Summary

Various The American Journal of Archaeology…

Can we reasonably believe that the Hydra and Triton pediments, standing side by side on the Acropolis, so close to each other in time and in technic, owe their origin to entirely different motives, merely for the reason that the figures of one stand further out from the background than those of the other? Is it not easier to suppose that the higher reliefs, as they follow the older low reliefs in time, are developed from them, than to assume that just at the dividing-line a new principle came into operation?
Source: Gutenberg

Various The American Journal of Archaeology…

By far the greater portion of workers in the field of Greek sculpture are concerned at the present time with the morphology of art for the sake of its history. The analysis of forms is utilized to ascertain an historical series, to discover schools, to establish dates. Here we find scarcely a mention of schools or artists, no reference to history and not a date. The analysis of form leads to the interpretation of monuments and the establishment of ideals. It is the physiology, not the history of art.
Source: Gutenberg

Various The American Journal of Archaeology…

It is a commonplace to say that sculpture in relief is only one branch of painting. Conze 56 publishes a sepulchral monument which seems to him to mark the first stage of growth. The surface of the figure and that of the surrounding ground remain the same; they are separated only by a shallow incised line. Conze says of it; "The tracing of the outline is no more than, and is in fact exactly the same as, the tracing employed by the Greek vase-painter when he outlined his figure with a brush full of black paint before he filled in with black the ground about it."
Source: Gutenberg

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