A History of Greek Art by F. B. Tarbell (free novel 24 .txt) 📕

Before parting from their company we must not fail to look at two fragmentary figures (Figs. 94, 95), the most advanced in style of the whole series and doubtless executed shortly before 480. In the former, presumably the earlier of the two, the marvelous arrangement of the hair over the forehead survives and the eyeballs still protrude unpleasantly. But the mouth has lost the conventional smile and the modeling of the face is of great beauty. In the other, alone of the series, the hair presents a fairly natural appearance, the eyeballs lie at their proper depth, and the beautiful curve of the neck is not masked by the locks that fall upon the breasts. In this head, too, the mouth actually droops at the corners, giving a perhaps unintended look of seriousness to the face. The ear, though set rather high, is exquisitely shaped.

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

96. Fate has robbed us of the body to which it belonged, but the head itself is in an excellent state of preservation. The face is one of singular purity and sweetness. The hair, once of a golden tint, is long behind and is gathered into two braids, which start from just behind the ears, cross one another, and are fastened together in front; the short front hair is combed forward and conceals the ends of the braids; and there is a mysterious puff in front of each ear. In the whole work, so far at least as appears in a profile view, there is nothing to mar our pleasure. The sculptor’s hand has responded cunningly to his beautiful thought.

It is a pity not to be able to illustrate another group of Attic sculptures of the late archaic period, the most recent addition to our store. The metopes of the Treasury of the Athenians at Delphi, discovered during the excavations now in progress, are of extraordinary interest and importance; but only two or three of them have yet been published, and these in a form not suited for reproduction. The same is the case with another of the recent finds at Delphi, the sculptured frieze of the Treasury of the Cnidians, already famous among professional students and destined to be known and admired by a wider public. Here, however, it is possible to submit a single fragment, which was found years ago (Fig. 97). It represents a four-horse chariot approaching an altar. The newly found pieces of this frieze have abundant remains of color. The work probably belongs in the last quarter of the sixth century.

The pediment-figures from Aegina, the chief treasure of the Munich collection of ancient sculpture, were found in 1811 by a party of scientific explorers and were restored in Italy under the superintendence of the Danish sculptor, Thorwaldsen. Until lately these AEginetan figures were our only important group of late archaic Greek sculptures; and, though that is no longer the case, they still retain, and will always retain, an especial interest and significance. They once filled the pediments of a Doric temple of Aphaia, of which considerable remains are still standing. There is no trustworthy external clue to the date of the building, and we are therefore obliged to depend for that on the style of the architecture and sculpture, especially the latter. In the dearth of accurately dated monuments which might serve as standards of comparison, great difference of opinion on this point has prevailed. But we are now somewhat better off, thanks to recent discoveries at Athens and Delphi, and we shall probably not go far wrong in assigning the temple with its sculptures to about 480

B.C. Fig. 52 illustrates, though somewhat incorrectly, the composition of the western pediment. The subject was a combat, in the presence of Athena, between Greeks and Asiatics, probably on the plain of Troy. A close parallelism existed between the two halves of the pediment, each figure, except the goddess and the fallen warrior at her feet, corresponding to a similar figure on the opposite side. Athena, protectress of the Greeks, stands in the center (Fig. 98). She wears two garments, of which the outer one (the only one seen in the illustration) is a marvel of formalism. Her aegis covers her breasts and hangs far down behind; the points of its scalloped edge once bristled with serpents’

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

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

The group in the eastern pediment corresponds closely in subject and composition to that in the western, but is of a distinctly more advanced style. Only five figures of this group were sufficiently preserved to be restored. Of these perhaps the most admirable is the dying warrior from the southern corner of the pediment (Fig. 99), in which the only considerable modern part is the right leg, from the middle of the thigh. The superiority of this and its companion figures to those of the western pediment lies, as the Munich catalogue points out, in the juster proportions of body, arms, and legs, the greater fulness of the muscles, the more careful attention to the veins and to the qualities of the skin, the more natural position of eyes and mouth. This dying man does not smile meaninglessly. His lips are parted, and there is a suggestion of death-agony on his countenance. In both pediments the figures are carefully finished all round; there is no neglect, or none worth mentioning, of those parts which were destined to be invisible so long as the figures were in position.

