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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:02:27 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:02:27 -0700 |
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diff --git a/34842-h/34842-h.htm b/34842-h/34842-h.htm new file mode 100644 index 0000000..315436e --- /dev/null +++ b/34842-h/34842-h.htm @@ -0,0 +1,3782 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<!-- $Id: header.txt 236 2009-12-07 18:57:00Z vlsimpson $ --> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <meta name="Transcriber's note" content="The city of Terracina was + mispelled Terracino in paragraph 9, section 3 of the Introduction" /> + <title> + The Project Gutenberg eBook of Greek Sculpture, by Estelle M. Hurll. + </title> + <style type="text/css"> + +body { + margin-left: 10%; + margin-right: 10%; +} + + h1,h2,h3,h4 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .75em; + text-align: justify; + margin-bottom: .75em; +} + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; +} + +table { + margin-left: auto; + margin-right: auto; +} + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; +} /* page numbers */ + +.center {text-align: center;} + +.smcap {font-variant: small-caps;} + +.caption {font-weight: bold;} + +/* Images */ +.figcenter { + margin: auto; + text-align: center; +} + +/* Footnotes */ + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: + none; +} + +/* Poetry */ +.poem { + margin-left:10%; + margin-right:10%; + text-align: left; +} + +.poem br {display: none;} + +.poem .stanza {margin: 1em 0em 1em 0em;} + +.poem span.i0 { + display: block; + margin-left: 0em; + padding-left: 3em; + text-indent: -3em; +} + +.poem span.i2 { + display: block; + margin-left: 2em; + padding-left: 3em; + text-indent: -3em; +} + +.poem span.i4 { + display: block; + margin-left: 4em; + padding-left: 3em; + text-indent: -3em; +} +.poem span.i6 { + display: block; + margin-left: 6em; + padding-left: 3em; + text-indent: -3em; +} +/*Table of contents */ + +.comment { + background-color:#ddddff; + text-align: center; +} + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Greek Sculpture, by Estelle M. Hurll + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Greek Sculpture + A collection of sixteen pictures of Greek marbles with + introduction and interpretation + +Author: Estelle M. Hurll + +Release Date: January 3, 2011 [EBook #34842] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK GREEK SCULPTURE *** + + + + +Produced by Juliet Sutherland, Martin Mayer and the Online +Distributed Proofreading Team at http://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive/American Libraries.) + + + + + + +</pre> + +<p class="comment">Click any photo to view an enlarged version.</p> +<p><span class="pagenum"><a name="Page_i" id="Page_i">[Pg i]</a></span></p> + +<div class="figcenter" style="width: 134px;"> +<a href="images/illus01.jpg"> +<img src="images/thumb01.jpg" width="134" height="200" +alt="PERICLES -- British Museum, London -- John Andrew & Son, Sc." title="" /></a> +<span class="caption">PERICLES -- British Museum, London -- John Andrew & Son, Sc.</span></div> + +<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></span></p> + +<h3><i><b> The Riverside Art Series</b></i></h3> + +<h1> GREEK SCULPTURE</h1> + +<h1> A COLLECTION OF SIXTEEN PICTURES + OF GREEK MARBLES + WITH INTRODUCTION AND + INTERPRETATION</h1> + +<h4>BY</h4> + +<h2>ESTELLE M. HURLL</h2> + +<div class="figcenter" style="width: 117px;"> +<img src="images/riversidepress.png" width="117" height="150" alt="Riverside Press" title="" /> +<span class="caption">Riverside Press</span> +</div> + +<h4>BOSTON AND NEW YORK</h4> +<h4> HOUGHTON MIFFLIN COMPANY</h4> +<h4><i> <b>The Riverside Press Cambridge</b></i></h4> + +<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg iii]</a></span></p> + +<h3>COPYRIGHT 1901, BY HOUGHTON, MIFFLIN & CO.<br /> +ALL RIGHTS RESERVED</h3> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[Pg iv]</a></span></p> + +<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2> + +<p>Within the limits of this small collection of pictures +an attempt is made to bring together as great a variety +of subjects as possible. Portraiture is illustrated in the +statue of Sophocles and the bust of Pericles, <i>genre</i> studies +in the Apoxyomenos and Discobolus, bas-relief work +in the panel from the Parthenon frieze and the Orpheus +and Eurydice, and ideal heads and statues in the representations +of the divinities. Both the Greek treatment +of the nude and the Greek management of drapery have +due attention.</p> + +<p>As classic literature is the best interpreter of Greek +sculpture, the text draws freely from such original sources +as the Iliad and the Odyssey, the Homeric hymns, and +Ovid's Metamorphoses.</p> + +<p> +ESTELLE M. HURLL.<br /> +<br /> +<span class="smcap">New Bedford, Mass.</span><br /> +January, 1901.<br /></p> + +<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span></p> + +<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS AND LIST OF PICTURES</h2> + +<div class="center"> +<table border="0" cellpadding="1" cellspacing="0" summary=""> +<tr><th></th><th class="smcap">page</th></tr> +<tr><td align="left"> <a href="images/illus01.jpg"> +<span class="smcap">Pericles</span>From original in British +Museum</a></td><td><a href="#Page_i">(frontispiece)</a></td></tr> +<tr><td align="left"><a href="#PREFACE"><b><span class="smcap">Preface</span></b></a></td> +<td><a href="#Page_iv">iv</a></td></tr> +<tr><td align="left"><a href="#INTRODUCTION"><b><span class="smcap">Introduction</span></b></a></td><td></td></tr> +<tr><td align="left"> <a href="#CHARACTERISTICS"> +<span class="smcap">I. On Some Characteristics of Greek Sculpture</span></a></td> +<td><a href="#Page_vii">vii</a></td></tr> +<tr><td align="left"> <a href="#BOOKS"> +<span class="smcap">II. On Books of Reference</span></a></td><td><a href="#Page_x">x</a></td> +</tr> +<tr><td align="left"> <a href="#HISTORICAL_DIRECTORY"> +<span class="smcap">III. Historical Directory of the Marbles reproduced in this Collection</span></a></td> +<td><a href="#Page_xi">xi</a></td></tr> +<tr><td align="left"><a href="#I"><b><span class="smcap">I. Bust of Zeus +Otricoli</span></b></a></td><td><a href="#Page_1">1</a></td></tr> +<tr><td align="left"> <a href="images/illus02.jpg">Picture +from Photograph by Fratelli Alinari</a></td><td></td></tr> +<tr><td align="left"><a href="#II"><b><span class="smcap">II. Athena Giustiniana +(MInerva Medica</span>)</b></a></td><td><a href="#Page_7">7</a></td></tr> +<tr><td align="left"> <a href="images/illus03.jpg">Picture +from Photograph by D. Anderson</a></td><td></td></tr> +<tr><td align="left"><a href="#III"><b><span class="smcap">III. Horsemen +from the Parthenon Frieze</span></b></a></td><td><a href="#Page_13">13</a></td></tr> +<tr><td align="left"> <a href="images/illus04.jpg">Picture +from Photograph by the London Stereoscopic Co.</a></td><td></td></tr> +<tr><td align="left"><a href="#IV"><b><span class="smcap">IV. Bust of Hera +(Juno</span>)</b></a></td><td><a href="#Page_19">19</a></td></tr> +<tr><td align="left"> <a href="images/illus05.jpg">Picture +from Photograph by D. Anderson</a></td><td></td></tr> +<tr><td align="left"><a href="#V"><b> <span class="smcap">V. The Apoxyomenos</span></b></a></td> +<td><a href="#Page_25">25</a></td></tr> +<tr><td align="left"> <a href="images/illus06.jpg">Picture +from Photograph by D. Anderson</a></td><td></td></tr> +<tr><td align="left"><a href="#VI"><b><span class="smcap"> VI. Head of +the Apollo Belvedere</span></b></a></td><td><a href="#Page_31">31</a></td></tr> +<tr><td align="left"> <a href="images/illus07.jpg">Picture +from Photograph by D. Anderson</a></td><td></td></tr> +<tr><td align="left"><a href="#VII"><b><span class="smcap"> VII. Demeter +(Ceres</span>)</b></a></td><td><a href="#Page_37">37</a></td></tr> +<tr><td align="left"> <a href="images/illus08.jpg">Picture +from Photograph by D. Anderson</a></td><td></td></tr> +<tr><td align="left"><a href="#VIII"><b> <span class="smcap">VIII. The +Faun of Praxiteles</span></b></a></td><td><a href="#Page_43">43</a></td></tr> +<tr><td align="left"> <a href="images/illus09.jpg">Picture +from Photograph by Fratelli Alinari</a></td><td></td></tr> +<tr><td align="left"><a href="#IX"><b><span class="smcap">IX. Sophocles</span></b></a></td> +<td><a href="#Page_49">49</a></td></tr> +<tr><td align="left"> <a href="images/illus10.jpg">Picture +from Photograph by D. Anderson</a></td><td></td></tr> +<tr><td align="left"><a href="#X"><b><span class="smcap">X. Ares Seated</span></b></a></td> +<td><a href="#Page_55">55</a></td></tr> +<tr><td align="left"> <a href="images/illus11.jpg"> +Picture from Photograph by D. Anderson</a></td><td></td></tr> +<tr><td align="left"><a href="#XI"><b><span class="smcap">XI. Head of +the Olympian Hermes</span></b></a></td><td><a href="#Page_61">61</a></td></tr> +<tr><td align="left"> <a href="images/illus12.jpg">Picture +from Photograph by the English Photographic Co., Athens</a></td><td></td></tr> +<tr><td align="left"><a href="#XII"><b><span class="smcap">XII. The Discobolus +(The Disk-thrower</span>)</b></a></td><td><a href="#Page_67">67</a></td></tr> +<tr><td align="left"> <a href="images/illus13.jpg">Picture +from Photograph loaned by Edward Robinson, from the only negative known +to exist</a></td><td></td></tr> +<tr><td align="left"><a href="#XIII"><b><span class="smcap">XIII. The Aphrodite +of Melos (Venus of Milo</span>)</b></a></td><td><a href="#Page_73">73</a></td></tr> +<tr><td align="left"> <a href="images/illus14.jpg">Picture +from Photograph by Neurdein Frères</a></td><td></td></tr> +<tr><td align="left"><a href="#XIV"><b><span class="smcap">XIV. Orpheus +and Eurydice</span></b></a></td><td><a href="#Page_79">79</a></td></tr> +<tr><td align="left"> <a href="images/illus15.jpg">Picture +from Photograph by D. Anderson</a></td><td></td></tr> +<tr><td align="left"><a href="#XV"><b><span class="smcap">XV. Nike (The +Winged Victory</span>)</b></a></td><td><a href="#Page_85">85</a></td></tr> +<tr><td align="left"> <a href="images/illus16.jpg">Picture +from Photograph by Neurdein Frères</a></td><td></td></tr> +<tr><td align="left"><a href="#XVI"><b><span class="smcap">XVI. Pericles</span> +</b></a></td><td><a href="#Page_91">91</a></td></tr> +<tr><td align="left"> <a href="images/illus01.jpg"> +(See Frontispiece)</a></td><td></td></tr> +<tr><td align="left"><a href="#PRONOUNCING_VOCABULARY"> +<b><span class="smcap">Pronouncing Vocabulary of Proper Names</span></b></a></td> +<td><a href="#Page_95">95</a></td></tr> +</table></div> + +<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p> + +<p class="center"><i>Nine of the above illustrations are from<br /> +photographs in the collection of the William Hayes Fogg<br /> +Art Museum of Harvard University</i></p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span></p> + +<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION</h2> + +<h2><a name="CHARACTERISTICS" id="CHARACTERISTICS"></a>I. ON SOME CHARACTERISTICS OF GREEK SCULPTURE.</h2> + +<p>The history of Greek sculpture covers a period of some +eight or nine hundred years, and falls into five divisions.<a name="FNanchor_1_1" id="FNanchor_1_1"></a> +<a href="#Footnote_1_1" class="fnanchor">[1]</a> +The first is the period of development, extending from +600 to 480 <span class="smcap">B. C.</span> The second is the period of greatest +achievement, under Phidias and his followers, in the Age +of Pericles, 480-430 <span class="smcap">B. C.</span> The third is the period of +Praxiteles and Scopas, in the fourth century. The fourth +is the period of decline, characterized as the Hellenistic +Age, and included between the years 320 and 100 <span class="smcap">B. C.</span> +The fifth is the Græco-Roman period, which includes the +work produced to meet the demand of the Roman market +for Greek sculpture, and which extends to 300 <span class="smcap">A. D.</span></p> + +<div class="footnote"><a name="Footnote_1_1" id="Footnote_1_1"></a> +<a href="#FNanchor_1_1"><span class="label">[1]</span></a> See Gardner's <i>Handbook of Greek Sculpture</i>, page 42. +</div> + +<p>Modern criticism differentiates sharply the characteristics +of the several periods and even of the individual artists, +but such subtleties are beyond the grasp of the unlearned. +The majority of people continue to regard Greek sculpture +in its entirety, as if it were the homogeneous product of a +single age. To the popular imagination it is as if some +gigantic machine turned out the Apollo Belvedere, the +Venus of Milo, the Elgin Marbles, and all the rest, in a +single day. Nor is it long ago since even eminent writers +had but vague ideas as to the distinctive periods of these +very works. Certain it is that all works of Greek sculpture +have a particular character which marks them as +such. Authorities have taught us to distinguish some few +of their leading characteristics.</p> + +<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p> + +<p>The most striking characteristic of Greek art is perhaps +its closeness to nature. The sculptor showed an +intimate knowledge of the human form, acquired by constant +observation of the splendid specimens of manhood +produced in the palæstra. It is because the artist "clung +to nature as a kind mother," says Waldstein, that the +influence of his work persists through the ages.</p> + +<p>Again, Greek art is distinctly an art of generalization, +dealing with types rather than with individuals. This +characteristic is of varying degrees in different periods and +with different sculptors. It is seen in its perfection in the +Elgin Marbles, in exaggeration in the Apollo Belvedere, +and at the minimum in the work of Praxiteles. Yet it is +everywhere sufficiently marked to be indissolubly connected +with Greek sculpture.</p> + +<p>The quality of repose, so constantly associated with +Greek sculpture, is another characteristic which varies +with the period and the individual sculptor. Between the +calm dignity of the portrait statue of Sophocles and the +intense muscular concentration of Myron's Discobolus, a +long range of degrees may be included. Yet on the whole, +repose is an essential characteristic of the best Greek +sculpture, provided we do not let our notion of repose exclude +the spirited element. Fine as is the effect of repose +in the Parthenon frieze, the composition is likewise full of +spirit and life.</p> + +<p>A distinguishing characteristic of the best Greek sculpture +is its simplicity. Compared with the Gothic sculptors, +the Greeks appear to us, in Ruskin's phrase, as the +"masters of all that was grand, simple, wise and tenderly +human, opposed to the pettiness of the toys of the rest of +mankind." Their work is free from that "vain and mean +decoration"—the "weak and monstrous error"—which +disfigures the art of other peoples.</p> + +<p>As we turn from one Greek marble to another in the<span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span> +great sculpture galleries of the world, the best features of +the art impress themselves deeply even upon the untutored +eye. The Greek instinct for pose is unfailing and unsurpassable. +Standing or seated, the attitude is always graceful, +the lines are always fine. The best statues are equally +well composed, viewed from any standpoint. The camera +may describe a circumference about a marble as a centre, +and a photograph made at any point in the circle will show +lines of rhythm and beauty.</p> + +<p>The faultless regularity of the Greek profile has passed +into history as the accepted standard of human beauty. +The straight continuous line of brow and nose, the well +moulded chin, the full lip, the small ear, satisfy perfectly +our æsthetic ideals.</p> + +<p>The art of sculpture was an essential outgrowth of the +Greek spirit, and perfectly suited the requirements of +Greek thought. In the words of a recent writer, "it was +the consummate expression in art of the genius of a nation +which worshiped physical perfection as the gift of the +immortals, which honored the gods by athletic games and +choral dances, and whose deities wore the flesh and shared +the nature of men."<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> It was moreover a national art, +entering into every phase of public life, and embodying +the Greek sense of national greatness.</p> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> From <i>Italian Cities</i>, by E. H. and E. W. Blashfield.</p></div> + +<p>Greek sculpture can be sympathetically understood only +by catching something of the spirit which produced it. +One must shake off the centuries and regard life with the +childlike simplicity of the young world: one must give +imagination free rein. The same attitude of mind which +can enjoy Greek mythology and Greek literature is the +proper attitude for the enjoyment of Greek sculpture. +The best interpreter of a nation's art is the nation's +poetry.</p> + +<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p> + +<h2><a name="BOOKS" id="BOOKS"></a>II. ON BOOKS OF REFERENCE.</h2> + +<p>Many learned works on the subject of Greek Sculpture +have been written in various languages. Three standard +authorities are the English work by A. S. Murray, "History +of Greek Sculpture," second edition, London, 1890; +the French work by Collignon, "Histoire de la Sculpture +Grecque," Paris, 1892; and the German work by Furtwängler, +translated into English by E. Sellers, "The Masterpieces +of Greek Sculpture," London, 1895. Naturally +these three writers are not always of one opinion, and the +student must turn from one to another to learn all the +arguments concerning a disputed point.</p> + +<p>For the practical every-day use of the reader who has +no time to sift the evidences on difficult questions of +archæology, Gardner's "Handbook of Greek Sculpture" +is an excellent outline summary of the history of the subject.</p> + +<p>Charles Waldstein's "Essays on the Art of Pheidias," +New York, 1885, is an exceedingly valuable and suggestive +volume.