A history of ancient sculpture

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Preface

Fragments of a great artistic past have come down to us, now torn from their original surroundings, and wrapped in mystery to our changed modern world. For centuries these monuments have lain buried beneath the soil, or, when visible, have too often suffered sadly from neglect. Sundering from this vast treasure what belongs to the plastic art, we find the sculptural monuments widely scattered, and often hopelessly isolated, so that a feeling of discouragement will sometimes come over one attempting to solve the riddles propounded. Here it is that the archaeologist comes to our aid, with his new-born science, which dates hardly farther back than the days of Winckelmann ; and bringing to bear upon his subject the patient labor of the excavator and of the conscientious collector, the resources of profound learning and of a comparative spirit, and the breadth of a scientific vision which is able to classify and group the sundered fragments, he makes the disjointed members more and more parts of an organic whole.

Following, then, the guidance of the band of scholars who have so gloriously commenced this task, I have attempted in the present work to treat the sculptural monuments of the different nations of antiquity, and to build up some semblance of the stately fabric of old. Many, alas ! are the blocks still lacking to complete the structure of an exhaustive history of ancient sculpture; but if we surround the mute monuments existing, with the faiths out of which they sprung, and pour upon them the light of national custom and thought, they will become eloquent witnesses to the art-life of those remote ages.

The monuments preserved to us from Egypt, Chaldaea, Assyria, and Persia ; those left by the Phoenicians on many shores ; and those found in

VI PREFACE.

Asia Minor, Greece, on the islands of the iEgean, and in Italy, — form the subject-matter of this work.

In choosing the historical method here pursued, no apology seems necessary. It has long since been shown, not only that beauty in art has not always existed, nor been at any time a sudden creation, but rather that it has grown through the centuries, with the development of man's imagina-

m

tive and artistic powers. Moreover, by this historical method alone can fair comparison be instituted between cruder and riper works, and light be thrown backward and forward upon earlier and later monuments. Thus we are enabled better to appreciate excellences wherever found, as well as to grasp more fully the power and significance of the highest achievements.

As different localities, with varying endowments of race, show widely differing works, the value of the geographical element, in treating of the history of sculpture, is evident. Even in a land so small as Greece, there seems to have been a marked diversity of power at one and the same time, in different parts, some regions falling far behind others in the great work of artistic creation. Consequently, as far as possible, each country or district has here been treated by itself, and comparisons have then been drawn with the contemporary art of other regions. In this process, although our knowledge of the once flourishing art-centres in the ancient world is in many cases lamentably fragmentary, the monuments preserved serve as trustworthy guides whose testimony will doubtless be supplemented by discoveries yet to be made.

In the present work, though familiar historical divisions have, as far as possible, been observed^ they have not been designated by numbers, but according to some prominent characteristics. Thus, for instance, in Greek history, for the usual "Third Period" has been substituted "The Age of Pheidias and of Polycleitos." The general index has been prepared with special . regard to this historico-geographical plan of the work, the order of the references under single heads following the course of history. A skeleton-topic, as it were, is thus given, which may readily be filled out by using the references to ancient and modern authors contained in the corresponding pages of the text.

The system I have adopted in the spelling of Greek proper names has

PREFACE. vu

been iii accordance wirh the following principle : With the exception of a few words having well-established, frequently genuine, English forms, — in which case, use has been made of these traditional forms, — the aim has been to give the ancient spelling and pronunciation, as accurately as is consistent with the values of English letters and with due regard to the clear analogies of English spelling. A detailed statement of this system of transliteration will be found on page 696.

The sources used in the preparation of this work have been of two kinds, — the literary and the monumental. The literature comprises records left us by Greek and Roman writers, and the works of modern scholars, in whose front ranks stand the German archaeologists from the time of

m

Winckelmann down to our own day. The citations from ancient authors are based upon Brunn's great fundamental work, "Die Geschichte der Griechischen Kiinstler." The monuments consulted consist of the most varied objects, from the tiny jewel and delicate vase-painting to the colossal statue. These have been studied, as far as was possible, directly from the originals ; but, when such were inaccessible, the best casts and photographic reproductions have been' used.

