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

He was an extremely painstaking artist, inclined to excessive elaboration in his work. Apelles, who is always represented as of amiable and generous character, is reported as saying that Protogenes was his equal or superior in every point but one, the one inferiority of Protogenes being that he did not know when to stop. According to another anecdote Apelles, while profoundly impressed by Protogenes’s masterpiece, the Rhodian hero above referred to, pronounced it lacking in that quality of grace which was his own most eminent merit. [Footnote: Plutarch, “Life of Demetrius,” Section 22.] There are still other anecdotes, which give an entertaining idea of the friendly rivalry between these two masters, but which do not help us much in imagining their artistic qualities. As regards technique, it seems likely that both of them practiced principally “tempera” painting, in which the colors are mixed with yolk of eggs or some other sticky non-unctuous medium.

[Footnote: Oil painting was unknown in ancient times.] Both Apelles and Protogenes are said to have written technical treatises on the painter’s art.

There being nothing extant which would properly illustrate the methods and the styles of the great artists in color, the best substitute that we have from about their period is an Etruscan sarcophagus, found near Corneto in 1869. The material is “alabaster or a marble closely resembling alabaster.” It is ornamented on all four sides by paintings executed in tempera representing a battle of Greeks and Amazons. “In the flesh tints the difference of the sexes is strongly marked, the flesh of the fighting Greeks being a tawny red, while that of the Amazons is very fair. For each sex two tints only are used in the shading and modeling of the flesh. … Hair and eyes are for the most part a purplish brown; garments mainly reddish brown, whitish grey, or pale lilac and light blue. Horses are uniformly a greyish white, shaded with a fuller tint of grey; their eyes always blue. There are two colors of metal, light blue for swords, spear-heads, and the inner faces of shields, golden yellow for helmets, greaves, reins, and handles of shields, girdles, and chain ornaments.”

Our illustration (Fig. 193) is taken from the middle of one of the long sides of the sarcophagus. It represents a mounted Amazon in front of a fully armed foot-soldier, upon whom she turns to deliver a blow with her sword. “Every reader will be struck by the beauty and spirit of the Amazon, alike in her action and her facial expression. The type of head, broad, bold, and powerful, and at the same time young and blooming, with the pathetic-indignant expression, is preserved with little falling off from the best age of Greek art. … In spirit and expression almost equal to the Amazon is the horse she bestrides.” [Footnote: The quotations are from an article by Mr. Sidney Colvin in The Journal of Hellenic Studies, Vol. IV., pages 354 ff] The Greek warrior is also admirable in attitude and expression, full of energy and determination.

Although the paintings of this sarcophagus were doubtless executed in Etruria, and probably by an Etruscan hand, they are in their style almost purely Greek. The work is assigned to the earlier half of the third century B.C. If an unknown craftsman was stimulated by Greek models to the production of paintings of such beauty and power, how magnificent must have been the achievements of the great masters of the brush!

For examples of Greek portrait painting we are indebted to Egypt, that country whose climate has preserved so much that elsewhere would have perished. It will be remembered that Egypt, having been conquered by Alexander, fell after his death to the lot of his general, Ptolemy, and continued to be ruled by Ptolemy’s descendants until, in 30 B.C., it became a Roman province. During the period of Macedonian rule Alexandria was the chief center of Greek culture in the world, and Greeks and Greek civilization became established also in the interior of the country; nor did these Hellenizing influences abate under Roman domination. To this late period, when Greek and Egyptian customs ere largely amalgamated, belongs a class of portrait heads which have been found in the Fayyurn, chiefly within the last ten years. They are painted on panels of wood (or rarely on canvas), and were originally attached to mummies. The embalmed body was carefully wrapped in linen bandages and the portrait placed over the face and secured in position. These pictures are executed principally by the encaustic process, though some use was made also of tempera. The persons represented appear to be of various races—

Greek, Egyptian, Hebrew, negro, and mixed; perhaps the Greek type predominates in the specimens now known. At any rate, the artistic methods of the portraits seem to be purely Greek. As for their date, it is the prevailing opinion that they belong to the second century after Christ and later, though an attempt has been made to carry the best of them back to the second century B.C.

The finest collection of these portraits is one acquired by a Viennese merchant, Herr Theodor Graf. They differ widely in artistic merit; our illustrations show three of the best. Fig. 194

is a man in middle life, with irregular features, abundant, waving hair, and thin, straggling beard. One who has seen Watts’s picture of “The Prodigal Son” may remark in the lower part of this face a likeness to that. Fig. 195 is a charming girl, wearing a golden wreath of ivy-leaves about her hair and a string of great pearls about her neck. Her dark eyes look strangely large, as do those of all the women of the series; probably the effect of eyes naturally large was heightened, as nowadays in Egypt, by the practice of blackening the edges of the eyelids. Fig. 196 is the most fascinating face of all, and it is artistically unsurpassed in the whole series. This and a portrait of an elderly man, not given here, are the masterpieces of the Graf collection. It is much too little to say of these two heads that they are the best examples of Greek painting that have come down to us. In spite of the great inferiority of the encaustic technique to that of oil painting, these pictures are not unworthy of comparison with the great portraits of modern times.

The ancient wall-paintings found in and near Rome. but more especially in Pompeii, are also mostly Greek in character, so far as their best qualities are concerned. The best of them, while betraying deficient skill in perspective, show such merits in coloring, such power of expression and such talent for composition, as to afford to the student a lively enjoyment and to intensify tenfold his regret that Zeuxis and Parrhasius, Apelles and Protogenes, are and will remain to us nothing but names.

End of the Project Gutenberg Etext of A History Of Greek Art, by F. B. Tarbell