A History of Greek Art Part 4

Another series of figures, much more numerously represented, gives us the corresponding type of male figure. One of the earliest examples of this series is shown in Fig. 78, a life-sized statue of Naxian marble, found on the island of Thera in 1836. The figure is completely nude. The att.i.tude is like that of the female type just described, except that the left foot is advanced. Other statues, agreeing with this one in att.i.tude, but showing various stages of development, have been found in many places, from Samos on the east to Actium on the west. Several features of this cla.s.s of figures have 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 a.s.suming Egyptian influence, for as early as the seventh century Greeks certainly visited Egypt and it was perhaps in this century that the Greek colony of Naucratis was founded in the delta of the Nile. Here was a chance for Greeks to see Egyptian statues; and besides, Egyptian statuettes may have reached Greek sh.o.r.es in the way of commerce.

But be the truth about this question what it may, the early Greek sculptors were as far as possible from slavishly imitating a fixed prototype. They used their own eyes and strove, each in his own way, to render what they saw. This is evident, when the different examples of the cla.s.s of figures now under discussion are pa.s.sed in review.

Our figure from Thera is hardly more than a first attempt. There is very little of anatomical detail, and what there is is not correct; especially the form and the muscles of the abdomen are not understood. The head presents a number of characteristics which were destined long to persist in Greek sculpture. Such are the protuberant eyeb.a.l.l.s, the prominent cheek-bones, the square, protruding chin. Such, too, 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 the actual fas.h.i.+on of the times, a fas.h.i.+on not abandoned till the fifth century and in Sparta not till later. The appearance of the hair over the forehead and temples should be noticed. It is arranged symmetrically in flat spiral curls, five curls on each side.

Symmetry in the disposition of the front hair is constant in early Greek sculpture, and some scheme or other of spiral curls is extremely common.

It was at one time thought that these nude standing figures all represented Apollo. It is now certain that Apollo was sometimes intended, but equally certain that the same type was used for men.

Greek sculpture had not yet learned to differentiate divine from human beings The so-called "Apollo" of Tenea (Fig. 79), probably in reality a grave-statue representing the deceased, was found on the site of the ancient Tenea, a village in the territory of Corinth. It is unusually well preserved, there being nothing missing except the middle portion of the right arm, which has been restored. This figure shows great improvement over his fellow from Thera. The rigid att.i.tude, to be sure, is preserved unchanged, save for a slight bending of the arms at the elbows; and we meet again the prominent eyes, cheek-bones, and chin, and the smiling mouth. But the arms are much more detached from the sides and the modeling of the figure generally is much more detailed. There are still faults in plenty, but some parts are rendered very well, particularly the lower legs and feet, and the figure seems 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 cla.s.sed as high relief. We see a triple monster, or rather three monsters, with human heads and trunks and arms the human bodies pa.s.sing into long snaky bodies coiled together. A single pair of wings was divided between the two outermost of the three beings, while snakes' heads, growing out of the human bodies, rendered the aspect of the group still more portentous.

The center of the pediment was probably occupied by a figure of Zeus, hurling his thunderbolt at this strange enemy. We have therefore here a scene from one of the favorite subjects of Greek art at all periods--the gigantomachy, or battle of G.o.ds and giants. Fig. 81 gives a better idea of the nearest of the three heads. [Footnote: It is doubtful whether this head belongs where it is placed in Fig 80, or in another pediment-group, of which fragments have been found.] It was completely covered with a crust of paint, still pretty well preserved. The flesh was red; the hair, moustache, and beard, blue; the irises of the eyes, green; the eyebrows, edges of the eyelids, and pupils, black. A considerable quant.i.ty of early poros sculptures was found on the Athenian Acropolis. These were all liberally painted. The poor quality of the material was thus largely or wholly concealed.

