Page:The New International Encyclopædia 1st ed. v. 01.djvu/850

ARCHÆOLOGY. by that great convulsion of the Greek world, the P'eloponnesian War (B.C. 431-404), into an earlier nnd a later half, in which diverse sociar and political influences are at work, wherefore it will he of advantage to keep this subdivision in mind. The most noteworthy development of this time for lis is that of sculpture and statuary, the great monuments of the painter's art having irretrievably perished. It must be home in mind that no hard and fast line separates these Greek periods, such as divides the Mycenaean from the later times. The great development in Greek art is indeed later than the Persian wars, but the germs are in the later Sixth Century, and many works, which artistically belong to the archaic period, were made after B.C. ,500. The same remark applies to all the later periods ; the dates given are merely convenient approxima- tions.

In the early part of this period the develop- ment of bronze statuary was continued chiefly by the so-called Argive-Sicyonian School. We find Ageladas of Argos and Canachus of Sicyon famous as statuaries in bronze about the end of the Sixth Century. Gold and ivory ( in the famous chryselephantine work) and marlile were more popular in Attica, where the quarries of Pentelicus furnished inexhaustible material. Pythagoras of Rhegiuni (the author of the limp- ing "Philoctetes"), and Calamis and Myron among Attic artists, the latter famed for his "Discobolus" and bronze cow, are the forerun- ners of "Phidias" in the development of the great art of the Fifth Century. Here also be- long the sculptures from the temple of Zeus, at Olympia (q.v.). whose artistic origin has been sought in many schools, perhaps with most probability in Ionia.

Greek sculpture, however, reached its highest ideal development, though not its full legitimate growth, in Phidias (q.v.), son of Charmides, and pupil of Ageladas, of Argos, the superintendent of the Parthenon (q.v.) sculptures, and the art- ist of the chryselephantine .-Vthena Parthenos, as well as the creator of the highest anthropo- morphic type of Greek religion in the great chryselephantine Zeus at Olympia, of whose calm and" marvelous beauty and dignity we can now, unfortunately, gain but feeble conception. We have noticed Phidias's activity in connec- tion with the Parthenon, but we must not leave unmentioned the other great buildings of the time, the Pro[)ylrea, the so-called Theseum, the Krcchtheum, the temple at Eleusis, and that at P.hamnus, while a like architectural activity was going on across seas in Ionia, Sicily, and Magna Grircia.

Painting as a great and independent art was developed contemporarily with Phidias, by Po- lygnotiis, of Thasos, whose paintings in the Lesche (portico) at Pelphi have been fortu- nately described to us by Pausanias. He must have powerfully influenced the art of the cera- mic painters, as we seem to be able to trace in their works. After him may be mentioned Agatharchus, of Samos ; Apollodoriis, the first painter of pictures in the more modern sense (i.e., on flat, movable surfaces, anciently not of canvas, but of board) : Zeuxis, the contemporary of Socrates, whose "Centaur Family" is mi- nutely described to us by Liician, and Parrhasius, of Ephesus.

The work of the Argive-Sicyonian School was carried forward by Polyclitus (q.v._. He was the author of the Dorhphorus (spear bearer) ad Doadamerora ) youth b ng on head-band), which are known to us through Roman copies; and he established a canon of proportion charac- terized by a certain squareness and heaviness. After the stormy period of the Peloponnesian War w'e find Cephisodotus and Praxiteles (q.v.), probably his .son, carrying out Greek plastic art to its legitimate and logical conclu- sion, and to fullest bloom and perfection. The "Eirene" (Peace) with the baby "Plutus," pre- served in ]Iunich, a replica of a work of Cephis- odotus, is a gracious and lovely figure; but Praxiteles's marble "Hermes," with the baby "Dionysus," found in the place designated by Pausanias, the Hera?um at Olympia, in exquisite sensuous beauty, in perfection of manly strength and grace, and in the combination of the divine ideal with human form, as well as in complete mastery of technique, surpasses all that is left us of ancient art, while the pensive expression of the god's face indicates but too clearly the speculative thought that was undermining the old faith. There is no more perfect image of the period than this marvelous statue. It is to Praxiteles that we are to attribute the develop- ment, if not the invention, of languid but not yet effeminate figures, with hand supported on hip, such as the famous "Faun," of which sev- eral replicas exist, perhaps even the torso of the original. Praxiteles is preeminently the sculp- tor of youthful beauty, not merely in man but also in woman, as proved by his famous "C'ni- dian Aphrodite," inadequately preserved in replicas.

Side by side with Praxiteles must be men- tioned Scopas (q.v.), of Paros, whose art was rather that of the Peloponnesian School, while Praxiteles is Attic. The remains of his work from the temple of Athena Alea at Tegea, though scanty, make it possible to recognize his style in a number of other sculptures, such as the Meleager, the Ares Ludovisi, and a head of the _youthful Heracles. These show dis- tinctly his power in "tragic intensity of ex- pression."

To the last half of the Fifth and first half of the Fourth Century we may assign those most exquisite funereal monuments of the Athenian Ceramicus, such as that of Dexileos, and the deeply pathetic relief of Hegeso. The early re- liefs show decidedly the influence of Phidias, while later the work of Scopas evidently became the model. Indeed many archa'ologists are dis- po.scd to see the actual work of this master in some of the best of these monuments.

Portraiture also began in this period with Silanion, and from this time probably date the beautiful Lateran Sophocles, and some of the types of Socrates and Plato. Heretofore the statues set up in honor of men had been ideal in their type rather than a portrayal of the real features of those honored.

The growth of the Attic drama in the fifth century led to the architectural development of the theatre, though most of the buildings kno^Ti to us belong at the end of this period, or early in the next. For a consideration of the form and development of these structures, see Tue.-IRE.

In ceramics we must consider the ."Mtic development, which in this period is of absorbing