Idea Transcript
F ig
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SCULP TUR E,
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las t
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w e l k n ow n
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LES
MER
M V I ARD OT, publi shed
an d
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C o mpany
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critic that it i s u n n e ce ssary to re comme n d h i s w ork ; bu t on th i s accou n t w e regre t the more th e i n c ompl eten e ss and i nj u st ic e of hi s chapte r on Sculpture i n Engl an d I n mourni ng over ou r sh ort comi ngs and ri d ic u l in g our pu blic mon u me n ts he has o mi t ted to men ti on th e w ork s of Gibson Ba il ey Mac D owe ll Foley Be ll Mars hal l Woolner and othe r e qually e mi n en t scu l ptors The
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as an art
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rest of the w ork how e ver i s full of i nterest The an ti q u e school s e speci al ly th e G re e k are ably an d fu lly re vi e w e d and th e re ad e r i s i n tr od u c e d to all the mas te r u re i n c on ti n e ntal u t c n i o r c l ll i e e f m s a r s d e e e o s p p g The
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ccordanc e w ith th e u sage of mode rn scholars the origi nal Greek name s of th e d i vi n iti es as Zeu s P o se id o n Pallas h ave bee n i n most cases su bstitu ted for the ir In
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NO TE
vi
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Lati n syn onyms of Ju pi te r, Neptun e , and M i n e rva ; an d , in th e case of a w ell k now n Ven us, the proper n ame , -
Me l os, of the i slan d i n
wh
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d i sc ove re d ,
th e statu e w as
has bee n preferre d to the g e n e rall y corruption , M i lo
u se d
Angl o F re n ch -
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Wi th
c i l to gi ve a fai thful re produ c ti on of M V i ard ot s w ork an d tru sts t hat i t may gi ve pl e asure an d i n stru c ti on to Engl i sh readers th e se e x e pt o n s, the t ran s ator has en d e avou r e d ’
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D
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ANVERS
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CO
NT E N T S
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BOO K 1
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ANC I ENT SCULP TURE
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H AP TER I EG Y PT I AN SC U L PT U R E — f N m K é of S p a Meani ng of Egy pti n Stat e f R — — — l n i i T h s o i a h t y e d t s t p s h Th Th e c t m — E i t f i n E t t a t u i p y p a n h e L o t t ou n en i g gy — m Th Ro tt St ne B i i t sh M i n th C
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H AP TER 11 ASSYRI AN SC U L PTURE n a t on th G eek C
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— K h orsaba d D i scoveri es
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K oyunj i k ,
Sh e rgat—Col ossal u lls i n the Louvreh ri t i sh M u seum—O e l i s rel i e fs i n t he of
Kal ab
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a ra
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H AP TER III ET R U SCAN SC UL P I UR E i th Ufli i G ll y th Id l i no th C hi m a d St t — — i Tomb Et uscan Vas s ( o call ed ) Th e Ly d th O t — — Ve tri A ti chi Amph Rh y to C
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P AG I
0 ONTENTS
viii
.
H APTER I V G R EC I AN SC U L PTU R E C
.
.
I n fl u ence of
my thology
Gr eci an art
on
P AG
—D aedal us—Glaucus
b
Di poen us and Scyl li s D ameas Agel ad as }Egi n e tan mar l es at M un i ch —P rax i tel es—P h i i as —Sco as— G re ci an Scul -
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V e s of M il o D iana H n t es A ch i lles th e D y i ng G l d i tor— t Fl o en ce Ni obe n d h e C hi ld ren the V en s of M di ci th e Ap ll i o th F a n th Apoll B l th e W es tl e s th e A oti n o—at R me — l e at Napl s B d e ed e e the L ocoon h or o e e t e T — i n the t he H erc les the F lora an d th e To o F am ese Bri ti sh M s um the M bl of X an thus the Elg in Ma bles Sculp t es f om th e P rth n n t u re s i n th e Louvre
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C aesar Agri i n a, Au gu s tus, & c ; of An ti and o th e rs — us ts of A ri i o a N e m i t a n r D o , , , g
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Sol i e rs
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Suove tauri li a,
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C onclamati o ,
C ONTENTS
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B O OK I I
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M O D ERN SC ULPT URE .
H APT ER I I TA L I AN SC U L PT U R E C
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— — — — i l R n Ve r v i o f P i h i b D a o bb a S a n so co l as sa e r t i e l o i G N roch i o— Ag ratu s—M i chael An g elo h i s character and mode of
Medi ci
B
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w or
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h is
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H APT ER II S PAN I S H SC UL PT U RE f Arragon e te —Be cerra—Tombs f I bell l Loca an d P h ili p th H nd some of J C
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Vig arni —B e rrug u and C harles V ,
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H APTER III G ERM AN SC U L PT U R E Vi che —Danneck e Er win f B d en—Sch ufier— Ra ch —Ki s hi s of Ari adne on the Pan th hors eback —Ri tsch el Th w al d e n C
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C ONTENTS
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IV F LEM I S H SC U L PT U R E T mbs f C h les th e B l d nd M ary of B g d y t B g — — l t d V C l au de B S J q H mann G l m p h i hi m y p i e of n l ptured w o d C H APTER
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H APTER V EN G L I S H SC U L PTU R E C
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— Westmacott Statues
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W — y B h a n t C T om
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H AP TER V I F R ENC H SC U L PTU R E C
.
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I ts
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— — Tex i er D emi gi an o J ohn
— P i lon Trebatti
C ou si n ro u g
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AM ERI C AN SC ULP T URE
.
Abs
i n the
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p t —J ohn F ee the fi st — i p A m b r t h I d iff e ce of p min t i n l o r f e c Sc t A me i cans t th Art—H o ti G e e no gh—H is St tu e f — W hi ngton—G h F n i m n d e o C p H i oo e m g P w e rs— G e k Sl e — Th mas C wfo d—H is O Th — — h h w i k W t n H K B H i o t o n e s i H w g p W h i gt n S tt nd G eene H n y D te —C eme t y m n me t — E as t s D Pal me —H i p p l wo k —W il li m W t n e St ry —H is li te y d ti sti c pow —Th m B ll—J h Q i ncy Ad ms W a d I d i n — h n H nte d Sh ke pe e — t T o m p J ohn Rog L so —C l ege B th l m w a d Ak s—W m S lp on
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M ilo, i n the Lou vre
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Achil les , i n th e Lou vre P al l as
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V
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i n th e Lou vre
M e rcur y , i n th e Lou vre Th e Ti
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P rax i te le s—at Rome
of
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Med i ci — at F lorence
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— a t Fl oren ce l li n o Apo Th e Th e
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M usi cal
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— i a r a t Rome i n l t o D a G 2 4 Th e g — t h R h a a i n a t o m v t n l e e e us e 25 g .
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26
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Meto pe of the Parth enon
H e a s of Ho rses—from th e P arth en on ri ti sh Muse u m Theseus , from th e P ar th e n on Th e Parcae, from the Parth enon Torso — Agri ina of Ge rman i cus at Rome Anti n ous at Rome E ues tr i an statue of artol ommeo C olleon i
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36
OF I LL USTB A TI ONS
LI ST
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The P erse us
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48
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— h r F f n n A r i e P a n t h ra n o a d e o t e rt 49 — f F z n u m n o r e r i h r m t 0 o n e o e e c t e G rea t 5 — 1 h n r li m z n T A a o a t e e 5 5 2 Goe the an d Schi l ler o f l x an er i n to n ra n c A e o n t E e a l 53 — m f t h u f n D u T o o e es o ur y a D i t 4 5 g j on n M u h F l rc y i r T e e 55 g — 6 f F o o t h e nn o n n u n t a i c e t s P a r i s 5 i m f P rr d r é z T o o e e B e é 7 5 — r M 8 i n M f a l P R t i as e o r aris 5 g
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WO ND ERS
O F SC UL P T URE
.
B OOK
I
.
A NC I ENT SC UL PT UR E
.
N a form e r work t he Wonder s of P a i n ti ng w e mad e t h e pre liminary re mark t h at of t he t hre e arts of d e si g n unive rsally styl e d The F i ne A r ts painting w as t he lat e st i n ag e in historical date F or a l ong tim e it was but the handmaid t he acc e ssory t h e finis h e r of t he ot h e r two Sculp ture also alt h ou g h it pre c e d e d painting long r e main e d subordinat e to archi t e cture wh ich of cours e was t h e e arli e st o f t h e t h re e F rom the first app e aranc e of our ra ce upo n t he e arth man r e quire d a habitation to sh e lt e r h i m from the cold and h e at from th e fury of t he e l e m e nts and from Soon aros e a d e mand t he attacks of w ild b e asts for palac e s as dw e llin g s for t h os e w hos e supe rior of trib es s tre n th or skill h ad mad e t h e m c h i e f g and t e mpl e s had to be rais e d a n d kin s of nations g ,
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B
ANCI ENT SCUL
2
i n h onour
of
P T URE
.
pow e rs of nature which man in h is wond e rin g i g noranc e an d aw e d e ifi e d and wor — s h ipp e d invokin g the ir bl e ssin g s and d e pre catin g t he ir wrath by pre s e nts and s acri fic e s Sculpture wh ich e mploy e d t h e sam e mat e rials as arch it e cture wood ston e and marbl e soon st e ppe d in and suppli e d t he e arli e st ornam e nts ; and lik e arc h it ecture it w a at first cont e nt to d e rive its id e as as w e ll as its m at e rials from inor e ani natur A column was a tr trun in w it e e e h e k g marbl e a capital re pre s e nt e d t he sproutin g of branc he s and l e ave s Gradually howe ve r arch t e cture b e cam e p e rfe ct e d e mbe llis he d t ra n s fig u re d it b e cam e an art and from t he us e ful spran g t he be autiful At t he sam e tim e sculpture inse ns ibly attain e d to importance and ind e pe nd e nc e R e lics of t he first crud e e fforts at sculpture an d d rawin g h ave b een pre s e rve d to us from t he Stone Ag e in t he clumsy carvin g s on rocks or bon e s found in cav e rns onc e occupi e d by t he me n of t hat re mot e pe riod and in t he ruins of t h os e lak e citi e s wh ich are almost as anci e n t as t he cave s wh ic h she lt e re d the first in habitants of our plan e t Sculpture as an art g radually advance d as man b e cam e int e re ste d in t he study of org anis e d nature finally of h ims e lf H e was no of animals and lo ng e r conte nt to re pre s e nt t h in g s h e e nd e avoure d th e
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ANCI ENT SC UL P T URE
3
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to imitat e living cre at u re s and to reprod uce hi s ” own i ms ze A fte r admiring t he unive rse sa y s M Ch arl e s Blanc man b eg an to cont e mplate hi m ,
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Fig
.
1
.
—Stone Age
.
s e l f ; h e re a lis e d t hat t h e h uman form is adapt e d to t he spirit t h at it is so to spe ak its cloth ing ; t hat its proportions its symm e t ry its e ase of motion its sup e rior be auty re nd e r it alon e of all livin g forms capabl e of fully mani fe sting thoug ht ,
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Fig 2 .
The re fore he
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Stone Ag e
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copi e s t he h uman bod y and sculptu re ” We add : from th is mom e nt it may be is born call e d statuary But as t he h uman mind re quire d ,
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ANCI ENT SC UL P T URE
4
.
training o f ag e s be fore paintin g pro d u ce d w hat w e call a picture so a lon g p e riod of actual and mature civili z ation was n ee d e d b e fore sculpture free d from its vassalage to archite cture could bring forth t hos e ind e p e nd en t works wh ich w e nam e has re lie fs an d stat ues t he g radual
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EG YP
6
TI AN SC ULP T URE
.
and e arl y d eve lopm e nt to its total e x tinction R e c e nt discov e ri e s h ave distinctly prove d t h is to be an e rror It is c e rtain t hat b e fore t he y w e re re strict e d by dog ma E g yptian artists w e re abl e fre e ly and truly to re pre s e nt animat e and i n animat e forms i n all t he ir vari e ty M F ran cois Le n o r mant j ustly rema rks : Now th at w e are w e ll acquaint e d wit h its vario us ph as e s art in E g ypt app e ars to h ave follo w e d a con tra ry dire ction in its d e ve lopm e nt to t hat o f any othe r country O t he r nations b e g an wit h pure ly sac e r dotal art and only subs e qu e ntly and g rad uall y attain e d to tru e and free imitation of nature Alon e of all t he worl d, t he Eg yptians b e g an with livin g re ality to fi ni sh wit h h i e ratic con .
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v e n t i on
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proo f of t h is w e ll found e d ass e rtion was com h e l e t e ly s ee n in t h e last U niv e rsal E x h ibition T p most indi ffe re nt visitors i g norant alik e of archa olog y and art w e re st ruck dumb wit h admiration b e fore a wood e n statu e wh ich h as com e down to us A miracl e alik e from t h e s e most re mot e ag e s says M F Le no r mant o f pre s e rvation and art “ t h is statu e as a study o f nature as a striking and life lik e portrait is unsurpass e d by a n y Gre cian work F rom t he inscriptions on t h e tomb in w hic h it was discov e re d w e kno w t hat it re pre s e nt s Th e
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EG YP TI AN SC UL P T URE
7
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ce rtain Ra e m K é a man of so me importance d u ring se ve ral re ig ns of t he fi fth dynasty The sculptor has re pre s e nt e d hi m on foo t ca lml y walk in g in som e t own und e r h i s g ov e rnm e nt Parts of th is fi g ure have be e n muc h inj ured ; it has lost t he t hin coating of coloure d stucco which ori h h l h l i n cov r d it and on w ic t e ulptor pro a e e sc y g bably add e d hi s finishin g touc h e s What must it not have b ee n whe n intact and free from the ravag e s of tim e ? Eve ryth ing is faithfull y copi e d it is e vid e ntly a tru e por from livin g n ature ; trait The mod e llin g of t he bod y is marv e llous but it is t he he ad wh ic h most c hall e n g e s admiration it is a prodi g y of life The mout h part e d b y a slig ht smil e s e e ms about to spe ak Th e e x pre ssion of t he e y e s is almost distre ssin g The e y e balls are s h ad e d b y lids o f bron z e and are form e d o f pi e c e s o f Opaqu e w h it e quart z in t he ce ntre of wh ich are ins e rt e d rounde d bits of rock crystal to re pres e nt the pupil s U nd e r e ach crystal is fi x e d a s hining na i l w h ic h indicat e s t h e visual point and produc e s t he astonishin g and li fe lik e e x pr e ssion As t his R a e m K é liv e d und e r t he fi ft h dynasty hi s iconic statu e must h av e b e e n e x e cut e d about t he y e ar 4000 B C M ore th an 5 800 ye ars have t h e re fore pass e d ove r t he s e frag il e pi e c e s of ce dar a
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EG YP
8
TI AN
SC ULP TURE
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and mimosa wood wit hout e ffacin g t he mark s of At t he sam e U nive rsal Ex h i t he artist s c h is e l bi t i on was to be s ee n t he colossal sta tu e in diorite ’
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Fig
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— R 3 .
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— f ra c h a S 4 .
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h h o f a substanc ard r t an basalt o f a P arao e h h e ( ) t he fourt h dynasty t h e c e l e brat e d Scha fra (t he Ch e ph re n of H e rodotus ) w ho h ad t h e s e cond O f t he g r e at p y ramids built as a s e p u lch re for h i m ,
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EG YP TI AN SC ULP Tvi
Schafra
se l f .
Ra
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e
m Ké
live d more t han a
m ce
9
nt u ry be fo re
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At t he Louvre w e have tw o statu e s in ca lca re ous ston e one o f t he H i gh Pri e st of t he Wh ite Bull nam e d Sepa and the othe r of hi s wi fe New pre se rve d from t hat e arly ag e wh ic h witn e ss e d t he e l e vation of t he first g re at pyramids und e r the th ird or pe rhaps t he se cond dynasty T o con e lud e the Eg y ptian mus e um of Mo n t bij ou at B e rlin in addition t o so m e has re li e fs from t he tomb of Amt e n of t he tim e o f Se ne fru I of t he th ird dynasty contains t he e ntrance g ate of the pyramid of Sakkara (Sa g ara ) the construction of w h ich carri e s us back to t he still more re mot e ag e fi x e d b y t he tabl e s o f Man e t ho (the correctn e ss o f wh ic h has now be e n so compl e te ly e stablishe d) as t h e first of t h e t we nty s i x t h e re ascrib e d to E g ypt The ornam e nts on t his g at e cannot be l e ss t h an se ve n or e ig ht t housand ye ars old Such fi g ure s a re ov e rwhe lmin g ; it is a stupe ndous antiquity for t he work of a man s hand still more for a monu m e nt o f tru e art No re lics from ag e s so n e ar to t hat of t he orig in of our rac e h ave b e e n found in I ndia China or Assyria But t he most ove r w he lmin g t hou g h t is t hat inst e ad of sava g e rac e s w e find a firml y constitut e d soci e ty t he formation must have re quire d long c e nturies of O f wh i ch ,
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ECYP
10
TI AN SC ULP T URE
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d eve lopm e nt a civili z atio n far advance d in sci e nce and art and poss e ss e d o f m e ch anical proce ss e s suitabl e to t he construction o f h u g e monum e nts of — ind e structibl e solidity F r a n ! oi s L en or ma n t The primitive pe riod from t h e first to t he si x th dynasty is usually call e d t h e a nci en t empi r e or M e mphian E gypt As w e h av e b e fore re mark e d its monum e nts show fre e dom ind e e d s e cularit y of a rt Not until aft e r t hat con fus e d and obscure p e riod be twe e n t he si x t h and e l e ve nt h d y nasti es did t he mi dd le empi r e or T he ban E g ypt known to t he Gree ks comm e nc e und e r w h ic h E g y ptian art cond e mn e d by re lig ion to immobilit y be cam e pure ly sace rdotal and h i e ratic We must he re call to mind th at paramount and t he u nive rsal id e a w h ic h p e rvad e d t he r e li g ion politics laws sci e nce s arts public and privat e cus toms and ind e e d t h e ve ry amuse m e nts and re cre a tion s of anci e nt E g y pt W e allud e to th e b e li e f in immut ability and e t e rnity Noth in g must c hange not h in g must p e rish The livin g must l e ad a li fe o f uniformity and e ve n t h e d e ad must last fo r e ver We ary of t h is p e rp e tual monotony fore i g n nations pronounc e d Eg ypt dull and m e lanc h oly It was in Ob e di e nc e to the ir national id e a t hat t he E g yptians from t h e e arli e st ag e s built up t h e i z e h on imp e rish abl e foundations D yramids of j p ,
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EG YP TI AN SC ULP T URE
11
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and e x cavat e d t h e g a tes of tlze k i ng s t he t e mpl e of Karnak t he s e pulc hre s of Sa mou n an d T heb e s from g ranit e rocks and finally cond e mn e d arts of d ecorat i o n s u ch as sculpture n e v e r to c ha n g e t he ir subj e cts t he ir forms or t he ir proportions F e aring t h at free imitation of nature in art mi g ht in fe ct t he h uman spir it wit h a lov e o f ind e pe nd e nc e t he pri e sts re strict e d it by immutabl e rul e s and i m pos e d mod e ls wh ic h i t was bound to Copy for eve r It is also ve ry probabl e th at for g re at e r s e curity t he y re s e rve d to t he mse lve s t he e x clusive culture of t he arts as the y had t hat of t he sci e n ce s astro — and m e dicin e and of lit e rature public n omy — re cords and national ch ronicl e s l e avin g only t h e trad e s to t he laity T hus limit e d art co uld m e re ly add to t he imag e s of th e g ods t h ose of t he king s minist e rs and ponti ffs ; it ignore d the e x ploits of he ro e s and conqu e rors w h e t h e r in trials of m e ntal or bodily capacity and t h us c he ck e d in its d e ve lop m e nt it could only mani fe st its e lf in pure ly me ch an ical d e licacy and polish All its phas e s of prog re ss e l e vation d e bas e m e nt r e naissanc e and d e cad e nc e w e re confin e d to t he narrow limits of si mpl e e x e cu t i o n So t h a t Plato in h i s day could j ustly obs e rve t hat paintin g and sculpture practis e d i n Egy pt for so many ce nturi e s had produce d not h in g b e tt e r at t he e n d th an at t he b eg inni ng ; and ,
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E 6 YP TI AN SC UL P
12
M
T URE
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in our ow n ag e re m arks wit h e qual tru t h “ The laps e of tim e may hav e le d to som e pe r fe ct i on in Eg yptian art but e ac h t e mpl e is so e x actly alik e in all its parts t h at it s e e ms to h ave be e n sculpture d by t h e sam e hand ; not h in g b ette r not h in g worse no n e g li g e nc e no sudd e n fli g hts of a supe rior g e nius M D e n on s words apply e qually to statuary w hic h was but t he acce s sory of arch it e cture We t h ink ex cellence would have b ee n a more accurat e t e rm t o e mploy t han .