Fig. 82 shows another Athenian work, found on the Acropolis in 1864-65. It is of marble and is obviously of later date than the poros sculptures. In 1887 the pedestal of this statue was found, with a part of the right foot. An inscription on the pedestal shows that the statue was dedicated to some divinity, 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. Another difference from the "Apollo" figures lies in the fact that this statue is not wholly naked. The garment, however, is hard to make out, for it clings closely to the person of the wearer and betrays its existence only along the edges. The sculptor had not yet learned to represent the folds of drapery

The British Museum possesses a series of ten seated figures of Parian marble, which were once ranged along the approach to an important temple of Apollo near Miletus. Fig. 83 shows three of these. They are placed in their a.s.sumed chronological order, the earliest 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 the successive sculptors attacking the problem of rendering the folds of loose garments. Not until we reach the latest of the three statues do we find any depth given to the folds, and that figure belongs distinctly in the latter half of the archaic period.

Transporting ourselves now from the eastern to the western confines of Greek civilization, we may take a look at a sculptured metope from Selinus in Sicily (Fig. 84). That city was founded, according to our best ancient authority, about the year 629 B.C., and the temple from which our metope is taken is certainly one of the oldest, if not the oldest, of the many temples of the place.

The material of the metope, as of the whole temple, is a local poros, and the work is executed in high relief. The subject is Perseus cutting off the head of Medusa. The Gorgon is trying to run away--the position given to her legs is used in early Greek sculpture and vase-painting 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, wis.h.i.+ng 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 G.o.ddess 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 distortion occurs in a second metope of this same temple, representing Heracles carrying off two prankish dwarfs who had tried to annoy him, and is in fact common in early Greek work. We have met something similar in Egyptian reliefs and paintings (cf. page 33), but this method of representing the human form is so natural to primitive art that we need not here a.s.sume Egyptian influence. The garments of Perseus and Athena show so much progress in the representation of folds that one scruples to put this temple back into the seventh century, as some would have us do. Like the poros sculptures of Attica, these Selinus metopes seem to have been covered with color.

Fig. 85 takes us back again to the island of Delos, where the statue came to light in 1877. It is of Parian marble, and is considerably less than life-sized. A female figure is here represented, the body unnaturally twisted at the hips, as in the Selinus metopes, the legs bent in the att.i.tude of rapid motion. At the back there were wings, of which only the stumps now remain. A comparison of this statue with similar figures from the Athenian Acropolis has shown 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 G.o.ddess is dressed in a chiton (s.h.i.+ft), 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 eyeb.a.l.l.s, cheeks, and chin, and the smiling mouth. The hair is represented as fastened by a sort of hoop, into which metallic ornaments, now lost, were inserted.

As usual, the main ma.s.s of the hair falls straight behind, and several locks, the same number on each side, are brought forward upon the breast. As usual, too, the front hair is disposed symmetrically; in this case, a smaller and a larger flat curl on each side of the middle of the forehead are succeeded by a continuous tress of hair arranged in five scallops.

If, as has been generally thought, this statue belongs on an inscribed pedestal which was found near it, then we have before us the work of one Archermus of 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 we know.

She awakens our interest, less for what she is in herself than because she is the forerunner of the magnificent Victories of developed Greek art.

Thus far we have not met a single work to which it is possible to a.s.sign a precise date. We have now the satisfaction of finding a chronological landmark in our path. This is afforded by some fragments of sculpture belonging to the old Temple of Artemis at Ephesus. The date of this temple is approximately fixed by the statement of Herodotus (I, 92) that most of its columns were picsented by Croesus, king of Lydia, whose reign lasted from 560 to 546 B. C. In the course of the excavations carried on for the British Museum upon the site of Ephesus there were brought to light, in 1872 and 1874, a few fragments of this sixth century edifice. Even some letters of Croesus'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 fas.h.i.+on, 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.u.s.tration. It bears a strong family likeness to the head of the Victory of Delos, but shows marked improvement over that. Some bits of a sculptured cornice belonging to the same temple are also refined in style. In this group of reliefs, fragmentary though they are, we have an indication of the development attained by Ionic sculptors about the middle of the sixth century. For, of course, though Croesus paid for the columns, the work was executed by Greek artists upon the spot, and presumably by the best artists that could be secured. We may therefore use these sculptures as a standard by which to date other works, whose date is not fixed for us by external evidence.

