See also:

• GREEK
• GREEK, ETRUSCAN AND

The Rediscovery of Greek Art.—The visible See also:

• WORKS

The second See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

More recently See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

See also:

• ARCHAEOLOGY (from Gr. &pxa1a, ancient things, and Xoyos, theory or science)

One instance may serve to See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

The extreme simplicity and thorough rationality of Greek art make it an unrivalled field for the training and exercise of the faculties which go to the making of the art-critic and art historian. 2. The See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

Such forms as the See also:

• CUBE (Gr. K46os, a cube)

Thus when a place had been found for the statue, which stood for the presence of the god, for the small altar of See also:

• INCENSE

For example, the temple must have two pediments and two porches, and on its sides and fronts triglyph and See also:

• METOPE (Gr. ierbml, a middle space)

And metopes are sculptured in higher relief than friezes. " When we examine in detail even the simplest architectural decoration, we discover a See also:

• COMBINATION (Lat. combinare, to combine)

The Hermes of Praxiteles is almost the only marble statue which can be assigned positively to one of the great sculptors; we have to work back towards the productions of the peers of Praxiteles through works of poor See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

Such piece-work would not, in our days, produce a very satisfactory result. Works of substantive sculpture may be divided into two classes, the statues of human beings and those of the gods. The line between the two is not, however, very easy to draw, or very definite. For in representing men the Greek sculptor had an irresistible inclination to idealize, to represent what was generic and typical rather than what ' was individual, and the essential rather than the accidental. And in representing deities he so fully anthropomorphized them that they became men and See also:

• WOMEN

The rows of statues before the temples at Miletus, Athens and 2 It may here be pointed out that it was found impossible, with any regard for the appearance of the pages, to arrange the Plates for this article so as to preserve a See also:

• CHRONOLOGICAL

In the Greece of See also:

• LATE

As the more important figures naturally occupy the midmost place in a pediment, their greater See also:

• SIZE

On each See also:

• SIDE
• SIDE (mod. Eski Adalia)

In regard to friezes, which are long reliefs containing figures ranged between parallel lines, there is more variety of custom. In temples the height of the relief from the background varies according to the light in which it was to stand, whether direct or ' diffused. Almost all Greek friezes, however, are of great simplicity in arrangement and See also:

• PERSPECTIVE (Lat. peespicere, to see through)

It did not represent localities, See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

If the number of figures is uneven, either there will be a group of three in the midst, or the midmost figure will be so contrived that he belongs wholly to neither side, but is the balance between them. These remarks will be made clear by figs. 2 and 3, which repeat the two sideswhich represent the defeat of one of these by the other; the vanquished has commonly fallen on his knees, but still defends himself. There is a scheme for the leading away of a See also:

• CAPTIVE (from Lat. capere, to take)

Each moved by the traditions of his own See also:

• CRAFT (a word common to Teutonic languages for strength, or power; cf. Ger. Kraft)

PI. vi. a). FIG. 1.–Kylix by Epictetus. From Wiener Vorlegeblatter, 189o, Pl. viii., by permission of the Director of the K. K. Osten. Archaol. Institut. of an See also:

• AMPHORA (a Latin word from Gr. aµdopeus, derived from awl* on both sides, and OpeLv, to bear)

The period 800–5o B.C. we divide into four sections: (I) the period down to the See also:

• PERSIAN
• PERSIAN, SYRIAN, EGYPTIAN AND TURKISH

For this reason the period from the 9th to the 7th century in Greece passes by the name of " the Geometric Age." It is commonly held that in the remains of the Geometric Age we may trace the influence of the See also:

• DORIANS

In the same graves with the pottery are sometimes found plaques of See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

On the site of Olympia, where Mycenaean remains are not found, but the earliest monuments show the geometric style, a quantity of dedications in bronze have been found, the decoration of which belongs to this style. Fig. 7 shows the handle of a See also:

• TRIPOD (Gr. rpiTovr, Lat. tripus)

We must here See also:

• LAY

For the results of their studies the reader is referred to two recent German works, Bohlau's Aus ionischen and italischen Nekropolen, and Endt's Beitrage zur ionischen Vasenmalerei. The feature which is most interesting in this pottery from our present point of view is the way in which representations of Greek myth and legend gradually make their way, and relegate the mere decoration of the vases to See also:

• BORDERS, THE

The cemeteries of the great See also:

• ETRUSCAN

Vellersfelde. See also:

• EAGLE (Fr. aigle, from the Lat. aquila)

This form was given to Artemis on the Corinthian See also:

• CHEST (Gr. Kiarl, Lat. cista, O. Eng. cist, test, &c.)

over the dead body of Achilles. The corpse of'the hero lies in the midst, the arrow in his See also:

• HEEL

Napoleon, 66. for example that here figured, on one side of which are represented the winged See also:

• HARPIES (Gr. "Aplrvcar, older form 'Apiarucar, " swift robbers ")

One of these vases is dated, since it bears the name and the figure of See also:

• CALLIAS

We cannot here give a t T• • 1 0• M.• o See also:

• DON
• DON (anc. Tanais)

They are well represented in the British Museum and that of Oxford. We now return to the early years of the 6th century, and proceed to trace, by the aid of recent discoveries, the rise of architecture and sculpture. The Greek temple in its character and form gives the See also:

• CLUE

But though this building is of Treasury of Cnidus. Ionic type, it is scarcely in the technical sense of Ionic style, since the columns have not Ionic capitals, but are carved with curious reliefs. The Ionic capital proper is developed in Asia by degrees (see ARCHITECTURE and CAPITAL; also See also:

• PERROT, SIR JOHN (c. 1S27–1592)

18). These were placed in a unique position on the temple, a long frieze running along the entablature, with representations of See also:

• WILD, JONATHAN (c. 1682-1725)

A great improvement on these helpless and inexpressive figures is marked by another figure found at Delos, and connected, though perhaps incorrectly, with a basis recording the execution of a statue by See also:

• ARCHERMUS

The two largest in See also:

• SCALE
• SCALE (1) A

We can trace a gradual transformation in sculpture, in which the influence of the Chian and other progressive schools of sculpture is visible, not only in the substitution of See also:

• ISLAND (O.E. ieg =isle, +land')

To the same age belong many other votive reliefs of the Acropolis, representing horsemen, See also:

• SCRIBES

These figures were hard and rigid in outline, but showing some progress in the treatment of the nude. Copies are preserved in the museum of See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

24.–Head of Hera: Olympia. was still of See also:

• OAK (O. Eng., (lc)

The name of Selinus in Sicily, an early Megarian See also:

• COLONY (Lat. colonia, from colonus, a cultivator)

One represents See also:

• IDAS

The individual figures are not much altered, as the restorations of See also:

• THORWALDSEN, BERTEL (1770.1844)

That this was the order of development in Greek art cannot be doubted. But our means for judging of the painting of the 5th century are very slight. The noble paintings of such masters from Fun,anavY Ae won See also:

• EA(nar...), (p.s„,.,.)
• EA(psr...), (p, „...)• (pqr...)

ments, which was on the walls of the building of the people of Cnidus at Delphi, might be considered as a great religious work, parallel to the paintings of the Campo Santo at See also:

• PISA
• PISA, COUNCIL OF (1409)

There can be little doubt that the school of Polygnotus exercised great influence on contemporary sculpture. Panaenus, See also:

• BROTHER

We can only discern a few general facts. Of See also:

• AGATHARCHUS

22. Drawing The schools of See also:

• EUPHRONIUS

But the plan of the temple, its See also:

• PAVEMENT (Lat. pavimentu;n, a floor beaten or rammed hard, from pavire, to beat)

In the midst, invisible to the contending heroes, sobriety, and a simplicity, which reconcile us to the knowledge that this pediment was certainly regarded in antiquity as a noble work, See also:

• FIT

The subjects are provided- by the twelve labours of Heracles; the figures introduced in each metope are but two or at most three; and the action is simplified as much as possible. The example shown (fig. 35) represents sky on a See also:

• CUSHION (from O. Fr. coisson, coussin; according to the New English Dict., from Lat. coxa, a hip; others say from Lat. culcita, a quilt)

The date would be about 480-470 B.C. Bronze groups representing victorious chariots with their drivers were among the noblest and most costly dedications of antiquity; the present figure is our only satisfactory representative of them. In style the figure is very notable, tall and slight beyond all contemporary examples. The contrast between the conventional decorousness of face and drapery and the lifelike accuracy of hands and Memoires, Piot, 1857, 16. Fro. 37.-Bronze Charioteer: Delphi. feet is very striking, and indicates the clashing of various tendencies in art at the time when the great style was formed in Greece. The three great masters of the 5th century, See also:

• MYRON

We have now photographs of the very superior replica in the Lancelotti See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Whether we regard the grace of the composition, the exquisite finish of the statues in the round, or the delightful See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

J7). The style of this work, however, is conventional and archaistic, and we can scarcely regard it as typical of the master. Another noted contemporary who was celebrated mainly for his portraits was See also:

• CRESILAS

Beside Pheidias of Athens must be placed the greatest of early Argive sculptors, Polyclitus. His two typical athletes, the Doryphorus or spear-bearer (Plate VI. fig. 8o) and the Diadumenus, have long been identified, and though the copies are not first-rate, they enable us to recover the principles of the master's art. Among the bases discovered at Olympia, whence the statues had been removed, are three or four which bear the name of Polyclitus, and the definite evidence furnished by poi utos these bases as to the position of the feet of the statues which they once bore has enabled archaeologists, especially Professor Furtwangler, to identify copies of those statues among known works. Also newly discovered copies of Polyclitan works have made their appearance. At Delos there has been found a copy of the Diadumenus, which is of much finer work than the statue in the British Museum from See also:

• VAISON

39). But archaeologists are not in agreement whether it is in style Poly- clitan or whether it rather resembles in style Attic works. Other heads and some highly-finished fragments of bodies come apparently from the metopes of the same temple. (See also article ARGOS.) Another work of Polyclitus was his Amazon, made it is said in competition with his great contemporaries, Pheidias, Cresilas and Phradmon, all of whose See also:

• AMAZONS

The frieze from the temple of Apollo at Phigalia, representing Centaur and Amazon battles, is familiar to visitors of the British Museum, where, however, its proximity to the remains of the Parthenon See also:

• LAYS

A small part of the frieze of this monument is shown in fig. 41. It will be seen that in this fragment there are two scenes, one directly above the other. In the upper line Ulysses, accompanied by his son See also:

• TELEMACHUS

In some cases it is still disputed whether statues of this age represent deities or mortals, so notable are the repose and dignity which even human figures acquire under the hands of 5th-century masters. The Pericles after Cresilas in the British Museum, and the athlete-portraits of Polyclitus, are See also:

• GOOD, JOHN MASON (1764-1827)

In the 4th century no new temples of importance See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

Another architectural work of the 4th century, in its way a gem, is the structure set up at Athens by Lysicrates, in memory of a choragic victory. This still survives, though the reliefs with which it is adorned have suffered severely from the See also:

• WEATHER (O. Eng. weder; the word is common to Teutonic languages; cf. Du. weder, Dan. veir, Icel. ve8r, and Ger. Wetter and Gewitter, storm; the root is wa- to blow, from which is derived " wind ")

But very few actual paintings of the age survive, and even these fragmentary remains have with time lost the freshness of their colouring; nor are they in any case the work of a note-worthy hand. We reproduce two examples. The first is from a stone of the vault of a See also:

• CRIMEAN

Several other drawings of the same class have been found at Herculaneum, and on the walls of the Transtiberine See also:

• VILLA

On the journey he pauses and amuses himself by holding out to the child-god a bunch of grapes, and watching his eagerness to grasp them. To the modern eye the child is not a success; only the latest art of Greece is at home in dealing with children. But the Hermes, strong without excessive muscular development, and graceful without leanness, is a model of physical formation, and his face expresses the perfection of See also:

• HEALTH

for their softness and charm, make us understand the saying of ancient critics that Praxiteles and Scopas were noted for the pathos of their works, as Pheidias and Polyclitus for the ethical quality of those they produced. But the pathos of Praxiteles is of a soft and dreamy character; there is no action, or next to none; and the emotions which he rouses are sentimental rather than passionate. Scopas, as we shall see, was of another See also:

• MOOD

This base bears reliefs representing the musical contest of Apollo and Marsyas, with the Muses as spectators, reliefs very pleasing in style, and quite in the manner of Attic artists of the 4th century. But of course we must not ascribe them to the hand of Praxiteles himself; great sculptors did not themselves execute the reliefs which adorned temples and other monuments, but reserved them for their pupils. Yet the graceful figures of the Muses of Mantinea suggest how much was due to Praxiteles in determining the See also:

• TONE, THEOBALD WOLFE (1763-1798)

A draped torso of See also:

• ATALANTA

44). Their attitudes are vigorous and alert; but the work shows no delicacy of detail. Figures of Nereids See also:

• RIDING

We have none of the actual works of Lysippus; but our best evidence for his style will be found in the statue of Agias an athlete (Plate V. fig. 74) found at Delphi, and shown by an inscription to be a marble copy of a bronze original by Lysippus. The Apoxyomenus of the Vatican (man scraping himself with a strigil) (Plate VI. fig. 79) has hitherto been regarded as a copy from Lysippus; but of this there is no evidence, and the style of that statue belongs rather to the 3rd century than the 4th. The Agias, on the other hand, is in style contemporary with the works of 4th-century sculptors. Of the elaborate groups of combatants with which Lysippus enriched such centres as Olympia and Delphi, or of the huge bronze statues which he erected in temples and shrines, we can form no adequate notion. Perhaps among the extant heads of Alexander the one which is most likely to preserve the style of Lysippus is the head from See also:

• ALEXANDRIA
• ALEXANDRIA (Arab. Iskenderia)

78). Whether the group can have originally been fitted into the gable of a temple is a matter of dispute. Two great works preserved in the Louvre are so noted that it is but necessary to mention them, the Aphrodite of Melos (Plate VI. fig. 77), in which archaeologists are now disposed to see the influence of Scopas, and the Victory of See also:

• SAMOTHRACE (Turk. Semadrek)

They are now in the museum of Constanti- phagi of Sidon. nople, and are admirably published by Hamdy See also:

• BEY (a modern Turk. word, the older form being beg, cf. Pers. baig)

The pediments at the ends of the cover are also closely connected with the mourning for the loss of a friend and See also:

• PROTECTOR

On the left we see the Macedonian king charging the Persian horse, on the right his general See also:

• PARMENIO (c. 400-330 B.C.)

There are but a few other works of art, such as the See also:

• BAYEUX

Among the original sculptural creations of the early Hellenistic age, a prominent place is claimed by the statue See also:

• MORO, ANTONIO (c. 1512-1575)

Colouring became more varied, groups more elaborate, perspective was worked out with greater accuracy, and imagination shook itself free from many of the conventions of early art. Pompeian painting, however, must be treated of under Roman, not under Greek art. We figure a single example, to show the elaboration of painting at Alexandria and elsewhere, the wonder- Hamdy et Reinach. this we possess a small copy, which is sufficient to show how worthy of admiration was the original. We have a beautiful embodiment of the See also:

• PERSONALITY (from Lat. persona, originally an actor's mask, from personare,1 to sound through)

He set up in the shrine of the See also:

• MISTRESS

Whether this was really productive of improvement in sculpture may be doubted. But it is impossible to withhold one's admiration from works which show an astonishing knowledge of the body of man down to its bony framework, and a power and mastery of execution which have never since been surpassed. With accuracy in the portrayal of men's bodies goes of See also:

• NECESSITY (Lat. necessitas)

But in the Pergamene frieze the giants are strange compounds, having the heads and bodies of wild and fierce barbarians, sometimes also human legs, but sometimes in the place of legs two long serpents, the heads of which take with the giants them-selves a See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

A noted work of kindred school is the group of See also:

• LAOCOON

In the figure of a seated boxer (Plate V. fig. 72), in scale somewhat exceeding life, attitude and gesture are expressive. Evidently the boxer has fought already, and is awaiting a further conflict. His face is cut and swollen; on his hands are the terrible See also:

• CAESTUS, or CESTUS (from Lat. caedo, strike)

The most noteworthy among them is a beautiful athlete (Plate V. fig. 73) standing with hand upraised, which reflects the style of the Attic school of the 4th century. After 146 B.C. when Corinth was destroyed and Greece became a Roman province, Greek art, though by no means See also:

• EXTINCT

See also:

• HARRISON
• HARRISON, BENJAMIN
• HARRISON, FREDERIC (1831— )
• HARRISON, JOHN (1693—1776)
• HARRISON, THOMAS (16o6-166o)
• HARRISON, THOMAS ALEXANDER (1853– )
• HARRISON, WILLIAM (1534–1593)
• HARRISON, WILLIAM HENRY (1773–1841)

France: Revue archeologique ; See also:

• GAZETTE

Collignon, Histoire de la sculpture grecque (2 vols.); E. A. Gardner, Handbook of Greek Sculp- The date is given when the work cannot be considered new. edited by E. Sellers; Friederichs and Wolters, Bausteine zur Geschichte der griechisch-romischen Plastik (1887) ; von See also:

• MACH, ERNST (1838– )

Rayet at M. Collignon, Histoire de la ceramique grecque (1888) ; P. See also:

• GIRARD, JEAN BAPTISTE [known as " Le Pere Girard " or" Le Pere Gregoire "] (1765-185o)
• GIRARD, PHILIPPE HENRI DE (1775-1845)
• GIRARD, STEPHEN (1750-1831)

Murray, Sculptures of the Parthenon; W. Klein, Euphronios; E. Pottier, Douris; P. Gardner, Sculptured Tombs of Hellas; E. A. Gardner, Ancient Athens; A. Betticher, Olympia; See also:

• BERNOULLI