A History of Greek Art

irthplace or residence ceases to have much importance Athens, however, maintained her artistic preeminence through the first half or more of the century. Several

de most of the notable sculptors of this period. What the tendencies of the times were

d by fire in 395-4. He as active as late as the middle of the century, being one of four sculptors engaged on the reliefs of the Mausoleum or funeral monument of Maussollus, satrap of Caria, who died in 351-0, or perhaps two years earl

does not carry us very far. The study of Scopas has entered upon a new stage since some fragments of sculpture belonging to the Temple of Athena at Tegea have become known. The presumption is that, as Scopas was the architect of the building, he also designed, if he did not execute, the pediment-sculptures. If this be true, then we have at last authentic, though scanty, evidence of his style. The fragments thus far discovered consist of little more than two human heads and a boar's head. One of the human h

os, as if born of a consciousness of approaching doom. So masterly is the workmanship here, so utterly removed from the mechanical, uninspired manner of Roman copyists, that this

was officially established in Athens. The head of the child is antique, but does not belong to the figure; copies of the child with the true head exist in Athens and Dresden. The principal modern parts are: the right arm of the goddess (which should hold a scepter), her left hand with the vase, and both

bly executed under his direction. In the second place, we can gather from our literary sources a catalogue of toward fifty of his works, a larger list than can be made out for any other sculptor. Moreover, of several pieces we get really enlightening descriptions, and there are in ad

ed and fourth Olympiad (370-66) as the date at which he flourished, but this was probably about the beginning of his artistic career. Only one anecdote is told of him which is worth repeating here

pedestal. Here it had stood when Pausanias saw it and recorded that it was the work of Praxiteles. The legs of Hermes below the knees have been restored in plaster (only the right foot being antique), and so have the arms of

unapproachable perfection. His symmetrical figure, which looks slender in comparison with the Doryphorus of Polyclitus, is athletic without exaggeration, and is modeled with faultless skill. The attitude, with the weight supported chiefly by the right leg and left arm, gives to the body a graceful curve which Praxiteles loved. It is the last stage in the long development of an easy standing pose. The head is of the round Attic form, contrasting with the squarer Peloponnesian type; the face a fine oval. The lower part of the forehead between the temples is prominent; the nose not quite straight, but

help of certain imperial coins of Cnidus this Aphrodite has been identified in a great number of copies. She is in the act of dropping her garment from her left hand in preparation for a bath; she supports herself chiefly by the right leg, and the body has a curve approaching that of the Hermes, though here no part of the weight is thrown upon the arm. The subject is treated with consummate delicacy, far removed from the sensuality too usual

, considerably restored. The god, conceived in the likeness of a beautiful boy, leans against a tree, preparing to stab a lizard with an arrow, w

that we can hardly go wrong in ascribing them both to him. Both exist in numerous copies. Our illustration of the first (Fig. 153) is taken from the copy of which Hawthorne wrote so subtle a description in "The Marble Faun." The statue is somewhat restored, but the restoration is not open to doubt, except as regards the single pipe held in the right hand. No animal characteristic is to be

on is substantially correct. The face of this statue has purely Greek features, and only the pointed ear

tion is strong that these reliefs were executed under the direction of Praxiteles, perhaps from his design. The subject of one slab is the musical contest between Apollo and Marsyas, while the other two bear figures of Muses. The latter are posed and draped with

f, was by some one who had marvelously caught his spirit. That it represents the goddess Artemis we may probably infer from the short chiton, an appropriate garment often worn by the divine huntress, but not by human maidens. Otherwise the

as or Praxiteles. It is commonly supposed, though without decisive proof, that certain statues of Niobe and her children which exist in Florence and elsewhere are copied from the group of which Pliny speaks. The story was that Niobe vaunted herself before Leto because she had seven sons and seven daughters, while Leto had borne only Apollo and Artemis. For her presumption all her children were stricken down by the arrows of Apollo and Artemis. This punishment is the subject of the group. Fig. 157 gives the central figures; they are Niobe herself and her youngest daughter, who has fled to her for protection. The Niobe has long been famous as an embodiment of haughtiness, maternal love, and sharp distress. But much finer in composition, to my thinking, i

d that discoveries of new material and further study of already existing material will reveal them to us with some degree of clearness and certainty. A good illustration of how new acquisitions may help us is afforded by a group of fragmentary sculptures found in the sanctuary of Asclepius near Epidauros in the years 1882-84 and belonging to the pediments of the principal temple. An inscription was found on the same site which records the expenses incurred in building this temple, and one item in it makes it probable that Timot

, but of only one have considerable remains been preserved (cf. Fig. 65). This has for its subject a battle of Greeks and Amazons, a theme which Greek sculptors and painters never wearied of reproducing. The preserved portions of this frieze amount in all to about eighty feet, but the slabs are not consecutive. Figs. 160 and 161 give two of the best pieces. The design falls into groups of two or three combatants, and these gr

h reliefs of extraordinary beauty. They are all now in the recently created Museum of Constantinople, which has thus become one of the places of foremost consequence to every student and lover of Greek art. The sixteen sarcophagi are of various dates, from early in the fifth to late in the fourth century. The one shown in Fig. 162 may be assigned to about the middle of the fo

ed into the reign of Alexander, so that its date may be given approximately as 350-30. Through the indefatigable perseverance of Mr J. T. Wood, who conducted excavations at Ephesus for the British Museum in 1863-74, the site of this temple, long unknown, was at last discovered and its remains unearthed. Following the example of the sixth century temple, it had the lowest drums of a number of its columns cover

of the fourth century. There were probably in existence at this time authentic likenesses of the poet, on which the sculptor based his work. The attitude of the figure is the perfection of apparent ease, but in reality of skilful contrivance to secure a due balance of parts and anety and grace of line. The one garment, drawn closely about the person, illustrates the inestimable good fortune enjoyed by the Greek sculptor, in contrast with

nd in the imperial period. At first this used to be regarded as copied from the Olympian Zeus of Phidias (page 185), but in the light of increased acquaintance with the style of Phidias and his age, this attribution has long been seen to be impossible. The original belongs about at the end of the period now und

bent from that of Praxiteles. No statue of Aphrodite or indeed of any goddess (except the Muses) is ascribed to him; on the other hand, he made at least four statues of Zeus, one of them nearly sixty feet high, and at least four figures of Heracles, of which one was colossal, while one was less than a foot high, besides groups representing the labors of Heracles. In short, the list of his statues of superhuman beings, though it does include an Eros and a Dionysus, looks as if he had no especial predilection for the soft loveliness of youth, but rather for mature and vigorous forms. He was famous as a por

him in Rome called an Apoxyomenos, i.e., an athlete scraping himself with a strigil. A copy of such a statue was found in Rome in 1849 (Fig. 166). The fingers of the right hand with the inappropriate die are modern, as are also some additional bits here and there. Now the coincidence in subject between this statue and that mentioned by Pliny would not alone be dec

is slender figure suggests elasticity and agility rather than brute strength. The face (Fig. 167) has not the radiant charm which Praxiteles would have given it, but it is both fine and alert. The eyes are deeply set; the division of the upper from the lo

as one could desire. The king is here represented, one would guess, at the age of thirty or thereabouts. Now as he was absent from Europe from the age of twenty-two until his death at Babylon at the age of thirty-three (323 B.C.), it would seem likely that Lysippus, or whoever the sculptor was, based his portrait upon likenesses taken some years earlier. Consequently, although portraiture in the age