</p> + +<p>Two small books, written in a somewhat popular vein, +make very pleasant reading for those pursuing these +studies: "Studies in Greek Art," by J. E. Harrison, +London, 1885, and "Greek Art on Greek Soil," by J. +M. Hoppin, Boston, 1897.</p> + +<p>Besides the works devoted exclusively to the subject of +Greek sculpture, the subject receives due attention in +various general histories of art, of which may be mentioned, +Lucy Mitchell's "History of Ancient Sculpture," +Lübke's "History of Sculpture," and Von Reber's "History +of Ancient Art."</p> + +<p>A valuable bibliography is given in Gardner's "Handbook." + +<span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span></p> + +<h2><a name="HISTORICAL_DIRECTORY" id="HISTORICAL_DIRECTORY"></a>III. HISTORICAL DIRECTORY OF THE MARBLES REPRODUCED +IN THIS COLLECTION.</h2> + +<p><i><a href="images/illus01.jpg">Frontispiece.</a></i> Terminal bust of Pericles, after an original +by Cresilas. Approximate date, 440-430 <span class="smcap">B. C.</span> In +the British Museum, London.</p> + +<p>1. <i><a href="images/illus02.jpg">Bust of Zeus Otricoli</a>.</i> Considered by Brunn and +others a copy from a head of the statue by Phidias. +Later critics do not agree with this opinion, and Furtwängler +calls the head a Praxitelean development of the +type of Zeus created in the time of Myron. Now in the +Vatican Gallery, Rome.</p> + +<p>2. <a href="images/illus03.jpg"><i>Athena Giustiniana</i> (<i>Minerva Medica</i>)</a>. Considered +by Furtwängler a copy, after Euphranor, of a statue +dedicated below the Capitol, called Minerva Catuliana, set +up by A. Lutatius Catulus. The ægis and sphinx are +copyist's additions. Found in the gardens of the convent +of S. Maria sopra Minerva, Rome. Both arms are restored. +Now in the Vatican Gallery, Rome.</p> + +<p>3. <i><a href="images/illus04.jpg">Horsemen from the Parthenon Frieze.</a></i> The frieze +of the Parthenon is part of the decorative scheme of the +marble temple of Athena, built during the age of Pericles +(480-430 <span class="smcap">B. C.</span>) on the Acropolis, Athens, and decorated +under the direction of Phidias. The frieze consisted of a +series of panels or slabs, about 3 ft. 4 in. in height, and +was set on the outer wall of the cella. Being lighted from +below, the lower portion is cut in low relief (1¼ in.) and +the upper parts in high relief (2¼ in.). The panel of +the Horsemen is one of the Elgin Marbles, removed by +Lord Elgin from the Parthenon in 1801-1802, and now +in the British Museum, London.</p> + +<p>4. <i><a href="images/illus05.jpg">Bust of Hera.</a></i> Considered by Murray a copy after +Polyclitus. Regarded by Furtwängler as a "Roman creation +based on a Praxitelean model." Catalogued in Hare's +"Walks in Rome" as a probable copy after Alcamenes. +In the Ludovisi Villa, Rome. + +<span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span></p> + +<p>5. <i><a href="images/illus06.jpg">The Apoxyomenos.</a></i>. A marble copy of the original +bronze statue by Lysippus, who flourished in the 4th century +B. C. According to Pliny the original was brought +from Greece to Rome by Agrippa to adorn the public +baths. This copy was found in 1849 in the Trastevere, +Rome, and is now in the Vatican Gallery.</p> + +<p>6. <i><a href="images/illus07.jpg">Head of the Apollo Belvedere.</a></i> According to Gardner, +a marble copy (Roman) of a bronze original of the +Hellenistic Age (320-100 <span class="smcap">B. C.</span>). Some (Winter and +Furtwängler) have assigned the original to Leochares, a +sculptor of the 4th century, and others to Calamis, in the +5th century. This copy was found in the 16th century at +Antium, and was purchased by Pope Julius II. for the +Belvedere Palace. Now in the Vatican Gallery, Rome.</p> + +<p>7. <a href="images/illus08.jpg"><i>Demeter</i> (<i>Ceres</i>)</a> Considered by Furtwängler a +copy from an original by Agoracritus, who was a pupil +of Phidias, and whose works are closely allied to those of +Alcamenes. By the same authority the statue is called +the Nemesis. In the Vatican Gallery, Rome.</p> + +<p>8. <a href="images/illus09.jpg"><i>The Faun of Praxiteles.</i></a> A copy of the original +statue by Praxiteles, which was in the street of the Tripods, +Athens. In the Capitol Museum, Rome.</p> + +<p>9. <a href="images/illus10.jpg"><i>Sophocles.</i></a> Referred to by Collignon as a faithful +copy of the bronze statue raised by Lycurgus. Found at +Terracina in 1838, and now in the Lateran Museum, +Rome.</p> + +<p>10. <a href="images/illus11.jpg"><i>Ares Seated.</i></a> Considered by Furtwängler and +others a copy on a reduced scale of a colossal statue by +Scopas. The little god Eros is the copyist's addition. +Found in the portico of Octavia, and restored by Bernini. +Now in the Ludovisi Villa, Rome.</p> + +<p>11. <a href="images/illus12.jpg"><i>Head of the Olympian Hermes.</i></a> An undisputed +original work of Praxiteles, dating from the middle of the +4th century <span class="smcap">B. C.</span> It was in the Heræum (or Temple of +Hera) at Olympia, and was discovered by German excavators, +May 8, 1877. Now in the museum at Olympia, +Greece. + +<span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span></p> + +<p>12. <a href="images/illus13.jpg"><i>The Discobolus</i></a>, a copy from an original by Myron, +one of the last masters of the "severe style," whose career +culminated 465-450 <span class="smcap">B. C.</span> In the Lancelotti Palace, +Rome.</p> + +<p>13. <a href="images/illus14.jpg"><i>The Aphrodite of Melos</i> (<i>The Venus of Milo</i>).</a> +Formerly attributed to the period of transition between +Phidias and Praxiteles, but assigned by late critics to the +Hellenistic Age (320-100 <span class="smcap">B. C.</span>). Believed by Furtwängler +to be based on a work by Scopas, with considerable +modification of the original. Found in 1820 on the island +of Melos at the entrance of the Greek Archipelago. +Purchased by the French government for 6000 francs, +and now in the Louvre, Paris.</p> + +<p>14. <a href="images/illus15.jpg"><i>Orpheus and Eurydice.</i></a> One of several copies of +an original bas-relief referred by Collignon to the second +half of 5th century <span class="smcap">B. C.</span> In the Albani Villa, Rome.</p> + +<p>15. <a href="images/illus16.jpg"><i>Nike</i>(<i>The Winged Victory</i>).</a> A marble statue +believed to have been set up by Demetrius Poliorcetes to +celebrate a naval victory in 306 <span class="smcap">B. C.</span> Found in 1863 by +the French consul on the island of Samothrace. Now in +the Louvre, Paris.</p> + +<p><span class="pagenum"><a name="Page_xv" id="Page_xv">[Pg xv]</a></span></p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> + +<h2><a name="I" id="I"></a>I</h2> + +<h2>BUST OF ZEUS OTRICOLI</h2> + +<p>From the earliest times men have sought to explain +in one way and another the common facts of daily +life. Sunrise and sunset, seedtime and harvest, life, +death, and the hereafter are some of the mysteries +which have always puzzled the human mind. The +primitive races, knowing nothing of science, looked +upon the forces of nature as gigantic personalities, +or gods, who controlled human destiny.</p> + +<p>The most refined and imaginative of the ancient +nations were the Greeks. They invented innumerable +tales or myths, in which all the changes of nature +and all the affairs of life were attributed to the workings +of the gods. When the sun rose, they said +that Apollo had begun to drive his chariot across +the sky. When the wind blew, Zeus was sending +his messenger from the sky to the earth. When a +man did a courageous deed, it was because Athena +had whispered to him what to do.</p> + +<p>In this way the beliefs gradually took form which +made the Greek religion. Great temples were built +for the worship of the gods, and statues were set up +in their honor. The finest works of Greek art were +connected with religious worship.</p> + +<p><span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span></p> + +<p>The gods were conceived as having the same form +as human beings, but of colossal size. They lived +in an ideal country called Olympus,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Olympus, where the gods have made,<br /></span> +<span class="i0">So saith tradition, their eternal seat.<br /></span> +<span class="i0">The tempest shakes it not, nor is it drenched<br /></span> +<span class="i0">By showers, and there the snow doth never fall.<br /></span> +<span class="i0">The calm, clear ether is without a cloud,<br /></span> +<span class="i0">And in the golden light that lies on all,<br /></span> +<span class="i0">Day after day the blessed gods rejoice."<a name="FNanchor_3_3" id="FNanchor_3_3"></a> +<a href="#Footnote_3_3" class="fnanchor">[3]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a> +<a href="#FNanchor_3_3"><span class="label">[3]</span></a> Odyssey, Book vi., lines 54-60 in Bryant's translation.</p></div> + +<p>Here each god had a separate dwelling, and in +the midst was the palace of their supreme ruler, +Zeus, known to the Romans as Jupiter or Jove.</p> + +<p>Zeus was the sky god, "the father of gods and +men," and the ruler of heaven and earth. He was +the "cloud compeller" at whose will the clouds gathered +or scattered across the sky, the "ruler of the +storms," the "thunderer," by whom were hurled the +ruddy lightnings. How far he surpassed all other +gods in power is explained in the Iliad in an address +made by Zeus himself to the gods:—</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Suspend from heaven<br /></span> +<span class="i0">A golden chain; let all the immortal host<br /></span> +<span class="i0">Cling to it from below: ye could not draw,<br /></span> +<span class="i0">Strive as ye might, the all-disposing Jove<br /></span> +<span class="i0">From heaven to earth. And yet if I should choose<br /></span> +<span class="i0">To draw it upward to me, I should lift,<br /></span> +<span class="i0">With it and you, the earth itself and sea<br /></span> +<span class="i0">Together, and I then would bind the chain<br /></span> +<span class="i0">Around the summit of the Olympian mount,<br /></span> +<span class="i0">And they should hang aloft."<a name="FNanchor_4_4" id="FNanchor_4_4"></a> +<a href="#Footnote_4_4" class="fnanchor">[4]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a> +<a href="#FNanchor_4_4"><span class="label">[4]</span></a> Iliad, Book viii., lines 21-30 in Bryant's translation.<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p></div> + +<div class="figcenter" style="width: 132px;"> +<a href="images/illus02.jpg"> +<img src="images/thumb02.jpg" width="132" height="200" alt="BUST OF ZEUS OTRICOLI -- Vatican Gallery, Rome -- Alinari, Photo. John Andrew & Son, Sc." title="" /></a> +<span class="caption">BUST OF ZEUS OTRICOLI -- Vatican Gallery, Rome -- Alinari, Photo. John Andrew & Son, Sc.</span></div> + +<p><span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> +<br /> +<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> + +<p>In the imagination of the Greeks Zeus was +endowed with all the noblest elements in human +character. He ruled the affairs of men with fatherly +benevolence. He rewarded goodness, punished the +wicked, and was withal the fountain-head of justice. +By a nod of his head he made known his will, and +there was no appeal from his decrees.</p> + +<p>Naturally, the Greeks pictured this god as a being +of majestic stature and grand, benignant countenance, +and sculptors did their best to make statues +worthy of this conception. By common consent a +certain type of countenance was accepted as the +most fitting expression of this ideal. At last a +great artist named Phidias produced a statue which +perfectly carried out all the ideas at which other +sculptors had aimed. It was of colossal size, made +of gold and ivory, and was set up in a temple of +Olympia. From this time forth every sculptor who +had to represent Zeus had only to repeat the design +of Phidias.</p> + +<p>Now we know that the farther an imitator gets +from the original standard, the weaker is his copy. +The first successors of Phidias made direct studies +from his statue, but those coming after worked from +copies. Still later artists took for their models copies +of these copies, until at last much of the original +grandeur of Phidias's conception was lost.</p> + +<p>The bust of Zeus reproduced in our illustration is +thought to be a far-away copy of the head of Phidias's +statue. From the marble of which it is made +we know that it was executed in Italy, probably by +some Greek sculptor who had come thither after his +own nation had been conquered by Rome. The + +<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> + +marvel is that he preserved so well the noble dignity +of the ideal Zeus. This is the father of gods and +men in his most benign aspect. The massive head +is crowned like that of a lion with long, overhanging +locks with which the flowing beard is mingled. +These are the</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Ambrosial curls<br /></span> +<span class="i0">Upon the Sovereign One's immortal head,"<br /></span> +</div></div> + +<p>of which Homer writes in the Iliad. The symmetrical +arrangement of hair and beard carry out the character +of perfect evenness belonging to the supreme +ruler.</p> + +<p>The forehead has the full bar of flesh which denotes +virility. The brows are straight, the nose +finely modeled, the lips rather full, the expression +benignant. Altogether the impression is of a being +of mental and moral equipoise, full of energy and +noble dignity.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p> + +<h2><a name="II" id="II"></a>II</h2> + +<h2>ATHENA GIUSTINIANA (MINERVA MEDICA)</h2> + +<p>Athena was the air goddess of the Greeks, or, in +Ruskin's phrase, "the queen of the air." She was +known also by the name Pallas, and among the +Romans as Minerva. As the air comes to us from +out the great dome of the sky, so Athena was said +to have sprung fully armed from the head of her +father Zeus. The old Homeric hymn tells how</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Wonder strange possessed<br /></span> +<span class="i0">The everlasting gods that shape to see,<br /></span> +<span class="i0">Shaking a javelin keen, impetuously<br /></span> +<span class="i0">Rush from the crest of ægis-bearing Jove."<a name="FNanchor_5_5" id="FNanchor_5_5"></a> +<a href="#Footnote_5_5" class="fnanchor">[5]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a> +<a href="#FNanchor_5_5"><span class="label">[5]</span></a> In Shelley's translation.</p></div> + +<p>Her eyes were blue, the color of the sky; her hair +hung in ringlets over her shoulders. Her dress was</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"A gorgeous robe<br /></span> +<span class="i0">Of many hues, which her own hands had wrought."<a name="FNanchor_6_6" id="FNanchor_6_6"></a> +<a href="#Footnote_6_6" class="fnanchor">[6]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a> +<a href="#FNanchor_6_6"><span class="label">[6]</span></a> Iliad, Book viii., lines 483, 484.</p></div> + +<p>When arrayed for war she wore a golden helmet +and carried a shield, or <i>ægis</i>. In the centre of this +shield was fastened the gorgon's head which Perseus +had cut off with her aid. In her hand she wielded +a mighty spear.</p> + +<p><span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p> + +<p>The owl was her symbolic bird, and she was called +<i>glaukopis</i>, or owl-eyed, because her wisdom gave her +sight in darkness. The serpent was the emblem of +her command over the beneficent and healing influences +in the earth. Her favorite plant was the fruitful +olive, valued by the Greeks both for the beauty +of its foliage and for the usefulness of its oil.</p> + +<p>In the fortunes of war, when it was for defensive +aims, Athena took an intense interest and an active +part. In the war between the Greeks and the Trojans, +she was on the side of the Greeks, who sought +to recover from their enemies their queen Helen, +whom the Trojan prince had captured. When the +Greek army assembled before the walls of Troy—</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Among them walked<br /></span> +<span class="i0">The blue-eyed Pallas, bearing on her arm<br /></span> +<span class="i0">The priceless ægis, ever fair and new,<br /></span> +<span class="i0">And undecaying; from its edge there hung<br /></span> +<span class="i0">A hundred golden fringes, fairly wrought,<br /></span> +<span class="i0">And every fringe might buy a hecatomb.<br /></span> +<span class="i0">With this and fierce, defiant looks she passed<br /></span> +<span class="i0">Through all the Achaian host, and made their hearts<br /></span> +<span class="i0">Impatient for the march and strong to endure<br /></span> +<span class="i0">The combat without pause,—for now the war<br /></span> +<span class="i0">Seemed to them dearer than the wished return<br /></span> +<span class="i0">In their good galleys to the land they loved."<a name="FNanchor_7_7" id="FNanchor_7_7"></a> +<a href="#Footnote_7_7" class="fnanchor">[7]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a> +<a href="#FNanchor_7_7"><span class="label">[7]</span></a> Iliad, Book ii., lines 549-560 in Bryant's translation.</p></div> + +<p>As the air gives us the breath of life, so Athena +gave inspiration to the heart of man. It was her +friendly mission to fill with "strength and courage" +the hearts of those who were beset by difficulties of +many kinds.<a name="FNanchor_8_8" id="FNanchor_8_8"></a> +<a href="#Footnote_8_8" class="fnanchor">[8]</a> To Achilles, lamenting the death of +Patroclus, she came with nectar and ambrosia, that +his limbs might not grow faint with hunger.<a name="FNanchor_9_9" id="FNanchor_9_9"></a> +<a href="#Footnote_9_9" class="fnanchor">[9]</a> It +was because of her aid that Diomed could proudly +declare, "Minerva will not let my spirit falter;" and +when he cast his spear, "Minerva kept the weapon +faithful to its aim."