects, he ventures to proceed by 
 stating the principles on which he has acted in the execution of this arduous undertaking. 
 
 The professed object of government in purchasing this admirable collection of Grecian sculpture, 
 being for the improvement and exaltation of the British school of art, it became a matter of the first 
 importance, "that a just and radical knowledge of the peculiar character and style of these matchless 
 productions should he disseminated, not only amongst artists, but also amongst those members of 
 society, who, by their rank, wealth and education, are more especially qualified to exercise the 
 interesting functions of impartial censors and benevolent patrons. With the view therefore of 
 assisting in the promotion of so desirable an object, the Author of the following essay, after an 
 uninterrupted series of three years close contemplation and study of these beautiful relics, and at the 
 solicitation of several of his friends, has presumed to publish the product of his labours. 
 
 B 
 

 Convinced that this object would be best promoted, by confining his observations chiefly to the 
 character and execution of the different specimens in the above collection, and professing neither skill 
 nor practice in antiquarian research, he has abstained from offering any speculative opinions of his 
 own on the allegorical personifications of the different groups and figures, considering such an 
 enquiry as calculated rather to amuse the antiquary than to serve the interests of art ; as in fact the 
 mere antiquity of a piece of sculpture can neither increase nor diminish the original excellence of its 
 composition; for, the Elgin Marbles would have stood as pre-eminent and unrivalled in truth and 
 perfection had they been executed but yesterday, as they now do after the awful lapse of two 
 thousand years. It is not intended, however, by the foregoing remarks to underrate the utility of 
 antiquarian pursuits, as doubtless much valuable information has been thereby obtained; but it is 
 that too prevailing practice of estimating works of art by their antiquity against which the Author 
 takes the liberty to protest; a practice which can have no other effect than that of paralysing the 
 efforts of British genius, and infusing into the public mind a contemptuous indifference towards 
 the productions of modern times. 
 
 That a laudable inclination to encourage modern art prevails amongst the great in this country, 
 is amply proved by the liberal institutions already established for that purpose, and any failure in 
 accomplishing, to the fullest extent, the patriotic and benevolent object which they have in view, 
 ought to be attributed rather to that fallibility from which no human plans are exempt, than to 
 any deficiency of zeal and generosity on the part of the noble founders. 
 
 If any difference of opinion exists among artists, in regard to the course that has been 
 pursued for carrying those beneficent views into effect, it neither becomes the dignity of the 
 
 - ■ 
 
 wmm 
 
3 
 
 profession, nor is it consonant with the established courtesy of refined society, to express that dissent 
 in harsh and ungracious terms. 
 
 It is the interest of art to propitiate the gentler feelings of the mind by mild suggestion and 
 temperate representation, not to disgust and alienate by the impertinence of dictation, or the rancour 
 of malevolence. 
 
 That prejudices exist in all matters of taste cannot he denied, but it is no part of the pursuit 
 of truth and science to flatter prejudices, however ancient their origin, or exalted their station. The 
 human mind, in its perpetual search of novelty, but too often forsakes the plain and beaten path 
 of nature; disregarding truths the most obvious for the mistaken gratification of wandering in 
 the labyrinths of doubt and obscurity. Thus it is with art, and hence has arisen that pedantic 
 jargon of terms and rules adopted by those who, under the garb of scientific profundity, attempt 
 to conceal ignorance and inability, by throwing the veil of mystery over principles which are 
 naturally as clear and perceptible as the sun at noon-day. Hence also that unaccountable preference 
 which is sometimes bestowed on works that have no other claim to attention, than the incongruity 
 of their conception and the extravagance of their execution. Extravagance in design must ever 
 be a violation of nature, and will produce that singularity of style which, in the language of 
 art, is termed manner. But it is the peculiar excellence of these matchless relics, that they are so 
 chaste and so faithful to nature, that it needs but the Promethean fire to bring them into life and 
 motion ; and so wholly devoid are they of manner, that at a first view they fail to strike the eye with 
 that wonder, which is generally excited by surveying works of an overcharged description ; and some 
 
 b 2 
 
4 
 
 connoisseurs who are accustomed to regulate their opinions of art by the gusto of some favourite 
 master, are, at their first introduction to this admirable collection, puzzled in no small degree 
 whether to admire or condemn. Truth, however, ultimately prevails. Each repeated inspection 
 unfolds new beauties, confirms the superiority of these transcendent master-pieces of art, and 
 justifies their being held up as the standard of excellence and the touchstone of taste. 
 
 It is a curious coincidence that Sir Joshua Reynolds seems to have manifested the same doubt 
 and insensibility, on his first viewing the works of the immortal Rafifaelle in the Vatican. He 
 expresses himself upon that occasion in the following words, “ Though disappointed, in justice to 
 myself I did not for a moment suppose that the works of Raffaelle, and those admirable paintings in 
 particular, owed their reputation to the ignorance and prejudice of mankind; on the contrary, my not 
 relishing them was one of the most humiliating circumstances that ever happened to me. I found 
 myself in the midst of works executed upon principles with which I was unacquainted; 1 felt 
 my ignorance, and stood abashed. All the indigested notions of painting which I had brought 
 with me from England, where the art was at its lowest ebb, were to be totally done away and 
 eradicated from my mind. It was necessary, as is expressed on a more solemn occasion, that I 
 should become as a little child. Notwithstanding my disappointment, I proceeded to copy some of 
 those admirable works. I viewed them again and again. I even affected to feel their merit more 
 than I really did. In a short time a new taste and new perceptions began to dawn upon me, and I 
 was convinced that I had originally formed a false opinion of the perfection of art, and that 
 this great painter was well entitled to the high rank which he holds in the estimation of the world. 
 
The truth is, that if these works had really been what I expected, they would have contained 
 beauties superficial and alluring, hut by no means such as would have entitled them to the great 
 reputation which they have so long and so justly attained.” 
 
 The foregoing candid confession of Sir Joshua Reynolds bears a strong analogy to the present 
 subject; for it is a fact, that not only connoisseurs, but even modern artists of considerable celebrity, 
 have viewed the specimens of sculpture in the Elgin collection with the same indifference, and in 
 some instances without the same eventual conviction. * 
 
 In the arrangement and execution of the Plates with which this work is embellished, the 
 Author has adopted the plan of giving duplicate designs of those specimens that are mutilated; 
 conceiving that it would not he unacceptable to the majority of his readers. But he has not ventured 
 to make restorations except in those instances where some trace was perceptible of the original 
 situation and course of the dilapidated part. 
 
 The great expense of engraving, and the desire to render the price of the publication as 
 moderate as possible, induced him to confine the drawings to outlines only; and he hopes that 
 
 * It is not a little remarkable, however, that Sir Joshua should have made such an observation as the following, when speaking of the 
 works of Raffaelle, without being sensible of its self-application. For he says, “ had they really been what I expected, they would have 
 contained beauties superficial and alluring, but by no means such as would have entitled them to the great reputation which they have so 
 long and so justly acquired.” 
 
 That his own style was both superficial % and alluring, cannot be disputed. Being deficient in drawing, he painted for a general and 
 distant effect. Hence the markings of the nostrils, mouth and fingers, were all effected by a dash of colour only. 
 
 This system, managed in the masterly way in which he practised it, gave a seductive splendour and a deceptive freedom to his works, 
 but was very ill adapted for the grand, defined, and severe character, that is so essential in producing force and dignity. 
 
6 
 
 the work, notwithstanding its limited scale, will not be deemed unworthy of being the humble 
 harbinger to the more splendid and elaborate editions that may hereafter be published by the 
 British Museum. 
 
 Doomed, as a practitioner of the Veterinary Art, to pursue an avocation hut little calculated 
 to exercise the nobler faculties of the human mind, the meridian of life had passed away, ere these 
 precious remains of antiquity first gratified his eye, and confirmed the total alienation of his 
 thoughts from every other pursuit. Hence little remains to him but unavailing regret, that his 
 ability to profit by these admirable examples is abridged by circumstances over which there is 
 no control. 
 
INTRODUCTION. 
 
 Pursuits which tend to exalt the mind and to exercise its functions beyond those operations 
 that are simply necessary to corporeal existence, have in all ages been cherished by the wise, the 
 good, and the great. 
 
 That the human mind is endowed with faculties for the cultivation of such pursuits, is 
 abundantly manifest; the various degrees of excellence attained at different periods have, of course, 
 been dependant on coeval circumstances, propitious or adverse according to the elevated or debased 
 condition of society. Such endowments afford a strong presage of the immortality of the soul, and 
 by conducting our researches beyond the precincts of the material world, they render this life as 
 estimable as the imperfection of our nature will admit. 
 
 Amongst those attainments which contribute to the purer blandishments of life, the imitative 
 art of design may justly claim precedence; for it leads to the contemplation of the sublime and 
 beautiful tablet of nature, and opens to our comprehension those sources of innocent delight, which a 
 state of mere animal existence would never supply. Hence may truly be said of art, what Cicero 
 
says of science, “ studia adolescentiam alunt, senectutein oblectant; secundas res ornant, adversis 
 perfugium an solatim praebent; delectant domis, non impediunt foris, pernoctant nobiscum, 
 peregrinantur, rusticantur.” 
 
 Tbe most rude and savage tribes have constantly indicated a disposition to produce imitations of 
 objects around them; their incapability of attaining any excellence may naturally be attributed to 
 their uncultivated condition in all other respects. Still the Egyptian school, barbarous as it was, 
 paved the way for the production of those works of art, which at this day excite the admiration and 
 applause of the ^ivilized world. 
 
 I he introduction to this country of those admirable specimens of Grecian sculpture, the 
 transcendent beauty of which seems to have tempted even Time to suspend his ruthless hand, has 
 opened treasures to the school of art, to which until that period she had been a stranger. 
 
 A few travellers, it is true, had visited these monuments of taste and skill, and had given some 
 description of their arrangement, but it may be fairly asserted that none have transmitted to us any 
 adequate idea of the peculiar character and excellence, which distinguish them from all others that 
 have yet been discovered. The delight arid admiration, with which these relics were first viewed by 
 some of the most eminent artists of this country, particularly by the venerable president of the Royal 
 Academy, furnish the strongest proofs of the value of such an acquisition, as well as the best defence 
 against certain hypercritical and affected lamentations on the violation of the unity of art and place ; 
 lamentations well suited to the airy precincts of a poet’s brain, but perfectly ridiculous when analysed 
 by the test of experience and real circumstances. To those who have a just conception of the 
 inestimable beauties of this collection, it can scarcely be necessary to offer any arguments in 
 
9 
 
 vindication of their removal from those degraded regions, where they might be truly said “ to waste 
 their sweetness in the desert air.” 
 
 Unrivalled either in ancient or modern times, and coeval with those great philosophers and 
 poets whose admirable works have stood the test of ages, they present evidence incontrovertible that 
 the records which have been handed down of Athenian greatness were neither false in substance 
 nor exaggerated in the detail. Who, indeed, can survey these matchless specimens of human talent 
 without being lost in admiration, mingled with that sublime emotion which must naturally arise on 
 reflecting that two thousand years have passed away since they were conceived in the mind and 
 fashioned by the hand? 
 
 Here may the pride and self sufficiency of modern times bow to the silent hut impressive 
 admonition, that the great original plan of nature has prescribed limits to terrestrial grandeur, 
 that the most exalted states have perished by the inevitable process of self decay, and that our 
 present boasted attainments are but feeble coruscations ot light succeeding a long and humiliating 
 eclipse of the human understanding. 
 
