Report on the Aeginetan Sculptures: With Historical Supplements by Johann Martin Wagner

Author:Johann Martin Wagner
Language: eng
Format: epub
Publisher: State University of New York Press
Published: 2017-02-27T16:00:00+00:00

1.WAGNER’S NOTE: The plant that the women in Greece use for this purpose, as was reported to me, [217] is the Lawsonia inermis. Linn., which dye does not give the hair the same shade of red that is common among us in Germany. This plant, when applied to naturally black hair, which is almost universal in Greece, creates rather a pure reddish luster, i.e., black hair plays with the light to create a purple hue that creates a most pleasing effect to the eye, and which is worlds away from the sorrel hair color common among us.

2.SCHELLING’S NOTE: No one will hesitate to give full approval to this author’s judgment, which is considerably strengthened by the more detailed discussion and explanation in that lovely work by Mr. Quatremère de Quincy. I take this opportunity to note that this published Report was composed in the beginning of this year (1816), and thus the author could make no use of the valuable work of this French scholar. To pursue the judgment of the author further would lead to important observations concerning the necessary deterioration [nothwendigen Verfall] of art through the isolation, and eventually the complete separation, of the mutually [gegenseitig] reinforcing arts of architecture, painting, and sculpture. It has now devolved to such a point—as it had to do, once painting and sculpture, rather than serving a public function, became purely the objects and the hobby of private persons. Each of these three arts [221] in their contemporary abstraction must remain unable to satisfy the ultimate demands of feeling. And it is probably safe to say, especially given the subordinate condition of the arts, for which there is scarcely room in the world any longer, that we can barely have a concept, much less form a judgment [keinen Begriff noch weniger ein Urtheil haben können], concerning the true glory of a Greek temple, which originated out of the unification and combination of both form and color [von Form und Farbe].

3.WAGNER’S NOTE: On this work of carved relief [halberhobener Arbeit], which depicted [vorstellt] the Panathenaic Festival as a traditional religious ceremony, the background is painted sky blue. The hair of the figures as well as other devices were gilded, and one finds traces [Spuren] of green color in some other places.

4.WAGNER’S NOTE: A similar situation exists with the sculptural works and altars in our churches in Germany. Are we not required, on account of the material—the wood—either to paint them or else to gild them?

5.WAGNER’S NOTE: That we have done something similar in modern times (and perhaps for similar reasons)—that is, painting or gilding stone statues—is apparent from the many examples in our Gothic churches and churchyards. The statues of the Apostles in the Dome at Cologne are also partially painted and partially gilded. There is a similar example in the Chapel to Mary [Marien-Kapelle] in Würzburg, whose pillars and attached figures of the apostles are all in sandstone.

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