<a name="FNanchor_10_10" id="FNanchor_10_10"></a> +<a href="#Footnote_10_10" class="fnanchor">[10]</a></p> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a> +<a href="#FNanchor_8_8"><span class="label">[8]</span></a> See the Iliad, Book v., line 2, +and the Odyssey, Book i., line 396.</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a> +<a href="#FNanchor_9_9"><span class="label">[9]</span></a> Iliad, Book xix., lines 427-429.</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a> +<a href="#FNanchor_10_10"><span class="label">[10]</span></a> Iliad, Book v., lines 309 and 352.</p></div> + +<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> + +<div class="figcenter" style="width: 128px;"> +<a href="images/illus03.jpg"> +<img src="images/thumb03.jpg" width="128" height="200" alt="ATHENA GIUSTINIANA +(MINERVA MEDICA -- Vatican Gallery, Rome -- D. Anderson, Photo. John Andrew +& Son, Sc. )" title="" /></a> +<span class="caption">ATHENA GIUSTINIANA (MINERVA MEDICA -- Vatican Gallery, +Rome -- D. Anderson, Photo. John Andrew & Son, Sc. )</span></div> + +<p><span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> +<br /> +<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p> + +<p>To Athena Ulysses owed his safe return to Ithaca +after the adventures related in the Odyssey. It was +her adroit planning which brought together the long +lost father and his son Telemachus, with the faithful +wife Penelope. She also found ways to help Jason +when he went in search of the golden fleece; she +aided Hercules in his labors and guided the hand of +Perseus when he cut off the Gorgon's head.</p> + +<p>Athena was also the patroness of the industrial +arts. She was skilful in weaving and needlework, +making both her own and others' beautiful robes and +teaching the craft to some favored mortals. She was, +in short, the personification of "inspired and impulsive +wisdom in human conduct and human art, giving +the instinct of infallible decision, and of faultless invention."<a name="FNanchor_11_11" id="FNanchor_11_11"></a> +<a href="#Footnote_11_11" class="fnanchor">[11]</a> +Finally, and not least important, Athena +was one of the agencies in the productiveness of the +earth, and hence the patron goddess of farmers.</p> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a> +<a href="#FNanchor_11_11"><span class="label">[11]</span></a> From Ruskin's <i>Queen of the Air</i>.</p></div> + +<p>Our statue shows as many as possible of the attributes +of the goddess. The figure is tall and stately +and magnificently developed. The Greek ideal of +beauty was to let nature have its way in the human +body, unhindered by any such restraints of clothing +as our modern fashions have invented. The broad +shoulders and ample waist bespeak the splendid +strength of the goddess.</p> + +<p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p><p> + +The neck rises from the shoulders like a column +to support the well-set head. A tunic falls in straight +folds to the feet, and over this is worn a long mantle +gathered over the left shoulder. Upon her breast +hangs the shield, here made very small, and the helmet +and spear complete her equipment as a goddess +of war. At her side coils the emblematic serpent.</p> + +<p>Her aspect is far from warlike. The face is intellectual +and the expression thoughtful. This is the +goddess of wisdom reflecting upon grave concerns. +The mouth is set somewhat proudly, and the countenance +is full of a dignified reserve. The masterful +element, so strong in her character, is admirably expressed. +There is something almost austere in the +beauty of this virgin goddess. A majestic being like +this is not one to be familiarly approached.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> + +<h2><a name="III" id="III"></a>III</h2> + +<h2>HORSEMEN FROM THE PARTHENON FRIEZE</h2> + +<p>To understand the history and meaning of the bas-relief +reproduced in our illustration, we must first +learn something of the worship of Athena in her +chosen city of Athens. An annual festival was held +here in her honor, and every four years occurred a +very elaborate celebration called the Panathenæa. +The Panathenæa lasted several days, and attracted +throngs of people from all parts of Greece. There +were contests in gymnastics and music, torch-races, +horse-races, feasts and dances. Sacrifices of oxen +were offered on the altar of the goddess, every state +having to furnish an ox for the purpose. The +climax was reached on the last day, when a great +procession started at sunrise and traversed the streets +of the city to the temple of Athena. It is with this +procession that the bas-relief of our picture is connected, +as we shall presently see.</p> + +<p>Some time before the festival a group of Athenian +maidens of the noblest families had made and embroidered +for Athena a beautiful robe called the +<i>peplos</i>. This was carried above the procession, +stretched like a sail on the mast of a ship which was +rolled through the street on wheels. The pageant +was made up of many different companies. There + +<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> + +were the Athenian magistrates, grave and dignified, +maidens carrying sacrificial vessels, men bearing trays +of cakes, citharists (harpists) and flute-players, old +men with olive branches, four-horse chariots with +armed warriors, rows of young men mounted on +prancing steeds, and attendants with the cattle for +the sacrifice.</p> + +<p>During the invasion of Greece by the Persians, +the temple of Athena in Athens was destroyed by +fire. Later, on its site, was erected another to replace +it, called the Parthenon. The city was now +at the height of its prosperity under the statesman +Pericles. At this time also lived the great +sculptor Phidias, and to him Pericles intrusted the +decoration of the new temple.</p> + +<p>The Parthenon was built of Pentelic marble, and +the temple proper was surrounded by a portico supported +on rows of columns. The outside of the +building was richly adorned with bas-reliefs. There +were designs in the triangular spaces under the roof +called <i>pediments</i>. Above the columns ran a series +of panels called <i>metopes</i>. Finally, there was a <i>frieze</i> +extending around the temple wall, to be seen from +within the portico. It is a bit of this frieze which +is reproduced in our illustration.</p> + +<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> + +<div class="figcenter" style="width: 200px;"> +<a href="images/illus04.jpg"> +<img src="images/thumb04.jpg" width="200" height="119" alt="HORSEMEN FROM +THE PARTHENON FRIEZE -- British Museum, London -- London Stereoscopic Co., +Photo. John Andrew & Son, Sc." title="" /></a> +<span class="caption">HORSEMEN FROM THE PARTHENON FRIEZE -- British Museum, +London -- London Stereoscopic Co., Photo. John Andrew & Son, Sc.</span></div> + +<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> +<br /> +<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p><p> + +The Panathenaic procession is the subject carried +the entire length of this bas-relief decoration. On +the portion running across one end were depicted the +scenes of preparation. Men are in the act of mounting +their horses, some having spirited animals to deal +with, and all making ready for the start. At the +opposite end is the scene of the arrival at the temple. +Here sit the gods to receive the sacrifice, while the +magistrates stand ready to perform the rites, and +maidens approach with the vessels. On the two long +sides the procession is seen actually in motion. +Here are represented all the figures which took +part in such occasions; old men and maidens, musicians, +horsemen, charioteers, and sacrificial animals, +all moving forward on their way. Group follows +group, with that contrast and variety which give interest +to a pageant, and with the proper orderliness +to give it unity.</p> + +<p>Our panel shows us a line of horsemen riding four +abreast. Though it is broken and defaced, we catch +at once the spirit of the work. The horses are splendid +animals; with dilated nostrils, and necks proudly +arched, they seem to prance to the music of the +flutes. Though they are well matched in size and +type, no two are really alike. Every one has as distinct +a character as a human being, and lovers of +horses might choose each his own favorite from the +four.</p> + +<p>Only two of the riders fall within our range of +vision. They are handsome youths, with the perfectly +formed head and finely cut profile which we +learn to recognize as the Greek ideal of beauty. The +line across forehead and nose is perfectly straight, +and the line connecting nose and chin forms a +corresponding angle. Both faces bear the stamp of +refinement and high breeding which mark them +as belonging to the class of Athenian nobles. + +<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span></p> + +<p>Though the two youths have so similar a cast of +countenance, they are quite unlike in temperament. +The farther one is of a somewhat dreamy, poetic +nature. He rides with bent head as if in a reverie. +His companion is of a sterner, more virile type. He +looks straight before him, and carries his head with +a sense of the dignity of the occasion.</p> + +<p>Both youths sit their horses as if born in the saddle. +Horse and rider are one, animated by a single +dominant will. The Athenian youth were trained +from childhood in all sorts of manly exercise. The +normal development of the body was of first importance +in the Greek educational system. These young +men are typical examples of the fine specimens of +manhood which that training produced.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span></p> + +<h2><a name="IV" id="IV"></a>IV</h2> + +<h2>BUST OF HERA (JUNO)</h2> + +<div class="poem"><div class="stanza"> +<span class="i6">"The white armed queen,<br /></span> +<span class="i0">Juno, the mistress of the golden throne."<br /></span> +</div></div> + +<p>It is thus that the Iliad describes Hera, the wife +of Zeus, now more often called by her Roman name +Juno. The marriage union between the ruler of the +gods and his queen represented the Greek ideal of +perfect conjugal happiness. Hera was therefore the +goddess who presided over human marriages, and +was the type of matronly virtue and dignity. As +the queen of heaven, she had it in her power to +bestow great riches, honor, and influence upon her +favorites.</p> + +<p>In the Trojan war she was, like Athena, a partisan +of the Greeks, and once or twice even accompanied +the war goddess to the battlefield. Usually, +however, her pursuits were of a more peaceful and +domestic order. She was a very beautiful goddess, +"ox-eyed" in the quaint Greek phrase, that is, +with large expressive eyes. She had the august and +majestic bearing befitting a queen, and is usually +described in classic literature as wearing a veil. A +long passage in the Iliad gives an account of her +toilet when arraying herself for a special occasion. +After bathing in ambrosia, and anointing with oil, + +<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span></p> + +<div class="poem"><div class="stanza"> +<span class="i6">"When thus her shapely form<br /></span> +<span class="i0">Had been anointed, and her hands had combed<br /></span> +<span class="i0">Her tresses, she arranged the lustrous curls,<br /></span> +<span class="i0">Ambrosial, beautiful, that clustering hung<br /></span> +<span class="i0">Round her immortal brow. And next she threw<br /></span> +<span class="i0">Around her an ambrosial robe, the work<br /></span> +<span class="i0">Of Pallas, all its web embroidered o'er<br /></span> +<span class="i0">With forms of rare device. She fastened it<br /></span> +<span class="i0">Over the breast with clasps of gold, and then<br /></span> +<span class="i0">She passed about her waist a zone which bore<br /></span> +<span class="i0">Fringes a hundred-fold, and in her ears<br /></span> +<span class="i0">She hung her three-gemmed ear-rings, from whose gleam<br /></span> +<span class="i0">She won an added grace. Around her head<br /></span> +<span class="i0">The glorious goddess drew a flowing veil,<br /></span> +<span class="i0">Just from the loom, and shining like the sun;<br /></span> +<span class="i0">And, last, beneath her bright white feet she bound<br /></span> +<span class="i0">The shapely sandals."<a name="FNanchor_12_12" id="FNanchor_12_12"></a> +<a href="#Footnote_12_12" class="fnanchor">[12]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a> +<a href="#FNanchor_12_12"><span class="label">[12]</span></a> Iliad, Book xiv., +lines 210-226 in Bryant's translation.</p> +</div> + +<p>One of the prettiest stories about Hera is that in +which she acted as the friend of Jason. Jason was +the son of a dethroned king and was brought up by +the centaur Chiron. When he came of age he set +forth, with much good advice from Chiron, to reclaim +his father's kingdom. On his journey he came +to a swollen stream which seemed well-nigh impassable. +As he was considering the danger of crossing +it, an old woman on the bank begged him to carry +her over. This was a hazardous undertaking, and +the young man was sorely tempted to refuse her. +At last his kindness triumphed and he consented. +Taking her on his back, he struggled across the river +at the peril of his life. When he set her safely on +the opposite bank, a wonderful thing happened. +"She grew fairer than all women, and taller than all +men on earth; and her garments shone like the +summer sea, and her jewels like the stars of heaven; and +over her forehead was a veil, woven of the golden +clouds of sunset, and through the veil she looked +down on him with great soft heifer's eyes; with +great eyes, mild and awful, which filled all the glen +with light."<a name="FNanchor_13_13" id="FNanchor_13_13"></a> +<a href="#Footnote_13_13" class="fnanchor">[13]</a> Then he knew that this was Hera, and +from thenceforth she was his guide in every time of +need.</p> + +<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a> +<a href="#FNanchor_13_13"><span class="label">[13]</span></a> From Kingsley's +<i>Greek Heroes</i>: the Argonauts.</p></div> + +<p><span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p> + +<div class="figcenter" style="width: 131px;"> +<a href="images/illus05.jpg"> +<img src="images/thumb05.jpg" width="131" height="200" alt="BUST OF HERA +(JUNO) -- Ludovisi Villa, Rome -- D. Anderson, Photo. John Andrew & +Son, Sc." title="" /></a> +<span class="caption">BUST OF HERA (JUNO) -- Ludovisi Villa, Rome -- D. +Anderson, Photo. John Andrew & Son, Sc.</span> +</div> + +<p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> +<br /> +<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> + +<p>The bust of Hera, reproduced in our illustration, +shows how the Greeks liked to think of their queen +goddess. We at once recognize the features assigned +to her by tradition; the large eyes set somewhat far +apart, the low, broad forehead, the mild expression. +The waving hair is parted, and gathered at the back +in a matronly coiffure, and over it is worn the crown +of a queen.</p> + +<p>We have seen that in Greek sculpture the artist +was not always left to represent the divinities according +to his own imagination. For each one a certain +fixed type had been gradually thought out in very +early times, and this type was handed down from +generation to generation. A statue or bust could +always be recognized without any title. No one, for +instance, could ever mistake Zeus for Apollo, or +confuse Hera and Athena.</p> + +<p><span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p> + +<p>By comparing this head of Hera with that of +Athena in our previous illustration, we can see how +perfectly sculpture carried out the distinctions in the +two characters. Hera was less intellectual than +Athena, and had perhaps more distinctly feminine +charms. The mouth has less strength and firmness, +the expression more mildness. Her beauty is naturally +of a more matronly type than that of the virgin +goddess. The crown which she wears belongs as +distinctly to her as does the helmet to Athena.</p> + +<p>A careful examination of the face suggests that it +may have been studied from actual life. If, as some +critics believe, the bust was made in Rome by some +Greek sojourning there after the conquest of his own +nation, a noble Roman matron may have been the +model. Be that as it may, this is Hera as the Greeks +worshipped her, and perhaps the best existing representation +of the great goddess.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> + +<h2><a name="V" id="V"></a>V</h2> + +<h2>THE APOXYOMENOS</h2> + +<p>An important part of the Greek system of education +was the training of the body in physical exercise. +For this purpose there were gymnasia in every +city, where the youth were trained in running, leaping, +wrestling, throwing the javelin, and casting the +discus. Great spaces were occupied by these gymnasia, +which included buildings for dressing-rooms +and baths, porticoes and halls used as assembly-rooms, +walks, gardens, and the palæstra, or wrestling-field.</p> + +<p>Every four years a great national festival was held +at Olympia, consisting of games or contests in the +various athletic sports. Every freeman of Hellenic +blood had a birthright to take part in them. The +contestants were required to undergo a preparatory +training, often lasting months, in the gymnasium of +Elis, the province in which Olympia was situated.</p> + +<p>During the progress of the games a universal +truce was proclaimed throughout Greece. All hostilities +ceased for the time, and the Greeks as a +united people assembled at Olympia for the joyous +celebration in honor of Zeus. So important were +these Olympic games that they were used as a standard +for reckoning time. In assigning a date to an +event, the Greeks used to say that it took place in + +<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> + +this or that Olympiad, an Olympiad being the period +of four years between two successive festivals.