CHAPTER VI.

THE ARCHAIC PERIOD OF GREEK SCULPTURE SECOND HALF 550-480 B.C.

Greek sculpture now enters upon a stage of development which possesses for the modern student a singular and potent charm True, many traces still remain of the sculptor's imperfect mastery. He cannot pose his figures in perfectly easy att.i.tudes not even in reliefs, where the problem is easier than in sculpture in the round. His knowledge of human anatomy--that is to say, of the outward appearance of the human body, which is all the artistic anatomy that any one attempted to know during the rise and the great age of Greek sculpture--is still defective, and his means of expression are still imperfect. For example, in the nude male figure the hips continue to be too narrow for the shoulders, and the abdomen too flat. The facial peculiarities mentioned in the preceding chapter--prominent eyeb.a.l.l.s, cheeks, and chin, and smiling mouth--are only very gradually modified. 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 first practiced, and from Ionia this method of treatment spread to Athens and elsewhere. When drapery is used, there is a manifest desire on the sculptor's part to reveal what he can, more, in fact, than in reality could appear, of the form underneath. The garments fall in formal folds, sometimes of great elaboration. They look as if they were intended to represent garments of irregular cut, carefully starched and ironed. But one must be cautious about drawing inferences from an imperfect artistic manner as to the actual fas.h.i.+ons of the day.

But whatever shortcomings in technical perfection may be laid to their charge, the works of this period are full of the indefinable fascination of promise. They are marked, moreover, by a simplicity and sincerity of purpose, an absence of all ostentation, a conscientious and loving devotion on the part of those who made them. And in many of them we are touched by great refinement and tenderness of feeling, and a peculiarly Greek grace of line.

To ill.u.s.trate these remarks we may turn first to Lycia, in southwestern Asia Minor. The so called "Harpy" tomb was a huge, four sided pillar of stone, in the upper part of which a square burial-chamber was hollowed out. Marble bas-reliefs adorned the exterior of this chamber The best of the four slabs is seen in Fig 87 [Footnote: Our ill.u.s.tration is not quite complete on the right]

At the right is a seated female figure, divinity or deceased woman, who holds in her right hand a pomegranate flower and in her left a pomegranate fruit To her approach three women, the first raising the lower part of her chiton with her right hand and drawing forward her outer garment with her left, the second bringing a fruit and a flower 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 convention doubtless was to avoid the unpleasing blank s.p.a.ces which would result if the figures were all of the same proportions. In the present instance there may be the further desire to suggest by the greater size of the seated figures their greater dignity as G.o.ddesses or divinized human beings. Note, again, how, in the case of each standing woman, the garments adhere to the body behind. The sculptor here sacrifices truth for the sake of showing the outline of the figure. Finally, remark the daintiness with which the hands are used, particularly in the case of the seated figure on the right.

The date of this work may be put not much later than the middle of the sixth century, and the style is that of the Ionian school.

Under the tyrant Pisistratus and his sons Athens attained to an importance in the world of art which it had not enjoyed before. A fine Attic work, which we may probably attribute to the time of Pisistratus, is the grave-monument of Aristion (Fig. 88). The material is Pentelic marble. The form of the monument, a tall, narrow, slightly tapering slab or stele, is the usual one in Attica in this period. The man represented in low relief is, of course, Aristion himself. He had probably fallen in battle, and so is put before us armed. Over a short chiton he wears a leather cuira.s.s 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 s.p.a.ce In general, the anatomy, so far as exhibited is creditable, though fault might be found with the shape of the thighs The hair, much shorter than is usual in the archaic period, is arranged in careful curls The beard, trimmed to a point in front, is rendered by parallel grooves The chiton, where it shows from under the cuira.s.s, is arranged in symmetrical plaits There are considerable traces of color on the relief, as well as on the background Some of these may be seen in our ill.u.s.tration on the cuira.s.s.