 This melancholy lesson, however, whilst it mortifies our vanity, should not depress that 
 reasonable ambition which is the necessary stimulus to exertion, nor should the consciousness of 
 inability to equal the works of our predecessors, deter us from endeavouring to excel those of our 
 cotemporaries. But the basis of improvement in the present state of ar I. in this country must 
 depend on a corresponding improvement in the public taste ; and it is by the constant contemplation 
 and study of those works only which are truly excellent that the judgment can acquire sound 
 principles for its government and direction. How unreasonable would be the idea, that a clown 
 
 c 
 
10 
 
 should either feel or imitate the accomplishments of polished life, without previous and long 
 intercourse with those whose manners he was to attain. Yet precisely in this situation do the 
 majority of mankind stand in regard to a just taste and conception of works of art. In this 
 country, although it can hoast of no national or public collection of paintings by ancient masters, 
 there is perhaps a greater number ol the finest specimens ot their works in the possession of various 
 noblemen and gentlemen, than in any other part of Europe whatever. It is by referring to those 
 valuable productions ot the pencil that the patrons of modern art are accustomed to regulate their 
 taste and judgment, and d they were left uninfluenced by officious, ignorant, and interested advisers, 
 there would he fewer occasions to lament those fatal prejudices and prepossessions which sometimes 
 cloud the brightest understandings, and prevent the progress of truth and knowledge. That many 
 of the ancient productions, especially those of the divine Raffaelle, are proper models of truth and 
 excellence, must be acknowledged by every one who possesses a just feeling for the chaste and the 
 sublime. But there are also other productions, such as those of Rembrandt and the rest of the 
 Dutch and Flemish schools, which, so far from contributing to the refinement and improvement 
 of taste, tend hut to corrupt and debase it. The works of this school have no other recommendation 
 than what arises from the admirable manner in which they are coloured; the conception and design 
 being generally erroneous and vulgar in the extreme. Colouring, however, is but the decorative 
 part of a picture, and requires no other feeling than what arises from a just comprehension of the 
 effect of light and shade, and the harmony of colours. 
 
 The eye of the spectator is captivated by a judicious arrangement and brilliancy of tone, and is 
 thereby beguiled from scrutinising the vulgarity of the composition, and as it is well known that 
 
11 
 
 even the extreme of ugliness and deformity becomes less disgusting by familiarity, so is it with 
 works of art of the above description, and hence that vitiation of taste and feeling which is so 
 much and so often to be deplored. The works of the Dutch and Flemish schools are, however, 
 the most numerous, and lienee it becomes the interest of those traders in old pictures who infest and 
 obstruct the avenues to modern art, to hold them up as models of perfection on the one hand, and to, 
 decry all modern productions on the other. 
 
 From causes like these it arises that there is hut a certain extent in art to which the judgment of 
 the majority of spectators is capable of reaching, and, on this account, all efforts on the part of the 
 artist to go beyond that particular point, are rendered fruitless by the want of sufficient knowledge 
 and true taste in the public, (except in some few instances) to estimate his merit and to distinguish 
 his superiority. It is moreover this want of judgment on the part of the public which has occasioned 
 that lamentable increase in the number of those young men who are consigned, whether qualified or 
 not, to the pursuit of art. Every idle hoy who can scrawl a few lines with a pencil is considered 
 a genius, and his mistaken parents and friends, instead of devoting him to some useful employment, 
 encourage him in a pursuit which can lead to nothing but poverty and disappointment.* 
 
 The career of these victims to a foolish misconception of their own talents, is generally attended 
 with a total neglect of literary education, and, shut out by this deficiency and their native obscurity 
 from intercourse with the higher classes of society, their minds must, of necessity, be little else than 
 
 * It would be well if the parents of these boys would attend in this case to Ovid’s observation on the pursuit of poetry, 
 
 “ Sajpe pater dixit, studium quid inutile tentas?” 
 
 C 2 
 
12 
 
 a barren waste calculated neither for self-improvement nor for public elucidation. Yet this is the 
 stock from whence historical painters and sculptors are expected to arise. The hand and the eye, it 
 is true, may acquire both facility and fidelity in copying the works of nature, but conception, 
 disposition, and expression depend on the mind alone. These constitute the groundwork of 
 historical painting, and can never be supplied by colouring however beautiful and seductive, nor are 
 they to be acquired without classical erudition polished by a constant intercourse with refined 
 society. 
 
 The tinsel and glare of gaudy colouring, and extravagance and affectation in design, may 
 captivate the vulgar and please the uninformed, but dignity and simplicity should be considered as 
 the only true basis of excellence. These indispensable qualities, however, in works of art, will 
 neither be cultivated by artists, nor duly appreciated by the public, until the general taste of the 
 country is improved and exalted. We now fortunately possess, in the Elgin collection, models 
 peculiarly adapted for that purpose, and it requires nothing but ocular inspection to ingraft a 
 true feeling of their excellence in the public mind, and there can be no doubt that lectures upon 
 them, accompanied with critical demonstration, would contribute more than any thing else to 
 accomplish so desirable an object. 
 
 There is but one standard which should govern all the productions of the human mind, namely, 
 an inseparable union between truth and taste. This was the beacon that directed those great 
 philosophers, poets and artists in their course through the untried paths of early science, and 
 protected them from the snares of fallacy and absurdity. 
 
 Truth, as it applies to art, must be founded upon nature alone. Whenever the artist takes 
 
13 
 
 the liberty of departing from nature, and creates for himself, where are the bounds to the caprice 
 and extravagance of his imagination? These aberrations from nature are, however, considered by 
 certain cognoscenti as justifiable on the principle of their constituting what is termed the beau ideal , 
 but this beau ideal, although a very fashionable term in modern art, is not easily to be comprehended. 
 It is to be presumed that, in its literal acceptation, it is intended to signify ideal beauty, and that 
 it originated in the notion of improving nature. That one man may possess more exalted ideas of 
 what is beautiful than another cannot be denied, and that a man so endowed will make a better 
 selection from the works of nature than another not so qualified, is also very probable; but, the 
 advocates of the beau ideal, not content to stop there, maintain that something superior to natuie 
 may be conceived in tbe mind of the artist and from thence transmitted to the canvass 01 the 
 marble. That such an opinion has long prevailed is sufficiently evident in the composition of many 
 of the ancient as well as modern productions. The celebrated Apollo Belvidere may be selected as a 
 fair illustration. This figure exhibits great dignity in the attitude, and a fine and exalted expiession 
 in the countenance, but, independently of those circumstances, it has but little to recommend it. 
 The rigid and stony character of the body and of the thighs, arising from a want of those delicate 
 undulations and inflexions of the surface which are necessary to give the appearance of life and 
 motion, renders the detail of that interesting figure greatly deficient in truth and nature. This 
 departure from the principles of nature has been attempted to be justified on the plea that, as the 
 figure was intended to represent a God, it was not only unnecessary but also inconsistent to adhere 
 strictly to the particularities of humanity. But if the artist thought proper to imbody lus Deity with 
 the form and attributes of man, where is the pretence for neglecting to preserve the semblance in all 
 
14 
 
 those points which are the instruments of life and motion? For of what use are limbs without joints 
 and muscles for their flexion and extension? and surely it would not have derogated from the 
 expression and dignity of the figure in question, to have executed the detail of it with anatomical 
 fidelity. Nor must it have been a necessary consequence, that a more strict and definite observance of 
 the anatomy ol the component parts would have destroyed the elegance and celestial character of the 
 whole. 
 
 Some of the Lapithas in the Flgin collection exhibit the highest degree of elegance and 
 peifection in their contour, yet display a complete attention to anatomy and physiology in all their 
 component parts, and furnish a most incontestable proof that the combination of anatomical truth with 
 beauty neither weakens expression nor destroys character. 
 
 Whether this neglect of anatomical fidelity in the composition of the Apollo arose from ignorance 
 oi intention it is not possible to ascertain; but it is certain that most artists find it less difficult to 
 design from their own ideas than to copy perfect nature. 
 
 It is true that perfection in the human form is seldom or perhaps never met with in one 
 individual. Hence artists have very properly deemed it expedient to select beautiful parts from 
 several subjects and to combine them in one whole. But a figure so compounded cannot be 
 called ideal, nor does it prove that the mind of the artist can conceive any thing superior in beauty 
 to any of those individual parts which were thus selected. The chief cause of these partial 
 imperfections in the human figure, especially among the lower orders from whence models are 
 generally chosen, arises from an unequal exercise of the various parts of the body. Thus the arms of 
 blacksmiths, from the nature of their employment, become disproportionably large when compared 
 
15 
 
 with their legs, and the same disproportion occurs in the legs of chairmen when compared with their 
 arms. In models of this class there is an unremitting rigidity and contraction of muscle, arising from 
 
 t 
 
 hard labour, which destroys the appearance both of grace and elasticity. 
 
 The best models are to be found among the higher ranks of society, whose bodies experience just 
 sufficient exercise to preserve health and manly vigour, and whose muscles consequently shew none of 
 those harsh and abrupt intersections before mentioned. This extreme rigidity of muscular fibre is 
 remarkably perceptible in the arms of blacksmiths, watermen and canal diggers, where the tendon 
 of the biceps muscle becomes so stretched by violent and constant exertion that the muscle shortens 
 itself to such a degree as to ascend half-way up the arm, assuming the form of a ball, and giving 
 the lower part of the humerus, just above the elbow, a poverty of appearance and an unnatural 
 want of substance. 
 
 If it be necessary to adduce any further argument to expose the nonsense and absurdity of 
 the beau ideal, the following extract from a modern critique on Duppa’s life of Raffaelle, will furnish 
 a pretty ample specimen. 
 
 The critic observes, “ Notwithstanding the opinion of so great a judge (alluding to Algarotti) 
 Raffaelle was not exempt from faults, and the greatest of all seems his want of ideal beauty. It is true 
 he copied nature wherever he could find her, hut he copied her as she was. Plence he is inimitable in 
 painting men, but he is not so exquisite in painting women and angels. We allow, (continues 
 the critic) that the heads of his Madonne are beautiful, inimitably so, but that is the effect of 
 beauty in the expression, and not heauty in the abstract. The fact is, Raffaelle altered nature 
 for the better in regard to expression, but left her as she was in regard to beauty, occasionally we 
 
might find objects in reality more beautiful. Consequently be gave to his figures a very pleasing 
 expression, but he represented them as human persons. His Christ is a man compared with the 
 Jupiter or the Apollo in the Vatican.” 
 
 The above is the opinion of one of our modern critics respecting the beau ideal in art, and may 
 be fairly taken as the general sentiment of all the admirers of that incomprehensible hypothesis. 
 The absurdities and contradictions contained in it are too ridiculous for serious consideration, and 
 were it not that they constitute the basis of that chimerical standard of excellence by which all works 
 of art are estimated, they would be scarcely worth the trouble of refutation. 
 
 The first objection “ that he copied nature wherever he could find her, but that he copied her 
 as she was,"* and that hence, “he was inimitable in painting men, but not so exquisite in painting 
 women and angels,” is perhaps as entertaining a paradox as can be found in any book of conundrums 
 yet published. 
 
 From this doctrine it would appear that the cause of his being so inimitable in painting men, 
 (namely his close attention to nature), is to be taken as the reason why he did not excel in painting 
 ■women, and hence it might be inferred a priori, that men and women are not of the same species. 
 
 Lovers, it is true, have long enjoyed the privilege of transforming the fair objects of their adoration 
 into angels, but this is no reason why any artist, in his sober senses, should run into such extravagancies, 
 especially when any married man could in a moment set him right upon that subject. 
 
 * Another modern writer, and owe of the same school, in his remarks upon Raffaelle appears to contradict this position, for he says, that 
 it was his (Raffaelle’s) prevalent maxim that objects should be represented not as they are, hut as they ought to be” AVho shall decide &c. ! 
 
