CONTENTS

PAGE
PREFACE[vii]
I.THE SCHOOL OF PERGAMON[1]
II.THE SCHOOL OF ALEXANDRIA[19]
III.THE RHODIAN SCHOOL[35]
IV.THE MAINLAND SCHOOLS DURING THE HELLENISTIC AGE[53]
V.GRECO-ROMAN SCULPTURE[68]
APPENDIX. A LIST OF THE PUBLISHED WORKS OF THE AUTHOR[89]
INDEX[95]

ILLUSTRATIONS

1. Hermaphrodite. Constantinople[Frontispiece]
2. Marsyas. Constantinople[Frontispiece]
Facing page
3. Dancing Satyr of Pompeii. Naples[8]
4. Ludovisi Gaul. Rome, Museo Nazionale[8]
5. Head of a Dead Persian. Rome, Museo Nazionale[12]
6. Gaul’s Head. Cairo[12]
7. Group from the Great Frieze of the Altar at Pergamon: Giant and Dog. Berlin[12]
8. Group from the Telephos Frieze at Pergamon: Telephos and Herakles. Berlin[12]
9. Apollo of Tralles. Constantinople[16]
10. Ephebe of Tralles. Constantinople[16]
11. Venus Anadyomene from Cyrenaica. Rome, Museo Nazionale[20]
12. Sarapis of Bryaxis. British Museum[20]
13. Girl’s Head from Chios. Boston, Fine Arts Museum[20]
14. Bearded Head. Rome, Museo Capitolino[22]
15. Zeus of Otricoli. Rome, Vatican[22]
16. Isis. Louvre[22]
17. Priest of Isis. Rome, Museo Capitolino[24]
18. Capitol Venus. Rome, Museo Capitolino[24]
19. Ariadne. Rome, Museo Capitolino[26]
20. Inopos from Delos. Louvre[26]
21. Dwarf from the Mahdia Ship[30]
22. Old Woman. Dresden[30]
23. Grimani Relief. Vienna[30]
24. Nile. Rome, Vatican[30]
25. Aphrodite and Triton. Dresden[34]
26. Bronze Athlete from Ephesos. Vienna[34]
27. Praying Boy. Berlin[38]
28. Resting Hermes. Naples[38]
29. Hero Resting on his Lance. Rome, Museo Nazionale[42]
30. Jason. Louvre[42]
31. Draped Figure from Magnesia. Constantinople[44]
32. Eros and Psyche. Rome, Museo Capitolino[44]
33. Draped Figure by Philiskos from Thasos. Constantinople[44]
34. Victory of Samothrace. Louvre[46]
35. Chiaramonti Odysseus. Rome, Vatican[50]
36. Menelaos and Patroclos. Florence, Loggia dei Lanzi[50]
37. Youthful Centaur. Rome, Museo Capitolino[52]
38. Bearded Centaur. Rome, Museo Capitolino[52]
39. Hermes of Andros. Athens, National Museum[54]
40. Themis of Chairestratos. Athens, National Museum[54]
41. Hermes from Atalanta. Athens, National Museum[54]
42. Sleeping Hermaphrodite. Rome, Museo Nazionale[56]
43. Victory of Euboulides. Athens, National Museum[58]
44. Athena of Euboulides. Athens, National Museum[58]
45. Group by Damophon (restored)[60]
46. Anytos. Athens, National Museum[62]
47. Artemis. Athens, National Museum[62]
48. Veil of Despoina. Athens, National Museum[62]
49. Poseidon of Melos. Athens, National Museum[64]
50. Venus of Capua. Naples[64]
51. Appiades of Stephanos. Louvre[72]
52. Torso Belvedere. Rome, Vatican[72]
53. Athlete of Stephanos. Rome, Villa Albani[72]

Figs. [3], [7], [8], [15], [27], [28], and [53] are taken from casts in the Ashmolean Museum; figs. [4], [5], [11], [16], and [42] are from photographs by Alinari; figs. [12] and [21] are from photographs by the Hellenic Society; figs. [20], [30], [34], and [51] are from photographs by Giraudon; figs. [23] and [26] are from photographs by Frankenstein; fig. [29] is from a photograph by Anderson; figs. [36] and [50] are from photographs by Brogi; fig. [45] is reproduced by permission from the Annual of the British School at Athens, vol. xiii, Pl. XII.

I
THE SCHOOL OF PERGAMON

Most of the writers on Greek art agree in calling the Hellenistic period an age of decadence. The period is a long one, lasting from the death of Alexander to the Roman absorption of the Hellenistic kingdoms, i.e. from about 320 to later than 100 B.C. The lowest limit is marked by the Laocoon group, and the fact that some critics have seen in that wonderful monument the climax of Greek art may make us pause in a hasty generalization. The decadence of the Hellenistic age is due simply to its exaggeration of certain tendencies already present in the fourth century, tendencies which accompany the inevitable development of all art gradually away from the ideal and gradually closer to realistic imitation of nature. As long as the technical skill of the Hellenistic artist shows no sign of abating, it is unfair and untrue to call his work decadent. The term is only justly applicable when loss of idealism or growth of frivolity in subject is accompanied by a decline in execution, by a want of thoroughness, and by a desire to shirk difficulties.

It is true to say that Greek art on the mainland enters on a period of decadence in the third century, for its execution and expression grow steadily worse after 250 B.C., but it is interesting to note that it reverts to a greater idealism. The last great artist of the mainland, Damophon of Messene, might have been a member of the school of Pheidias save for an inadequate mastery of the chisel.