A History of Greek Art - F. B. Tarbell (new books to read .TXT) 📗

landmark in our path. This is afforded by some fragments of sculpture belonging to the old Temple of Artemis at Ephesus. The date of this temple is approximately fixed by the statement of Herodotus (I, 92) that most of its columns were picsented by Croesus, king of Lydia, whose reign lasted from 560

to 546 B. C. In the course of the excavations carried on for the British Museum upon the site of Ephesus there were brought to light, in 1872 and 1874, a few fragments of this sixth century edifice. Even some letters of Croesus’s dedicatory inscription have been found on the bases of the Ionic columns, affording a welcome confirmation to the testimony of Herodotus. It appears that the columns, or some of them, were treated in a very exceptional fashion, the lowest drums being adorned with relief-sculpture. The British Museum authorities have partially restored one such drum (Fig. 86), though without guaranteeing that the pieces of sculpture here combined actually belong to the same column. The male figure is not very pre-possessing, but that is partly due to the battered condition of the face. Much more attractive is the female head, of which unfortunately only the back is seen in our illustration. It bears a strong family likeness to the head of the Victory of Delos, but shows marked improvement over that. Some bits of a sculptured cornice belonging to the same temple are also refined in style. In this group of reliefs, fragmentary though they are, we have an indication of the development attained by Ionic sculptors about the middle of the sixth century. For, of course, though Croesus paid for the columns, the work was executed by Greek artists upon the spot, and presumably by the best artists that could be secured. We may therefore use these sculptures as a standard by which to date other works, whose date is not fixed for us by external evidence.

 

CHAPTER VI.

 

THE ARCHAIC PERIOD OF GREEK SCULPTURE SECOND HALF 550-480 B.C.

 

Greek sculpture now enters upon a stage of development which possesses for the modern student a singular and potent charm True, many traces still remain of the sculptor’s imperfect mastery. He cannot pose his figures in perfectly easy attitudes not even in reliefs, where the problem is easier than in sculpture in the round. His knowledge of human anatomy—that is to say, of the outward appearance of the human body, which is all the artistic anatomy that any one attempted to know during the rise and the great age of Greek sculpture—is still defective, and his means of expression are still imperfect. For example, in the nude male figure the hips continue to be too narrow for the shoulders, and the abdomen too flat. The facial peculiarities mentioned in the preceding chapter—prominent eyeballs, cheeks, and chin, and smiling mouth—are only very gradually modified. As from the first, the upper eyelid does not overlap the lower eyelid at the outer corner, as truth, or rather appearance, requires, and in relief sculpture the eye of a face in profile is rendered as in front view. The texture and arrangement of hair are expressed in various ways but always with a marked love of symmetry and formalism. In the difficult art of representing drapery there is much experimentation and great progress. It seems to have been among the eastern Ionians perhaps at Chios, that the deep cutting of folds was first practiced, and from Ionia this method of treatment spread to Athens and elsewhere. When drapery is used, there is a manifest desire on the sculptor’s part to reveal what he can, more, in fact, than in reality could appear, of the form underneath. The garments fall in formal folds, sometimes of great elaboration. They look as if they were intended to represent garments of irregular cut, carefully starched and ironed. But one must be cautious about drawing inferences from an imperfect artistic manner as to the actual fashions of the day.

 

But whatever shortcomings in technical perfection may be laid to their charge, the works of this period are full of the indefinable fascination of promise. They are marked, moreover, by a simplicity and sincerity of purpose, an absence of all ostentation, a conscientious and loving devotion on the part of those who made them. And in many of them we are touched by great refinement and tenderness of feeling, and a peculiarly Greek grace of line.

 

To illustrate these remarks we may turn first to Lycia, in southwestern Asia Minor. The so called “Harpy” tomb was a huge, four sided pillar of stone, in the upper part of which a square burial-chamber was hollowed out. Marble bas-reliefs adorned the exterior of this chamber The best of the four slabs is seen in Fig 87 [Footnote: Our illustration is not quite complete on the right]

At the right is a seated female figure, divinity or deceased woman, who holds in her right hand a pomegranate flower and in her left a pomegranate fruit To her approach three women, the first raising the lower part of her chiton with her right hand and drawing forward her outer garment with her left, the second bringing a fruit and a flower the third holding an egg in her right hand and raising her chiton with her left. Then comes the opening into the burial-chamber, surmounted by a diminutive cow suckling her calf. At the left is another seated female figure, holding a bowl for libation. The exact significance of this scene is unknown, and we may limit our attention to its artistic qualities. We have here our first opportunity of observing the principle of isocephaly in Greek relief-sculpture; i.e., the convention whereby the heads of figures in an extended composition are ranged on nearly the same level, no matter whether the figures are seated, standing, mounted on horseback, or placed in any other position. The main purpose of this convention doubtless was to avoid the unpleasing blank spaces which would result if the figures were all of the same proportions. In the present instance there may be the further desire to suggest by the greater size of the seated figures their greater dignity as goddesses or divinized human beings. Note, again, how, in the case of each standing woman, the garments adhere to the body behind. The sculptor here sacrifices truth for the sake of showing the outline of the figure. Finally, remark the daintiness with which the hands are used, particularly in the case of the seated figure on the right.

