The best artists of Greece put forth all their powers in painting and sculpture in their representations of the seaborn Aphrodite, and if we except Zeus himself, there is no other divinity of the Greek mythology that has served so much as a model for the loveliest creations of the plastic genius of the Greeks. The grandest conception of the goddess as a work of art is the Venus of Milo, found in 1820 in the island of Melos (Milo) (Fig. 271), and now in the Louvre. The grandeur and majesty of this famous piece of sculpture is beyond praise. It ought to be seen in the Louvre, to be appreciated at its worth, as drawings and casts do not give an adequate idea of its beauty. The Medicean Venus is a work of the Athenian artist Cleomenes, of the later Attic school, in the second century B.C. A statue of Venus Anadyomene (rising from the sea), of “Venus crouching in the Bath” (Vatican collection), and of “Venus loosing her Sandal,” are all of this later and declining period of Greek sculpture, where the goddess is represented undraped and more realistic in conception. Venus had many attributes. The dove, sparrow, and the dolphin, and in plants the myrtle, rose, apple, poppy, and lime-tree, were sacred to her, but varied according to the locality and times.
Fig. 271.—Venus of Milo.
Fig. 272.—Statue of Hermes, Capitol.
Hermes (Mercury) is the god of shepherds and of pastures, and also of commerce and trade. When a child he invented the lyre from a tortoise-shell which he was forced to give up to Apollo. He is represented with wings on his cap and feet, and a herald’s staff as the messenger of the gods, and with a well-filled purse as an emblem of trade (Fig. 272).
Fig. 273.—Diana of Versailles.
Artemis (Diana) was the twin-sister of Apollo, and was at first the goddess of the moon. Her favourite amusement is the chase, but in the statue (Fig. 273) from the Villa Hadrian, now in the Louvre, she is represented as the protectress of wild animals.