17 
 
 The next observation of the critic’s, that Raffaelle altered nature for the better in regard to 
 expression, but left her as she was in regard to beauty, is no less entertaining than the rest. What 
 can be meant by the first part of this observation, it is impossible to conceive, except it is to be 
 understood, that representations of human nature can be improved by giving them an expression 
 which is not to he found in nature. The latter part, that “ he left her as she was in regard to beauty” 
 is indeed true, and must be acknowledged by every admirer of art whose brain is not filled with 
 nonsense and absurdity, to be a most fortunate circumstance. This was the true and simple source of 
 his vast superiority, not only over his cotemporaries but also over all others of the present day; and 
 those pretended connoisseurs who, for the sake of an imaginary importance, attempt to detract from his 
 excellence, will ever fall into the same absurdities and contradictions as those above mentioned. 
 
 The effect of a strict attention to nature is also very perceptible in language. The following 
 passage in Troilus and Cressida, the work of the immortal Shakespear, presents one of the finest 
 illustrations imaginable. It is where Patroclus attempts to rouse Achilles from the inglorious state of 
 inactivity into which he had fallen. Thus he says, 
 
 “ Sweet, rouse yourself; and the weak wanton Cupid 
 Shall from your neck unloose his amorous fold, 
 
 And, like a dew-drop from the lion’s mane, 
 
 Be shook to air.” 
 
 It is worthy of observation that throughout this beautiful passage, there is not one high 
 
 u 
 
18 
 
 sounding or inflated word. The effect, therefore, clearly arises from the happy allusion to a very 
 simple and natural action of the animal in question. 
 
 For, what can exceed the effect of comparing the weak and wanton deity, inhabiting a warriors 
 breast, to a solitary drop of dew on the lion’s mane, scattered by a casual shake of his mighty neck, 
 with such instantaneous and complete dispersion, as to vanish in absorption by the circumambient 
 air? 
 
 It will not be amiss to close this subject with the anecdote of the Countryman and his Pig, 
 viz. a celebrated imitator of the cries of animals, at a public exhibition of his talents, drew down 
 thunders of applause for his imitation of the squeaking of a pig. A jealous rival, however, 
 challenged the performer to a trial of skill, and having procured a living pig, which he concealed 
 under his cloak, he attended on the stage at the time appointed. 
 
 The first performer immediately gave his imitations, and was applauded to the skies. The 
 latter then proceeded, and secretly pinched the animal which was under his cloak. Poor piggy, who 
 had nothing of the beau ideal about him, either in his person or his voice, began to squeak in the tone 
 natural to his forefathers; but, in spite of all his vocal exertions, was hissed oft the stage; nor could 
 the subsequent exhibition of this four footed performer, in propria persona, alter the verdict already 
 given. 
 
 The foregoing observations are to be understood as applying to the representation of those 
 objects which are seen in nature, and not to any fabulous or fictitious compositions. The ancient 
 artists, it is true, were in the habit of representing monsters partaking boLh of man and beast, such as 
 
19 
 
 Centaurs, Minotaurs, &c. ; but these were executed as illustrations of the fictions of their poets, 
 for instance, the combats of the Lapithae with the Centaurs; but although in these monstrous 
 combinations they overleaped the bounds of the creation, still, as is singularly manifest in the 
 works of Phidias, they adhered in the detail most closely to nature, in the formation of the 
 respective masses of the man and horse; whence it is evident that notwithstanding they considered 
 their art as auxiliary to poetry even in her wildest flights, still they were careful not to violate truth 
 in the formation of the component parts of the subject. Such indeed is the remarkable beauty of 
 proportion and anatomical fidelity displayed in those which are found in the Elgin collection, that 
 the senses are beguiled from reflecting on the extravagance of conception, which first gave birth to 
 such heterogeneous monsters, and that object becomes beautiful and interesting, which, under 
 the circumstances of bad proportion and defective execution, had been ridiculous and disgusting in 
 the extreme. 
 
 There is this peculiar distinction which will ever characterise all works of art, executed by 
 the standard of truth and nature, namely, that the longer they are scrutinized the more they 
 will improve upon the eye, whilst in all those productions that are the offspring of that mistaken 
 enthusiasm which spurns the simple character of nature, and assumes an ideal expression of its 
 own creating, the spurious fabric of false principles moulders away on a brief inspection, and excites 
 amongst men of discernment nothing but ridicule and contempt. 
 
 True genius consists in selecting the best objects that already exist in nature, not in creating 
 imaginary systems for itself. Nature is simple and unaffected, and most majestic when most simple; 
 and notwithstanding the constant attempts of vanity and self conceit, to mould her to the fleeting 
 
 d 2 
 
opinions of the clay, she still preserves her original form and character, especially in those parts 
 of the globe that are yet unsophisticated by the frivolities and absurdities of civilized man. 
 
 This simplicity and native dignity is remarkably manifest both in the Asiatic and North 
 American Indians, whose carriage is gracefully erect, and free from that lounging, rolling motion 
 which characterizes the common people of Great Britain. 
 
 The perfect simplicity of form in the Grecian countenance is peculiarly striking, and it is no 
 unreasonable hypothesis to suppose that it was the original form of the human face. It is certainly 
 the best adapted to display every expression of the mind, because the most trifling variation of line in 
 any of the features is sufficient for that purpose. It has however been customary to imagine that 
 the strong character exhibited in what is termed the Roman face, is alone capable of great expression 
 and effect. Such a face it is true carries with it great force, but it admits of little variation, is 
 utterly incapable of expressing the softer emotions of the soul, and rarely presents that dignified 
 serenity so peculiar to the Grecian feature.* 
 
 The extraordinary fidelity to nature which is manifested in the works of the ancient Greeks, 
 and so powerfully exemplified in those admirable specimens in the Elgin collection, has been 
 
 * It is a remarkable circumstance, that notwithstanding the human face is confined to so small a number of parts as the eyes, 
 nose and mouth, there are not to be found among the millions of human beings that inhabit the earth, two faces exactly alike. 
 
 This infinite, variety, although the means by which it is produced are inscrutable, is absolutely necessary to prevent that confusion 
 of persons which would otherwise take place. 
 
 The same variety may be traced in the resemblances of any popular character, whose portrait has been taken by several artists. A 
 general likeness may be discovered in them all, although in fact no two of them exactly agree in similitude either with each other, or 
 with the original from which they were taken. 
 
21 
 
 attributed by some to the frequent opportunities afforded them of beholding the naked figure. 
 But this circumstance alone would never have enabled them to attain such extraordinary perfection 
 without the aid of anatomy and physiology. We are accustomed in this country to see naked horses, 
 cows, dogs, &c., still we scarcely ever find any of those animals represented with tolerable correctness, 
 except by those artists who make that branch of design their peculiar study. The education of a 
 modern artist is generally confined to the study of the human figure, hence be forms his ideas 
 of quadrupeds upon that foundation alone, and hence the constant representation of human eyes, and 
 human expression in horses’ heads, or in any other quadruped he may have occasion to introduce. 
 
 Some of our modern commentators on works of art have bestowed great praise on the 
 representations of quadrupeds by Rubens, and have held them up as models for imitation. But 
 surely his lions’ heads cannot be beheld without smiling by any man who has ever seen that 
 animal alive. Human eyes and expression, together with a curled mane, in as regular buckle as a 
 Judge’s well dressed wig, are substituted for the straight and shaggy masses of hair, and that savage 
 dignity which are the peculiar characteristics of that noble sovereign of the forest. The style 
 in which they are executed is bold and vigorous, but it certaiidy would not have rendered it 
 less so to have adhered more strictly to truth and nature.* These extravagancies in works of 
 
 * It is, however, but justice to state, that at least one exception can be found to this general want of fidelity to nature in Rubens’s 
 animals. 
 
 It is in a painting of a dead lion, in the possession of Watson Taylor, Esq. 
 
 This admirable picture may be considered, for correctness in outline and chasteness and truth in colouring, as one of the finest 
 specimens of art ever produced. The true secret of its excellence consists in its having been painted from nature , and when compared with 
 
art when clothed with fine colouring, may be compared to the combination of bombastic and high 
 sounding words which hear no connection with each other, and which when analysed by a moment’s 
 reflection, are discovered to be downright nonsense. Some connoisseurs entertain an opinion 
 that correctness destroys freedom, and, in the preface to one of the catalogues of old paintings 
 exhibited in the British gallery, the following remark on the works of Rubens will be found, namely, 
 “ he never sacrificed freedom to correctness.” This is at least a very dangerous observation, even if it 
 were founded on sound principles, inasmuch as its obvious tendency must be to lead young artists 
 into the fatal delusion that correctness destroys freedom ; whereas in fact nothing can be free that is 
 not strictly correct ; for that which is not correct cannot be natural, and that which is not natural 
 cannot be free. 
 
 It is clear that the ancient Greek artists considered no one part of their subject as inferior 
 to another, for we find the same truth and the same skill exhibited in their horses as in their 
 men, and this undoubtedly was not accomplished without long and arduous study in every 
 department of their art. 
 
 “ Nil actum reputans, si quid superesset agendum.” 
 
 Taking a retrospective view of the foregoing strictures on the present state of art in this 
 country, the Author is aware of the consequences of assuming the bold and hazardous position 
 
 other works of the same artist, it furnishes a most triumphant proof of the superiority of productions derived from that source, as well as of 
 the folly of discarding that unerring standard of truth, for the ridiculous chimeras of imaginary perfection. 
 
23 
 
 of dissenting from doctrines and opinions which have been sanctioned by custom, and upheld 
 by academic authority. But lie begs to disclaim any motives of arrogant self sufficiency, or petulant 
 opposition. 
 
 The observations which he has offered have arisen from conviction, produced by long reflection, 
 and from an ardent desire to contribute, in his humble sphere, to the welfare of art in his native 
 land ; and however some may he inclined to dispute the validity of his arguments, he trusts 
 that none will doubt the purity of his zeal or the sincerity of his feelings. A time-serving policy 
 and an attention to worldly considerations would have dictated a more obsequious concordance 
 with the fallacies and prejudices of the day; but he who can compromise that genuine enthusiasm 
 and independence of mind, which the true feeling of art inspires, for the sordid expectations of gain, 
 is a traitor both to his own honour and to the best interests of his profession. 
 
 If what is here offered on this subject be true, it will stand the test of time; if false, it will 
 carry with it its own condemnation. To that test, therefore, he cheerfully submits, with the 
 consciousness of having endeavoured well, however inadequate his ability to accomplish the arduous 
 task. 
 
 That his pvork will betray both errors and imperfections he has but too much reason to 
 apprehend, but he derives consolation from reflecting that they are not the offspring of inconsiderate 
 haste, or wilful inattention. 
 
 Disdaining that mercenary spirit which actuates the unprincipled and barren spoliator of 
 other men’s labours, who, with the view of gaining priority of publication, sends forth to the 
 world, after the short space of two or three months employment, a composition which might at least 
 
occupy as many years, he has not to reproach himself with the dishonourable act of substituting the 
 ill-digested result of superficial investigation and precipitate construction, for that which the exertions 
 of a whole life would be scarcely sufficient to effect with any degree of justice to the superlative 
 excellence of a collection of art, that has no parallel in any specimens of human talent yet 
 discovered. 
 
 To those liberal and highly respectable Subscribers who have honoured him with their patronage 
 his sincerest gratitude is due; especially unto those who have personally exerted themselves in 
 promoting the welfare of his publication. 
 
