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Forty two Daughter of Niobe [Roman reproduction, in all probability after Scopas and Praxiteles, previously within the backyard of the Villa Medici in Rome, Florence: Uffizi. Drawing through Willem Doudijn, engraving by way of Jan de Bisschop, released in Signorum Veterum Icones, The Hague 1671. Aesthetic defence mechanisms and ambivalences additionally sound via Goethe’s debts of the uncanny and protracted fascination the Medusa Rondanini exercised on him, (fig. 43). 252 hence he wrote concerning the lately chanced on Medusa masks within the Rondanini assortment: Gegen uns über im Palast Rondanini steht eine Medusenmaske, wo, in einer hohen und schönen Gesichtsform, über Lebensgröße, das ängstliche Starren des Todes unsäglich trefflich ausgedrückt ist. […] Ein wundersames Werk, das, den Zwiespalt zwischen Tod und Leben, zwischen Schmerz, Wollust ausdrückend, einen unnennbaren Reiz wie irgend ein anderes challenge über uns ausübt. 253 The Medusa Rondanini persevered to workout its spell over him through the remainder of his existence. In 1826, on the very finish of it, he eventually got a plaster solid of it from the King of Bavaria, that's nonetheless within the Goethe-Haus in Weimar, and occupied a really trendy position between his assortment. He additionally gave her an incredible function in a single of the fragments hooked up with the second one Faust, ‘Helena’s Antecedents’, the place Medusa figures in Hell, preventing the lifeless from leaving through her bad gaze, and the residing from coming into. yet on the finish of his lifestyles he had forgotten approximately his uneasy fascination with Medusa while he first observed her in Rome. as an alternative, in a ultimate case of aesthetic safety or Aesthetische Abwehr, he now known as her ‘wohltätig und heilsam. ’ He extra: ‘Diesen Anblick, der keineswegs versteinerte sondern den Kunstsinn höchlich und herrlich belebte’. In an ironic passage the novelist Jean Paul Richter alludes to this surroundings whilst writing approximately his arrangements for a trip to Goethe’s domestic: […] blos Kunstsachen wärmen noch seine Herznerven an (daher ich Knebel bat, mich vorher durch einen Mineralbrunnen zu petrifizieren und zu inkrustieren, damit ich ihm etwa im vortheilhaften Lichte einer Statue zeigen könnte. […] Ich gieng, ohne Wärme, blos aus Neugierde. Sein Haus (Pallast) frappiert […] ein Pantheon vol Bilder und Statuen, eine Kühle der Angst presset die Brust. 254 forty three Medusa Rondanini, overdue Hellenistic or Roman reproduction after a Greek bust of the fifth century BC, marble, zero. 29 m. , Munich, Glyptothek Petrifaction here's now not the final word type of enterprise. It has as a substitute turn into the ultimate implication of the cultured reaction as a fashion of facing the need, ambivalence and worry statues can excite. GOETHE’S GALLERY OF paintings fanatics separating the adoration of cult photos from the classy appreciation by means of the paintings lover, is additionally an immense subject in Goethe’s Der Sammler und die Seinigen, released in Propyläen in 1799. 255 Ostensibly a casual sequence of letters by means of a collector to the editors of the magazine approximately gathering, and a number of the characters of artists and artwork enthusiasts, it's in reality a truly nifty precis of Goethe’s principles approximately paintings and its reception by means of the viewer.