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Thoughts on the Imitation of Greek Works in Painting and the Art of Sculpture

from On Art

Published online by Cambridge University Press:  05 March 2014

David Carter
Affiliation:
Retired as Professor of Communicative English at Yonsei University, Seoul, Korea, and is former Lecturer in German Studies at the University of Southampton, UK.
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Summary

Vos examplaria Graeca Nocturna versate manu, versate diurnal.

—Horace

To

His Most Serene Highness, the Great and Powerful

Prince and Master,

Lord

Friedrich August,

King of Poland, etc., and Elector

Of Saxony, etc.

Good taste, which is spreading more and more throughout the world, first started to develop in the climate of Greece. All the inventions of foreign peoples came to Greece only as the first seed, as it were, and acquired a different character and form in the country that Minerva, it is said, allocated as an abode for the Greeks, above all other countries, because of the temperate seasons she found there, and because it was a country that would bring forth wise men.

The taste with which this nation imbued its works has remained unique to it. It has rarely spread far from Greece without losing something, and in remote climatic regions it was only recognized late. It was without doubt completely foreign to northern climes at the time when the two arts of which the Greeks are the great teachers found few admirers: at the time when the most admirable works of Correggio were hung up in the royal stables in Stockholm as a covering for the windows.

And it has to be admitted that the really fortunate period was the reign of the great August, in which the arts were introduced into Saxony as a foreign colony.

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Publisher: Boydell & Brewer
Print publication year: 2013

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