ACCORDING to his early biographer John Galt, Byron "affected" to possess no feeling for art.1 "Affected was precisely the word, for on many occasions the poetic lord revealed an unmistakable sensitivity to works of art. The descriptions of Athens, Rome, and Florence in Childe Harold and the account of the Coliseum in Manfred were consciously written as set pieces--patches as purple as Byron could make them; they are some of the best as well as most familiar sections of his more florid verse. Gothic art, particularly architecture, also interested the part of Byron which delighted in Newstead Abbey and in the gloomy effects achieved by Mrs. Radcliffe and other romancers. Nevertheless, he was primarily classical in taste.
Byron repeatedly protested ignorance of the fine arts, from the announcement in 1810, "I am not a collector or admirer of collections," to his remark to Trelawny at Ithaca in 1823, "I detest antiquarian twaddle."2 Yet he added notes to Childe Harold referring to various popular travel books and authorities on antiquities, and he took great pride in the Historical Illustrations of the Fourth Canto of Childe Harold written by his friend John Cam Hobhouse in 1818. Compared either to Hobhouse or to Rogers, he was indeed, as he said, "a poor virtuoso."3 Byron belonged to the tribe of connoisseurs, however, in his references to the fine arts and, more conspicuously, in his devotion to the beau ideal and in his habit of seeing resemblances between actual persons and works of art. An early example of his____________________
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Publication information: Book title: English Bards and Grecian Marbles:The Relationship between Sculpture and Poetry Especially in the Romantic Period. Contributors: Stephen A. Larrabee - Author. Publisher: Columbia University Press. Place of publication: New York. Publication year: 1943. Page number: 149.
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