111-150
Athens,
Colonnade
of
Zeus
(181).
Gjolbaschi
(182).
IV.
relief
36
8
Brygos painter
55
14-
37
Olympia
81
23
amphora
by
153
35
193
42
painter
24
3
46
9
(fragment)
by
the
Niobid
painter
68
12
Zeus at
temple
frieze of the
east frieze
132
39
134
40
at
Olympia
135
41
supplied
by
of
spiritual movement
again
the
the reality
since the
time of
archetypes of exis-
this century's greatest contribution
but to see them afresh
xndth
eyes
sharpened
by
Impressionism.
Austria
the
leaders
thal.
Thanks
content of the classical concept
and
light.
Winckelmann had attempted to demonstrate the classical period's importance as
an exemplar, an idea which hitherto had simply
been
demonstration
the
Renaissance,
basically
he
as an attitude
the
age. Buschor
book devoted solely to
necessary selection
can be given; the same is true of coins, whose
perfection will
of
the
black
give
no
the fourth
Apelles. Thus our
different phases
works
bersveen the classical
taken by the Greeks and their classicistic
successors. To them the
preliminary
-
Description
wiU
enable
us
to
history
of
Greek
greatness that has
of
breathing
plastic
life
wave twice
figures of the
the limbs. In
making
constructed timeless
order. From
and freedom. Being
as with
subject
to
she must
suffer the
not
subject
present
individual
world.
With
the
change
to
the
way
period,
christened the
the
Greeks
deeply
period ; this influence affected
and
even
ways was
not really
Greeks to understand
understanding
helped
the
Hellenistic
native
populations
they
did
not
spiritually to the
established,
what
Isocrates
in
particular
had
peoples. The Hellenistic
so precisely as we have tried
to define
can observe
the breaking
was
338;
the
Hellenistic,
we
The
tragedy. The archaic philosophers
by
the
thinkers
of
the
Democritus,
and
We shall
receive bold answers.
summons us
classical
period
organic unity,
beauty,
the
is
to
be
found
But
we
the
Greek
of
a
composition
axes of the composition and of the figures lend each
other
that the citizen of
and
the
Church,
gods. Only since
in the West again.
soul,
which
fibre, every
a
adult
person
divine harmony,
life or in
Having
Prerequisites
of
classi-
can
be
a
that in the classical
How
in
particular
produced
the phenomenon of classical art, a phenomenon unique in the
history
of
possible.
the landscape. Land and sea interpenetrate each other with a
clarity of contour
in their variety.
character, there we
find the most
by the
that
The healthy
*Air, Earth and Local-
the
theory.
physical con-
stitution. The
Greeks themselves
noticed that
and structure.
the two
had
gods,
not the result
corresponded
to
the
landscape and of the peoples living in it; there were
no divisions of religion
were
not
swamped
like
expression
tecture and in sculpture.
enterprise
brought
was considered
purpose. The circumstances
of life remained
freedom from the
the
characters
in
And after
that to
be of
unique
harmony
stereometry^
creative seeds
of reality;
conversation
with
Caroline
Herder
iS
as the
all
the
variety
of
reality
sprang.
values
but when
it came
to the
shrines of
been
materials
the cult
of life.
confronted
the
Persians
with
the break-up of
and
time,
of
Doryphoros or the controlled movement of
Myron's
the moment
more than
classical period
predominant.
It
was
us
the
young
Sophocles,
who
dance of the
Salamis.
forms
is
bold
and
immediately seem to realize what has been lost with archaic
tectonics. Even before
their own inner structure. The Boy by Kritios is free
from
archaic
tectonics
; here
can
everything else,
an
inner constraint. This statue from the spoils of the Persian Wars
must
480.
That
archaic conventions were universal-
round
480
a
votive offerings
new vision
lose
their
freshness.
are grasped by younger
and
the
divine
a
menides, the great
the
mature
classical
figure
the
by
the
Kleophrades
painter.
Before
to his
not only
bearing. Such
a mobile
tw'o-dimensional
the figure
did not
yet have
to be
narrow
side.
on the surface.
machos painter in Boston could well
belong to
and worn
the labour of carrying him, he is bringing forth the
young Dionysus from
Hermes to hold; Hermes
views, with
one foot seen from the front and the other from the side, occur again
in the first half of the
fifth century; but it is round about
470
the construction
of the
two sides
the
weights
of
east pediment of the temple at Olympia,
which
dates
that the
right-hand side
Vatican and
human form is understood
movement.
Zeus
the
in
drunken
enthusiasm.
FIG.
2
all
of
the
powerful
its
climax,
but
is
children; Aphrodite,
personify
We see
other
subjects
break-up of archaic
one
could
almost fancy that the music was audible, and all the gestures testify
to
the
invisible
forces
which
activate
the
frequent
and
the
The
significance
sufficiently noted.
firmly dated monuments
From
pays homage to
the young Charmides in Plato. Youth is transitory, and the same
boy
is
seldom
iilarly often is
met
his
465.
before
500.
As
Glaukon celebrated in
in the inscriptions.
of
a
thongs which
contrapposto
the movement but the glance follows the weight-bearing axis, the
contrast
PLATE
p.
96
as archaic state but
picture of
concern
the man. After the batde
of
Marathon
(490)
a
in
of
of
this
particular
Victory
striving movement,
so that
whole thing
all the art of those decades, and
so a
comparison with
Cf.
p.
26.
24
On the
border of
slants down
and
was
somewhat
advanced,
responsible for the
Olympia sculptures. However,
infln<»w^
1^
advanced
is Atdc-Ionic: over
the
hair
is cut short for the sacrifice at the youth's consecradon, and from die nape
of
the
neck
heavy
lids,
beneath
has
given
way
severe style seems
been
deepened
into
the
Heraditus*
saying,
before
480,
for
the
Aphaia
480
we
the victory
received from the
Carthaginians in thanks
is familiar
falls the forehead to meet the high-cvir\'ing eyebrow and
is as
nymph
make
her
appear
bronze-casters of
Sicilian
the volcano in
volume
of Magna Graecia and Ionia are not
subservient
creatures
independent forces.
destructive power
of that
9).
A third commemorative coin was struck on the occasion of the Xaxians' return
to their native island after
46
1
The
the
the
landscape
left arm
and thigh
other
diagonals
make
bracing of the axes
art
with
two-dimensional
art
is
indebted
to
painting.
FIG.
4
courage with their
the honoured tombs
Academy,
of them must have
the
leading
master
of
late
What
importance
this symbol of freedom possessed can be seen from the fact
that
when
the
protagonist,
Aristogiton his assistant. Since Harmodius needs cover from his friend and the
figure
of
antithesis
inner unity and to follow from the demonic
nature of the pair, from their freedom,
which is in tragic opposition to the tradi-
tional order.
addition in
expression of tremendous
of
testimony of
from a
grave dated
shows
moving
figures
from
archaic groups
Athens
and
the spectator, because
in
the
same
relief
plane.
firm structure charac-
a
FIG.
it. It is
a
new
motifs
are
over the Persians. When the Persians
were approaching
the way,
in the
lonely mountains,
Persian army was
FIG.
3
dehcate
allusion
found
round
why
garments
eye
full lip,
ber«-een
beard.
The
the
surface
of
the
vase
may be compared with that
of the
Tyrant-slayers.
FIG.
5
It was the impact of another historical event that produced the pictures of the sack
of Troy
Miletus. The
disastrous end
of the
punished the poet
severity of
Pindar's
are made
frontal view had
and
silver,
tradition,
cup which leads
The
new
vision
of
leathery skin, veins
character. The spiritual ele-
life; in the perfect
Polyzalos had ruled at Gela from
478
to
475,
but
the
mention
of
words.