B e non
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We will pre se ntly e nd e avour
d e scrib e t hos e w orks in t he various coll e ction s of Egy pt ian re lics most wort hy of study and admiration But b e fore w e turn to t h is world of t h e tomb w h ic h s e e ms n e v e r to h ave b e e n re ally alive and re vi e w its sl e e pin g lions p e nsive sph in x e s slu g g is h he ro e s and recumbe nt g ods wit hout sp e e ch hearin g si ght or motion and notice t hos e stran g e and g ross com bi nat i ons int e nd e d to e mbody t he divinity and w h ic h i f m e ant to e x alt in re ality d e bas e d it it will be as w e ll to mak e s om e pre liminary re marks In t h e first place w e may l e arn to re cog nis e t he diviniti e s by t he ir forms and symbols wh ich w e re as unchan g e abl e as t he cre e d its e lf ; and s e condly w e may discov e r at about w h at p e riod t he ir imag e s w e re mad e and conn e ct t h e m wit h t h e co rre spond to
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E0 YP TI AN SC ULP TURE
14
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Gom,
a kind of s c e ptre t ermina ting in t he hea d of t he animal ca ll e d K ou k onplza Now follow t he forms an d e mbl ems of t he ch ie f diviniti es of Eg yptian my t hology Whe n pos sibl e w e s h all add t he nam e of t h e cor re spondin g Gre cian an d R oman divi nities an d t h at of t he town wh e re t he y we re he ld in most honour A human form ( mal e ) we aring t h e tes lt r s ur mounte d by two fe at he rs or a h uman form w ith a “ ram s he ad A me n H a mmon or A mman the h idd e n The supre m e God king of t he g ods Z e us J upite r T he be s A fe mal e form ( woman) we arin g t he tar/tr ” M on t/z t h e mot he r wi fe of A men H era Juno T he b e s A y oun g man with a si ng l e lock of h air upon h i s he ad and t he cre sce nt of t he moon C/zou ns or forc e son of Am e n and of Mout h 671 0723 H e racl e s H e rcul e s T he be s A h uman form wit h a g oat s h ead Noa m ” wat e r call e d by t he Gree ks Zens C/znon mi s ” Ne ptun e cre ator of mankind Pos e idon El e phantine A fe mal e form w e arin g a circular crown o f A nek a wife of Noa m H e stia V e sta fe at he rs El e phanti ne A fe mal e form w e arin g t he li e t wit h a g oat s ,
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E G YP TI AN SC UL P TURE
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on e it h e r side Sa te sun s arrow or be a m Anot he r J uno anot he r wi fe of J upit e r C hn o u mi s El e phantin e A handy l e gg e d c h ild or dwarf wit h a scarabmu s on its he ad or a h uman form swat he d lik e a mummy P i t ta/z or F i nd g od of fire cre ator o f t h e sun and moon H e pha s t u s V ulcan Me m ph is A fe mal e form wit h a lion s he ad P as lz t or t he lion e ss wife of P it ta/t P aclzt (B u bas t i s) Art e mis D iana M e mph is A h uman form w it h t he he ad surmount e d with two h i g h fe at he rs and a lily A tn m Naf er call e d ” suppose d t h e g uardian of t h e nostril of t h e Su n to be t he s o n o f P /zta /z and o f P as /f t M e mph is A h uman form wit h a h awk s he ad we arin g two lon g fe athe rs M ou n t p e rsonifyin g the solar pow e r Ares Mars H armon t hi s A fe mal e form with a s h i e ld upon he r bre ast or oft e n wit h two win g s tramplin g t he s e rpe nt Apop/z und e r he r fe e t Nei t/z g odd e ss of wisdom and t he arts A t/zen a ( A t/zené) M in e rva Sais A simpl e fe mal e form wit h t h e he ad o f a cow A t/zor o r H a t/t or g odd e ss o f b e auty p e rsonification Ap hrodit e o f t h e cow w h ic h produce d t h e sun Latopo lis and Ath os Ve nus A h uman form hawk he ad e d we arin g t he solar h orn
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E G YP TI AN SC UL P TURE
16
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disk R a ( R e ) son of A t/zor p e rsonification of t he risin g sun H e lios H e liopolis A h uman form w e arin g t he ps clzen t on the h e ad A tou m t h e p e rsonification o f t h e s e ttin g sun A kn e e lin g h uman form wit h t he solar disk upon he r h e ad M aou brilliancy p e rsonification of t he li g h t of t h e sun A h uman form wit h a crocodil e s h e ad Sebak ” t h e subdu e r Crocodilopolis ( O mbos) A h uman form wit h a g oose upon its he ad Sep o f e eb) d o h star tim ronos aturn C S S g ( A fe mal e form wit h a pitc he r of wat e r upon he r ” he ad Nupte Na tpe or Nepte abyss of H e ave n wife of Seb Rhe a Cyb e l e A h uman form wit h t he h e ad o f an ibis som e tim e s we arin g t he lunar cre sce nt Tlzot/z L og os or ” s on o f R a t he word i nve ntor o f spe e ch and writin g scribe o f t he g ods H e rme s M e rcu ry H e rmopolis A h u man form wit h four fe at he rs on t he he ad En pe or Emep/z l e ad e r of t he h e ave n son o f R a anot he r form of t h e g o d Tlzot/z A mummy w e arin g t he lzet Ous r i ( O siris ) er e ld e st son o f Seb and Nupte t he n call e d Oa n q h e f h r i s e manif e st r o ood or op e n r o f n n o t e O ( ) g p ” tru t h D io n ysius t h e Bacch us o f t he Gre e k s Busiris ,
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EG YP TI AN SC ULP T UR E
17
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A lf
t he n call e d he w ho is re sid e nt in H a d e s P etlzempa men tes Abydos The Pluto of th e Gre e ks A fe mal e form wit h a t h rone upon he r he ad I s i s tlze s ea t t he dau g ht e r o f Seb and Noupte s i st e r and wi fe o f O siris D e m e te r Ce re s Abydos A fe mal e form we arin g on her he ad t he hi e ro h l h i s e m a r o f words i s t ess and e N a l ac t e t c p p g yp “ e h t h h e e mistr e o e alac anot r N e t s h ss f t p ( p y ) dau ght e r of Seb and Nonpte sist e r and concubin e P e rs e phon e Pros e rpin e Abydos o f O siris A h uman fo rm wit h a h a w k s he ad we arin g t he s clzen t aroe r ( H a r u e ri s ) son o f Se p and No u pte H p H i s e ye s are suppos e d t o re pre s e nt t he sun and t h e moon Th e e ld e r H orus Apollo Apo lli no polis Mag na s re pre s e nt t he be n e fice n t siris Isis and oru H O ( principl e ) A h uman form wit h an ass s he ad o r an old dwarf in a lion s skin we aring fe athe rs Set/z t he ass son o f Seb and Nonpte t h e spirit of e vil T yph on O mbos A h ippopotamus stan d i ng e re ct wit h a croc o Ta u r or Ta f l er dil e s tail and a woman s he ad h f h o u e i s wi f e o e t mbos T r S O ) ( Set/t (T yph on ) and Ta n r re p re s e nt t he e vil principl e ) A m u mmy we arin g
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EG YP TI AN SC ULP T URE
18
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A c hild wit h w eak l eg s an d l ocks of hair on ” “ H er e it he r sid e of its h e ad t he pat h of t he s u n son of O siris and Isis Th e youn g e r H orus Apollinopolis Parva H arpocrat e s A h uman form wit h a dog s he ad A nonp h Anubis surnam d t e mbal m e r o f h e d e ad e e t ( ) “ and the watche r of the g at e of t he Sun s pat h son or brot he r of O siris Lycopolis A pri e st se at e d in a chair unrolling a volum e ” I Emp H ept coming in p e ace son of Tlzot/t Ascl e pios tEs cu lapi u s P hi lee ( P h i loe ) A pi e d h u ll wit h t he solar disk on its he ad ” t he h idd e n numb e r H epi (Apis) t he e t e rnal son M e mphis o f P /zta/z A g ryphon wit h t he h e ad of an ass B ar g od of t h e Assyrians and P hoenicians ( P h ilistin e s) t h e B aa l of t h e Bibl e A h uman form in Asiatic costum e wit h a diad e m b earing an ony x cross o n t he frontl e t R enpon ( Re ph an) g od of t h e Se mitic rac e s A h uman form wit h t he h e ad of an o ry x Nu bi e re b e l d f h e t ubia or N o s/t i h o o black t N g ) ( p e opl e A fe male form w e aring the bet and carry in g t he sh i e ld and sp e ar A nta (Anaitis) g odd e ss of t he A rm e n i an s and Syrians A ft e r t h is lon g list of g ods or rat he r of di ffe re nt ,
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EG YP
TI AN SCUL P T URE
19
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mani fe stations of t he sam e go d wh ich t he Eg y ptians worsh ippe d und e r so many forms w e will pa s s to t he s e cond part of our pre li minary re marks We h ave alre ady stat e d the n ature of e arly E gyptian art wh e n still secu lar and fre e from t he re strictions of dogma It is I b e li eve admitt e d t hat aft e r i ts submission to t he h i e rarchy t he art l ik e t h e h istory o f E g ypt may be divid e d into four principal e poch s The e arlie st or th e archaic styl e is e ntire ly includ e d in th e mi dd le empi r e and e x t e nds from t h e 6 t h to t h e 1 2 t h dynasty (about At t hat tim e arch it e cture t he y e ar 2000 B C ) simpl e massive and colossal was cont e nt wit h pilin g up mass e s of ston e and sculpture e qually solid se e ms to h ave e ntire ly forg ott e n its e arly e x c e ll e nc e and fre e dom from tut e la g e In t he statu e s of t h is pe riod t he face is larg e and co mmon t he nos e lon g and coars e t he fore h e ad proj e ctin g t h e hair of scarc e ly varyin g t h ickn e ss falls in straig h t he avy curls and t h e body is t h ick se t and clu msy H owe v e r t he e x e cution and to a c e rtain e x te nt t he styl e improv e d st e adily until t he twe lft h dynast y At t he s econd e poc h w he n arch it e cture was more re fin e d va ri e d and riche r in ornam e nts and com binat i o ns e mployin g columns and tri g lyp hs 81 c ,
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E G YP TI AN SC UL P
20
TURE
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h es ed as s s pulc r attribut to B n ee n in t he e e i ( H assan ) ; statu ary was advancin g to re lativ e pe r We fe ct i on and g rowin g in g rac e and d e licacy now find more symm e try and p roportion in t he limbs of t he fi g ure s g re at e r trut h and finish in t he fe ature s t he h air is b e tt e r s/zaded and falls in more e e h rac e f ul curls ind e d som e statu s a r e andl e d ; g and finishe d w it h t he d e licacy re quire d for cam e os B as re li e f b e cam e more and more uncommon and disappe are d e ntire ly on t he acce ssion of Ram e s es I I surname d Ses os t o ri ( t he son re are d by t he w ho b e cam e t he Sesostris o f t he Gree ks The invasion o f t he Arab K o u s ch i t e s call e d she phe rds ( H yksos) und e r t he s e ve nt e e nt h dynasty 2 2 00 l e h about to imm diat d cl n or d t e e e e e i ( rat he r c e ssation and disappe aranc e of art in Eg ypt w hich did not re appe ar until t he e x pulsion of t he invad e rs five c e nturi e s late r Aft e r t he d e live rance of E g ypt by Amos i s (in t he s eve nt e e nth c e ntury B und e r t he famous re ig ns of M oeris Se sostris and Am e noph is call e d t he new R am e s e s I I I empi r e t h e re was a re naissanc e of Eg yptian art A rch it e cture re ach e d its h i g he st pe rfe ction V ast re ctan g ular te mpl e s w e re rais e d wit h walls cove re d w it h sculpture d ornam e nts ve stibul e s with conical dom e s col u mns surmount e d by capitals re pre se nt The i ng flow e rs o r papyr us and lotus bud s ,
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EG YP TI AN SC ULP TUR E
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h a ain int r r d wit rin e f e t h e e p ) g c i ples and practic e o f E g ypti an art and l e d to its t h ird and final d e cay It is tr ue t hat aft e r Al e x and e r s conqu est unde r the Ptol e mi e s and t he R oman conqu e st und e r Adrian and ot he rs e ffo r ts w e re mad e to introduce Gre cian civili z ation into E g ypt and more e sp e cially to g raft Gre cian upon E g yptian art But t he s e d e si g ns we re frustrat e d imm e diat e ly and art b e cam e totally a lmost e x tinct in E g ypt und e r t h e rul e and wors h ip o f t he P h arao hs Th e substanc e s e mploye d by E g yptian sculptors we re more num e rous t han t h os e in favour wit h t he Gree ks t he y re quire d lon g e r work and we re g e n e rally h ard e r d e ns e r and more durabl e Artists we re n ot cont e nt wit h marbl e and it may b e said t h at e v e ry ot h e r substanc e suitabl e to sculptur e is to be — found in t he ir works black g re y and re d g ranit e basalt diorit e porphyry j asp e r s e rp e ntin e cor n e lian arag onit e lim e ston e sandston e g old silve r bron z e iron c e dar pin e sycamore e bony mi mosa or acacia ivory g lass po rc e lain t e rra cotta The bas re li e fs we re ve ry low and d e pre ss e d and we re som e tim e s hollow e d o u t on t he re ve rs e sid e of t he re li e f l i k e t h os e of e ng rave d ston e s ; t h e y w e re h owe ve r but littl e e mploy e d by t he E g y pti an s most of the ir sculpture s be ing in full re lie f
Cambys e s ( 5 2 5
B C .
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EG YP TI AN SC UL P T UR E
38
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In stat u e s at l e ast in all but t hose in m e tal or ston e t he arms re main fi x e d to t he c he st and are not s e parat e d from t h e body w h ilst a bloc k of t h e mat e rial e mploy e d conn e cts t h e l e g s w h ic h are no fre e r t han th e arms At t he back a plint h is inse rt e d for the cartouche wit h t he inscriptions T o t his g e n e ral arra ng e m e nt combin e d wit h t he solidity of t he mat e rials is d u e th e strang e pre s er vation of E g ypt i an sculpture s as co mpare d wit h more rece nt Gre cian t h e t e rribl e mutilation of works The hair falls in straig ht mass e s from t he top of t he he ad and t h e b e ard inste ad of spre adin g along the che e ks is m e re ly plait e d und e r t he ch in T he e y e brows and las he s e x t e nd almost to t he e ars t he h ol e s of w h ic h are on a l e v e l wit h t he e y e s indicatin g to a p h re nol og ist a limit e d supply and cons e qu e ntly of int e llig e nce The o f brains lips are ve ry mark e d dil a d and smilin a p e e e n g t li ar i t y w h ic h also occurs in t he m arb le s of n ina e ve n in t h os e w h ich r e pre s e nt t h e dyin g and t h e d e ad Whe n th e sculpture is in low o r hollow e d re li ef t h e profil e i s of cours e c h i e fly e mploye d ; but e ve n t he n t he e y e s and s hou ld e rs are s e e n in full as in t he Assyrian imag e s and t hos e by t he e arli e st G re cian artists I n all E g y ptian sculpture s produc e d a ft e r t he ar c/mi c e poc h t he fi g ure s are lon g and t hi n the ,
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EG YP
24
TI A N SC ULP T UR E
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calm and without e x pre ssion t he limbs In addition to immobility an d muscl e s in re pos e t h e c h i e f c h aract e ristic of t he scu lpture of t h is ag e w s a re g ularity a proportion a p e rfe ct symm e try a wh ich brou g h t it into i ntimat e conn e ction with arch it e cture ; and as I hav e be fore re mark e d t he fi n e polis h and t he e x quisit e d e licacy o f t he work in statu e s and bas re li e fs of t h e h ard e st mat e rials would have b ee n sui t abl e to cam e os and pre cious ston e s A mod e rn sculptor would be pu z z l e d to carv e and polis h g ranite porp hyry diorite and basalt in t he mann e r of t h e Eg y ptians and on e of t he ir g ig antic works would re quire t he labour of a li fe tim e The statu e s of t h e g ods kin g s pri e sts and offi ce rs of t h e court w e re subj e ct to immutabl e laws but o ft e n e spe cially durin g t he late r e pochs t h e fac e s o f t he m e re ly h uman fi g ure s w e re so tru e to n ature as to b e com e portraits The di ffe re nt d e iti e s ha d a s e ttl e d type of form and fe ature by whic h t he y could be re cog nis e d as re adily as by th e ir symbols The fe ature s of re i g nin g kin g s we re o fte n g ive n t o t h e se g ods and wh ilst it re fl e ct e d t h e ton e of soci e ty t his was c e rtainly t he most sh am e ful adulation to wh ich art has e ve r stoope d A man w ho had b e e n e x alt e d not only to t he d e spotic th ron e of Se sostris but also to t he pe d e sta l of O siris re quire d a pyramid for h is fe ature s
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EG YP TI A N SC U] P T UR E .
