GREEK ART. 217 GREEK ART. eral pose is the same in most of the series. The figure rests squarely on both feet, one of which is sliglitly advanced. One arm is bent at the elbow, and the extended hand probably held a patera or Howcr. The other arm hangs at the side, and the hand draws up the long skirt, thus giving an opjjortunity for the introduction of diagonal folds to relieve the perpendicular lines. The drapery, which varies somewhat in the dif- ferent figures, is carefully worked out, and given much detail by the free employment of color. For the face in general not much can be said; the ejes and mouth still cause the artist trouble, and his attempts to secure expression too often produce only the exaggerations of the 'archaic smile.' At the end of the period, however, the skill of the artist has so far increased as to give us the beautiful heads of a boy and girl, which in dignity and sweetness of expression compare favorably with many products of a later age. In these female figures a close analysis can detect differences which warrant the belief that some are the work of Chian or island Ionian artists, probably brought to Athens by the ty- rants; while others, such as the statue by Ari- tenor, seem to show, in their soniewhat heavy build and ])lainness of conception, which holds aloof from the over-elaboration and excess of or- nament, the work of the native Attic School, which had taken up the refinements and improvements of the newcomers, but without loss of its earlier characteristics. To the same native school must belong the figures of Athena and a fallen giant from the old Temple of Athena on the Acropolis. Interesting examples of the work of the Ionian schools have been found at Delphi, where the treasuries of Cnidos and Siphnos show the adap- tation of the female tyi'e to a new use in Greek architecture. The columns between the antoe of these buildings were formed of a lofty base on which stood a dra])ed figure bearing on her head a lofty 'polos,' which served as the capital, and furnished a suitable transition from the perpendicular lines of the column to the hori- zontal of the roof. In general, the works of this period have not yet been classified in a thoroughly satisfactory manner. It seems clear that there were flourish- ing schools of scvilpture in Asia !Minor, Chios, Paros, and Naxos, and of bronze-workers at -Egina and Argos. while at Athens there is a school with well-defined local tradition. The study of the present is largely an endeavor to analyze minutely each new work, and in this way determine the characteristics of the different schools. This task is complicated by the cross- currents of influence which tended to obliterate local differences and produce a thoroughly na- tional type of art. On some of the characteristics of this early art, see Lange, Die Darstellung des Menschen in der Ultcren griechixchen Ktinst (Ger- man trans, from the Danish. Strassburg, 1899). Attic Period (b.c. 480,32.3). The' Persian wars gave a tremendous impulse to the whole sphere of Hellenic life, and especially to the field of art. By the end of the archaic period the sculptor had obtained a mastery over his ma- terial, which enabled him to strive for new effects, and finally to produce the most perfect specimens of ancient art. This period may be divided into three parts: (a) The transitional period, extending to about the middle of the fifth century; (b) the age of Phidias and his immediate followers, ending with the century; (c) the age of Praxiteles and Scopas, which may be considered to end with the death of Alexander. Tninnilional Period. — The works of the transition still show the traces of the archaic period, and the uncertainty as to some of the limits of their art. In this period belong prob- ably the -Eginetan sculptures (q.v. ), and cer- tainly those of the Temple of Zeus at Olympia (q.v.), and the metopes of the later temples at Selinus; but original works are few, and we are largely dependent upon more or less certainly identifiable copies in marble of the bronze statues of the masters. Of these few originals one of the best — indeed, the finest example of an ancient bronze statue — is the charioteer of Delphi, part of the group dedicated to the god by Polyzelus, brother of lliero, Tyrant of Syracuse, between B.C. 478 and 472, in consequence of a victory in the Pythian games. Full of grace and charm, yet with a trace of archaic hardness still visible, this work of an imknown artist conveys some suggestion of the qualities that must have marked the work of the great masters. The development of the artists of this period was much helped by the growing demand for statues of the victorious athletes, which were frequently dedicated at Olympia and the seats of the great games. The influence of the pahiestra on Greek art has been often discussed, and in certain directions can scarcely be overestimated. Here the artist was enabled to see the perfectly developed hiunan form to the best advantage, while the whole people became familhar with liv- ing beauty. The sculptor was at once furnished ith the best of models, and intelligent and ap- preciative judges of his work. To this period belong Calamis, famous for his Attic gi'aee ; Pythagoras of Rhegium, whose athlete statues were especially celebrated ; and above all Slyron, whose Discobolus (q.v.) shows at once the skill and daring of the artist, who chose to fi.x the athlete at the height of his endeavor, and also the deficient grasp of the real limits of his ma- terial, which is not adapted for the permanent rendering of a transitory condition. Lastly may be mentioned the charming bronze, possibly a Greek original, now in the Palazzo dei Conserva- tori in Rome. It represents a boy drawing a thorn from his foot. and. as has been well said by Tarbell. "might be regarded as an epitome of the artistic spirit and capacity of the age." Age of Phidias. — In passing to the age of Phidias, we pass at once into the full splendor of Greek art in its noblest form. It was the time when great works were planned and executed, for the most part in honor of the gods, for the great buildings are temples and the great statues are their adornment. Thus at Athens we have the whole series of buildings on the Acropolis, the Parthenon, the Propylipa. Erechthcum. and little Temple of Athene Nike, and in the lower city the so-called Theseum, still the most perfect- ly preser"ed of the ancient temples: at Rhamnus the Temple of Nemesis, with the statue of Agora- critus. which some attributed to Phidia*: at Sunivmi the Temple of Poseidon : at Eleusis the great hall of the mysteries, the work of Ictinus, the architect of the Parthenon: at Argos the new Temple of Hera, with its chryselephantine statue of the goddess by Polyclitus: and the Temple of Apollo at Phigaleia, another work of