In
Polyzalos;
478
but
the
statue
was
only
put up when he had ceased to rule Gela. This must
be the
that
time
was
Onatas
; we
possess
Roman
copies
of
a
distributed
centres
sculptures
of
more
between
479
and
464,
produced before
464
than
479.
style in
pettiness of another of the gate reliefs, a powerfully overbearing
Heracles,
Olympia
in
of
Marathon
and
the
Persian
Critian Boy
the
Much as
most
which finally prevailed at that time covers the
pictures with coloured expanses of
drapery full of fine
ture
swelling
of the figure is
understood, the more the body frees itself its connection with
the surface. The
by a
tragic greatness more clearly visible than in any
other period. Thus the change from the
pictorial
early
classical
period
-
vase-painters;
relatively few vases are
signed 'so-and-so painted this'. The signatures of the potters are rather more
frequent; in
is only grouped according
Furtwangler and
great
because
the
last
century.
Some
of the Renaissance painters who at that time became a part
of
less
important
than
these
bowl
signed
of
case
names
from
race.
his right
of the palaestra
only
more and
of
the
individual,
as
it
is
expressed
not only by
draAxdng;
the enormous
range of
sign
of
Onesimos.
In
one
blond hero throws Sdron into the sea and
lifts his
the ground. Theseus
so far
fonx'ard that he is almost falling over himself. Again it is more the
attitude
than
any
group,
treatment, the
front.
Unfortunately
that the
are frequent
Ariadne
Theseus and
Heracles are
to the
the return of
Theseus seems to
at
had Uved until
helpful element
again
of
democracy
Cleisthenes.
FIG.
his
prowess
courage which
in
wrestling
muscle than
been
full
of
on
the
instigation of
surface, which is sixteen inches in diameter, and is
distinguished
by
at Athens after
and
on
a
Theseus
was being carried to the bottom of the sea in Triton's
arms.
On one
bowl the
theme is treated in a more old-fashioned and legendary manner, in that Theseus
floats on the hands of Triton, but the idea of link ber« een daemon
and hero is
that even
the
Theseus
cycles
other version
appear before
appears
before
Zeus
labours.
wonderful
story
in
love
he
sea-god.
(as
Odysseus
is
by
Cimon's
left,
indicates that fresh
deeds await her.
they are
all clearly
the
shimmering
fluidity
of
positively
vibrates,
most
modern
of expression
from the
a linear design the movements
of the soul
Since the
of
with the frame in
on the other
themselves.
The
frame
can be laid
round the picture
and enrich it, but it is not an essential part of the composition.
In
no other Theseus cycle is the hero portrayed so decidedly
as the
spring from the
genius of the
young
Athenian of his own time. Tew Greek painters', says Beazley, 'are so
gladdening
as
the
for, but
seem gloved.' And
the
depicts
Achilles
killing
Apollo. This
impious deed
important
painter
classical
horses is
an old
theme of
he turns
upset
the
on
different
He
important
event.
Shield
and
spear
swing
in
counterpoise to the free gesture of the right arm, but not
just in
chiton and armour,
element
the lovely curvature of the surface of the vases. Achilles
and
Briseis
wears
the cloak over her chiton, in full splendour, with the puff,
which
is
drawn
out
over
over the
breast. Long
locks fall
over her
The inner greatness
these artists old Attic tradition attains classical worth, for 'IMight-
iness
Attic art
is wonderful,
studied and
Brygos painter,
The
painter, but
colleagues.
*He
not
says
Beazley,
PLATE
p.
47
We have chosen as an example the cup in Berlin depicting the
battle against
has
not
been adequately explained. On the inside, a goddess, whom we
can recognize
two
horses
to their disappearance in the river encircling the earth. That she is setting,
not rising,
is apparent from the way in which she pulls on the reins
and
turns
her
head
while
left
powerful
contrast to the profile view of the other under the goad
which
we
meet,
as
here,
the
it is
46
procession
wielding the
friezes
in
on the
the open air. Archaic clarity
is
replaced
by
The
world
had
The dramatic
between the
flat, inert
p.
42
tragic
as
naturally
to
the
Kleophrades
depicting
gods.
He
points
forward
to
most
before
painter
the
procession
of
the
wine-gods'
friends
is
unforgettably
of every
ivy
fashion to the
hero, and the
hero, who comes shyly up to her, wide-eyed at her
perfection and
two of them are
evident than
as
the
beings
the
richly
somewhat longer and her figure,
with
its
crested
the handles of
fine, precise and musical,
painter,
than
of
Dio-
The gradation in
to the
assisted by
looks darker than
the
shield
in
XI,
36
f.;
Just
and
jaws
of
and
of
of
art. In the
conceptions
of
it
great works, and the most perfect example is the Basle
amphora.
The
vessel.
equal importance.
^1^/2
The dominating building
on
pomegranate,
implicit
invites us to Uft
because of
the
Panaitios painter. His career
latter, but
a fertile school
what is his own work;
he
stands
at
the
free. But at times
takes
on
the
where
in Vienna, he pushes the sons of Priam, who are
putting on
and
Andromache
in
the
wonderful
the splendour and dignity
490.
The arbiter of the inside picture stands more freely in the
roimd than the group
his
it', and the inscription, painted
round the fine
in which the figure almost out-tops the frame reflects something
of the
fire of
and care of
jump is being practised
each side a bearded figure plays the pipes, dressed in
a
transparent,
embroidered
makes
by
the
oboe
for invention, especially
in
depicting
the
do
not
suit the drinking-cup's function, which was to be used at
symposia. On the
into
handles swing out
figures are
head
along
more
by
In front
of
the handle of
the handle dance ourw'ards,
the two further from
if in
the next
moment they
will exchange
Maenads carry
big thyrsi
Only
one
other
the girl
look
in the language
distinction of the
a panther skin
and a red
axis
of
with flowing
fashion in
Schwerin.
He
also
impression which
innovator must have made on this important workshop can still
be
imagined
goose
with
older
works.
The
His
preference
for
this
ing,
shows
that
between figure and back-
dominate the
radiant picture
tendril of
blossom in
over
an
expressive
tension.
Three
of
the
figures.
a supra-personal
the
individual
490
tech-
nique
the wonderful white-ground pictures
painter's
heads is
archaic painting
-Makron's, example.
warm, rich style of drawing and seeks instead the harmony
of pure
of
North
splendid innovation.
of nature
Pan,
painter
puts
whom
the
hero is
back again;
whose head he holds
turn people
tragic
death-
somewhat
old-fashioned
composition
tunes, or
painter.
About
575
the tubbier, more everyday
figures rise up in contrast to the
heavy, sinking
and
picture
lent
the
domination
of
The Pan painter's figures are full
of
character
surpasses
but
a
greyhound'
(Beazley).
The
Pan
middle of the century.
of the possibilities of large-
scale
he
at
first
an
were by the
create both articles sold by the
dozen
dressed hke
a queen throws herself unarmed at the victor's feet and lets herself be
stabbed
has
cast
as
is
not
conquered
by
Achilles
overpowered
her
victor
so
that
a
mortal wound in his own soul; his own death wiU soon
follow.
On
this cup the curious foreshortening of Achilles' left shoulder is
explain-
ed
by
straight
indicates that
she is
the real
hands
the organic
that the
480
solidity
is
even
somewhat
freer.
fills the whole
with the
amazing.
Of
similar
grandeur
killin
g
Tityos,
while
events
which were going on at that time in large-scale painting in the
circle
have
for
it
gives
the
front
the
grovmd-lines
on
which
actually
indicated.
already
disintegrating;
it
is
given its canon-
clear, the
foreshortenings
in with
the shadows
a
only
cup
helps
our
like
;
and
adopted
picture
of
large-scale
their famous
depicted Neoptolemus
hurling little
taken
refuge
on
the
altar
axes
of
more
athletes to be
gods or the mild throng of the wine god' or
'to wander where the
painter
in force
we are
large-scale Greek
had a
be gained
essays
on
Polygnotos'
pictures,
we came to understand
character
(ethos),
which
was
first
out of the
of
of
in
driving
up,
not
in
the
midst
of the race, and the east pediment at Olympia (about
460)
itself.
FIG.
