elsewhere came thus into being. But from the point of view of art, by far the most important class of portraits consisted of athletes who had won victories at some of the great games of Greece, at Olympia, Delphi or elsewhere. Early in the 6th century the custom arose of setting up portraits of athletic victors in the great sacred places. We have records of numberless such statues executed by all the greatest sculptors. When Pausanias visited Greece he found them everywhere far too numerous for complete mention.
It is the custom of studying and copying the forms of the finest of the young athletes, combined with the Greek habit of complete nudity during the sports, which lies at the basis of Greek excellence in sculpture. Every sculptor had unlimited opportunities for observing young vigorous bodies in every pose and in every variety of strain. The natural sense of beauty which was an endowment of the Greek race impelled him to copy and preserve what was excellent, and to omit what was ungainly or poor. Thus there existed, and in fact there was constantly accumulating, a vast series of types of male beauty, and the public taste was cultivated to an extreme delicacy. And of course this taste, though it took its start from athletic customs, and was mainly nurtured by them, spread to all branches of portraiture, so that elderly men, women, and at last even children, were represented in art with a mixture of ideality and fidelity to nature such as has not been reached by the sculpture of any other people.
The statues of the gods began either with stiff and ungainly figures roughly cut out of the trunk of a tree, or with the monstrous and symbolical representations of Oriental art. In the Greece of late times there were still standing rude pillars, with the tops sometimes cut into a rough likeness to the human form. And in early decoration of vases and vessels one may find Greek deities represented with wings, carrying in their hands lions or griffins, bearing on their heads lofty crowns. But as Greek art progressed it grew out of this crude symbolism. In the language of Brunn, the Greek artists borrowed from Oriental or Mycenaean sources the letters used in their works, but with these letters they spelled out the ideas of their own nation. What the artists of Babylon and Egypt express in the character of the gods by added attribute or symbol, swiftness by wings, control of storms by the thunderbolt, traits of character by animal heads, the artists of Greece work more and more fully into the sculptural type; modifying the human subject by the constant addition of something which is above the ordinary level of humanity, until we reach the Zeus of Pheidias or the Demeter of Cnidus. When the decay of the high ethical art of Greece sets in, the gods become more and more warped to the merely human level. They lose their dignity, but they never lose their charm.
The decorative sculpture of Greece consists not of single figures, but of groups; and in the arrangement of these groups the strict Greek laws of symmetry, of rhythm, and of balance, come in. We will take the three most usual forms, the pediment, the metope and the frieze, all of which belong properly to the temple, but are characteristic of all decoration, whether of tomb, trophy or other monument.
The form of the pediment is triangular; the height of the triangle in proportion to its length being about 1:8. The conditions of space are here strict and dominant; to comply with them requires some ingenuity. To a modern sculptor the problem thus presented is almost insoluble; but it was allowable in ancient art to represent figures in a single composition as of various sizes, in correspondence not to actual physical measurement but to importance. As the more important figures naturally occupy the midmost place in a pediment, their greater size comes in conveniently. And by placing some of the persons of the group in a standing, some in a seated, some in a reclining position, it can be so contrived that their heads are equidistant from the upper line of the pediment.
The statues in a Greek pediment, which are after quite an early period usually executed in the round, fall into three, five or seven groups, according to the size of the whole. As examples to illustrate this exposition we take the two pediments of the temple at Olympia, the most complete which have come down to us, which are represented in figs. 33 and 34. The east pediment represents the preparation for the chariot race between Pelops and Oenomaus. The central group consists of five figures, Zeus standing between the two pairs of competitors and their wives. In the corners recline the two river-gods Alpheus and Cladeus, who mark the locality; and the two sides are filled up with the closely corresponding groups of the chariots of Oenomaus and Pelops with their grooms and attendants. Every figure to the left of Zeus balances a corresponding figure on his right, and all the lines of the composition slope towards a point above the apex of the pediment.
In the opposite or western pediment is represented the battle between Lapiths and Centaurs which broke out at the marriage of Peirithous in Thessaly. Here we have no less than nine groups. In the midst is Apollo. On each side of him is a group of three, a centaur trying to carry off a woman and a Lapith striking at him. Beyond these on each side is a struggling pair, next once more a trio of two combatants and a woman, and finally in each corner two reclining female figures, the outermost apparently nymphs to mark locality. A careful examination of these compositions will show the reader more clearly than detailed description how clearly in this kind of group Greek artists adhered to the rules of rhythm and of balance.
The metopes were the long series of square spaces which ran along the outer walls of temples between the upright triglyphs and the cornice. Originally they may have been left open and served as windows; but the custom came in as early as the 7th century, first of filling them in with painted boards or slabs of stone, and next of adorning them with sculpture. The metopes of the Treasury of Sicyon at Delphi (Plate IV. fig. 66) are as early as the first half of the 6th century. This recurrence of a long series of square fields for occupation well suited the genius and the habits of the sculptor. As subjects he took the successive exploits of some hero such as Heracles or Theseus, or the contemporary groups of a battle. His number of figures was limited to two or three, and these figures had to be worked into a group or scheme, the main features of which were determined by artistic tradition, but which could be varied in a hundred ways so as to produce a pleasing and in some degree novel result.
With metopes, as regards shape, we may compare the reliefs of Greek tombs, which also usually occupy a space roughly square, and which also comprise but a few figures arranged in a scheme generally traditional. A figure standing giving his hand to one seated, two men standing hand in hand, or a single figure in some vigorous pose is sufficient to satisfy the simple but severe taste of the Greeks.
In regard to friezes, which are long reliefs containing figures ranged between parallel lines, there is more variety of custom. In temples the height of the relief from the background varies according to the light in which it was to stand, whether direct or diffused. Almost all Greek friezes, however, are of great simplicity in arrangement and perspective. Locality is at most hinted at by a few stones or trees, never actually portrayed. There is seldom more than one line of figures, in combat or procession, their heads all equidistant from the top line of the frieze. They are often broken up into groups; and when this is the case, figure will often balance figure on either side of a central point almost as rigidly as in a pediment. An example of this will be found in the section of the Mausoleum frieze shown in fig. 70, Plate IV. Some of the friezes executed by Greek artists for semi-Greek peoples, such as those adorning the tomb at Trysa in Lycia, have two planes, the figures in the background being at a higher level.
The rules of balance and symmetry in composition which are followed in Greek decorative art are still more to be discerned in the paintings of vases, which must serve, in the absence of more dignified compositions, to enlighten us as to the methods of Greek painters. Great painters would not, of course, be bound by architectonic rule in the same degree as the mere workmen who painted vases. Nevertheless we must never forget that