The date of this work may be put not much later than the middle of the sixth century, and the style is that of the Ionian school.

 

Under the tyrant Pisistratus and his sons Athens attained to an importance in the world of art which it had not enjoyed before. A fine Attic work, which we may probably attribute to the time of Pisistratus, is the grave-monument of Aristion (Fig. 88). The material is Pentelic marble. The form of the monument, a tall, narrow, slightly tapering slab or stele, is the usual one in Attica in this period. The man represented in low relief is, of course, Aristion himself. He had probably fallen in battle, and so is put before us armed. Over a short chiton he wears a leather cuirass with a double row of flaps below, on his head is a small helmet, which leaves his face entirely exposed, on his legs are greaves; and in his left hand he holds a spear There is some constraint in the position of the left arm and hand, due to the limitations of space In general, the anatomy, so far as exhibited is creditable, though fault might be found with the shape of the thighs The hair, much shorter than is usual in the archaic period, is arranged in careful curls The beard, trimmed to a point in front, is rendered by parallel grooves The chiton, where it shows from under the cuirass, is arranged in symmetrical plaits There are considerable traces of color on the relief, as well as on the background Some of these may be seen in our illustration on the cuirass.

 

Our knowledge of early Attic sculpture has been immensely increased by the thorough exploration of the summit of the Athenian Acropolis in 1885-90 In regard to these important excavations it must be remembered that in 480 and again in 479 the Acropolis was occupied by Persians belonging to Xerxes’ invading army, who reduced the buildings and sculptures on that site to a heap of fire-blackened ruins This debris was used by the Athenians in the generation immediately following toward raising the general level of the summit of the Acropolis. All this material, after having been buried for some twenty three and a half centuries, has now been recovered. In the light of the newly found remains, which include numerous inscribed pedestals, it is seen that under the rule of Pisistratus and his sons Athens attracted to itself talented sculptors from other Greek communities, notably from Chios and Ionia generally. It is to Ionian sculptors and to Athenian sculptors brought under Ionian influences that we must attribute almost all those standing female figures which form the chief part of the new treasures of the Acropolis Museum.

 

The figures of this type stand with the left foot, as a rule, a little advanced, the body and head facing directly forward with primitive stiffness. But the arms no longer hang straight at the sides, one of them, regularly the right, being extended from the elbow, while the other holds up the voluminous drapery. Many of the statues retain copious traces of color on hair, eyebrows, eyes, draperies, and ornaments; in no case does the flesh give any evidence of having been painted (cf. page 119). Fig. 89 is taken from an illustration which gives the color as it was when the statue was first found, before it had suffered from exposure. Fig.

90 is not in itself one of the most pleasing of the series, but it has a special interest, not merely on account of its exceptionally large size—it is over six and a half feet high—but because we probably know the name and something more of its sculptor. If, as seems altogether likely, the statue belongs upon the inscribed pedestal upon which it is placed in the illustration, then we have before us an original work of that Antenor who was commissioned by the Athenian people, soon after the expulsion of the tyrant Hippias and his family in 510, to make a group in bronze of Harmodius and Aristogiton (cf. pages 160-4) This statue might, of course, be one of his earlier productions.

 

At first sight these figures strike many untrained observers as simply grotesque. Some of them are indeed odd; Fig. 91 reproduces one which is especially so. But they soon become absorbingly interesting and then delightful. The strange-looking, puzzling garments, [Footnote: Fig 91 wears only one garment the Ionic chiton, a long; linen shift, girded at the waist and pulled up so as to fall over conceal the girdle. Figs 89, 90, 92 93 wear over this a second garment which goes over the right shoulder and under the left This over-garment reaches to the feet, so as to conceal the lower portion of the chiton At the top it is folded over, or perhaps rather another piece of cloth is sewed on. This over-fold, if it may be so called, appears as if cut with two or more long points below] which cling to the figure behind and fall in formal folds in front, the elaborately, often impossibly, arranged hair, the gracious countenances, a certain quaintness and refinement and unconsciousness of self—these things exercise over us an endless fascination.

 

Who are these mysterious beings? We do not know. There are those who would see in them, or in some of them, representations