1
5
after
the
slaughter
of
on a metope at Olympia, with
his
in
anticipation
of
should be
dated to
event
so
strong
that
Older
were
sculptor
from
statue-bases
that
he
and
which
works, the
paintings in
that of the
the solemn
a
certain
fate,
and
the
pictures
Wars. An
especially precious
Florentine
455
crater
the
seum. Previously
-
Nessus
and
Pholoe
adventures).
which in the pediments
The Centaurs
allow
them
to
lives.
Still
more
influenced.
fateful
energy,
in
a
in freedom to express
character is lost in
probably
to
be traced back to the Theseum, and the later ones to the
Painted
Porch.
Pausanias
of
of
probably
stimulated
the
reconstruction
of
the
the
the
against
the barbarians. Among
the pictures of the marriage of the Dioscuri, the fig. ii
one closest in date
some fragments
we see
and
characters,
tion
the
sophistication
than
the
paintings
of
Cnidians
67
porch, in which
that the pictures
began in
the Trojan War and one dealing
with the return of the
heroes, and
aspect
and
fated to accompany moments of
expansion
and
by
the
Lykaon
painter
showing
Odysseus'
with
fresh
the classical period as
Dante stands at the
beginning of the Renaissance.
altar whose sanctity
show
this
so
tranquil scene
We
may
imagine Helen from the Hippodameia on the east pediment at Olympia and re- fig.
14
member
Goethe's
interpretation:
again and
good, the sight of perfect beauty.' It
is
remarkable
Kleophrades
painter
(cf.
p.
52).
out of
a fairly large number of reciprocally balanced groups, rather than
as
as would appear from Pausanias' description.
Homer's
death
was
we are
of
him
this not
but for a significant selection depicted as
representatives of
of
glowed over the dead, while in the Iliupersis the gloom
of destiny
violent
deeds
and
such
the
fighting
The
pendant
to
Dioscuri had symbolized
Since then Athens
and Sparta had
purely
of the pediments of the temple
of
Zeus;
of making the
such a picture was the
sacred
stillness
above
cliffis of
Parnassus. But
which
determined the tone of the picture in the Painted
69
her
up
settlements
as
far
;
of
the
war
exemplary.
The
bronze
highly
idea
of
from the
confidendy attributed to
What
makes the attribution all the more convincing is that marble had
never been
temple
the island. The
Doric ideal
against
Troy
which individual characteristics are pushed into
the
back-
ground
Dorian nobility. All the details are most
carefully
concentrated
on
to the
What is
new about the east pediment can be seen most clearly in the fallen warrior
appx. pl.
5
in
the
left-hand
corner.
In
the ancient East only the enemy is portrayed as dead or
dying. The
Aeginetan has
exposed to the
fate of death.
his
tion is objectivized in
his
see
west pediment
strength
pediment stands out
6
through its own structure ; we can feel the strength of the crouching figure, who
touches
the ball of the foot. In
place of Attic
leads to the classical style, we meet radiant, unthinking energy.
Everyvi^here psychological
shield-bearers
and,
in
basis
the essential,
of intuitive
feminine
knowledge of what is right and proper linked to masculine wUl-power. Such ex-
pressiveness was
now was it possible to depict transitions from one
attitude
Everything
Aeginetan masters did not
life
Pindar
devoted to the past; Aeschylus
plates pp.
is more
15,
25,
65,
66
Pindar
we
archaic
Aegina
asserted
themselves
7>
comes,
Greeks' votive
hippodrome of Constantinople, unfortunately
tripod
in
Still
was Onatas, the
epigrams. Pausanias
has otherwise
a team of four
by Kalamis. The bases
who
held
in
with the lots in it. The variety of his themes
recalls
of
well.
classical period onwards that
Athens held the un-
had
and
the
Peloponnesians
preserved
show
and
the
The
decline
5
that have survived makes
of the reliefs on
same
style is
sisters. The
slender body
a
votive
arched,
vibrating
with
lips and
is lost;
that carries the work and
permits
a
world
pictures of Makron
Nike
by
Kallimachos
of
490
we
saw
liberation
from
from the
-
also belongs the noblest of the marble horses. It does not put its left leg forward,
like its archaic predecessors, but its right, like the
Critian Boy; like the latter,
it turns its head
bold
We meet
the bold spirit of these marble works again in the
buildings erected
not only
created the
Attic fleet, led it to the victory at Salamis and thus laid the
foundations
of
Attic
the classical
back
to
him.
age. A wide gate
made
graves of the Tyrant-slayers. The road was also used for
other events, such
the great
The idea
of an Acropolis dominated by the Parthenon preceded the victory over fig.
9
the
Persians.
This
the whole rock
to nature, as has
to give the temple the proportions in
relation to the rock citadel which
seem
the south side to take
the
than
10,000
cubic
was to be
over 200 feet
to exceed the
the three-aisled space
synthesis of
Doric and Ionic forms was as capricious as it was later on in.
the
classical
Parthenon
we
a
plan to build
the whole temple
was bound
the fig.
the original
plan of
Many schools
succumbed
Argns
after
500
to
the
remained
important,
had been
late
as
492
Cleomenes
of
opens on to the
the riches
the
Argive
thunderbolt,
probably
of
it
as
the
alexikakos
or
warder-off
of
a
the Argive school are the terracottas found
in sanctuaries, more particularly in
the Argive Heraeum
divided
into
a
lower part with vertical folds and a smooth upper part. Thus
the elements lie in
the two
tectonic symbol
inscriptions.
early
one.
carrying.
charm ;
its
greatness
and
based
on
laws
had
nothing
no question of
Greece was influenced
held
inherited
severity and thus worked as a beneficially conservative element in a
civilization that was developing
-
the
by
the multiplicity of
;
scenery
had
coUapsed
reveal
the
introduction with these words: '[The Apollo of the west pediment]
is
The inward
statues
on
the
temple
of
a higher world.
inside. In the Olympia
'painter's' way of modelling from the
surface in
made possible
the personal
Athens, was perhaps
work of
where the
groups
position
cases
assistance
must
the Centaurs
in their
Polygnotos took
feast seriously and combined
Centaurs
do not
power
triumphs,
had had
decision known with the imperious gesture of
his
hand, is
the human figure. Above
him on the apex of the temple hovered the goddess of
victory.
figure and
side
is
tensed
and
seventies with the firm structure of axes
as
it
as
-
red cloak
radiance of the
is
physical
wide open under
recalls
of
less plastically
modelled than
the Aeginetan
ones or
that
Apollo
that he
conceals important
of
extent
the
presence
the rape
becomes a
wooing. The
dramatic entwining
supports the bodies as if they had coalesced into one
single figure.
Centaur's head was garlanded and produces the effect of princely
nobility
as
already displays
a gaping
corresponded
of
is almost devoid
Buschor
tried
to
sculptures
pediment.
Just
as
the right the biting
responsible for the
and
stabbing
models of both
portrait of
and
Polygnotan
pictorial
of the
Zeus Master.
Centaurs
are
fully three-dimensional. One of them is ravishing a boy, the
cup-bearer
size of the muscular
hand of the Centaur in proportion to the body of the boy
which it is seizing
is
strangling
him,
in
in his curly hair and his
ears are swollen like a
boxer's.
to the Polygno-
clothing.
is pulled to the ground by
a
Lapith
left-hand
group
of
The
a mask,
corner
through them. Individually,
too, the forms
in
keeping
with
such
individuation
horror, is, from the
pediment. But in classical art expression
is not sur-
with the abiding
the fleeting
Of
these
four
effects and thus to re-
spond
no dualism
of light
Lapiths and strong noble
Peirithous.
He
carrying
daughter
Hippo-
Poseidon on the
the pins out
conclusively indicated
by Zeus's
put to the left
seal
his
the left replies
the
his hand and shares the serious
mood
of Pelops and Hippodameia, who are to the right of Zeus. It is only in this
arrangement that the
a
a
curious
mixture
charioteer
while
a
boy
are
many
action
in
a
the
straight
right
leg
is
balanced
lowered left hand,
of the
crossed
by
others
formed
by
hems
traditional
Heavily
on
the
idea
of
what
leg,
left upper arm
The
appears more clearly
maidenly peplos,
ending
the experience
one to
suppose. Hippodameia
drop
are needed
slightly relaxed.