Since, in treating of works of art, description cannot by any possibility supersede the sight of the artistic creations themselves, a strenuous effort has been made to secure suitable illustration. A large number of the finest woodengravings were prepared for me by the skilful artists of "The Century Magazine," for a series of articles which appeared in 1882 in that periodical. Others are by Peter Meurer of Berlin, to whose efforts is due any excellence in most of the outline engravings, as well as in some of the others carried out in full. In treating of so vast a subject, a few illustrations already current in trade have of necessity been employed, which unfortunately fall short of what could have been desired.

It has been a source of great strength in the prosecution of this work, that scholars and artists of different nationalities have volunteered artd given their aid most generously. To Professor von Duhn of Heidelberg, I cannot sufficiently express my thanks for the revision of my proof sheets, and for imparting to me of his great fund of learning and experience, as well as for allowing me the privileges of his Archaeological Institute during the last year viii PREFACE.

spent in the preparation of this work. For access afforded to the University Library in Heidelberg, I am indebted to Professor Zangemeister ; and, for like opportunities in the Berlin Museum Library, to Dr. Max Frankel. The continued personal kindness of both of these scholars has been of incalculable service in the prosecution of a work requiring resources of an extensive and varied nature. Nor should I fail to mention the advantages enjoyed in the British Museum Library, and the unfailing kindness of Mr. Garnett.

Besides, great favors with regard to the monuments have been conferred upon me by the scholars in charge of the collections of antiquities. Especially to Professor C. T. Newton of the British Museum, would I express thanks for the kindness with which he has granted every request made, even when it concerned the choicest fragile bronzes in his charge, as well as for his ready and generous assistance in furnishing the latest information about the marbles, and for his ripe judgment upon many questions entirely outside of the Museum. To Mr. R. S. Poole, Mr. Head, and Professor Gardner, I am indebted for access to the treasures of the Medal Room, and for encouragement in many different lines ; and to Dr. Birch, for his courtesy in what concerned the Egyptian and Assyrian antiquities. The kindness of the eminent Directors of the Berlin Museum — Dr. Schoene, and Professors Curtius and Conze — made what would otherwise have been a most difficult task a delightful one, and facilitated in every way the study and reproduction oi the monuments in their charge. To that Nestor of Greek archaeology, Professor Brunn, and to his worthy disciples Dr. Furtwangler and Professor Milchhofer, I take pleasure in acknowledging the gift of many inspiring thoughts, as well as many communications by letter, which have been like jewels to be wrought into the sombre web of my own recital. To my brother, Professor J. H. Wright of Dartmouth College, I am indebted for the revision of my proof-sheets, verification of my references to ancient authors, and preparation of the accompanying index of classical citations, as well as for his suggestions with regard to the difficult subject of the English spelling of Greek words. To my husband, I owe a debt of gratitude, not only for assistance with his skilful pencil, but also for his untiring vigilance in matters of criticism.

LUCY M. MITCHELL.

Marion. Massachusetts, Sept. 15, 1883.

Contents

EGYPTIAN SCULPTURE.

Introduction

Page.

Antiquity of Egypt. — Historical Sources. — Character of the Land — Influence of Climate and of Natural Thenomena upon Ancient Inhabitants and their Art. — The Pharaoh, his Divine and Absolute Character. — The Aristocracy. — Curious Beliefs with Regard to the Future Life. — The AT?. — Importance and Durability of the Tomb and 'its Statuary. — Construction of the Tomb. — The Serd&b, — Tomb Reliefs. — Provision made for Funereal Services. — The Pyramids.— Pyramid Temples. — Absence of Statues in the Pyramids. — The Sphinx. — The Mysterious Character of the Egyptian Gods. — The Multifarious Forms given them. — Animal-headed Divinities. — Depressing Influence of Symbolism on Art. — Prosaic Character of Egyptian Myth. — Materials used for Sculpture. — Absence of Marble. — Methods of Working.— The Attendant Difficulties. — Divisions of Egyptian Histoiy 3

CHAPTER H.