Our knowledge of early Attic sculpture has been immensely increased by the thorough exploration of the summit of the Athenian Acropolis in 1885-90 In regard to these important excavations it must be remembered that in 480 and again in 479 the Acropolis was occupied by Persians belonging to Xerxes' invading army, who reduced the buildings and sculptures on that site to a heap 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 that under the rule of Pisistratus and his sons Athens attracted to itself talented sculptors from other Greek communities, notably from Chios and Ionia generally. It is to Ionian sculptors and to Athenian sculptors brought under Ionian influences that we must attribute almost all those standing female figures which form the chief part of the new treasures of the Acropolis Museum.

The figures of this type stand with the left foot, as a rule, a little advanced, the body and head facing directly forward with primitive stiffness. But the arms no longer hang straight at the sides, one of them, regularly the right, being extended from the elbow, while the other holds up the voluminous drapery. Many of the statues retain copious traces of color on hair, eyebrows, eyes, draperies, and ornaments; in no case does the flesh give any evidence of having been painted (cf. page 119). Fig. 89 is taken from an ill.u.s.tration 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 its sculptor. If, as seems altogether likely, the statue belongs upon the inscribed pedestal upon which it is placed in the ill.u.s.tration, then we have before us an original work of that Antenor who was commissioned by the Athenian people, soon after the expulsion of the tyrant Hippias and his family in 510, to make a group in bronze of Harmodius and Aristogiton (cf. pages 160-4) This statue might, of course, be one of his earlier productions.

At first sight these figures strike many untrained observers as simply grotesque. Some of them are indeed odd; Fig. 91 reproduces one which is especially so. But they soon become absorbingly interesting and then delightful. The strange-looking, puzzling garments, [Footnote: Fig 91 wears only one garment the Ionic chiton, a long; linen s.h.i.+ft, girded 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 over-fold, if it may be so called, appears as if cut with two or more long points below] which cling to the figure behind and fall in formal folds in front, the elaborately, often impossibly, arranged hair, the gracious countenances, a certain quaintness and refinement and unconsciousness of self--these things exercise over us an endless fascination.

Who are these mysterious beings? We do not know. There are those who would see in them, or in some of them, representations of Athena, who was not only a martial G.o.ddess, but also patroness of spinning and weaving and all cunning handiwork. To others, including the writer, they seem, in their manifold variety, to be daughters of Athens. But, if so, what especial claim these women had to be set up in effigy upon Athena's holy hill is an unsolved riddle.

Before parting from their company we must not fail to look at two fragmentary figures (Figs. 94, 95), the most advanced in style of the whole series and doubtless executed shortly before 480. In the former, presumably the earlier of the two, the marvelous arrangement of the hair over the forehead survives and the eyeb.a.l.l.s 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 eyeb.a.l.l.s lie at their proper depth, and the beautiful curve of the neck is not masked by the locks that fall upon the b.r.e.a.s.t.s. In this head, too, the mouth actually droops at the corners, giving a perhaps unintended look of seriousness to the face. The ear, though set rather high, is exquisitely shaped.

Still more lovely than this lady is the youth's head shown in Fig.

96. Fate has robbed us of the body to which it belonged, but the head itself is in an excellent state of preservation. The face is one of singular purity and sweetness. The 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 the braids; and there is a mysterious puff in front of each ear. In the whole work, so far at least as appears in a profile view, there is nothing to mar our pleasure. The sculptor's hand has responded cunningly to his beautiful thought.

It is a pity not to be able to ill.u.s.trate another group of Attic sculptures of the late archaic period, the most recent addition to our store. The metopes of the Treasury of the Athenians at Delphi, discovered during the excavations now in progress, are of extraordinary interest and importance; but only 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 wider public. Here, however, it is possible to submit a single fragment, which was found years ago (Fig. 97). It represents a four-horse chariot approaching an altar. The newly found pieces of this frieze have abundant remains of color. The work probably belongs in the last quarter of the sixth century.