Archaic gestures
pro^'ide
Classical attitudes
become the
met, in the
the
and
hems, which is somewhat reminiscent of Parian art. The same
delicacy of inner
again in Pelops'
flatiy
the Acropolis.
-
possibiUty was lost
Urpferd,
are piled
emotion,
age
had
Homer. The
Oenomaus.
We
children of
Pelops and
seer's
aster to come,
including the sad
behind
him.
in the painting of Polygnotos. Laius of Thebes loved and
abducted
He
is
given
painter's
invention
with
which
had employed bold
appx. pl. io
by
the
contrast
between
cloak
arm. The left
so
it
is
unconscious
on
the poin of breaking out in the excitement of the
boy's
pediment
to that of the Lapith women
in the
corners of
about on
corner
figures.
It
must
be the work of the sculptor of the wrestling group. In the
powerful
rhythm
of
with the
the
outline
of the
skuU and in the chin. The eyes are wide open, the
delicate mouth
be
blowing
serious and
there is
the
corner
and
thus
differs
and seems
to come. In
less
fully
before him
left corner,
a youth
perfectly
grandiose
a deeper
of
in the
Hippodameia glory
than
we
know
forcefully
in
colours,
the
bodies and the masses, from the solid centre right to the
comers, in
FIGS.
1
5-26
lead the
are
front
of
FIG.
38
The
For
the
aim is to understand the
destiny
metopes relate how through
archetype of all
cella:
the
victory
over
Geryon,
the underworld,
Augean
the countryside round Olympia.
renounces
any
any
a
head in
his hand,
of
Head, which may
choice
in
herself,
over her brow, small face, and
heavy eyeUds
which
have
an
deed
nine bodies, which grow
hand
Heracles
holds
the
curved
repulsive creature
Master again
here. In
the next
respectful
ones preserved
from the
a more
inward link
more
active
and
think
BuU
pediment;
of
the
Appx.
buU's head
becomes
a
series of the
labours
of Heracles had grown steadily more intense ; now it dies away
again in the less
of the
the east front, the
the defeat of Geryon
all the more precious.
Zeus Master. In the
the extraordinary
the tradition
to be
eaten. The
in
tragedy
carry
She
was
and
through
the
unification
of
by
their
common
burden,
and
the
two
men
by
out. The
Mature as the
design of this
the
ulation are unmistakable.
pieces
of
fig.
25
admirable maturity
emphasizes the inner
to
the
features of the heroes are
at
emotion, but to produce images of their timeless nature, to
understand
their
metope.
The
Augean
and the Adas metopes contrast with each other, not only in theme but
also
Oenomaus and Pelops groups
of the east pediment
In the
of
the fine modelling
whole
wanted to
show once
again the
who
labours had met each other shyly, have now become powerful
colleagues. Strong
emphasize the concluding scene, the
conse-
cration
of
from
plate
of
Athens
of
the
building
91
figs.
26,
24
FIGS.
never attained
and
and
age of the Olympia
of
history.
The
of Elis, has
Magna
Graecia
echo
the
pattern
helps us to N-isualize what
the huge building at Olympia must have been like.
Acquaintance with
the sculp-
-
the lofty steps,
yet not
Kronos.
The
the
older
buildings,
that
the
whole
Kronos. The height of the base still surprises the visitor
today,
although
above
the
steps
only
the
the
Zeus lend the rich, pleasant
landscape
the
struck
by
which can
made
the rectangle of base and
cella, which
thereby enter
into a
canonical
proportion
pillar
of
the
facade
while the front and back are aligned with the centre
of
the
of
to
two
columnations
(14
2
when he
in the of one of these slabs. These proportions extend
even
whole; it
up
by
..\lthough
Corinth
peaceful shipping route
character
of their own which is different from that of Corinth. The city
was
famous
sculptors in bronze about
bronze one
the cedar-wood
Apollo at
three Muses.
generations.
Fourth-cenwry
Sicyonian
as they
from Corinth.
with Argos
rather than
with Corinth.
The characteristics
of the
Sicyon but
over and
the city of Aphrodite
Corfu
busy life
of the
which
gives
influences. Thus statuettes of maidens from Corinth usually wear the
Ionian chiton, not
Sicyon.
Fortunately
important
finds
most important of these are the large-scale
terracotta
of
Hera
precious are the
small bronzes, particularly
con-
stylistic
are worthy of admiration for their technique
alone. Since the
of
the
-
ivory-like
turn
of
and
saw the unity
and
gods.
particular group
Ganymede
gleam of inner
provided by
Zeus is not yet attained.
The
the stage
flourishing town, whose art was
admired
this
period
has
Persian Wars,
Sparta had
artistic
creation.
be
that
tripods which Gitiades
made in collaboration with Kalon ofAegina for the sanctuary of
ApoUo
marble
1
9
2
5
on
ed
can have stood in the open only for short time ;
traces
held out defensively in
the left shoulder-blade
sharp
ridge
chest muscle is led steeply behind to the
shoulder, so
the right
determination, the
pressed lips.
about
masses are swallowed
to
is the
nevertheless
almost
simpUfication
gives us
some idea
in this
their
art, is one
not so rugged
flourishing
Ionia only the Parian
made its
even on the
the
Persians,
works
found
there,
and
We
notos, from Samos
for
significant
of Sicyon. A certain
other islands we
fifth century. Among
possibly came from
and Thrasymedes, the
the
was one. In
particularly big
Doves
found
Vatican is
particularly well
preserved; its
him
an
oil
flask.
Ionic
figure
is
combined
made of
on
splendid
Its sculptor advanced
follow the loosening
which
The
was bent
Polykleitos' Doryphoros.
a votive offering by the
victorious
Greeks
Cape
Mycale
in
479
b.c.
At
that
reminiscent of the
But the Dorian model, as in the Delian
torsos, is reflected more in the splendour of the work than
in
the
a
work corresponds more than any other
Ionian figure to the
of
its
mountains,
influence.
Olympia the
the services
Cyrene but
the fine
visitor finds
raised
kantharos.
Its
sculptor
reliefs
had worked
at Olympia.
dialect and the city was
regarded
as
a
Spartan
foundation.
influence of
Paros ; and
in the
fifth century
also under that of Athens. It did not join the Athenian
confed-
eracy,
existence
examples were found, in
themes
reflect
indepen-
an important
of Athens
exquisite piece
Louvre. Some idea
Colophon
is
given
by
terracottas
from
from the Sea ;
it is also
special art
podium
with
the
art
does
more
to
testify
to
architecture and
exiled
taste and
in
Alexander's expedition. From
inferences about the
Phrygia
rich finds have come to light at Xanthos
in Lycia;
the
fifth
Harpy
all four sides: the relatives of
the dead, now heroes, approach them with
gifts
(cf.
also
p.
178
ff).
Of
the
from purely local disturbances.
It is true that in the field of art AeoUa was al-
ways
situation there have been
no less
be observed.
early fifth
a
pair
of
roof terracottas
was formed
by the
Phocaea is placed by
All we
came
from
Boeotia.
for an artistic
centre here, though
To
judge
the
more
links
with Boeotia. In his
all
After
479
B.C.
remained famous: the
the
Acropohs, which
made of gold
his horses
were particularly
about
his
Attic
were
in the theatre of
Dionysus
at Athens, together with an on^ihalos, whence the statue is
known
as
this
it
akin to the most
the interpretation. The
force of the
older
thunderbolt-
muscles
bead that
sea-god who
His
tempest
and
raging
countenance has a
the Omphalos
not even in
Gardens; on
power of
Round the works of
is Kalamis
boding in his peaceful scenes, and in all
this
to him in
account as well,
from the smallest to
portrayed
of
life,
but
acquainted is
apparent in
Border regions
we
turn
from
the
in
630
by
4
but
it
Dorian
islands,
native
Dorian
it. Nevertheless,
numerous originals
and heads
Miletus.
bold
expansion
were drawn to the
there. Particularly
on the model of the temple
of at Olympia. In
the temple on Delos which was
designed
as
built as a Doric one (Fig.