25
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tomb w h ic h was laboure d at by a w h ol e nation of slav e s T he s e pre liminary obs e rvations may be a use ful guid e t o t he visitor to t he Eg yptia n rooms of t he mus e ums in Paris and London and may e nabl e hi m to e x amin e t h e i r cont e nts wit h g re at e r e as e and profit It would n o t be e asy to re build t he Pant h e on of — Eg ypt t he g ods w e re fe w ind e e d w e are inclin e d to b e li e ve t hat lik e t he H e bre ws t he Eg yptians adore d but o n e d e ity probably t he g odd e ss Pas h t t h e wife of P h ta h known also by t h e nam e s of Art e mis and H e p hae stus I n t he Louvre w e h ave but o n e ima g e o f a g o d and no l e ss t han e l e ve n statu e s of t h is godd e ss wit h t he h e ad of a lion e ss w e aring t he solar disc upo n h e r he ad The bre adt h o f t he lin e s and t h e finis h o f t he work o f four of t h e m g ive a h i g h opinion of t he artists o f t he t hird e poc h und e r t he 1 8 t h d ynasty y e t w e would willing ly e x c hange som e o f t he s e lion e s s h e ads fo r t h os e of dogs g oats cows o r hawks T he re a re more king s t han diviniti e s in the L ouvre and th e ir imag e s b e lon g to various d y nasti e s W e bitt e rly re g re t t h e loss of a corn e lian statu e tt e of Se s u rt as e n I o f t h e 1 2 t h dyn asty It w h ic h disapp e a re d i n t he J uly d a ys o f 1 8 30 w as th e e arli e st o f its k ind mo re anci e nt t h an t h e ,
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EG YP
26
T IA N SC ULP T UR E
tat u e s in pink and g re y g ranit e o f Se ve k h ot e p I I I of t he 1 3t h dy n asty All t hre e w e re e x e cut e d long b e fore t he inva s ion o f t he s he p he rds w he re as t h e fo u r kin g sp hin x e s wit hout cartouc he s w ho h ave a kind o f lily e ng raved o n t he ir basalt brows b e long t o t h e ag e s of t he Ptol e mi e s t o t h e last re lics o f t he national art D u rin g t he lo n g i n t e rval i n clud e d b e tw e e n t he s e t w o e x tre m e dat e s t he 1 2 t h dy n asty and t h at of t he Ptol e mi e s w e find succ e ssiv e ly the he ad an d fe e t o f colossi in pink re fragm e nts o f ima e s o f A me e h a ranit w h ic g g n oph i s I I I call e d M e mnon by t he Gre e ks w hose vocal statu e at T he b e s s e e m e d t o g re e t t he firs t rays o f t he sun wit h sin g ing In t he ornam e nte d cartouc he s wh ic h e ncircl e t he bas e of t he lat e r colossu s are d e cip he rabl e t he n am e s o f tw e nty t hre e conqu e re d rac e s follow e d by t he E g y ptian id e a borrow e d by t he P s almist T hat t hin e e n e mi e s The colos s al statu e in g re y may be t hy foot s tool and pink g ranit e o f R am e s e s M e i a mu n (t he Gre at ) o f t h e l gt h dyna s ty (about 1 5 00 w ho not cont e nt with raisin g t he R a mese um of T he b e s as h i s fun e ral monu m e nt and sculpturin g h i s victori e s at Aboo Si mb e l and Lu x or ( Luqs or) d e ifi e d h ims e lf und e r t he fi g ure O f t he sun appropriat e d to h ims e lf t he b e autiful ima g e s of hi s fat h e r Se ti I and o f h i s anc e stors an d substitut e d h i s ow n h istory for s
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E G YP TI AN SC UL P TUR E
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t h e irs e v e n in t he t e mpl e at K arnak A Sphin x h m s h e ad symbol o f wisdom and a lion wit a an ( stre n gt h combin e d ) in pink g ranit e a portrait o f t he sam e P h araoh in th e doubl e inscription on t he bas e of wh ic h is a re pre s e ntation in b e at e n work o f a g ryphon wit h an ass s he ad t he type o f the g od Se t h or T yph on t h e n t he impe rsonation o f courag e but late r of t h e spirit of evil Anot he r mag nific e nt sph in x in pink g ranit e portrait o f t he son of R am e s e s M e n e pht ah w ho from c e rtain dat e s and ev e n ts of h i s re i g n is suppos e d t o b e t h e P h arao h w ho was e mbroil e d in disput e s wit h Mos e s an d p e ri s he d in t he Re d Se a w he n purs uing his fu g itive slave s t h e H e bre ws A colossal statu e in re d sand ston e of Se ti I I son o f M e ne pht ah (t he Se thos of M an e th o and F lavius Jos e p hus) w e aring t he e ptre in h i s l e ft / o f sc zen t and h oldin g a kind s c p Th e h and b e arin g hi s royal and pompous l e g e nd fi g ure of the g o d Se t h as a man with an ass s h e ad e n g rav e d s e v e ral tim e s o n t h e bas e and t h e plint h is also in be at e n work I n t he mus e um o f t he L ouvre amon g st m e re imag e s t he re are som e monum e nts wh ic h are far rare r and more valuabl e t han t he statu e s of g ods and kin g s The c h i e f of t he s e a re thos e alre ady nam e d o f t he pri e s t Sepa and h is wi fe Nes a con t e mpora ry with t he first dynasti e s o f t he g re at .
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EG YP TI A N SC ULP T UR E
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pyramids and cons e qu e ntly b e lon g in g to primitive Eg yptian art and not l e ss t han s i x t housand y e ars old The man is nak e d e x c e pt for t he s c/zen t i round h i s loins and he h olds a larg e an d small c e ptre in e t he r hand ; t h e woman w e ars a tunic wit h a trian g ular op e nin g on t he bre ast Tw o ot he r g roups in calcare ous ston e on e o f two me n t he oth e r of a man an d woman also b e lon g t o t he re mot e antiquity of M e mp hian art Anot he r g roup on t he contrary of t he fat h e r and s on T e ti an d P e n s e vau bot h g re at standard b e are rs are of t he s e cond e ra of portraits t hat of t he 1 8t h dynasty A statu e in g re y g ranite of Un Ne fru the fi rs t o s r i s o r h i g h pri e st of t he t e mpl e o f t r o / l e i O f p p Abydos be lon g s to t h e b e ginning of t h e s e cond d e cad e nc e und e r t he l gt h dynasty ; w h ilst on e in black g ranit e of H or us clzi cf of s old i er s son o f P sa mme t i chu s and Ne vr en Sevek a n d anot he r in black g ranit e of Ens a/zor surnam e d Ps a mme t ich u s M on nelt or t h e B e ne fice nt a re spl e ndid spe cim e ns o f t h e t h ird and last or Sa i te r e naissanc e w h ic h pre c e d e d t he Ch ristian e ra by 600 y e ars only T he y are abs ol ut e mast e rpi e ce s for t he ir styl e and ag e and in t he m w e s ee in t he g re at e s t pe r fe ct i on t he p e culiarly d e lic at e work o f E g yptian artists in subst a nc e s w h ic h appe ar to d e fy h uman stre ngth and pati e nc e ,
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E G YP TI A N SC ULP
80
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in statu e tt e s By m e ans of the s e littl e fi g ure s in h e old silv r bron z porp yry basalt ston or e e g wood i n many cas e s cove re d wit h h i e rog lyph ics w h ich w e re h ou s e h old gods w e are introduce d to t he wid e spre ad polyt he ism o f E gy pt and w e are abl e to re buil d its pa n th e on e ntire ly H e re w e h ave A mman R a lord of t h e t hre e z on e s o f t he unive rs e (the E gy ptian J upit e r) h i s wife M oa t/l h r i H e s fi l i s J uno born d rcul s r s t a e h e ar O e e ) ( ( ) Na m ( Ne ptun e) and A neka ( Ve sta) P li ta/t ( V ulcan) and P aclt t ( D iana) ; M a n t (Mars ) and H a tlt or and N ei t/z ( M in e rva ) ; e nus ) ; Tfi at/z ( M e rcury ) V ( Seb ( Saturn ) and Napte ( Cyb e l e ) R a P ar e A ta m or t he risin g midday and s e ttin g s un ; t he b e n e fice n t triad o f Os i r i s I s i s and H or a s ; t he mal e vol e nt pair Setlc (Typh on) and Ta a r & c l We h ave e ve n compound fig ure s w hic h unit e s e ve ral g ods in o ne ; t h e y are doubl e fac e d and .
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EG YP TI A N SC UL P T URE
81
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s ho u ld e r to s h ould e r The symbols of the diviniti es a re as num e rous as t he W h ods e know t at on g account of tru e or suppos e d analog i e s and pre t e nd e d re s e mblanc e s o f form and ch aract e r t he E g yptians cons e crat e d to e ach o f t he ir g ods or mani fe stations o f t h e sam e g od worsh ippe d und e r ’ so many di ffe re nt forms o ne of t he ir native animals and t hos e so s e t apart w e re call e d sacre d Th e ram was t h e e mbl e m of A mmon t he i chn e u mon of Cltdns t he lion of P i t ta /z t he cow of H a t/tor t he ibis o f Tnot th e g a z e ll e of Setlz t h e sow of Ta a r & c A g ain as c e rtain g ods pe rsonifi e d many diviniti e s in o ne di ffe re nt pa rt s o f th e co n s e crat e d animals stood fo r sin g l e diviniti e s and mon strous combina .
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B ddh a D h n n as n d S n ggh — e all lik the t d by th e ectang l t i C h ris ti n t i i ty e p e l O t h i g me l e l d y n oti d by P l t h ed t f t ll (M mongst oth tl y e l i ed t o p th t the T é ma ) h pyrami d of Egypt w hi h ppe t i g l f om y p i t f m n me t i f t t al t mpl l ig i th t n ce vi ew w e io m k d by p yl n d th e i t f w hi h w e w h i ch w t i fi e f the l i i g t o th i t d t th b i l f th l ly eq p l h l hape l A py mi d w o ld b de d toi t p le h t l b f (p Pl t q e d i t q e do i t m i q il d i mpl e ) q e l E gy pti t lt é d i i e f cell ci l a p ti bé tes l i q l q e i m g d B ddhi u
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EC I P I L l N SC UL P T UR E
32
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tio ns of t h e ir limbs w e re type s o f a compl e x u nity T he y w e re call e d symboli c animals T he sph i n x as t he imp e rsonation o f unit e d inte lli g e nc e an d pow e r could re pre s e nt ot h e r g ods accordin g to t he e mbl e m o n its h e ad The d i ffe re nt he addre ss e s of t he u rae u s or asp could s e v e rally typify all t he godd e ss e s in fact by h e t e rog e n e ous amalg amation all t he sacre d animals w e re conve rt e d into sing l e T he b e e tl e or impe rsonations o f many typ e s scarabae us g e n e rally mad e in e nam e ll e d t e rra cott a e nj oy e d t he privil e g e of b e in g a sort of common fram e work o n w hich w e re e n g rav e d imag e s o f t he ods h i roglyp h ics of t h e ir nam e s or t h e sacre d e g typical and symbolic ani m als T h is circum stanc e w hic h c o n n e cts t he m wit h s culpture e x plains t h e imm e n s e numb e r o f amul e ts of t h is form found in tombs and coll e ct e d in mus e ums Sinc e o u r illu s trious Ch a mpollion discov e r e d t he s e cre t o f t he h i e roglyp hic s wh ic h h a d re main e d h idd e n fo r t w o t housa n d y e ars t h e s tel a o r tabl e ts with h istorical and fu ne re al in s criptio n s h av e b e com e t he tru e annals of E g ypt The s tela con sist of a mi x t ure o f fi g ure s and symbols som e ef e n ra ve d m e re ly writt e n and so m e in r li e g h ollow e d o u t or produc e d by a combinatio n of t he two proce sge s so t h at t h e y s e rv e t o u n it e s culpture and paintin g to writin g prop e rly s o call e d and fo r .
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EG YP TIAN SC ULP TURE
33
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t he s e re asons t h e y may be consid e re d works of art and claim a plac e in muse ums The h istorical tabl e t s lik e th e R oman C apitolin e tabl e s w e re d e stin e d to pre s e rve t he m e mory of g re at public e v e n ts Alt h ou g h t he e pitaphs w e re only writt e n in m e mory of t he d e ad th e y form a coll e ction o f us e ful docum e nts re lati n g to re lig ious dom e stic a n d e v e n national h istory The C hristians t he Ma h omm e dans and t h e E g yptians alik e b e g in most o f t he ir e pitap h s wit h a n invocation o f t h e Supr e m e B e in g The first call on t he nam e o f t he F ath e r and o f t he Son and o f t he H oly G host t he s e co n d on t hat o f Alla h Hat t h e t h ird o n t h e forg ivin g t he m e rciful f h e e r e at o d lord o av n w h om t y r pr s nt e h e e e g g by t h e solar disc b e tw e e n two out s pre ad win g s L ik e t he F e ro u he r o f t he Assyrians t h e cardinal points a re indicate d in t h is fi g ure e it he r by on e of t h e mystical e y e s o f H or a s o f t he Nort h and H or as o f t h e Sout h o r by t h e two sacre d jac k als w h ic h typify t he utmost l imits of t he nort h and sout h T he n follows t he pray e r addre ss e d t o O s iris as t he supre m e d e ity o f t he infe rn al re g ions call e d P etnempa men tes b e caus e h e is t h e disp e ns e r o f all t he bl e ssin g s w h ic h t he h uman soul can e nj oy in its pil g rimag e acro s s t he unknown world As t he re was no fi x e d formula for t h is pray e r and t he ,
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EG YP TI A N SC ULP T URE
34
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words could be vari e d if t he s e ns e w e re re tain e d E g yptian po e ts could sin g th e prai s e s of the d e c e as e d and t he hymn t o the g od of A men ti ( he ll) w hic h was som e tim e s addre ss e d to ot he r prot e cting d e iti e s as we ll —i n ori e ntal styl e The b e auty of t he fi g ure s and e mbl e ms and t he d e licacy of t he e x e cution of t he s tela pass e d t hrou g h — t he sam e p h as e s o f prog re ss int e rruption re nais — sance and d e cad e nce as did t he arts of arc hi t e cture and statuary T he y t oo h ad t he ir four e poc h s of r e lati ve e x c e ll e nc e in t he arc h aic ag e s and und e r t he 1 2 t h 1 8 th and Sa i te dynasti e s and t he s e h istorical pha s e s can only be trac e d in t he Louvre with any e x actn e ss in t he s tela w h ic h are far more num e rous than t h e statu e s and bas ‘ re li e fs W hat w e have said o f t he s tela appli e s e qually to t he s a r cop/zag i a nam e wh ich has be e n g ive n with out d u e con s id e ration to bo x e s or tubs of a lcare ous ne e nd e d to ranit basalt c sto int e o r g contain mummi e s In ve ry e arly tim e s up to t he a e o f t h e She p he rds t he s e tubs e v e n t h os e appro g e re e ntire ly wit h out ornam e nt r i to royalty w t e d a p Grand d ecorations w e re not us e d for t he m until t he 1 8 th dynasty and t h e n durin g t h e s e cond ,
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cha
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the
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Egypti a n Ill as ea m i n th e
M useu ms 4
EG YP TI AN SC ULP
T URE
35
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naissanc e und e r t he Sa i te king s lo ng fun e real picture s and countl e ss g roups w e re e ng rave d upo n Th e s ar cop/zag i sup e rs e d e d t he s tela in t he m h i e rog lyph ic art Ch ampollion comm e nc e d t he study of t he m and had at last g raspe d t he ir m e aning be fore his pre mature d e at h As t he e art h ly li fe was r eg ulat e d by t he diurnal cours e o f t h e sun so t h e li fe of t he soul in its wand e rin g s a ft e r d e ath was g uid e d by t h e cours e of t h e g od of t h e low e r world w h o was suppos e d to r e volv e ” during th e ni g ht C hampollion h ims e l f brou g ht h om e t he c h i e f of t h e sarcop hag i o f th e L ouvre t he o n e w h ic h con tains t he body of a bas i li ca g r a mma tes cal l e d Ta/to pri e st of I m/zotep (t he Egyptian fEscu la pi u s) und e r Eve ry part of it insid e and out t h e 2 6 t h dynasty is cove re d wit h inscriptions writt e n in g roups on It is consid e re d t he mast e r t h e re tro g rad e syst e m pi e c e of e n g rave d sculpture o f t he Sa i te e poch ind ee d artists are n ev e r w e a ry of admirin g t he s e t h ousands o f fi g ure s all o f w h ic h a re cut wit h as much pre cision and g ood tast e as i f t he y w e re o n pre cious ston e s T o compl e t e our account of t h e sculpture d re lics found in s e pulc h re s o f important pe rsonag e s w e must notic e t hos e fun e re al vas e s improp e rly call e d ca nopi by t he R omans b e cause t he y t h o ug h t t h e y re
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36
YI
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TI A N SC UL P ? ( I R E .
r e cog nis e d in t he ir sculpture d l id and round e d base a n i ma e o f t h e fabulo u s god Ca n o u s o i h T e ca n g p p t h e u s e O f w h ic h can be trac e d from t h e e arli e st tim e s an d is lost si g ht of und e r t h e Ptol e mi e s h ave b e e n found in gre at numb e rs in t he s e pulc h re s of M e mp his T he b e s and Abydos T h e y w e re t he vas e s in which t he pri e sts call e d c/zolc/zy tes w hos e o ffi c e it was t o e mbalm t h e d e ad pl ac e d t he brains he art and all t h e int e stin e s w h ic h t h e y s e parate d from t he re st o f t he mummy T he y are invariably found in s e r i e s of four in e ach tomb ; t he ir lids consist o f t he he a d s of t he f ou r ass es s or s of A men ti w h o w e re c h a rg e d t o bring t he d e ad b e fore t he forty t w o j udg e s of A men ti w h ic h w e re as num e rous as t he di ffe re n t kind s of sin and pre s i d e d ov e r by T he s e four t he g odd e ss R /t mei (T rut h o r J ustic e ) e nii of t h e d e ad are A ms et s o n o f O s iris w it h a g man s he ad ; H api son o f P /t l a /t with a bab oon s h e ad ; Si u ma tf (o r Tu a u tmu tf ) wit h a jackal s and K eb/zs n uf (o r K ebs n zf ) w it h a h awk s he ad Each o n e o f t h e s e s e pulc h ral vas e s has an h e ad i nscr i ption o cca s io n ally coloure d cut into its out e r surfac e Som e t i m e s it is an addre ss from o n e o f t h e s pirits or g e n ii to t h e Os i r i en (t h e dw e ll e r in t h e abod e o f O siris ) or it is t he sp e e c h of som e ot he r div i nity O n t h e vase A ms et w e find one fro m t he g odd e ss Isis ; o n t h e vase H opi t h e ,
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E G YP
38
TI AN SC ULP TURE .
