A History of Greek Art / With an Introductory Chapter on Art in Egypt and Mesopotamia

by F. B. Tarbell

In the Palermo copy of the other Praxitelean satyr (Fig. 154) the right arm is modern, but the restoration is substantially correct. The face of this statue has purely Greek features, and only the pointed ears remain to betray the mixture of animal nature with the human form. The original was probably of bronze.

With Fig. 155 we revert from copies to an original work. This is one of three slabs which probably decorated the pedestal of a group by Praxiteles representing Apollo, Leto, and Artemis; a fourth slab, needed to complete the series, has not been found The presumption is strong that these reliefs were executed under the direction of Praxiteles, perhaps from his design. The subject of one slab is the musical contest between Apollo and Marsyas, while the other two bear figures of Muses. The latter are posed and draped with that delightful grace of which Praxiteles was master, and with which he seems to have inspired his pupils The execution, however, is not quite faultless, as witness the distortion in the right lower leg of the seated Muse in Fig. l55—otherwise an exquisite figure.

Among the many other works that have been claimed for Praxiteles on grounds of style, I venture to single out one (Fig. 156). The illustration is taken from one of several copies of a lost original, which, if it was not by Praxiteles himself, was by some one who had marvelously caught his spirit. That it represents the goddess Artemis we may probably infer from the short chiton, an appropriate garment often worn by the divine huntress, but not by human maidens. Otherwise the goddess has no conventional attribute to mark her divinity. She is just a beautiful girl, engaged in fastening her mantle together with a brooch. In this way of conceiving a goddess, we see the same spirit that created the Apollo Sauroctonos.

The genius of Praxiteles, as thus far revealed to us, was preeminently sunny, drawn toward what is fair and graceful and untroubled, and ignoring what is tragic in human existence. This view of him is confirmed by what is known from literature of his subjects. The list includes five figures of Aphrodite, three or four of Eros, two of Apollo, two of Artemis, two of Dionysus, two or three of satyrs, two of the courtesan Phryne, and one of a beautiful human youth binding a fillet about his hair, but no work whose theme is suffering or death is definitely ascribed to him. It is strange therefore to find Pliny saying that it was a matter of doubt in his time whether a group of the dying children of Niobe which stood in a temple of Apollo in Rome was by Scopas or Praxiteles. It is commonly supposed, though without decisive proof, that certain statues of Niobe and her children which exist in Florence and elsewhere are copied from the group of which Pliny speaks. The story was that Niobe vaunted herself before Leto because she had seven sons and seven daughters, while Leto had borne only Apollo and Artemis. For her presumption all her children were stricken down by the arrows of Apollo and Artemis. This punishment is the subject of the group. Fig. 157 gives the central figures; they are Niobe herself and her youngest daughter, who has fled to her for protection. The Niobe has long been famous as an embodiment of haughtiness, maternal love, and sharp distress. But much finer in composition, to my thinking, is Fig. 158. In this son of Niobe the end of the right arm and the entire left arm are modern. Originally this youth was grouped with a sister who has been wounded unto death. She has sunk upon the ground and her right arm hangs limply over his left knee, thus preventing his garment from falling. His left arm clasps her and he seeks ineffectually to protect her. That this is the true restoration is known from a copy in the Vatican of the wounded girl with a part of the brother. Except for this son of Niobe the Florentine figures are not worthy of their old-time reputation. As for their authorship, Praxiteles seems out of the question. The subject is in keeping—with the genius of Scopas, but it is safer not to associate the group with any individual name.

This reserve is the more advisable because Scopas and Praxiteles are but two stars, by far the brightest, to be sure, in a brilliant constellation of contemporary artists. For the others it is impossible to do much more here than to mention the most important names: Leochares and Timotheus, whose civic ties are unknown, Bryaxis and Silanion of Athens, and Euphranor of Corinth, the last equally famous as painter and sculptor. These artists seem to be emerging a little from the darkness that has enveloped them, and it may be hoped that discoveries of new material and further study of already existing material will reveal them to us with some degree of clearness and certainty. A good illustration of how new acquisitions may help us is afforded by a group of fragmentary sculptures found in the sanctuary of Asclepius near Epidauros in the years 1882-84 and belonging to the pediments of the principal temple. An inscription was found on the same site which records the expenses incurred in building this temple, and one item in it makes it probable that Timotheus, the sculptor above mentioned, furnished the models after which the pediment- sculptures were executed. The largest and finest fragment of these sculptures that has been found is given in Fig. 159. It belongs to the western pediment, which seems to have contained a battle of Greeks and Amazons. The Amazon of our illustration, mounted upon a rearing horse, is about to bring down her lance upon a fallen foe. The action is rendered with splendid vigor. The date of this temple and its sculptures may be put somewhere about 375.

