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

Plutarch, [Footnote: Life of Pericles Section 13] a general superintendence of all the artistic undertakings of the state was intrusted by Pericles.

 

Great as was the fame of Phidias in after ages, we are left in almost complete ignorance as to the circumstances of his life. If he was really the author of certain works ascribed to him, he must have been born about 500 B.C. This would make him as old, perhaps, as Myron. Another view would put his birth between 490 and 485, still another, as late as 480. The one undisputed date in his life is the year 438, when the gold and ivory statue of Athena in the Parthenon was completed. Touching the time and circumstances of his death we have two inconsistent traditions. According to the one, he was brought to trial in Athens immediately after the completion of the Athena on the charge of misappropriating some of the ivory with which he had been intrusted but made his escape to Elis, where, after executing the gold and ivory Zeus for the temple of that god at Olympia he was put to death for some unspecified reason by the Eleans in 432-1. According to the other tradition he was accused in Athens, apparently not before 432, of stealing some of the gold destined for the Athena and, when this charge broke down, of having sacrilegiously introduced his own and Pericles’s portraits into the relief on Athena’s shield, being cast into prison he died there of disease, or, as some said, of poison.

 

The most famous works of Phidias were the two chryselephantine statues to which reference has just been made, and two or three other statues of the same materials were ascribed to him. He worked also in bronze and in marble. From a reference in Aristotle’s “Ethics” it might seem as if he were best known as a sculptor in marble, but only three statues by him are expressly recorded to have been of marble, against a larger number of bronze His subjects were chiefly divinities, we hear of only one or two figures of human beings from his hands.

 

Of the colossal Zeus at Olympia, the most august creation of Greek artistic imagination, we can form only an indistinct idea. The god was seated upon a throne, holding a figure of Victory upon one hand and a scepter in the other. The figure is represented on three Elean coins of the time of Hadrian (117-138 A.D.) but on too small a scale to help us much. Another coin of the same period gives a fine head of Zeus in profile (Fig. 117),[Footnote: A more truthful representation of this coin may be found in Gardner’s “Types of Greek Coins,” PI XV 19] which is plausibly supposed to preserve some likeness to the head of Phidias’s statue.

 

In regard to the Athena of the Parthenon we are considerably better off, for we possess a number of marble statues which, with the aid of Pausanias’s description and by comparison with one another, can be proved to be copies of that work. But a warning is necessary here. The Athena, like the Zeus, was of colossal size.

Its height, with the pedestal, was about thirty-eight feet. Now it is not likely that a really exact copy on a small scale could possibly have been made from such a statue, nor, if one had been made, would it have given the effect of the original. With this warning laid well to heart the reader may venture to examine that one among our copies which makes the greatest attempt at exactitude (Fig. 118). It is a statuette, not quite 3 1/2 feet high with the basis, found in Athens in 1880. The goddess stands with her left leg bent a little and pushed to one side. She is dressed in a heavy Doric chiton, open at the side. The girdle, whose ends take the form of snakes’ heads, is worn outside the doubled-over portion of the garment. Above it the folds are carefully adjusted, drawn in symmetrically from both sides toward the middle; in the lower part of the figure there is the common vertical division into two parts, owing to the bending of one leg.

Over the chiton is the aegis, much less long behind than in earlier art (cf. Fig. 98), fringed with snakes’ heads and having a Gorgon’s mask in front. The helmet is an elaborate affair with three crests, the central one supported by a sphinx, the others by winged horses; the hinged cheek-pieces are turned up. At the left of the goddess is her shield, within which coils a serpent. On her extended right hand stands a Victory. The face of Athena is the most disappointing part of it all, but it is just there that the copyist must have failed most completely. Only the eye of faith, or better, the eye trained by much study of allied works, can divine in this poor little figure the majesty which awed the beholder of Phidias’s work.

 

Speculation has been busy in attempting to connect other statues that have been preserved to us with the name of Phidias. The most probable case that has yet been made out concerns two closely similar marble figures in Dresden, one of which is shown in Fig.

119. The head of this statue is missing, but its place has been supplied by a cast of a head in Bologna (Fig. 120), which has been proved to be another copy from the same original. This proof, about which there seems to be no room for question, is due to Professor Furtwangler, [Footnote: “Masterpieces of Greek Sculpture” pages 4 ff.] who argues further that the statue as thus restored is a faithful copy of the Lemnian Athena of Phidias, a bronze work which stood on the Athenian Acropolis. The proof of this depends upon (1) the resemblance in the standing position and in the drapery of this figure to the Athena of the Parthenon, and (2) the fact that Phidias is known to have made a statue of Athena (thought to be the Lemnian Athena) without a helmet on the head—

an exceptional, though not wholly unique, representation in sculpture in the round.