Britis h M use um to d e scrib e t he statu e s statu e ttes tabl e ts sarcoph ag i & c t hat are L ondon s ‘ s hare of t h e spoils of Egypt I will only nam e o ne small fi g ure o f t he g odd e ss Ta u r wife o f Set}: e vil principl e ) e s e nt e d as T yp h on t h is r pr e e h e S ( a h ippopotamus standin g o n its h ind l e g s wit h pe nd e nt arms a lion s he ad a woman s bre asts and a crocodil e s tail T his strang e fi g ure wh ich re calls t h e C/ uma r a of t h e Gre e ks and ce rtain d e mons o f t he middl e ag e s is a ve ry anci e nt p roof o f t h e e t e rnal trut h t hat man can inve nt not h in g b e yond w hat hi s s e ns e s h ave re alis e d and t hat in t he cre ation of any t h in g or b e in g h i s only id e a of prog re ss is a monstrous combination o f di ffe re nt parts o f cre ation We cannot h oweve r l e ave t he Britis h M use um with out saying a word of t he ce l e brate d monum e nt known as t he R os e tta sto ne It was found durin g t he F re nc h occupation o f 1 7 99 n e ar t he town from w h ich it tak e s its nam e (t he anci e nt B olbi t i n u m call e d R ach id by t he Arabs ) in t h e ruins of a t e mpl e d e dicat e d to t he g od A tu m Nefer by t he P h araoh Ne chao The inscriptions on t h is ston e writt e n by ord e r of t he h igh pri e sts ass e mbl e d at M e mph is t o inve st Ptol e my V ( Ptol e my Epi phan e s ) t he
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Se e the cha te r B r i ti sh M us eu m, i n the P p 8 2 88 -
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M us eu ms of E ng land
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EG YP TI A N SC UL P
T URE
89
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with royal pre rog ative s in 1 9 3 B C comm e mo rate t he s e rvic e s re nd e re d to t h e country by t h is princ e But it is n ot t h is w h ic h mak e s t he R os e tta s ton e so valuabl e and famous By a fortunat e co i nc i d e nc e t h e s e inscriptions are e n g rave d in t h ree la n r e e h h o uag s and t r c aract rs i ro lyp ics e h h e 1 e : g g h i e ratic writin g ; 2 d e motic or e nc h orial writin g ; e e Gr k writin e last was asily r ad and h T e e 3 g int e rpre t e d and a comparison institut e d b e tw ee n it and t he h it he rto unknown h i e rog lyp hics wh ic h re pe ate d t he sam e t hing so t hat t he R os e tta ston e b e cam e t he first k e y to h i e rog lyph ic writing T o C hampollion t he e ld e r t h e l e arn e d and re g re tt e d a uth or o f Egypt u nder tfze P k a m o/zs b e lon g s t he But alt h ou g h honour o f t h is important discov e ry F re nch m e n we re t h e int e rpre t e rs o f t h is pre cious h istorical monum e nt o n w h ic h t he y carri e d o u t th e ir first re s e arc he s t he En g lish have obtain e d it as a trop hy of war W e t hink h owe ve r t hat sci e nce not arms s h ould have d e cid e d to w hom We w e re suppos e d to be i t rig h tly b e lon g e d compe nsat e d for its loss by t he t oo famous Zod i ac / z w h ic h will n e v e r l e ad to anyt h in g but eu de m o D f ed r at and compl It was suppos e t e my s t i ficat i o n e g to be of fabulous antiquity t o h ave com e down from th e most re mot e ag e s ; and it is in re ality r aps no old e r t h an t he lat e r Ptol e mi e s or t he h e p .
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EG YP TI A N SC ULP TURE
40
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It w as to th ro w a vivid lig ht upon t he astronomical sci e nc e conc e al e d b y t he pri e sts i n t he myst e ri e s of t he ir t e mpl e s ; and b e hold w e discove r th at it is but a simpl e astrolog ical fi g ure a me re horoscope ! What a down fall ! A las how ca n t h is us e l e ss and ridiculous Zodiac consol e us fo r t he loss o f t he R os e tta ston e B e rlin too has its Egyptian mus e um I t con tains some colossal statu e s in black and g re e n h h ranit som sarcop a i wit mummi s and v n e e e e e g g a compl ete coll e cti o n o f sacre d animals But a fte r t h e bas re li e fs o f A mten and t he g at e o f t he pyra mid o f Sakka r a alre ady m e ntion ed t he most important obj e ct is a s epu lch r a l c/za mber discov e re d in 1 8 2 3 in t h e n e c ropolis o f T he b e s and re move d e ntire A long quadrang ular tomb ris es in t he ce ntre cove re d with h i e roglyphical paintin g s — around wh ic h are g roupe d t w o statu e tt e s in — paint e d ce dar wood two boats e x actly lik e th os e now in u se on t he Nil e contai n ing fi g ure s re pre — t he four a m ph orat s e ntin g t h e m ummy s e scort — four e art he nware dis he s o f t he g e nii o f Am e nt i cove re d wit h syc amore branch e s —two pri e sts rods Th is se pulch re an ox s h e ad and a wood e n pillo w b e long ing to a h ig h pri e st call e d M eu tzcfzetes w h o live d und e r t he 1 2 t h dynast y more t han four t h ousand y e ars ag o is one of t he mos t compl e t e first
Cae sars
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41
and valuabl e o f all t he antiquiti e s o f U ppe r Eg y pt It re late s at the sam e tim e to h istory re lig io n and art But t hanks to the untirin g e fforts and fortunat e discove ri e s of M Mari e tt e aid e d by t he patronag e and lib e rality o f t he vic e roy Eg ypt its e l f will soon posse ss t he riche st Egyptian mus e um f Th e marv e llous wood e n statu e o f R a e m K e w ho live d und e r t he st h dynasty t h at in calcare ous ston e o f R a q er pri e st of P i t ta /t at M e mph is at t h e sam e tim e and finally t he e arli e st o f all t hat of t he P harao h Schaf r a I V of t he 4t h dynasty wh ich was found at t h e bottom of a w e ll in t he t e mpl e n e ar the g re at Sph i n : we re all l e nt to t h e U nive rsal E x h ibition o f 1 8 6 7 by M Mari e tt e The s e invaluabl e monum e nts of primitive Eg yptian art b e lon g now to t he risin g mus e um at B o ulak near Cairo .
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42
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C H AP T E R
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ASSY R I A N SC ULPT UR E
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E now com e to consid e r th e no l e ss valuabl e monum e nts of t hat ot h e r anci e nt civili z a tion t h is tim e Asiatic w h ic h arose on t he banks of t h e T i g ris and Eup h rat e s and is said to hav e b ee n found e d by Assur a n Ni mro u d wit h t h e e mpire s o f Nin e ve h and Bab y l on forty fiv e c e nturi e s b e fore our own ag e ( about 2 6 80 By t he u n i on o f t h e two e mpire s und e r t h e g re a t Se mira mis t h i s civili z ation spre ad e ve n to t h e In dus and rising lik e a ph oen i x from t he pyre of Sardanapalus it live d on t h ro u gh the s e cond e mpire und e r Shalma n e s e r Se nnac h e rib and Neb u ch adn e z z ar until t h e conqu e st of Nin e v e h by Cy ax e re s and of Babylon by Cyrus (600 and 5 38 Assyrian civili z ation rivall e d t h at of E g ypt in antiquity and duration and it ce rtainly influ e nc e d t hat of t h e Gree ks and Etruscans and con s e qu e ntly Th e most o f al l Europ e more t han t h e E g yptian ,
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ASSYRI AN SC UL P
TURE
48
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anci e nt re lics of Gre cian an d Etru scan art be ar palpabl e marks o f imitation of t he e arly Assyrian styl e We find t his in t he building s of t he islan ds o f Cypru s Rhod e s C re t e and Sicily ; in t he m e tope s of t he t e mpl e of Se li n u n t i u m in t he lions and t he fri e z e of t he T re asure o f Atre u s at My ce n a in t h e bas re li e fs coll e cte d at M arat hon in som e o f t h e fi g ure s of t he Gre e k z odiac ; in t he paint e d vas e s (call e d Etru scan) o f C e rve t ri V ulci Canino and Nola ; in the t e rra cottas t h e silve r c halic e s an d th e j ew e ls brou ght from Cy prus Coe re ll a) M e los D e los At h e ns C orint h anci nt t h e A e ( gy and finally from K e rtch in t he C rim e a w h ich could onc e boas t of t he palac e and tomb of the g re at M it h ridat e s ; w e find it e ve n in th e ornam e nts o f Gre cian arch it e cture at t he z e nit h of its pe rfe c tion in its trig lyphs palm l e ave s e g g moulding s rose tt e s and m e and e rs In fact w e can no longe r a g re e wit h t h e antiquari e s o f t he last c e ntury w ho attribut e d t he works of art in e ve ry mat e rial at P e rs e polis to captive Gre e ks We must o n t he contrary conclud e t hat t he productions of t he anci e nt H e ll e n e s w e re larg e ly borrow e d from t he A ssyrians t he pre d e ce ssors o f th e P e rsians on t he bord e rs of t he Euph rat e s and T i g ris if ind ee d the latt e r w e re n ot t he ir re al aut hors I t is no l e ss e vid e nt that t he civili z ation of th e .
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ASS YHI A
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SC ULP TUR E
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P hoenicians lik e t hat o f all Asia Mi nor at t he e p oc h pr e c e din g t h at o f t h e Gre e k coloni e s was p u re ly A s syrian The H e bre ws t o o w e re brou g ht into clos e Contact wit h Phoenicia and Assyria t he y h a d t he sam e origin and insti tutions a n d w e may al most say t h e sam e la nguag e as t he Assyrian s ; t he y oft e n fe ll into t h e ir id o latr ie s t h e y w e re con s t a n t ly in s u bj e ctio n t o t h e m and w e re in captivity at Babylon fo r many y e ars a ft e r t h e division o f — J udah and Isra e l i n s hort t h e y borrowe d t h e ir civili z ation e ntire ly from t he ir pow e rful n e ig h bours and conqu e rors t h e Assyrians The proof o f th is as s e rtion wh ic h would h av e app e are d ve ry bold and audaciou s a fe w ye ars ag o is to be found in a t housand passage s of Scripture man y o f w h ic h form e rly unint e lli g ibl e may n ow be e x plain e d by t he aid of obj e cts e x h ibit e d in t he mus e ums o f London and Paris I will borrow a fe w instanc e s from t he cl e ar and l e arn e d r e vi e w o f M Adri e n d e Lo ngpé ri e r Wh at w e re t he s e lions t he s e bulls t h e s e win g e d c he rubims w h i ch t h e P hoe n ician sculptors s e nt by H iram to King ? h So lomon plac e d in t e t e mpl e of J e rus al e m M e re copi e s of symbolic A s syrian figure s W ho ,
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Th e Law
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A SS YRI AN SC ULP T UR E
46
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Assy rian king s What do t he allusions in t he book of K ing s and t h at o f Isaiah to Ni s roch t he i s t h e Assyrian divi n ity wit h bird si nify It d o g g an e ag l e s h e ad and a man s body holdin g a fir con e ? in t he ri g h t h and and a bask e t or pail in t he l e ft W hat is th e symbol of t he old H e bre w sh e k e ls call e d t h e bu dd i ng r od of A a r on It is t h e ste m o f t h e poppy wit h t h r ee capsul e s w h ic h so many diviniti e s kin g s and pri e sts carry in t h e Assyrian bas re li e fs & c I must add th at i n Ni ne veh a nd B a by lon M r Layard m e ntions as many as fifty five nam e s of pe rsons and plac e s tak e n from t he Bibl e wh ich also occur in t he Assyrian anna ls re c e ntly d e ciph e re d ; and sinc e t h e publication of t h is b e autiful book w h ic h follo we d Ni neve/z a nd i ts R ema i ns ot he rs h ave b ee n discove re d provin g h ow g re at was t he re s e mblanc e and h ow constant t h e co mmunication b e tw e e n Nin e ve h and J e ru sal e m T h is visibl e infl ue nce o f Assyrian civili z ation on t hat of t he Gre e ks on t h e on e h and and on t hat of t h e H e bre ws on t h e ot h e r was so g re at t hat it may be said to conn e ct H om e r wit h t h e Bibl e w hilst i t n e c e ssitat e s t he study o f Assyrian monum e nts by any artist an x ious fait h fully to re pre s e nt biblical sce n e s and larg e ly incre as e s t he importanc e t he c harm and t he utility of re c e nt di s cov e ri e s It .
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ASS YE I A N SC ULP TUR E
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promis e s to Ope n a larg e fi e ld fo r t he inve s ti g ations of sci e nc e at t he sam e tim e that it adds an e ntire ly n e w c h apt e r to t h e h isto ry o f art T h irty y e ars ag o t he nam e of t he Assyrians was only to be found in books ; it had n e ve r appe are d in t he catalog u e of a muse um It was in 1 84 2 that M P E Botta F re nc h consul at M osul g uid e d by h ints g ive n by M R ich as e arly as 1 8 20 and by loca l tradition s conc e ive d t he id e a wh ich will b e h i s glory o f s e arc h in g t he ruins of t he an ci e nt capital of t he Assyrian kin g s H e be g an h i s Ope rations und e r t he h illock K o y u nj i k at the nort h of the vill ag e o f Ni n i ona /z the n am e o f wh ich still b e ars witn e ss to t h e sit e of Nin e ve h on t he e ast e rn bank o f t he T igris o f t h at Nin e ve h said by the proph e t j onas to be t hree days j ourn e y in circum fe re nce Not dis he art e n e d by t h e paltry re sults of hi s first e fi o rt s h e s e t to work ag ain n e ar t he villag e o f K ho rs abad about si x t e e n kilom e tre s to th e nort h e ast of Mos ul o n t he l e ft bank of a stre am w h ic h fl ows into t he T i g ris aft e r passing ove r t h e walls o f anci e nt Nin e veh T he re h i s w e ll dire ct e d e fforts w e re crown e d wit h co m h e re d an e ntire palac e wit h l succ e ss e discov e t e p its walls doors rooms and d e corations p e rfe ct The y w e re laid bare and d ug fro m the d e pt hs of t he e art h and t h e p rinc i p a l obj e ct s w h ic h could be ,
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ASSYR I AN SC UL P T URE
48
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re move d w e re tak e n to F ran c e by way o f t he T ig ris and Bag dad and arrive d at Paris in F e bruary 1 847 Th is palac e of K hors abad t h e spoils of wh ich h ave t h e L ouvr e was probably a pl e asure e nric he d ch at e au a V e rsaill e s of t h e princ e s of Nin e v e h F m t h e royal inscription re p e at e d s e v e ral tim e s g — on frag m e nts brou g ht to Pari s Sa rg on g r ea t k i ng ,
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f f — s A s u r w e may re a s onably suppos e t h at t he palace of K hors aba d was built by Sarg on s o n or fat he r of As Sarg on accordin g to t he calcu Se nnac h e rib lat i o n s of ch ro n ologists re i g n e d b e tw e e n t h e y e ars r f h a b t h a 2 and 8 B e buildin o K o s d must 0 6 6 C 7 g h ave pre c e d e d t h e re i g n of Cyrus t he d e stroy e r of t h e Assyrian e mpire by a c e ntury and a h alf ; it must h ave b ee n cont e mporary wit h t he sons of Codrus arc h ons of At he ns an d wit h t h e foundation o f R om e at t h e e poc h assi g n e d to t he kin g or my th Numa Pompilius B e g un by M Botta t h e s e fortu nat e e x cava tions w e re continu e d wit h t h e sam e succ e ss by M V ictor Pl ac e w h ilst M M J u le s O ppe rt and Thomas (aft e r F ul g e nc e F re sn e l w ho fe ll a victim to t he climat e ) mad e oth e rs on the sit e of Baby lon and t hat o f B ors i ppa t he Tow er of la ng u ag es t he T ow e r of ower
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ASSYRI A N SC ULP TURE
49
.
But t he se e x cavations we re mad e so ne ar B ri tis h te rritory t hat t he En g lis h we re an x ious t o find si m ilar tre as ure s fo r t he ms e lves In 1 84 5 M r L ayard disc ov e re d in a d e s e rt plac e call e d Nimrod whe re the littl e rive r Zab Ala flows into t he T ig ris four pal ac e s t he most a n ci e nt o f w h ic h was found e d by o n e o f t he pre d e c e ssors o f Sa rg on w hos e nam e re ad t hus A ss u r A k i t B a t indicat e s be sid es two littl e t he Sardanapalus of the Gre e ks t e mpl e s one d e dicate d to t he Assyrian H e rcul e s and t he ot he r to the F i s k g od probably t he Ca nnes o f t h e Babylonians and t he D ag on of t h e P h ilis tin e s whose imag e fe il be fore t he ark and w hose t em e was d e stroy e d by Samso n In 1 8 49 Mr Layar d e x te nd e d his re s e arch e s to K oy u nj i k e ve n .
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A SSYRI A N S C ULP T UR E
50
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sit e of Nin e ve h whe re he found a palace suppos e d to be t hat of Se nnache rib h ims e l f far larg e r and ric he r in art obj e cts th an t h at o f K hor H e t he n proc e e d e d to K ara mles and to s abad Kalab She rg at so t hat t he British M use um in its turn re c e ive d many pre cious re lics of Assyrian civili z ation Sinc e the n e x cavations h ave b e e n carri e d on simultan e ously b y F ranc e and En g land and t h e int e re sting re sults are divid e d b e twee n London and Paris We must own t hat the British M us e um may j ustly prid e its e lf on poss e ssing a larg e r more vari e d and more choice coll e ction — t han t h e L ouvre a coll e ction w hich O ffe rs a wid e fi e ld for archa olog i cal discove ry and study and must c hall e ng e t he surpris e and admiration of e ve ry a rtist ; but at the sam e tim e the infe riority in num be r vari e ty and e x c e ll e nc e of workmans h ip of the re lics in t he Louvre is in a mann e r aton e d for by t he paramount import a nc e of som e of t h e sin g l e monum e nts in t he F re nc h muse um In th e first rank are t h e four imm e ns e colossi from K hors aba d t he he i g h t o f w h ic h e x c ee ds four t o t he
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b terranean pal ce f K y nj i k M L yard e pl o ed ms l l cove d w i th s l p t ed sl bs w h i ch form a i ty one Engli h mi l es l ong ; n d Mr H ormu d f s lpt s b o t tw seri es ded hi m d i t r f thes cc Rass m w h ati ns d i s oms bet t r p d and eleg tl y f ished w i th cove ed oth e d for the Bri ti h M e m alabas ter tabl w h i ch w e e d esti I n th e
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A SS YRI A N SCULP
TURE
1
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m e tre s O f e qual si z e an d symm e trical wit h e ac h ot h e r on opposit e sid e s pairs of t he m form e d t he front pilast e rs o r fram e s o f o n e of t h e doors of t he palace In front t h e y h ave a man s h e ad wit h .