THE MEMPHITIC OR ANCIENT EMPIRE.

Historical Introduction. — Funereal Character of Sculptures. — Oldest Statues from Gizeh. — Lifelikeness of Statues from this Age, and General Characteristics. — Ra-hotep and Nefert. — Sheik-el- Beled, or Ra-em-ka, and his Wife. — Ra-nefer. — Tlie Scribe of the Louvre. — Head of Old Dignitary in the British Museum. — Dwarf in Boolak. — Other Statues. — Bronzes. — Hollow Casting. — Groups. — Statues in Hard Stone. — King Chephren. — Variety in these Oldest Works. — Freedom from Conventionality. — Stocky Forms. — ' Greater Freedom due to Material, and to Desire for Exact Portraits. — Lack of Feeling or Expression in Faces. — Statues of this Olden Time not Architectural. — Reliefs from Tomb of Ti. — Superiority of Animal to Human Forms. — Wooden Panels from Tomb at Sakkarah. — Effects of Hieroglyphic Writing on Art. — Reason for Lowness of Relief. — Colors used. — Rarity of Representations of Gods. — The God Thoth, Sinai. — The Great Sphinx 21

• CHAPTER III.

THE THEBAN EMPIRE.

Old Theban Empire. — Historical Introduction. — Change in Art. — Abydos, its Tombs. — Beni- Hassan and Sioot, Rock-hewn Tombs. — Colossi. — Conventionalism. — Shabtiy their Significance.— Reliefs of this Age. — Statues of Pharaoh. — Statues of Subjects. — Priest of Ammon. — Risumi, — Hyksos Monuments. — The New Theban Empire. — Historical Intro-

xi xu CONTEN'l'S.

Page. duction. — Fluctuations o£ Art. — Size and Extent of Monuments. — Monolith of Rameses II.

— Tomb Temples, Private and Royal, their Contents. — Significance of their Reliefs. — Osiris. — Absence of StrdAbs. — Funereal Temples. — Temple Reliefs. — Ramesseion. — Colossi in Temples. — Memnon Colossi. — National Sanctuaries. — Temples of Luxor and Karnak, their Statues. — Avenues of Sphinxes. — Lion Sphinxes. — Ram-headed Sphinxes. — Rock Temple at Aboo-Simbel. — Colossi of Rameses the Great. — Statues of Gods in Temples. — Their Mysterious Form and Numbers. — Statuettes in Private Houses. — Those in the Sand. — Egyptians' Feeling with Regard to Desert Sand. — Sculptors* Aim at Portraiture. — Khoo^naten. — Statue of Rameses II., Turin. — Rendering of Race Peculiarities. — Dancing Girl. — Relief of Seti I. — Battle Scenes. — Causes of Shortcomings in Relief at this time. — Sculptors. — Mertesen and Aoota. — Sculptors* Models. — Methods of this Age. — Risume . . 54

CHAPTER IV.

THE SAITIC AND LOWER EMPIRES.

Historical Introduction. — Changes caused by the Nature of the Delta. — Structures of Brick. — Art at Sais. — Greater Costliness of Material. — Elaborateness of Finish. — Absence of Colossal Forms. — Ameneritis. — Statues at Sakkarah. — Reliefs more Varied and Graceful.

— Cause of Conservatism in Egyptian Art. — Proportions of Statuary. — -Decline of Egyptian Sculpture from Time of Alexander 64

SCULPTURE IN WESTERN ASIA.

CHAPTER V.

CHALD^A.

Mesopotamia in General. — Chaldsea. — Historical Sketch. — Clay Tablets. — Ancient Myths. — Oannes. — Izdhubar. — Titanic Races. — Cylinders illustrating Myths. — Babylonian Religion.

