A handbook of Greek sculpture

Preface To The Revised Edition

The ten years which have elapsed since this handbook first appeared have seen considerable additions to our knowledge of Greek Sculpture, partly from new discoveries, partly from the publication of what had recently been found, partly from the more detailed study of material already published. It is clearly desirable that a manual for the use of students should not ignore such progress ; on the other hand, it would probably be inconvenient if a book which, I am glad to think, has come to be widely used were to undergo any unnecessary change either in its form or in its substance. I have therefore kept most of the new matter together in an appendix which can be acquired separately by those who already possess the first edition ; this appendix is numbered in sections which correspond to those of the original book, and so may easily be read in their proper order. At the same time, the whole text of the first edition has been carefully revised, and any corrections or alterations required by more recent discoveries have been introduced, as far as possible, without altering the pagination. In this way it has been possible to deal with such matters as Dr. Schrader's rearrangement of the early Athenian pediments, or the new chronology of Pythagoras, Myron, and Polyclitus afforded by the Oxyrynchus papyrus discovered by Messrs. Grenfell and Hunt.

This new edition is not, therefore, to be taken as a new

VI

A PIANDBOOK OF GREEK SCULPTURE work, written from the standpoint of the present year ; but on the other hand I trust that the reader will not have cause to complain either of the presence of antiquated or discredited theories, or of the omission of any recent discoveries that are of cardinal importance. There must, probably, at any time be some new material for study that either is not yet published or has not yet become the subject of such general agreement as to make its inclusion in a handbook desirable ; such, in the present instance, are Professor Furtwiingler’s recent additions to the Aegina pediments and his consequent rearrangement of the groups ; and the section on Aegina is accordingly left practically identical with that in the old edition.

On one or two questions I have retained in the handbook statements which are at variance with the opinion of the majority of those whose authority is generally recognised. The note referring to the Lemnian Athena has been modified so as to admit the probability, though not the certainty, of the identification. On the other hand, I have not modified my opinion as to the date of Damophon ; more recent evidence and investigation seems to me to confirm rather than to invalidate his attribution to the fourth century B.c. The student should, however, be warned that in this particular case I express the opinion of a minority, the majority of critics preferring to assign Damophon either to the Hellenistic age or to the time of Hadrian. I trust, however, that even here there will be no serious deviation from the aim I have set before me in revising this book as well as in first writing it ; it is still my hope that subsequent study may supplement, but not invalidate, what has been learnt from its pages.

It is a })leasant duty to express my gratitude to M. Homolle for the ready courtesy with which he has permitted me to reproduce the plates of the official publication of the sculptures

PREFACE TO THE REVISED EDITION vii

found at Delphi ; and to M. Holleaux, Director of the French School at Athens, for similar permission in the case of the plates of the Atalanta of Tegea from the Bulletin de Correspondance lielUniquc. I wish also to thank my brother, Professor Percy Gardner of Oxford, for again reading the proof-sheets of this handbook, and Mr. J. ff. Baker-Penoyre for his assistance in preparing the supplementary illustrations at a time when I was out of England.

Univeksity College, London,

October 1905.

Preface To The First Edition

Although there are several histories of Greek sculpture, the need of a handbook on a smaller scale and of a somewhat different scope is, I believe, generally felt. What is wanted is a general outline of our present knowledge of Greek sculpture, distinguishing as clearly as possible the different schools and periods, and giving typical instances to show the development of each. Accordingly, I have not in the present work made any attempt at a complete or exhaustive treatment of the subject, but have selected from the great accumulation of available examples only such as seem most useful in illustration. I have in particular attempted to confine myself to such facts or theories as have already met with general acceptance among archaeologists, or such as seem to rest upon evidence that cannot easily be shaken by new discoveries or future controversy. This principle has precluded the discussion of many interesting problems that are still under dispute ; but in the case of questions which, though undecided, are of too vital issue for the history of sculpture to be altogether ignored, I have endeavoured to state as briefly as possible the different tenable views, and to base no further inferences upon the acceptance of any of them. In this way the student will be provided with a framework into which he can easily fit all the knowledge that he may acquire from subsequent reading or observation ; and at the same time he will not find that he has anything to unlearn when he becomes acquainted with more facts or newer theories.