 Rescued by their generous confidence from the risk and uncertainty of eventual popularity, 
 he has been enabled to overcome difficulties inseparable from the condition of those who, unaided by 
 celebrity and circumscribed in means, have to struggle in obscurity for their daily bread. 
 
DESCRIPTION OF THE PLATES. 
 
 IN the year 1801 the Earl of Elgin, at that time Ambassador at Constantinople, obtained permission 
 from the Turkish government to remove several relics of ancient Grecian sculpture from the 
 Parthenon, or Temple of Minerva at Athens. 
 
 Some difference of opinion has existed in regard to the propriety of that transaction, but it is 
 perfectly unnecessary for the Author of this work to enter on a vindication of his lordship’s conduct 
 on that occasion. His lordship may, indeed, with truth exclaim, “ non tali auxilio,” &c. Every 
 true friend to the fine arts, who is desirous that his native country should excel in that noble pursuit 
 of the human mind, will hail the day when Lord Elgin first conceived the intention of transporting 
 those wondrous relics to happier climes, where they have not only found a refuge from barbarian 
 hands, but are brought within the view of thousands who are thus enabled to appreciate their 
 superlative excellence, and who, but for their removal to this country, would never have enjoyed such 
 an exalted gratification. 
 
 The liberality with which his lordship opened his collection to British artists, for the purposes of 
 
26 
 
 study and improvement, is well known, and merits the manifestation of their gratitude by some 
 permanent memorial which would he no less honourable to those who gave, than to him who 
 received. 
 
 The Temple of Minerva or Parthenon, from which the sculpture which constitutes the subject of 
 the present essay was taken, was situated about the centre of the Acropolis, dhe whole edifice was 
 composed of the finest white marble, being about two hundred and seventeen feet in length, and 
 ninety-eight feet in breadth. It was supported by fluted pillars of the done order, forty-six in 
 number, viz. eight at each front, and fifteen on each side. These were about forty-two feet in height 
 and seventeen in circumference, and the distance from pillar to pillar was seven feet four inches. 
 
 The two fronts of the Temple stood East and West, and the former has suffered much more 
 injury than the latter. The pediments of these fronts were adorned with a profusion of statues 
 larger than life, and all of the most admirable workmanship, lhe metopes, or spaces between 
 the triglyphs of the columns, were embellished with groups in alto relievo, representing the combats 
 of the Lapithae with the Centaurs at the marriage of Pirithous; and the frieze of the cella was 
 decorated with a series of basso relievos, describing the Panathenaic procession to the lemple in 
 honour of the goddess Minerva. 
 
 The figures which occupied the pediments were arranged in the order exhibited in Plate 1, 
 which was taken from a drawing made upon the spot, under the direction of the Marcjuis de Nointel, 
 in the year 1683. By that drawing it appears that the figures were much less mutilated at that time 
 than they are at present. 
 
 It will be seen that the attitudes of the figures which occupied the pediment were adapted to the 
 
27 
 
 quantity of space afforded in their respective situations. Thus those figures which were placed at the 
 extreme angles of the pediment were made recumbent; for instance the Hyperion, the Theseus, 
 the Ilyssus, and the first figure in the group of the Fates. 'Those next adjoining were represented in 
 sitting postures; and those in the centre, where the greatest perpendicular extent was allowed, were 
 formed standing upright. The whole of these figures were most admirable in their execution, 
 but that which appears the best entitled to precedence is the 
 
 THESEUS.* 
 
 Plates 2, 3, 4, 5. No. 7E 
 
 The unrivalled excellence in the form and attitude of this figure claims the highest commendation 
 that can be bestowed on a work of art. When the position of the body is considered, the beautiful 
 and elegant sweep from the head to the knees is most striking. 
 
 * M. Visconti, a celebrated antiquarian, calls this figure Hercules. His opinion, it is said, is founded on the circumstance of its sitting 
 on a lion’s skin, and also on the similarity of the attitude to the ancient medal of the Crotonian Hercules, in the possession of the British 
 Museum. 
 
 The Author, having in a former part of this Essay acknowledged his ignorance in antiquarian matters, forbears offering any opinion 
 on this question, deeming it the safest course to follow the Synopsis published by the Museum, both in regard to the name of this figure 
 as well as of all the rest. 
 
 The subject of each Plate is numbered the same as the original in the Museum. It is possible, however, that the numbers on the 
 originals may be altered at some future period, in consequence of a fresh arrangement, but against such a contingency it is impossible 
 for the Author to provide. He therefore deemed it necessary to advert to that circumstance in order to account for any variation in 
 the numbers which may hereafter take place. 
 
 E 2 
 
28 
 
 The universal consent of action throughout every part of the trunk is such that the flexion is 
 no where interrupted, and the perfectly quiescent state of all the muscles of the abdomen gives it 
 that appearance of repose which it so well expresses. Nor would it be proper to omit noticing 
 the skdl and reflection of the ancient Greek artists, manifested by their close attention to such 
 minutiae as contributed to the general force and effect of their subjects. Thus the wrinkle shewn 
 above the navel of this figure clearly demonstrates that the descending action of the skin is arrested 
 at that point of the surface which is fixed and stationary, and tends, in a principal degree, to give 
 that wonderful semblance of pliability which beguiles the mind of the spectator from the recollection 
 that the surface is, in reality, but a hard and inflexible material. Such a circumstance would, 
 perhaps, be thought unworthy of attention in modern art, but it speaks volumes in support of 
 Athenian judgment and fidelity. 
 
 The left arm, upon which the figure rests, is thrown backwards, and. the triceps muscle, by 
 being shortened, becomes thicker in substance; hut this thickening is so skilfully performed as to 
 have no appearance of hardness or contraction, hut rather that of being perfectly flaccid and 
 moveable. The beautiful accuracy with which the processes of the elbow joint are described is 
 also worthy of observation. 1 he receding of the head of the thigh bone into the hip, in consequence 
 of the knees being expanded, bespeaks their anatomical knowledge; and the delicate undulations 
 and inflexions of the muscles of the thighs, combined with the accurate and regular form of the 
 tendons at their insertion into the leg, so clearly define each distinct part as not only to distinguish 
 muscle from hone, but in fact to substitute the character of flesh for marble. The knee joints, also, 
 are remarkably beautiful, and display most perfectly the mechanism of nature in that particular part. 
 
29 
 
 The shape of the left leg exhibits a fine masculine character and proportion combined with the 
 utmost symmetry and elegance. The vein which passes down the surface of the leg proves that 
 the Greek artists of that period considered the observance of such minutiae as necessary to the 
 completion and perfection of their works. 
 
 The same delineation of veins may be seen in the torso of the Neptune in the same collection, 
 and this circumstance clearly shews, that, in the personifications of their deities, they adhered to the 
 same system of giving to the body and limbs all the natural attributes of humanity. This fact is 
 worthy of remark, because, in the Apollo, and in other works of that date, this practice has not been 
 adopted, and the omission of it has been constantly defended by the connoisseurs of the present day, 
 on the plea that as the figures were intended to represent gods, they should he divested of any of 
 the common indications of mortality. 
 
 The back of this matchless figure is so grand and so beautiful that nature herself might have 
 been proud to have produced it. The graceful curve of the posterior muscle of the neck, and 
 the delicate protuberance of the first vertebra of the back, are worthy of observation. The well 
 regulated amplitude of the shoulders, and the correct and just disposition of the muscles belonging 
 to them, are singularly conspicuous; for although the risings and sinkings of the different masses 
 are marked with boldness and decision, still they melt so thoroughly into each other, as to preserve 
 the same breadth and harmony as is seen in nature. The trapezius muscle is shewn with great 
 accuracy and judgment, for it will be seen that at its termination it is not equally divided by the 
 back bone, as it would have been, had the body been in a perfectly straight direction; but as 
 the left shoulder is thrown back, all that side of the back bone becomes narrower, and consequently 
 
30 
 
 that portion of the trapezius partakes of the same diminution in breadth. These points may appear 
 hut trifles to a superficial observer, but they constitute, nevertheless, the true secret of that pliancy 
 which so amply distinguishes these matchless works from all others whatsoever. 
 
 I he mutilated remains of the head and face, if viewed on the right side, are still sufficiently 
 perfect to denote its noble and decided character. “ Os humerosque deo similis.” 
 
 (hi the whole this admirable specimen of Grecian sculpture combines in such a transcendent 
 degree the various qualities of dignity in attitude, elegance and proportion in form, and anatomical 
 fidelity, that were it the only relic of that immortal school, it would he fully sufficient to confirm all 
 the records of their taste and skill, and to justify the observation of an ancient writer on the merits of 
 those great artists, 
 
 “ Totamque infusa per artus 
 Mens agitat molem et magno se corpore miscet.” 
 
 When compared with the productions of a later date, such as the Apollo, Antinous, Meleager, 
 and the celebrated Torso, so much studied by Michael Angelo, its superiority is most forcibly 
 manifest. * 
 
 * That the Author is not singular in his opinion respecting the inferiority of the Apollo when compared with the Theseus, the 
 following extract from the evidence given before the Committee of the House of Commons will amply testify. 
 
 In that report it will be found that Sir Thomas Lawrence and Mr. Westmacott, in the true spirit of open and liberal conviction, and with 
 a candid relinquishment of early professional prejudices, gave their testimonies on that occasion in the following clear and unequivocal 
 manner. Mr. Westmacott, on being asked “ in what rate he should place the Theseus, and the lliver God, as compared with the Apollo 
 
 1 
 
31 
 
 The Torso, the perfection of which it would have heen heresy but a short time ago to have 
 doubted, is a compound of manner, anatomical error and bombast. The thighs, which are of an 
 overcharged and unnatural form, are stuck on to the body without the appearance of any joint 
 whatever, and in contradistinction to that receding action of the head of the thigh bone so beautifully 
 and correctly described in the Theseus, they appear to expand at the hips instead of being confined 
 within the joints, and hence the distance between their inner surfaces is so great as to he in direct 
 opposition to the truth of nature. 1 iie weight of a body naturally flattens the seat when in a sitting 
 posture, but this figure seems as if seated on two round balls, which form cannot occur in the glutaei 
 muscles when they are pressed upon by the weight above them. The right thigh is so unnaturally 
 curved as to have the appearance of the bone being broken, and the inferior surface is loaded with 
 
 and the Laocoon ;” replied, “ infinitely superior to the Apollo Belvidere.” And a little further he observed, in answer to a question 
 respecting the comparative merit of the Theseus with the Ilyssus, that “ the back of the Theseus was the finest thing in the world, and that 
 the anatomical skill displayed in the front of the Ilyssus was not surpassed by any work of art.” 
 
 On the same occasion, Sir Thomas Lawrence stated that “ he thought the Elgin Marbles were of a higher class than the Apollo 
 Belvidere, because he considered that there was in them an union of fine composition and very grand form, with a more true and natural 
 expression of the effect of action upon the human frame , than there is in the Apollo , or in any other of the most celebrated statues .” And in 
 another part of his evidence, in confirmation of his opinion that “ the truth and imitation of nature added to their value,” he observes, 
 “ ^ lere i s i n them that variety which is produced in the human form, by the alternate action and repose of muscles, that strikes one 
 particularly. I have myself (he continues) a good collection of the best casts from the antique statues, and was struck with that difference 
 in them on returning from the Elgin Marbles to my own house.” Such were the opinions of those gentlemen, and it is but justice to them 
 to take the present opportunity of observing that they discharged their duty with a proper feeling for the true interests of their profession, 
 disdaining any unworthy subserviency to modern dogmas, or antiquarian fastidiousness. 
 
32 
 
 fleshy and partial protuberances in a part where it should describe nothing but the straightness 
 and regularity of the tendons of the flexor muscles. 
 