— Goddess Istar. — Her .Statues and Statuettes. — Diminutive Remains. — Discoveries at Telle. — Mounds. — Gudea. — Head found at Tello. — Hardness of Material of Remains. — Traces of Egyptian Influence. — Independent Traits of Sculptures. — Subjects of Primitive Reliefs. — Character of Works. — More Vigorous Works. — Statue of an Architect. — Excellences of these Sculptures. — Later more elaborate Works. — Resemblances to Greek Archaic Sculptures. — Cubes of Masonry and Contents. — Bronzes. — Influence of Chaldaean Art . 71

CHAPTER VI.

ASSYRIA.

Natural Features of the Land. — Alabaster used for Sculpture. — Absence of Marble. — Character of the Ass)Tians. — History. — Paucity of Remains from the Oldest Time. — Remains near Beyrout. — Remains from Second Period. — Nimroud. — Assur-nazir-pal's Palace. — Kirubi. — Portal Guardians at Nimroud. — Lions. — Mysterious Symbolism. — Union of High and Low - Relief. — Alabaster Slabs. — Prominence of the Monarch. — Colossal Winged Figures. — Tendenc)' to Ornamentation. — Prototypes of Greek Ornament. — Bronze and Ivory Fragments. — Balawat Gates. — Incrustation of Statues. — Ruins at Khorsabad. — Sargon's Palace. — Alabaster Reliefs and Sculptural Adornment of Gateways. — Greater Size of Sculptures at Khorsabad.— Statues take the Place of Bulls at some Gates. — Incrustation of Palm-tree. — Reliefs. — Glorification of Monarch. — Battle and Hunting Scenes. — Feasting. — Color. — Last Period. — Ruins at Koyunjik (Nineveh) and at Nimroud — Greater Variety and Elaborateness of Sculpture. — Greater Naturalness. — Assur-bani-pal's Palace. — Little Progress in Human Form. — Representations of Animals. — Hunting-scenes. — Fondness for Prutal Scenes. — Egypt and Assyria contrasted 80

CONTENTS. XlU

CHAPTER VII.

PERSIA.

Pace.

Historical Sketch. — Our Ignorance of Early Persian Sculptures. — Remains at Pasargadae. — So-called Cyrus Tomb. — Remains at Behistan. — Eclectic Character of Persian Art. — Persepolis.^ Description of Ruins. ^ — Relief of King strangling Monster. — Other Reliefs.— Elaborate Representations of Thrones. — Rock Tombs of Persepolis. — Tomb of Darius. — No Growth after Artaxerxes Ochus. — Feebleness of Art from Time of Sassanid Rule . .104

CHAPTER VIII.

PHCENICIA AND ITS DEPENDENCIES.

Phoenicia. — Its Religion. — Goddess Mylitta. — Astarte. — The Phoenicians. — Spread of Trade, and Position in Art. — Renan*s Discoveries. — Imitations of Egypt and Assyria. — Tomb at Amrith. — Arados Relief. — Phoenician Griffin. — The Minor Arts. — Ivory Relief at Nimroud.

— Sites where Phoenician Wares are found. — Silver Bpwl from Palestrina. — Chiusi Bowl.

— Lack of Progress. — Cyprus. — Occupied by Phoenicians and Greeks. — Influence of Egypt and Assyria. — Mingling of Worship of Baal and Astarte with Greek Gods. — Discovery of Remains. — Rudeness of Material used for Statuary. — Lack of Bronze Figures. — Metallic Bowls. — Silver Bowl in Metropolitan Museum. — Frequency of Portrait Statues. — Representations of Deity. — Egyptian Types. — Heracles. — Figure combining Forms of Man, Lion, and Bird. — Frequency of Female Figures. — Their Character. — Funereal Monuments. — General Character of Cypriote Art. — Cypriote Type. — Age of Cypriote Statuary . . .110

CHAPTER IX.

THE EARLIEST MONUMENTS IN ASIA MINOR.

Asia Minor. — Its Inhabitants. — Religion. — Earliest Art. — Affinities with that of Babylonia and Egypt — Smaller Objects found. — Oldest Monuments with Hierojglyphics. — Cappadokia.— Ruins of Boghaz Keui. — Ruins at Euyuk. — Ruins at Ghiaour Kalessi. -^ Ruins at Karabel.