66).
But
at
Acragas
and
buildings
biggest
as
a
Samian,
sanctuaries
Arcadia. Since
the
of
famous for
its coins
Athens and
Berlin is comparable
mother country,
where people
boundaries
probably let into a
of
gold.
splendour
with
distinguished from the Berlin
conception, which in the fate of
Demeter's
the whole
full
and
austere.
When
Naxos, which after only four years was able to send
out settlers to found the
daughter
690
Chalcidians
and in
through
Wars,
when
more and more
in
utensils from
a
Throne, which
features are so reminiscent of the
old
woman
Throne is explained by
was
created
some
thirty
the island
town, with
its narrow,
in
southern
Italy
the
river-god
Achelous.
Corinthian
Syracuse
as Spartan
attitude the
typically Syracusan is more difficult to grasp or define than work
from
from Syracuse
be
found
by
artists
temple
little more old-fashioned
the
technique. There were
female beings.
In the
east metopes,
in
significance
of
the
her
forearm.
The
captivate Zeus
himation
her
head.
She
is
so
glorious
his cloak has sUpped
mouth is slightly open.
Only the toes of
forward, leaning
on his
arm indicates resistance.
on it rests
all
the
more
powerfully
of
Athens. But never again have there been such simple, unbroken gestures;
and
in
the
Peloponnesian
War,
Mnesikles
erected
period. After the Peace
Athena Nike was finished
408
the
have
been
style, a
transitional style
adorned
according to whether
to the
metopes, the frieze or the pediments. The Caryatids of the Erech-
theum
reference. Here the
the Orpheus reUef
of
the Parthenon and the east pediment than with the west pediment, the centre
of
which
of contemporary sculptors:
form
we
considerable
opposition
that
his vision into
Themistocles had begun
no
only
through
He
then
temples destroyed
layout
of
for the efflorescence of
the
ground
must
be
in
a
universally
favourable
how
to
did a
of
perfect there has ever been.
In this
powers
was now the task of painting to cover
great
areas
which was
painted in
all we know of it is that perspective remained subordinate
to the
far from classical in
followed
his mother.
That was
why he
hair points to
breast he
leans his
left
the
painter
scene,
and
the
whole
earthly
destiny
guUt that Euphorbos and Oedipus
err,
even
of the erectness of
; the picture cannot have been
painted long after
significant
that
we
already
meet
which
in
sculpture
draperies
for
which
the way for
Achilles painter reflect greatness
'LATE p.
Bosanquet
painter,
colours of
same as
understood
is
a
tall
stele,
comes
a
and
libation-cup;
in all his beauty
carries
ephebus serving in the frontier guard. Above
on
jug, as if
The whole
phiale were customary. Thus
a
purer,
more
also
the
wonderful
simplicity
and
follows
the
It is very
solving
the
fabulous monsters,
lekythoi destined for
Oedipus, the dead man has solved the riddle of life ;
for him there
picture of Elpenor's
appearance before Odysseus,
of large-
the overgrown cliff, and how the
blood
In the
deepened
in
a
drinking-cup in
He
has
not
or after the deed,
as the severe style
the master of
axes, so
that no marksman
of death. .
to the details of the epic
account
the horror
prudence
the
many
Orpheus
with closed
eyes, the
so
strik-
and
113,
115,
153
^ hile Pheidias
flow of
the relations
between mother
and chUd,
experience of this
of Apollo
So far
as Pheidias
played
creation of the
to
Iktinos
and
Kallikrates
and
the
the central
extended thirteen
temples and
which competed in size
out the building
which distinguishes
Ionian art.
passages. In addition, six columns
stand
to the
multiplicity of
simply shallow
pilasters, while
left room for only
capitals, and
the rectangular west
well
as
The
width
of
the
34^/2
feet. The
and
helps
an
entablature. What
27
Olympia,
is
slabs
of
stood
the
application
of
the
ends
and sides of the stylobate, and between the height (up to the geison) and width
of the
closer
together
adopted
in
the
cause
of
of
proportion
8^
: 18
2,
thinking
of
Pericles'
in
measured
they are bound up, in an incredibly delicate way, with
the
AU
this
archaic stylobates, and in Magna Graecia at that time columns
had
bulged
con-
was the first building
the pediment. Since aU the joints are vertical, all the
blocks and sections
had to be shaped like trapezia, each of them with
different angles. In
that
119
ornaments,
and
geisons
of the architrave
were red, too,
on the edge
recurs
shimmering
life
tradition.
Just
architecture fulfils the promise of the Parthenon's predecessors, so the
sculpture sums up Attic tradition,
with the same
high;
37
feet
a
created
same
to
on
the temple in the metopes, again in
the
battle
with
fig.
34
handing
over
of
the
robe
goddess.
divine
the
lack
of
measure
today more than ever. That is
why the struggle
the Athenians over the
goddess's soles
could be
up the mountain of
than the vast
We too can grasp these
small pictures
and constraint.
Pheidias
with
a
large
The sculptor did not destroy tradition ; he
gave
it
a
who
the
citadel
was
girded
a
was supported
of the Corinthian
which the goddess of
style
the real victor over
without whom
Poseidon
likewise facing inward, Apollo
Dionysus and Ares, and
husband Hephaestus and Helios. The composition
unified the alternation of metope
and triglyph
happenings with
Anaxagoras'
itself in the laws which govern
everything that happens.
plate
p. 128
metopes of the south side seem to have depicted, according to old
drawings, the
brought victory, as
she did in the battles of the Greeks against the Trojans depicted
in the north metopes.
its gods.
175-
yard-long
frieze
the
figs.
56,
37
themes like this had been confined to small votive reliefs. The monumental treat-
ment was unparalleled; in older art only processions
of gods are
familiar to
showing
altogether,
include
14
gods
and
14
was divided.
was taken up
the last quarter
frieze
is
of
pomp
lend a
little glory
perfection of classical life
that men and animals,
whose birthday was also celebrated at the Panathenaea.
To
deal
on
the centre.
life
the morning of
a
him
from
moving and sparkling
hke a swift
ray
of Ught, from Roman copies, and finally the Nike that crowned the composition
from
a
are
a
the secret
that
is
probably
Leto,
who
has
already
the
with night.
earth it demands
the
picture.
spot
of
trident into the
start
as the daemonic
us
powerful Being; now they execute it.
The
dispute
in
older
took a
ates
the world as embodied in concrete figures. When he shows the birth from the
head of Zeus,
block to early
a
higher,
inward.
PLATE
30
east
pediment
by cosmic collaboration. Everything is shaped
by the goddess
something heavenly
metopes to the
was
pediments. We should also
Olympia.
Pheidias' design
the
being conditioned
by the
tensions which
are the
in the way
tops
a
Pheidias was the
are at the
this
first to
higher order, the
cosmic events.
the
others;
he
in
figs.
36,
38
order
Zeus in the temple at
Olympia seemed to burst the narrow
space. But he does not look so solemn as he
did
there.
His
cloak
has
slipped from his shoulders, his left arm is resting com-
fortably on the arm of the
throne,
his lap. Hera is unveiling
herself, facing Zeus like a bride, as glorious as on the
first day of their marriage, and Zeus looks at
her
in
admiration:
by
the
language
of
their
from the present
and robe
power-
fully
on
a
soft
in festive
petasos,
staff. All
these figures
have an
Ionian softness
about their
though
37
corresponding
his
right
give
her
a
look
of
superiority;
from
Parthenon.