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lon g h air a b e ard curl e d and arran g e d in a m arv e llous mann e r and w e arin g a doubl e row o f h orns and a dott e d mitre or ti a r a surmount e d ,
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ASSYRI A N SC ULP TURE
52
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— by fe at he rs plac e d
che st and l e g s of a bul l O n t he inn e r sid e t he ri g ht of o n e t he l e ft of t he othe r t h e s e colossi have bulls bodi es wit h t h e h air on t he flanks and of t he tail curl e d lik e t h e b e ard and as in the Ch im aera of Lycia b e arin g lon g wing s upon t he s hould e rs T wo ot h e r win g e d bulls wit h h uman face s e x actly lik e t hos e j ust d e scribe d only rat he r s hort e r we re place d at a ri g ht an g l e he ad to he ad to form t he e x t e rnal d e coration of t he door As othe r doors op e ning in t he facade of t he buildin g had similar ornam ents t h e backs and w i n g s o f t he bulls almost touc he d e ach oth e r B e twe e n t he m and cons e qu e ntly at an e qual d i stanc e from e ac h door t h e re was a h i g h and d e e p nic he cut out of t he wall wh ic h support e d o n e of t h e two ot h e r colossi bro u g ht to t he L ouvre th os e g i g antic me n holdin g a sort of round e d club in the rig ht h and and strang lin g a lion w hic h is d e fe ndin g its e lf w ith its claws und e r the l e ft arm T his lion inst e ad o f t he ord i nary l e n g th of five m e tre s i s no larg e r t h an a small d o g Al l t h e colossi me n and bulls a re of a labaste r The sym bol i cal m e anin g o f t h e g iant wit h th e club is not v e t e ntire ly mad e out but it is no doubt a p e rso n i fi cat i on of stre n g t h p e rhaps t h e Assyria n H e r cul e s The man bull was e vid e ntly t h e Assyria n symbolic imag e o f t he kin g wh os e nam e o ccurs i n ,
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ASSYRI AN SC ULP
54
TUR E
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and t hat t he compositions on t he s e Assyrian tabl e ts a re more vari e d and full e r of mov e m e nt and life t h an t he h i e ratic sculpture s of Eg ypt Som e that are of opinion w e ours e lv e s amon g st ot h e rs t h e ex a g g e ration of ph ysical activity and o f e x pre s sive g e sture s marks a ve ry advanc e d sta t e of art or rat he r a d e cad e nc e from a supe rior styl e lik e that o f t he l gt h dynasty in Eg ypt Ne w dis co ve r i e s a re fore told w h ic h will prov e t h is t h e o ry and bring to li g ht e arli e r and more crud e Spe ci m e ns of Assyrian art L et us b e com e prophe ts also and hop e th at it may be so Th e Assyrian tabl e ts must h av e b e e n pictorial annals ston e ch apt e rs of h istory comm e morating t h e c h i e f e v e nts o f t h e h istory o f t h e Assyrian p e opl e o r rat he r Of t he ir kin g s Th e king (w hat ‘ kin g n on e know wit h any c e rtitud e ) app e ars ag ain and a g ain in all t h e s e sculpture d picture s H e is e asily re co g nis e d b e caus e h e is a lways follow e d by a n umbr e lla b e are r a fl y fl appe r o r by musicians and b e caus e he w e ars t he tiara and the F e ro u he r or win ge d imag e of divinity hov e rs above h i s h e ad I n o n e Of t h e s e re pre s e ntations of t he kin g we arin g rac te r,
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Assy ri an mo narchs al lu e to i n the Scri p tu r e s ( the book of K i ngs, su ch as Sarg o n Isai ah Ez ra, Se nnach eri b, Assu r Ak h B al, ,
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ASSYRI A N SC ULP TURE
55
.
t he
tiara t he fi g ure is e ntire ly paint e d on alabast e r in di ffe re nt colours The sol e s o f t he king s san dals w e re re d Th e w e are rs of t he r ed [reels of V e rsaill e s did not g u e ss ho w ve ry old was t h is new fas h ion T he subj e cts o f t he s e has re li e fs are ve ry vari e d v e ry complicat e d unitin g in o n e fram e me n ani mals plants and build i ng s ; i n fact formin g tru e h istorical picture s O f cours e battl e s and si eg e s abound In t he first w e g e n e rally see t he kin g on h i s war c h ariot c harg e s O f cavalry arc he rs launc h i n g t he ir arrows pr i son e rs le d along wit h t he ir h ands bound corps e s d e voure d by e ag l e s and vul ture s In t h e s e cond t he b e si eg e d town is g e n e rally surround e d by wate r and has a doubl e or tripl e ti e r of walls with battl e m e nts ; and it is attack e d by roll i ng tow e rs or batt e ring rams t he be si eg e d pour in g fi re upon t he ir e n e mi e s and e u d e avou ri ng to av e rt t h e blows of t h e e n g in e s by Whe n a town is tak e n e ntan g lin g t h e m in c h ains w e s e e wom e n flyin g in c h ariots drawn by youn g ox e n or a man e scapin g on a cam e l T he se re pre s e n t a t i on s O f battl e s and si e g e s g iv e us a cl e ar and co m pl e te id e a o f the mod e of warfare in t h is re mot e and b e arin g in mind t hat t he s e alabast e r slabs ag e a re about t h r e e t h ousand y e ars O l d it is surprisin g how littl e t he art Of war c han g e d until t h e intro ,
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ASSYRI AN SC ULP TURE
56
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duction of g unpowd e r Almost e ve ryw he re and in almost e ve ry ag e w e find t he sam e we apons t h e sam e Ope rations of attack and d e fe nc e Among st t he bas re li e fs of London t h e b e st for study as be ing full e r of move m e nt and vari e ty are t he Si eg e k t n h by a kin suppos d to Assur A o w e b e o a g f Bal I a battl e of Assur A k h Bal I I I a g ainst t he Susians t h e triump h of t his kin g a ft e r victo ry ; and l c o ss u l by a an o f slav e s l o a l b t h e Er ecti on o a f g g und e r t he ord e rs o f Se nnache rib T h e c has e o f t he lion or t h e wild bull w h ic h w e re h unt e d wit h s pe ars and arrows is also O ft e n T he kin g is al w ays pre t h e subj e ct o f bas re li e fs s e nt i n h i s chariot re c e ivin g t he victims slain ; ind e e d t he ki ng is e ve ry whe re Som e tim e s w e h ave only hi s full si z e d or h alf l e n g t h portrait ; som e ti m e s he is dire cting the march of troops across t he mountains or t h rou g h t h e woods ; som e tim e s he is re c e ivin g ambassadors and o ffe rin g t he m pe ac e holding two arrows in h i s h and ; o r he is c e l e brating some re li g ious rit e b e fore th e sacre d t re e ; o r h e is crossin g a riv e r still in h i s c hariot on a boat with a he lm mann e d by four rowe rs and a pilot around wh ic h swim h ors e s and fis he s T h is boat is g uid e d t hroug h t he wat e r by a man w ho swims b e fore it k e pt afloat by an inflat e d l e at he r bottl e Eve n now t he ra fts us e d on t he T ig ris and .
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ASSFRI A N SCULP T URE
57
Euphrate s are balance d by l e at he r bottl e s fill e d w it h air We h ave alre ady re mark e d t hat t he canoe s use d on t he Nil e at t he prese nt tim e e x actly re se mbl e t hos e found in t h e se pulc hral c hamb e rs ; probably t he g ondolas o f t he lag oo ns o f Ve nic e will be re tain e d for c e nturi e s O ne o f t he tabl e ts in t h e Louvre is wit hout doub t t he account and m e morial of an e x pe d i tion by rive r or by s e a I n wate r wit hout pe rspe ctive w e se e among st t he fishe s se veral boats o ne above t he ot he r wit h prows in t he shape of hors e s h e ads and hal f O pe n sid e s s howin g t he rowe rs b e nding ove r t he ir oars Som e of t h e s e ve ss e ls are load e d wit h t he trunks of tre e s wh ich e x plains t he answ e r o f H iram king of T yre to Solomon w he n he was ask e d for som e c e dar wood for t he buildin g of t he t e mpl e : My se rva nts shall brin g t he m down from Le banon unto t he s ea and I will conve y the m by sea in floats unto t he plac e that thou s hall appoint me ( 1 Kin g s v 6 Anot he r more tru e to life and b e tte r e x e cute d re pre se nts se ve ral le d h orse s W e are told by X e noph on ( Cy ropze d i a iii ch 5 ) t h at t he ir horse s we re so wild and spirit e d t hat t h e Assyrians we re oblig e d al w ays to k e e p t he m bound F ait h fully copi e d from nat u re the s e bas re li e fs have all t he d e licacy o f li mb and g rac e ful vi g our of t he Arab hors e s ; and combin e d wit h t he t e stimony o f t he .
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ASSYRI A N SC ULP
58
TURE
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book of J ob t he s e monum e nts incont e stably prov e t hat this race has b e e n pe rp e tuat e d to our own day wit hout alt e ration or t he admi x ture Of ali e n blood as t he primitive and pe rfe ct type o f t h at b e auti ful and us e ful s e rvant j ustly call e d by Bu ffon ” man s nobl e st conqu e st F rom anot he r slab w e l e arn t hat hors e s o x e n and drom e dari e s w e re not t he only anim als e mploy e d in war or as b e asts o f burd e n by t he Assyrians We s e e a t e am o f me n prison e rs se rfs or subj e cts yok e d in pairs to t he pole o f a car It was t he s e h uman t e ams w hich d re w t he alabast e r from t he quarry and took t he colossal i mag e s of t he kin g s a nd g ods t o t he g at e s o f t h e palac e In som e of t h e Assyrian marbl e s t he ki ng s are e x c h a n g e d for diviniti e s The latt e r g e n e rally w e ar a conical cap adorn e d wit h t w o or t h ree h orns and in t he ir hands t he y h old di ffe re nt symbols an e a r o f b e ard e d w h e at a fi r con e a re e d bask e t or a flowe ring tree At t h e Louvre w e h av e a curious p e rsonification of t he g o d (probably Baal o r Ne s roch) wit h four larg e outspre ad wing s lik e t he Egyptian Ne ith o r M in e rv a t he c he rubims o f t he t e mpl e o f Solomon t he Pros e rpin e ( P e rs e ph on e ) of pag anism a n d t he diviniti e s o f anci e nt Etruria Apl u (Apollo ) H er c/a ( H e rcul e s) Ti n i a ( Bacch us) Tk a l na (J uno ) ,
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ASSYR I A N SC ULP
We
T URE
59
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t hat in g iving th is e mbl e m to the me s s e n g e rs of t he Most H i h t h e O ld l e e nds of t he g g first C h ristian e ra introduce d no more of a nove lty t han t he marquise s of t he CEi l d e B oeu f w h e n t he y put re d he e ls to t he ir s ho e s At t he Britis h M us e um t he re are but two Assyria n obj e cts wh ic h are n e i t he r in t he form o f tabl e ts nor of slabs O n e is a stat ue found at Kala h She rg at t h e only o n e as y e t discov e re d in t he e x cavati ons of Assyrian towns It is he adl e ss and muc h damag e d it re pre s e nt e d a kin g on a t h ron e but it is Of no int e re st to t he artist o r archae olog ist e x ce pt from its ow n i n s i g n i fican ce The ot he r w h ic h is far more important is a small ob e lisk of blackis h marbl e of about two m e tre s h i g h cut into four sid e s and d e cre asin g in si z e towards t he top In addition to t e n lin e s of cun e iform writin g it has twe nty bas re li e fs wit h a g re at many fi g ure s o f animals lions rh inoce ros e s monk e ys h orse s & c le d by me n carryin g pre s e nts It must have b e e n a trophy of victory and conqu e st re pre s e ntin g o ffe ring s brou g ht to t he king by t he subj e ct pe opl e And as t he inte ntion is s o ve ry cl e ar t he littl e ob e lisk o f Kalah Sherg at may in t he hands o f a future Champollion b e com e a g uid e to th e d e ciphe rin g of ‘ t he h i e rog lyp h ics o f t h e cun e iform c h aract e r dy asse ts that th e two h un dred and ten lines of D H i nck al se e
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A SSYRI A N SC UL P TUR E
60
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En g lis h and F re nch mus e u ms c ontain many til e s or bricks with inscri ptions in t h is cu ne if or m writin g (t he l e tte rs of wh ic h are s h ap e d lik e t h e h e ads Of nails) call e d K ei l sc/zr if t by t h e G e rmans and a r r ow Izeaa ea cka r acter by t he En g lish T hrou g h t he e fforts wh ich h ave b e e n mad e since t he tim e o f t h e trave ll e r Ch ardin by Ni e bu hr t h e D an e G ro t e fe n d R ask Lasse n E B u rn o u f by Colon e l R awlinson and D r H incks in England and by M M J ul e s O ppe rt and J oach im M enant at t he sam e tim e in F rance mod e rn sci e nc e will pe rhaps at last discove r t he m e anin g of t h is writin g and l e arn to d e ciphe r it as i t has t he h i e ro o f E ypt i s l h c g g yp We will conclud e by noticing t he cl e ar proo fs in n had a g re at th e Louvre t h at Assyrian civili z atio and dire ct influ e nce upon that o f t he Gre e ks T he s e proofs are so to sp e ak writt e n on two silve r g ilt cups on e of wh ich is ornam e nt e d with a sunk e n T he se fri e z e and t he ot he r by subj e cts in re li e f cups we re found in t he ruins o f t he anci e nt C itium a town of t he island of Cyprus T he ir Assyrian Th e
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th e
Assy ri an w r it i ng
y yi
th e
y
ro al ann al s
d
u ri ng
pe i d th e k i ng
a
r o
b t i f m t d s ce i ly J eh k i g f S m i A d 7 k ) i Atk l i t h p d H by R i l wh w k i ng of the same coun t y by th p ph t El i ha bo t 8 8 5 B t h i rt
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o ne
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ss r a are e n u ac n e
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or
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C H AP T E R
III
.
ETR USCAN SC ULP T URE
.
E must now say a fe w words on Etrusca n sculpture b e fore passin g to Gree c e Etruria a n e ar n e i g h bour o f our own situate d at t h e g at e of Gaul can also prid e its e lf o n a primi tive civili z ation wh ich alt hou g h at first pure ly national e x c e pt fo r a sli g ht Asiatic e l e m e nt sub s e qu e ntly fe ll und e r Gre e k influ e nc e and was finally absorb e d into t hat o f R om e aft e r g ivin g to it its cre e d and supe rstitions tog e t he r with t he rudim e nts of e v e ry art and i n d ustry Pliny ass e rts t h is in twe nty pass age s The most important national art of Etruria was e ve ry kind o f m e tal work t he c hasi ng o f j e w e ls of g old and silve r t he castin g O f bron z e statu e s t he manu facture o f armour altars tripods and all articl e s mad e wit h T he re are t hre e of g re at val u e i n t h e hamm e r t e zi F at lor e nc e h e littl statu call d t he U e e ; fi w h ic h i s probably a M e rcu ry ; t he l aol i n o .
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E TR USCA N SC ULP
Ck i mwr a,
TURE
63
.
wit h a lion s he ad on t he should e rs a goat s he ad on t he back and a dra g on s he ad at t he e n d of t h e tail ; and lastly t he b e auti ful and c e l e b rat e d statu e of a mag is t rat e h aran g uin g the p e o pl e ’
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Fi g 6 .
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—Statu e
of
the
I
n fan t
A
p
ol l o
w i th
( Mu se u m o f A n ti q u i ti es P ar i s ) ,
9
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D u ck
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call e d t he Or a tor We find many ot h e r re lics o f th is g re at industry in most o f t he muse ums t he L ouvre amongst ot he r s but t h e y are n e e g
w h ich i s
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,
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ETR USOA N SC ULP
64
TURE
.
rally m i x e d wit h t he Gre ci an and R oman bron z es The Campana coll e ction re c e ntly obtain e d has h ow e v e r suppli e d us wit h int e re stin g spe cim e ns of t his h ithe rto littl e known Etruscan art Th e e r a r e m e re r at r numb t e rra cottas e t h e y e e t y g a re muc h b e tt e r pre s e rve d t h an t h e marbl e s and bron z e s and g ive a ve ry fair notion of what t he s culpture of anci e nt Etruria was b e fore t h e R oman conqu e st and subj ug ation T he re are a g re at many busts most Of t he m Of diviniti e s w e arin g crowns and diad e ms But of al l t he s e monum e nts of plastic art t he o ne wh ich throws most lig h t on t he confus e d and myst e rious h istory O f t he Etruscan p e opl e is ce rtainly t he ornam e nt e d se pulc h re call e d t h e Ly d i a n tomb O n a fun e ral couc h re pos e two hal f re cumbent fi g ure s o ne o f a man t he ot he r in Asiatic costum e wh ich circum o f a woman stanc e must have g ive n t he nam e to t he tomb as it is e vid e ntly Etruscan It is ag re e d t hat th is pr e cious monum e nt is e arli e r t han t he ruin of Ca re A e l a h mor anci nt l e mod rn h e e e t t C e r v e r i t ( gy ) t hat is to say t hat it b e lon g s to t he fourt h c e ntury b e fore the Christian e ra But t he t e rm Etruscan art will probably re mind ve ry many re ad e rs of t h os e carve d and paint e d vase s w h ich it has lon g b e e n t he fas hion to call Etruscan It is how e ve r a mistak e to apply th is .
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ETR USCAN SCULP TURE
65
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m to the g reate r numbe r of obj ects i ndi cate d
t er
by
It i s tru e that t he twe lve pa tri archal state s of t h e anci e nt Etruscan l e ag u e e x t en d e d from t h e M ag ra to the Vu ltu rn us from Verona to Capua But the y form e d a m e re con fe d e racy of citi e s ; Etruria prope rly so call e d did not ex c e e d t he limits o f Tuscany itse l f Now it was to the sout h of R om e in t hat part o f M ag na Gra ci a call e d Apulia (t he mod e rn Pu g lia ) t hat t he num e rous and be auti ful so call e d Etruscan vas e s we re manu fact u re d w h ic h are re a l ly all o f H e ll e nic ori g in We only allud e t o the m he re on account o f the ir n am e It is also e asy to class t he s e valuabl e products o f e arly Italian indust ry accordin g to t he ir dat e s and place s of manu facture Such are t he ir strikin g pe culiariti e s t hat the ir ag e and source may be The e arli e st t hose from de cid e d at a g lance Etruria prope r ch ie fly found at Ce rvet ri (Cae re A g y lla) are all black and e it he r wit hout orna m e nts or wit h clu msy fi g ure s in re li e f of t he sam e colour O t he rs also Etruscan alt h ou g h call e d — e ast e rn would be Egyptian and P hoenician a b e tte r t e rm have n e arly w h it e g rounds wit h figure s of me n and ani mals painte d in dark re d The n e x t in dat e in t h e h i story of k e ramic art are t hos e vas e s call e d primitive with pal e g rounds and it
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F
E TR USUA N SC ULP TURE
66
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ornam e nts but zon e s or hori z ontal divisions crosse d by conc e ntric se micircl es Vas e s of a date poste rior to t hat of t he lat e st alre ady e num e rate d h av e b e e n found in a more sout he rn n e ig hbourhood : round Rom e at Vulci C anino and in the Basili cata T he y have re d or oran g e g rounds wit h fi g ure s o f m e n only paint e d black All t he s ubj e cts o f the se re li e fs and p aintin g s are myt holog ical and are ch i e fly borrowe d from t he wors hip of Bacc h us t he po l ymorph ous and polynomial g od (o f many forms and man y nam e s ) To t h is ag e and country b e lon g t he r /zy tons or dri nkin g cups shape d in imitation of t he he ads of d i ffe re nt animals and lastly lat e r stil l and fart he r sout h in anci e nt Apulia w e re fabricat e d t he c e l e brat e d vas e s Of Nola so call e d b e caus e th e y we re found in larg e numb e rs in t he n e i g hbour h ood of t h at city o f t he Campag na w h ich was d e fe nd e d b y M arce llus ag ainst H annibal in wh ich Au g ustus di e d and St Paulinus is said to have i n ve nt e d b e lls (ca mpa na ) U nlik e t hos e of t he ag r o r oma no t he vas e s o f Nola hav e t he fi g ure s in brick o r a n ti gu e re d (r oss o a n ti co) on a cl e ar and s h inin g h e e t black round T y surpass all ot rs in h e g j in choice n e ss of e l e g anc e and vari e ty of form rac and s ubj e ct b e auty o f d e si g n in tast e spirit e g e as e ; in fact t h e y fu lfil t h e tru e re quire m e nts of no
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ETR USUA N SC ULP TURE
67
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art T he ir pe rfe ction was so g re at th l t he y s oo n c e as e d to be re g ard e d as m e re do me s t i c ut e ns i ls and be cam e d e co rative lu x uri e s lik e statu e s and picture s It is re markabl e t hat at first t he anci e nts mad e all t he ir ve ss e ls for house hold use in clay ; t h e j ars or a mp/zon e call e d e a p os or m floc by t h e xp Gre e ks for instanc e in w h ic h t he y k e pt w in e oil hon e y dri nkin g wat e r & c e v e n t he tub Of D iog e n e s was only a larg e e art he nware pot T he s e dom e stic vas e s we re improve d upon until t he ir form and t he ornam e nts o n t he m attain e d to suc h surpassin g b e auty as to be tru e art O bj e cts In th e m w e can mark t he unconscious d e ve lopm e nt of t h at i n g e nious t he ory w h ic h re quire d t he sam e harmony in t h e proportions of a vas e o r buildin g as is t he rul e in t he h uman limbs ; t he s y mm e try o f t h e h e i g ht and bre adt h of t h e d e si g ns w as re g ulat e d by o n e Of nature s laws ; it was thou g ht t hat t h is symm e try produc e d b e auty o f form and t hat an e l e g ant vas e mi g ht be compare d to a youn g g irl risi ng wit h h e r arms raise d to he r he ad It is t he ir form alon e w h ich conn e cts t he se vase s wit h o u r subj e ct t he ir orn am e nts be lon g to pai n t It will su ffi c e to stat e t hat t he re are larg e an d i ng choic e coll e ction s of the m in t he ch i e f muse ums in London Paris St P e t e rsburg an d Napl e s w h ich last contains no l e ss t han t hre e t housand a
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E TR USCAN SCULP
68
F or t h e
TURE
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sam e re ason on account o f the ir fo rm w e may notic e t he vetr i a n ti c/t i g lass obj e cts pre s e rve d from antiquity I f t he re w e re still (for t he re h av e b e e n ) sch olars w ho d e ni e d t hat g lass w as — known to t he ancie nts alth ou gh it is spok e n of by Job and in t h e Prove rbs and Pli ny has allude d to its fortunat e discove ry by t he P hoenicians and to — t h e skill O f t he E g y ptians in its fabrication the y could not but ow n t h e ir mistak e b e fore t he g la z e d cabin e ts Of t he Etru sc an mus e um of t he Louvre St T h omas could no lon ge r doubt and subt e rfu g e s would fail e ve n Escobar T he y would be com poll e d to acknowl e d g e t hat t he mod e m s fall s hort o f t he anci e nts in t he ir facility in t h is industry F rom t he s e vetr i a n t i c/zi w e can l e arn t he e arly forms and t he u s e of anci e nt g lass Obj e cts O n t he w e hav e vas e s O f e v e ry kind small o n e h and amp ho ren fl ag ons foot g obl e ts and g obl e ts wit h handl e s lacrymatori e s & c ; on t he ot he r w h it e tint e d coloure d c has e d and e nam e ll e d g lass e s Most of t he m h avin g b ee n buri e d in t h e g rou nd for c e nturi e s are still st ain e d with the t h in coating or fil m produce d by min e ral de composition call e d h a t a t i e by Italians w ic is also ound on n h h f p marbl e s w h ic h h ave b e e n lon g und e rg round O n e autiful g old e n and s ilve r t i n ts i e lass produc s b t g o r colours w h ich chan g e and bl e n d lik e t h os e o f a ,
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C H AP T E R I V
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G REC A N SC UL P T URE
I
.
