A History of Greek Art

ut no definite pictures of these were called up by the poet's words. Of actual remains only a few were known. Some implements of stone, the mighty walls of Tiryns, Mycenae, and many another

and interpreting this material. A civilization antedating the Homeric poems stands now dimly revealed to us. Mycenae, the city "rich in gold," the residence of Agamemnon, whence he ruled over "many islands and all Argos," [Footnote: Iliad II, 108] is seen to have had no merely legendary preeminence. So conspicuous, in fact, does Mycenae appear in the light as well of archaeology as of epic, that it has become common, somewhat misleading though i

ly better than a groping in the dark. Fortunately we can afford, so far as the purposes of this book are concerned, to be content with a slight review. For it seems clear that the "Mycenaean" civilization developed little which can be called artistic in the highest sense of that te

thirteen or fourteen tons apiece-are piled one upon another, the interstices having been filled with clay and smaller stones. This wall is of varying thickness, averaging at the bottom about twenty-five feet. At two places, viz., at the south end and on the east side near the southeast corner, the thickness is increased, in order to give room in the wall for a row of store chambers with communicating gallery. Fig. 23 shows one

d them (of at least those in Argohs) to the Cyclopes, a mythical folk, conceived in this connection as masons of superhuman strength. Hence the adjective Cyclopian or Cyclopean, whose meaning varies unfortunately in modern usage, but w

. are fitted together with close joints. This style of masonry is called polygonal and is to be carefully distinguished from Cyclopean, as above defined. Finally, still other portions of this same Mycenaean wall show on

de of the doorway stood a column which tapered downwards and was ornamented with spirals arranged in zigzag bands. This downward-tapering column, so unlike the columns of classic times, seems to have been in common use in Mycenaean architecture. Inside the doors comes a short passage, B C, roofed by two huge lintel blocks, the inner one of which is estimated to weigh 132 tons. The principal chamber, D, which is embedded in the hill, is circular in plan, with a lower diameter of about forty-seven feet. Its wall is formed of horizontal courses of stone, each pushed further inward than the one below it, until the opening was small enough to be covered by a single stone. The method of roofing is therefore identical in principle with that used in the galleries and store chambers of Tiryns; but here the blocks have been much more carefully worked and accurately fitted, and the exposed ends have been so beveled as to give to the whole i

r-a feature which occurs only in these two cases. Excavations conducted here by Schliemann in 1880-81 brought to light the broken fragments of a ceiling of greenish schist with which this lateral chamber was once covered. Fig

cked, until in recent years they could be studied by scientific investigators. Furthermore we have the evidence of numerous rock-cut chambers of analogous shape, many of which have been recently opened in a virgin condition. Thus it ha

e additional strength. Where columns were needed, they were in every case of wood, and consequently have long since decomposed and disappeared. Considerable remains, however, were found of the decorations of the interior. Thus there are bits of what must once have been a beautiful frieze of alabaster, inlaid with pieces of blue glass. A restored piece of this, sufficient to give the pattern, is seen in Fig. 29. Essentially the same design, somewhat simplified, occurs on objects of stone, ivory, and glass found at Mycenae; and in a "bee-hive" tomb of Attica. Again, there are fragments of painted stucco which decorated the walls of rooms in the palace of Tiryns. The largest and most interesting of these fragments is shown in Fig. 30. A yellow and red bull is represented against a blue background, galloping furiously to left, tail in air. Above him is a man of slender build, nearly naked. With his right hand the man grasps one of the bull's horns; his right

have been found. These, like those of Tiryns, consisted partly of merely ornamental patterns, partly of genuine pictures, with huma

Iliad VI, 273, 303.] there is no allusion to any sculptured image. There are, to be sure, primitive statuettes, one class of which, very rude and early, in fact pre-Mycenaean in character, is illustrated by Fig. 31. Images of this sort have been found principally on the islands of the Greek Archipelago. They are made of marble or limestone, and represent a naked female figure standing stiffly ere

pit-graves or shaft-graves of Mycenae. The best preserved of these gravestones is shown in Fig. 32. The field, bordered by a double fillet, is divided horizontally into two parts. The upper part is filled with an ingeniously contrived system of running spirals. Below is a battle-scene: a man in a chariot is driving at full speed, and in front there is a naked foot soldier (enemy?), with a sword in his uplifted left hand. Spirals, apparently meaningless, fill in the vacan

