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

ary splendor. The real ascendancy of Pericles began in 447, and the achievements most properly associated with his name belong to the succeeding fifteen years. Athens at this time possessed ampl

timony of Plutarch, [Footnote: Life of Pericles Section 13] a general superinte

y statue of Athena in the Parthenon was completed. Touching the time and circumstances of his death we have two inconsistent traditions. According to the one, he was brought to trial in Athens immediately after the completion of the Athena on the charge of misappropriating some of the ivory with which he had been intrusted but made his escape to Elis, where, after executing the gold and ivory Zeus for the temple of that god at Ol

im. He worked also in bronze and in marble. From a reference in Aristotle's "Ethics" it might seem as if he were best known as a sculptor in marble, but only three statues by him ar

ter in the other. The figure is represented on three Elean coins of the time of Hadrian (117-138 A.D.) but on too small a scale to help us much. Another coin of the same period gives a fine head of Zeus in profil

h makes the greatest attempt at exactitude (Fig. 118). It is a statuette, not quite 3 1/2 feet high with the basis, found in Athens in 1880. The goddess stands with her left leg bent a little and pushed to one side. She is dressed in a heavy Doric chiton, open at the side. The girdle, whose ends take the form of snakes' heads, is worn outside the doubled-over portion of the garment. Above it the folds are carefully adjusted, drawn in symmetrically from both sides toward the middle; in the lower part of the figure there is the common vertical division into two parts, owing to the bending of one leg. Over the chiton is the aegis, much less long behind than in earl

), which has been proved to be another copy from the same original. This proof, about which there seems to be no room for question, is due to Professor Furtwangler, [Footnote: "Masterpieces of Greek Sculpture" pages 4 ff.] who argues further that the statue as thus restored is a faithful copy of the Lemnian Athena of Phidias, a bronze work which stood on the Athenian A

ly simple, as we ought to expect of a religious work of that period. The virginal face, conceived and wrought with ineffable refinement, is as far removed from sensual charm as from the ecstasy

e cella and its vestibules (cf. Fig. 56). After serving its original purpose for nearly a thousand years, the building was converted into a Christian church and then, in the fifteenth century, into a Mohammedan mosque. In 1687 Athens was besieged by the forces of Venice. The Parthenon was used by the Turks as a powder-magazine, and was consequently made the target for the enemy's shells. The result was an explosion, which converted the building into a ruin. Of the sculptures whic

eize the rearing Centaur by the throat, and forcing him on his haunches; the right arm of the Lapith is drawn back, as if to strike; his right hand, now wanting, probably held a sword. .... The Centaur, rearing up, against his antagonist, tries in vain to pull away the left hand of the Lapith, which, in Carrey's drawing [made in 1674] he grasps." [Footnote: A. H. Smith, "Catalogue of Sculpture in the British Museum," page 136.] Observe how skilfully the design is adapted to the square field, so as to leave no unpleasant b

ion is almost certainly Posidon, and the others are perhaps Apollo and Artemis. In Fig. 125 three youths advance with measured step, carrying jars filled with wine, while a fourth youth stoops to lift his jar; at the extreme right may be seen part of a flute-player, whose figure was completed on the next slab. The attitudes and draperies of the three advancing youths, though similar, are subtly varied. So everywhere monotony is absent from the frieze. Fig. 126 is taken from the most animated and crowded part of the design. Here Athenian youths, in a great variety of dress and undress, dash forw

ear the angles have been better preserved than any of those from the western pediment, with one exception. The names of these eastern figures have been the subject of endless guess-work. All that is really certain is that at the southern corner Helios (the Sun-god) was emerging from the sea in a chariot drawn by four horses, and at the northern corner Selene (the Moon-goddess) or perhaps Nyx (Night) was descending in a similar chariot. Fig. 128 is the figure that was placed next to the horses of Helios. The young god or hero reclines in an easy

s lost. We cannot then fully appreciate the intention of the great artist who conceived these works. Yet even in their ruin and

