Notes and Announcements [stub]

1880 The American Art Review  
Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid--seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non--commercial purposes. Read more about Early Journal
more » ... ntent at http://about.jstor.org/participate--jstor/individuals/early-journal--content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not--for--profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact support@jstor.org. THE AMERICAN ART REVIEW. 79 first ever written. Probably he intended to speak of it as the first English biography, for that prefixed to the Stuttgart edition was published two years earlier, and is so closely followed by Dr. Lodge that we are led to believe that his own is substantially a translation of it. In concluding hiis account of Winckelmann's life, the translator says: " I should not be sorry to see it surpassed by a better attempt." Evidently these words were written in 1849, when no such attempt had been made, but it seems strange that they were not altered, or that a note was not added to the pas sage when reprinted for this new edition, to tell the reader that Dr. Lodge's wish was gratified eight years ago, by the appearance of Carl Justi's Life, Wor-ks, and Contevmporaries of Winckei;nann, in three volumes, published at Leipsic in I872. The general soundness of Winckelmann's theory of the beautiful.in art; the correctness of his conclusions as to the causes of the superiority of the Greeks in sculpture; the frequent occurrence of happy illustrations of thought by apt similes to be found in his pages, -sufficiently account for the fact that his writings are still prized, despite the elaborate works on the same subjects written since his day by German, French, and English archbologists, whose opportunities for study are tenfold greater than those which were available in the last century, wlhen Winckel mann, though groping in what was comparatively an Egyp tian darkness, saw the light, and proclaimed it. His pre sumed facts may have been subverted, his attributions mistaken, his deductions as to schools and styles unsound; yet nevertheless the residuum of original thought, wealth of idea, and richness of imagery, noticeable in his writings, have sufficed to keep their author's name alive. " If," says Schasler,' " modern mstheticians have gained a higher position, whence they command an extended horizon, we must not forget that his shoulders served them as a stir rup. Even Lessing received a directing impulse from Winckelmann, who is thus the indirect cause of all that has been accomplished since his day." Born in 1717, at Stendal, in Altmark, the son of a poor shoemaker, Johann Joachim Winckelmann first read Greek and Latin authors in the library of his native town, and continued to do so with avidity in the Gymnasium at Berlin and the University at Halle. In 1748 he became Librarian to Count von Bunau, at N6thenitz, near Dresden, and thus found an opportunity for that study of ancient art to which his life was to be devoted. This greatly increased his longings for Italy, where it was mainly to be passed. Through the interest which he awakened in the Papal Nuncio, Monsignor Archinto, he obtained the promise of a situation in the Vatican Library, on condition that he would abjure Protestantism, whichl he finally made up his mind to do in 1754, rather, as it seems, from love of Rome than of Romanism. He did not, however, attain the object of his desire for more than a year, during which he devoted his time exclusively to the study of ancient art, and wrote his first work, Thoulghts upoI thle fZnitation of Greek Art in Painting and Sczufiture. When this was published, in 1756, together with two other compositions on the same subject, Winckelmann was at Rome, in company with his friend, Raphael Mengs, the painter, living on a small pen sion granted him by the king of Saxony. The enthusiasm which the treasures accumulated at Rome awakened in his
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