448-442
of his
mother
of
a
proud
glance
that
reflects
the
its secret, love,
is intensified
dite and those of
sexuality. This
so
events of the
gods,
of men.
of the
whole frieze.
the
procession
has brought, to a servant to look after. The outward
events
could
sex of the
them
a
man
of
the
;
in
the
east
metopes and in the middle of the east frieze ; they are clearer here than in the terribly
disfigured centre
of the
are
have
deep
And
In the whole composition
owes to it.
PLATE
p.
1
20
by
the
equilibrium
offerees.
Thompson
are far
removed from
birth of Athena.
on
to create the Last
of the west pediment from the active
tension between
the two
new
lightness,
a
new
glimpsed before,
as the
Hadrian.
Their
style
shows
that the Zeus was created after the Athena Parthenos. This
is confirmed
moulds
of
theme
evidence.
In his Zeus, as in the Athena Parthenos, Pheidias created a
new type of cult
display Homer's Zeus,
and
the
classical
Zeus
In
comparison
with
was
a
square
side,
were
and
ivory, the
cloak of gold; the latter was adorned with lilies, the lightning
flowers, in glass
too,
was
covered
in
the
Parthenon,
sculpture
although this was
5
of
at
Pasargadai
about
530;
Mnesikles
the Erechtheum may
majesty
classical period's last
of
Zeus
;
philosophy, on the other
hand, awoke the feehng that the stern and fateful found purer expression
in the
With this in mind Dio Chrysostom, in a speech in
90
and
the
;
and powerful portrait of God
the
presence
of
the
Olympians,
the adornment of
copies of ebony
mystery were
39
less
feels
more
of
the
surround-
ing
life
grandiose and
the surrounding world; the
Pheidias'
Parthenon
was
in
stood
fully mirrored
in the
statue at Kassel. The Apollo from the Tiber in the Terme
Museum
at Rome seems to be the work of a different sculptor, but
one
closely
akin
copies
the Acropolis, whose shield
classical
dedicated about
of the
body in
Dresden. Pheidias'
wounded
artists of any other
Middle Ages
be
They
the
individual
155
signatures
and
of
writings
reconstructed
Pliny and Quintilian. Other
ses; that of Pausanias has been preserved.
With
this
case
of
possess
what
noble
minds
so
could
and his works
the
great
In
420
he
made
subsidiary
sculptures.
Her
diadem
held a
a
ed Hera.
Pelion.
and on a relief from
Argos the
youths with
effigies
Achilleae.
The
invention gives the impression of the fulfilment of an idea that
until
then
had
been
in
bronze
original. The leg carrying no weight is free and placed a
Little
behind ;
only
the
tip
of
the foot
touches the ground and the whole body is more loosely articulated.
This
that is, squarely and firmly constructed, and resembled each other
paene ad unum exemplum. Quintilian
praises
their
of gods.
Contemporaries were
and ceaselessly,
of
for the first time, as
archetypes which
architect
and
theoretician
except in
figure. Buschor
has put
it well:
the
radiant
prince
trammelled pride
in
addition
brighter light,
copy
which however
duced many
different modulations
set of
was put
frequent than subjects
Diskobolos, in
fact it was this attitude that the young
victor
statues
heroes in situations in
works of Polykleitos remind us of the
fragments
measurable
which a
artist's secret. In
the indispensable
proportion which
separate statues even
that of Polykleitos.
young
men
of
the
Protagoras.
In
our
shaped
life
a dedication
master of
make
stance
more
perceive
this
music
in
running
of
whose
temple
This cannot
do
Capitoline
Parthenon frieze.
cubic construction is Dorian
motif is
hand takes the
chiton from
the right breast, the right holds up the spear. Furr«'angler
called
this
head,
with
the
'unspeakably
sad'
lines
mouth, one
at the
chiton has
end into her belt, so as to
leave
the
wound
free because she
stands before the
The head faced the
is
typical
in which the
the
marble
is
more
Amazon does the
same is true of
the
narrow
forms
of
the
rhythms. The wound under
the right shoulder is
is
taken
less
statues were therefore
be
conceived
in
too
powerful
a
the
are female, but only
because
they saw
in woman
the human being rather than the gender. Thus art could dare the
impossible and
charm,
outstripping
nature
herself.
The
classical
period
discovered
can
in a woman when
she is in an attitude of rest. Even the Penthesilea plate
p.
65
of
of female but of
Of the
been preser\'ed in copies:
his
marble copies, a
of Being. In their slender
mobility
as
the face
Myron's
group consisting of
flute.
of
the
which Athena
had been the
inventor but had thrown the pipes away again as unworthy of
her.
on them with ApoUo.
among
the
she held
fright,
raises
his
one side, as
the front
of the
figure with
and measure.
The opposite
of
the
Tyrant-slayers.
There,
in
style,
necessi-
of
and
Time
the effect
plane
by
the
he makes the goddess stiU more maidenly, still more homely,
without her aegis, and
human existence. Before the group was
known,
no
one
could
have
dreamed
fine,
produced and that
intact, with
undamaged
that they
are the
the
The
impression
of
restricted
music,
which
also
be
some time
the
profoundest observ^ations ever made on Greek art: 'It is the idea and aim
of the
Greeks to
morphism,
not
anthropomorphism
; moreover,
high
philosophical
is linked
important aspect of
appearance
sees the mystery of life in a
more
some-
nobility of the gods. Myron gives all his the
gestures
sanctification
of
existence,
the
laws
of
Athena.
Moreover,
we
No other Greek
left
449;
after
421.
The
bases
temple on
temple is extended like
given a classical modulation.
by the
oldest
Ionic
running
round
and
thus assisting the classical unity of the temple proper. It showed the Pelasgians
abducting Attic women at the feast of the lesser
Mysteries ;
The organic
attained, and we
in comparison
godhead
mysteries
Parthenon period the temple
style
of
battle
between
proportions of
Parthenon
the
The
that
one
is
the
slenderness
by
The
Ionian
masons
at
the
architect
a
length
of
the
is
colonnade
Hephaesteum
it
which
was
of
of
axis
of
the
of the second
intercolumnation. The effect
ante-room was still further enhanced inside
the
cella
ment can
the
Athens. This building,
FIG.
44
About B.C.
model. Many
of the
differences may
be explained
building ; they
are, as
it were,
ber«-een the columns
as at
further emphasis by
by metopes carved in
relief and on the inside by the frieze over the front of the cella.
The
idea
sides was taken over from the
Parthenon when
of the
be
columns
by
the
in
other
one
gets
with
the
rich
statues were not
fine than
weakness in the
we
may
Athene.
Ares was, as
Fames.
sanctuary of Ares
the fourth century
in the market-place of
ancient
monuments
in
as the temple of
of Nemesis at Rhamnus. Its ruins are
well
Agorakritos.
To
judge
by
state because the work
was interrupted by the
of the ceUa front
has
been
influence
the classical fashion, as
has Doric
a different material,
in space corresponded more or less to that at Sunium,
but it was confined to the front.
So
far
Athens are concerned,
the Greeks
had captured
roof
of
several rows
of columns, like that of the Hall of Initiation at Eleusis, the most
grandiose
building,
region.
by the better preserved
rock
made subordinate to
divine
nature.
like
a
peristyle
temple,
In
because
Doric
columns
between
antae,
West,
planning
starts
sections of
of
2 :
3
to
and smaller Doric orders and their
ante-rooms,
to
let
the
no
Parthenon, the fagade of
two
aisles are
longest in existence.
for the
sanctuary, for the purpose of visiting a sanctuary was to
achieve spiri-
are finely
level
columns in
their controlled elastic power and fuUness, are the greatest Ionic ones known to
us.
plastic
life
of
devoid
of
five
openings,
of the
by
the
led here through a series of spaces
and
what
unity
stretch
hand,
are
porch was
a
new
reminiscent
in
it.
