F. B. Tarbell

“ The calmness which Hawthorne thought he saw in the Laocoon is not there; there is only a terrible torment. Battle, wounds, and death were staple themes of Greek sculpture from first to last; but nowhere else is the representation of physical suffering, pure and simple, so forced upon us, so made the "be-all and end-all" of a Greek work. ”

“ It will be seen how inspiring and elevating was the role assigned to the sculptor in Greece. His work destined to be seen by intelligent and sympathetic multitudes, appealed, not to the coarser elements of their nature, but to the most serious and exalted. Hence Greek sculpture of the best period is always pure and noble. The grosser aspects of Greek life, which flaunt themselves shamelessly in Attic comedy, as in some of the designs upon Attic vases, do not invade the province of this art. ”

“ The attitude of the figure is the perfection of apparent ease, but in reality of skilful contrivance to secure a due balance of parts and anety and grace of line. The one garment, drawn closely about the person, illustrates the inestimable good fortune enjoyed by the Greek sculptor, in contrast with the sculptor of to-day, in having to represent a costume so simple, so pliant, so capable of graceful adjustment. ”

“ In the production of a modern piece of marble sculpture, the artist first makes a clay model and then a mere workman produces from this a marble copy. In the best period of Greek art, on the other hand, there seems to have been no mechanical copying of finished models. Preliminary drawings or even clay models, perhaps small, there must often have been to guide the eye; but the sculptor, instead of copying with the help of exact measurements, struck out freely, as genius and training inspired him. ”

“ The painter, some unnamed younger contemporary of Euphronius, has learned a freer manner of drawing. He gives to the eye in profile its proper form, and to the drapery a simple and natural fall. The subject does not call, like the last, for dramatic vigor, and the preeminent quality of the work is an exquisite purity and refinement of spirit.
If we turn now from the humble art of vase-decoration to painting in the higher sense of the term, the first eminent name to meet us is that of Polygnotus, who was born on the island of Thasos near the Thracian coast. ”

“ We shall see that Greek sculpture throughout its great period tends toward the typical and the ideal in the human face and figure. Not so in Egypt. Here the task of the artist was to make a counterfeit presentment of his subject and he has achieved his task at times with marvelous skill. Especially the heads of the best statues have an individuality and lifelikeness which have hardly been surpassed in any age. But let not our admiration blind us to the limitations of Egyptian art. The sculptor never attains to freedom in the posing of his figures. ”

“ Sculpture used merely as ornament, and having no sacred or public character. This class belongs mainly, if not wholly, to the latest period of Greek art. It would be going beyond our evidence to say that never, in the great age of Greek sculpture, was a statue or a relief produced merely as an ornament for a private house or the interior of a secular building. But certain it is that the demand for such things before the time of Alexander, if it existed at all, was inconsiderable. It may be neglected in a broad survey of the conditions of artistic production in the great age. ”

“ It is not easy to answer with a simple yes or no. Many of the attempts to represent the facts by restorations on paper have been crude and vulgar enough. On the other hand, some experiments in decorating modern buildings with color, in a fashion, to be sure, much less liberal than that of ancient Greece, have produced pleasing results. At present the question is rather one of faith than of sight; and most students of the subject have faith to believe that the appearance of a Greek temple in all its pomp of color was not only sumptuous, but harmonious and appropriate. ”

“ At all events, the statue is a fine example of apparently unstudied ease, of that consummate art which conceals itself.
The only sculptor of the fifth century who is at once known to us from literary tradition and represented by an authenticated and original work is Paeonius of Mende in Thrace. He was an artist of secondary rank, if we may judge from the fact that his name occurs only in Pausanias; but in the brilliant period of Greek history even secondary artists were capable of work which less fortunate ages could not rival. ”

“ And it is indisputable that some ornamental patterns used in architecture and on pottery were rather appropriated than invented by Greece. There is no occasion for disguising or underrating this indebtedness of Greece to her elder neighbors. But, on the other hand, it is important not to exaggerate the debt. Greek art is essentially self-originated, the product of a unique, incommunicable genius. ”

“ Thanks to the faith, the liberality, and the energy of Heinrich Schliemann, an immense impetus has been given to the study of prehistoric Greek archaeology. His excavations at Troy, Mycenae, Tiryns, and elsewhere aroused the world. He labored, and other men, better trained than he, have entered into his labors. The material for study is constantly accumulating, and constant progress is being made in classifying and interpreting this material. A civilization antedating the Homeric poems stands now dimly revealed to us. ”

“ In short, the position and purposes of the art of sculpture became very like what they are to-day. Hence the untrained modern student feels much more at home in a collection of Hellenistic sculpture than in the presence of the severer, sublimer creations of the age of Phidias.
It is by no means meant to pass a sweeping condemnation upon the productions of the post-classical period. Realistic portraiture was now practiced with great frequency and high success. Many of the genre statues and decorative reliefs of the time are admirable and delightful. ”

“ In fact, there is only one indisputable case where we possess both a statue and the pedestal belonging to it, the latter inscribed with the name of an artist known to us from literary tradition. (See pages 212-3.)
Thirdly, we have the actual remains of Greek sculpture, a constantly accumulating store, yet only an insignificant remnant of what once existed. These works have suffered sad disfigurement. Not one life-sized figure has reached us absolutely intact; but few have escaped serious mutilation. ”

