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

the lower tastes of their patrons. The practice of “art for art’s sake” had its day, and trivial, comical, ugly, harrowing, or sensual themes were treated with all the resources of technical skill. In short, the position and purposes of the art of sculpture became very like what they are to-day. Hence the untrained modern student feels much more at home in a collection of Hellenistic sculpture than in the presence of the severer, sublimer creations of the age of Phidias.

 

It is by no means meant to pass a sweeping condemnation upon the productions of the post-classical period. Realistic portraiture was now practiced with great frequency and high success. Many of the genre statues and decorative reliefs of the time are admirable and delightful. Moreover, the old uses of sculpture were not abandoned, and though the tendency toward sensationalism was strong, a dignified and exalted work was sometimes achieved. But, broadly speaking, we must admit the loss of that “noble simplicity and quiet grandeur”—the phrase is Winckelmann’s—which stamped the creations of the age of Phidias. Greek sculpture gained immensely in variety, but at the expense of its elevation of spirit.

 

Although this sketch is devoted principally to bronze and marble sculpture, I cannot resist the temptation to illustrate by a few examples the charming little terra-cotta figurines which have been found in such great numbers in graves at Tanagra and elsewhere in Boeotia (Figs. 169, 170). It is a question whether the best of them were not produced before the end of the period covered by the last chapter. At all events, they are post-Praxitelean. The commonest subjects are standing or seated women; young men, lads, and children are also often met with. Fig. 170 shows another favorite figure, the winged Eros, represented as a chubby boy of four or five—a conception of the god of Love which makes its first appearance in the Hellenistic period. The men who modeled these statuettes were doubtless regarded in their own day as very humble craftsmen, but the best of them had caught the secret of graceful poses and draperies, and the execution of their work is as delicate as its conception is refined.

 

Returning now to our proper subject, we may begin with the latest and most magnificent of the sarcophagi found at Sidon (Fig. 171; cf. page 234). This belongs somewhere near the end of the fourth century. It is decorated with relief-sculpture on all four sides and in the gables of the cover. On the long side shown in our illustration the subject is a battle between Greeks and Persians, perhaps the battle of Issus, fought in 333. Alexander the Great, recognizable by the skin of a lion’s head which he wears like Heracles, instead of a helmet, is to be seen at the extreme left.

The design, which looks crowded and confused when reduced to a small scale, is in reality well arranged and extremely spirited, besides being exquisitely wrought. But the crowning interest of the work lies in the unparalleled freshness with which it has kept its color. Garments, saddle-cloths, pieces of armor, and so on, are tinted in delicate colors, and the finest details, such as bow-strings, are perfectly distinct. The nude flesh, though not covered with opaque paint, has received some application which differentiates it from the glittering white background, and gives it a sort of ivory hue. The effect of all this color is thoroughly refined, and the work is a revelation of the beauty of polychromatic sculpture.

 

The Victory of Samothrace (Fig. 172) can also be dated at about the end of the fourth century. The figure is considerably above life-size. It was found in 1863, broken into a multitude of fragments, which have been carefully united. There are no modern pieces, except in the wings. The statue stood on a pedestal having the form of a ship’s prow, the principal parts of which were found by an Austrian expedition to Samothrace in 1875. These fragments were subsequently conveyed to the Louvre, and the Victory now stands on her original pedestal. For determining the date and the proper restoration of this work we have the fortunate help of numismatics. Certain silver coins of Demetrius Poliorcetes, who reigned 306-286 B.C., bear upon one side a Victory which agrees closely with her of Samothrace, even to the great prow-pedestal. The type is supposed on good grounds to commemorate an important naval victory won by Demetrius over Ptolemy in 306. In view, then, of the close resemblance between coin-type and statue, it seems reasonably certain that the Victory was dedicated at Samothrace by Demetrius soon after the naval battle with Ptolemy and that the commemorative coins borrowed their design directly from the statue. Thus we get a date for the statue, and, what is more, clear evidence as to how it should be restored. The goddess held a trumpet to her lips with her right hand and in her left carried a support such as was used for the erection of a trophy. The ship upon which she has just alighted is conceived as under way, and the fresh breeze blows her garments backward in tumultuous folds. Compared with the Victory of Paeonius (Figs. 143, 144) this figure seems more impetuous and imposing. That leaves us calm; this elates us with the sense of onward motion against the salt sea air. Yet there is nothing unduly sensational about this work. It exhibits a magnificent idea, magnificently rendered.