 The surface of the body, especially the shoulders, is covered with unconnected masses of flesh, 
 destroying that breadth and harmony which are so manifest in the shoulders of the Theseus; and 
 it is no defence to urge that it was designed for a Hercules, for such a confused and undefined 
 distribution of protuberant parts, so far from conveying any just idea of muscular power, produces 
 the opposite effect by giving the surface an appearance of flabbiness and disease. 
 
 In the legs of the Theseus, the knee joint is most beautifully anti correctly designed, being 
 perfectly free from that tortuous articulation so conspicuous in all figures of a bad taste. Indeed it is 
 a peculiar feature in all the works in this collection, and strongly characteristic of the skill and 
 judgment displayed therein, that the joints are all perfectly defined and understood, yet modulated 
 sufficiently to prevent them from disturbing the general harmony of the limb by being too marked and 
 prominent. 
 
 In the Apollo, the Antinous, and the Meleager, the different portions of the limbs appear to run 
 one into the other without preserving sufficiently those divisions and distinctions which are necessary 
 to give the idea of flexion and extension. This is an affectation of ideal nature, the offspring of 
 a false taste and vitiated conception, and undoubtedly is the cause of that stiffness which marks 
 the outlines of those figures, but which, according to the notions of some modern artists, constitutes 
 what they choose to denominate a square, classical and refined style of composition. 
 
 . 
 
33 
 
 THE ILYSSUS. 
 
 Plate 6. No. 70. 
 
 Th is beautiful recumbent statue represents the personification of a small stream that ran along 
 the south side of the plain of Athens. 
 
 It was placed on the left angle of the west pediment of the Parthenon. Its fidelity to nature is 
 equally conspicuous as in the Theseus, and the anatomical skill of the artist is manifested in an 
 extraordinary degree in the correct distinction observed between the muscles that are in action 
 and those that are in a quiescent state. 
 
 On the upper surface of the body the line is simple and flaccid, changing its form only in 
 compliance with the bones of the pelvis. In the under surface the oblique muscles of the abdomen 
 appear perfectly pliant and pendulous, as well as the muscles of that thigh which is uppermost, and 
 the modulation of the knee of the lower thigh is such as to baffle all attempts at panegyric. The 
 division of the chest from the abdomen is most admirably described, and the partial protuberance of 
 the surface on the lower side clearly points out the seat of the stomach, which, in consequence of 
 the position of the body, is pressing against that particular part. The composition of this figure 
 alone is sufficient to refute the idea that the Greeks did not study anatomy, for the mere observance 
 of the surface of the naked figure would never have imparted that skill which is so manifest in this 
 admirable production. 
 
 F 
 
34 
 
 THE CUPID. 
 
 Plates 7 and 8. 
 
 This beautiful figure has given birth to much speculation in regard to the object it was intended 
 to represent, especially as there is no account of the precise situation in which it was found, or 
 to what building it originally belonged. The most prevalent opinion appears to be that it was 
 designed for a Cupid. The only appendage that remains is a belt, which passes from the right 
 
 shoulder across the breast to the left oblique abdominal muscle, whilst another part of the belt takes 
 
 the opposite direction; but this portion does not derive its origin from the left shoulder, but 
 
 commences at the breast, and loses itself by melting into the surface of the body just above the right 
 
 hip. A third portion of the belt drops perpendicularly from the breast, and terminates in the 
 mutilated surface of the recti muscles of the abdomen. The figure was supported by being attached 
 to the trunk of a tree on the left side from the knee nearly up to the hip, as is indicated by the 
 mutilated surface of the thigh. The left arm was thrown backwards and bent at the elbow, and most 
 probably the hand was resting on the trunk or post. The head was turned to the right side, as 
 appears by the hair dropping lowest on the left side of the neck. The hair was evidently left in an 
 unfinished state. 
 
 Although the head, hands and one of the feet are lost or destroyed, still there is more of 
 the surface of this figure in its original polished state than is to be found in any other specimen 
 in the collection. 
 
 There is a figure at Rome known by the appellation of the “ Genius of the Vatican,” 
 

Hich a Lawrence deL c & saJpszt. 
 
 london IWUrficd \v Bich d Xawrau-c. it, 1<91J . 
 

35 
 
 which, in regard to size and attitude, hears a considerable degree of resemblance to the 
 present subject. The head and trunk are perfect, but the lower parts of the arms aie wanting, 
 neither is there the appearance of any belt whatever. It is a half length figure terminating at 
 the pubis. 
 
 A cast of this figure was placed by the side of the one in question for the purpose ol comparative 
 investigation, and its inferiority was singularly manifest. The body was totally devoid of that 
 beautiful serpentine inflexion which so eminently distinguishes the Elgin statue, whilst the right arm 
 appeared as if it was stuck on to the shoulder and thrust into the side. 1 he surface was destitute of 
 that delicate undulation which gives the true resemblance of flesh, and all the divisions ol the body 
 were marked in that hard systematic manner which totally destroys all indication of motion 01 
 flexibility. 
 
 If this figure was intended for a duplicate of that which is in the Elgin collection, it is most 
 probable that it was executed by recollection only. At all events it affords a triumphant proof of the 
 vast superiority of the Elgin relic. 
 
 In the Elgin statue the distinguishing points consist in the extreme simplicity and elegance 
 of the attitude, and the sweet and delicate inflections and undulations of the surface. The difference 
 between parts in action and those in repose is strictly observed in this figure as well as in all the lest 
 in this matchless collection. The left thigh and leg, by which it is principally supported, shew 
 that firmness and rigidity of muscle which is the necessary attendant on action, whilst in the 
 right thigh and leg, which are resting simply on the toes, the muscles are all relaxed and pendulous, 
 giving that beautiful inflexion to the inside of the thigh which so correctly distinguishes it fiom 
 
 e 2 
 
36 
 
 the action of the other. The length of the thighs also gives them a very elegant and graceful 
 proportion. The division of the body from the limbs is most delicately shewn by a just difference in 
 the degrees of projection of the oblique muscles of the abdomen, according to the different degrees of 
 convexity in the various parts of the hips, and not by that hard, regular and equally protuberating 
 line which marks all figures of a bad taste. 
 
 Having thus feebly attempted to describe its superlative beauty and excellence, the Author 
 confesses his inability to throw any light on the personification of this figure. Exhibiting in its form 
 that semifeminine character which is descriptive of the youthful and graceful male, it might with 
 equal propriety have been designed for a young Apollo, an Adonis, a Ganymede, an Endymion, or a 
 Hymen, as for a Cupid. At all events it is a most interesting composition, and manifests the same 
 pure and exalted sentiment combined with that strict attention to nature, which renders this 
 incomparable collection so pre-eminent over all other specimens of art yet discovered. 
 
 At the time when the Elgin collection remained at Burlington House, this statue was 
 scattered in fragments on the ground; and, owing to that circumstance, its extraordinary beauty was 
 not discovered until Mr. VVestmacott joined the parts together in that skilful and correct manner 
 in which it now appears. 
 

37 
 
 HYPERION. 
 
 Plates 9 and 10. No. 65. 
 
 This group represents the God of Day rising from the Ocean, to run his course. 
 
 It was placed at the right extremity of the eastern pediment: the arms of the figure are 
 extremely fine, and exhibit the appearance of strength combined with elegance. The head of the 
 right hand horse, which is the only one remaining, is full of fire and animation, and the concave 
 incurvation of the nose presents a peculiarity of form that is frequently found amongst horses of the 
 Arabian and Barbary breeds. 
 
 Of the head of the figure no fragment remains, and it might furnish a subject for some 
 speculation whether the hair was represented dripping with moisture, or whether it preserved 
 that beautiful curling of the tresses which usually embellishes the God of Day. 
 
 That the manes of the horses in this group conveyed no appearance of being wet is evident 
 by the forelock of the right hand head, which is not pendulous, but flowing upwards to the 
 vertical point of the skull, and which direction would not have been consistent with the idea 
 of its being wet. 
 
 The surface of the water very properly exhibits that gentle ripple which would take place 
 at the gradual emerging of a body from the Ocean, accompanied with a slight indication of an 
 eddy behind the shoulders of the figure; and corresponds with that tranquil and majestic rising 
 of the sun which may be seen at sea, and which is so beautifully represented in the matchless pictures 
 by Claude Lorain. 
 
38 
 
 The Plate preceding this (No. 9,) represents the horse’s head belonging to this group in its 
 present mutilated state, together with the same restored. 
 
 THE IRIS. 
 
 Plate 11. No. 7-4. 
 
 The remains of this figure are sufficient to indicate the original excellence of its composition. The 
 speed with which the messenger of the gods is supposed to move is finely expressed by the position of 
 the legs, as well as by the floating of the drapery in the surrounding air. The fragment which 
 is attached to the shoulders is what remains of the veil which was represented as acted upon by 
 the wind in conjunction with the rest of the drapery. 
 
 This figure was placed in the eastern pediment, near to the centre. 
 
 THE FATES. 
 
 Plate 12. No. 63. 
 
 I ins group, when in its original situation, consisted of three female figures. The first was made 
 recumbent in order to accord with the angle of the pediment; of the two others which are in 
 sitting positions, the second sits very low in consequence of the leg and thigh being brought 
 close together, by which means it is also better adapted to the space which it occupies than it 
 otherwise would have been. The third is sitting with the thighs perfectly horizontal. 
 
/tn / ,/ Z nwranco del.& j-ci/J/zr/t 
 
The figures are so much mutilated that the drapery constitutes at present the chief beauty of the 
 composition. The detail of the folds is extremely minute and elaborate, hut it is so judiciously 
 arranged and so happily contrasted with the broad expansion of opposing parts, as to have the 
 finest general effect, and to exhibit at a distance a proper breadth and distinction of masses. 
 
 The disposition of the folds betrays no marks of formality or studied design; on the contrary, 
 every fold appears to be the result of an accidental direction given to it by some fortuitous change 
 in the position of the body. The same attention to the finishing of the posterior side of the figures 
 is manifested in this group as it is in the Theseus and Ilyssus, although those parts could not be seen 
 when placed in the pediment; and this circumstance proves that such was the love of their art 
 cherished by those eminent sculptors that they could not leave any part of their works unfinished, 
 even in cases where such a neglect could not have been detected. The left arm of the second figure, 
 when viewed behind, is extremely beautiful. 
 
 This group was placed at the angle of the eastern pediment. 
 
 CARYATIS. 
 
 Plate 13. No. 43. 
 
 The entablature of the Temple of Pandrosus was supported by six of these figures. According 
 to Vitruvius, it appears that after the defeat of the Persians, and the destruction of the city of Carya, 
 the architects of those times placed female figures of this description in public buildings to 
 perpetuate the ignominy of those who deserted the cause of liberty and their country. 
 
40 
 
 The style of this figure, as far as the subject will admit, is very elegant, and the drapery is 
 so disposed as to give the lower part the resemblance of a fluted column. 
 
 It has been reported that the removal of this figure occasioned particular uneasiness to the 
 present inhabitants of Athens, who state that from that period lamentations have been heard 
 every night on the spot which it occupied, supposed to proceed from the figures that are still 
 remaining. 
 
 What effect this doleful tale may have had on the minds of our British dilettanti at large 
 there are no particular means of ascertaining, but it is certain that an English nobleman has 
 had a fac simile of the Caryatis in the British Museum moulded in artificial stone, to be sent 
 to Athens for the purpose of replacing that which was taken away. Whether the remaining 
 five will be satisfied with this representative of their departed sister remains to be proved, but 
 the circumstance is at least honourable to the feelings of the nobleman above mentioned. 
 