Were the writer of such a book as this to cite all the

X authorities who have contributed, directly or indirectly, to the work he has produced, his preface and notes would be a mere patchwork of references and quotations. I have endeavoured as far as possible to give my own impressions directly, as derived both from literary authorities and from the monuments themselves, and have tried as a general rule to avoid direct quotation from modern writers. Wherever I have consciously borrowed an original view propounded by a predecessor, and not yet adopted as common property, I have made an acknowledgment in the text or in a note ; but a reference of this sort may have been accidentally omitted in some instances where its insertion would have been just or courteous, and I can only trust that in such a case those who have most right to complain will also be most disposed to leniency by their own experience of the difficulties of a task that must partake to a great extent of the nature of a compilation.

But a more general acknowledgment is due at once to such works as Professor von Brunn’s Geschichte der griechischen Kilnstler and his Griechische Kunstgeschichfe, Professor Overbeck’s Geschichte der griechischen Plastik, Mr. A. S. Murray’s History of Greek Sculpture, Mrs. Mitchell’s History of Ancient Sculpture, and M. Collignon’s Histoire de la sculpture grecque. Any one who now writes on Greek sculpture must owe to some or all of these the foundation of his knowledge. If I do not constantly refer to them, it is only because their accessibility and their systematic treatment of the subject make it easy for the student to consult them upon any matter which he wishes to follow out in more detail than is allowed by the scope of a handbook. The catalogues of the various museums in which the remains of Greek sculpture are now preserved also offer invaluable assistance to the student for reference, as well as for use in the galleries — an assistance which must be acknowledged by all

PREFACE TO THE FIRST EDITION xi

who write upon the subject; above all must be mentioned Wolters’ edition of Friederich’s Bausteine, the catalogue of the splendid collection of casts at Berlin.

Those who are acquainted with the results of recent excavation will notice one conspicuous omission in the attempt to bring this book up to the level of our present knowledge of Greek sculpture. The valuable discoveries of the French at Delphi have not been included. The reason for this omission is partly that without illustrations it would be impossible to give any adequate notion of so remarkable a series of sculptures, and partly that, pending the publication of the Delphic discoveries by those to whom they are due, it would be rash to include them in a handbook like this. The reliefs of the Treasury of the Athenians and of the Treasury of the Siphnians will doubtless take their place in due time among the cardinal monuments of Greek sculpture ; but especially in the latter case the problems to be solved are so difficult and so complicated that agreement about them is hardly to be expected until they have become more widely known and have been more thoroughly discussed. It has therefore seemed wiser to exclude them altogether from the present volume ; perhaps it may be possible to repair the omission before the whole work is complete.

Finally, I have the pleasant duty of thanking many friends for their help and advice at various stages in the writing of this handbook; Mr. Richard Norton has made many useful criticisms of the earlier portion, and I wish especially to thank my brother. Professor Percy Gardner of Oxford, not only for reading the proofs and making many suggestions which either have been incorporated in the text or have led to its modification, but also for his help and encouragement throughout the work

October 1895.

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Preface To Part II. Of The First Edition

In addition to the authorities quoted in the preface issued with the first part of this handbook, one other calls for especial notice here. This, it need hardly be said, is Professor Furtwangler’s Meisterwerhe der griechischen Plastik, or, in its English version by Miss Eugenie Sellers, Masterpieces of Greek Sculpture. I had occasion to quote this work more than once in Part I.; but, from the nature of the subject, it has been far more frequently in my hands while I was writing Part II., and I have to acknowledge my indebtedness to Professor Eurtwangler’s wonderful knowledge and observation in many instances where I have not felt able to embody his conclusions in the text of a handbook for students.

In dealing with the later portion of the history of sculpture, I have endeavoured to follow the same principles as in the earlier portion, and consequently I am again precluded from the discussion of many interesting problems as to which I do not feel justified in expressing a dogmatic opinion, while I have not space to give, even in summary, the arguments on each side.

I regret that I am unable to fulfil my conditional promise of an appendix on the discoveries of the French excavators at Delphi, no official publication having as yet been issued.

It is only fair both to M. Collignon and to myself to state xiv A HANDBOOK OF GREEK SCULPTURE

that I had not the advantage of seeing the second volume of his Hisfoire de la Sculpture greccpie before the proof-sheets of this volume were out of my hands.

Arrangements have been made by the Teachers’ G-uild for placing at the disposal of its members a series of lantern-slides to illustrate the history of sculpture ; these slides have been prepared from the material that has been used for the illustrations of this handbook, and they are numbered to correspond. They may be seen at the Educational Museum of the Guild, 74 Gower Street, London, W.C., where inquiries may be addressed to the Hon. Curators.

The present volume contains a full index, compiled by Mrs. Ernest Gardner, to both parts of the handbook.

My brother. Professor Percy Gardner of Oxford, has again read the proof-sheets, and I have to thank him for many valuable corrections and suggestions.