</p> + +<p>We may well believe that the Olympic festivals, +as well as the ordinary daily exercise in the city +gymnasia, had great attractions for sculptors. The +palæstra must have been a favorite resort of artists. +What a sight it was when the young men came out +of the dressing-rooms stripped for running, their +bodies shining with oil,—what a play of muscles +in the lithe young limbs as the runners "pressed +toward the mark for the prize of the high calling!" +The course was usually of deep sand, and was about +three miles in length. The runners trained for +special emergencies attained extraordinary speed and +endurance. The race over, each youth returned to +the dressing-rooms of the gymnasium and, taking a +small instrument called the <i>strigil</i>, made of metal, +ivory, or horn, scraped the oil from his body.</p> + +<p>It is in this cleansing process that the young man +of our illustration is engaged. The statue on this +account is called the Apoxyomenos, which is a Greek +word meaning "scraping himself." It represents a +typical incident of the life of the gymnasium, such +as might be seen any day of the year.</p> + +<p>Tall and graceful, with slender flexible limbs, the +youth stands in an attitude of rest, scraping his +right arm. In his fingers is the die which marks +his number in the race. His body rests upon one +leg, but so light is his poise that he is ready to +change his position momentarily. Neither attitude +nor countenance shows any sense of exhaustion, + +<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> + +only that delicious fatigue which makes rest so enjoyable.</p> + +<div class="figcenter" style="width: 129px;"> +<a href="images/illus06.jpg"> +<img src="images/thumb06.jpg" width="129" height="200" alt="THE APOXYOMENOS +-- Vatican Gallery, Rome -- D. Anderson, Photo. John Andrew & Son, +Sc. -- Vatican Gallery, Rome" title="" /></a> +<span class="caption">THE APOXYOMENOS -- Vatican Gallery, Rome -- D. Anderson, +Photo. John Andrew & Son, Sc. </span> +</div> + +<p><span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> +<br /> +<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> + +<p>There is a passage in the Greek poet Aristophanes' +comedy of the Clouds, in which a speaker urges +upon a young man the life of the gymnasium. +"Fresh and fair in beauty-bloom," he says, "you +shall pass your days in the wrestling-ground, or run +races beneath the sacred olive trees, crowned with +white reed, in company with a pure-hearted friend, +smelling of bindweed, and leisure hours, and the +white poplar that sheds her leaves, rejoicing in the +prime of spring when the plane tree whispers to +the lime." This is the kind of life typified in the +figure of our statue,<a name="FNanchor_14_14" id="FNanchor_14_14"></a> +<a href="#Footnote_14_14" class="fnanchor">[14]</a> a side of Greek life which no +one can overlook if he would understand the genius +of the Greek nation.</p> + +<div class="footnote"><a name="Footnote_14_14" id="Footnote_14_14"></a> +<a href="#FNanchor_14_14"><span class="label">[14]</span></a> The application +of this passage to the Apoxyomenos is made by J. A. Symonds in his <i>Greek Poets</i>.</div> + +<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p> + +<p>It must not be supposed that our statue represents +an actual individual. It is not a portrait, but an +imaginary typical figure. It is true that portrait +statues of athletes were made in great numbers, as +we shall note again in another chapter. It was indeed +this practical experience among athletes that +led sculptors to see what a perfect human figure +ought to be. In the study of many different forms +they developed an idea of a type common to all and +uniting all the perfections. Certain sculptors figured +out what they regarded as the true proportions +of the ideal human form. One of these was Lysippus, +who is believed to have executed this statue as +an illustration of his theories. We note as the +special characteristics of his ideal figure that it is +tall, with slim light limbs, and a rather small head, +about one eighth the total height.</p> + +<p>We may now see how such a statue as the Apoxyomenos +was a preparatory study for statues of the +gods. The gods were to be represented in the most +perfect human forms which it was possible to conceive, +and by working out typical figures like this, +forms were found worthy of the noblest subjects. +Thus the proportions discovered by Lysippus were +peculiarly appropriate for the lighter, fleeter gods, +as Apollo and Hermes.</p> + +<p>Lysippus executed his works entirely in bronze, +and the statue reproduced in our illustration is a +marble copy of the original, which was long since +lost.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> + +<h2><a name="VI" id="VI"></a>VI</h2> + +<h2>HEAD OF THE APOLLO BELVEDERE</h2> + +<p>Phœbus Apollo was the Greek god of day, who +drove the great chariot of the sun across the sky +from dawn to sunset. As the sun's rays pierce the +air with darts of fire, so Apollo is an archer god +carrying a quiver full of arrows. The old Homeric +hymn calls him—</p> + +<div class="poem"><div class="stanza"> +<span class="i4">"Heaven's far darter, the fair king of days<br /></span> +<span class="i0">Whom even the gods themselves fear when he goes<br /></span> +<span class="i0">Through Jove's high house; and when his goodly bows<br /></span> +<span class="i0">He goes to bend, all from their thrones arise<br /></span> +<span class="i0">And cluster near t' admire his faculties."<a name="FNanchor_15_15" id="FNanchor_15_15"></a> +<a href="#Footnote_15_15" class="fnanchor">[15]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a> +<a href="#FNanchor_15_15"><span class="label">[15]</span></a> In Chapman's translation.</p></div> + +<p>If we count up all the gifts which the sunlight +brings us, we shall have a list of the offices of +Apollo. He brought the spring and the summer, +and ripened the grain for harvest. He warded off +disease and healed the sick. One of his earliest adventures +was to slay the serpent Python lurking in +the caves of Mt. Parnassus. Like the legend of St. +George and the Dragon, the story is an allegory of +the triumph of light over darkness, health over disease, +the power of good over the power of evil.</p> + +<p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p> + +<p>Apollo was also the patron of music, having received +from Hermes the gift of the lyre. He was +wont to play at the banquets of the gods, and the +poet Shelley describes his music in these words:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"And then Apollo with the plectrum strook<br /></span> +<span class="i0">The chords, and from beneath his hands a crash<br /></span> +<span class="i0">Of mighty sounds rushed up, whose music shook<br /></span> +<span class="i0">The soul with sweetness, and like an adept<br /></span> +<span class="i0">His sweeter voice a just accordance kept."<a name="FNanchor_16_16" id="FNanchor_16_16"></a> +<a href="#Footnote_16_16" class="fnanchor">[16]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a> +<a href="#FNanchor_16_16"><span class="label">[16]</span></a> From Shelley's +translation of the Homeric <i>Hymn to Mercury</i>.</p></div> + +<p>Poetry and the dance were also under Apollo's +protection, and he was the leader of the nine +muses.</p> + +<p>His highest office was prophecy, and in all his +temples the priestesses gave mystic revelations of the +future. The most famous of these was at Delphi, +built over an opening in the ground, whence a strange +vapor rose. The priestess, a young woman called a +<i>pythia</i>, from the python slain by Apollo, sat over this +opening on a three-legged seat, or tripod, and answered +the questions brought to her. Her sayings +were in verses called <i>oracles</i>, supposed to be communicated +to her by the god.</p> + +<p>Now, as might be expected, the character of +Apollo was as pure and transparent as the sunlight +itself. He required clean hands and pure hearts of +those who worshiped him. As the sunlight shines +into the dark places of the earth, driving the shadows +away, so Apollo hated all that was dark and evil in +human life. He was not only the rewarder of good +but the punisher of evil. In Shelley's "Hymn of +Apollo" these words are put in the god's mouth:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"The sunbeams are my shafts, with which I kill<br /></span> +<span class="i0">Deceit, that loves the night and fears the day;<br /></span> +</div></div> + +<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p> + +<div class="poem"><div class="stanza"> +<span class="i0">All men who do or even imagine ill<br /></span> +<span class="i0">Fly me, and from the glory of my ray<br /></span> +<span class="i0">Good minds and open actions take new might,<br /></span> +<span class="i0">Until diminished by the reign of night."<br /></span> +</div></div> + +<div class="figcenter" style="width: 155px;"> +<a href="images/illus07.jpg"> +<img src="images/thumb07.jpg" width="155" height="200" alt="HEAD OF THE +APOLLO BELVEDERE -- Vatican Gallery, Rome -- D. Anderson, Photo. John +Andrew & Son, Sc." title="" /></a> +<span class="caption">HEAD OF THE APOLLO BELVEDERE -- Vatican Gallery, +Rome -- D. Anderson, Photo. John Andrew & Son, Sc.</span> +</div> + +<p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> +<br /> +<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p> + +<p>The head of Apollo in our illustration is from a +famous full-length statue of the god known as the +Apollo Belvedere. The name Belvedere, which is +useful only to distinguish the statue from others of +the same subject, comes from the fact that the marble +once adorned a pavilion of the Vatican called the +Belvedere.</p> + +<p>The god stands with left arm extended holding, it +is supposed, either a bow or a shield. A quiver of +arrows is slung across his back, and a chlamys, or +cloak, hangs over his left shoulder. His is the proud +attitude of one who is defending some sacred trust. +So he holds his head high and gazes steadily before +him as if watching an arrow speed to its mark, or +perhaps scanning the vanguard of an approaching +army. The expression is not a little haughty, and +one detects an almost disdainful curve of the lips as +if the god regarded the enemy with scorn. The face +is cut in an aristocratic mould, with fine sensitive +lines which mark the lover of music and poetry. In +fact, the refinement of his beauty has something of a +feminine quality.</p> + +<p>The carefully curled hair is gathered in a bow +knot on the top of his head. It may indeed be +supposed that the handsome young god was by no +means unconscious of his charms, and took no little +pains to display them to good advantage. + +<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span></p> + +<p>The Apollo, however, is a god worthy of our admiration +for the noble purity of his countenance. +Surely, all base thoughts and mean motives would +be put to shame by this pure presence.</p> + +<p>The poet Byron, whose "Childe Harold's Pilgrimage" +describes many interesting sights in Greece +and Italy, has written these lines about the Apollo +Belvedere:—</p> + +<div class="poem"><div class="stanza"> +<span class="i2">"The Lord of the unerring bow,<br /></span> +<span class="i0">The god of life, and poesy, and light—<br /></span> +<span class="i0">The sun, in human limbs array'd, and brow<br /></span> +<span class="i0">All radiant from his triumph in the fight;<br /></span> +<span class="i0">The shaft hath just been shot—the arrow bright<br /></span> +<span class="i0">With an immortal's vengeance; in his eye<br /></span> +<span class="i0">And nostril beautiful disdain, and might,<br /></span> +<span class="i0">And majesty flash their full lightnings by,<br /></span> +<span class="i0">Developing in that one glance the deity."<br /></span></div></div> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> + +<h2><a name="VII" id="VII"></a>VII</h2> + +<h2>DEMETER (CERES)</h2> + +<p>The Greeks worshipped among their deities a goddess +called Demeter, which means "mother earth." +It was her office to attend to the sowing and reaping +and all kinds of farm work. She first taught mankind +the use of the plough; she helped the men in +their threshing and the women in their baking. All +country folk sought her blessing in their labors. She +was, in fact, a personification of nature, and perhaps +it is a remnant of the old Greek belief in our speech +that we still refer to "mother earth" and "mother +nature."</p> + +<p>Demeter's only child was a daughter, Persephone, +and upon her she lavished all a mother's fond devotion. +The story runs that one day Persephone was +gathering posies in the meadow when a strange accident +overtook her. A beautiful flower suddenly attracted +her attention, the like of which she had never +before seen. When she put forth her hand to pluck +it, the entire plant came up by the roots, leaving a +hole in the ground. The hole widened into a great +crack, the earth shook with a mighty thundering, +and out dashed a chariot drawn by coal-black steeds, +bearing Pluto, the king of the lower regions. He +caught up the astonished Persephone, and away they + +<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> + +sped again into the gloomy kingdom beyond the Styx, +where Persephone was installed as queen.</p> + +<p>Demeter, missing her daughter, inquired everywhere +what had become of the maiden, but none +could tell her. Then she lighted a torch and began +a weary search for the lost child. Nine days she +wandered without finding any clew. But on the +tenth day she met the old witch Hecate, who had +heard Persephone scream when she was carried away. +Together the two sought Apollo, who sees all the +doings of gods and men, and he told them the whole +story. "Then a more terrible grief took possession +of Demeter, and ... she forsook the assembly of +the gods and abode among men for a long time, veiling +her beauty under a worn countenance so that +none who looked upon her knew her." She declared +that the earth should not again bring forth fruit till +she had seen her daughter.</p> + +<p>It comforted her not a little in this time of mourning +to take a mother's care of a certain sickly little +child she chanced upon. Disguised as a nurse, she +fed the child upon ambrosia, held him in her bosom, +and at night covered him in a bed of coals. Under +this treatment he thrived amazingly; but the parents +discovered the nurse's strange ways and became +alarmed. Their anxiety was turned to dismay when +they learned that this was a goddess, who would +have made their son immortal but for their interference.</p> + +<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p> + +<div class="figcenter" style="width: 131px;"> +<a href="images/illus08.jpg"> +<img src="images/thumb08.jpg" width="131" height="200" alt="DEMETER (CERES) +-- Vatican Gallery, Rome -- D. Anderson, Photo. John Andrew & Son, +Sc." title="" /></a> +<span class="caption">DEMETER (CERES) -- Vatican Gallery, Rome -- D. Anderson, +Photo. John Andrew & Son, Sc.</span> +</div> + +<p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> +<br /> +<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p> + +<p>In the mean time the crops fell into a bad state, +and it was a year of grievous famine. Demeter still +kept her vow to let no green thing appear upon the +earth. Then Zeus came to the rescue of perishing +humanity. He sent a messenger to Pluto begging +him to let Persephone return to her mother. The +request was granted, the chariot was made ready, +but the wily king first pressed his bride to eat with +him some pomegranate seeds, designing that she +should return to him again. Mother and daughter +were now joyfully reunited, but not without further +separation; for a portion of each year Persephone +returned to her kingdom below the earth, reappearing +in the spring to visit her mother. And this is +why to this day the harvest is followed by winter +until the spring revisits the earth.<a name="FNanchor_17_17" id="FNanchor_17_17"></a> +<a href="#Footnote_17_17" class="fnanchor">[17]</a></p> + +<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a> +<a href="#FNanchor_17_17"><span class="label">[17]</span></a> +The story of Demeter and Persephone is related in the Homeric +<i>Hymn to Demeter</i>, of which an abridged English version is given in the +chapter on the Myth of Demeter and Persephone in Pater's <i>Greek +Studies</i>. The same chapter refers to various other ancient forms of +the story, one of the most important being that of Ovid's Metamorphoses, +translated into English blank verse by Edward King.</p></div> + +<p>In all this story we see that the most striking characteristic +of Demeter is her motherliness. In some +respects she is like Hera, because both are matrons +and are patterns of the domestic virtues. But while +Hera is the model wife, Demeter is the model mother.</p> + +<p>It is the motherliness of our statue which makes us feel sure that it +must be intended to represent Demeter.<a name="FNanchor_18_18" id="FNanchor_18_18"></a> +<a href="#Footnote_18_18" class="fnanchor">[18]</a>The goddess stands holding +in her outstretched right hand a sheaf of wheat, and lifting high in the +left hand the torch with which she journeyed round the world. It is as +if she stood on the threshold of the opening season awaiting her +daughter's return. She gazes straight before her with a look of +expectancy as if she already saw her child from afar. Her face is +lighted by a smile of welcome. One can fancy how tenderly those motherly +arms will fold the child to her heart, and how gladly the daughter will +pillow her head on that broad bosom.