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Certainly, of that beauty of living form which regulated Winckelmann’s friendships, it could not be said that it gave no pain. One notable friendship, the fortune of which we may trace through his letters, begins with an antique, chivalrous letter in French, and ends noisily in a burst of angry fire. Far from reaching the quietism, the bland indifference of art, such attachments are nevertheless more susceptible than any others of equal strength of a purely intellectual culture. Of passion, of physical excitement, they contain only just so much as stimulates the eye to the finest delicacies of colour and form. These friendships, often the caprices of a moment, make Winckelmann’s letters, with their troubled colouring, an instructive but bizarre addition to the History of Art, that shrine of grave and mellow light around the mute Olympian family. The impression which Winckelmann’s literary life conveyed to those about him was that of excitement, intuition, inspiration, rather than the contemplative evolution of general principles. The quick, susceptible enthusiast, betraying his temperament even in appearance, by his olive complexion, his deep-seated, piercing eyes, his rapid movements, apprehended the subtlest principles of the Hellenic manner, not through the understanding, but by instinct or touch. A German biographer of Winckelmann has compared him to Columbus. That is not the aptest of comparisons; but it reminds one of a passage in which Edgar Quinet describes the great discoverer’s famous voyage. His science was often at fault; but he had a way of estimating at once the slightest indication of land, in a floating weed or passing bird; he seemed actually to come nearer to nature than other men. And that world in which others had moved with so much embarrassment, seems to call out in Winckelmann new senses fitted to deal with it. He is in touch with it; it penetrates him, and becomes part of his temperament. He remodels his writings with constant renewal of insight; he catches the thread of a whole sequence of laws in some hollowing of the hand, or dividing of the hair; he seems to realise that fancy of the reminiscence of a forgotten knowledge hidden for a time in the mind itself; as if the mind of one, lover and philosopher at once in some phase of pre-existence–philosophesas pote met’ erotos.[4]–fallen into a new cycle, were beginning its intellectual career over again, yet with a certain power of anticipating its results. So comes the truth of Goethe’s judgments on his works; they are a life, a living thing, designed for those who are alive–ein Lebendiges fur die Lebendigen geschrieben, ein Leben selbst.

In 1758 Cardinal Albani, who had formed in his Roman villa a precious collection of antiquities, became Winckelmann’s patron. Pompeii had just opened its treasures; Winckelmann gathered its first-fruits. But his plan of a visit to Greece remained unfulfilled. From his first arrival in Rome he had kept the History of Ancient Art ever in view. All his other writings were a preparation for that. It appeared, finally, in 1764; but even after its publication Winckelmann was still employed in perfecting it. It is since his time that many of the most significant examples of Greek art have been submitted to criticism. He had seen little or nothing of what we ascribe to the age of Pheidias; and his conception of Greek art tends, therefore, to put the mere elegance of the imperial society of ancient Rome in place of the severe and chastened grace of the palaestra. For the most part he had to penetrate to Greek art through copies, imitations, and later Roman art itself; and it is not surprising that this turbid medium has left in Winckelmann’s actual results much that a more privileged criticism can correct.

He had been twelve years in Rome. Admiring Germany had made many calls to him. At last, in 1768, he set out to revisit the country of his birth; and as he left Rome, a strange, inverted home-sickness, a strange reluctance to leave it at all, came over him. He reached Vienna. There he was loaded with honours and presents: other cities were awaiting him. Goethe, then nineteen years old, studying art at Leipsic, was expecting his coming, with that wistful eagerness which marked his youth, when the news of Winckelmann’s murder arrived. All his “weariness of the North” had revived with double force. He left Vienna, intending to hasten back to Rome, and at Trieste a delay of a few days occurred. With characteristic openness, Winckelmann had confided his plans to a fellow-traveller, a man named Arcangeli, and had shown him the gold medals received at Vienna. Arcangeli’s avarice was aroused. One morning he entered Winckelmann’s room, under pretence of taking leave. Winckelmann was then writing “memoranda for the future editor of the History of Art,” still seeking the perfection of his great work. Arcangeli begged to see the medals once more. As Winckelmann stooped down to take them from the chest, a cord was thrown round his neck. Some time afterwards, a child with whose companionship Winckelmann had beguiled his delay, knocked at the door, and receiving no answer, gave the alarm. Winckelmann was found dangerously wounded, and died a few hours later, after receiving the last sacraments. It seemed as if the gods, in reward for his devotion to them, had given him a death which, for its swiftness and its opportunity, he might well have desired. “He has,” says Goethe, “the advantage of figuring in the memory of posterity, as one eternally able and strong; for the image in which one leaves the world is that in which one moves among the shadows.” Yet, perhaps, it is not fanciful to regret that his proposed meeting with Goethe never took place. Goethe, then in all the pregnancy of his wonderful youth, still unruffled by the “press and storm” of his earlier manhood, was awaiting Winckelmann with a curiosity of the worthiest kind. As it was, Winckelmann became to him something like what Virgil was to Dante. And Winckelmann, with his fiery friendships, had reached that age and that period of culture at which emotions hitherto fitful, sometimes concentrate themselves in a vital, unchangeable relationship. German literary history seems to have lost the chance of one of those famous friendships, the very tradition of which becomes a stimulus to culture, and exercises an imperishable influence.