(β) Again, in considering the particular deities, we are inevitably led to the conviction that one individual is of commanding influence in determining all these ideal figures. This supreme value and dignity Pheidias attached in an unrivalled degree to the form and expression of his Zeus, albeit the father of the gods and mankind, is set before us at the same time with a blithe and benignant look throned in serenity of mature age, that is not in the first flush of youth, without, however, on the other hand emphasizing in the least any harshness of form or suggesting the feebleness of age. The most obvious parallels in form and gesture with Zeus are his brothers Neptune and Pluto, whose interesting statues in Dresden, for example, despite all that they share with him, nevertheless retain a clear line of distinction—Zeus himself, by virtue of the benignity of his lofty presence, Neptune, by virtue of his greater ruggedness, Pluto, who is a kindred type to the Egyptian Serapis, by virtue of his profounder gloom and melancholy.
Essentially more apart from Zeus are Bacchus and Apollo, Mars and Mercury, the first pair in their more youthful beauty and the greater delicacy of their figures, the second more masculine albeit beardless. Mercury, too, is more robust, more slender in shape, with exceptional fineness noticeable in the facial traits. Mars is not so much marked out from the others as Hercules might be in the strength of his muscles and other parts of his figure, but rather as a more youthful and beautiful hero of an ideal form.
Among the goddesses I will only refer to Juno, Pallas, Diana, and Aphrodite.
Just as Zeus among the masculine deities, so, too, Juno among the feminine displays in her figure and its expression the greatest dignity. The large circular-arched eyes are proud and commanding, in like manner, too, the mouth by which she is at once recognized more particularly in profile. Generally she presents the appearance of "a queen, who will rule, is to be revered and must awaken devotion[186]." Pallas, on the contrary, receives the expression of more austere maidenhood and chastity. Tenderness, love, and every kind of womanly weakness are kept away from her; her eyes are less expanded than those of Here, less emphatically arched and somewhat downcast in the tranquillity of reflection, just as her head is, which is not proudly erect as in the case of the spouse of Zeus, although it is armed with a helmet. A very similar type of maidenhood characterizes the figure of Diana. She is, however, endowed with a more fascinating quality, more lightly poised, more slender, albeit there is no self-conscious delight in her charm. She is not given the pose of tranquil observation, but is generally in motion, pressing forward as toward some object in her vision.
Finally we have Aphrodite, the goddess of beauty as such, who is, along with the Graces and the Hours, alone depicted by the Greek artists as undraped and even here subject to exceptions. In her case nudity is justified on the good ground that she expresses, above all, sensuous beauty and its conquest, grace, attractiveness, tenderness, elevated and tempered by spiritual qualities. Her eye, even in cases where a more grave and lofty expression is emphasized, is smaller than that of Pallas and Juno, not so much in length, but narrower by reason of the lower eyelid being slightly raised, by which means Love's yearning look is admirably expressed. She varies, however, very considerably in the type expressed. In some cases her pose is more serious and powerful; in others delicacy and tenderness are most insisted upon; her age, too, is sometimes that of maidenhood, at other of riper years. Winckelmann compares the Medicean Venus to a rose which blossoms in the fair light of its own colour at daybreak. Uranian Aphrodite is, on the contrary, indicated by a diadem which resembles that worn by Juno, and which Venus victrix also wears.
(γ) The discovery of this plastic individuality, whose entire expression is wholly elaborated through abstract form and nothing further, was in a like degree of consummate perfection peculiar to the Greeks and is due to religion itself. A more spiritual religion can rest satisfied with the contemplation and devotion of the soul, so that works of sculpture pass for it simply as so much luxury and superfluity. A religion so dependent on the sense vision as the Greek was must necessarily continue to create, inasmuch as for it this artistic production and invention is itself a religious activity and satisfaction, and for the people the sight of such works is not merely so much sight-seeing, but is part of their religion and soul-life. And in general the Greeks did everything with a public and universal aim in view, in which every man discovered his enjoyment, pride, and honour. In this public aspect the art of the Greeks is not merely an ornamental object, but a vital thing that meets a really felt want, in much the same sort of way as that of painting in its most glorious season responded to the life of Venice. Only on grounds such as these can we find a rational explanation, if we consider the great difficulties which the technique of sculpture implies, for the host of sculptured figures, this forest of statues of every kind, which in their thousand and indeed thousands, were to be met with in one single city, in Elis, in Athens, in Corinth, and even in towns of lesser importance, and in the same way in the greater Greece beyond and the islands of the Cyclades.