</p> + +<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a> +<a href="#FNanchor_18_18"><span class="label">[18]</span></a> +See in the <i><a href="#HISTORICAL_DIRECTORY">Historical Directory</a></i> another subject assigned to the +statue. + +<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p></div> + +<p>The figure is in striking contrast to the statue of +Athena which we have studied. The virgin goddess +is stately and unapproachable in her panoply of wisdom, +but the great mother seems to invite our confidence. +She is one to whom a frightened child +might run, sure of being soothed. To her the sorrowing +would turn, fearing no repulse. She would +welcome, she would understand, she would comfort. +There is strength and repose in every line of her +majestic figure.</p> + +<p>The statue illustrates admirably the grandeur and +simplicity of the best Greek art. The long straight +lines of the drapery, unbroken by any unnecessary +folds, are the secret of the impression of tranquil +dignity in the work.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p> + +<h2><a name="VIII" id="VIII"></a>VIII</h2> + +<h2>THE FAUN OF PRAXITELES</h2> + +<p>The imagination of the Greeks peopled the woods +and waters with all sorts of mythical beings, among +which one of the most delightful was the faun. +This was a creature half human, half animal, which +frolicked in the woods in spring time. In outward +appearance it looked much like a human being, except +that it had pointed furry ears. In nature, however, +it was closely akin to the animals, and lived a free +happy life, with none of the thoughts and cares +which beset the soul of man.</p> + +<p>Our statue represents a sculptor's conception of +this sportive being. It is famous not only because it +is a celebrated work of art, but because it takes an +important place in a celebrated novel. This is the +"marble faun" which gives the title to Hawthorne's +book. It will be remembered that in the beginning +of the story, a party of friends are visiting the museum +of the Capitol in Rome, where the statue stands. +Suddenly they notice the resemblance which one of +their number, a young Italian named Donatello, +bears to the statue. They bid him take the same +attitude, and the likeness is complete. The writer +describes the statue in these words: "The Faun is +the marble image of a young man leaning his right + +<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> + +arm on the trunk or stump of a tree; one hand +hangs carelessly by his side; in the other he holds +the fragment of a pipe, or some such sylvan instrument +of music. His only garment—a lion's skin,<a name="FNanchor_19_19" id="FNanchor_19_19"></a> +<a href="#Footnote_19_19" class="fnanchor">[19]</a> +with the claws upon his shoulder—falls halfway +down his back, leaving the limbs and entire front +of the figure nude. The form, thus displayed, is +marvellously graceful, but has a fuller and more +rounded outline, more flesh, and less of heroic muscle, +than the old sculptors were wont to assign to their +types of masculine beauty.<a name="FNanchor_20_20" id="FNanchor_20_20"></a> +<a href="#Footnote_20_20" class="fnanchor">[20]</a> The character of the +face corresponds with the figure; it is most agreeable +in outline and feature, but rounded and somewhat +voluptuously developed, especially about the +throat and chin; the nose is almost straight, but very +slightly curves inward, thereby acquiring an indescribable +charm of geniality and humor. The mouth, +with its full yet delicate lips, seems so nearly to +smile outright that it calls forth a responsive smile. +The whole statue—unlike anything else that ever +was wrought in that severe material of marble—conveys +the idea of an amiable and sensual creature, +easy, mirthful, apt for jollity, yet not incapable +of being touched by pathos. It is impossible to gaze +long at this stone image without conceiving a kindly +sentiment towards it, as if its substance were warm +to the touch, and imbued with actual life. It comes +very close to some of our pleasantest sympathies."</p> + +<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a> +<a href="#FNanchor_19_19"><span class="label">[19]</span></a> More likely a leopard's skin.</p></div> + +<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a> +<a href="#FNanchor_20_20"><span class="label">[20]</span></a> Compare, +for instance, the slender figure of the <a href="images/illus06.jpg">Apoxyomenos</a>. + +<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p></div> + +<div class="figcenter" style="width: 124px;"> +<a href="images/illus09.jpg"> +<img src="images/thumb09.jpg" width="124" height="200" alt="THE FAUN OF +PRAXITELES -- Capitol Museum, Rome -- Alinari, Photo. John Andrew & +Son, Sc." title="" /></a> +<span class="caption">THE FAUN OF PRAXITELES -- Capitol Museum, Rome -- +Alinari, Photo. John Andrew & Son, Sc.</span> +</div> + +<p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> +<br /> +<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></p> + +<p>After this description the writer goes on to analyze the nature of the Faun. +"The being here represented," +he says, "is endowed with no principle +of virtue, and would be incapable of comprehending +such; but he would be true and honest by dint of +his simplicity. We should expect from him no sacrifice +or effort for an abstract cause; there is not an +atom of martyr's stuff in all that softened marble; +but he has a capacity for strong and warm attachment, +and might act devotedly through its impulse, +and even die for it at need. It is possible, too, that +the Faun might be educated through the medium +of his emotions, so that the coarser animal portion of +his nature might eventually be thrown into the background, +though never utterly expelled."</p> + +<p>The original statue, of which the marble of the +Capitol is a copy, was the work of the sculptor +Praxiteles. As Hawthorne says: "Only a sculptor +of the finest imagination, the most delicate taste, +the sweetest feeling, and the rarest artistic skill—in +a word, a sculptor and a poet too—could have ... succeeded +in imprisoning the sportive and frisky +thing in marble." We are presently to see again in +the head of Hermes that Praxiteles was indeed a remarkable +sculptor. The Faun, however, is the more +difficult subject of the two, for it was puzzling to +think what expression would be proper to a being +partly human, but without a soul.</p> + +<p>It is said that Praxiteles himself considered the +Faun one of his two best works. It had been impossible +for his friends to get an expression of opinion +from him in regard to his statues, until one day + +<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> + +a trick was devised to betray him. He was told that +his studio was on fire, when he exclaimed that his +labor was all lost if the Faun and the Eros were destroyed.</p> + +<p>The Faun originally stood in the street of the +Tripods at Athens, but what has now become of it we +do not know. The statue in our illustration is one +of the most celebrated copies. Many travellers make +a special pilgrimage to see it, and seeing it recall the +words of Hawthorne, describing the spell it casts +upon the spectator. "All the pleasantness of sylvan +life, all the genial and happy characteristics of creatures +that dwell in woods and fields, will seem to be +mingled and kneaded into one substance, along with +the kindred qualities in the human soul. Trees, +grass, flowers, woodland streamlets, cattle, deer, and +unsophisticated man—the essence of all these was +compressed long ago, and still exists, within that discolored +marble surface of the Faun of Praxiteles."</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></p> + +<h2><a name="IX" id="IX"></a>IX</h2> + +<h2>SOPHOCLES</h2> + +<p>One of the greatest of Greek writers was the +tragic poet Sophocles. He was born near Athens +in the year 495 <span class="smcap">B. C.</span>, and was educated after the +manner of the Greek youth of his time. Every advantage +was given him for the study of music and +poetry, and also for that gymnastic training which, +as we have seen, was so important in Greek education.</p> + +<p>Sophocles was a handsome youth, and acquitted +himself well in the palæstra. When he was sixteen +years of age the great battle of Salamis was fought +and won by the Greeks. In the celebration of this +victory at Athens, Sophocles led with dance and lyre +the chorus of young men who sang the pæan or +hymn of victory. That such an honor should be +given him shows how graceful and gifted he must +have been.</p> + +<p>The beginning of his literary career came when he +was in his twenty-fifth year. At that time a solemn +festival was held in Athens in memory of the ancient +King Theseus, whose bones had been brought +thither from the island of Scyros. Now all religious +festivals in Greece were celebrated with contests, +some athletic, others artistic and literary. On this +occasion there was a contest of dramatic poets. + +<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> + +Æschylus was at that time the greatest of living +tragedians, and as he was among the contestants, it +might have been supposed that no other candidate +could have succeeded. Sophocles now came forward +with his first tragedy, and so remarkable was it +found to be that the judges pronounced him victor.</p> + +<p>From this time forth Sophocles continually grew +in dramatic and literary power. Twenty times he +obtained the first prize in other contests, and many +times also the second prize. The amount of his work +was prodigious. Most of his dramas are lost, but we +still have a half dozen or more to show us the noble +quality of his work. The finest are perhaps those +called Œdipus Tyrannus, Œdipus Coloneus, and +Antigone, all dealing with the tragic fate of an +ancient royal family.</p> + +<p>Athens was justly proud of her great poet and +bestowed various honors upon him. He was even +made a general, and served in the war against Samos; +but nature had made him a poet, and it is as a poet +that we must always think of him. Full of years +and honors, he died in Athens at the age of ninety. +Of him the Greek poet Phrynicus wrote,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Thrice happy Sophocles! in good old age<br /></span> +<span class="i0">Blessed as a man, and as a craftsman blessed,<br /></span> +<span class="i0">He died: his many tragedies were fair,<br /></span> +<span class="i0">And fair his end, nor knew he any sorrow."<br /></span> +</div></div> + +<p>Our portrait shows admirably what manner of +man he was, handsome and dignified, in the prime +of life.</p> + +<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> + +<div class="figcenter" style="width: 130px;"> +<a href="images/illus10.jpg"> +<img src="images/thumb10.jpg" width="130" height="200" alt="SOPHOCLES -- +Lateran Museum, Rome -- D. Anderson, Photo. John Andrew & Son, Sc." title="" /></a> +<span class="caption">SOPHOCLES -- Lateran Museum, Rome -- D. Anderson, Photo. John Andrew & Son, Sc.</span> +</div> + +<p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> +<br /> +<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span></p> + +<p>The scanty folds of his toga reveal the fine lines of +his graceful figure. The pose shows the bodily vigor +which his early athletic training gave him. He holds +his head erect in a manner suggestive of his military +life. The face is that of an idealist and a poet, a +man who sees splendid visions. Yet it is not altogether +dreamy in the ordinary sense; it has the alert, +energetic aspect of one who would turn from vision +to action. It is not hard to believe the tale of his +one hundred and twenty-three dramas: such a man +would fill his life with activity. The face has, too, +the expression of genial kindliness which made the +great poet so beloved of his fellow men. His must +have been that calm, equable temperament not easily +ruffled, which goes with the self-respecting nature. +A receptacle at his side is filled with the scrolls of +his tragedies. He stands in the attitude of a poet +reciting his lines to an assembled audience.</p> + +<p>The statue shows how sane was the Greek ideal of +intellectual greatness. In those days genius did not +mean eccentricity, but the rule of life was a sound +mind in a sound body. It is a mistaken notion of +our own times that bodily health must be sacrificed +to the training of the brain. It is even supposed +by some that oddities of dress and manner are signs +of greatness.</p> + +<p>The Greeks had no such delusions. Here is +Sophocles, the greatest dramatic poet of antiquity, +a magnificent specimen of symmetrically developed +manhood. He is a man who has made the most of +life's opportunities as he understood them. He enjoys +perfect bodily vigor; he is as well a man of the + +<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> + +world, at ease among men. There is evidently nothing +of the recluse in his character. He wears his +beard carefully trimmed as one who looks well to his +personal appearance. Yet intellectual greatness is +stamped on face and bearing: the noble countenance +marks him as a poet.</p> + +<p>There was a period in Greek history when it was +a custom to adorn public buildings with statues of +famous men, living or dead. Libraries were appropriately +decorated with statues of poets, and we +fancy that our statue of Sophocles was made for +such a purpose. The original is supposed to have +been set up by a certain Athenian statesman named +Lycurgus in the fourth century <span class="smcap">B. C.</span></p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p> + +<h2><a name="X" id="X"></a>X</h2> + +<h2>ARES SEATED</h2> + +<p>Old soldiers tell us that sometimes in the thick of +a battle men fight as though possessed by a spirit of +fury. The excitement of the conflict seems to arouse +an impulse of bloodthirstiness in them, and for the +moment they seem to exult in the carnage. In the +ancient methods of warfare, when a battle was literally +a hand-to-hand conflict, this spirit of brutality +was of course even more marked. In the wars +among the early Greeks men fell upon one another +with the violence of wild animals.</p> + +<p>The Greeks with their ready gift for personification +conceived of this spirit of warfare as a supernatural +being acting on human lives. He was called +Ares, the god whose special delight was to incite the +fierce passions of men.</p> + +<p>It was natural that the Greeks should refer his +influence chiefly to their enemies. On their own part +they preferred to think that their armies were inspired +by the prudent spirit of self-defense embodied +in Athena. This explains why in the Iliad Ares was +on the side of the Trojans, while Athena aided the +Greeks. Thus Ares and Athena were brought into +direct rivalry, the spirit of violence against the spirit +of strategy. + +<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span></p> + +<p>An instance is related when Athena makes an appeal +to her enemy, the translation running in these +words, the Roman name Mars being used for Ares.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Mars, Mars, thou slayer of men, thou steeped in blood,<br /></span> +<span class="i0">Destroyer of walled cities! should we not<br /></span> +<span class="i0">Leave both the Greeks and Trojans to contend,<br /></span> +<span class="i0">And Jove to crown with glory whom he will,<br /></span> +<span class="i0">While we retire, lest we provoke his wrath?"<a name="FNanchor_21_21" id="FNanchor_21_21"></a> +<a href="#Footnote_21_21" class="fnanchor">[21]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a> +<a href="#FNanchor_21_21"><span class="label">[21]</span></a> Iliad, Book v., lines 33-37.</p></div> + +<p>As a matter of fact, however, both deities continued +to aid their favorites. Mars was forced to yield +before the skill and prudence of Athena. Guided +by the goddess the Greek hero Diomed wounds and +drives him from the battle.<a name="FNanchor_22_22" id="FNanchor_22_22"></a> +<a href="#Footnote_22_22" class="fnanchor">[22]</a></p> + +<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a> +<a href="#FNanchor_22_22"><span class="label">[22]</span></a> Iliad, Book v., lines 1068-1075.</p></div> + +<p>In spite of his violent nature Mars was a handsome +god, "stately, swift, unwearied, puissant." +Though war was his chief delight he was quite susceptible +to the tender passion. Venus was the object +of his devotion, and the goddess of love returned +the war god's admiration. It was she who soothed +his wounded vanity when Athena mocked him in +the presence of the gods and struck him to earth +with a stone.<a name="FNanchor_23_23" id="FNanchor_23_23"></a> +<a href="#Footnote_23_23" class="fnanchor">[23]</a></p> + +<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a> +<a href="#FNanchor_23_23"><span class="label">[23]</span></a> Iliad, Book +xxi., lines 500 <i>et seq.</i><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p></div> + +<div class="figcenter" style="width: 131px;"> +<a href="images/illus11.jpg"> +<img src="images/thumb11.jpg" width="131" height="200" alt="ARES SEATED +-- Ludovisi Villa, Rome -- D. Anderson, Photo. John Andrew & Son, Sc." title="" /></a> +<span class="caption">ARES SEATED -- Ludovisi Villa, Rome -- D. Anderson, +Photo. John Andrew & Son, Sc.</span> +</div> + +<p><span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> +<br /> +<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p> + +<p>The statue reproduced in our illustration shows +the god in his mildest aspect. He is seated in a meditative +attitude, clasping his hands over his upraised +knee. His splendidly developed body is relaxed in +a posture of repose, the shield is laid aside for a +moment, and he rests from his labors. In the best +period of Greek sculpture it was entirely contrary +to the laws of taste to represent Ares in any warlike +action. The gods must always be portrayed +in a dignified repose befitting their superiority to +mankind. Not then in his attitude or expression do +we find any sign of the character of the god. There +is no suggestion of unrest in his quiet posture.