 Of the other two figures contained in this Plate, the one represents a young Esculapius, 
 the other a draped figure unknown. 
 
MM. 
 
 Rich A Zan'rerue id c-c • 
 
 IcnALcmJ\ib~lUhd Richer, xHrsruz. 1* April. 1313. 
 
41 
 
 HORSE’S HEAD 
 
 BELONGING TO THE CAR OF NIGHT. 
 
 Plate 14. No. 68. 
 
 This admirable production of art exhibits such a close imitation of nature, as almost to induce 
 the belief that it was moulded from a living head. The principle of life seems to vibrate in 
 every line, and the expression is so true and indicative of that sprightly ardour which distinguishes 
 the noble and generous stud, as to correspond fully with Virgil’s beautiful description ; 
 
 “ Primus et ire viam, et fluvios tentare minaces audet.” 
 
 Some artists, as well as connoisseurs, have considered this to be an ideal head, but such 
 an idea is perfectly erroneous. It is true that it differs from that coarse and fleshy character, 
 and the ram-like nose which so strongly characterise Rubens’s horses, as well as the common 
 cart-horses of this country, and which are originally of the Flemish breed. But numerous living 
 subjects may be discovered amongst race-horses, and the better bred coach-horses, the heads of 
 which are perfect fac similes of this exquisite model. 
 
 The full prominent eye, the lean and capacious nostril, the deep and pointed mouth, and 
 the flat cheek, are all points of beauty in this elegant quadruped, and though not so frequently seen 
 as the coarse and common form, are nevertheless strictly natural. This sort of head in the horse 
 may be compared to the Grecian face in the man, and equally constitutes the principle of beauty. 
 
 In examining the detail of the execution of this excellent piece of sculpture, artists will do well 
 
 (3 
 
42 
 
 to observe that there are none of those irregular lines in the eye-lids, nostrils and lips, which mark 
 the style of most of the old painters, and indeed of the modern in their representations of this 
 animal. Irregular lines are erroneously supposed to give freedom and force to the parts in question, 
 but in reality they produce the opposite effect; for, when the eye-lids are raised and opened to 
 their lull extent, the outline must necessarily be regular and uninterrupted, owing to the tension 
 which takes place in the skin ; and the same rule applies to the nostril when in a state of distension 
 from increased respiration. 
 
 The mouth also, when acted upon by the bit, is stretched upwards towards the neck, and 
 in that state the outline ot the lips must be smooth and regular. Moreover, wrinkling of the 
 skin denotes relaxation, and the two opposite actions of tension and relaxation cannot take place 
 in the same part at the same time. 
 
 This matchless head, when compared with those of the celebrated Venetian bronze horses, 
 and with that in the Monte Cavallo group, and further with that of the equestrian statue at 
 Charing-cross, and with all others of modern date, is infinitely superior in every point of view. 
 I he Venetian heads are heavy and undefined masses, having no indication of bone in them, 
 and appearing as it swoln by disease, and are in no degree entitled to that praise which has 
 been bestowed upon them. The head of the animal in the Monte Cavallo group (for it may 
 be called any thing but a horse) needs no comment whatever.* 
 
 It is a matter of considerable doubt whether the horse originally formed a part of this group. 
 
 The attitude of the man is that of a Gladiator defending himself with a shield, as is evident by the points of attachment of the strap on 
 the inside of the arm, and also by the position of the arm itself. 
 
43 
 
 In the statue at Charing-cross, the eye of the horse resembles the human in the oval shape 
 of the eye-lids and in its being placed in the front of the head instead of the side. Of all the 
 rest it is only necessary to say, “ex uuo disce omnes.” 
 
 The expression of the head in the Elgin collection has been erroneously described by some 
 connoisseurs, as that of a horse neighing, when, in reality, it has not the smallest resemblance 
 to that action. The mouth is open, it is true, but it does not necessarily follow from that 
 circumstance, that the animal must be in the act of neighing. The expressions of the horse are very 
 few in number, and may, in fact, be confined to three, namely, fear, anger, and desire. The 
 distinctions between these are well marked, and cannot be mistaken by those who have studied 
 the form and attributes of the animal with attention. In the human countenance there is a much 
 greater variety, many of the expressions being of a compound character ; but in the horse they are 
 simple and decided. 
 
 The variation in the expression of the horse’s countenance is produced chiefly by the change - 
 ot position in the ears, and in the outline and capacity of the nostrils. These changes are very 
 simple and distinct, and are invariably the same in every individual of the species. The most 
 beautiful and animated expression which the horse exhibits is that of desire. This is always 
 accompanied by neighing, and at the same time the ears are projected forwards, the eye-lids are 
 
 The right hand also exhibits the position of holding a sword. Had the man been in the act of restraining an impetuous horse, the 
 inclination of his body would rather have been backwards than forwards. 
 
 G 2 
 
44 
 
 elevated above the transparent circle of the eye, shewing the white part, and the nostrils are 
 distended and thrown downwards towards the points of the lips, having a vibrating motion in 
 unison with the shake of the voice, whilst the mouth is moderately open, to the extent perhaps 
 of an inch. 
 
 In the head in the Elgin collection the ears are erect and pointing backwards, the eye-lids 
 shew their common degree of expansion, the nostrils, instead of being dilated and thrown 
 downwards, are expanded and drawn upwards towards the eye, the under lip is retracted, whilst 
 the mouth is drawn upwards to the greatest extent, and which is the natural consequence of 
 the action of the hit when the animal is forcibly restrained by the bridle. The expression, therefore, 
 of this head is that of an ardent and impetuous horse pulled in by the hand of the driver. 
 
 The expression of fear bears some similarity to that of desire, in the projection of the ears 
 forwards towards the object, the protrusion of the nostrils downwards, and the elevation of the 
 eye-lids ; but it is distinguished by the mouth being invariably closed, and not open as in neighing. 
 
 In the expression of anger the very reverse of these appearances takes place in every respect; 
 for the ears are violently contracted and drawn backwards and downwards on the poll of the 
 neck; the mouth is opened, the lips separated so as to shew the teeth, the upper lip being elevated 
 to its utmost extent, the nostrils compressed and drawn upwards so as to be nearly closed, and 
 the skin of the nose thrown into transverse wrinkles. 
 
 It is necessary to remark that there is a trifling peculiarity in the head in the Elgin collection 
 which has given birth to a conjecture that some particular effect was intended to be produced by it. 
 
45 
 
 This peculiarity consists in the right eye being somewhat lower and nearer to the nostril than 
 the left. But this variation is evidently increased by the circumstance of the left eye-lid being 
 greatly corroded, so as to have lost nearly half an inch of surface, whilst the right eye-lid is 
 perfect and in its original state. The head also inclines horizontally to the left side, which 
 naturally contributes to raise the right eye above the left. The foregoing physiognomical distinctions 
 may perhaps be thought trifling by those who consider it to be sufficient, in their representations 
 of quadrupeds, to give nothing more than the general character of each animal. But this indifference 
 to variety of expression is not merely the result of custom but of ignorance arising from neglecting to 
 study nature with that attention and precision which are indispensably requisite to attain truth and 
 excellence. 
 
 That the Greek artists considered such a system of study as not only not unworthy of their 
 attention, but absolutely essential, is proudly manifest in their admirable productions, and holds out 
 an example worthy of imitation in modern times. 
 
 To this want of skill in Hippiatrics amongst modern artists and connoisseurs may he ascribed 
 those inapposite similes and illustrations of this head which have been taken from the hook of Job, 
 such as “ he neigheth afar off,” and “ his neck is clothed with thunder,” the latter of which 
 must necessarily appear ludicrous when applied to a horse that is hog-maned, as is the case wilh 
 the specimen above mentioned. 
 
46 
 
 THE CENTAURS AND LAPITHtE. 
 
 These beautiful groups in alto relievo occupied the external frieze of the Temple at the height 
 of about forty feet from the ground. They were ninety-two in number, and were placed alternately 
 between the triglyphs of the columns. 
 
 They illustrate the combats of the Lapithae with the Centaurs at the marriage of Pirithous 
 as related by Ovid. In some of these groups the Lapithae are represented as victorious, in others 
 the Centaurs. The extraordinary excellence displayed in them may be considered as of a twofold 
 description, inasmuch as the latter partake equally of the form of the man and of the horse. There 
 is however a considerable difference in the degree of merit amongst them, as well as in regard to their 
 state of mutilation. 
 
 Plate 15. No. 1. 
 
 In this group the Centaur is represented as victorious, and the difference of action and expression 
 between the two figures is admirably supported throughout. 
 
 The death-like inanition of the Lapitha, opposed to the triumphant air of the Centaur, is managed 
 with great skill and judgment. The extension of the left arm of the Centaur, and the whisking of the 
 tail upwards, give the character of exultation, whilst the horizontal position of the Lapitha and the 
 pendulous state of the head, with the shoulders raised upwards and the arms held close to the sides, 
 as if in the moment of expiring, furnish the most complete contrast imaginable. Nor should 
 

JtJ. 
 
 LamcUm FuMished Tjy Rich' 1 Lawrence l? April ISIS 
 
47 
 
 the judicious disposition of the legs of the Lapitha pass unnoticed, especially the right leg, 
 which, by the elevation of the knee, prevents that uninterrupted parallelism of lines which would 
 otherwise have existed between the bodies of the two figures. 
 
 The skin held by the left arm of the Centaur is a remarkably close imitation of nature, and 
 although composed of marble has all the appearance of leather. The shape of the Centaur is very 
 elegant and beautiful, particularly the horse part. The form of the hind quarters and haunches 
 is finely understood, and the angular flexion of the different parts so correct, as to preserve a proper 
 equilibrium and centre of gravity to the body. 
 
 Plate 16. No. 3. 
 
 This group has been supposed to represent the chief of the Centaurs in the act of carrying off 
 the bride, but as there were other females at the marriage feast who were borne away by different 
 Centaurs, of course there is no certainty as to the identity of this particular group. 
 
 The attitude of the Centaur, although in a state of progression, is not so elevated as in some 
 of the rest, the body inclining backwards to counterbalance the weight of the woman whom he 
 is canying. fhe right hand was originally raised upwards above the head, and held the wrist 
 of the right arm of the female, whilst the left hand held the other. The composition of the whole 
 possesses considerable merit, but the execution is not of so high a cast as that of No. 1 preceding. 
 
48 
 
 Plate 17 . No. 6. 
 
 This may with justice be considered the most beautiful specimen among the Metopes, as it exhibits 
 an elegance of character superior in most respects to any of the rest. It represents the Lapitha 
 in the act of pushing the Centaur backwards. For this purpose the left hand of the man is locked 
 fast with the left hand of the Centaur, and the straight forward vigorous action of the arm of 
 the former is finely contrasted by the ineffectual resistance described in the bent arm of the latter. 
 
 The extraordinary elegance in the form of the left leg and thigh of the Lapitha is not exceeded 
 by any specimen of art extant, nor does the beauty of the body fail to accord with the excellence 
 of the limb. The same exquisite symmetry and elegance pervades the whole figure of the Centaur, 
 and his nearly subdued state is well expressed by his tail tucked inwards, as well as by the position 
 of the hinder legs, which clearly denotes the moment of losing his equilibrium. 
 
 Plate 18. No. 7- 
 
 In this group the Lapitha is performing the opposite action to that represented in the preceding 
 Plate, namely, endeavouring to pull the Centaur over backwards, as is shewn by the left arm and 
 hand encircling the head of the Centaur. The position of the figure is superlatively grand 
 and sublime, and affords a most convincing proof that the greatest energy and exertion may be 
 expressed without having recourse to that violent and abrupt intersection and that overcharged 
 fulness of muscle which characterise the works of Michael Angelo and others of that school. 
 