H A T Pliny says
of
— i c i n ti zs i n er ta is
— painting D e
c u i t r ¢ p
qually tru e of sculpture I n t he history o f Assyrian and E g y ptian art w e cannot g o back to t h e b e ginnin g ; w e have only fou n d monum e nts Of a s e ttl e d in fact o f a n advance d C ivili z ation o f w h ic h t he y are alik e t h e visibl e proo fs and t he sacre d re lics We have e qually d e cisive e vid e nc e t hat t h e art o f t h e e ast e x e rcis e d g re at influ e nc e ove r t he e arly C ivili z ation of Gre e ce ; ind e e d alth ou g h the anci e nt Gree ks and we re t o o long b e li e ve d to have C laim e d inve nt e d e ve ryt h in g t he re is no doubt t hat Gre cian art b e gan wit h imitation B u t at t he sam e tim e and b e cam e t h e Gree ks e arn e d e t e rnal g lory wort hy of ou r unc hanging admiration an d g ratitud e by at onc e fre e ing t h e m s e lv e s from t he spirit of conve ntio n and routin e t h e y soon burst t h e c h ains of dog m atic and sac e rdotal laws and inau g urat e d e
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GRECI AN SC ULF TURE
71
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a fre e orig inal and individual art U nlik e the ” othe r nations o f a ntiquity says M B e u lé wit h e qual trut h and e l e g anc e th e y took l e ssons only to re act upon th e ir mast e rs t he y adopt e d t he ir mod e ls surpass e d rej e ct e d t he m to conc e ive ot he rs of i n comparabl e b eauty T he y did not inve nt art the y i nve nte d b e auty The a rtists o f E g y pt and Assyri a could produce d e e p re lig ious and strikin g i mpre s sions ; the y n e ve r attain e d to th ose supe rior principl e s wh ic h ex alt h uman id e as into divin e type s and e nabl e ma n to cont e mplat e b e auty fac e to fac e No doubt art in Gree c e as e ls e whe re was conn e ct e d with t he fait h o f t he country ; re li g ion h and its d e v e lopm e nt it w as al i k e its its birt e aid d support and its controll e r F ortunat e ly t he re lig ion of t he Gre e ks was n e ve r n arrow j e alous or big ot e d I t ha d no coll e g e s of pri e sts no t he olog y fi x e d by a symbol of faith no immutabl e and pre scribe d cre e d D au g h t e r of ima g ination and mot h e r of po e try re ligion from t he first imbu e d art h e r ot he r ch ild with the spirit o f ind e pe nd e nce and wit h he r ” My t ho logy add s M B e u lé own lib e rty of g e nius “ that imm e ns e and magnific e nt tissu e of fiction wh ic h pe rvad e s the e ntire unive rs e lik e a n e t w ork is t he most brilliant cre ation o f g old and light Who mad e it ? Eve ry on e of t he h uman int e ll e ct and no one it is t he work of a p e opl e “
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GRECI A N SCULP TURE
72
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was t he sam e with art Gre cia n art only borrowe d wh at was te ch nical and m e ch an ical and whe n fre e to wing its fli g ht towards t he lofty reg ions of t h e sublim e and bea uti ful it was nu c he ck e d by any re li g ious or polit i cal barrie r D e d alus was abl e to s h ak e off Eg yptia n traditions with impunity he could fre e t he l e g s and arms o f statu e s from t he ir bodi e s ; he could i mpart move m e nt and li fe to t h e m wit hout incurrin g t he ce nsure I nst e ad of t his o f a pri e st or t he a ng e r o f a kin g h i s bold and h appy innovations e x cit e d t he admi ration O f all G re e ce and t he e nvy o f e ve ry rival Wit h t h e Gree ks e nth usiasm was pi e ty It was ” says M T aine t he t he lon g in g for cl e arn e ss p e rce ption of proportion t he hatre d o f t he clumsy and outrage ous t he tast e for mark e d and distinct wh ich le d t he G re e ks to e mbody the ir o utlin e s conc e ptions in a form e asily und e rstood by th e s e ns es and t he imag ination and to produc e works inte llig ibl e to e ve ry rac e in e ve ry ag e —works which ” be in g human ma y be e t e rnal H owe ve r fre e as it subs e qu e ntl y b e cam e e v e n G re cian art was for a lon g tim e d e bas e d poe t ry was alre ady at its z e nit h whe n it scarc e ly e x iste d I n fact po e try is but a fl i g ht of fancy with la ng uag e re ady to e x pre ss it Art ha d to strugg le wit h and subdu e mat e rials and t h is proc e ss o fte n It
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G RECI AN SC ULP ]
URE
73
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quire d c e nturi es At first t he n sculpture w as humbl e e mbarras se d and timid ; it dare d not l e ave t he c e rtain to att e mpt t he unknown it could tak e no st e p in advanc e wit h out first lookin g back but as it g re w it l e ft b e h ind it an ind e structibl e c hain w h ich finds stre ng t h t he c h ain o f tradition for t he future in re spe ct for t he past Gre cian sculpture advanc e d slowly b e cause it sou g h t not nove lty but prog re ss The aim of e ach sch ool was to copy t he mast e r to e x ce l hi m if possibl e T o Obtain c e rtainty by re p e at e d trials to pause rat he r t han t o e rr to softe n by s hadin g witho ut abrupt transitio n O n art its e l f not on re lig ion i f it re main e d stationa ry long ; re sts t h e blam e but cond e mnation is misplace d ; in t h is slo w but lofty e ducation w e must re cogn ise t he source o f t h e g rand e ur and admirabl e principl e s of Gre cia n ” T h us continu e s M B e u lé w e find t he tru e art th e ory of libe rty appli e d t o t he arts In t he nam e of Gre cian art w e claim not on ly t hat outward libe rty w h ich d e pe nds on t he w e akn e ss o f me n and t h e fre aks O f fortun e but t he tru e fre e dom wh ich fe ars no att acks wh ich is more t han libe rty — ind e p e nd e nc e Ind e p e nd e nce was t he soul of ” Gre cian art It would be impossibl e now to writ e t he h istory of t he sc hools of Gre e c e from t he tim e w hen C upid
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G R ECI A N SCUL P T UR E
74
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was re pre se nt e d by a ston e at Th e s pi ze J uno by a column at Arg os C astor and Pollu x at Sparta by two b e ams join e d by a cross bar in tok e n of — frat e rnity to t he ag e of P e ricl e s A v e ry bri e f summa ry will su ffic e The first statu e s made o f wood are attribut e d to D ae dalus w hom t he Gre e ks claim as a fe llow Citi z e n but w h o was probably a native o f C re t e and a co nt e mporary o f M inos D ae dalu s w hos e nam e m e ans industrious is said to h av e i nv e nt e d t h e saw and t he plan e and to h ave introduce d hi s art into Sicily and Apulia Who is ? t h is all but fabulous p e rson Probably a myt h to w h om all e arly inve ntions are attribut e d as all t he e ms to H om e r r at national po only know e W e g t hat e ve n in t he tim e o f t he trave ll e r P au san i u s the re e x ist e d very O ld wood e n statu e s call e d D ae d ali i n w h ic h mov e m e nt and life w e re imitat e d t he l e g s b e in g s e parat e d from e ach ot h e r and t he arms from t he body In t he Isl e of Samos on t he coast of Asia b e twe e n t he y e ars 5 70 and 5 2 5 B C a family of artists aros e to wh om t h e Gree ks g ave t he nam e of s tone s cr aper s b e caus e t he y sub stitute d hard e r and more durabl e mat e rials such as ston e and marbl e for wood T he ir nam e s we re Rhte cu s hi s son Te lecle s and his grand son T he odorus T o t he m 18 also attribut e d t he inve ntion o f t he plastic art or t hat of mod e llin g ,
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GRECI A N SCULP TURE
75
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clay O f e ng raving on m e tals and preciou s ston e s and e ve n o f t he castin g o f bron z e s tatu e s The last nam e d inve ntion w h ic h t he Sami an s may h ave borro w e d from E g ypt was also practis e d by t he Etruscans and known in Sicily w he re at t he sam e e poc h t he sculptor P e ri ll u s mad e t he c e le brat e d braz e n bull for t he ty rant P halaris in wh ich he b u rnt hi s e n e mi e s alive T radition says t hat T he odorus e ng rave d t he famous rin g w h ich Poly crat e s th re w into t he s ea to C han g e h i s too constan t ill fortun e th at he re cast the silve r krate r g ive n by Crce s u s to t he t e mpl e o f D e lph i ; and c has e d t he old n vin e wit h g rap e s o f pre ci ous ston e s found e g a t Sardis by Cyrus on t he t h ron e o f t h e kin s o f g P e rsia Glaucus also to whom is attribut e d t he i nve n tion o f t he art of sm e lting and sold e ring iron was pe rhaps an in h abitant of Samos or o f C h ios And w e know on t h e aut h ority of Pliny t h at t he s e islands can boast o f anot he r family of sculptors F irst M e las t h e n h i s son Mi ci ad es h i s g randson An t h e rmu s w ho mad e a winge d V ictory for D e los and t he sons o f A nt he rmu s B u palu s and Athe n ae u s B u pal u s is t he most c e l e w h o work e d tog e t he r In t he tim e brat e d of t h i s g e n e ration of artists of Au g ustus many O f h i s works we re coll e ct e d at Rom e ; t he una ffe ct e d simpli c ity o f h i s a rchaic ,
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G RECI AN SC ULP TURE
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styl e found favour with the R omans The sch oo l c f Ch ios took root in an island of t he {E e a n Se a g n e ar Paros and layin g aside t he wood wit h wh ich D ae dalus was cont e nt and t he bron z e of T h e odoru s it adopt e d wh ite marbl e T h is was de cid e d pro — e e ction e r ss in statuar y r e at st p towards p rf e a g g In carvin g Parian marbl e t he C hiot e sculptors we re abl e to g ive full scop e to t he vivacious pliant e l e g ant and d e licat e g e nius of Ionia w h ich sub se qu e ntly combinin g with t he m ore sobe r vi g orou s and aust e re tal e nt of the strong D orian race pro d u ce d th at dualism fro m wh ich spran g tru e Gre cian art In th ose I onian isla nds w he re t he first Gre e k artists appe are d t h e first po ets also arose T he re we re born the I l i ad and t he Ody ssey fro m wh ic h the ir inspiration s culptors took O n e w ord o f — H om e r or of H e siod J upit e r wit h t he powe rful locks Ve nus wit h t he swee t smil e J uno with t he b e auti ful arms D iana t he fair li mb e d g odd e ss was e nou gh t o fix a typ e and mak e it t raditional wit hout int e rfe ring wit h the ind e pe nd e n ce of t h e artist for a symbol is not a dog ma W he n fl e e ing be fore t he con qu e sts of Cyrus and t he domination o f t h e P e rsians t h e Io n ian artists spre ad ov e r t h e contine nt O f Gre e ce th e y introduce d if not an — e absolute ly n w art C orint h had alre ady produced .