es such differences of style as exclude the notion of single authorship. With the frieze and the pediment-groups, however, the case is different. Each of these three compositions must, of course, have been designed by one master-artist and executed by or with the help of subordinate artists or workmen. Now the pediment-groups, so far as preserved, strongly suggest a single presiding genius for both, and there is no difficulty in ascribing the design of the frieze

ropolis; it was from the hand of Cresilas, of Cydonia in Crete. It is perhaps this portrait of which copies have come down to us. The best of these is given in Fig 131. The featur

se are far surpassed in interest by the Caryatides of the southern porch (Fig. 67). The name Caryatides, by the way, meets us first in the pages of Vitruvius, a Roman architect of the time of Augustus; a contemporary Athenian inscription, to which we are indebted for many details concerning the building, calls them simply "maidens." As you face the front of the porch, the three maidens on your right support themselves chiefly on the left leg, the three on your left on the right leg (Fig. 132), so that the leg in action is the one nearer to the end of the porch. The arms hung straight at the sides, one of them grasping a corner of the small mantle. The pose and drapery show what Attic sculpture had made of the old Peloponnesian type of stan

g. 133. It represents a winged Victory stooping to tie (or, as some will have it, to untie) her sandal. The soft Ionic chiton, clinging to the form, reminds one of the drapery of the reclining goddess from the eastern pediment of the Par

some such object (originally, it may be supposed, indicated by color), which she has just taken from the jewel-box held out by the standing slave-woman. Another fine grave-relief (Fig. 135) may be introduced here, though it perhaps belongs to the beginning of the fourth century rather than to the end of the fifth

he Thracian singer, has descended into Hades in quest of his dead wife, Eurydice, and has so charmed by his music the stern Persephone that she has suffered him to lead back his wife to the upper air, provided only he will not look upon her on the way. But love has overcome him. He has turned and looked, and the doom of an ir

. His principal material was bronze. As regards subjects, his great specialty was the representation of youthful athletes. His reputation in his own day and afterwards was of the highest; there were those who ranked him above Phidias. Thus Xenophon represents [Footnote: Memorabilia I., 4, 3 (written about 390 B. C).] an Athenian as assigning to Polyclitus a preeminence in sculpture like that of Homer in epic poetry and that of Sophocles in tragedy; and Strabo[Footnote

e throughout, but is of indifferent workmanship. The young man, of massive build, stands supporting his weight on the right leg; the left is bent backward from the knee, the foot touching the ground only in front. Thus the body is a good deal curved. This attitude is an advance upon any standing motive attained in the "Transitional period" (cf. page 165). It was much used by P

boy in Dresden, of which the head is shown in Fig. 139. One of these obviously allied works can be identified with a statue by Polyclitus known to us from our literary sources. It is the so- c

ng copies. It is the figure of an Amazon, who has been wounded in the right breast. She leans upon a support at her left side and raises her right hand to her head in an attitude perhaps intended to suggest exhaustion, yet hardly suitable to the position of the wound. The attitude of the fi

been brought to light several fragments of the metopes of the second temple, which, together with a few fragments from the same source found earlier, form a precious collection of materials for the study of the Argive school of sculpture of about 420. Still more interesting, at least to such as are not specialists, is a head which was found on the same site (Fig. 141), and which, to judge by its style, must date from the same period. It is

ed both for Athens and for Argos. The standing position, while not identical with that of the Doryphorus, the Diadumenos, and the wounded Amazon, is strikingly

tions, and the mutilated statue itself on the following day (Fig. 143). A restoration of the figure by a German sculptor (Fig. 144) may be trusted for nearly everything but the face. The goddess is represented in descending flight. Poised upon a triangular pedestal about thirty feet high, she seems all but independent of support. Her draperies, blown by the wind, form a background for her figure. An eagle at her feet suggests the element through which she moves. Never was a more audacious design executed in marble. Yet it does not impress us chiefly as a tour de force. The beholder forgets the triumph over material difficulties in the sense of buoyancy, speed, and grace which the figure inspi