 

From this point on no attempt will be made to preserve a chronological order, but the principal classes of sculpture belonging to the Hellenistic period will be illustrated, each by two or three examples. Religious sculpture may be put first. Here the chief place belongs to the Aphrodite of Melos, called the Venus of Milo (Fig. 173). This statue was found by accident in 1820 on the island of Melos (Milo) near the site of the ancient city. According to the best evidence available, it was lying in the neighborhood of its original pedestal, in a niche of some building. Near it were found a piece of an upper left arm and a left hand holding an apple; of these two fragments the former certainly and perhaps the latter belong to the statue. The prize was bought by M. de Riviere, French ambassador at Constantinople, and presented by him to the French king, Louis XVIII. The same vessel which conveyed it to France brought some other marble fragments from Melos, including a piece of an inscribed statue-base with an artist’s inscription, in characters of the second century B.C. or later. A drawing exists of this fragment, but the object itself has disappeared, and in spite of much acute argumentation it remains uncertain whether it did or did not form a part of the basis of the Aphrodite.

 

Still greater uncertainty prevails as to the proper restoration of the statue, and no one of the many suggestions that have been made is free from difficulties. It seems probable, as has recently been set forth with great force and clearness by Professor Furtwangler, [Footnote: “Masterpieces of Greek Sculpture,” pages 384 ff.] that the figure is an adaptation from an Aphrodite of the fourth century, who rests her left foot upon a helmet and, holding a shield on her left thigh, looks at her own reflection. On this view the difficulty of explaining the attitude of the Aphrodite of Melos arises from the fact that the motive was created for an entirely different purpose and is not altogether appropriate to the present one, whatever precisely that may be.

 

It has seemed necessary, in the case of a statue of so much importance, to touch upon these learned perplexities; but let them not greatly trouble the reader or turn him aside from enjoying the superb qualities of the work. One of the Aphrodites of Scopas or Praxiteles, if we had it in the original, would perhaps reveal to us a still diviner beauty. As it is, this is the worthiest existing embodiment of the goddess of Love. The ideal is chaste and noble, echoing the sentiment of the fourth century at its best; and the execution is worthy of a work which is in some sense a Greek original.

 

The Apollo of the Belvedere (Fig. 174), on the other hand, is only a copy of a bronze original. The principal restorations are the left hand and the right fore-arm and hand. The most natural explanation of the god’s attitude is that he held a bow in his left hand and has just let fly an arrow against some foe. His figure is slender, according to the fashion which prevailed from the middle of the fourth century onward, and he moves over the ground with marvelous lightness. His appearance has an effect of almost dandified elegance, and critics to-day cannot feel the reverent raptures which this statue used to evoke. Yet still the Apollo of the Belvedere remains a radiant apparition. An attempt has recently been made to promote the figure, or rather its original, to the middle of the fourth century.

 

As a specimen of the portrait-sculpture of the Hellenistic period I have selected the seated statue of Posidippus (Fig. 175), an Athenian dramatist of the so-called New Comedy, who flourished in the early part of the third century. The preservation of the statue is extraordinary; there is nothing modern about it except the thumb of the left hand. It produces strongly the impression of being an original work and also of being a speaking likeness. It may have been modeled in the actual presence of the subject, but in that case the name on the front of the plinth was doubtless inscribed later, when the figure was removed from its pedestal and taken to Rome. Posidippus is clean-shaven, according to the fashion that came in about the time of Alexander. There is a companion statue of equal merit, which commonly goes by the name of Menander. The two men are strongly contrasted with one another by the sculptor in features, expression, and bodily carriage. Both statues show, as do many others of the period, how mistaken it would be to form our idea of the actual appearance of the Greeks from the purely ideal creations of Greek sculpture.

 

Besides real portraits, imaginary portraits of great excellence were produced in the Hellenistic period. Fig. 176 is a good specimen of these. Only the head is antique, and there are some restorations, including the nose. This is one of a considerable number of heads which reproduce an ideal portrait of Homer, conceived as a blind old man. The marks of age and blindness are rendered with great fidelity. There is a variant type of this head which is much more suggestive of poetical inspiration.

 

Portraiture, of course, did not confine itself to men of refinement and intellect. As an extreme example of what was possible in the opposite direction nothing could be better than the original bronze statue shown in Fig. 177. It was found in Rome in 1885, and is essentially complete, except for the missing eyeballs; the seat is new. The statue represents a naked boxer of herculean frame, his hands armed with the aestus or boxing-gloves made of leather. The man is evidently a professional “bruiser” of the lowest type. He is just resting after an encounter, and no detail is spared to bring out the nature of his occupation.

Swollen ears were the conventional mark of the boxer at all periods, but here the effect is still further enhanced by scratches and drops of blood. Moreover, the nose and cheeks bear evidence of having been badly “punished,” and the moustache is clotted with blood. From top to toe the statue exhibits the highest grade of technical skill. One would like very much to know what was the original purpose of the work. It may have been a votive statue,