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G RECI A N SC UL P TURE
78
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l e ss ons also forme d t he tal e nts of Laphaes O f P hli u s (n a tis) Eu che i r o f C orint h Eu t e l i d as Chy o f Arg os w h o aft e r s ot he mi s and A ri s t o me d on wards e ducat e d A g elad as t he mast e r o f P hidias of Polycl e tus and of Myron It is probabl e t hat t he t w o C re tan sculptors w e re aft e rwards sum mou e d to Athe ns ; and it is c e rtain t hat afte r be in g und e r t he dire ction of t he bron z e found e r T he odorus t he Spartan school was d e ve loped b y t he instructions of discipl e s o f Di poen u s and Sk y lli s D ontas Theok les M e don w ho D o ry k l i d as tau g ht t he m to carve Parian marbl e Sparta w hich c he rish e d t he old D orian g e nius in all its e arly aust e rity and rej e ct e d paintin g as too e fl e mi nat e an art admitt e d sculpture wh ilst st rictly confining it within t he limits of morality and utility wh ich did not trans She re tain e d t he arc haic styl e ” fe r t h e attractions o f livin g nature to in e rt mat e rial e ul e) and n e v e r att e mpt e d t h e id e al e x pr e ssion B ( H e r sch ool of sculpture was prolific o f b e auty and c e l e brat e d in t he ag e o f Pisistratus but in t he tim e of Pe ricl e s it was supplante d by t hat of At he ns and t he ru g g e d D orian g e nius disapp e are d buri e d b e n e ath t he innum e rabl e and surpassin g works of he r conqu e ror t he c h armin g g e niu s of Ionia B e fore t h is p e riod of At he nian supre mac y ho w ,
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GRECI A N S C ULP TURE
79
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ve r w e find t he O ld D o ric styl e thou g h al re ady t e mpe re d by t he Ionic in t he works l e ft by Kana ch us o f Si k y on ia Age lad as of Arg os and b y t h e w h ol e sc h ool of n ina ; to K a nachu s w ho flouris he d about 5 00 B C and did not d i e until aft e r t he invasion of t he P e rsians is ascribe d a statu e of Apollo made for t he sanctuary o f D idy mze n e ar Mil e tus in Asia Minor T h is D i d y mae an Apollo was carri e d a w ay by X e rx e s in h i s fli g ht and re turn e d to t he M i les i i t w o ce ntu ri e s a ft e r wards by Se l e ucus Ni cat or C ic e ro s words The statu e s by K an achu s are t oo s t i fl to be tru e to nature prove t hat t he Sicyonian sculptor re main e d faith ful to t he arc ha i c st y l e so much admire d by t he R omans The Arg i an A g e lad as was a cont e mporary o f K an ach u s fo r w e kno w t h at aid e d by a t hird sculptor A ri s tok le s t he y produce d a g ro up o f t he t hree G rac e s Th at by K an achu s he ld t he flut e of Pan t hat by A ri s t ok les t he lyre of tortoise s he ll t hat by A g e la d as t he B ar bi ton or g re at lyre of A pollo We k now littl e of t he life of Ag e lad as but tradition has pre se rve d t he re me mbranc e o f som e o f h i s most c e l e brat e d works H e was pro bably the first O f Gre cian sculptors ; he mad e — statu e s of di ffe re nt ath l e t e s A noch u s of T are n tum Ti mos i t ha of D e lp h i and K leos t he n es of e
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80
C RECI AN SC UL P TUR E
“
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Epi d a mn u s
re pre s e nte d on a cha ri ot drawn by four hors e s g uid e d by a drive r The b e auty and e ntire ly nove l g rand e ur of t h is ric h offe ring e x cite d t he admiration of all Gre e ce But Ag e lad as g ain e d more re nown by hi s discipl e s t han by hi s works We have alre ady s l ate d that he w as t he mast e r O f t he t hre e g re at sculptors of t he ‘ — P he i d i as P o ly k le t u s and M y ron a e o f P e rikl e s It was in t he sc hool O f ZEg i n a t hat t he fusion of t he D oric an d Ionic styl e s was most appa re nt a nd in t h at o f At he ns t hat t he victo ry o f t he Ionic ove r t he D oric was consummat e d The constant rival of At he ns unti l he r final d e cay and absorption into t he g re at re public The island says M B e ul e situate d in front of of E g i na Attica was lik e t he advanc e d s e ntin e l of t h e P e loponne sus t he prot e ctor of t he D orians from w h om
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G R ECI AN SC ULP TURE
81
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Ionians O ve r E g i n a re i g n e d B a cus t he Numa o f t he Gre e ks w hom public ve n e ration made o n e o f t h e j ud g e s of h e ll and from w h om d e sc e nd e d a lon g lin e of he roe s call e d E acid e s among st w hom we re P e l e us T e lamon Ach ill es Aja x P at roc les and lat e r M iltiad e s an d h i s s on C imon R ic h and pow e rful be fore t he ris e o f t he city of Min e rva n ina date s t he orig in of he r sch ool far back in h i sto ry According to Pa u s a ni u s Smi li s o f [E i n a was t he cont e m pora ry of D a dalus T i e h s g is to mak e hi m also a fabulous myth T he n follows C allo t he sculptor w hose works Quintili an compare d to t hos e of t he Etruscans Sy n noos and hi s so n P t oly cus ; Gl au ci u s w ho w as ord e re d by G e lon of Syracus e to mak e an e x tra quadri g a for t he t e mpl e o f O lympia ; and lastly O u atas t h e most c e l e brat e d of t he E g i n et an Sch oo l H e live d aft e r t he M e dian wars mad e a numb e r of imag e s of g ods for di ffe re nt sanctuari e s of Gre e ce and took part in t he ornam e ntation of t he g re a t t e mpl e of hi s country of whic h w e sh all pre s e ntly e a i n t n e iv a d tails marbl s rival v n e f e w T e e h e e n g those of t he Part he no n and are t he most valuab le tre asure of t he Glyptot he k of M u n ich in fact non e of t he sacre d re lics of anci e n t art i n Nort hern Europe are at all to be compare d t o t he m Wh ilst trave llin g in Gre ece i n the y e ar 1 8 1 1 t he
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G RECI AN SC ULP TUR E:
82
M e ss rs H all e r Cock e re ll F orst e r and Li nk h w he n m e asurin g the h e i g ht o f an old t e mpl e of E g i n a found a numb e r of sculpture d frag m e nts s e ve nt e e n n e arly p e rfe ct statu e s amon g st oth e rs almost at the surface of th e soil T he y we re boug ht at R om e by t he princ e royal of Bavaria a ft e rwards Ludwi g I tak e n t o M unich and succ e ssfully re store d by t he c e l e brat e d D anish sculptor T horwaldse n ; t h e y e x cit e d g re at an d g e n e ral int e re st G e rman e rudition r ejoic e d in t h is fortunat e windfall : t he l e arn e d archa ologi st O ttfri e d M ii lle r t he ph ilosophe r Sche llin g M e ssrs Wagn e r H irt T hi e rsc h Sc h orn & c built up vast h istorical and ae st he tic syst e ms on the s e frag il e ruins We s e e in th e m not hin g more t han works of art The s e v e nt e e n statu e s of M unic h are t he most pre cious re lics of tEg i ne t an art t he y w e re ornam e nts of t he c hi e f buildin g o f n ina, t hou g ht by som e to be t he t e mpl e of M in e rva allud e d to by H e rodotus and ot he rs t h e Pan he ll e nion or t e mpl e of Z e us Pan he ll e nios T o g ive an id e a of t he u se an d position of t h e s e fi g ure s an imitation p e dim e nt in re lie f has b e e n place d in t he tympanum of and t hey t he vault of t h e room in w h ic h t he y are a re arrange d at its bas e on stylobat e s in t he sam e re lative position on ly furt he r a part t han t he y occupi e d in t h e orig inal t e m p l e T his contrivanc e ,
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G RECI AN SC ULP T URE
88
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a g ood idea at a g lanc e of t he g ene ral appe ar ance and d e tail of t he g roups By th is m e ans the front and back pe dim e nts of the t e mpl e of J upit e r P anhe lle n i u s h av e bee n re constitut e d with t he s e ve n t e e n statu es F ive fi g ure s form the e ast e rn and te n t he weste rn p e dim e nt : at t he ape x Of t he ang l e of t he latte r t w o littl e fi g ure s w e re probably plac e d as e x t e rnal ornam e nts T his op ini on is bo rn e out by the appe arance of th e obj ects and is so we ll found e d th at it ma y be adopte d withou t fe ar or he sitation But wh e n thu s arran ge d wh at do the se s eve ntee n statu e s re pre s e nt ? Th is qu e stion l e ads to a boundl e ss fi e ld of conj e ctures and opinions to a trial without a j udg e ; but t he y are e vid e ntly m e morials o f combats and victori e s d e ar to the prid e of the small race o f E g i n a No one d e ni e s — t h is but are t he y victori e s g ain e d by t he Gree ks ove r t h e P e rsi a ns at M arath on at Platae a at Salamina or must w e g o back to he roic tim e s and s e ek t he ir e x planation in the wars O f t he Gree ks ag ainst the T rojans ? T he y would still c e l e brat e t he triump h o f Europ e ov e r Asia and b y re callin g past victori e s s y rn boli cally re pres ent the actual s ucc e ss T he latt e r opinion is most o f t he ag e wide ly e nte rt ai n e d and also t he most probabl e We will suppos e the n t hat t he five fig ures of t he
v es i g
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G RECI AN SC ULF TURE
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back or e aste rn pe dim e nt d e scrib e t he stru gg l e of H e rcul e s and T e lamo n with Laom e don t he kin g of T roy The kn e e lin g sag ittarius or arche r l e ttin g fly an arrow and w e a rin g a l e at he r cuirass and a lion s he ad as a he l me t would be H e rcul e s The nak e d warrior on foot actin g on t he o ffe nsive and we ari n g a he lm et and s h i e ld would be T e lamon a n d t h e fallin g h e ro Laom e don The kin g is still support e d by hi s sh ie ld h e is nak e d and w e ars a m e tal he l met with straps to cove r t he c he e ks and an iron point e x t e nd e d to t he tip of t he nose as a protectio n Th is is t he H om e ric he lm e t No h istorical nam es h ave bee n giv e n to t he warrior b en ding forwards as i f a i din g a wound e d man ; or to t he othe r soldi e r lying on hi s back in th e hollow of hi s s h ie ld w ho app e ars to be still fi g hting wit h The last is t he most b e autiful of t his hi s hands L h O f e roup and t at aom don and it w a only by s g accid e nt t hat its sing ular attitud e w a s discove re d As w e have se e n t h e e x planation o f t he e aste rn pe dim e nt is ve ry arbitra ry T hat of the w e st e rn is more plausibl e The t e n fi g ure s o f the principal re suppos e d to r e pre s e nt o ne o f t he most a roup g ce l ebrat e d e pisod e s o f th e I llh d t he stru g gl e of Gre e ks and T rojans round the body of t he P atroclus A full fac e fi g ure o f Min e rva stands in t he cen tre and fro m t h e position of her fe e t and t he ,
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GRECI AN SC UL P TURE
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ce pt t hat t he long folds of t he ir robe s w h ich the y raise with one hand are so arran g e d as to fall towards T he y are call e d D amia and Au x e s i a as e ac h ot he r t he y are suppose d t o be statu e s of the g odd e ss es o f Epidaur u s w h ich t he [Eg in e t ans carri e d away from t h at town and the Athe nians tri e d in vain to re cove r The e ntire ly l e g e ndary h isto ry of t he se H e e P odd ss s is r lat d by rodotus and e e u i e a s a n us g L astly t w o g ryph ons with outspre ad paint e d win g s ou g ht to be se at e d face t o fac e on t he corn e rs O f t he pe dim e nt The only one re cove re d has bee n place d n e ar t he capital Of a column o f t he t e mpl e and the two larg e st frag m e nts are surround e d by tw e nty four s mall e r pi e c e s O f statu e s t he g re at e r numb e r o f w h ic h prop e rly b e lon g to t he e ast e rn p e dim e nt The fift e e n statu e s pre s e rve d t he arrange m e nt and attitud e s of w h ich w e hav e indicat e d are o f vari ous si z e s but e x ce pt that of M in e rva t he y are non e of the m o f t he m e dium h e ig ht of a man T he y are all of Parian marbl e and so g re at is t he care and d e licacy o f t he e x e cution t hat t he v e ry w rinkl e s of t he nak e d p a rts a re re nd e re d and t h is w it hout any aid from polis h as t he statu e s w e re T wo sali e nt points e ntire ly finis he d wit h t he c h is e l notice : t he d e licat e ly mould e d at onc e attract tion a kind of co n l imbs have g re at e n e rgy o f ac vu ls i ve a g itation ; t he attitud e s a re forcibl e and ex
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C RECI AN SC UL F T URE
87
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pre ssiv e t he outlin e s strikin g ang l e s T he s e are t he c haract e ristics o f t h e first g rand styl e w h ic h P au s an i u s d e clare s to hav e b e e n b e g un by D ae dalus and whic h was adopte d by t he two c e l ebrat e d s Kallon and O u atas e a n f t h at styl c ll d i o n t e e a n t h e sublim e by Winck e lmann and t h e square or ang ular b y Pliny w h ich pre c e d e d t hat o f calm and tranquil be auty followe d by Pra x ite l e s and Phe i d i as The h e ads on t he contrary lon g oval s e ndin g in a point e d b e ard lik e those o f t he e arli e st Etruscan figure s are but rou g h casts lik e t h e t e rra cotta masks w h ic h w e re finis he d o ff with colourin g The obliqu e e y e s t he sli g htly re troussé nos e t he s harp Ch in do n o t in t he l e ast r e s e mbl e t h e typ e w h ic h h as b e e n call e d Gre cian sinc e t he tim e of P h e i di as Th e unfinish e d fe ature s are d e void o f e x pre ssion e x c e pt fo r an idiotic smil e w h ic h disto rts t h e fac e s Plac e d on such of t h e dying and victors alik e be auti ful and p e rfe ct bodi e s w e cannot b e li e ve t hat t he h e ads w e re l e ft in a crud e stat e from t he sculptor s inability to co mpl e t e t h e m The contrast marks d e sig n on h i s part an d what w e want is an t his d e sig n w h ic h w e can only e x planation of obtain by d e t e rmin i ng in the first place t he e poch at wh ich t he s e compl e x statu e s and t he t e mpl e which contain e d t he m w e re produc e d So di ffe re nt are t h e ans w e rs re turn e d to t his ex
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GRECI A N SCULP TURE
88
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qu e stion t hat som e lookin g upon t he t e mpl e of — Z Eg i n a as D oric fo r w e re not t he n i ne tans of — e ascrib e its construction to the t h e D orian rac fabulous tim e s of Acach u s and ot he rs count it a si g n o f t he prog r e ss of t h e arts und e r P e ricl e s T he s e e x tre m e s are e qually improbabl e : it is more lik e ly t hat t he t e mpl e of Ai g ina was built at an int e rm e diat e p e riod dire ctly a fte r t he s e cond M e dian war and t he victory of Salamina t he spoi ls of w hic h w e re s hare d by t his town The nam e of P a nkellen i on cl e arly indicat e s t he allianc e o f t he Gree ks for t he mom e nt a g ainst t h e common and t h e Oblivion of t he ir civil discords e n e my b e fore a g re at dan g e r The pre s e nc e of M in e rva on t he pe d ime nts is a no l e ss d e cisive proo f It was only at t his e x c e ptional tim e of fe llows hip — t h at t he [Eg i ne t ans h it he rto j e alous rivals o f t he A the nians and l e ag u e d w it h Sparta a g ainst t he m subs e qu e ntly drive n by t he m from t he ir native — sl e could have s et u p t h e At he nian g odd e ss i in t he ir t e mpl e The acc e ptanc e of t h is dat e dispe ls t he notion t hat t he se t wo g roups re pre s e nt battl e s ag ainst t he P e rsians for t he Gre e ks n e ve r d e pict e d cont e mporary e ve nts in t he ir t e mpl e s an d it will add n e w w e i g h t t o t h e g e n e rally re c e iv e d Opinion It app e ars prove d t he n th at the Pan he ll e nion ,
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GRE CI AN SCULP TURE
90
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Whilst t he l Eg i n e t a n s w e re adornin g the i r Pan h e ll e nium wit h t he se hybrid statu e s the sch ool o f Attica was g radually fre e in its lf mor e and e g more from dog ma and advancing towards pure art NO doubt in spit e of t he ir j ust prid e t he At he nians ou g ht to h ave own e d t h at th e ir city o f Ionian ori g in re c e ive d t he first rudim e nts of t he arts from t he islands o f Ionia and t hat t he ir ve ry l i t e rature was found e d on t he H om e ric forms w h ic h also sprung from t he sh ore s of Asia M inor H ow e v e r aid e d by t he n e i g h bourh ood of P e nt e licus an d H ym e ttus wh ich suppli e d t h e m wit h marbl e in abundanc e the y soon had a national sc hool T he y boast of the ir sculptor En d oeu s w ho rat he r late r t han th e 5 4t h O lympiad mad e a s e at e d Min e rva for t he Acropolis and w h o was probably t he aut hor D iana o f Ephe sus T he y also claim of t h e Si mmi as Ant e nor w ho sculpture d t h e g roup H armod i us and A ri s t og i t o n w hic h X e rx e s of carri e d into Asia and t he place of w h ic h was aft e r wards fill e d by a g roup o f t he murd e re rs of H i p h u s from t he c h is e l of Pra x it e l e s ; Amp h i ar c p crat e s w ho immortali z e d und e r t he form o f a lion e ss that Lee na t he fri e nd of H armod i us w ho bit o u t h er ton g u e t hat s he might n e ve r b e tray he r H e g i as or H e g i s i as w ho tau g ht a ccomplice s ; P he i di as b e fore he took l e ssons from t he more ,
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G RECI A N SC UL P T URE
91
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le arn e d A g e ladas of A rg os But accordin g to Quintilian and L ucian t he statu e s by the se O ld mast e rs w e re still sti ff cold and coarse wit hout h ad wh at M e as e e e h e rac e or suppl n ss T y g — z B e u lé call e d t he i dea l low er t/ a n na tu r e t hat of t hose E g yptians w ho e nd e avoure d to produce a moral e ffe ct by m e ans o f conve ntional type s Soon h ow e v e r aft e r t he M e dian wars cam e t he f h e h e r at P ricl e s w n t nian artists a e o e t h e A e g g — strove aft e r t he i dea l l ug/tor t/za n na tur e be auty and g rand e ur combin e d wit h trut h and li fe Phe id i as took h i s first l e ssons from an At he nian but it was at Arg os th at he compl e te d hi s e duca tion SO t hat says M B e ul e h e unit e d t he c h aract e r is t i cs of t he D orian wit h t he Ionian g e nius ; t he practical knowl e dg e t he s e ve re simplicity t he masculin e g rand e ur o f t he first wit h t he rich e l e g anc e t he move m e nt t he g rac e of t he s e co nd In h i m t he two principl es w e re bl e nd e d H e it was producin g an incomparabl e w hol e w ho at At h e ns cre at e d t h e unity of Gre cian sculpture Now t hat w e h ave com e to t he ag e of the fina l deve lopm e nt of Gre cian art to t he tim e of g re at works of g rand maste rpi e ce s w e can tre at o u r subj e ct di ffe re ntly r e sum e t he trave ls w e b e gan at M unic h and e x amin e t he marve llous re l ics of .
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RE GRE HAN SCULP T U
92
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sculptu re coll ect e d i n mode rn muse um s We will visit our national colle ction in t he Louvre first A ft e r asc e ndin g th e stairs of t he pe ristyl e and advan cing a st e p alon g t he g all e ry w e s e e at the e n d of a lon g vista stan din g out ag ainst red dr ap e ry a fe mal e fi g ure alon e on its pe d estal l i k e a g o d in hi s cella ra d s v r a flowin ob n e e e e r g g about t he loins It is muc h mutilat e d v e ry i nco m l ar e t e bot arms on e and n e foot w ic was h e o h h ; g p e vid e ntly stre tc he d forward T his damag e d statu e i s t he most pre cious re lic of anci e nt art w h ich Paris poss e s ses I t is the Venus of M elos so call e d partl y be caus e a g re at e r nu mb e r of antiquari e s consi d e r i t to be a Ve nus Vi ctr ix (or a Ve nus triumph in g ove r Min e rva and J uno and proudly holdin g the appl e th e award of Paris in he r hand ) and partly b ecause it w as found n e ar t h e littl e town of M e los i n an is land o f t hat nam e o ne of t h e C yclad e s famou s for i ts cata comb s amp h it he atre and t he cyclop e a n Many v e ry di ffe re nt ramparts o f its vast h arbour ‘ nam e s h av e b e e n g ive n t o it It was accid e ntall y G re ci an
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i d f i ts i sl e ; p te ti ng i d re d th f ty th e su rnames N m i s a d they h oth e i t this tti tud e and of the an ci ent V enus to ee w h i h w o l d be t t B a b on e st t e t te d i cove ed late t P p m ii w i o e t h s c h e g
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GRECI AN SCULP TURE
93
.
discove re d in F e brua ry 1 8 20 ; and bou g ht by M d e R ivi ere t he n F re nc h ambassador at Con h t e s t ant i n o le e e n rously pr e s e nt d it to w e h o p g mus e u m of t he Louvre Alt houg h w e must reg re t t he damag e don e b y tim e and by t he hand of man w e have re aso n to rej oice that t he Ven us of M elos has not s hare d t he fat e o f h e r sist e r t he Ven us of Al ed i ci w h ich has be e n ruin e d by us e l e ss and unskilful re st ora t i o n I mag ination can re adily supply w hat i s nn s s mg and Mic h a e l An g e lo h ims e lf mi g ht we ll hav e re fus e d—as in t he cas e of t he F a r nese H er cu les —to att e mpt t he impossibl e task of re construction Th e Venu s of M elos is c e rtainly the most mag nific e nt sp e cim e n o f Gre cian art of w h ic h Paris can bo ast : produc e d in t hat g rea t pe riod of artistic e x c e ll e nce b e tw e e n P he id i as and Pra x it e l e s it was probably mould e d by t he h r sculptor suppli e at w o e d t h e g ods of a ll t h e g t e mpl e s o f Gre e ce or by t he bold artist w ho ,
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GRECI A N SC ULI TURE
94
.
first att e mpt e d a nud e Ve nu s wit h P h ryn e fo r his mod e l Th is statu e is re markabl e not only for t he dig nity of b e arin g t he undulations o f t h e torso t h e d e licacy but O f t he skin and t h e ampl e n e ss o f t h e drap e ry also for its una ffe ct e d simplicity and t he p e rfe ct ag re e m e nt b e t w e e n t he subj e ct and t he styl e Ind e e d it is wort hy to rank above all t he ac h i e ve m e nts o f Gre e c e w he t he r in lit e rature or art and from its first a rrival in Paris it has me t wit h such u nanimous admiration t hat it has e v e n e clips e d D i a na H u n tr ess or D i a na w i t/t tk e Stag t he wort hy siste r of t h e Py tk i a n Apollo t he prid e o f t he h ow e v e r lon g re i g n e d The latt e r Vatican supre m e It is suppos e d t hat it was brou g ht from I taly fo r F rancis I by Primaticcio and at first plac e d in t he palac e of F ontain e bl e au w hich Vasari ” “ call e d a new R om e P e rhaps m t he fall of t he D iana w e may trac e t he influ e nce o f t he lov e of nove lty and t he n e c e ssity of a c hang e of idols s o common in e ve ry class Ce rtainly D i a na w i t/c tire Stag may cont e s t t he palm e ve n wit h t he Ve nu s of M elos Sl e nd e r but vi g orous masculin e but chast e s he b e tt e r re pr e s e nts t h e aust e re g odd e ss o f t h e Eph e sians ; in t h at t he re is non e of t he softn e ss of l ove i n he r form or attitud e and s he s e e ms more re ady to punish A ct e on th an to awak e n t he be au .
