Cresilas, the sculptor from whom the only existing portrait of Pericles is derived, was a little earlier; in him, however, the “ideal” was still the supreme aim.—Tr.
[126]. The writers immediately succeeding Aristophanes.—Tr.
[127]. See Vol. II, pp. 360 et seq.
[128]. Diels, Antike Technik (1920), p. 159.
[129]. About 400 B.C. savants began to construct crude sun-dials in Africa and Ionia, and from Plato’s time still more primitive clepsydræ came into use; but in both forms, the Greek clock was a mere imitation of the far superior models of the older East, and it had not the slightest connexion with the Greek life-feeling. See Diels, op. cit., pp. 160 et seq.
[130]. Horace’s monumentum ære perennius (Odes III, 30) may seem to conflict with this: but let the reader reconsider the whole of that ode in the light of the present argument, and turn also to Leuconoe and her “Babylonian” impieties (Odes I, 11) inter alia, and he will probably agree that so far as Horace is concerned, the argument is supported rather than impugned.—Tr.
[131]. Ordered, for us, by the Christian chronology and the ancient-mediæval-modern scheme. It was on those foundations that, from early Gothic times, the images of religion and of art have been built up in which a large part of Western humanity continues to live. To predicate the same of Plato or Phidias is quite impossible, whereas the Renaissance artists could and did project a classical past, which indeed they permitted to dominate their judgments completely.
[132]. See pp. 9. et seq.
[133]. The Indian history of our books is a Western reconstruction from texts and monuments. See the chapter on epigraphy in the “Indian Gazetteer,” Vol. II.—Tr.
[134]. See Vol. II, pp. 482, 521 et seq.