THE MAUSOLEUM AT HALICARNASSUS.—This structure was another of the Seven Wonders of the World. It was a monumental tomb designed to preserve the memory of Mausolus, king of Caria, who died 353 B.C. Its erection was prompted by the love and grief of his wife Artemisia. The combined genius of the most noted artists of the age executed the wish of the queen. It is the traditions of this beautiful structure that have given the world a name for all magnificent monuments raised to perpetuate the memory of the dead.
THEATRES.—The most noted of Greek theatres was the Theatre of Dionysus at Athens, which was the model of all the others. It was semi-circular in form, and was partly cut in the rock on the southeastern slope of the Acropolis, the Greeks in the construction of their theatres generally taking advantage of a hillside. There were about one hundred rows of seats, the lowest one, bordering the orchestra, consisting of sixty-seven marble arm-chairs. The structure would hold thirty thousand spectators.
[Illustration: THE THEATRE OF DIONYSUS AT ATHENS. (Restored by G.
Rehlender.)]
2. SCULPTURE AND PAINTING.
PROGRESS IN SCULPTURE: INFLUENCE OF THE GYMNASTIC ART.—Wood was the material first employed by the Greek artists. About the eighth century B.C. bronze and marble were generally substituted for the less durable material. With this change sculpture began to make rapid progress.
[Illustration: PITCHING THE DISCUS, OR QUOIT (Discobolus.)]
But what exerted the most positive influence upon Greek sculpture was the gymnastic art. The exercises of the gymnasium and the contests of the sacred games afforded the artist unrivalled opportunities for the study of the human form. "The whole race," as Symonds says, "lived out its sculpture and its painting, rehearsed, as it were, the great works of Phidias and Polygnotus, in physical exercises, before it learned to express itself in marble or in color."
As the sacred buildings increased in number and costliness, the services of the artist were called into requisition for their adornment. At first the temple held only the statue of the god; but after a time it became, as we have already seen, a sort of national museum. The entablature, the pediments, and every niche of the interior of the shrine, as well as the surrounding grounds and groves, were peopled with statues and groups of figures, executed by the most renowned artists, and representing the national deities, the legendary heroes, victors at the public games, or incidents in the life of the state in which piety saw the special interposition of the god in whose honor the shrine had been reared.
PHIDIAS.—Among all the great sculptors of antiquity, Phidias stands pre- eminent. He was an Athenian, and was born about 488 B.C. He delighted in the beautiful myths and legends of the Heroic Age, and from these he drew subjects for his art. It was his genius that created the wonderful figures of the pediments and the frieze of the Parthenon.
[Illustration: ATHENA PARTHENOS. After a statue found at Athens in 1880, which is supposed to be a copy of the colossal statue of Athena by Phidias, described in the text.]