The Strangford “Apollo” (Fig. 100) is of uncertain provenience, but is nearly related in style to the marbles of Aegina. This statue, by the position of body, legs, and head, belongs to the series of “Apollo” figures discussed above (pages 129-32); but the arms were no longer attached to the sides, and were probably bent at the elbows. The most obvious traces of a lingering archaism, besides the rigidity of the attitude, are the narrowness of the hips and the formal arrangement of the hair, with its double row of snail-shell curls. The statue has been spoken of by a high authority [Footnote: Newton, “Essays on Art and Archaeology” page 81.] as showing only “a meager and painful rendering of nature.”

That is one way of looking at it. But there is another way, which has been finely expressed by Pater, in an essay on “The Marbles of Aegina”: “As art which has passed its prime has sometimes the charm of an absolute refinement in taste and workmanship, so immature art also, as we now see, has its own attractiveness in the naivete, the freshness of spirit, which finds power and interest in simple motives of feeling, and in the freshness of hand, which has a sense of enjoyment in mechanical processes still performed unmechanically, in the spending of care and intelligence on every touch. … The workman is at work in dry earnestness, with a sort of hard strength of detail, a scrupulousness verging on stiffness, like that of an early Flemish painter; he communicates to us his still youthful sense of pleasure in the experience of the first rudimentary difficulties of his art overcome.” [Footnote: Pater, “Greek Studies” page 285]

CHAPTER VII.

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

The term “Transitional period” is rather meaningless in itself, but has acquired considerable currency as denoting that stage in the history of Greek art in which the last steps were taken toward perfect freedom of style. It is convenient to reckon this period as extending from the year of the Persian invasion of Greece under Xerxes to the middle of the century. In the artistic as in the political history of this generation Athens held a position of commanding importance, while Sparta, the political rival of Athens, was as barren of art as of literature. The other principal artistic center was Argos, whose school of sculpture had been and was destined long to be widely influential. As for other local schools, the question of their centers and mutual relations is too perplexing and uncertain to be here discussed.

In the two preceding chapters we studied only original works, but from this time on we shall have to pay a good deal of attention to copies (cf. pages 114-16). We begin with two statues in Naples (Fig. 101). The story of this group—for the two statues were designed as a group—is interesting. The two friends, Harmodius and Aristogiton, who in 514 had formed a conspiracy to rid Athens of her tyrants, but who had succeeded only in killing one of them, came to be regarded after the expulsion of the remaining tyrant and his family in 510 as the liberators of the city. Their statues in bronze, the work of Antenor, were set up on a terrace above the market-place (cf. pages 124, 149). In 480 this group was carried off to Persia by Xerxes and there it remained for a hundred and fifty years or more when it was restored to Athens by Alexander the Great or one of his successors. Athens however had as promptly as possible repaired her loss. Critius and Nesiotes, two sculptors who worked habitually in partnership, were commissioned to make a second group, and this was set up in 477-6 on the same terrace where the first had been After the restoration of Antenor’s statues toward the end of the fourth century the two groups stood side by side.

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

First several Athenian objects of various dates, from the fifth century B.C. onward, bear a design to which the Naples statues clearly correspond One of these is a relief on a marble throne formerly in Athens. Our illustration of this (Fig. 102) is taken from a “squeeze,” or wet paper impression. This must then, have been an important group in Athens. Secondly, the style of the Naples statues points to a bronze original of the early fifth century. Thirdly, the attitudes of the figures are suitable for Harmodius and Aristogiton, and we do not know of any other group of that period for which they are suitable. This proof, though not quite as complete as we should like, is as good as we generally get in these matters. The only question that remains in serious doubt is whether our copies go back to the work of Antenor or to that of Critius