A History of Greek Art

n toward perfect freedom of style. It is convenient to reckon this period as extending from the year of the Persian invasion of Greece under Xerxes to the middle of the century. In the ar

as destined long to be widely influential. As for other local schools, the question of

ucceeded only in killing one of them, came to be regarded after the expulsion of the remaining tyrant and his family in 510 as the liberators of the city. Their statues in bronze, the work of Antenor, were set up on a terrace above the market-place (cf. pages 124, 149). In 480 this group was carried off to Persia by Xerxes and there it remained for a hundred and fifty years or more when it was restored to Athens

s a relief on a marble throne formerly in Athens. Our illustration of this (Fig. 102) is taken from a "squeeze," or wet paper impression. This must then, have been an important group in Athens. Secondly, the style of the Naples statues points to a bronze original of the early fifth century. Thirdly, the attitudes of the figures are suitable for Harmodius and Aristogiton, and we do not know of any other group of that perio

g, being of the style of a century later. The chief modern portions are the left hand of Aristogiton and the arms, right leg, and lower part of the left leg of Harmodius. As may be learned from the small copies, Aristogiton should be bearded, and the right arm of Harmodius should be in the act of being raised to

egard of historic truth, the two men are represented in a state of ideal nudity, like the Aeginetan figures. The anatomy is carefully studied, the attitudes lifelike and vigorous. Finally, the composition is fairly successful. This is the earliest example preserved to us of a group of s

In pose it shows a decided advance upon the Strangford "Apollo" (Fig. 100). The left leg is still slightly advanced, and both feet were planted flat on the ground; but more than half the weight of the body is thrown upon the right leg, with the result of giving a slight curve to the trunk, and the head is turned to one side. The upper part of the body is very powerful, the shoulders broad and held well back, the chest prominently developed. The face, in spite of its injuries, is one of singular refinement and sweetness. The long hair is arranged in two braids, as

es of Greek artists, that Myron's name is not so much as mentioned in extant literature before the third century B.C. Except for a precise, but certainly false, notice in Pliny, who represents him as flourishing in 420-416, our literary sources yield only vague indications as to his date. These indications, such

widely recognized in his lifetime, seeing that commissions came to him, not from Athens only, but also from other cities of Greece proper, as well as from distant Samos and Ephesus. His chief material was bronze, and colossal figures of gold and ivory are also ascribed to him. So far as we know, he did not work in marble at all. His range of subjects included divinities, heroes, men, and animals. Of

s been broken off, but is substantially antique; and the only considerable restoration is the right leg from the knee to the ankle. The two other most important copies were found together in 1791 on the site of Hadrian's villa at Tibur (Tivoli). One of these is now in

iption of the attitude of that work, or rather of a copy of it, and his description agrees point for point with the statues in question. This agreement is the more decisive because the attitude is a very remarkable one,

hfully caught one of the rapidly changing positions which the exercise involved. Having passed the discus from his left hand to his right, the athlete has swung the missile as far back as possible. In the next instant he will hurl it forward, at the same time, of course, advancing his left foot and recovering his erect position. Thus Myron has preferred to the comparatively easy task of representing the athlete at rest, bearing so

essor Furtwangler are alike in the Discobolus and the Riccardi head. These detailed resemblances cannot be verified without the help of casts or at least of good photographs taken from different points of view; but the general impression of likeness will be felt convincing, even without analysis. Now these two works represent different persons, the Riccardi head being probably copied from the statue of some ideal hero. And the point to be especially illustrated is that in the Discobolus we have not a realistic portrait, but a genera

s having just flung down in disdain a pair of flutes; the satyr, advancing on tiptoe, hesitates between cupidity and the fear of Athena's displeasure. Marsyas has a lean and sinewy figure, coarse stiff hair and beard, a wrinkled forehead, a broad flat nose which makes a marked angle with the forehead, pointed ears (modern, but guaranteed by another copy of

07 shows four metopes from a temple at Selinus. They represent (beginning at the left) Heracles in combat with an Amazon, Hera unveiling herself before Zeus, Actaeon torn by his dogs in the

r tried and failed, till at last Pelops, a young prince from over sea, succeeded In the pediment group Zeus, as arbiter of the impending contest, occupies the center. On one side of him stand Pelops and his destined bride, on the other Oenomaus and his wife, Sterope (Fig. 108). The chariots, with attendants and other more or less interested persons follow (Fig. 109). The moment chosen by the sculptor is one of expectancy rather than action, and the various figures are in consequence simply juxtaposed, not interlocked. Far different is the scene presented by the western pediment. The subject here is the combat between Lapiths and Centaurs, one of the favorite themes of Greek sculpture, as of Greek painting. The Centaurs, brutal creatures, partly human, partly equine, were fabled to have lived in Thessaly. There too was the home of the Lapiths, who were Gre

ases only blocked out, the form of the mass being given, but its texture not indicated (e.g., Fig. 111). In the pose of the standing figures (e.g., Fig. 108), with the weight borne about equally by both legs, we see a modified survival of the usual archaic attitude. A lingering archaism may be seen in other features too; very plainly, for example, in the arrangement of Apollo's hair (Fig 110). The garments represent a thick woolen stuff, whose folds show very little pliancy. The drapery of Sterope (Fig. 108) should be especially noted, as it is a

ype, to be sure, in comparison with what we are accustomed to nowadays; but the old men of the Parthenon frieze bear no disfiguring marks of age. Again, in the face of the young Lapith whose arm is being bitten by a Centaur (Fig. 112), there is a marked attempt to express physical pain; the features are m

attention may be drawn again to the superb head of the Lapith bride. Apollo, too (Fig. 110), though not that radiant

o and fetch the coveted treasure, himself meanwhile assuming the burden. The moment chosen by the sculptor is that of the return of Atlas with the apples. In the middle stands Heracles, with a cushion, folded double, upon his shoulders, the sphere of the heavens being barely suggested at the top of the relief. Behind him is his companion and protectress, Athena, once recognizable by a lance in her right hand. [Footnote: Such at least seems to be the view adopted in the latest official publication on the subject "Olympia; Die Bildwerke in Stein und Thon," Pl. LXV.] With her left hand she seeks to ease a little the hero's heavy load. Before him stands Atlas, holding out t

this head is not worked out in detail, except at the front. This summary treatment of the hair is, in fact, more general in the

p of the metopes; but he tells us that the sculptures of the eastern pediment were the work of Paeonius of Mende, an indisputable statue by whom is known (cf. page 213), and those of the western by Alcamenes, who appears elsewhere in literary tradition as a pup

best preserved of ancient statues in marble, as it is not reported to have anything modern about it except the index finger of the left hand. This hand originally held a scepter. The st

bronze. The statue represents a boy of perhaps twelve, absorbed in pulling a thorn from his foot. We do not know the original purpose of the work; perhaps it commemorated a victory won in a foot-race of boys The left leg of the figure is held in a position which gives a somewhat ungraceful outline; Praxiteles would