Accessories such as these, among which I have here, of course, only adduced the most famous examples, are an exceptional stimulus to the acuteness and learning of our professors, and carry them into a kind of commerce in trifles, which too frequently leads them out of bounds, and finds significance in things where there is really none. As an example we are assured that two famous sleeping female figures in the Vatican and the Villa Medici are representations of Cleopatra, simply because they have a bracelet in the shape of a viper, and to the vision of such archaeologists a serpent at once suggests the death of Cleopatra, much as it would suggest to a pious father of the church the original serpent who seduced Eve in Paradise. It was, however, a prevailing custom for Greek women to wear bracelets in serpent coils, and such bracelets in fact were called by that name. Consequently the just sense of Winckelmann[176] has long ago rejected this interpretation, and Visconti has finally recognized[177] them as figures of Ariadne, as she at lasts sinks to sleep after her sorrow at the departure of Theseus. Although in uncounted cases acuteness of this quality shows itself at fault in dealing with detail of this kind, and makes itself appear contemptible in its departure from such insignificant facts, yet unquestionably both research and criticism of apparently unimportant facts are necessary, because it is only thereby that we can arrive at the closer determination of a figure. Yet even here the difficulty crops up, that attributes no less than form, do not in all cases point our conclusions to one god, but may be shared in common by several. We have the vase, for example, not only associated with Jupiter, Apollo, Mercury, Aesculapius, but also with Ceres and Hygiaea. Several goddesses receive the ear of corn; we find the lily in the hand of Juno, Venus, and Hope; and even the lightning is not the exclusive possession of Zeus, for it is shared by Pallas, who on her part again does not alone carry; the Aegis, but on equal terms with Zeus, Juno, and Apollo[178]. The source of the individual deities from a general significance of less determinate character which, they share itself is associated with ancient symbols, which were appertinent to this more general and consequently more widely shared nature.
(β) Accessories of this incidental nature are more in place with works which, already departing from the simple repose of the gods, represent actions, groups, or the series of figures such as we find on reliefs, and for this reason are able to make more extensive use of a variety of external indications and suggestions. On gifts dedicate to a devout purpose, which are frequent in all kinds of works of art and nowhere more frequent than, in the case of statuary, on statues of Olympic victors, but more particularly on coins and cut stones, the rich and prolific invention of the Greek found ample scope for the presence of symbolical references of this type, such as that to his city's locality and others like it.
(γ) Other signs are more removed from purely external significance, and penetrate deeper within the individuality of such deities. These themselves are a part of the particular type in question, and are an integrating factor in it. Among such we may mention the specific type of the drapery, armour, adornment of the hair, and other attire of a similar nature, in respect of which I must here content myself in elucidation with a few examples borrowed from Winckelmann, who exercised great acuteness in such matters. Among the several gods Zeus was pre-eminently recognizable by the general treatment of his hair, and our authority maintains[179], that any particular head can at once be determined as one intended for this deity or no by the hair over his forehead, or his beard, even though there be nothing else significant to arrest us. In other words he asserts that, "the hair is elevated in an outward curve on the brow, and its different divisions fall in a narrow curve with broken lines[180] down again." This type of hair-treatment was so rigorous, that we even find it persisted in among the sons and grandchildren of Zeus. So, for example, the head of Zeus is barely to be distinguished from that of Aesculapius in this respect, who consequently receives another kind of beard, more particularly over the upper lip, where the same is more depressed in its curve, whereas that of Zeus is rather folded over the angle of the mouth and intermingled with the beard on the chin. Winckelmann further recognizes the fine head of a statue in the Villa Medici, later in Florence, by means of the more curled beard, which, moreover, folds over the upper lip, and is of greater thickness, and must be distinguished from the heads of Zeus with their greater tendency to curled locks. Pallas, in direct contrast to Diana, wears her hair long, bound together in its downward fall from the head, and then beneath the fillet flowing in a series of locks. Diana, on the contrary, wears hers thrown up from all sides, and fastened in a knot on the crown of the head. The head of Ceres is up to the back portion covered with her veil. Add to this, in addition to the corn she carries, she holds a diadem as Juno does, in front of which, to quote our authority once more[181], the scattered hairs are thrown into a charming confusion, as though to suggest possibly her sorrow at the robbing of her daughter Proserpine. Individuality of the same kind is emphasized by other exterior means, as for example, when we recognize Pallas by her helmet and its particular shape, in her type of drapery and various other things.
