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

potent charm True, many traces still remain of the sculptor's imperfect mastery. He cannot pose his figures

ed. As from the first, the upper eyelid does not overlap the lower eyelid at the outer corner, as truth, or rather appearance, requires, and in relief sculpture the eye of a face in profile is rendered as in front view. The texture and arrangement of hair are expressed in various ways but always with a marked love of symmetry and formalism. In the difficult art of representing drapery there is much experimentation and great progress. It seems to have been among the eastern Ionians perhaps at Chios, that the deep cutting of folds was fir

omise. They are marked, moreover, by a simplicity and sincerity of purpose, an absence of all ostentation, a conscientious and loving devotion on the

ower the third holding an egg in her right hand and raising her chiton with her left. Then comes the opening into the burial-chamber, surmounted by a diminutive cow suckling her calf. At the left is another seated female figure, holding a bowl for libation. The exact significance of this scene is unknown, and we may limit our attention to its artistic qualities. We have here our first opportunity of observing the principle of isocephaly in Greek relief-sculpture; i.e., the convention whereby the heads of figures in an extended composition are ranged on nearly the same level, no matter whether the figures are seated, standing, mounted on horseback, or placed in any other position. The main purpose of this conventio

Aristion himself. He had probably fallen in battle, and so is put before us armed. Over a short chiton he wears a leather cuirass with a double row of flaps below, on his head is a small helmet, which leaves his face entirely exposed, on his legs are greaves; and in his left hand he holds a spear There is some constraint in the position of the left arm and hand, due to the limitations of space In general, the anatomy, so far as exhibited is credita

of fire-blackened ruins This debris was used by the Athenians in the generation immediately following toward raising the general level of the summit of the Acropolis. All this material, after having been buried for some twenty three and a half centuries, has now been recovered. In the light of the newly found remains, which include numerous inscribed pedestals, it is seen tha

ve any evidence of having been painted (cf. page 119). Fig. 89 is taken from an illustration which gives the color as it was when the statue was first found, before it had suffered from exposure. Fig. 90 is not in itself one of the most pleasing of the series, but it has a special interest, not merely on account of its exceptionally large size-it is over six and a half feet high-but because we probably know the name and something more of it

at the waist and pulled up so as to fall over conceal the girdle. Figs 89, 90, 92 93 wear over this a second garment which goes over the right shoulder and under the left This over-garment reaches to the feet, so as to conceal the lower portion of the chiton At the top it is folded over, or perhaps rather another piece of cloth is sewed on. This o

a martial goddess, but also patroness of spinning and weaving and all cunning handiwork. To others, including the writer, they seem, in their manifold v

over the forehead survives and the eyeballs still protrude unpleasantly. But the mouth has lost the conventional smile and the modeling of the face is of great beauty. In the other, alone of the series, the hair presents a fairly natural appearance, the eyeballs lie at their pr

he hair, once of a golden tint, is long behind and is gathered into two braids, which start from just behind the ears, cross one another, and are fastened together in front; the short front hair is combed forward and conceals the ends of

y two or three of them have yet been published, and these in a form not suited for reproduction. The same is the case with another of the recent finds at Delphi, the sculptured frieze of the Treasury of the Cnidians, already famous among professional students and destined to be known and admired by a w

int has prevailed. But we are now somewhat better off, thanks to recent discoveries at Athens and Delphi, and we shall probably not go far wrong in assigning the temple with its sculptures to about 480 B.C. Fig. 52 illustrates, though somewhat incorrectly, the composition of the western pediment. The subject was a combat, in the presence of Athena, between Greeks and Asiatics, probably on the plain of Troy. A close parallelism existed between the two halves of the pediment, each figure, except the goddess and the fallen warrior at her feet, corresponding to a similar figure on the opposite side. Athena, protectress of the Greeks, stands in the center (Fig. 98). She wears two garments, of which the outer one (the only one seen in the illustration) is a marvel of formalism. Her aegis covers her breasts and hangs far down behind; the points of its scalloped edge once bristled with

ble modern part is the right leg, from the middle of the thigh. The superiority of this and its companion figures to those of the western pediment lies, as the Munich catalogue points out, in the juster proportions of body, arms, and legs, the greater fulness of the muscles, the more careful attention to the veins and to the qualities of the skin, the more na

has been spoken of by a high authority [Footnote: Newton, "Essays on Art and Archaeology" page 81.] as showing only "a meager and painful rendering of nature." That is one way of looking at it. But there is another way, which has been finely expressed by Pater, in an essay on "The Marbles of Aegina": "As art which has passed its prime has sometimes the charm of an absolute refinement in taste and workmanship, so immature art also, as we now see, has its own attractiveness in the naivete, the freshness of spirit, which finds power and interest