A History of Sculpture

by Ernest Henry Short

About 450 b.c. a temple was erected on the south-west of the Acropolis to the honour of Athena Nike—the giver of Victory. A year or two later the colossal bronze statue of Athena was erected in front of the spot where the Parthenon was to be built in the following year.

THE PARTHENON

In the early days of Athens the Acropolis had been a rocky eminence which served as a natural retreat, on which the dwelling of the chiefs was erected with the shrine of the tribal deity. Its precipitous cliffs enabled a body of determined defenders to keep an enemy at bay; so that those living at its foot soon obtained a commanding position among the village tribes of Attica from their ability to offer a place of safety in time of stress. In course of time these tribes became united in the common worship they paid to the Virgin Athena who gave her name to the leading settlement, and all offered their gifts at her shrine in the centre of the fortress when her inspiration gave them the victory. Now, however, Athens was to put the Acropolis to another use. Cimon levelled its rugged plateau, and, by building extensive walls around its slopes and filling in the gaps between the walls and the rock, considerably increased its area. On the top arose the buildings which were to make Athens one of the wonders of the world. The chief of these was, of course, the Parthenon—the temple of the virgin goddess Athena. On this all the genius of Attica was lavished. Ictinus, the greatest architect in Greece, furnished the design. Phidias was by common consent the most fitted to beautify the buildings with the marble groups and reliefs which were now the great feature of every public building in Greece. Under him were placed the most accomplished bronze-workers and stone-cutters of the day. Born about 500 b.c., Phidias was a boy when Miltiades and his eleven thousand Athenians and Platæans drove the army of Darius to its boats at Marathon. Like Sophocles, he may have borne arms at Salamis. He had grown up in an atmosphere saturated with his countrymen’s successes and ambitions. In temperament, the embodiment of the Attic spirit, Phidias was the very man to compose the pæan in marble which should cry his country’s prowess to the world when every Grecian voice was stilled. The others were to carry out his designs for the decoration of the temple, but his own work was to be the great ivory and gold statue of Athena which the Parthenon was to enshrine.

Ten years later (438 b.c.) the work was finished. When the second statue of Athena was unveiled the goddess was found to be no longer the warlike maiden who, spear in hand, led those who bore her name to victory. Phidias’ colossal figure, some forty feet high, portrayed the virgin in her robes of triumph, with the symbol of victory in her hand. From her shoulders hung the ægis wherewith her father Zeus had destroyed his foes, from the centre of which the dreaded gorgon’s head stared out. The face, arms and feet of the goddess were of ivory, the dress being decorated with gold. This statue of Athena Parthenos has been lost to the world since the coming of Christianity to Athens about 430 a.d., but the accounts of classical travellers and some rude reproductions enable us to reconstruct the masterpiece of Phidias, at least in imagination.

The Parthenon itself was built from the golden-hued marble of Pentelicus, quarried from the mines near Athens. Its architecture was of the simple yet stately Doric order. The principal chamber of the temple—the cella—in which the statue of Athena Parthenos stood, was surrounded by a colonnade of Doric pillars. The metopes, or square panels above the colonnade, were filled with groups sculptured in high relief, the outside of the cella being decorated with a frieze in low relief. In judging this it is important to remember that these reliefs stood forty feet above the floor of the colonnade. Colour was added to increase their effect, while the bridles and other appointments of the horses were of metal. The triangular pediments above the porticos were filled with two great groups sculptured in the round.

Throughout the series of sculptured marbles with which the Parthenon was decorated, Phidias’ aim was to illustrate the greatness of the goddess of the Athenians. In the pedimental groups the artist showed Athena’s miraculous birth and her victory in the contest with Poseidon. The eastern pediment pictured Olympus just after the axe of Hephaestus had freed Athena from her father’s head. The virgin stood fully armed by the side of Zeus in the midst of the wondering gods. The design for the western pediment portrayed a scene even more closely connected with Athenian history. Poseidon had claimed the right to give a name to the city of the sons of Cecrops, a demand to which Athena would not agree. It was decided that the one who, in the opinion of Zeus, produced the more serviceable gift for mankind, should secure the privilege. Phidias chose the moment when Zeus had awarded the right to Athena on the ground that the olive tree, which had sprung up on the Acropolis at her command, was of more value to the human race than the horse—the emblem of war—upon which Poseidon had relied.

The carvings of the metopes represented the overthrow of the personifications of the powers of evil of which it was the mission of the goddess of wisdom to rid the world. In some were depicted the victory of the Greeks over the Eastern amazons, in others the victory of the gods over the earth-born giants, and in the rest the contests of Centaurs and Lapiths. They were all in very high relief. It is certain that Phidias had less to do with this portion of the decoration of the temple than with the sculptures in the pediments or the frieze, and the work is of varying merit.

In the low relief on the frieze within the colonnade the sculptor depicted perhaps the most Athenian scene of all—the panathenaic procession. The festival of which this was the culmination was instituted in honour of Athena Polias—the Protectress of the City. Every town in Attica and each colony and subject town contributed its share to the sacrifices in honour of the occasion. On the last day the whole population of the State, some on foot, some on horseback or in chariots, marched in procession to lay the peplos of the goddess in her temple. The concourse included a band of the noblest maidens of the city carrying baskets of offerings, the right to be one of these being the greatest honour to which an Athenian girl could aspire. To adorn the frieze, Phidias imaged this great procession divided into two long lines, running along the north and south sides of the cella respectively. Both met in the eastern face. At this spot the sculptor showed the Athenian maidens with the vessels of sacrifice and the gods, who, though invisible, were among their people on that day. A priest stood in the centre possibly receiving the embroidered robe of the goddess from a little boy. On the right and left were seated the chief divinities of Hellas—on the one side Athena, Hephaestus, Poseidon, and Dionysus, and on the other Zeus and Hera attended by Isis.

“THESEUS”