Page:Encyclopædia Britannica, Ninth Edition, v. 2.djvu/384

Rh 362 ARCHEOLOGY [CLASSICAL Silver smiths. Die-sini- garding the proportions adopted by Lysippus, viz., a small head and comparatively long slim arms and legs (Monumenti d. Inst. Arch. v. pi. 13; Friederichs, Bamteine, i. p. 28G). That he was also equal to the times in the production of allegorical figures may be gathered from the description (see Overbeck, Schriftguellen, Lysip pus) of his bronze statue of Cairus, a personification of what is vulgarly called the &quot; nick of time.&quot; It remains to point out, with reference to the style of Lysippus, that he confined himself mostly to the rendering of male forms, and that in regard to the few female figures by him there is no mention of the charm of sensual beauty which cha racterised the second Attic school; nor, again, do we find that other characteristic of theirs, the expression of pathos, in the male figures by him. His animosa signa must be taken as expressing physical life anima, not animus. Among the remaining sculptiires which belong to this period the most remarkable are (1.) The sculptures of the so-called Nereid monument discovered at Xanthus, in Lycia, by Sir Charles Fellows, and now in the British Museum. These sculptures consist of (a) a series of female figures in the round, about the size of life, wearing a thin long drapery through which the forms are entirely visible; (b and c) a broad and a narrow frieze, both representing battle scenes. While the design of the narrow frieze is singularly Assyrian in conception, that of the broader frieze and the statues in the round is purely Greek, at one time suggesting the style of the Parthenon sculptures, at another the refining and movement of the second Attic school (Fellows, An Account of the Ionic Trophy Monument exca vated at Xanthus, London, 1848; W. W. Lloyd, The Nereid Monument, London, 1845). (2.) The reliefs on the monument of Lysicrates, a round building in Athens, popularly known as the Lantern of Demosthenes. Tim victory which it was erected to commemorate was gained in the year 334 B.C. The subject is Bacchus and his suite transforming the Tyrrhenian pirates into dolphins. The figures are powerful, but light of foot and tall. The unusually large spaces between the groups and figures is suggestive of the lonely distances on the sea-shore, and in this respect the frieze seems to encroach on the province of painting (Marbles of the British Museum, ix. pis. 22-26). (3.) A series of portrait sculptures, for which reference is made to Friederichs, Bausteine, i. pp. 290-308. The great bronze head (fig. 10) placed here may, on further con sideration, require to be moved to an earlier period, though the many carelessnesses in details which it exhibits seem at present to render such a step unadvisable. Besides sculptors, otherwise famous, who applied them selves to toreutic art, there were others who made this their principal occupation. Of these we know Mys, who executed the designs on the shield of the bronze Pallas of Phidias on the Acropolis of Athens; and, more celebrated, Me.i*:or, who worked chiefly on silver bowls and cups, for wh ich fabulous sums were afterwards paid by Roman collectors. He must have lived before the time of Alexander the Great, since some of his works perished in the burning of the temple of Diana at Ephesus. Two other cselatores apparently of this period were Acragas and Bcethus. A branch of art allied to the ctelatura is that of die-sink ing and gem-engraving. Of the former the finest examples during this period are the silver coins of Syracuse, espe cially the decadrachms with the head of Arethusa on the obverse and a quadriga on the reverse. The presence of the engraver s name on many of these coins is testimony of the value attached to their work. From this source we know the engravers Cimon and Eurenetus. Other mimes, such as Euclides, Eumenus, Eumelus, Phrygillus, and Sosion, also occur on smaller silver coins. With the ex ception of Athens, where the archaic type was preserved, there is a general feeling for beauty throughout the Greek coinage of this period, the specimens most deserving of FIG. 10. Colossal bronze Iiend. lint. Mus. Said to have been found at Satala in Armenia. study being those of Arcadia, of the Opuntian Locri, of the Macedonian kings Philip and Alexander, of the Chalci- deans of Thrace, of Cydonia in Crete, where the name of FIG. 11. Marble neail of Alexander ;he Great. Brit. Mus. .From Alexandria. the engraver Xeuantus occurs, and of Lesbus. In gem- Gem- _ engraving during this period the fame of Pj-rgoteles is &quot; 1 S raTU