“ Statues of the New Empire are far more numerous than those of any other period, but few of them will compare in excellence with the best of those of the Old Empire. Colossal figures of kings abound, chiseled with infinite patience from granite and other obdurate rocks. All these and others may be passed over in order to make room for a statue in the Louvre (Fig. 11) , which is chosen, not because of its artistic merits, but because of its material and its subject. It is of bronze, somewhat over three feet in height, thus being the largest Egyptian bronze statue known. ”

“ For it seems clear that the "Mycenaean" civilization developed little which can be called artistic in the highest sense of that term. The real history of Greek art—that is to say, of Greek architecture, sculpture, and painting—begins much later. Nevertheless it will repay us to get some notion, however slight, of such prehistoric Greek remains as can be included under the broadest acceptation of the word "art." ”

“ The workman is at work in dry earnestness, with a sort of hard strength of detail, a scrupulousness verging on stiffness, like that of an early Flemish painter; he communicates to us his still youthful sense of pleasure in the experience of the first rudimentary difficulties of his art overcome. ”

“ Among the innumerable painted bas-reliefs covering the walls of tombs and temples, those of the great Temple of Abydos in Upper Egypt hold a high place. One enthusiastic art critic has gone so far as to pronounce them "the most perfect, the most noble bas- reliefs ever chiseled." ”

“ To this ability and this method we may ascribe something of the freedom, the vitality, and the impulsiveness of Greek marble sculpture—qualities which the mechanical method of production tends to destroy. Observe too that, while pediment-groups, metopes, friezes, and reliefs upon pedestals would often be executed by subordinates following the design of the principal artist, any important single statue or group in marble was in all probability chiseled by the very hand of the master. ”

“ The whole statue, unlike anything else that ever was wrought in that severe material of marble, conveys the idea of an amiable and sensual creature— easy, mirthful, apt for jollity, yet not incapable of being touched by pathos. ”

“ In complete disregard of historic truth, the two men are represented in a state of ideal nudity, like the Aeginetan figures. The anatomy is carefully studied, the attitudes lifelike and vigorous. Finally, the composition is fairly successful. This is the earliest example preserved to us of a group of sculpture other than a pediment-group. The interlocking of the figures is not yet so close as it was destined to be in many a more advanced piece of Greek statuary. But already the figures are not merely juxtaposed; they share in a common action, and each is needed to complete the other. ”

“ These, like those of Tiryns, consisted partly of merely ornamental patterns, partly of genuine pictures, with human and animal figures. But nothing has there come to light at once so well preserved and so spirited as the bull-fresco from Tiryns.
Painting in the Mycenaean period seems to have been nearly, if not entirely, confined to the decoration of house-walls and of pottery. Similarly sculpture had no existence as a great, independent art. There is no trace of any statue in the round of life-size or anything approaching that. ”

“ When we compare the architecture of Greece with that of other countries, we must be struck with the remarkable degree in which the former adhered to established usage, both in the general plan of a building and in the forms and proportions of each feature. ”

“ But there is another way, which has been finely expressed by Pater, in an essay on "The Marbles of Aegina": "As art which has passed its prime has sometimes the charm of an absolute refinement in taste and workmanship, so immature art also, as we now see, has its own attractiveness in the naivete, the freshness of spirit, which finds power and interest in simple motives of feeling, and in the freshness of hand, which has a sense of enjoyment in mechanical processes still performed unmechanically, in the spending of care and intelligence on every touch. ”

“ The two pediment-groups and the metopes of this temple show such close resemblances of style among themselves that they must all be regarded as products of a single school of sculpture, if not as designed by a single man. ”

“ It is the name of Myron of Athens, who ranks among the six most illustrious sculptors of Greece. It is worth remarking, as an illustration of the scantiness of our knowledge regarding the lives of Greek artists, that Myron's name is not so much as mentioned in extant literature before the third century B.C. Except for a precise, but certainly false, notice in Pliny, who represents him as flourishing in 420-416, our literary sources yield only vague indications as to his date. ”

“ A bronze head of similar brutality found at Olympia bears witness that the refined statues of athletes produced in the best period of Greek art and set up in that precinct were forced at a later day to accept such low companionship. Or it may be that this boxer is not an actual person at all, and that the statue belongs to the domain of genre. In either case it testifies to the coarse taste of the age.
By genre sculpture is meant sculpture which deals with incidents or situations illustrative of every-day life. ”

“ Every new and important excavation adds to the store. At present our information is much fuller in regard to the polychromy of Doric than of Ionic buildings. It appears that, just as the forms and proportions of a building and of all its details were determined by precedent, yet not so absolutely as to leave no scope for the exercise of individual genius, so there was an established system in the coloring of a building, yet a system which varied somewhat according to time and place and the taste of the architect. ”

“ Again, it is important to recognize that the creations of Greek sculpture which have been preserved to us are partly original Greek works, partly copies executed in Roman times from Greek originals. Originals, and especially important originals, are scarce. The statues of gold and ivory have left not a vestige behind. Those of bronze, once numbered by thousands, went long ago, with few exceptions, into the melting-pot. Even sculptures in marble, though the material was less valuable, have been thrown into the lime-kiln or used as building stone or wantonly mutilated or ruined by neglect. ”