Reference was made above (page 215) to the Mausoleum. The artists engaged on the sculptures which adorned that magnificent monument were, according to Pliny, Scopas, Leochares, Bryaxis, and Timotheus. [Footnote: The tradition on this point was not quite uniform Vitruvius names Praxiteles as the fourth artist, but adds that some believed that Timotheus also was engaged] There seem to have been at least three sculptured friezes, but of only one have considerable remains been preserved (cf. Fig. 65). This has for its subject a battle of Greeks and Amazons, a theme which Greek sculptors and painters never wearied of reproducing. The preserved portions of this frieze amount in all to about eighty feet, but the slabs are not consecutive. Figs. 160 and 161 give two of the best pieces. The design falls into groups of two or three combatants, and these groups are varied with inexhaustible fertility and liveliness of imagination. Among the points which distinguish this from a work of the fifth century may be noted the slenderer forms of men and women and the more expressive faces. The existing slabs, moreover, differ among themselves in style and merit, and an earnest attempt has been made to distribute them among the four artists named by Pliny, but without conclusive results.

Since the Hermes of Praxiteles was brought to light at Olympia there has been no discovery of Greek sculpture so dazzling in its splendor as that made in 1887 on the site of the necropolis of Sidon in Phenicia. There, in a group of communicating subterranean chambers, were found, along with an Egyptian sarcophagus, sixteen others of Greek workmanship, four of them adorned with reliefs of extraordinary beauty. They are all now in the recently created Museum of Constantinople, which has thus become one of the places of foremost consequence to every student and lover of Greek art. The sixteen sarcophagi are of various dates, from early in the fifth to late in the fourth century. The one shown in Fig. 162 may be assigned to about the middle of the fourth century. Its form is adapted from that of an Ionic temple. Between the columns are standing or seated women, their faces and attitudes expressing varying degrees of grief. Our illustration is on too small a scale to convey any but the dimmest impression of the dignity and beauty of this company of mourners. Above, on a sort of balustrade, may be been a funeral procession.

The old Temple of Artemis at Ephesus (cf page 140) was set on fire and reduced to ruins by an incendiary in 356 B.C., on the very night, it is said, in which Alexander the Great was born. The Ephesians rebuilt the temple on a much more magnificent scale, making of it the most extensive and sumptuous columnar edifice ever erected by a Greek architect. How promptly the work was begun we do not know, but it lasted into the reign of Alexander, so that its date may be given approximately as 350-30. Through the indefatigable perseverance of Mr J. T. Wood, who conducted excavations at Ephesus for the British Museum in 1863-74, the site of this temple, long unknown, was at last discovered and its remains unearthed. Following the example of the sixth century temple, it had the lowest drums of a number of its columns covered with relief sculpture. Of the half dozen recovered specimens Fig. 163 shows the finest. The subject is an unsolved riddle. The most prominent figure in the illustration is the god Hermes, as the herald's staff in his right hand shows. The female figures to right and left of him are good examples of that grace in pose and drapery which was characteristic of Greek sculpture in the age of Scopas and Praxiteles.

The most beautiful Greek portrait statue that we possess is the Lateran Sophocles (Fig 164). The figure has numerous small restorations, including the feet and the box of manuscript rolls. That Sophocles, the tragic poet, is represented, is known from the likeness of the head to a bust inscribed with his name. He died in 406 B.C. The style of our statue, however, points to an original (if it be not itself the original) of about the middle of the fourth century. There were probably in existence at this time authentic likenesses of the poet, on which the sculptor based his work. The attitude of the figure is the perfection of apparent ease, but in reality of skilful contrivance to secure a due balance of parts and anety and grace of line. The one garment, drawn closely about the person, illustrates the inestimable good fortune enjoyed by the Greek sculptor, in contrast with the sculptor of to-day, in having to represent a costume so simple, so pliant, so capable of graceful adjustment. The head, however much it may contain of the actual look of Sophocles, must be idealized. To appreciate it properly one must remember that this poet, though he dealt with tragic themes, was not wont to brood over the sin and sorrow and unfathomable mystery of the world, but was serene in his temper and prosperous in his life.

The colossal head of Zeus shown in Fig. 165 was found a hundred years or more ago at Otricoli, a small village to the north of Rome. The antique part is a mere mask; the back of the head and the bust are modern. The material is Carrara marble, a fact which alone would prove that the work was executed in Italy and in the imperial period. At first this used to be regarded as copied from the Olympian Zeus of Phidias (page 185), but in the light of increased acquaintance with the style of Phidias and his age, this attribution has long been seen to be impossible. The original belongs about at the end of the period now under review, or possibly still later. Although only a copy, the Otricoli Zeus is the finest representation we have of the father of gods and men. The predominant expression is one of gentleness and benevolence, but the lofty brow, transversely furrowed, tells of thought and will, and the leonine hair of strength.