— Figures called Egyptian by Herodotos. — Carvings on Mount Sipylos. — Ancient Niobe.— Figure discovered by Mr. Ramsay. — Hittite Art found at Ghurun, Alexandretta, on the Southem Coast, and Inland. — Distinctive Characteristics of this Art. — Conjectures of Sayce.-— Phrygian Sculptures in Asia Minor. — Lions at Ayazeen '• 124

EARLIEST ART ON GREEK SOIL.

CHAPTER X.

PRE-HOMERIC AND HOMERIC ART.

Geographical Character of Greece. — Its Earliest Inhabitants. — The Pelasgians. — Earliest Religion of Greece. — Aryan and Semitic Elements. — Imageless Worship. — Crude Idols. — Mythical Artists: — Daidalos. — Oldest Monuments. — Mykene Tombs. — Other Tombs. — Their Contents. — Distinct Artistic Elements. — "Island Stones.'* -^ Geometrical Decoration. — "Red-clay Ware." — Native Art. — Art traceable to Asia Minor. — Union of Elements. — Oriental Influence. — Ornament with Lions. — Ornament showing Phcenician Influence. — Decorations at Orchomenos. — Mykene Sword-blades. — Party-colored Gold. — Supposed Egyptian Influence. — Independent Characteristics. — Lion Gate at Mykene. — Homeric Descriptions of Art Objects. — Achilles' Shield. — Heracles' Shield. — Statues of Gods mentioned in Homer.^— Value placed upon Phoenician Wares. — Influence of Poetry on Art. — Formation of Artistic Types . . •. . . . 137

XIV CONTENl^

CHAPTER XI.

ART AMONG THE GREEK PEOPLES DURING THE EIGHTH AND SEVENTH

CENTURIES B.C.

Pact.

The Greek Cities and Islands. — Corinthian Wares. — Colonization and Trade. — Coining. — Political Changes. — Early Religion of Greece. — Influence of Poetry. — The Gods. — Artistic Growth. — Altar Worship. — Significance of Votive Offerings. — Ancient Rites. — Their Influence. — Fabrication of Utensils. — Passage over from Oriental Forms. — Incrustation. — Bronze Relief from Olympia. — Oldest Images. — Terra-cottas. — Individualization of the Different Gods. — Literary Accounts. — Kypselos Chest. — Its Evidence of Advance. — Analogous Works. — No Images of Gods mentioned. — Artists mentioned. — Dibutades. — Glaucos. — Improvements in Bronze-working. — Beginnings of Working in Marble . . . 162

ARCHAIC GREEK SCULPTURE.

From about 600 B.C. to about 450 B.C.

CHAPTER XII.

BEGINNINGS AND GROWTH OF SCULPTURE IN MARBLE DURING THE SIXTH

CENTURY B.C.: ASIA MINOR AND THE ISLANDS.

Introductory Historical Sketch. — Increase of Temple Structures. — Marble, Bronze, and Chryselephantine Statuary. — Athletes. — The lonians. — Decline of Asia Minor. — Colonization. — Changes in Society. — Characteristics of Art. — Geographical Division. — Ionian Art in Asia Minor and the Islands. — Artists. — Bathycles' Throne. — Bion of Clazomenai. — Endoios. — Monuments from Asia Minor. — Statues at Branchidae. — Temple Sculptures at Ephesos. — Sculpture at Assos. — Lykian Sculpture. ^~ Harpy Monument. — Character of its Art. — The Islands. — Naxian and Parian Marble. — Artists. — Statues by Naxian Artists. — Statue found on Delos dedicated to Artemis. — Characteristics of these Naxian Works. — Colossus at Delos. — Small Bronze from Naxos. — Bronze Patina. — Relief by Alxenor. — Statues from Thera. — Statues found on Delos. — Contrast to Works found at Athens. — Sculptors from Chios. — Winged Figure by Archermos. — Artists at Samos. — Rhoicos and Theodoros. ^ Theodoros* Works. — Samian Sculptures 175

CHAPTER XIII.