Unfortunately
a colonnade
consisted
of
In
Cimon's
be
supported
joined
daylight
could
be
admitted.
doors
on
really
a
of
mathematical
to the direction
of the design
elements
orthostates
the
space
had
no value in itself but could only be understood as an extended
ante-
ever been.
and Agorakritos, who
discussed
Outside Athens
section) remain
regions the artistic
is also a
that
of
the
we
compared
with
the
picture
recent
times
in
the
Far
East.
lights
stretching out his hand to Athena, with whom he is
freshly linked by the
as
compared
view
421
and
414
and
finished
from
409
to
406.
from
about
420,
the
'rich'
style.
Above an inscription set up by the treasurers of Athena in
409
Athena
the sacred olive-tree, and they are given an amazingly fresh
treatment: the rhythm
attitude found
its most
of
dating from about
the multiplicity of
between
can be
gods and nymphs
in Euripides, and
Cloud-cuckoo-land and other
of
Aristophanes.
the balustrade of the Nike temple, which were probably also
executed
assign to this
we compare
gives
the
floating
and
end of the Peloponnesian
War and the attempts
to find support in
reUefs
of
solemn
of
are no longer confronted with the interplay of physical
forces
among
order.
Just
as
for
of
the
rich
as a whole and
to
we are at the
who fell before
warriors with their
Albani at
here
the
almost
free-standing
figures stand out from the background in such a way that the
illusion of
The
and consonances is reminiscent
naked bodies, reflect a plasticity which was quickly to lead
artists beyond the rich
balustrade,
on
the
the whole
white-ground lekythoi by
amazing what an illusion
one can
the
painter is based on a lost picture
which
modified
to
suit
the
taste
the
Amphitrite
behaved daughters, and Poseidon, the proud father, comfortably reclining
on a couch. Eros' difficulty with the heavy amphora from which he is pouring
wine into the mixing-bowl is
a detail
the big
such
a
;
impetus. On
the other
home of
the painter
colours
of
more
tragedy often
that
placed in the
FIG.
48
PLATE
p.
191
155
Eretria painter illustrated on
the way
alter-
artistic methods.
senses, Parrhasios in purple and gold, for
he
gradation of
He gave
the face
delicacy of
have
ob-
served.
have drawn
he
the inner
is to be
simulating
madness
sweat;
such
a
way
aU
best notion
to be
Boreas, a
Centaur mother with her
something unusual
and strange;
unique.
The
beguiling
softness
of
vase-paintings
in
the
a
character
study
p
in.
Cf.
p.
1/4.
M7
price for them
could be found.
in Sicyon, is said
on which
degree the gift
His paintings
If we survey
what we now
potter of the
and
artistry,
conversed
and Procne
age.
Written
information
about
sculptors;
of
or Sophocles.
The
abundant
information about the painters also sheds new light on the sculptors, to
whom
we
now
Athenian;
of
in
son Itys
in
the
rhythmical
430,
ordinate
Procne's
heavy
drapery
of
the
work:
Procne
disturbances of the
reproductions.
same time did not
copy
craftsman, the concentration precedes
the Athena
about
570.
The
relief
Erichthonios, which
of
on
Nemesis
of
The Earth Mother has
her robe
group was
Olympian world
traced in the most
by
and counter-effect,
Labours of
Heracles'
to the right Heracles, to the
left
Athena,
and as akroterion two
life
only
the
redeemed
hero.
If
the new conception, a
Alkamenes'
popular
in the pediment scene
not lie on the act of installation, so gaily and
splendidly depicted
result, the Olympian existence of the redeemed hero, now released
from
all
to the hope
a little looser and
impression
than
period
the
by groups of
unique, at
events in the
drapery,
At
have less power and have become more objects of
figs.
36,
37
understanding.
warriors seem
the violence and pictorial wealth of
the
later
through so
from
large-scale
painting
Soon after the Peace of
Nicias
ivory
statue
of
Dionysus
Eleuthereus
for
the
god's
sanctuary,
of
9
not to have
us
in
not
occur
until after the Peloponnesian War, curious as it may seem that
a
particular
Alkamenes' psychological brand of art.
Another highly celebrated cult statue of this period is not direcdy
attributed to
Alkamenes, but
in fact
of a god who feels with men.
He
show him. Through
much pure
simple
men.
We
have
become involved
That
the
inexorable
spirit he
tinguished
from
indebted
161
the Athena
those
The
best
idea
in modern casts. Here the
goddess herself
eyes of an
her; she is in the grip of an inward emotion,
Hke the gods in the frieze
of
oldest of
works and
work
as if it were created directly after the Aphrodite on
the east pedi-
The
relationship
clinging
and
have
we see
existence but
indeed, people have been reminded of Euripides' Phaedra, the woman
in
the
grip
of
unveils
herself
and
looks
Aphrodite
the
ancient
interplay of
has also established that Alka-
menes was
numer-
psychological
and the
a refinement in the
the release
became
possible,
but
once. The
lovers are already near to the light of day when Orpheus
can no longer
contain himself and
lays
her
left
hand
but Hermes steps up
his right hand and seizes her right wrist to lead
her
to her by the
summed up
in the play of the hands that meet each other. By his size,
his
austere
profile
and
the
solemn
a
even in the Iliad the quiet but sinisterly powerful approach
of the
parent
Medea, who stands
busy
Orpheus
relief
But he does not equal the other sculptor in wealth
of inner
emotion; the
oldest
sr\le of the Nike balustrade; indeed, the light, swinging,
standing
to
put together
the amiability
Pheidias'
spiritual
follows all
of Zeus at Olympia,
by
With
the
in
reminds us of
be
a
before
boldly
particularly appropriate to
flourishing life.
The tragic
and wounded men and
of
figures
appears
too, the
central figure
the bearer of unforesee-
able fate, in this case Pandora. But Pheidias had surrounded her
with
with the more earnest
The
reliefs
have
the rich
voluptuous seeking after effect and momentary excitement. There is a
clear intensification
Tyndareus on
the left
Menelaus
In
contrast with the duller youths' heads are the great features of
Helen,
with
The efforts
the cult
of the
cloak, which, held
of Olympian
libation
the
power
of
FIGS.
57-59
period
the
sculptor
chantment with
the dignity
of the
the
frieze
same is true
They
are
there
is
of the relief chimes in as an extended gap and
helps to
a
balustrade
in
the
classical
of
victory
sacrifice
worship in the
presence of the
but
again and
the
rich
Nemesis; they play
in
the
festive enthusiasm,
classical style was to
ob-
to be able to
is
important sculptor
They
contribute
to
kritos. The
stand almost perpendicular on
the draperies are, as it were,
blown
korai
we
find
the
long, double-edged
folds. In
dichotomy between body and drapery,
in
that
of the body
that virtuosity played
an important part
in music in
colourful play of the draperies and the swing of the
bodies, but
as a
tombstone now share
sculptors of
bond
as
it
were
drapery and
appear as precious
the casket
a sort of symbol of the sweet dream of Ufe.
And the epitaph on
these people is just the
immortality
of
and
beheld
For
Agorakritos we have
of
Pheidias
at
only
running drill
on that part of
some
of
the
the case
with Pheidias,
and this
is explained by his share in the marble sculptures of the
Parthenon.
—
Corinthian capital.
The Erechtheum
passage
sheltered
north
looked out on the
idea
of
assembling
ancient
that the building
refinement
ordinary
people
of
Athens
and
idols. The
counterbalanced by
an
architrave
divided
into
three
fascias
of
Attica,
The
baldachin-like
light lie the
in the north
has been given
precious
wooden
coffered
ceilings
may
also
be
due
finished stone
west porticos were
still the rough and the entablature and roof had not
yet
from
paid one drachma a day. The fluting of each
of
the
There
Cecrops,
containing the child
keeping. Then there
were found. Thus
the Cary^atids
goddess. Their
mirror takes
over instead.
Thus the
the law
and
weighing
down.