wnward (cf. the columns of the "Treasury of Atreus," page 53), surmounted by what seems to be a suggestion of an entablature. The heads of the lionesses, originally made of separate pieces and attached, have been lost. Otherwise the work is in good preservation, in spite of its uninterrupted exposure for more than three thousand years. The technique is quite different from that of the gravestones, for all parts of the relief a

e half feet in height, decorated below with horizontal flutings and above with continuous spirals in repousse (i.e., hammered) work. Most of the gold objects must be passed over, interesting though many of them are. But we may pause a moment over a group of circular ornaments in thin gold-leaf about two and one half inches in diameter, of which 701 specimens were found, all in a single grave. The patterns on these discs were not executed with a fr

nd imported. Thus the admirable silver head of a cow from one of the shaft-graves (Fig. 36) has been claimed as an Egyptian or a Phenician production, but the evidence adduced is not decisive. Similarly with the fragment of a silver vase shown in Fig. 37. This has a design in relief (repousse) representing the siege of a walled town or citadel. On the walls is a group of women makin

details of an unidentified dark substance; the background, to the edges of the inserted slip, was covered with a black enamel. The scene is a lion-hunt. Four men, one armed only with a bow, the others with lances and huge shields of two different forms, are attacking a lion. A fifth hunter has fallen and lies under the lion's fore-paws. The beast has already been run through with a lance, the point of which is seen protruding from his haunch; but he still shows fight, while his two companions dash away at full speed. The design is skilfully composed to fill the triangular space, and the attitudes of men and beasts are varied, expressive, and fairly truthful. Another of these dagger-blades has a representation of

whose appearance indicates the highest pitch of fury, has dashed a would-be captor to earth and is now tossing another on his horns. A second bull, entangled in a stout net, writhes and bellows in the vain effort to escape. A third gallops at full speed from the scene of his comrade's captivity. The other design shows us four tame bulls. The first submits with evident impatience to his master. The next two stand quietly, with an almost comical effect of good nature and contentment. The fourth advances slowly, browsing. In each composition the ground is indicated, not only beneath the men and animals, but above them, wherever the design affords room. It is an example of the same naive perspec

an important part, sometimes represented singly, sometimes in pairs, sometimes devouring a bull or stag. Cattle, goats, deer, and fantastic creatures (sphinxes, griffins, etc.) are also common. So are human figures, often engaged in war or the chase. In the best of these gems the work is executed with great care, and the designs, though often inaccurate, are nevertheless vigorous. Very commonly, however, the distortion of the figure is carried beyond all bounds. Fig. 40 was selected for illustration, not because it is a particularly favor

s way even into Egypt, where specimens have been discovered in tombs of the Eighteenth Dynasty and later. The variations in form and ornamentation are considerable, as is natural with an article whose production was carried on at different centers and during a period of centuries. Fig. 42 shows a few of the characteristic shapes and decorations; some additional pieces may be seen in Fig. 43. The Mycenaean vases are mostly wheel-made. The decoration, in the great majority of examples, is applied in a lustrous color, generally red, shading to brown or black. The favorite elements of desi

his system of Geometric patterns zones or friezes are reserved for designs into which human and animal figures enter. The center of interest is in the middle of the upper frieze, between the handles. Here we see a corpse upon a funeral bier, drawn by a two-horse wagon. To right and left are mourners arranged in two rows, one above the other. The lower frieze, which encircles the vase about at its middle, consists of a line of two-horse chariots and their drivers. The drawing of these designs is illustrated on a larger scale on the right and left of the vase in Fig. 44; it is more childish than anything we have seen from the Mycenaean period. The horses have thin bodies, legs, and necks, and their heads look as much like fishes as anything. The men and women are just as bad. Their heads show no feature save, at most, a dot for the eye and a projection for the nose, with now and then a sort of tassel for the hair; their bodies are triangular, except those of the charioteers, whose shape is perha

tal models, of which the pure Geometric style betrays no trace. It is impossible here to describe all these local wares, but a single plate from Rhodes (Fig. 45) may serve to illustrate the degree of proficiency in the drawing of the human figure which had been attained about the end of the seventh century. Add