The pediment-figures from Aegina, the chief treasure of the Munich collection of ancient sculpture, were found in 1811 by a party of scientific explorers and were restored in Italy under the superintendence of the Danish sculptor, Thorwaldsen. Until lately these AEginetan figures were our only important group of late archaic Greek sculptures; and, though that is no longer the case, they still retain, and will always retain, an especial interest and significance. They once filled the pediments of a Doric temple of Aphaia, of which considerable remains are still standing. There is no trustworthy external clue to the date of the building, and we are therefore obliged to depend for that on the style of the architecture and sculpture, especially the latter. In the dearth of accurately dated monuments which might serve as standards of comparison, great difference of opinion on this point 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 a.s.signing the temple with its sculptures to about 480 B.C. Fig. 52 ill.u.s.trates, 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 G.o.ddess 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 ill.u.s.tration) is a marvel of formalism. Her aegis covers her b.r.e.a.s.t.s and hangs far down behind; the points of its scalloped edge once bristled with serpents'

heads, and there was a Gorgon's head in the middle of the front.

She has upon her head a helmet with lofty crest, and carries s.h.i.+eld and lance. The men, with the exception of the two archers, are naked, and their helmets, which are of a form intended to cover the face, are pushed back. Of course, men did not actually go into battle in this fas.h.i.+on; but the sculptor did not care for realism, and he did care for the exhibition of the body. He belonged to a school which had made an especially careful study of anatomy, and his work shows a great improvement in this respect over anything we have yet had the opportunity to consider. Still, the men are decidedly lean in appearance and their angular att.i.tudes are a little suggestive of prepared skeletons. They have oblique and prominent eyes, and, whether fighting or dying, they wear upon their faces the same conventional smile.

The group in the eastern pediment corresponds closely in subject and composition to that in the western, but is of a distinctly more advanced style. Only five figures of this group were sufficiently preserved to be restored. Of these perhaps the most admirable is the dying warrior from the southern corner of the pediment (Fig. 99), in which the only considerable 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 natural position of eyes and mouth. This dying man does not smile meaninglessly. His lips are parted, and there is a suggestion of death-agony on his countenance. In both pediments the figures are carefully finished all round; there is no neglect, or none worth mentioning, of those parts which were destined to be invisible so long as the figures were in position.

The Strangford "Apollo" (Fig. 100) is of uncertain provenience, but is nearly related in style to the marbles of Aegina. This statue, by the position of body, legs, and head, belongs to the series of "Apollo" figures discussed above (pages 129-32); but the arms were no longer attached to the sides, and were probably bent at the elbows. The most obvious traces of a lingering archaism, besides the rigidity of the att.i.tude, are the narrowness of the hips and the formal arrangement of the hair, with its double row of snail-sh.e.l.l curls. The statue 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 pa.s.sed its prime has sometimes the charm of an absolute refinement in taste and workmans.h.i.+p, so immature art also, as we now see, has its own attractiveness in the naivete, the freshness of spirit, which finds power and interest in simple motives of feeling, and in the freshness of hand, which has a sense of enjoyment in mechanical processes still performed unmechanically, in the spending of care and intelligence on every touch. ... The workman is at work in dry earnestness, with a sort of hard strength of detail, a scrupulousness verging on stiffness, like that of an early Flemish painter; he communicates to us his still youthful sense of pleasure in the experience of the first rudimentary difficulties of his art overcome." [Footnote: Pater, "Greek Studies" page 285]

CHAPTER VII.

THE TRANSITIONAL PERIOD OF GREEK SCULPTURE. 480-450 B. C.

The term "Transitional period" is rather meaningless in itself, but has acquired considerable currency as denoting that stage in the history of Greek art in which the last steps were taken 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 artistic as in the political history of this generation Athens held a position of commanding importance, while Sparta, the political rival of Athens, was as barren of art as of literature. The other princ.i.p.al artistic center was Argos, whose school of sculpture had been and was destined long to be widely influential. As for other local schools, the question of their centers and mutual relations is too perplexing and uncertain to be here discussed.

