Hellenistic Sculpture - Guy Dickins

The subject of the frieze is the battle of the gods and the giants, and the members of the Olympic Pantheon are represented in attitudes of triumph over the serpent-footed denizens of Tartarus. This is probably the first appearance in sculpture of the serpent feet of the giant. Every earlier artist had realized how such a ridiculous detail would detract from the strength and probability of his figures, but the Pergamene artists are so glad of the chance of displaying extra technical skill that they pass over the artistic difficulty without hesitation. The great frieze of the altar is like the work of a megalomaniac. The restraint and good taste which have accompanied all Hellenic art hitherto are quite forgotten, and we are reminded rather of some Assyrian scene of carnage and destruction. This is the more curious, because the smaller frieze of the altar, the Telephos frieze, which is contemporary with the larger one, shows altogether a different character. It has therefore been plausibly argued, with the support of some of the artists’ signatures, that the main style of the work is Rhodian rather than Pergamene.[27] The view would only involve us in further difficulties when we come to consider Rhodian art. There is Rhodian influence in the frieze, but the technical details of hair, faces, and bodies as a whole correspond closely to Pergamene art. Moreover, on a priori grounds, Pergamene art is much more likely to be affected by exotic oriental influences than the purer Rhodian. It is easier to assume a special development of Pergamene art in this exaggerated direction for a monument which was itself a special and exceptional memorial. The whole character of the work is a reversion to an earlier idealistic phase of art, though carried out on very different artistic lines. This is no romantic or frivolous treatment of mythological detail. It is a great conception of the victory of right over might, of Hellas over the barbarian, and as such the great altar of Pergamon stands quite apart from most of the work of the Hellenistic age, and serves rather as a connecting link between the Parthenon on the one hand and the Imperial trophies of Augustus, like the Ara Pacis, on the other. It demonstrates the lack of judgement and balance in Hellenistic art, but it is a good proof that the Hellenistic school was not wholly absorbed in questions of bravura and technique, but could rise, even if in rather clumsy fashion, to the level of a great occasion.

The smaller frieze of Pergamon, giving incidents in the myth of Telephos, is of a very different type ([Fig. 8]). Firstly, the subject is not a unity in time and place, but a continuous narration of mythological episodes. It thus resembles the setting in a continuous frieze of a number of metope-subjects. Telephos appears in different situations in a scene which apparently is uniform. This is a decidedly new departure in artistic theory, and it had the profoundest effect on all subsequent art. We need not, of course, see in the Telephos frieze the first appearance of this custom, but it happens to be the earliest surviving monument in which the principle is easily remarked. Moreover, the information as to change of scene is conveyed by means of changes in the background, so that we see in it another new departure: the use of a significant pictorial background instead of the blank wall against which earlier reliefs had been set. Here again the Hellenistic artist revives rather than originates. The pictorial background occurs as early as the ‘Erechtheum’ poros pediment of the Acropolis, but during the fifth and fourth centuries the idea was dropped only to reappear at a later date.

We have already seen that relief sculpture at all stages of its history is closely affected by the kindred art of painting. During the fourth century painting underwent changes in the direction of naturalism as marked as, if not more marked than, the corresponding changes in sculpture. The late fourth century and the third century form the great period of Greek painting, in which the names of Parrhasios, Protogenes, and Apelles stand supreme. A true and correct feeling for perspective and a naturalistic scheme of colouring were the main discoveries of the period, discoveries which we are only able to appreciate in very roundabout methods through Pompeian wall-paintings and mummy-cases from the Fayum. All Hellenistic sculpture is profoundly influenced by painting, as we shall see; but naturally the art of relief is nearest akin and shows most clearly the effects of graphic ideas. The Hellenistic reliefs are almost all adaptations of pictures, and the Telephos frieze earns its main interest and reputation because it is one of the first monuments to show this influence very clearly. We find a true use of perspective in part of this frieze, and a deliberate intention to create the impression of depth.

One of the first results of these innovations was to free relief from its subordination to architecture. It begins now to take its place as a self-sufficing artistic object like a picture. Greek pictures were mainly of the fresco type, and therefore immovably fixed to walls, though easel pictures now begin to be more frequent. There was nothing dissimilar in the position of a relief decorating a wall-panel without architectural significance. This idea found its earliest manifestation in Ionia with friezes of the Assos type on an architrave block, and therefore at variance with architectural principles. Friezes as wall decorations appear commonly in the Ionian buildings of the fifth and fourth centuries, like the Nereid and Trysa monuments and the Mausoleum. We find in the Hellenistic age the use of panels as wall decorations quite frequent all over Asia Minor. Thus at Cyzicus we have some curious mythological reliefs called Stylopinakia, which appear to have been panels fixed between the columns of a peristyle. We have the Apotheosis of Homer by Archelaos of Priene, a clear instance of the decorative panel with a pictorial background; we have smaller pieces like the Menander relief in the Lateran; the visit of Dionysos to a dramatic poet; and all the series of so-called Hellenistic reliefs ascribed by Schreiber[28] to an Alexandrian origin, by Wickhoff[29] to the Augustan age and Italian art. The reliefs, like other sculpture of the Hellenistic age, cannot be judged as a whole.[30] Some are Augustan, like the reliefs in the Palazzo Spada, and some are undoubtedly Alexandrian, like the Grimani reliefs in Vienna. Others, again, show a strong Lysippic influence, which at once connects them with Rhodes. The Telephos frieze, however, is Pergamene, and the Cyzicus reliefs must have fallen mainly in the Pergamene sphere of art. We are, therefore, entitled to demand a separation of the reliefs into just as many classes as the sculpture. A fine piece of very high relief from Pergamon is the group of Prometheus on the Caucasus freed by Herakles.[31] Besides the influence of pictures on relief there is also the influence of earlier sculpture. One of the figures in the Telephos relief reproduces the Weary Herakles of Lysippos.[32] It would not be difficult to point out other examples of the adaptation of older types. The Marsyas group is itself a case in point. The indifference of the Hellenistic artist to his subject made him the readier to adapt earlier types, provided he had a free hand for his details of execution and expression.