</p> + +<p>The shape of his head perhaps gives some hint +of his combative nature. The cast of countenance, +too, shows an impulsive temper, weak in intellectual +qualities, and quick to anger. Yet he is undeniably +attractive, with his well-chiseled features and clustering +curls. The small ear is as delicately cut as a +woman's. The fine athletic figure is such as any +warrior might covet; muscular and supple, it is full +of power even in repose. The attitude of easy grace +displays its best points to advantage.</p> + +<p>Sitting on the ground in front of the god is the +figure of a mischievous baby boy. This is the little +god Eros, who in Greek mythology was supposed to +be the inspirer of love. The artist meant to suggest +that the subject of Ares' meditations might be +some affair of the heart. Certainly his mild smile +would carry out that interpretation. Some critics +have thought, however, that the statue did not originally +include the child.</p> + +<p>As we study the modelling of the figure, the free +sweep of the long lines delights the eye. We shall +come to understand from repeated examples that the +best Greek sculptors thoroughly mastered the secret +of fine lines. Our illustration is somewhat unusual +because the figure is seated. Even in this position, + +<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> + +however, the sculptor gives us a sense of the perfect +grace and lightness of the pose. There is nothing +heavy or immovable in the attitude. We can easily +imagine how the god, rising lightly to his feet, +would stand erect and beautiful, ready for action.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span></p> + +<h2><a name="XI" id="XI"></a>XI</h2> + +<h2>HEAD OF THE OLYMPIAN HERMES</h2> + +<p>To do his errands and carry his messages through +the universe the supreme god Zeus had a herald, +Hermes, the god of the wind. As the wind blows +out of the great sky, so Hermes descended from +Olympus to earth to do the sky god's bidding. +Equipped as a herald he wore a winged cap and +winged sandals, which carried him about with great +speed. He had also a short sword bent like a scythe, +given him by Zeus with the cap and sandals. He +possessed the strange power of making himself invisible, +and of assuming different forms. As he had +besides a ready wit and an eloquent tongue, he could +make himself very useful. It was one of his common +tasks to carry sleep to mortals, and his most +solemn office was to conduct the souls of the dying +to the other world.</p> + +<p>This is the way the Odyssey describes Hermes setting +forth on one of the errands of Zeus:—</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"The herald Argicide obeyed,<br /></span> +<span class="i0">And hastily beneath his feet he bound<br /></span> +<span class="i0">The fair ambrosial golden sandals, worn<br /></span> +<span class="i0">To bear him over ocean like the wind,<br /></span> +<span class="i0">And o'er the boundless land. His wand he took,<br /></span> +<span class="i0">Wherewith he softly seals the eyes of men,<br /></span> +<span class="i0">And opens them at will from sleep."<a name="FNanchor_24_24" id="FNanchor_24_24"></a> +<a href="#Footnote_24_24" class="fnanchor">[24]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a> +<a href="#FNanchor_24_24"><span class="label">[24]</span></a> Book v., lines +55-61 in Bryant's translation.<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></p></div> + +<p>One of the most famous adventures of Hermes +was the slaying of the many-eyed monster Argus, +from whom he rescued the unhappy Io. This is why +the old Greek poet, whom we have quoted, calls the +god the Argicide. Another of his well known missions +was the care of the motherless infant Bacchus, +whom he conveyed to the nymphs of Nysa to be +reared. An adventurer himself, Hermes was ever +ready to aid heroes in their exploits. It was with +his sword that Perseus cut off the Gorgon's head: +we may read the story in Hawthorne's "Wonder-Book" +and Kingsley's "Greek Heroes."</p> + +<p>Nor was Hermes above a bit of mischief now and +then. An old Homeric hymn tells of a sly prank +he played upon Apollo, when he was a mere baby, +stealing the herds of Admetus which Apollo was +keeping. He was an ingenious fellow too, and this +is how he invented the lyre. Taking from the +beach a tortoise, he cleaned out the shell, pierced it +with holes, and stretched from hole to hole, at regular +intervals, cords of sheep gut.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"When he had wrought the lovely instrument<br /></span> +<span class="i0">He tried the chords, and made division meet,<br /></span> +<span class="i0">Preluding with the plectrum, and there went<br /></span> +<span class="i0">Up from beneath his hand a tumult sweet<br /></span> +<span class="i2">Of mighty sounds."<a name="FNanchor_25_25" id="FNanchor_25_25"></a> +<a href="#Footnote_25_25" class="fnanchor">[25]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a> +<a href="#FNanchor_25_25"><span class="label">[25]</span></a> From the +Homeric <i>Hymn to Mercury</i> in Shelley's translation, Stanza ix. + +<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span></p></div> + +<div class="figcenter" style="width: 152px;"> +<a href="images/illus12.jpg"> +<img src="images/thumb12.jpg" width="152" height="200" alt="HEAD OF THE +OLYMPIAN HERMES -- Museum, Olympia -- English Photographic Co., Athens, +Photo. John Andrew & Son, Sc." title="" /></a> +<span class="caption">HEAD OF THE OLYMPIAN HERMES -- Museum, Olympia -- +English Photographic Co., Athens, Photo. John Andrew & Son, Sc.</span> +</div> + +<p><span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> +<br /> +<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p> + +<p>With this instrument Apollo was so delighted +that Hermes straightway presented it to him, to +make some amends, as it were, for the injury done +him. In return Apollo bestowed the <i>caduceus</i>, or +wand, upon Hermes, and the two gods vowed eternal +friendship.</p> + +<p>The Greeks were very fond of their god Hermes. +He was not too grand to be companionable, like the +awe-inspiring Zeus or the haughty Apollo. They +thought of him as a blithe, gentle being whose lighthearted +ways and easy good nature made him a general +favorite. It was an early custom to set up in +his honor stone posts at the crossroads. Sometimes +they were topped by the heads of other gods, but +these were called for him, <i>hermæ</i>. In the course of +time better statues were made in full length figure. +The head reproduced in our illustration is from such +an one which used to stand in a temple of Olympia, +from the ruins of which it was unearthed a few years +ago.</p> + +<p>The entire right arm and parts of both legs are +missing, but the other portions of the statue show +the god's position. He is leaning against a tree +trunk, holding on his left arm the infant Bacchus, +who was, as we have seen, consigned to his care by +Zeus. Hermes is not, however, looking at the child, +but gazes dreamily before him, his head bent in the +pensive pose which we see. The features are cut +with typical Greek regularity, but the countenance +has besides its own individual charm. The droop of +the upper eyelid suggests a dreamy nature, and in +the curve of the smiling lips is a hint of playfulness. +The lower forehead is full, showing over the eyes +the bar of flesh which marks the strongly masculine +nature. The closely cropped curls preserve the perfect + +<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> + +contour of the head. The small, beautiful ear +is as daintily modeled as the ringlets of hair.</p> + +<p>The face wins us at once with its gentle amiability. +It is tender and playful, and withal exquisitely refined +and courteous. What a deferential listener is suggested +in that pose of the head! The pure outline +of the face calls to mind those knights of chivalry +who gathered about King Arthur's Round Table, +and one wonders if Sir Galahad himself might not +have looked like this.</p> + +<p>This statue is the work of the great sculptor +Praxiteles, and is the only original marble in existence +direct from his hands. All the rest of his work +is known from descriptions and copies. We can +understand, then, how sculptors and critics the world +over have examined it to study the sculptor's methods. +It is of Parian marble, much stained with iron +rust from its long entombment under the soil.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p> + +<h2><a name="XII" id="XII"></a>XII</h2> + +<h2>THE DISCOBOLUS (THE DISK-THROWER)</h2> + + +<p>We have seen how important a part in the Greek +national life was occupied by the Olympic Games. +They were regarded as a sacred institution of the +gods, and to contend in them was a religious consecration. +None could enter them who had been +guilty of dishonorable conduct or sacrilege, and +young men from the noblest families were not above +taking part. The prizes were wreaths of wild parsley, +olive, and pine, having no intrinsic worth, +but of priceless value to the recipients. To win +them was the highest ambition of many a Greek +youth.</p> + +<p>The victor was led forth before the people, crowned +with the wreath and bearing a palm branch in his +hand. Heralds proclaimed his name and that of +his father. Banquets were spread in his honor, and +songs were composed in his praise.<a name="FNanchor_26_26" id="FNanchor_26_26"></a> +<a href="#Footnote_26_26" class="fnanchor">[26]</a> From thenceforth +he was a person of distinction. Finally his +statue was set up in the <i>altis</i> or sacred grove of +Olympia. There were at one time as many as three +thousand such statues in the place.</p> + +<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a> +<a href="#FNanchor_26_26"><span class="label">[26]</span></a> See, for \ +instance, Pindar's <i>Olympic Odes</i>. + +<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p></div> + +<p>It will be readily seen that in statues of athletes the +sculptor had greater freedom than in statues of the +gods. The latter must be represented in dignified +attitudes of repose, but the former would naturally +be portrayed in some characteristic posture of action. +It is so with the statue in our illustration called the +Discobolus or Disk-thrower.</p> + +<p>The game of disk-throwing was very old, so old +that there were Greek legends of famous games +played by the gods and heroes. Apollo sometimes +tried his hand at it, and also Perseus. The discus, +or disk, was a heavy round plate of metal, bronze or +iron, about eight inches in diameter, grasped in one +hand, swung around to give it a rotary motion, and +then sent flying through the air. A modern authority +explains that it was thrown not as the quoit is to-day, +with arm and shoulder only, but by bringing +into play and utilizing every limb and muscle of the +body. "Immediately preceding the actual hurling +of the discus, therefore, there had to be a general +storing up and compression of energy which, when +suddenly set free, produced the violence of the projection. +The principle is simply that of the spring +which, when compressed, shoots out from the centre. +The greater the contortion of the body, the more +each muscle and sinew is strung towards one centre, +the greater will be the impetus when this compression +is suddenly set free."<a name="FNanchor_27_27" id="FNanchor_27_27"></a> +<a href="#Footnote_27_27" class="fnanchor">[27]</a></p> + +<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a> +<a href="#FNanchor_27_27"><span class="label">[27]</span></a>Waldstein, +in <i>Essays on the Art of Pheidias</i>, page 49. + +<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p></div> + +<div class="figcenter" style="width: 131px;"> +<a href="images/illus13.jpg"> +<img src="images/thumb13.jpg" width="131" height="200" alt="THE DISCOBOLUS +(THE DISK-THROWER) -- Lancelotti Palace, Rome -- John Andrew & Son, Sc." title="" /></a> +<span class="caption">THE DISCOBOLUS (THE DISK-THROWER) -- Lancelotti +Palace, Rome -- John Andrew & Son, Sc.</span> +</div> + +<p><span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> +<br /> +<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></p> + +<p>Our statue shows the disk-thrower at the moment +immediately preceding the throw. As described by +the ancient writer Lucian, "he is bent down into +the position for the throw, turning towards the hand +that holds the disk, and all but bending on one +knee, he seems as if he would straighten himself up +at the throw."</p> + +<p>The modern critic whom we have already quoted +shows that when we view the statue from the front, +"all the lines of the modelling indicate the tension +of the sinews towards the contracted centre of the +body, and the legs, neck, and shoulders tend towards +the same point." When we walk around the +statue, all the lines in the back and sides "seem to +lead towards that central point like the spiral contraction +of a spring." It is by thus suggesting the +concentration of energy on the part of the Discobolus +that the figure appears so full of life and +action.</p> + +<p>By the choice of this posture the artist was enabled +to model his figure on magnificent sculpturesque +lines. One long fine curve sweeps along the right +arm, is continued down the left arm, and is carried +to completion in the left leg and foot. The counter +curve starts under the right shoulder, and sweeps +down the right side and leg.</p> + +<p>The original statue of the Discobolus was executed +in bronze, and our reproduction is from one of several +ancient copies in marble. In some of these the original +head of the statue has been replaced by another, +but the copy we see here has a fine, vigorous head. +The English critic, Walter Pater,<a name="FNanchor_28_28" id="FNanchor_28_28"></a> +<a href="#Footnote_28_28" class="fnanchor">[28]</a> describes the face +"as smooth but spare, and tightly drawn over muscle +and bone." He shows too how sympathetic the face +is with the whole intention of the statue, "as the +source of will."<a name="FNanchor_29_29" id="FNanchor_29_29"></a> +<a href="#Footnote_29_29" class="fnanchor">[29]</a></p> + +<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a> +<a href="#FNanchor_28_28"><span class="label">[28]</span></a> In the chapter +on Athletic Prizemen, in <i>Greek Studies</i>.</p> + +<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a> +<a href="#FNanchor_29_29"><span class="label">[29]</span></a> This opinion +is the more interesting because the face of the Discobolus is commonly +criticised for "absence of emotional expression." See Furtwängler's <i>Masterpieces +of Greek Sculpture</i>, p. 173.</p></div> + +<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p></div> + +<p>The sculptor of the Discobolus was Myron, who +lived in the period between the Persian War and the +middle of the fifth century. His work shows his +fondness for movement, though many of his subjects +did not permit him to indulge his taste. He +made a specialty of figures of athletes, both commemorative +portrait statues and typical figures. We +do not know whether this statue represents an actual +Olympic victor, or is a typical figure, like the Apoxyomenos. +In any case it gives an excellent idea +of the great influence exercised upon Greek life by +the athletic games.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span></p> + +<h2><a name="XIII" id="XIII"></a>XIII</h2> + +<h2>THE APHRODITE OF MELOS (VENUS OF MILO)</h2> + +<p>By Greek tradition the fairest of the goddesses +was Aphrodite, the goddess of love and beauty. To +her every lover paid his vows and every maiden +prayed for charms. An old legend relates that she +was born from the foam of the sea, hence the name +Aphrodite, which means "foam-born." Among the +Romans she was called Venus. At her birth the +island of Cyprus received her.</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Where the force<br /></span> +<span class="i0">Of gentle-breathing Zephyr steer'd her course<br /></span> +<span class="i0">Along the waves of the resounding sea,<br /></span> +<span class="i0">While yet unborn in that soft foam she lay<br /></span> +<span class="i0">That brought her forth."<br /></span> +</div></div> + +<p>Here she emerged "a goddess in the charms of +awful beauty." The Hours welcomed her eagerly, +taking her in their arms and putting a crown of gold +upon her head. As she went on her way, flowers +grew in her path,—</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Where her delicate feet<br /></span> +<span class="i0">Had pressed the sands, green herbage flowering +sprang."<a name="FNanchor_30_30" id="FNanchor_30_30"></a> +<a href="#Footnote_30_30" class="fnanchor">[30]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a> +<a href="#FNanchor_30_30"><span class="label">[30]</span></a> An account +of the birth of Aphrodite is given in Hesiod's <i>Theogony</i> and in +the Homeric <i>Hymn to Venus</i>, and the quotations here are drawn from +both sources.</p></div> + +<p><span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span></p> + +<p>As we have already seen, there were among the +Greek divinities two other goddesses besides Aphrodite +specially famed for their beauty,—Athena and +Hera. Tradition tells how the beauty of the three +was tested. An apple was thrown into their midst +inscribed "For the fairest," and a contention at once +arose as to the rightful owner. Paris, the prince of +Troy, being chosen arbiter, decided in favor of Aphrodite, +who promised him for a wife the fairest woman +in Greece, that is, Helen.<a name="FNanchor_31_31" id="FNanchor_31_31"></a> +<a href="#Footnote_31_31" class="fnanchor">[31]</a> This was the real +cause of the Trojan War, in which the Greeks sought +to recover their stolen princess. Aphrodite being at +the bottom of the trouble remained through the war +on the Trojan side.</p> + +<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a> +<a href="#FNanchor_31_31"><span class="label">[31]</span></a> See Tennyson's +poem, <i>Oenone</i>.