History of Sculpture, Painting, and Architecture. J. S. Memes

History of Sculpture, Painting, and Architecture - J. S. Memes


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of mind, the noblest expression of which it is susceptible. This is the utmost range attained by the genius of this the first period in the history of art in Greece, and an admirable ground-work for the sublimity, and refined perceptions of the beautiful, added in the era that followed.

      Casting a retrospect over the ages that have passed in review, how are we struck with the slow and painful growth of human invention! The collective energies and discoveries of a thousand years were required to rear the arts of Greece—not to their perfection, but to the state where the first decided approaches to it commence. Such is the length of time from the first feeble glimmerings of imitative art to the era of Dipænus and Scyllis, Bupalus and Anthermus. The interval of forty years occupied by these artists, from the fiftieth to the sixtieth Olympiad, may be considered as terminating the old, and introducing the new school. The art was now in possession of all the means and instruments, the correct application of which bound the aspirings and the praise of mediocrity, but which merely become subservient to the aims of loftier minds. During part of this period, also, these means were industriously, and with daily improving skill, employed. From this date to the battle of Marathon, an interval of fifty-eight years, improvement was rapid in every corner of Greece and her colonies. Fortunately, also, the movement then given to Sculpture was one of diffuse activity, not an influence derived from, and sustained amongst, a few leading minds, whose authority might thus have operated fatally, by binding down to fixed and imperfect modes the aspirings of future genius. This advantage was secured by the number of independent states forming the Grecian confederacy, a constitution, which, throughout the whole history of ancient art, exercised the most beneficial effects, both by preventing mannerism, in taste, and by nourishing emulation.

      The Persian invasion, the victories of Marathon, Salamis, and Platea, awakened a new energy in the moral character of Greece, infusing at the same time into her institutions a vigour and a stability before unknown. From the elevation she had now attained among the nations of the earth, her genius rushed forward as from vantage ground. In every field of mental enterprise, indeed, a certain preparation had already been made, and in some the best exertions had long been achieved. In poetry a sublimity had been attained, which has yet set at nought all succeeding rivalry. But in that knowledge, and in those arts, which depend less upon individual eminence, and more upon the circumstances of the times, and upon a strong national interest—in all those studies which embrace numbers by their consequences or their success, which demand the union of patient perseverance with high talent, and finally, which pertain to the business of public life, and require deep insight into the nicer distinctions of human character—all, from this happy era, with an almost supernatural progress, attained maturity.

      The opulence and security, with the resulting consciousness of power, and the love of elegance, which followed the defeat of the Barbarians, proved especially propitious to the arts of sculpture and architecture. If in the former any doubt be entertained, what the difference of improvement was between the artists who preceded and those who followed the age of Xerxes, we have only to recall the fortunes of the drama during the same heart-stirring period. In the last of the 74th Olympiad, A. C. 489, or one year after the battle of Marathon, Æschylus placed the first wreath upon the solemn brow of Tragedy. Not twenty years afterwards, the warrior bard was vanquished by his youthful rival. Between the Prometheus of Æschylus, then, and the Œdipus of Sophocles, we find as wide an interval as is necessary to suppose between the sculptures contemporary with the former, and the productions of Polycletus or Myron.

      CHAPTER III.

       Table of Contents

      The age of Pericles seemed marked out by fortune as a distinguished epoch in the history of his country. The fine talents, also, and popular qualities of this accomplished statesman, were admirably adapted to turn to the best account the propitious circumstances of the period. To the further progress of the fine arts, and of sculpture in particular, preceding events, and their present consequences, almost necessarily contributed; while the condition of the art itself was just fitted to receive the perfecting impulse.

      The energies of sculpture, likewise, were now to be more directly concentrated in one parent school; which, while it especially adorned one seat, preserved yet the stirring rivalry of honorable emulation, as being the common seminary of free and independent states. The noble stand she had made, her superior sacrifices and sufferings in the cause of freedom, directed to Athens the sympathy and deference of Greece. The prosperity, too, of her political situation, was suitable to the support of this moral pre-eminence. Provided with means of defence and of commerce, on a scale which seemed to contemplate future empire, she was left by Themistocles with ample resources—a noble field of fame and recompense for the artist. He himself, satisfied with the useful, had cared less about the ornamental; but, among the little he did add, were the lions, now at Venice, originally placed on the entrance to the Piræus, in which fidelity of detail, and grandeur of conception, have furnished to us existing evidence of the skill of this age.

      Great as they were, the mind of Phidias proved equal to these external advantages. Possessing that rarest and highest of all genius which is at once creative and regular—learned, yet original, he caught the inspiration of art in the most elevated range of the past, bringing in his own attainments a sublimity and truth yet unequalled by all that has followed.

      This great master, the son of Charmidas, an Athenian citizen, was born about the 72d Olympiad, or nearly 500 years before our era, and studied under Eladas. His numerous works belonged to three distinct classes: Toreutic, or statues of mixed materials, ivory being the chief—statues of bronze—sculptures in marble. In this enumeration are included only capital performances, for exercises in wood, plaster, clay, and minute labours in carving, are recorded occasionally to have occupied his attention. The beauty of these miniatures was not inferior to the excellence of his greater works; at once sublime and ingenious, he executed grand undertakings with majesty and force, and the most minute with simplicity and truth.

      'Artis Phidiacæ toreuma durum

       Pisces adspicis: adde aquam, natabunt.'

      'These fish are iv'ry—but by Phidias made;

       From want of water only seem they dead.'

      Of the works belonging to the first division, the Olympian Jupiter, and the Minerva of the Parthenon, colossal statues composed of gold and ivory, were the most wonderful productions of ancient art. The former, placed in the Temple at Elis, was sixty feet high, in a reposing attitude, the body naked to the cincture, the lower limbs clothed in a robe gemmed with golden flowers; the hair also was of gold, bound with an enamelled crown; the eyes of precious stones; the rest of ivory. Notwithstanding the gigantic proportions, every part was wrought with the most scrupulous delicacy; even the splendid throne was carved with exquisite nicety. The whole was finished before the artist had obtained the direction of the public works of the Athenians, in the 83d Olympiad after a labour of ten years; the same date in which Herodotus read the second part of his history, the first regular prose composition that had been heard at Athens.

      About twelve years later was executed the Minerva, of inferior dimensions, being only forty feet in altitude, but equal, if not superior, in beauty of workmanship and richness of material, the nude being of ivory, the ornaments of gold. A flowing tunic added grace to the erect attitude of the goddess: in one hand was a spear, upon the head a casque; on the ground a buckler, exquisitely carved, the concave representing the giants' war, the convex a conflict with the Amazons, portraits of the artist and of his patron being introduced among the Athenian combatants—one cause of the future misfortunes which envy brought upon the author. On the golden sandals was also sculptured another favorite subject, the battle of the Centaurs, praised by historians as a perfect gem of minute art.

      Such admiration attached to these two works, that they were regarded as 'having added majesty to the received religion;' and it was esteemed a misfortune not to have been able, once in a lifetime, to behold them. Yet judged according to the true principles of genuine art, theirs was not a legitimate beauty. It does not excite surprise, then, to learn that Phidias himself disapproved of the mixed effect produced by such a combination of different substances, nor


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