BEGINNINGS AND GROWTH OF SCULPTURE IN MARBLE DURING THE SIXTH

CENTURY B.C. {concluded): GREECE AND SICILY.

Art in Crete and Pcloponnesos. — Traditional Art. — Rude Cretan Bronzes. — The Scholars of Dipoinos and Skyllis. — Discoveries of Homolle. — Gitiadas. — Argos and Sikyon. — Argive Works at Olympia. — Similar Works in Dodona and Etruria, — Apollo of Tenea. — Monuments from Sparta. — Chrysapha Relief, etc. — Significance of these Sculptures. — Their Growth and Artistic Features. — Attempts at Portraiture in Lakedaimonian Art. — Sculptures from Meligii, Selinus, and Kythera. — Sculptures at Olympia. — Colossal Head of Hera.^ Bronze Head of Zeus. — Figure of Zeus. — Treasury of Megara. — Its Primitive Style. — Archaic Art in Boeotia. — So-called Apollo of Orchomenos. — Relief from Tanagra. — Significance of these Works. — Their Style and Origin. — Foreign Influences in Attica — Use of Foreign Stone. — .Athena by Endoios. — Attic Tomb-sculptures. — Marble Head of Athena from Acropolis — The Attic Type. — Fragmentary Statues from the Acropolis. — Sphinx from Spata. — Tombstone Figure from Athens. — Relief from Themistocles' Wall. — Tombstones of Aristion and Lyseas. — Peculiarities of Attic Tomb-reliefs. — Relief in Advance of Statuary.

CONTENTS. XV

Pack.

— .Cgina. — Head from Saboaroff Collection. — Art in Sicily and Southern Italy. — Sculptures from Selinus. — General Characteristics of Art at this Time. — Influence of Contemporary Customs on the Artist 201

CHAPTER XIV.

ADVANCED ARCHAIC SCULPTURE, FROM ABOUT 500 TO ABOUT 450 B.C.: ASIA

MINOR AND THE ISLANDS.

Introductory. — State of Asia Minor and Greece at the Commencement of the Fifth Century B.C.

— Triumph of the Greeks over the Persians. — Its Results. — Exalted Position of Athens. — The Development of Philosophy, Poetry, and Art. — The Athletic Games. — Their Antiquity.

— Revival of Olympic and other Games. — Honors awarded to the Victors. — Influence of Games on Art. — The Temple. — Its Purposes. — Plan of the Structure. — Its Adornments and Great Statue. — Doric, Ionic, and Corinthian Orders. — Influence of Painting. — Ionian Sculptures. — Lykian Sculptures. — Sculptures in the British Museum. — Leucothea Relief. — Sculptures and Terra-cottas from the Islands. — Thasos Reliefs. — Philis' Tombstone. — iCgina. — Its Political Position. — Traditional Character of its Art. — Its Early Artists. — Preference for Bronze. ^ Importance of Statues of Athletes. — Glaukias, Gallon, and Onatas.

— Remains of Sculpture at Olympia. — Onatas' other Works. — i^ginetan Marbles at Munich. — Sculptures of West Pediment. — Their Advanced Archaism. — Sculptures of East Pediment.

— Their Superiority to those of the West Pediment. — Difficulty of forming a Correct Impression of these Marbles. — Their Authors. — Their General Characteristics. — Dodona Bronze.'

— Strangford Apollo. — Marble Tombstone from i^gina 223

CHAPTER XV.

ADVANCED ARCHAIC SCULPTURE {contimtud) '. PELOPONNESOS, NORTH GREECE,

SOUTHERN ITALY, AND SICILY.