In the two preceding chapters we studied only original works, but from this time on we shall have to pay a good deal of attention to copies (cf. pages 114-16). We begin with two statues in Naples (Fig. 101). The story of this group--for the two statues were designed as a group--is interesting. The two friends, Harmodius and Aristogiton, who in 514 had formed a conspiracy to rid Athens of her tyrants, but who had succeeded 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 by Alexander the Great or one of his successors. Athens however had as promptly as possible repaired her loss. Critius and Nesiotes, two sculptors who worked habitually in partners.h.i.+p, were commissioned to make a second group, and this was set up in 477-6 on the same terrace where the first had been After the restoration of Antenor's statues toward the end of the fourth century the two groups stood side by side.

It was argued by a German archaeologist more than a generation ago that the two marble statues shown in Fig. 101 are copied from one of these bronze groups, and this identification has been all but universally accepted. The proof may be stated briefly, as follows.

First several Athenian objects of various dates, from the fifth century B.C. onward, bear a design to which the Naples statues clearly correspond One of these is a relief on a marble throne formerly in Athens. Our ill.u.s.tration 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 att.i.tudes of the figures are suitable for Harmodius and Aristogiton, and we do not know of any other group of that period for which they are suitable. This proof, though not quite as complete as we should like, is as good as we generally get in these matters. The only question that remains in serious doubt is whether our copies go back to the work of Antenor or to that of Critius and Nesiotes. Opinions have been much divided on this point but the prevailing tendency now is to connect them with the later artists. That is the view here adopted

In studying the two statues it is important to recognize the work of the modern "restorer." The figure of Aristogiton (the one on your left as you face the group) having been found in a headless condition, the restorer provided it with a head, which is antique, to be sure, but which is outrageously out of keeping, 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 bring down a stroke of the sword upon his antagonist. We have, then, to correct in imagination the restorer's misdoings, and also to omit the tree- trunk supports, which the bronze originals did not need. Further, the two figures should probably be advancing in the same direction, instead of in converging lines.

When these changes are made, the group cannot fail to command our admiration. It would be a mistake to fix our attention exclusively on the head of Harmodius. Seen in front view, the face, with its low forehead and heavy chin, looks dull, if not ign.o.ble. But the bodies! In complete disregard of historic truth, the two men are represented in a state of ideal nudity, like the Aeginetan figures. The anatomy is carefully studied, the att.i.tudes lifelike and vigorous. Finally, the composition is fairly successful. This is the earliest example preserved to us of a group of sculpture other than a pediment-group. The interlocking of the figures is not yet so close as it was destined to be in many a more advanced piece of Greek statuary. But already the figures are not merely juxtaposed; they share in a common action, and each is needed to complete the other.

Of about the same date, it would seem, or not much later, must have been a lost bronze statue, whose fame is attested by the existence of several marble copies. The best of these was found in 1862, in the course of excavating the great theater on the southern slope of the Athenian Acropolis (Fig. 103). The naming of this figure is doubtful. It has been commonly taken for Apollo, while another view sees in it a pugilist. Recently the suggestion has been thrown out that it is Heracles. Be that as it may, the figure is a fine example of youthful strength and beauty. 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 in Fig. 96, the only difference being that here the braids pa.s.s over instead of under the fringe of front hair. The rendering of the hair is in a freer style than in the case just cited, but of this difference a part may be chargeable to the copyist. Altogether we see here the stamp of an artistic manner very different from that of Critius and Nesiotes. Possibly, as some have conjectured, it is the manner of Calamis, an Attic sculptor of this period, whose eminence at any rate ent.i.tles him to a pa.s.sing mention. But even the Attic origin of this statue is in dispute.

We now reach a name of commanding importance, and one with which we are fortunately able to a.s.sociate some definite ideas. It is the name of Myron of Athens, who ranks among the six most ill.u.s.trious sculptors of Greece. It is worth remarking, as an ill.u.s.tration of the scantiness of our knowledge regarding the lives 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 flouris.h.i.+ng in 420-416, our literary sources yield only vague indications as to his date. These indications, such as they are, point to the "Transitional period." This inference is strengthened by the recent discovery on the Athenian Acropolis of a pair of pedestals inscribed with the name of Myron's son and probably datable about 446. Finally, the argument is clinched by the style of Myron's most certainly identifiable work.