(b) The truly vital individuality, however, in so far as it should find its mintage in sculpture by means of the spontaneous and beautiful bodily form, ought not to be asserted merely by such accessories as the external attributes or modes of things we have cited, but should be displayed no less in the form itself than in its expression. In attempting such an individualization the fine insight and creative power of the Greek artist increased in proportion as the figures of their deities possessed a substantive basis of essentially the same kind, from which, without wholly departing from it, it was their task so to elaborate the characteristic individuality that this ground-root of their conception was still maintained as a wholly vital and present fact. Nothing invites our admiration so much in the best works of antique sculpture than the exquisite attention the artist directed to the task of bringing the smallest traits of the presentment and expression into harmony with the entire figure, an attention which is, in fact, the source of such a harmony.
(α) If we inquire further after general distinctions of main importance which assert themselves as the substantive bases in most direct relation to the more individual severation of the bodily forms and their expression we may note, first, the distinction of more youthful figures in contrast to those of more mature age. In the genuine Ideal, as I have already stated, every trait, every particular part of the figure is expressed; and, moreover, the direct line, which is taken straight forward, avoids the abstractly level surface precisely as the circular form avoids the geometrical circle; and instead of this the vital variety of lines and shapes is elaborated in the finest way throughout by the nuances of their transitional forms which unite them. In juvenile and youthful age the boundaries of forms are less noticeably fluent, and pass into each other so finely, that we may compare them, I borrow the simile from Winckelmann[182], with the surface of a sea unruffled by the wind, of which we may say that, although in continuous motion, it is still. In the case of more advanced age, however, such distinguishing features are more definitely emphasized, and have to be elaborated with more pronounced characterization. Consummate male figures consequently are more likely to please us at the first glance, because the expression is throughout more distinct, and we wonder more readily at the knowledge and ability of the artist. Youthful examples appear more easy in their accomplishment because of their softness, and the smaller number of their distinguishing features. As a matter of fact, however, the opposite is the case. That is to say, in so far as "the forming of their parts in the interval between their first growth and their completion is permitted to be indefinite[183]," the joints, bones, sinews, muscles, are necessarily more delicate and tender, yet are none the less suggested. Antique art celebrates its triumph in just this fact, that even in its most delicate figures all parts throughout and their appropriate organization are somehow made perceptible in barely visible nuances of elevation and depression, by means of which the science and virtuosity of an artist is only followed by an observer whose research and attention is equally thorough. If, for example, to take the case of a delicate human figure, such as the youthful Apollo, the entire structure of the human body were not reproduced actually, and in all its essentials with consummate, if half veiled insight, the members might indeed appear well and fully rounded off, but they would be at the same time flaccid, without expression and variety, so that the entire effect could hardly satisfy. As a striking example of the distinction between the youthful body and a man's in mature age, we may adduce the sons and father in the Laocoon group.
Speaking generally the Greeks, in the representation of their deities, preferred the still youthful age, and even in heads and statues of Zeus and Neptune do not indicate old age.
(β) In the case of the sex, in which the figure is portrayed, the difference, that is, between male and female figures, we meet with a distinctive mark of still more importance. In general we may affirm of the latter what I have already briefly stated in the contrast drawn between the more youthful and more advanced age. The female figures are more tender and soft, the sinews and muscles, albeit they must be there, are less pronounced, the transitional lines are more flowing and malleable, yet in the wide interval of expression from the point of quiet earnestness, greater severity of power and dignity to that of the most delicate charm and grace of the love attraction, there is room for the richest gradations and variety. We find a wealth of form equally great in the male figures, in the treatment of which we have, moreover, the expression of elaborate bodily strength and courage. The cheerful tone of delight, however, is shared by all, a blithesomeness and blessed indifference, which soars above all particularity, associated not unfrequently with a trait of tranquil sorrow, a kind of smile through tears, in which we neither have wholly smile nor tears.
There is not a marked line of distinction here between the masculine and feminine character, for the more youthful figures of Bacchus and Apollo frequently are fined out to the point of feminine delicacy and softness, nay, we even find representations of Hercules in which there is so much the appearance of a young woman's form that critics have confused him with Iole, his sweetheart. And it is not merely this point of transition but even the combination of the male and female figure, which the ancients have expressly represented in their hermaphrodites.
(γ) Thirdly, and in conclusion, there is the question as to the main distinctions which the figure of sculpture receives in order that it may be classed within one of the specific divisions of subject-matter which constitute the content of the ideal outlook on the world appropriate to this art.