</p></div> + +<p>Oddly enough the beautiful goddess was mated +to the ugliest of the gods, the lame blacksmith Hephæstus +(or Vulcan). At his forge were made those +fateful arrows of the little god Eros (or Cupid), the +mother standing by to tip their points with honey.</p> + +<p>The power of love in human life made the ideal +of Aphrodite very dear to the hearts of the Greeks. +All that is most tender and sacred in this human relation +was personified in her. As love ennobles the +life and makes it unselfish, so, they reasoned, must +Aphrodite be a grand and noble being. Again, as +love glorifies the life, and brings joy into its commonest +details, she must also be beautiful and laughter-loving. +In short, one cannot think of any quality +of love which was not reflected in the person +of the glorious goddess. Temples were built in her +honor, and she was worshiped in festivals and sacrificial +rites. Statues of her were set up in many +places, and one of the most famous which has come +down to us is reproduced in our illustration.</p> + +<p><span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span></p> + +<div class="figcenter" style="width: 123px;"> +<a href="images/illus14.jpg"> +<img src="images/thumb14.jpg" width="123" height="200" alt="THE APHRODITE +OF MELOS (THE VENUS OF MILO) -- The Louvre, Paris -- Neurdein Frères, +Photo. John Andrew & Son, Sc." title="" /></a> +<span class="caption">THE APHRODITE OF MELOS (THE VENUS OF MILO) -- The +Louvre, Paris -- Neurdein Frères, Photo. John Andrew & Son, Sc.</span> +</div> + +<p><span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span> +<br /> +<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span></p> + +<p>We have now learned by repeated instances that +the Greeks had such definite ideas of their deities +that their statues were as readily recognized as if +they represented actual persons. The sculptors followed +types accepted by tradition as the best embodiment +of the characters they stood for. So especially +with Zeus, Athena, and Hera, and so again with +Aphrodite. She must be supremely fair, with a +beauty less austere than that of the maiden Athena, +less regal than that of Hera, and more fascinating +than either.</p> + +<p>We see then at once that the beautiful figure of our +illustration must be Aphrodite, or Venus. In looking +at her we think, not of wisdom, or force, or power, +but just of beauty. She stands resting the weight +of her body on one foot, and advancing the other +with knee bent. The posture causes the figure to +sway slightly to one side, describing a fine curved +line. The lower limbs are draped, but the upper +part of the body is uncovered, and in some mysterious +way the sculptor has imparted to the marble a +seeming softness as of real flesh. The head is as +exquisitely set as a flower on its stalk. The parted +hair is drawn back in rippling waves over the low +forehead.</p> + +<p>The eyes are not very wide open, having something +of a dreamy languor. "Melting eyes" are indeed +characteristic of Venus, and an analytical critic has +explained that this effect is produced in sculpture by + +<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span> + +a "slight elevation of the inner corner of the lower +eyelid." The nose is perfectly cut, the mouth and +chin are moulded in adorable curves. Yet to say +that every feature is of faultless perfection is but +cold praise. No analysis can convey the sense of +her peerless beauty.</p> + +<p>The statue originally stood on the Greek island of +Melos, where it was discovered in 1820 in this broken +state. Many wise heads have been puzzled to know +the position of the missing arms. Some have thought +that the goddess carried a shield, and others have +fancied her holding the traditional apple. There +have also been many discussions as to the date of the +work. Now if the statue had been made in the fifth +century <span class="smcap">B. C.</span>, the goddess would have been fully +draped; if in the fourth century, entirely without +drapery. Our sculptor then belonged to neither of +these periods, and combined the characteristics of +both. It is a fault on his part to have placed the +drapery in an impossible position, whence in actual +life it would immediately fall of its own weight. +Yet we do not think of such criticisms when we see +it. The beautiful body rising above the drapery reminds +us of the myth of Aphrodite emerging from +the sea foam. Her beauty is a union of strength +and sweetness, a perfect embodiment of a nature at +harmony with itself and its surroundings.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span></p> + +<h2><a name="XIV" id="XIV"></a>XIV</h2> + +<h2>ORPHEUS AND EURYDICE</h2> + +<p>There was once a man named Orpheus, who lived +in the land of Thrace. It was said that his father +was Apollo, and his mother the muse Calliope; so it +is not strange that he was both poet and musician. +So enchanting was the music of his lyre that wild +animals came forth from their haunts to hear him. +Even trees and rocks seemed to feel the magic influence +of the strain.</p> + +<p>He had a beautiful wife named Eurydice, whom he +loved dearly, and they were happy together till a sad +accident separated them. She was bitten one day +by a poisonous serpent, and died from the effects of +the wound. There was no more happiness on earth +for Orpheus, and he determined to seek Eurydice in +the underworld of the dead.</p> + +<p>Now the gates of the lower regions were guarded +by a three-headed dog named Cerberus, but even this +fierce beast was subdued by the entrancing music of +Orpheus, who</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Through the unsubstantial realm<br /></span> +<span class="i0">Populous with phantom ghosts of buried men,<br /></span> +<span class="i0">Undaunted passed to where Persephone<br /></span> +<span class="i0">Sits by the monarch of that cheerless folk<br /></span> +<span class="i0">Of shadows throned—and struck his lyre, and sang."<br /></span> +<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span></div></div> + +<p>Pouring forth the mournful tale of his lost love, +he appealed to the gods to give him back Eurydice. +So eloquent was his plea that all who listened were +"moved to weeping." Then for the first time the +iron cheeks of the Furies were wet with tears, and</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Of the nether realm<br /></span> +<span class="i0">Nor King nor Queen had heart to say him nay."<br /></span> +</div></div> + +<p>Eurydice was brought forth and restored to her +husband, but a single condition was laid upon Orpheus +in leading her out. Until they had regained +the earth he was not to look backward, or the boon +would be forfeited. The Latin poet Ovid tells how +the two fared forth together from the underworld, +and how Orpheus failed in the conditions of the +agreement.</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Through the silent realm<br /></span> +<span class="i0">Upward against the steep and fronting hill<br /></span> +<span class="i0">Dark with obscurest gloom, the way he led:<br /></span> +<span class="i0">And now the upper air was all but won,<br /></span> +<span class="i0">When fearful lest the toil o'ertask her strength<br /></span> +<span class="i0">And yearning to behold the form he loved,<br /></span> +<span class="i0">An instant back he looked,—and back the shade<br /></span> +<span class="i0">That instant fled....<br /></span> +<span class="i0">...One last<br /></span> +<span class="i0">And sad 'Farewell,' scarce audible, she sighed,<br /></span> +<span class="i0">And vanished to the ghosts that late she left."<a name="FNanchor_32_32" id="FNanchor_32_32"></a> +<a href="#Footnote_32_32" class="fnanchor">[32]</a><br /></span> +</div></div> + +<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a> +<a href="#FNanchor_32_32"><span class="label">[32]</span></a> From the +Metamorphoses, Book x, in Henry King's translation, from which also the +other quotations are drawn. + +<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span></p></div> + +<div class="figcenter" style="width: 175px;"> +<a href="images/illus15.jpg"> +<img src="images/thumb15.jpg" width="175" height="200" alt="ORPHEUS AND +EURYDICE -- Albani Villa, Rome -- D. Anderson, Photo. John Andrew & +Son, Sc." title="" /></a> +<span class="caption">ORPHEUS AND EURYDICE -- Albam Villa, Rome -- D. +Anderson, Photo. John Andrew & Son, Sc.</span> +</div> + +<p><span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> +<br /> +<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span></p> + +<p>Our bas-relief represents a scene of parting between +Orpheus and Eurydice, and we may take it, as we +please, to refer to their first or to their last farewell. +It seems, however, to apply more appropriately +to the first departure of Eurydice to the unknown +land. She lays her hand fondly upon her husband's +shoulder, and he touches it gently as if to detain +her.</p> + +<p>The figure on the other side is the messenger god +Hermes, whose mission is to conduct departing spirits +to the other world.<a name="FNanchor_33_33" id="FNanchor_33_33"></a> +<a href="#Footnote_33_33" class="fnanchor">[33]</a> He has come for Eurydice, +and he takes her by the hand to draw her away. +For a moment husband and wife gaze into each +other's eyes with love and sorrow, while the messenger +waits with exquisite courtesy.</p> + +<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a> +<a href="#FNanchor_33_33"><span class="label">[33]</span></a> See <a href="#Page_61">page 61</a>.</p></div> + +<p>Though the Greeks had many tales of sorrow in +their poetry and mythology, they did not often illustrate +them in their art. The subjects of their sculpture +are nearly always happy ones. Even here, you +see, grief is made so beautiful and dignified that we +forget to feel sad about the parting. We think most +of the love and devotion between Orpheus and Eurydice.</p> + +<p>The simple story of the bas-relief touches us more +readily perhaps than the grand statues of the gods. +People like in art something which corresponds to +the common human lives of all.</p> + +<p>The garment worn by Eurydice seems quite like +that of the goddess Demeter. The drapery is very +full in front, falling in long straight folds. At the +side it is scantier and shows the motion of the figure +in walking. The short tunic worn by the other figures +is a picturesque costume, and the mantle swinging +over one shoulder is very graceful. When one +contrasts with these classical draperies the stiff dress +of modern times, one wonders that the sculptor of +to-day does not throw down his chisel in despair.</p> + +<p><span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p> + +<p>The style of the draperies often enables a critic to +decide in what period a work of art was produced. +In the best art the folds are always simple: it is a +sure sign of declining art when the folds are complicated +and broken. Here we see the few simple, +severe lines which mark the purest classical taste.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span></p> + +<h2><a name="XV" id="XV"></a>XV</h2> + +<h2>NIKE (THE WINGED VICTORY)</h2> + +<p>Upon the death of Alexander the Great there was +much disputing among his generals as to what +should become of the various provinces of his empire, +including Greece. It was finally decided that the +Greek cities should be left free. A general named +Ptolemy soon broke this agreement and entered +Greece, whereupon another named Antigonus +promptly proceeded to punish him. Antigonus had +a son Demetrius, who was a skilful engineer, and +was called Poliorcetes, "besieger of cities," for his +success in raising sieges. He was sent to Athens +with a fleet of two hundred and fifty ships, and won +the gratitude of the city for delivering it from the +hands of Ptolemy. Demetrius next turned his +attention to the island of Cyprus, of which Ptolemy +was in possession. The rival forces met off Salamis, +306 <span class="smcap">B. C.</span>, in a fierce sea fight, and Demetrius was +victorious.</p> + +<p>Now the Greeks were fond of commemorating +notable events by the erection of statues, and it was +an old custom among them to set up a statue of +victory in honor of any success of arms on land or +sea. We have seen how natural it was for them +to attribute the affairs of life to the agency of the + +<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> + +deities. So in war, greatly as they praised their +armies and their generals, it was to Nike, the goddess +of victory, that they gave the chief credit of success. +This goddess was conceived as a winged being attendant +upon both Zeus and Athena, who, as we +have seen, controlled the destinies of war.</p> + +<p>To Nike then, this winged goddess of victory, +was due the wonderful success of Demetrius over +Ptolemy's fleet before Salamis, and it was fitting +that her statue should commemorate the event. +The spot chosen for it was the island of Samothrace, +which stands so high above water level that it is +very conspicuous in the northern Greek archipelago.</p> + +<p>The goddess was represented standing on the +prow of a vessel as if leading the fleet to success. +It may be that the old Greek idea of a goddess at +the prow was the origin of the "figure head" for +so many years carried by every ship that sailed the +seas. The vessels in those old days were called +<i>triremes</i>, being propelled by rowers who sat at their +oars in three <i>tiers</i>, or banks, which gave the name +to the craft. The goddess stood in the middle of +what was called the <i>ikrion proras</i>, which would correspond +to the forecastle deck. In her right hand +she held a trumpet to her lips, and in her left she +carried a crosstree, the framework of a trophy.</p> + +<p><span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span></p> + +<div class="figcenter" style="width: 125px;"> +<a href="images/illus16.jpg"> +<img src="images/thumb16.jpg" width="125" height="200" alt="NIKE (THE +WINGED VICTORY) -- The Louvre, Paris -- Neurdein Frères, Photo. John +Andrew & Son, Sc." title="" /></a> +<span class="caption">NIKE (THE WINGED VICTORY) -- The Louvre, Paris -- +Neurdein Frères, Photo. John Andrew & Son, Sc.</span> +</div> + +<p><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> +<br /> +<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span></p> + +<p>The figure is in an erect poise with the chest held +high. You will notice that a walker making his +way against the wind bends the body forward to +resist its force, while one who is borne along on +some vehicle in the face of the wind steadies himself +upright. So with Nike; the attitude expresses the +sense of exhilaration from the rush of wind in the +face of one borne along on a moving vessel. The +breeze beats the thin drapery back upon her, outlining +the beautiful curves of bust and limb, and +fluttering behind her in the air. The broad pinions +which would retard the ship's motion if spread open +are folded to cut the air like the prow.</p> + +<p>When the statue was set up and the colossal figure +in white marble was seen against the blue sky +of a southern land, what an inspiration it must have +been as a symbol of success! What discouraged +heart could look at such a figure and not be thrilled +with new ambition! The statue of Nike was not +the only tribute to the victory of Demetrius. Some +special coins were struck in honor of the event, including +gold staters and silver tetradrachms, specimens +of which still exist. The design on the obverse +of these coins represented the statue of Nike.</p> + +<p>Years passed, and at length the independence of +the Greeks was crushed under the heel of the Roman +conqueror. Many places were laid waste throughout +the peninsula and the Greek islands. Temples +were destroyed and pillaged, and statues were thrown +from their pedestals and buried beneath the soil and +débris. Our statue of Nike shared the sad fate +which befell so many other great works of art. For +centuries it lay in fragments in the ruins surrounding +a temple in Samothrace. Then came the explorer +with pickaxe and shovel, some of the precious +bits were recovered, and learned men set to work to + +<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> + +put them together again. The coins of Demetrius +were their guide, and the tiny figure of Nike engraved +thereon was the model after which the great +statue was reconstructed.</p> + +<p>The head and arms are still missing, and a fanciful +conceit might suggest that these losses were the +marks of a hard-fought battle. Success has been +dearly bought, but the goddess emerges, erect and +undaunted, her tattered wings beating the air victoriously. +As we look at the statue we think less of +what it lacks than of what it is. Perhaps if head +and arms were there we should not have eyes for the +glorious lines in the figure itself. One particularly +fine line is the continuous curve running across the +bust and the arched top of the wings.</p> + +<p>The figure gives us a sense of motion which fairly +quickens the blood in our veins. We, too, seem to +feel the strong salt breeze in our faces, speeding +through the air with courage high, and hope steadily +set toward victory.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span></p> + +<h2><a name="XVI" id="XVI"></a>XVI</h2> + +<h2>PERICLES</h2> + +<p>In the history of ancient Greece the half century +included between the years 480 and 430 <span class="smcap">B. C.</span> +is called the Age of Pericles. During forty years +of this period Pericles was the political leader of +Athens. Under his guidance the city reached the +height of her power as the capital of an empire composed +of tributary states. Nor was political power +the chief glory of Athens at this time. She was the +centre of arts and science for the whole world. This +was the age of great Greek literature, when Æschylus, +Sophocles, and Euripides wrote their immortal +dramas. It was also the age of great oratory, when +the Athenians constantly heard "the purest lessons +of patriotism put forth in the loftiest forms of eloquence." +Finally, it was the age of great art, when +architecture and sculpture attained perfection and +when Phidias, the foremost Greek sculptor, produced +his masterpieces.