A History of Greek Art / With an Introductory Chapter on Art in Egypt and Mesopotamia

means of assigning a definite date to any of the most primitive-looking pieces of Greek sculpture. All that can be said is that works which can be confidently d

ce proper, Boeotia, Attica, Argolis, Arcadia, Laconia; in Sicily, the Greek colony Selinus; and doubtless many others. It is very difficult to make out how far these different spots were independent of one another; how far, in other words, we have a right to speak of local "schools" of sculpture. Certainly there was from the first a good deal of action and reaction between some of t

her, the arms hanging straight down, the face looking directly forward. The garment envelops the body like a close-fitting sheath, without a suggestion of folds. The trunk of the body is flat or nearly so at the back, while in front the prominence of the breasts is suggested by the simple device of two planes, an upper and a lower, meeting at an angle. The shapeless arms were not detached from the sides, except just at the waist. Below the girdle the body is bounded by parallel planes in front and behind and is rounded off at the sides. A short projection at the bottom, slightly round

been thought to betray Egyptian influence. [Footnote: See Wolters's edition of Friederichs's "Gipsabgusse antiker Bildwerke," pages 11 12.] The rigid position might be adopted independently by primitive sculpture anywhere. But the fact that the left leg is invariably advanced, the narrowness of the hips, and the too high position frequently given to the ears- did this group of coincidences with the stereotyped Egyptian standing figures come about without imitation? There is no historical difficulty in the way of assuming Egyptian influence, for as early as the seventh century Greeks certainly

oo, is the formation of the mouth, with its slightly upturned corners-a feature almost, though not quite, universal in Greek faces for more than a century. This is the sculptor's childlike way of imparting a look of cheerfulness to the countenance, and with it often goes an upward slant of the eyes from the inner to the outer corners. In representing this youth as wearing long hair, the sculptor followed

ms alive. The position of the feet, flat upon the ground and parallel to one another, shows us how to complete in imagination the "Apollo" of Thera and other mutilated members of the series. Greek sculpture even in its earliest period could not limit itself to single standing figures. The desire to adorn the pediments of temples and temple-like buildings gave use to more complex compositions. The earliest pediment sculptures known were found on the Acropolis of Athens in the excavations of 1885-90 (see page 147) The most primitive of these is a low relief of soft poros (see page 78), representing Heracles slaying the many-headed hydra. Somewhat later, but still very rude, is the group shown in Fig. 80, which once occupied the right-hand half of a pediment. The material here is a harder sort of poros, and the figures are practically in the round, though on account of the connection with the background the work has to be classed as high relief. We see a triple monster, or rather three monsters, with human heads and trunks and arms the human bodies passing into long snaky bodie

inity, doubtless Athena, whose precinct the Acropolis was. The figure then probably represents the dedicator, bringing a calf for sacrifice. The position of the body and legs is here the same as in the "Apollo" figures, but the subject has compelled the sculptor to vary the position of the arms. Anoth

rliest furthest off. Only the first two belong in the period now under review. The figures are heavy and lumpish, and are enveloped, men and women alike, in draperies, which leave only the heads, the fore-arms, and the toes exposed. It is interesting to see

ainting to signify rapid motion-but is overtaken by her pursuer. From the blood of Medusa sprang, according to the legend, the winged horse, Pegasus; and the artist, wishing to tell as much of the story as possible, has introduced Pegasus into his composition, but has been forced to reduce him to miniature size. The goddess Athena, the protectress of Perseus, occupies what remains of the field. There is no need of dwelling in words on the ugliness of this relief, an ugliness only in part accounted for by the subject. The student should note that the body of each of the three figures is seen from the front, while the legs are in profile. The same distor

wn that the feet did not touch the pedestal, the drapery serving as a support. The intention of the artist, then, was to represent a flying figure, probably a Victory. The goddess is dressed in a chiton (shift), which shows no trace of folds above the girdle, while below the girdle, between the legs, there is a series of flat, shallow ridges. The face shows the usual archaic features-the prominent eyeballs, cheeks, and chin, and the smiling mouth. The hair i

f Chios, known to us from literary tradition as the first sculptor to represent Victory with wings. At all events, this, if a Victory, is the earliest that

s dedicatory inscription have been found on the bases of the Ionic columns, affording a welcome confirmation to the testimony of Herodotus. It appears that the columns, or some of them, were treated in a very exceptional fashion, the lowest drums being adorned with relief- sculpture. The British Museum authorities have partially restored one such drum (Fig. 86), though without guaranteeing that the pieces of sculpture here combined actually belong to the same column. The male figure is not very pre-possessing, but that is partly due to the battered condition of the face. Much more attractive is the female head, of which unfortunately only the back is seen in our ill