A most notable example of realism is the famous "Scribe" in the Louvre, a coloured statuette, believed to date from the fifth or sixth dynasty, of extraordinary vitality. The eyes consist of an iris of rock crystal, surmounting a metal pupil, and set in an eyeball of opaque white quartz.
Greek sculpture, again, shows a gradual development from the archaic period, in which it resembles early Asiatic art, up to the refinement, freedom, and beauty of design of the Phidian period, when the balance between naturalistic feeling and monumental feeling appears to have been perfect. Then later, as the result of a desire for more obvious naturalism and dramatic expression, we get quite a different feeling in the sculptures of the frieze of the great altar at Pergamos, which represents the strife of the gods and the Titans—a tremendous subject, worked out with extraordinary power, skill, and learning in alto relievo; but despite the energy and dramatic movement, after the delicacy and reposeful beauty of the Parthenon sculptures, we feel that these qualities have been gained at a considerable cost and loss; but it is interesting as representing the more realistic and dramatic side of Greek art.[11]
EGYPTIAN SCRIBE. PORTRAIT STATUETTE. FIFTH OF SIXTH DYNASTY (LOUVRE).
But the grace and charm of Greek art never seemed really to die out. All the best Roman art was inspired by it, if not actually carried out by Greek artists; and, owing to Greek colonies, Greek traditions had long been naturalized in Italy, where they found a congenial soil. Fine portrait sculpture was done in the imperial period—as the Augustus and the head of Julius Cæsar and many other well-known busts testify. Also the truth and beauty of some of their animal sculpture we may see in the fine style of the frieze of sacrificial animals discovered in 1872 in the Forum. We seem to see the Greek spirit in the decorative splendour of the Byzantine period, and again, in Italian dress, inspiring the painters and sculptors of the early Renascence, in the work of Giotto, Ghiberti, and Donatello for instance. With the development of Gothic architecture in the thirteenth century a new and distinct feeling for naturalism arose, which influenced through architecture all the arts of design. In fact, all through the Gothic period design seems to have had more the character of a vital organic growth, controlled by a certain tradition and the influence of architectural style, yet within these limits and those of the material of its expression developing an extraordinary freedom both of invention and graphic power, which culminated at the end of the fifteenth century, or was perhaps absorbed by the classicism of the Renascence. Thirteenth century Gothic sculpture at its best, as we find it in France, has almost the simplicity, grace, and natural feeling of Greek work. This may be seen in the figures from the west front of Auxerre Cathedral, and also in the porch of Amiens; and in the portrait effigies of this period and onwards through the three centuries in those of our own cathedrals and churches we find abundant evidence of graphic power in careful and characteristic portraiture, united with beauty of design in detail and decorative effect.
SCULPTURED FRIEZE DISCOVERED IN THE FORUM, 1872.
SCULPTURE FROM AUXERRE CATHEDRAL. THIRTEENTH CENTURY.