Argive Masters. — Ageladas' Works. — Other Argive Masters and their Works. — Argos and Sikyon. — The Brothers Canachos and Aristocles. — Canachos* Apollo. — Corinthian Art.— Tegean Bronze Statuette. — The Vatican Girl-runner. — Olympian Sculptures. — Temple of Zeus. — Its Metopes. — Sculptures of East Pediment. — Their Style. — Sculptures of West Pediment. — Their Style. — Their Time. — The Sculptors of these Marbles. — Theories of Brunn. — Variety of Influences at Olympia. — The Place of these Sculptures in Art. — Sculptors in North Greece. — Monuments from Boeotia. — Remoter Provinces. — Art illustrated from Coins. — Relief from Abdera. — Relief from Pharsalos. — Tombstones from Thessalonica. — View of Brunn. — Sculptures in Sicily and Southern Italy. — Pythagoras of Rhegion. — Improvements made by this Master. — Paucity of Remains from Southern Italy. — Bronze of Psstum. — Verona Bronze. ^ Monuments from Selinus 249

CHAPTER XVI.

ADVANCED ARCHAIC SCULPTURE {concluded): ATTICA.

Prominence of Attica. — Character of its Population. — National Customs, etc. — Influence of these on Art. — Themistocles. — Kimon. — Polygnotos. — Statues 01 Tyrant-slayers. — Critios and Nesiotes. — Hegias. — Notices of Artistic Activity. — Existing Monuments. — Relief of Charioteer mounting Chariot. — Relief of Hermes Criophoros. — Calamis and his Works. — Myron and his Works. — His Marsyas. — His Animals. — Myron's Cow. — The Discobolos. — The Athlete dropping Oil. — Athlete of the Vatican. — General Characteristics of the Art of this Period 283

XVI CONTENTS.

THE AGE OF PHEIDIAS AND OF POLYCLEITOS.

From about 450 B.C. to about 400 B.C.

CHAPTER XVII.

PHEIDIAS AND HIS WORKS.

Pace, Pheidias' Youth. — Condition of Athens. — Phcidias* Teachers. — His Elarly Works. — Amazon. —

Statues of Athena. — Athena Promachos. — Olympic Zeus and its Sculptural Adornments. —

Its Poetic Thought — Reflexes of this Work. — Otricoli Head, etc. — Pheidias under Pericles.

— Art-activity in Athens. — Change in the Times. — Athena Parthenos. — Its Vicissitudes. —

Description of the Statue. — Its Shield, etc. — Its Artistic Character. — Other Statues. -~

Copies. — Roman Reports concerning Pheidias. — Other Works attributed to Pheidias. — His

Fate 299

CHAPTER XVIII.

SCHOLARS AND CONTEMPORARIES OF PHEIDIAS AND OF MYRON.

Agoracritos. — Colotes. — Theocosmos. — Thrasymedes. — Alcamenes. — His Works. — Other Sculptors. — Lykios. — Myronic Statues. — Cresilas. — Statues of Amazons. — Portrait of Pericles. — Strongylion. — Callimachos. — Demetrios. — His Characteristics. — Other Artists . 318

CHAPTER XIX.

ATTIC SCULPTURES OF THE SECOND HALF OF THE FIFTH CENTURY B.C.*

THE PARTHENON.

The Sacred Acropolis. — The Destruction and Rebuilding of its Holy Places. -^Vicissitudes of the Parthenon. — Changes made in Byzantine Times. — Destruction by the Venetians. — Wide Disi^ersion of Fragments. — Rescue of Elgin Marbles. — Carrey's Drawings. — Extent of Sculptures of Parthenon. — The Metopes. -*- Diversity of their Style. — Compared with Olympia Marbles. — The Frieze. — Subjects treated. — The Gods. — Sacrificial Scene. — Panathenaic Procession. — The Sculptures of the Pediments. — Reports of the Ancients. — Present Condition. — East Pediment. — Central Scene. — Remaining Figures. — West Pediment. — Its Subject.— Tragic Fate of the most of its Sculptures. — Athena Group. — Poseidon Group. — Characteristics of Style and Treatment of Pedimental Sculptures. — Superiority to many Great Works of Antiquity. — Admirable Adaptation to Temple Adornment. — Influences which produced these Achievements in Sculpture. — Opinions concerning them. — Their Charm not dependent upon Material used. — Majesty of the Thought 327

CHAPTER XX.

ATTIC SCULPTURES OF THE SECOND HALF OF THE FIFTH CENTURY B.C.