</p> + +<p>Pericles was the dominating spirit in all this brilliant +company. It was his able statesmanship which +made and executed the ambitious plans for the +aggrandizement of the city. It was, moreover, his +generalship which carried out successfully so many +military expeditions. His eloquence gave him great + +<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> + +influence over the people. He had the art of controlling +men and moving their passions as a musician +plays on the strings of his instrument. Upon his +return from the Samian war he delivered a remarkable +funeral oration on those who had fallen in battle. +Still again, his oration in honor of the heroes +of the Peloponnesian war was a noble eulogy of +Athens and the Athenians.</p> + +<p>The part of Pericles' career which interests us +most in our study of Greek art is his zeal in beautifying +Athens with works of architecture and sculpture. +He covered the Acropolis, as the great hill in +Athens was called, with beautiful buildings richly +adorned with sculpture. He appointed Phidias superintendent +of all the public edifices, and employed +the most skilled workmen. Besides many temples, +a theatre for music, called an <i>odeum</i>, was built, and +Pericles introduced into the Panathenaic festival a +contest in music held in this place. In addition to +the public buildings erected, Pericles caused a long +wall to be built to surround the city with fortifications.</p> + +<p>It may be supposed that all these improvements +cost a great deal of money, and there were not lacking +men who criticised Pericles for extravagance +in the use of public funds. In an assembly of the +people, the great statesman called upon them to say +if they thought he had spent too much. "Yes," +came the answer. "Then," said he, "be it charged +to my account, not yours, only let the edifices be +inscribed with my name, not that of the people of + +<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span> + +Athens." At this they cried out that he might +spend all he pleased of the public funds, and the +criticism was silenced. The story shows the quick +wit of the orator, as well as his knowledge of human +nature. He knew he was safe in appealing to the +pride of the people in their city.</p> + +<p>At the close of his long career Pericles was seized +with the plague, and lay sick unto death. As his +friends gathered about his death-bed they recounted +his great deeds and many victories. Suddenly he +interrupted them by exclaiming that they were praising +only those qualities in which he was no greater +than other men. In his own estimate, the most +honorable trait of his character was that "no Athenian +through his means had ever put on mourning."</p> + +<p>Pericles was in fact a true patriot and a benefactor +of his people. In the administration of public +affairs he showed an upright and honorable character. +Though all his life handling the public funds +and increasing the wealth of the state, it is said that +he added not one drachma to his own estate. He +managed his private fortune with great prudence +and dispensed many charities to the needy. His +manners were calm and moderate, and he never +gave way to envy or anger. His biographer, Plutarch, +has written of him that "where severity was +required, no man was ever more moderate, or if +mildness was necessary, no man better kept up his +dignity than Pericles."</p> + +<p>Pericles was a man of fine and striking presence, + +<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span> + +with a countenance cast in the mould we have come +to know as the typical Greek. His head was somewhat +abnormally long, and the nickname "onion +head" was given him on this account. Plutarch +says that this peculiarity accounts for the fact that +he was always represented in portraits as wearing a +helmet.</p> + +<p>We have reason to believe that the bust reproduced +in our frontispiece was made soon after his +successful war against Samos. It represents him +then in the fullness of his manhood and at the height +of his success and popularity. The handsome face +is full of refinement and shows the calm, equable +temperament which made him a leader. His qualities +of statesmanship strike us most forcibly in the +portrait. We should hardly suspect that this was a +great military commander. Yet that here is a master +of men, we can easily believe. One can imagine +him standing before a great multitude, moving them +with the power of his eloquence.</p> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span></p> + +<h2><a name="PRONOUNCING_VOCABULARY" id="PRONOUNCING_VOCABULARY"></a>PRONOUNCING +VOCABULARY OF PROPER NAMES AND FOREIGN WORDS</h2> + +<p>The Diacritical Marks given are those found in the latest edition of +Webster's International Dictionary.</p> + +<p><span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> +<br /> +<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span></p> + +<p>EXPLANATION OF DIACRITICAL MARKS.</p> + +<p> +<span style="margin-left: 2em;">A Dash (¯) above the vowel denotes the long sound, as in fāte, ēve, tīme, nōte, ūse.</span><br /> +<br /> +<span style="margin-left: 2em;">A Dash and a Dot (ǡ) above the vowel denote the same sound, less prolonged.</span><br /> +<br /> +<span style="margin-left: 2em;">A Curve (˘) above the vowel denotes the short sound, as in ădd, ĕnd, ĭll, ŏdd, ŭp.</span><br /> +<br /> +<span style="margin-left: 2em;">A Dot (·) above the vowel a denotes the obscure sound of a in pȧst, ȧbāte, Amĕricȧ.</span><br /> +<br /> +<span style="margin-left: 2em;">A Double Dot (¨) above the vowel a denotes the broad sound of a in fäther, älms.</span><br /> +<br /> +<span style="margin-left: 2em;">A Double Dot (¨) below the vowel a denotes the sound of a in ba̤ll.</span><br /> +<br /> +<span style="margin-left: 2em;">A Wave (~) above the vowel e denotes the sound of e in hẽr.</span><br /> +<br /> +<span style="margin-left: 2em;">A Circumflex Accent (^) above the vowel o denotes the sound of o in bôrn.</span><br /> +<br /> +<span style="margin-left: 2em;">A dot (.) below the vowel u denotes the sound of u in the French language.</span><br /> +<br /> +<span style="margin-left: 2em;">N indicates that the preceding vowel has the French nasal tone.</span><br /> +<br /> +<span style="margin-left: 2em;">ç sounds like <b>s</b>.</span><br /> +<br /> +<span style="margin-left: 2em;">c̵ sounds like <b>k</b></span><br /> +<br /> +<span style="margin-left: 2em;">s̱ sounds like <b>z</b>.</span><br /> +<br /> +<span style="margin-left: 2em;">g̅ is hard as in g̅et.</span><br /> +<br /> +<span style="margin-left: 2em;">ġ is soft as in ġem.</span><br /><br /> +</p> + +<p> +<span style="margin-left: 2em;">Achaian (ȧ-kā´yȧn).</span><br /> +<br /> +<span style="margin-left: 2em;">Achilles (ȧ-kĭl´lēz).</span><br /> +<br /> +<span style="margin-left: 2em;">Acropolis (ȧ-krŏp´ō̇-lĭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Admetus (ăd-mē´tŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Ægis (ē´jĭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Æschylus (ĕs´kĭ-lŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Agoracritus (ăg-ō̇-răk´rĭ-tŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Agrippa (ȧ-grĭp´ȧ).</span><br /> +<br /> +<span style="margin-left: 2em;">Albani (äl-bä´nē).</span><br /> +<br /> +<span style="margin-left: 2em;">Alcamenes (ăl-kăm´ĕ-nēz).</span><br /> +<br /> +<span style="margin-left: 2em;">äl´tĭs.</span><br /> +<br /> +<span style="margin-left: 2em;">Antigone (ăn-tĭg̅´ō-nē).</span><br /> +<br /> +<span style="margin-left: 2em;">Antigonus (ăn-tĭg̅´ō-nŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Antium (ăn´shĭ-ŭm).</span><br /> +<br /> +<span style="margin-left: 2em;">Aphrodite (ăf-rō̇-dī´tē).</span><br /> +<br /> +<span style="margin-left: 2em;">Apollo (ȧ-pŏl´ō).</span><br /> +<br /> +<span style="margin-left: 2em;">Apoxyomenos (ă-pŏx-ĭ-ŏm´ē̇-nŏs).</span><br /> +<br /> +<span style="margin-left: 2em;">Ares (ā´rēz).</span><br /> +<br /> +<span style="margin-left: 2em;">Argicide (är´jĭ-sīd).</span><br /> +<br /> +<span style="margin-left: 2em;">Argonauts (är´g̅ō-na̤tz).</span><br /> +<br /> +<span style="margin-left: 2em;">är´g̅ŭs.</span><br /> +<br /> +<span style="margin-left: 2em;">Aristophanes (ăr-ĭs-tŏf´ȧ-nēz).</span><br /> +<br /> +<span style="margin-left: 2em;">Athena (ă-thē´nȧ).</span><br /> +<br /> +<span style="margin-left: 2em;">Athens (ăth´ĕnz).</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Bacchus (băk´ŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Belvedere (bĕl-vē̇-dēr´).</span><br /> +<br /> +<span style="margin-left: 2em;">Bernini (bĕr-nē´nē).</span><br /> +<br /> +<span style="margin-left: 2em;">Brunn (brŏŏn).</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">caduceus (kȧ-dū´sē̇-ŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Căl´ȧmĭs.</span><br /> +<br /> +<span style="margin-left: 2em;">Căllī´ōpē.</span><br /> +<br /> +<span style="margin-left: 2em;">Centaur (sĕn´ta̤r).</span><br /> +<br /> +<span style="margin-left: 2em;">Cerberus (sẽr´bē̇-rŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Ceres (sē´rēz).</span><br /> +<br /> +<span style="margin-left: 2em;">Chiron (kī´rŏn).</span><br /> +<br /> +<span style="margin-left: 2em;">Collignon (kŏl-lē̇n-yôN´).</span><br /> +<br /> +<span style="margin-left: 2em;">Crĕs´ĭlȧs.</span><br /> +<br /> +<span style="margin-left: 2em;">Cyprus (sī´prŭs).</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Delphi (dĕl´fī).</span><br /> +<br /> +<span style="margin-left: 2em;">Dĕmē´tẽr.</span><br /> +<br /> +<span style="margin-left: 2em;">Dĕmē´trĭŭs.</span><br /> +<br /> +<span style="margin-left: 2em;">Dī´ō̇mĕd.</span><br /> +<br /> +<span style="margin-left: 2em;">Dĭscŏb´ō̇lŭs.</span><br /> +<br /> +<span style="margin-left: 2em;">dĭs´kŏs.</span><br /> +<br /> +<span style="margin-left: 2em;">Dŏnätĕl´lō.</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Elgin (ĕl´g̅ĭn).</span><br /> +<br /> +<span style="margin-left: 2em;">Eros (ē´rŏs).</span><br /> +<br /> +<span style="margin-left: 2em;">Euphranor (ū-frā´nôr).</span><br /> +<br /> +<span style="margin-left: 2em;">Euripides (ū-rĭp´ĭ-dēz).</span><br /> +<br /> +<span style="margin-left: 2em;">Eurydice (ū-rĭd´ī-sē̇).</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Furtwängler (fōōrt´vǡng-lẽr).</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Găl´ȧhăd.</span><br /> +<br /> +<span style="margin-left: 2em;">Giustiniana (jŏŏs-tē-nē-ä´nä).</span><br /> +<br /> +<span style="margin-left: 2em;">glaukopis (gla̤-kō´pĭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Gorgon (g̅ôr´g̅ŏn).</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Hĕc´ǡtē.</span><br /> +<br /> +<span style="margin-left: 2em;">Hĕllĕnĭs´tĭc.</span><br /> +<br /> +<span style="margin-left: 2em;">Hephæstus (hē̇-fĕs´tŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Hē´rä.</span><br /> +<br /> +<span style="margin-left: 2em;">Heræum (hē̇-rē´ŭm).</span><br /> +<br /> +<span style="margin-left: 2em;">Hĕr´cūlēs̱.</span><br /> +<br /> +<span style="margin-left: 2em;">hermæ (hẽr´mē).</span><br /> +<br /> +<span style="margin-left: 2em;">Hẽr´mēs̱.</span><br /> +<br /> +<span style="margin-left: 2em;">Hē´sĭŏd.</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">ĭk´rĭŏn prō´räs.</span><br /> +<br /> +<span style="margin-left: 2em;">Iliad (ĭl´ĭ-ȧd).</span><br /> +<br /> +<span style="margin-left: 2em;">Io (ī´ō).</span><br /> +<br /> +<span style="margin-left: 2em;">Ithaca (ĭth´ȧ-kȧ).</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Jā´sŏn.</span><br /> +<br /> +<span style="margin-left: 2em;">Jū´nō.</span><br /> +<br /> +<span style="margin-left: 2em;">Jū´pĭtẽr.</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Lancelotti (län-chǡ-lŏt´ē).</span><br /> +<br /> +<span style="margin-left: 2em;">Lăt´ẽrȧn.</span><br /> +<br /> +<span style="margin-left: 2em;">Leochares (lē̇-ŏk´ȧ-rēz).</span><br /> +<br /> +<span style="margin-left: 2em;">Louvre (lōō´vr).</span><br /> +<br /> +<span style="margin-left: 2em;">Lucian (lū´shĭ-ȧn).</span><br /> +<br /> +<span style="margin-left: 2em;">Ludovisi (lōō-dō-vē´zē).</span><br /> +<br /> +<span style="margin-left: 2em;">Lutatius Catulus (lū-tā´shĭ-ŭs kăt´ū-lŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Lȳcûr´gŭs.</span><br /> +<br /> +<span style="margin-left: 2em;">Lȳsĭp´pŭs.</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Märs.</span><br /> +<br /> +<span style="margin-left: 2em;">Mĕd´ĭcä.</span><br /> +<br /> +<span style="margin-left: 2em;">Mē´lŏs.</span><br /> +<br /> +<span style="margin-left: 2em;">Mẽr´cūry̆.</span><br /> +<br /> +<span style="margin-left: 2em;">Mĕtȧmŏr´phōsēs̱.</span><br /> +<br /> +<span style="margin-left: 2em;">Mĕt´ōpēs̱.</span><br /> +<br /> +<span style="margin-left: 2em;">Mī´lō.</span><br /> +<br /> +<span style="margin-left: 2em;">Mĭnẽr´vȧ.</span><br /> +<br /> +<span style="margin-left: 2em;">Mȳ´rŏn.</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Nĕm´ĕsĭs.</span><br /> +<br /> +<span style="margin-left: 2em;">Nī´kē.</span><br /> +<br /> +<span style="margin-left: 2em;">Nȳ´sȧ.</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">ōdē´ŭm.</span><br /> +<br /> +<span style="margin-left: 2em;">Odyssey (ŏd´ĭ-sĭ).</span><br /> +<br /> +<span style="margin-left: 2em;">Œdipus Coloneus (ĕd´ĭ-pŭs kō-lō-nē´-ŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Œdipus Tyrannus (ĕd´ĭ-pŭs tĭ-răn´-ŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Œnone (ē-nō´nē̇).</span><br /> +<br /> +<span style="margin-left: 2em;">Olympia (ō-lĭm´pĭ-ȧ).</span><br /> +<br /> +<span style="margin-left: 2em;">Olympiad (ō-lĭm´pĭ-ăd).</span><br /> +<br /> +<span style="margin-left: 2em;">Olympic (ō-lĭm´pĭk).</span><br /> +<br /> +<span style="margin-left: 2em;">Olympus (ō-lĭm´pŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Orpheus (ôr´fūs).</span><br /> +<br /> +<span style="margin-left: 2em;">Otricoli (ō-trē´kō-lē).</span><br /> +<br /> +<span style="margin-left: 2em;">Ovid (ŏv´ĭd).</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">palæstra (pȧ-lĕs´trȧ).</span><br /> +<br /> +<span style="margin-left: 2em;">Păl´lȧs.</span><br /> +<br /> +<span style="margin-left: 2em;">Panathenæa (păn-ăth-ē̇-nē´ȧ).</span><br /> +<br /> +<span style="margin-left: 2em;">Pănăthē̇nā´ĭc.</span><br /> +<br /> +<span style="margin-left: 2em;">Pärnăs´sŭs.</span><br /> +<br /> +<span style="margin-left: 2em;">Pär´thē̇nŏn.</span><br /> +<br /> +<span style="margin-left: 2em;">Pā´tẽr.</span><br /> +<br /> +<span style="margin-left: 2em;">Pǡtrō´clŭs.</span><br /> +<br /> +<span style="margin-left: 2em;">Peloponnesian (pĕl-ō̇-pŏn-nē´shȧn).</span><br /> +<br /> +<span style="margin-left: 2em;">Pē̇nĕl´ōpē̇.</span><br /> +<br /> +<span style="margin-left: 2em;">Pĕntĕl´ĭc.</span><br /> +<br /> +<span style="margin-left: 2em;">pĕp´lŏs.</span><br /> +<br /> +<span style="margin-left: 2em;">Pĕr´ĭclēs.</span><br /> +<br /> +<span style="margin-left: 2em;">Persephone (pẽr-sĕf´ō-nē).</span><br /> +<br /> +<span style="margin-left: 2em;">Perseus (pẽr´sūs).</span><br /> +<br /> +<span style="margin-left: 2em;">Phidias (fĭd´ĭ-ȧs).</span><br /> +<br /> +<span style="margin-left: 2em;">Phœbus (fē´bŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Phrynicus (frĭn´ĭ-kŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Pĭn´dȧr.</span><br /> +<br /> +<span style="margin-left: 2em;">plĕc´trŭm.</span><br /> +<br /> +<span style="margin-left: 2em;">Plĭn´y̆.</span><br /> +<br /> +<span style="margin-left: 2em;">Plutarch (plū´tärk).</span><br /> +<br /> +<span style="margin-left: 2em;">Plū´tō.</span><br /> +<br /> +<span style="margin-left: 2em;">Pŏlĭclȳ´tŭs.</span><br /> +<br /> +<span style="margin-left: 2em;">Pŏlĭôrçē´tēs̱.</span><br /> +<br /> +<span style="margin-left: 2em;">Prăxĭt´ĕlēs̱.</span><br /> +<br /> +<span style="margin-left: 2em;">Ptolemy (tŏl´ĕ-mĭ).</span><br /> +<br /> +<span style="margin-left: 2em;">Py̆th´ĭȧ.</span><br /> +<br /> +<span style="margin-left: 2em;">Pȳ´thŏn.</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Reber, von (fŏn rā´bẽr).</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Săl´ȧmĭs.</span><br /> +<br /> +<span style="margin-left: 2em;">Sā´mĭȧn.</span><br /> +<br /> +<span style="margin-left: 2em;">Sā´mŏs.</span><br /> +<br /> +<span style="margin-left: 2em;">Samothrace (săm´ō̇-thrās).</span><br /> +<br /> +<span style="margin-left: 2em;">Scō´pȧs.</span><br /> +<br /> +<span style="margin-left: 2em;">Scyros (sī´rŏs).</span><br /> +<br /> +<span style="margin-left: 2em;">Sŏph´ōclēs̱.</span><br /> +<br /> +<span style="margin-left: 2em;">strigil (strĭ´jĭl).</span><br /> +<br /> +<span style="margin-left: 2em;">Sty̆x.</span><br /> +<br /> +<span style="margin-left: 2em;">Symonds (sĭm´ŭndz).</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Telemachus (tē̇-lĕm´ȧ-kŭs).</span><br /> +<br /> +<span style="margin-left: 2em;">Terracina (tĕr-rä-chē´nä).</span><br /> +<br /> +<span style="margin-left: 2em;">Thēŏg̅´ōny̆.</span><br /> +<br /> +<span style="margin-left: 2em;">Theseus (thē´sūs).</span><br /> +<br /> +<span style="margin-left: 2em;">Thrace (thrās).</span><br /> +<br /> +<span style="margin-left: 2em;">Trastevere (träs-tā-vā´rā).</span><br /> +<br /> +<span style="margin-left: 2em;">trireme (trī´rēm).</span><br /> +<br /> +<span style="margin-left: 2em;">Trō´jȧn.</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Ulysses (ū-ly̆s´sēz).</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Vatican (văt´ĭ-kȧn).</span><br /> +<br /> +<span style="margin-left: 2em;">Vē´nŭs.</span><br /> +<br /> +<span style="margin-left: 2em;">Vŭl´cȧn.</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Waldstein (wa̤ld´stīn).</span><br /> +<br /> +<br /> +<span style="margin-left: 2em;">Zeus (zūs).</span><br /> +</p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Greek Sculpture, by Estelle M. 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