 

If this demonstration be thought insufficient, there cannot, at all events, be much doubt that we have here the copy of an original of about the middle of the fifth century. The style is severely simple, as we ought to expect of a religious work of that period. The virginal face, conceived and wrought with ineffable refinement, is as far removed from sensual charm as from the ecstasy of a Madonna. The goddess does not reveal herself as one who can be “touched with a feeling of our infirmities”; but by the power of her pure, passionless beauty she sways our minds and hearts.

 

The supreme architectural achievement of the Periclean age was the Parthenon, which crowned the Athenian Acropolis. It appears to have been begun in 447, and was roofed over and perhaps substantially finished by 438. Its sculptures were more extensive than those of any other Greek temple, comprising two pediment-groups, the whole set of metopes of the exterior frieze, ninety-two in number, and a continuous frieze of bas-relief, 522 feet 10

inches in total length, surrounding the cella and its vestibules (cf. Fig. 56). After serving its original purpose for nearly a thousand years, the building was converted into a Christian church and then, in the fifteenth century, into a Mohammedan mosque. In 1687 Athens was besieged by the forces of Venice. The Parthenon was used by the Turks as a powder-magazine, and was consequently made the target for the enemy’s shells. The result was an explosion, which converted the building into a ruin. Of the sculptures which escaped from this catastrophe, many small pieces were carried off at the time or subsequently, while other pieces were used as building stone or thrown into the lime-kiln. Most of those which remained down to the beginning of this century were acquired by Lord Elgin, acting under a permission from the Turkish government (1801-3), and in 1816 were bought for the British Museum. The rest are in Athens, either in their original positions on the building, or in the Acropolis Museum.

 

The best preserved metopes of the Parthenon belong to the south side and represent scenes from the contest between Lapiths and Centaurs (cf. page 174). These metopes differ markedly in style from one another, and must have been not only executed, but designed, by different hands. One or two of them are spiritless and uninteresting. Others, while fine in their way, show little vehemence of action. Fig. 121 gives one of this class. Fig. 122 is very different. In this “the Lapith presses forward, advancing his left hand to seize the rearing Centaur by the throat, and forcing him on his haunches; the right arm of the Lapith is drawn back, as if to strike; his right hand, now wanting, probably held a sword.

…. The Centaur, rearing up, against his antagonist, tries in vain to pull away the left hand of the Lapith, which, in Carrey’s drawing [made in 1674] he grasps.” [Footnote: A. H. Smith, “Catalogue of Sculpture in the British Museum,” page 136.] Observe how skilfully the design is adapted to the square field, so as to leave no unpleasant blank spaces, how flowing and free from monotony are the lines of the composition, how effective (in contrast with Fig. 121) is the management of the drapery, and, above all, what vigor is displayed in the attitudes. Fig. 123 is of kindred character. These two metopes and two others, one representing a victorious Centaur prancing in savage glee over the body of his prostrate foe, the other showing a Lapith about to strike a Centaur already wounded in the back, are among the very best works of Greek sculpture preserved to us.

 

The Parthenon frieze presents an idealized picture of the procession which wound its way upward from the market-place to the Acropolis on the occasion of Athena’s chief festival. Fully to illustrate this extensive and varied composition is out of the question here. All that is possible is to give three or four representative pieces and a few comments. Fig. 124 shows the best preserved piece of the entire frieze. It belongs to a company of divinities, seated to right and left of the central group of the east front, and conceived as spectators of the scene. The figure at the left of the illustration is almost certainly Posidon, and the others are perhaps Apollo and Artemis. In Fig. 125 three youths advance with measured step, carrying jars filled with wine, while a fourth youth stoops to lift his jar; at the extreme right may be seen part of a flute-player, whose figure was completed on the next slab. The attitudes and draperies of the three advancing youths, though similar, are subtly varied. So everywhere monotony is absent from the frieze. Fig. 126 is taken from the most animated and crowded part of the design. Here Athenian youths, in a great variety of dress and undress, dash forward on small, mettlesome horses. Owing to the principle of isocephaly (cf. page 145), the mounted men are of smaller dimensions than those on foot, but the difference does not offend the eye. In Fig. 127 we have, on a somewhat larger scale, the heads of four chariot-horses instinct with fiery life. Fig. 132 may also be consulted. An endless variety in attitude and spirit, from the calm of the ever-blessed gods to the most impetuous movement; grace and harmony of line; an almost faultless execution—such are some of the qualities which make the Parthenon frieze the source of inexhaustible delight.

 

The composition of the group in the western pediment is fairly well known, thanks to a French artist, Jacques Carrey, who made a drawing of