49 
 
 The moment of collecting his strength, and the involuntary suspension of respiration which 
 is necessarily produced by the violent contraction and rigidity of the muscles of the trunk, are 
 most admirably and correctly shewn by the consequent concavity of the external line of the belly, 
 and the increased bulk of the chest arising from the stomach and the intestines being forced by 
 the contraction of the abdominal muscles upwards against the diaphragm. The right thigh is 
 most beautifully described both in regard to form and anatomical precision, and yields, in those 
 points, to nothing in the collection. The entire contour of this figure is most graceful and vigorous, 
 and presents a high specimen of the chaste and exalted style of Grecian sculpture at that period, and 
 it is worthy of observation that, in this figure as well as in all the rest of the Metopes, the superior 
 and posterior parts of the shoulders are executed with an astonishing beauty and fidelity. These 
 parts, however, are unfortunately out of the reach of the eye of the spectator. 
 
 The Centaur in this group is inferior to those in No. 1 and No. 6 in the horse part; evincing 
 no particular skill or taste in the composition or in the detail. Mr. Visconti, and others who 
 have followed him, erroneously describe the Centaur as having his hands tied behind him, whereas 
 the left hand and arm were raised upwards, as is proved by the hand still remaining attached to the 
 left side of the head, as well as by the form and position of the left shoulder and the remaining part 
 of the humerus, which evidently take a direction upwards. The broad mass of expanded drapery 
 behind the figure gives a fine relief to the body, and proves that the artist knew how to avail himself 
 of such an appendage. Some connoisseurs have supposed that this figure, from its size, was intended 
 as the personification of Theseus, but this of course is mere matter of conjecture. 
 
 H 
 
50 
 
 Plate 19. No. 9. 
 
 Exhibits the Lapitha as nearly subdued by the Centaur. The figure of the man is very happily 
 disposed, and shews great elasticity in every part. The countenance conveys the expression of pain 
 mixed with alarm. The right foot is singularly chaste and beautiful, and may be considered a 
 master-piece of art in that difficult branch of it, the formation of the extremities. 
 
 The face of the Centaur presents the feelings of anger and determination, and the body is well 
 and correctly defined in regard to the action, and the consequent variety in the form of the muscles. 
 
 Plate 20. No. 11. 
 
 In this group the Centaur is very inferior both in form and execution. The figure of the Lapitha is 
 extremely animated, and produces, conjunctively with the position of the Centaur, what is termed in 
 art, a pyramidal group. There is some good marking about the right leg and thigh of the man. 
 
 Plate 21. No. 12. 
 
 The Centaur, which is all that remains of the original group, is one of the finest representations 
 of that heterogeneous animal in the collection. The shape of the horse part is remarkably beautiful, 
 and is such as any connoisseur in horses would prefer. The anatomical correctness of the leg is 
 admirable in every point of view. 
 
 
51 
 
 Plate 22. No. 14. 
 
 Presents a very elaborate and correct group. The arrangement of the limbs of the figures is 
 both free and masterly, and the entwining of their legs with each other gives a mutual suppoit to 
 their respective positions. The forcing up of the lower part of the thigh of the Lapitha, in consequence 
 of the pressure against it from the knee of the Centaur, marks that close attention to the real and 
 actual appearance of parts in the human frame, when under the influence of particular actions, which 
 governed the operations of those pre-eminent sculptors. 
 
 There are seven more Metopes besides those here described, but as they are either very much 
 mutilated or are very inferior in original excellence to the rest, the Author did not consider them 
 of sufficient importance to be introduced into bis work, especially as its circumscribed limits would 
 not have admitted their insertion except by the exclusion of more interesting specimens from 
 other branches of the collection. 
 
 In the composition of these admirable groups in alto relievo, the variety of attitude is very 
 remarkable, especially when it is considered that the limbs were kept as parallel as possible with 
 the surface of the tablet, for the purpose of preventing them from being exposed to the risk of 
 being broken, the probability of which would have been much increased had they projected 
 in a more oblique or in a point blank direction. 
 
 h 2 
 
52 
 
 PANATHENAIC PROCESSION 
 
 IN BAS RELIEF. 
 
 The exterior surface of the cella of the Parthenon within the colonnade, at the height of the frieze 
 of the pronaos, was embellished by an uninterrupted series of sculpture in bas relief round the 
 Temple. J he subject represents the sacred procession which took place at the great Panathenaea, a 
 festival which was celebrated every fifth year at Athens, in honour of Minerva, the patroness of 
 the city. 
 
 The major part of those in the British Museum consist of the original compositions in marble; 
 the rest (fifteen in number) are casts in plaster of Paris, the originals having been left at Athens 
 by Lord Elgin, in consequence of the impracticability of removing them without destroying a 
 considerable portion of the budding to which they belonged. It is manifest, from the appearance of 
 these casts, that the originals are less mutilated than most of those which were brought to this 
 country, and it is to be hoped that some measures will be adopted to procure them, as they 
 would form an invaluable addition to the present collection. 
 
 The remains of these bas reliefs are composed principally of equestrian groups of Grecian 
 youths moving in procession. There are also several chariots besides groups of cattle for 
 sacrifice; whilst some of the slabs are supposed to represent an assemblage of divinities and 
 heroes. 
 
 In contemplating these equestrian groups, the spectator is at a loss whether most to admire the 
 sprightly and vigorous action of the horses, or the skill, ease, and grace of the riders. 
 
i ZXpnU&U 
 
53 
 
 15 Fra&na Pelethronii Lapithae gyrosque dedere 
 Impositi dorso, atque equitem docuere sub armis 
 Insultare solo, et gressus glomerare superbos.” 
 
 In the distribution of the limbs of the horses the artist has shewn the closest attention to 
 the various actions of which the animal is capable. In the pace of the gallop, as represented in 
 these groups, the hind legs are very properly brought under the body at the same moment when the 
 fore legs are thrown forwards; the common mode of expressing that action with modern artists 
 being by an equal extension of the fore legs forwards, and the hind legs backwards at the same time. 
 1 his position, however, is utterly false, and in direct opposition to the evidence of nature. The 
 horses, in these compositions, like all those bred in hot climates, are small, and it is probable 
 that their models were taken from the Arabian horse, as all the heads exhibit that straight line in the 
 nose which is peculiar to those of that country. The custom of cutting the mane close to the neck 
 as is here exemplified, and which in England is called “ hogging,” was adopted by the Greeks 
 probably for the purpose of giving the animal a martial appearance, by its similarity to the erect 
 bristles on the top of their helmets. 
 
 Plate 23. No. 17 . 
 
 Represents a conversation group, and, according to the Synopsis of the British Museum, the 
 figures are Castor and Pollux,* Ceres and Triptolemus. 
 
 * It is very doubtful if these figures were intended to represent Castor and Pollux ; one of them shewing the signs of a more advanced 
 a S e by the character of the body and limbs, circumstances of course inapplicable to the exemplification of twins. 
 
54 
 
 The figures are all very excellent in the execution, particularly the one at the left extremity of 
 the slab,* which is described as listening to the conversation, accompanied by the very simple and 
 natural action of holding his right knee with his hands, both legs being off the ground, and the 
 body balanced by the seat. There is nothing more beautiful in the whole collection than the 
 composition and finishing of this figure. Its elasticity and pliancy are most admirably described by 
 the protrusion of the shoulders forwards, and the bending of the body. The left leg is peculiarly 
 simple and elegant in its form, bearing that smoothness and regularity of surface which is the 
 characteristic of youth, and which is well opposed by the contrast in the leg of the adjacent 
 figure, which evidently belongs to a man of a more advanced age. The right leg also is equally 
 beautiful, and nothing can exceed the simplicity and grace of the outline, especially at the instep, 
 which is marked by the tendon in front, but with such extreme delicacy as to cause no interruption to 
 the general line. There is, in fact, a magic in the outline of this limb, which is indescribable, and 
 which the smallest variation in any part of it would utterly destroy. The left leg rests upon 
 part of a stick which passes under the outside ancle. The termination of the stick upwards, 
 however, does not appear, and it is a matter of some doubt whether it ever was represented, the 
 surface in that part of the slab being quite smooth and regular. The next figure in this group is a 
 female, but is erroneously described as an old man by Stuart, in his Antiquities of Athens. 
 
 # In describing the two lateral extremities of the slabs, or of any other object, it is to be understood, that the left signifies that end 
 which is opposite to the right hand of the spectator, and vice versa. 
 
55 
 
 Plate 24. No. 18. 
 
 Represents Esculapius and Hygeia, and a figure supposed to be holding the peplos, or sacred web, 
 which was deposited in the Temple. The figure of Hygeia is extremely graceful, and the right arm 
 is particularly beautiful. A serpent rests on the left arm just above the wrist, but the surface 
 is so much corroded that it requires a very close inspection to distinguish it. 
 
 Plate 25. No. 27- 
 
 The head of the figure and the head and neck of the horse at the left corner of this group 
 constitute a fragment which was brought to England in the year 1744 and deposited with the 
 Dilettanti Society. It being ascertained to have belonged to this frieze, it was lately presented 
 to the Museum by the Royal Academy (to which institution it had been given by the Society,) and 
 restored to its proper situation in the tablet, and evidently adds greatly to its value and appearance. 
 
 It is much smoother and more perfect in the surface than the rest of the group, which may 
 perhaps have arisen from its having been preserved for the last half century from the weather; 
 and this furnishes a strong argument in justification of the removal of the Marbles to this country. 
 
 It may perhaps be objected to this observation that there are many other specimens in the 
 collection which, although they were exposed to the atmosphere up to the period of their removal by 
 Lord Elgin, are quite as perfect as the fragment alluded to. The comparison, however, should 
 
56 
 
 be confined to the remainder of the same slab, of which the fragment formed a part, and not taken in 
 a general view, because a difference of aspect in regard to their original situation on the exterior 
 of the building, as well as the circumstance of some being displaced and scattered on the ground, and 
 being thereby more liable to be injured, are points which materially affect the question. 
 
 Plate 26. No. 28. 
 
 Is a very spirited composition. The attitude of the rider on the leading horse is easy and 
 unembarrassed . 
 
 Plate 27 . No. 29. 
 
 Iiie outline of the hoise in the centre of the tablet is in very excellent proportion throughout; and 
 the inside of the off, or right leg and thigh, together with all the parts about the flank, manifest the 
 closest attention to nature. The legs are extremely well defined, preserving a clear distinction 
 
 between bone, ligament and tendon ; and the shape of the hoofs corresponds so perfectly with 
 the rest of the animal, as to give that character which is peculiar to the blood horse of this 
 country, and of which the Arabian was originally the parent stock. 
 
 The action of the rider in placing his hand over the upper part of the horse’s head is 
 very happily expressed. His intention is to soothe the ardour of his horse, and is precisely the 
 

 
 
 
 . 
 
 
 
 
 
 
 
same method which the horse jockeys of the present day practise by taking hold of the horse s ear 
 whilst riding him, to prevent him from rising out of the trot into the gallop. 
 
 Plate 28. No. 30. 
 
 Is extremely valuable both in composition and execution. The head of the right hand and 
 leading horse is a most masterly production, and is full of fire and impetuosity. It demonstrates 
 the appearance of a hard pulling horse restrained by the bridle, and grinding the bit by the lateial 
 motion of the lower jaw. The position of the head of the left hand horse is very judiciously 
 contrasted with that of the other. The rider is evidently in the act of shortening his reins by 
 drawing them through the left hand with the right, which is in consequence raised and thrown 
 backwards behind his head. 
 