{concluded)*

Thesei on at Athens. — The Subjects of its" Metopes. — The Subjects of its Frieze. — The Erechtheion. — Its Inscriptions and Sculptural Remains. — Its Portico. — The Caryatids. — Temple of Athena Nike. — Its Frieze. — Description of its Reliefs. — Comparison with the Theseion. — Balustrade of Temple of Athena Nike. — Its Reliefs. — Their Style. — Influence on Later Works. — Votive Reliefs of this Age. — Reliefs on South Side of Acropolis, from Shrine to Asclepios and his Associate Gods. — Humbler Monuments from these Shrines. — Description of some of the Earliest of these Shrines. — Reliefs on Public Tablets. — Sources of their Designs. — Tombstones. — Stele from Peiraieus 365

CONTENTS. xvn

CHAPTER XXI.

SCULPTURES OF THE SECOND HALF OF THE FIFTH CENTURY B.C., OUTSIDE

OF ATTICA. — POLYCLEITOS.

Pagb.

Polycleitos. — Argos as his Field of Activity. — His Doryphoros. — Traces of the Original in Existing Works. — Relief from Argos. — Head from Herculaneum. — Changes in Types lo represent Gods. — Polycleitos* Diadumenos. — Polycleitos distinguished from a Later Sculptor of the Same Name. — Other Athletes, Canephorae, etc., by this Master. — Boys playing at Knuckle-bones.— Polycleitos' Heracles. — His Amazons. — His Gods. — Hera. — Polycleitos as Architect— Works at Epidauros. — Sculptural Remains from that Place. — Reputed Skill as Bronze-caster, etc. — His Great Care in his Work. — His Treatise on Art. — His Canon. — Compared with Pheidias. — Polycleitos' Scholars. — Other Argive Masters. — Pausanias' Account of the Temple of Hera at Argos. — Its Remains. — Reliefs from Argos .... 384

CHAPTER XXII.

SCULPTURE OUTSIDE OF ATTICA DURING THE SECOND HALF OF THE FIFTH

CENTURY {cancludtd).

Artists of this Period. — Phigaleia Sculptures. — Apollo Epicurios. — Metopes. — Frieze. — Its Subjects. — Passionateness in Treatment. — Contrast to Attic Friezes. — Affinities in Style. — Sculpture in other Parts of Peloponnesos. — Paionios of Mende. — His Nike. — Its Discovery.— Conjectural Restoration. — Description of the Nike. — Its Boldness, etc. — Comparison with other Works. — Affinities with Nereid Monument. — Art on the Islands. — Delian Sculptures. — Comparison drawn between them and Paionios' Nike. — Explanation of Resemblances and Differences. — Colotes. — Lykia. — Sculptures from Xanthos. — Tomb. — Peculiarities of Style. — Statuary. — The Nereids. -^ Their Significance. — Sculptures of Heroon at Gjolbaschi. — Subjects. — Deeds of Ulysses depicted. — Other Scenes. — Influence of Painting. — Resemblance to Style of Nereid Monument. — Art in Southern Italy and Sicily. — Patronage of Art by the Tyrants. — Temple-ruins at Acragas. — Ruins at Selinus. — The Metope representing Fate of Actaion. — General Review of this Period 397

VOL. II.

THE AGE OF SCOPAS, PRAXITELES, AND LYSIPPOS.

From about 400 B.C. to about 323 B.C.

CHAPTER XXIII.

HISTORICAL INTRODUCTION AND EARLIEST ATTIC SCULPTORS OF THE

FOURTH CENTURY B.C.

Changes in Attica at the Beginning of this Period. — Political Decline of Athens. — Condition of Attica during Time of Alexander. — Private Patronage. — Attic Sculptors in Foreign Parts. — Influence of Peloponnesian War. — New Elements in Society and Art. — Change in Character of Subjects. — Susceptibility of Greeks to Impressions through the Eye. ^ Sculptors* Grasp of the Spirit of the Times. — Kephisodotos. — His Works. — His Activity in Arcadia. — His Eirene. — Greater Emphasis of Emotion than in Pheidian Age. — Other Sculptors . . . 427