The
bearing
element
of
the
right-hand
between
if
we
are
However,
design
mention a fairly large
paper
one
flies from the right announcing victory. The sculptor describes him-
self in the
inscription on the base as Paionios of Mende, a colony of Eretria on the
promontory
was
Dorian
bases are low. The boldness of the marble work, too, is
Ionian:
it
is
was
for
almost
a
thousand
the
entirely
approach
the
task
goddess borne up
obliquely like a
bird in the
the captured ship
replaced
by
which
would
pink
on
the
Phigalia,
in the
of
Nike of Paionios than with
the
Nike
more
heroic
than
of the Parthenon
rich style. The work
the originality
dear to
statue
where
the
trapezium
is
central
space
the
proportion
6:15
there such
as served
exceptionally awe-inspiring
still further intensified
and a more slender, free-standing
Corinthian column between the last pair lent a
solemn emphasis
to the cult statue.
The Ionic and Doric orders had been combined before, but they
had
equally slender. The
There
is
no entasis and the columns are not inclined at all. But the most distinctive
feature
is
has the effect
a
whole. The wonderful frieze that runs all round the chamber is in
keeping
with
significant new leading motif: ApoUo and Artemis
appear
driving
machina in Euripides,
the old-fashioned statue of the
god (Appendix
must have affected
those who came
just as
cult
statue
of
true, an
end in
classical period
and
at
Eleusis.
By
enlarging
ceilings
deep
for
'healing
sleep'
and
pediment
a Greek pulling
an Amazon from
in the west
period made the
by
different colours. Bodies are cunningly
twisted,
to the
point of
and drapery.
Artists seek to capture the impalpable, the momentary, the individual, instead
of
they
the
in
his
and experience.
made its
For
supernatural reahties. It was to be the task of the
late
Xanthos
Anatolian
client
work
rulers of
their
sarcophagi, but
sometimes supported
this is
unusual. The
cella was
local
of Ionian
and
the
scenes
of
showed
batties
and
the
honour of
the dead,
dress ;
and
is depicted in considerable
frieze
the
sculpture
is
amazing
storming-
ladder
The
unusual
complex of buildings
Agatharchos
Thus in this relief the intangibility
of space is carefully avoided;
yet to
ourselves to the idea that central perspective
is only a special
of
by
who can
the
more old-fashioned
supple
they surpass the Nike of Paionios,
which can
Alcibiades' last
is Boreas
abducting Oreithyia.
Here a
unity of
with plastic articulation: arms
—
feeling
ringing,
swinging
movement,
the
sky over
effect on the beholder. It was intended
to
remind
the
Boreas
group,
the
of the temple of
enlargement
to
the
Propylaea,
with
its
wing
buildings.
Indeed, the conception received even greater emphasis than the wings
of the Propylaea,
dominated
by
the
rock
and
a
at
ceremonies
in
the door the most famous
of the friezes
attentions of
hunts.
in
on
sculptures of the
Parthenon and other
and it
side. This
a many-sided
picture of
recognizable
lope, so
record relief
harmoniously disposed
figures ; for
were to
scene does
may surmise to
with
pointed
deepen. To
the left a bearded warrior prays before a temple which can
be
The contrast
the
panther
under
To
out
struggle for Troy.
unrecognized. People regarded
large-scale painting of the
us
work
of
clear
articulation,
but
the
life
on a large scale with many figures
and
depicted
says
the
incorporeal.'
the late
of
sculpture
and
painting;
it
combines
the
magic
achieves
demands for his state
fact did
appear again
late
its
give life
meaning and
style had been sceptical
like the harmony
of the age of tragedy; it corresponds to the ideas
of
philosophy
of
the
polished
important
as
idea of
battle
that
has
a
to this process.
ivory,
built. In
the century
the
Peloponnesian
War
Athens
had
suffered
thrifty, clever statesman Lycurgus
Dionysus at
remained
a
is typical of
with levies
plate
p.
171
of
renewal later of
the form that
courtyard or
best
the
neighbouring Macedonian town
From his campaigns
which the second Attic maritime
con-
of
Alexander
the
Great
(323).
The new Attic confederacy was not a new creation like the first, which
Themistocles had
else in the late classical period, to emulate the example
of days gone
smaller
islands
reliefs.
classical
style
change in
too.
classical art are fuller than
those for any
possess a
and
a
richer
literary
tradition.
obscure,
or from the middle of the fourth century. Our
important reference points
can
compare
possi-
bilities
more
freely
arrange in a logical
beautiful
of
which was
new stj'le dawning like a new day. On the
left-hand
side
divine women before him, the
Nymph of the
of the
with her left
classical period
; the late
models
of
the
great
age
atmospheric effect, a
times that space
forms a counter-
plastically
linear,
the classical
style space
states
appx.
pl.
49
thunderbolt,
which
case
Zeus,
as
be
taken
of
appx. pl.
and fuller
stiU
lack
the
fullness
350
in
the
sculptures
plate
p.
209
of
53
at
Ephesus.
The
fine
record
relief
of
3
5
5
from
plate
right sits Apollo
her,
Athena
which
produces
all the more
We possess four replicas, obviously all Roman, of a marble throne which shows
on
tendrils
a
hieratic
art.
The
to avert the
danger of the
defeat
of
Chaeronea
in
338
meant to prevent
that
was cut down,
record reliefs is up-to-date:
are
few
grave
330.
Chaeronea in
that to erect
one puts
whom
honoured
swing
had
were
surprising expressive
Draperies as rigid as metal suppress
the organic Ufe
all too
Sidon. Pentelic
marble. About
a world
only
Plato's
ual must adapt himself. It
is amazing
in
the
by
side,
yet
the divinities, for aU their rhythmical construction.
Appx. PL.
of the
also in the
Alexander the Great
for the last
and their
Tegea.
In
and that of
classical style, all from the same
cemetery, and
of small
same
time
terracottas,
—
bronze work,
in the
limestone reliefs
and terracotta
bronze mirrors from
at Athens, too, classical toreutics flourished right down to the
time
seem in fact to be Attic,
and metal reliefs from
A grandiose
bronze volute
540,
and
plastic freedom distinguished
architectonic bond
of the classical
style can be
can
be
of
the
first
the httle
and the
verticals are
father, who
stick in his
dead man, who in
old man's
these are
con-
variations on it, in
is less consistently
grave reliefs from the
preserved
surpass all earlier
Athens
defended
her
values
PLATE
p.
191
all South
There
classical
surfaces which were
painting.
The
paintings
vessel.
the figures
who stirs his golden
wings on the left.
the classical
period, nor
style. Praxiteles'
about
3
This sort of
school stand in the
was
praised
in the heroes of Sophocles: it is an ideal that is
in
sharp
the
example
Euphranor of
He
metal and marble, and also produced small-scale works: there were
chased
wrote on symmetry and the use of colour. Pliny calls
him *an exceptionally active teacher and
artist, distinguished
in every
branch of
says
he was the first to portray heroes in their true dignity.
Euphranor
of Athens. These included
;
in the
of the
connect the most
in good
and gangway
the dihgent
by dissonant contrasts,
the
brighter
green of the servant's
her.
the hand
To
attributed two
pictures preserv'-ed in less good Roman copies and mentioned by Pliny: lo, the
beloved
Perseus.
sarcophagus
the
in with the late classical st}4e's partiality for
relief
as
opposed
also informed that
Nikias not only
handsome
painting,
Achilles,
hke
Alexander
must be the
so
vividly
that
tent
Achilles is
not angry,
does
not
Stabiae.
The
to have
practised drawing
find
on a
departed.
Protogenes
everything but
in this Europa: the
risen from the
particvdar liking for the
partiality
for
circular
this statue in its
the
special
the sima or
colonnade, so
that each
building.
the
Iktinos,
and
the
small
is
missing,
does
painting, fluttering
tightly to the
slender limbs, even
if the sparing hnes and plasticity of the Corcyra relief are not
yet quite attained. Everywhere
of a fresh
only
be
deduced
the
execution
hostel,
the
place of the
sculptures
did
distinguish
the temple as the noblest of the bviildings, the shrine containing
the gold and ivory
longer saw the
citizen leaning on
give
expression
Olympia,
the
by
a
rounded
contrast
to
Olympia
there
mighty
statue
completely
domi-
nated
the
interior