 The back of this figure is very beautiful and pliant, and accords well with the motion ot the 
 horse. The action of the left hand horse describes what is called in the manege the croupade, the 
 horse having sprung from the ground with all his legs in the air, and displaying infinite vigour 
 and elasticity. 
 
 With so many exquisite specimens on the same subject it is very difficult to decide to which to 
 give the superiority, but on the whole this may fairly be pronounced to be the best amongst the 
 equestrian groups. 
 
Is a very beautiful and elaborate composition. The figure on the middle horse is of a very elegant 
 form and character, and partakes more of the feminine than any of the rest. It differs also from the 
 rest by carrying a spear in his right hand. The drapery is rich and luxuriant, and the boots 
 perfectly correspond with Homer’s description, A^ai «, the well-booted Greeks. The action 
 
 of the last horse is of a compound nature, and designates that momentary confusion in the legs which 
 precedes the change from one pace to another. The whole of this group is executed in a very fine 
 and exalted style. 
 
 Plate 30. No. 33. 
 
 Is an interesting composition, although the whole of it is not of equal merit. There is great 
 ease and pliancy in the attitude of the first figure, and the cloak is so happily disposed as to 
 counterbalance the projection of the opposite hip. The horse is one of the worst in the whole 
 collection. The position of the head is stiff and constrained, and the legs are not placed in the 
 proper centre of gravity. 
 
 The other two figures have nothing particular to recommend them. The boy appears to be in 
 the act of adjusting some part of the dress of the figure that stands before him. 
 
59 
 
 Plates 31 and 32. No. 35. 
 
 Exhibit a chariot drawn by four horses. This group is distinguished by the very elegant 
 and blood-like form of the horses. The beautiful line of the back and croup, and the arch described 
 by the elevation of the tail, together with the fine sweep of the haunches to the hocks, are all points 
 of that admirable symmetry which is so peculiar to the Arabian horse, and denote very forcibly the 
 skill and ability of the artist. 
 
 Two heads belonging to the horses in this group compose a fragment which came into the 
 possession of the Dilletanti Society at the same period as that in No. 27- They are extremely 
 beautiful, and perfectly accord with the elegance of the bodies and limbs. In the duplicate 
 (Plate 32,) the whole is represented as it appeared about 60 years ago, but it was necessary to 
 draw it on a smaller scale in order to adapt it to the size ot the present work ; the slab, in this 
 tablet as well as in Nos. 32, 33 and 39, being considerably longer than the rest. 
 
 Plate 33. No. 39- 
 
 In this group the rider on the leading horse is described as looking backwards, and making some 
 signal to his companion by raising his left hand. A skilful attention to the true principles of 
 horsemanship is evinced in the position of this figure, for although his body is turned and his face 
 is directed backwards, still he preserves his seat by the unaltered position of the legs and thighs, 
 which take the same inclination as if the body was in a straight forward direction. 
 
60 
 
 The flexion is very properly performed by the loins only, but an artist, ignorant of horsemanship, 
 would have thrown out the knee of the leg on the same side to which the body is turned, and 
 would thereby have destroyed that appearance of firmness and composure which is so conspicuous in 
 the seat of this figure. 
 
 Plates 34 and 35. No. 41. 
 
 The remains of this group sufficiently shew that it was one of the most admirable in the whole 
 procession. The graceful and dignified attitude of the rider on the middle horse, and the elegant 
 proportion of the body and limbs, are well worthy of the attention of the spectator. The action 
 of the middle horse is remarkably animated, and describes the effect of a momentary check from 
 the bridle called by the French the demi-arret or half stop. This is well illustrated by the 
 trifling degree of flexion which remains in the knee of the horse’s left leg, and which denotes that the 
 foot is just deposited on the ground and the straightening of the leg not yet completed. 
 
 The position of the rider on the leading horse indicates the action of urging his steed, by 
 applying his heel to the flank of the animal. The perpendicular direction of the horse’s head is well 
 contrasted with the horizontal line of the other. Plate 35 is the restored duplicate. 
 

61 
 
 Plates 36 and 37- No. 43. 
 
 The attitude of the leading horse in the action of the slow gallop is very beautiful. The flexion 
 of the haunches, and the position of the right hind leg, just preparing to alight on die ground, 
 for the purpose of receiving the weight of the body in rotation, are very judiciously expressed. 
 The seat of the rider is highly graceful as well as the disposal of the drapery. Ihe last horse is very 
 animated. Plate 37 is the restored duplicate of this subject. 
 
 Plates 38 and 39- Nos. 53 and 54. 
 
 Are beautiful specimens, although much mutilated. 
 
 Plates 40 and 41. No. 56. 
 
 One of the chariots in the procession drawn by four horses.* The horses are extremely spirited, 
 and of a very elegant form; the heads also are happily disposed. Plate 41 is the restored 
 duplicate. The tail of one horse only being seen, the haunch of the second horse, at a first view, 
 appears to belong to the first horse, and under that impression has a bad effect, because in that case 
 it would be entirely out of drawing. 
 
 * Mr. Visconti erroneously describes some of these chariots as drawn by three horses, the whole of them in the collection being 
 invariably drawn by four. 
 
62 
 
 Plate 42. No. 61. 
 
 Describes one of the victims destined for the sacrifice. There is a very natural expression in 
 the animal, which is raising its head in the act of lowing. The horns are out of perspective, but 
 that could not be avoided in has relief. 
 
 Plate 43. No. 76. 
 
 The attitude of the leading horse is extremely animated, and describes the animal as being thrown 
 suddenly on his haunches. The figure on the second horse wears a particular cap, indicative, 
 perhaps, of some distinction in rank. 
 
 Plate 44. No. 78. 
 
 The attitude of the horseman in this group is the finest illustration of a just and elegant seat on 
 horseback in the whole collection. The concavity of the loins, the projection of the head forwards to 
 balance the obliquity ot the body, the closeness of the elbows to the hips, and the dropping the 
 hands on the withers to prevent the horse from throwing up his nose too high, all conspire to 
 give truth and ease to the upper part of the figure. Nor is the lower part less correct, as is manifest 
 by the thigh and leg being kept flat to the horse s sides, so as to apply as broad a surface as possible, 
 and thereby increase the number of points of contact between the two surfaces. The degree of 
 

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63 
 
 flexion in the knee is well regulated, so as to render the leg neither too stiff nor too pendulous. 
 This figure, in consequence of its being more splendidly attired than the rest, has been supposed 
 to have been intended for Alcibiades, but this of course is mere conjecture. The standing figure, in 
 the attitude of adjusting his sandal, is very naturally expressed. 
 
 Plate 45. No. 79- 
 
 Conveys a very striking representation of speed in the two horses. The leading one is described 
 with a flowing mane, in which it differs from most of the others in the collection. The attitudes 
 of the riders (particularly the last) are graceful and unembarrassed. The lion’s skin floating in the 
 air adds greatly to the expression of speed. 
 
 Plate 46. No. 80. 
 
 A very spirited group, and forms a pleasing variety in the equestrian subjects. The drapery 
 is bold and masterly. 
 
 Plate 47- No. 81. 
 
 This is a very animated and splendid group. The style in which it is executed is extremely free 
 and masterly. The head of the last horse is equal to any in the collection, and is full of ardour and 
 
64 
 
 vigour. The figures are easy and graceful, and the drapery light and elegant. The body of the 
 last figure is short comparatively with the legs, but this was a license taken by the artist, and of 
 which there are other instances amongst these equestrian subjects. The hats give an agreeable 
 finish to the costume. 
 
 Plate 48. No. 82. 
 
 Corresponds with the rest in style and execution. The action of the rider on the last horse is bold 
 and energetic. 
 
 Plates 49 and 50. No. 85. 
 
 Represent the man in the action of endeavouring to make his horse extend both his fore and 
 hind legs so as to occupy a large space of ground, and for this purpose he touches the back part 
 of the fetlock ot the horse’s fore-leg with his own foot, whilst at the same time he prevents his 
 body from advancing by restraining him with the bridle. This practice is very common amongst 
 modern horse-dealers. 
 
 The attitude of the man is extremely graceful ; his hat is slung over his right shoulder, and 
 produces a good eftect. Plate 50 is the restored duplicate. 
 
 I aken separately and collectively, these equestrian groups are inestimable even solely as 
 examples to modern artists, who, in common with all the painters and sculptors of the last two 
 

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65 
 
 or three centuries, are greatly deficient in placing their figures on horseback. There is one 
 circumstance, however, in these groups which it is necessary to point out to prevent painters and 
 draughtsmen from being led into error, namely, that the thighs of all the men are longer than 
 they would appear if the figure was placed on a round body instead of a flat one, because in that 
 case the width of the horse’s body, by separating the knees of the rider to a greater extent, 
 must shorten the appearance of the thigh by throwing it into perspective; but as bas relief 
 does not admit of perspective, the thighs would have seemed too short had they not been represented 
 of their full length. This length, therefore, is admissible in bas relief, but would be very incorrect 
 where light and shade are employed so as to give the breadth and rotundity of the horse s body. 
 
 It is also necessary to remark that most of the figures sit lower on the horses backs than 
 they could possibly do in nature, so that the breech comes considerably below the line of the 
 horse’s back, and in consequence of this circumstance the legs and feet exhibit an extraordinary 
 length below the horse’s belly. This deviation from the truth is occasioned by the system which the 
 Greek artists seem to have adopted of filling up the tablet as much as they could, and, being 
 desirous at the same time to form the men as large as possible, the figures could not have been 
 brought within the space allotted by the tablet but for this violation of propriety. 1 his lowness of 
 the seat is particularly manifest in Plates 33 and 34. The same desire to fill up the tablet appears 
 in the conversation groups, where the heads of the sitting figures are as high as those that are 
 standing. 
 
 There is a very manifest difference in the style and execution of some of these bas reliefs, 
 
 K 
 
as well as the Metopes, when compared with the rest, and also a very evident inferiority, the 
 natural consequence of being executed by different artists. But it is worthy of remark that there is 
 no such difference in the merit of the large figures which occupied the pediments, and which are 
 indeed all equally excellent; whence it may be justly concluded that they were the sole production 
 of one great and masterly hand. 
 
 CONCLUSION. 
 
 Taking leave of his readers, the Author cannot offer a more suitable apology for the defects of 
 his work than the following words of Seneca: “ Multum restat operis, multumque restabit, nec ulli 
 nato post mille secula precludetur occasio aliquid adhuc adjiciendi.” 
 
 Aware also that his doctrines may be disputed, he begs leave to repeat that he utterly disclaims 
 the intention of giving offence to those whose opinions may happen not to coincide with his own. 
 
 Controversial discussion, when conducted with candour and decorum, is the best spring to mental 
 exertion, and materially assists the developement of truth and knowledge, by exciting enquiry into 
 the various systems that have arisen both in past and present times. 
 
 To the adverse effects of sell delusion in the pursuit of art he is unfortunately no stranger; but 
 he who can detect his own errors, and is awake to his own imperfections, is endowed with a 
 faculty rare indeed. 
 
67 
 
 Too often are the barriers of the judgment overwhelmed by the torrent of enthusiasm, and when 
 the unchastened fantasies of the brain have been cast upon the world, reflection rushes on the 
 imagination, and unveils imbecility when it cannot be recalled. 
 
 How just, alas ! is the adage that “ art is long, life short.” Time leads to the Temple of Truth 
 with tardy wing, and, ere we pass the threshold, consigns us to the grave. 
 
 the ENn. 
 
 T. DAVISON, LOMBARD-STREET, WHITEFRIARS, LONDON.