University College, London, Kovemler 1896,

Contents

PAGE

SELECT BIBLIOGRAPHY ...... xxi

LIST OF COMMONEST ABBREVIATIONS . . . xxv

Chapter I Page

§ 1. Limits of the Subject ...... 45

3. Assyrian Art ....... 48

4. Phoenician Art ....... 50

6. Early Population of Greece . . . . .56

7. Civilisation of Mycenae . ... 57

8. Art of Mycenae ...... 59

9. The Island Gems and Early Bronze Reliefs . . 62

10. Mythical Traditions : the Cyclopes, Dactyli, Telchines,

11. Art in Homer and Hesiod . . . . .66

12. Other Decorative Works . . . . .73

14. Early Temple Images and Offerings . . .81

15. Changes in Greece before 600 b.c. : Later Means of

Foreign Influence ...... 84

Chapter II

17. Character and Limits of the Period : Possible Sub-

18. Inherited and Borrowed Tvpes . . . .91

(a) Nondescript Draped Type, Standing . . 91

(b) Draped Female Type, Standing . . .92

(c) Nude Male Type, Standing . . . .93

(d) Male and Female Seated Type, Draped . . 95

{e) Winged Figures ...... 95

19. Stories of Inventions and their Value . . .96

20. Schools of Samos, Chios, Crete; Literary Evidence . 98

CONTENTS xvii

PAGE

§ 21. Early Monuments, Locally Classified . , .104

(c) Aegean Islands ..... 112

Chios ...... ilo

Samothrace . . . . . .129

(7) The Pest of the Peloponnese . . .137

23. Literary Evidence: Relations or Archaic Schools . 151

25. Argos and Sicyon : Athletic Art . . . .190

27. Other Early Works ...... 209

Chapter III

§ 29. The Persian Wars and their Results . .214

30. The Olympi.vn Sculptures ..... 216

h xviii A HANDBOOK OF GREEK SCULPTURE

PAGE

35. ScuLPTUHE OF THE Pahihenon .... 267

36. Other Aphknian Sculptures — Tpieseum, Erechtheum,

Temple of Wingless Victory, etc. . . . 294

37. Scholars of Phidias — -Agoraoritus, Colotes, Theocosmus,

38. Scholars of Calamis and Myron, and other Attic Sculp-

39. Attic Influence outside Athens ; Phigalia . . 321

41. Scholars of Polyclitus ..... 337

42. Other Sculptors and Works of this Period . . 341

CHAPTEK IV

§ 44. Character of the Period ..... 350

45. Cepiiisodotus ....... 352

47. SiLANION AND EUPHRANOR . . . . .370

48. Timotheus, Bryaxis, Leochares . . . .372

51. Attic Tombstones ...... 393

52. Thrasymedes and Damopho.n ..... 397

54. Pupils of Lysippus ...... 412

55. Other Sculptures of the Period .... 414

CONTENTS xix

CHArTER Y

PAGE

§ 57. The Influence of Alexander .... 434

58. Chief Centres of Sculpture in the Hellenistic Age . 437

59. The Pastoral Tendency — Hellenistic Reliefs . . 438

60. Boethus, and Children in Sculpture . . . 441

61. Chares, and the Colossus of Rhodes . . . 442

62. Eutychides and the Impersonation of Cities . . 446

64. History of the Dedications of the Attalids . . 452

65. The Dedications of Attalus I. . . . . 453

66. The Dedications of Eumenes II. . . . 459

67. The Rhodian School — the Laocoon .... 468

68. Tralles — the Farnese Bull . . . .472

69. The Ephesian School — Agasias . . . .475

70. Later Ideals of the Gods ; Apollo Belvedere, Aphrodite

71. Other AYorks of the Hellenistic Age . . 485

CHAPTER VI

§73. Historical and Social Changes .... 492

74. The Carrying off of Masterpieces .... 495

75. Centres of Art and Migration of Ari ists . . 496

76. Statues of the Gods ...... 497

77. Works of the Neo-Attic School .... 501

79. Pasiteles and his School ..... 508

80. Portraiture . . . . . . 5J2

XX

PAGE

§ 81. Histoeical Monuments ..... 516

82. Antinous and the Hadeianic Revival . , . 517

22a. SiCYON AND Aegos ...... 527

27a. SiPHNiAN ou Cnidian Teeasuey at Delphi . . 535

31a. Delphi Chaeioteee ...... 540

71a. The Cerigotto Beonze ..... 553

Conclusion ....... 554