LITMIR.BIZ

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we may in our essays often excite rather than gratify the desire of our readers; for there is nothing more natural than that they should wish to have before their eyes any excellent work of which they read a minute criticism, to enjoy that whole which is in question, and to subject to their own judgments the opinions they hear concerning the parts.

      But whilst it is the expectation of the authors to labor in behalf of those who are already acquainted with some works and will see others hereafter, we shall try to do what is possible for those who have neither the prospect nor the retrospect. We shall make mention of copies, point out where casts from the antique or ancient works themselves, especially when these are within easy reach, may be found, and thus forward, as far as in us lies, a true love and knowledge of art.

      The history of art can be based only on the highest and most complete conception of art; only through an acquaintance with the most perfect that man has ever been enabled to produce can the chronological and psychological progress of mankind in art, as in other departments, be displayed. At first a limited activity occupied itself in a dry and dismal imitation of the insignificant as well as the significant, then a more delicate and agreeable feeling of Nature was developed. Afterwards, accompanied by knowledge, regularity, strength and earnestness, aided by favorable circumstances, art rose to the highest point, until at last it became possible for the fortunate genius who found himself surrounded by all these auxiliaries to produce the enchanting, the perfect.

      Unfortunately, works of art, which give themselves forth with such facility, which make men feel themselves so agreeably, which inspire man with clearness and freedom, suggest to the artist who would emulate them the notion of facility in their production. The last achievement of Art and Genius being an appearance of ease and lightness, the imitator is tempted to make it easy for himself, and to labor at this appearance.

      Thus, by degrees, art declines from its high estate, in the whole as well as in details. But if we would form to ourselves a true conception of art, we must descend to details of details, an occupation by no means always agreeable and alluring, but for which gradually our eye's ready mastery of the whole will richly indemnify us.

      If we work out certain general principles through the examination of ancient and mediaeval works of art, we shall find them particularly needful in our judgment of contemporary productions; for in forming an estimate of living or lately deceased artists, personal considerations, regard or dislike for individuals, popular attraction or repulsion, are so easily mixed up, that we are still more in need of principles in order to express a judgment of our contemporaries. The examination can be undertaken in two ways. Arbitrary influence is diminished, and the case is brought into a higher court. An opportunity is afforded for proving the principles themselves as well as their application; and even where we cannot agree, the point in dispute is clearly and certainly ascertained.

      We especially desire that living artists, about whose works we may perhaps have something to say, should make trial of our judgments in this way. For every one who deserves this name is in our time called upon to form, out of his own experience and reflection, if not a theory, at least a certain set of receipts, by the use of which he finds himself aided in various cases. But it must have been frequently remarked how apt a man is, by proceeding in this way, to advance as principles certain maxims which are commensurate with his talents, his inclinations, his convenience. He is subject to the common lot of mankind. How many in other departments follow the same course. But we do not add to our culture when we simply set in motion without trouble or difficulty what already existed in us. Every artist, like every man, is only an individual being, and will always abide by one side; and therefore a man should take in to himself as far as possible that which is theoretically and practically opposed to him. The lively should look about for strength and earnestness, the severe should keep in view the light and agreeable, the strong should look for loveliness, the delicate for strength, and each will thus best cultivate his peculiar nature, while he seems to be going most out of himself. Each art demands the whole man, the highest step of art all humanity.

      The practice of the imitative arts is mechanical, and the cultivation of the artist begins naturally in his earliest years with the mechanical. The rest of his education is often slighted, whereas it should be far more carefully attended to than that of others who have the opportunity of learning from life itself. Society soon civilizes the unpolished; a life of business makes the most open circumspect. Literary labors, which by means of the press come before the great public, find resistance and correction on all sides. But the artist is for the most part confined to a narrow studio, and has few dealings save with those who pay for his works, with a public that is often guided only by a certain sickly feeling, with connoisseurs who worry him, with auctioneers who receive anything new with formulas of praise and estimation that would not be too high for the most perfect.

      UPON THE LAOCOON

      (1798)

      A TRUE work of art, like a true work of nature, never ceases to open boundlessly before the mind. We examine, — we are impressed with it, — it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words. In the present remarks concerning the Laocoon, our object is by no means to say all that can be said on the subject; we shall make this admirable work rather the occasion than the subject of what we have to say. May it soon be placed once more in a situation where all lovers of art may be able to enjoy and speak of it, each in his own way.

      We can hardly speak adequately of a high work of art without also speaking of art in general; since all art is comprehended in it, and each one is able, according to his powers, to develop the universal out of such a special case. We shall therefore begin with some remarks of a general nature.

      All high works of art are expressions of humanity. Plastic art relates particularly to the human form; it is of this we are now speaking. Art has many steps, in all of which there have been admirable artists; but a perfect work of art embraces all the qualities that are elsewhere encountered only separately.

      The highest works of art that we know exhibit to us — 22

      Living, highly organized natures. We look, in the first place, for a knowledge of the human body, in its pares and proportions, inward and outward adaptation, its forms and motions generally.

      Character, Knowledge of the varieties in form and action of their parts; peculiarities are discriminated, and separately set forth. Out of this results character, through which an important relation may be established among separate works; and, in like manner, when a work is put together, its parts may hold an analogous relation to each other. The subject may be—

      At rest, or in motion. A work, or its parts, may either be self-centered, simply showing its character in a state of rest, or it may be exhibited in movement, activity, or fullness of passionate expression.

      Ideal. To the attainment of this, the artist needs a deep, well-grounded, steadfast mind, which must be accompanied by a higher sense, in order to comprehend the subject in all its bearings, to find the moment of expression, to withdraw this from the narrowness of fact, and give to it, in an ideal world, proportion, limit, reality and dignity.

      Agreeableness. The subject and its mode of exhibition are moreover connected with the sensible laws of art; viz., harmony, comprehensibility, symmetry, contrast, etc.; whereby it becomes visibly beautiful, or agreeable, as it is called.

      Beauty. Farther, we find that it obeys the laws of spiritual beauty, which arises from just proportion, and to which he who is complete in the creation or production of the beautiful knows how to subject even the extremes.

      Now that I have defined the conditions which we demand of a high work of art, much will be comprised in a few words when I say that the Laocoon group fulfils them all, nay, that out of it alone all of them could be developed.

      It will be conceded by all that it exhibits acquaintance with the human form, and with what is characteristic in it, and at the same time expression and passion. In how high and ideal a way the subject is treated will presently be shown; and no one who recognizes the harmony with which the extremes of

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