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G RECI AN
96
— divinit y t he mod e l
SC UL F TC I E
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t he
prototype t he apothe os is ” o f h umanity In addition to t h is t he re was a p e rp e tual rivalry be twe e n t he t e mpl e s of t he di ffe re nt stat e s and t he various coll e g e s of pri e sts w h ic h did not t he n as t he y do now form one s in g l e corporation a burnin g and c e as e l e ss ri valry which le d t o an e nd e avour to Obtain for th e g ods altars tripods vas e s and all t he acce ssori e s of wors hip the most be autiful e l e g ant and pe rfe ct forms w h ich art could produc e We must not lose s i g h t o f t he fact t h at t h e old Gr e cian idols w e re not only paint e d but dre ss e d and t hat t he ir to il e tt e was att e n d e d t o by pri e sts and wom e n Th e y we re was he d says O tfri e d M i i lle r wa x e d rubbe d dre ss e d brushe d d e ck e d wit h crowns diad e ms n e cklac e s e arrin g s T his was t he a ct both of re lig ion and ig norance and w e find e quival e nts of t h e Gre cian idols in t he M adonnas o f Italy Spain and ot he r countri es A crud e fait h ; a cru d e art In ord e r to attract o ffe rin g s and i f w e may so e x pre ss ours e lv e s t o Obtain custom it was n e c e ss ary ,
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Th e go s, sai E i cu rus , u ote C i ce ro (de Na tu r a D eor ) , bei n g e rfe ct creati ons, coul onl choose from the mos t a mi ra l e the o ta e any o t h e r of the forms o f th e h u man ; n or cou l I n ou r e n e avo u r to r o e r to man i sco ve r sha e th an that
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G RECI AN SC ULP TURE
97
.
th is ri valry of t e mpl e s and pri e sts amongs t a peopl e of e x ce ll e nt tast e to e ndow a new g od wit h supre m e be aut y wit h out w hich he could not succe ss full y cont e nd wit h t h e O ld fe tiches w h ic h had lo ng e nj oy e d t he ado ration of t he pe opl e H e nc e sprun g t he M in e rvas o f At h e ns t he J upit e r o f O l y mpus t he Juno of Arg os t h e V e nus o f Cnidus and also t he V e nus o f M e los and t he H untre ss D iana T he y mi g h t e asily s e duc e from t he ir all e g iance t he adore rs of t he horribl e be ard e d Ve nus of A mat hus a n d t h e O ld D iana of Ephe sus w h ic h was a t ri for mis ‘ monst e r wit h num e rous bre asts T h is is n ot t he only d e bt of g ratitud e wh ic h art owe s to the re ligion of t he Gre e ks It was poly the ism w h ich inve st e d e ach divinity wit h a suitabl e pe culi ar and e asily re cog nise d symbol and not onl y assig n e d to it a particular attribut e of moral powe r as maj e sty to J upit e r g rac e t o Ve nus force to H e rcu le s ; but also c e rtain tang ibl e typ e s such as t hund e rbolt t h e quive r t he caduc e us t he t he thyrsus t he cory mbos ( t he knot or bunch on Apollo s he ad) e t c T he s e fi x e d symbols t he s e dog mas so to sp e ak whic h how e ve r di ffe re d mate rially from thos e o f E g ypt le ft t he artist fre e — w h i ch w as e p l aced b y the v A a then P li d i The p i mi ti e w as a me puppet w i thou t arms w rapped thre e M i ne rvas of P h e id i I t w as to th m m ch w hat th e Mad on n o f Lore tto i n a pe p l u m f th e p rese n t d ay i to a w k of Mi h ael An gelo o C anova H in
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GRECI AN SCULP T UR E
98
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in t he tre at e nt of forms and action wh ilst the y prot e cte d b e auty by makin g i t in a mann e r u n c hang e abl e e ith e r by caprice of fash ion or frivolity ” The b e n e fit was re ciprocal adds of j ud g m e nt Em e ric D avid (R ec/zer c/zes s u r l a r t s ta tuai r e) ; re lig ion by combinin g wit h g ood tast e assure d its pre s e rvation and aid e d he r own caus e so e ffec t u ally t hat s he s e e ms to live a g ain in t h e mast e r ” pi ec e s s he has b e q ueath e d to us V e nus and D iana re sp e ctive ly re i g n supre m e ove r t w o rooms of antiquiti e s The ma st e rpi e ce s o f t w o oth e r apartm e nts are statu e s o f quit e a di ffe re nt ord e r not g ods but men t he A ck i lles and The first i s suppos e d to t h e F i g/ di ng Gla d i a tor be an antiqu e copy of t h e bron z e A c/zi l les t he c e l e brat e d work of A lcamen es t he b e love d pupil and rival of Phe i d i as It is e vid e nt t hat it b e lon g s to t he ag e o f t hat simpl e and calm b e auty wh ich Winck e lmann call e d t he sublim e st y l e The re g ularity of t he s hap e t he s y mm e try o f t he limbs is suc h t hat lik e t he ce l e brat e d D orypkor ce (standard be are r) call e d t he r u le of Poly cle t e s it might se rve for a m etrical mod e l of t he be autiful proportions o f t he h u man body The he ro of t he Iliad has no h e e l e g ant Gr e cian he lm e t cov e rin arm e n t but t g g the lon g ha i r w h ic h h e cut off in hi s d e spair ov e r The cpzsp/zy r i on rin g or th e co rps e of Patroclus ,
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G RECI A N SC ULP TURE
1 00
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consid er it a Mars and the n the epi spky r i on ring would indicat e t he anci e nt custom O f som e of the Gre cian race s o f the Spartans amon g st oth e rs O f “ chainin g up th is g od of battle s in t he ir citi e s t hat he mi ght n e ve r l e ave t h e m ( Pausanias c h ap The F ig k ti ng Glad i a tor w hich was found i n t he ru ins of t he Palace of th e Empe rors at A nt i u m is I t b e lon g s to t he of lat e r dat e t h an th e Ac h ill e s more vig orous and e n e rg e tic styl e introduce d by Lysippus l e ss t han a c e ntury a ft e r Ph e i d i as At th is s e cond e poc h artists had acquire d a habit of and the ag e of the F zglzti ng s i g nin g t he ir works Glad i a tor is prove d b e yond a doubt by t he nam e ‘ of its aut hor Ag as i as of Eph esus so n o f D osit he os wh ich is l e g ibl e on the trun k wh ic h supports t he fig ure I n any case t his statu e is Greek and it is misnam e d b e caus e it doe s not re pre s e nt a g ladiator of th e R oman circus but an at h l e t e o f t he g am e s B e rnini was right to carve gy mnastic of H e lla s But doe s ex e rcis e s as bas re li e fs o n t h e p e d e stal it re pres e nt a dance r of t he Pyrrh ic or war dance in w h ich attack d efe nce and all t he g e sture s of a Is it an at hl e te conte nding s tru gg l e are imitat e d ?
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So that, sa s P li ny, ’ ’ i t is ou tful, w h e n w e find the fath e r s a e to the art ist s name , ” aren t h e i n te n ed wh eth er that of the t ru e or a o te
so
r ea t g
d b
d p dp
.
dd d
d
.
G RECI A N SCULP
TURE
1 01
.
for t he
bo x ing pri ze in t he O lympian g am es ? I s it a warrior in a re al battl e w ho s ee ms to be con The c h oic e t e ndin g on foot w i t h a mount e d foe T he o f t he s e t hr e e e x planations re mains op e n form and attitud e are v e ry b e auti ful t he e x e cution is d e licate and bold and t he e ne rg y of stre n g t h in action as see n in t h is dance r at hl e t e or warrior re minds us of two c e le brate d g roups at F lore nc e and R om e wh ich b e lon g to t he sam e e poc h at th e be g inning of t he d ecad e nc e : w e allud e to t he Wr es tler s and th e L aocoon In our notice of t he Venus of M elos and t he H u n tr ess D i a na w e allud e d to t he s e rvic e s re n de re d to art by pol y the ism In sp e akin g of t he A c/zi lles and t he Gla d i a tor w e may re mark t hat national e ducation and customs aid e d to c ompl e te F rom t he ir infancy t he supe riority of Gre cian art me n practis e d g ymnastics nak e d at h l e t e s wre stl e d nak e d on t he stag e and rac e cours e ; and t h e victors w e re re pre se nt e d nak e d in t he statu e s rais e d to t he ir h onour by t he prid e of the ir native citi e s T his s pre ad a g e n e ral knowl e d g e o f plastic anatomy of t he play o f t he muscl e s and t he fitn e ss of t he limbs accordin g to t he laws of the ir construction It was by for t he v arious functions of t he body t he e x amination of h i s nak e d figure in t he rac e the danc e t h e t h rowin g of t he quoit in wre stlin g ,
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GR ECI A N SC ULP TUR E
1 02
.
box in g t hat the maste r of t he g y mnasiu m de cide d for wh at a youth was fit The e x ce ptional man whos e proportions we re p e rfe ct and whose powe rs w ere w e ll balanc e d was d e clare d pen ta t/zlon f e v e e e e fi e or p r ct pow r d fitt d f or h fi v r t e e e x e ) ( cise s ; hi s was pe rfe ct be auty H e nce aros e t he common taste th e unive rsal rag e for physical bea u ty ca ll e d by Socrat e s t he re sult o f the g ood ” I n t he sol e mn g am e s of O lympia of an d us e ful Ne me a or of Corint h it was not only t he Citi z e ns w ho wre stl e d b e fore ass e mbl e d Gre e c e ; t he Stat e s t he mse lves cont end e d for t he pri z es in t he pe rsons of t h e c h oic e st of t h e ir sons ; and to t he s e public cont e sts as to the proce ssions wh ich bore t he ir o ffe rin gs to t he g re at diviniti e s the y se nt the ir most ” “ b e auti ful y oun g me n in ord e r says Plato to ” h e public e e iv a o d impr ssion of t ir r Z no o e e g g calls b e aut y t he F low er of Vi r tu e ; and Soc rates said M y e ye s turn towards t he b e auti ful Au t oly ” cus as to a torch burnin g at midnight F rom t h is doubl e curre nt of ide as t e nding to the sam e e nd wh ich le d to the public g am e s and the re ligiou s — cre e ds sprun g a uniqu e law the law O f b e auty by w hich t he sculptors o f t he statu e s o f at h l e t es and g ods we re e ntire ly bound T he y h a d a h undre d livin g mod e ls b efore t he ir e y e s in t h e sch ool s whe r e dancin g and wre stlin g we re ta ught an d
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G RECI AN SC ULP TURE
1 04
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— as we ll as in g am e s and war to b e com e of
t he
prid e
t he ir country We will now continu e our revi ew of Gre cian works o f art in t he Louvre Aph rodit e t he type of supre m e b e auty h a d so h re h h e at a arm f a tists Of Gr c and t y or e e e C t e r g w e re abl e to vary he r statu e in so many di ffe re nt ways wit hout radically alt e rin g t he form t hat t he numbe r o f ima g e s of Ve nus is g re at e r th an that of all t he ot he r divinitie s put tog e t he r The Louvre contains e ig ht e e n statu e s and t hre e busts of th is e ss o odd Aft e r e n us M o s e e com to t h e V l w e f g anot he r Ven us Vi ctr ix not now victorious on Mount Ida but vanquishing Mars by he r Charms She holds hi s sword wit h t h e timid awkwardn e ss o f a woman and by h e r sid e C upid lik e an inquisi ?
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Th e G ree
k
s
d d th
l oa
mo d e r n
an ci e nt o r
“
e x cessi ve .
p pl eo
i ti z e n s ,
reat c g
an d
mongst th em the i r
an d a
re w ar
d
d
s
th an d i d
b
an y o t he r
yw mp e
t he i r g ra ti tu e an d l i eral i t
e
Th e re w as
Eme r i c D av id ,
eir
more h on ours
w i th
i s ts , e a t a r t r g
e
the ory i n th e
a
act of re co
d d by th
e r e al i
e ns
”
k y
e
sa s
,
Athe n i an s w e re i ate n su ch a mann e r that th e re w as ce ase l ess e mu l ati on r a u g P rocl amati on i n th e the atre o f the n ame of the man the y e si re t o h on o u r ; rocl amati on at th e u bli c g ames ; a cr ow n confe rre by
d
and
th e h on ou rs
accor
d
e
e
.
d
p
p nf t ; w d by th p pl a w gi v th th p t i t pl d i n ti n l p fé t s of th P ; p t i t i t mpl pp t i th P yt n m pp t g f th e h h i ld t th d s n d n t th f the f th i th P y t t t me p bl pl m t tu i ; t mb ; p b l i c g m s nd p t mp le o f D l phi ; th t th t mb ti s ce leb e
s en a e
o r ra
e
n a
a
e r,
e
n so
e
ic
u
a
e
n
a
”
.
e
e ce
a s a ue
ace
eo
or r a
e
o
s
o
e
or
re n ,
e c
a
su
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on
e rre
ene a
e
e
ra
n co
an a
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e
s a
a cro
o
e
ace
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a
n
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a eu
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n
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or
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a
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a
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th e
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;
ra n te
or
d
e ve r
;
a s tatu e
a
to a
in
d i cal
eri o
G RECI AN SCUL P TUR E
1 05
.
tive c hild is tryin g on the h e lm e t of t he God o f War A Ven us Gen i tr ix a b e auti ful statu e of t he be st e ra of art wh ic h combin e s all t he usual ch a r act e r i s t i cs of t h e mot h e r of t he Grac e s t h e appl e of Paris in he r hand one bre ast bare t he e ars pi e rc e d to re c e ive th e valuabl e rin g s and t he tunic fittin g to t he limbs so as to s h ow t he ir g race ful outline s A d r aped Ven us wit h t h e nam e of Pra x i t e le s writte n on t he plinth s u ppos e d to be an imitation o f the clothe d Ve nus wh ic h t he i n habi tants o f Cos d e mand e d o f t he illustrious statuary to rival t he nud e Ve nus of G n i d u s ( Cnidus ) A l i ber ti n e Ven us w h ic h as re store d is crus h in g und e r foot a human foe tus typifyin g t he d e structive e ffe ct of vice upon mankind Th e Ven us of A r les found in t hat town in 1 6 5 1 T his was anot he r Ven u s Vi ctr i x re markabl e for t he b e auty of t h e he ad d e ck e d with g rac e ful ribbons I n re storin g t he arms Girardon put a m irror in t he l e ft hand inst e ad of t h e h e lm e t o f M ars or l En e as The Venu s of Tr oa s an imitation o f a c e l e brat e d statu e from t he t e mpl e of t h is P h ryg ian town : at he r fe e t is a py x is o r j e w e l case T wo Af a r i ne Ven u s es o ne r ising from t he wav e s at he r birt h t h e ot h e r call e d F u ple a or g odd e ss of fortunat e voya g e s e t c If V e nus re pre s e nts p hysic a l b e auty M in e rva is t he typ e o f mo ral p e rfe ction O n t h is account and ,
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GRE CI A N SC ULP T UR E
1 06
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as prot e ctre ss of At he ns s he was as g re at a fa H er v o u r i t e wit h t h e Gre e ks as t h e s e a g odd e ss statu e s are pl e ntiful e v e ryw he r e t he re are n i n e in among st w h ich w e will notic e t he t h e Lo uvre ,
-
.
,
F ig 9 .
P a l las
.
—P allas of V elle tri Velletr i
M ( us e um of th e Louvre , P ari s )
.
.
e mi colossal w e ari n s a lm t h e e f g wit h a nzetopo n (close d visor) a lanc e in h e r h and t he e g i s on her bre ast mod e stly confi n ing t h e o
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GRECI A N SCULP TURE
1 08
.
A l a l o c i n o h L f t e e o s stiv to e u y p th e gg w hom At he ns raise d a c e l e brat e d t e mpl e We s r u o c o n o o l r t l o S a A o h u t also admir youn e e t s m g p fe e t ,
are
,
.
,
F ig
.
10
.
—Bacchu s
.
( Mu s e u m
of
th e
Lo uvre , P ari s
.
wh ic h alth ou g h onl y re s tore d is antiqu e suppos e d to be a g ood cop y o f t he bron z e Sa u r octon os of Pra x it e l e s Li z ar d
s lay er ,
,
t he he ad
of
,
,
.
GR E CI A N SC ULP T URE
Agil e and scant i ly clot he d a s P e x pres s it a D iana m a y a lw a y s be r e c t u n i c raise d abov e t h e kn e e s w h i ch 1 ,
‘
,
,
,
IL
th e
na m e
1 f t h L u s u m o e O M e (
.
F a zr l zmoca g oddes s H u n tr es s D i a na i n t h e
o f th e
t e rs o f t h e L ouvr e t h e ,
— Mercury
D i a na
'
'
'
-
f
o
Ga bzz i s t h e ’
.
o
’
rr
.
G RECI AN SC ULP TURE
1 10
.
Wit h a g rac e ful move m e nt s he appe ars to be fasten i n g h e r c h lamys a lin en mantl e cau ght to e e h t h h f t r on s ould r t r statu s e e t h e h e f e e o O g ) Bacc h us in our mus e um o n e is t he Indian or b e arded o o h h w e Bacc us and t h two ot rs are Gr cian u e e ( y ) ; o n e in re pos e t h e ot h e r drunk e n bot h w e arin h t e g Cr odomn on o r diad e m wit h ivy and no g arm e nt but a fawn 5 skin T h re e H er cu les amon g st ot he rs a s e mi colossal g roup in wh ich t he g od of stre n g t h holds hi s d e licat e c h ild T e l e p hus in hi s powe rful arms with the hind wh ic h suckl e s it close b e sid e hi m T hree M er cu r i os one with V ulcan in wh ich group t he g ods of th e m e chanical arts are in a mann e r unit e d As V ulcan is n ot he re d e form e d t he two fi g ure s w e re lon g tak e n for Cas t or and Pollu x o r for O re st e s and Pylad e s but t he Gree ks hated u g lin e ss and g ave b e auty e ve n to t h e Parcae t he Eum e nid e s to Ne m es is and to t he Gorg on T hree Cupi d s all c harming Th e on e tryin g hi s bow wit h a g race ful body and a bri g ht arc h face is pe r h aps a copy o f t h e bron z e statu e mad e by Ly s i p pus for t he town o f T he spi ae A not he r still youn g e r full o f t e nd e r g rac e is consid e re d a type of infant b e auty by Winck e lmann a n d may be a Copy o f t h e o n e w h ic h Parium prid e s its e lf o n h avi n g re c e ive d from Pra x it e l e s The t hird is a Spha e ris t kicking a ball as he Springs along .
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G RECI AN SOUL P T URE
.
z h e e i antic bra n rais d ov r port A o l t f l o e o e g g p R hod e s by h i s pupil Chare s In spit e o f he r m assive si z e th is M use in t h e tra g ic buskin is as g race ful and e l e g ant as t he F a r nese F lor a t he g iant e ss of Napl e s A Ur a ma holdin g up t he skirt o f he r tunic w it h he r l e ft h and w h ic h re ally rat he r re s e mbl e s .
,
,
'
.
,
F ig
.
12
.
—Th e
Ti
be
r
.
vr e P ari s ) L o f e h o t u eu M u s m ( ,
.
a p e rsonification o f F at e but has b e com e t he Mus e o f astronomy b e caus e Girardon h a s c h os e n to put a sid e re al crown upon h e r h e ad A P oly/zy mma also call e d Stu dy and R efl ecti on t h e head and uppe r part of the body of w h ic h are mod e rn but wh ich is n e v e rt he l e s s admirabl e on account of t he ,
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G RECI AN SC ULP TURE
1 14
.
avoid e d e x pre ssin g t he id e a of d e ath by re pulsive re pre s e ntations ; it was n eve r allud e d to but w it h a s e v e re d ecorum w h ich bord e re d o n a fi ect at i on The B org /l ose H er map/zr od i tu s said t o b e t he most b e autiful o f t he many copi e s in marbl e o f t he c e l e b rat e d bron z e H e rmaph roditus of P o ly cle s w ho must n ot be con found e d with t h e g re at Polycl etus o f Sicyon O f t he ag e o f P o ly cles more t h an t hree c e nturi e s aft e r P he i d i as w he n R oman infl u e n c e was alre ady fe lt it is e vid e nt t h at t his statu e o f t he son o f H e rm e s and Ap h rodit e w h o h ad b e com e andro n u s by h i s union wit h t h e nymp almacis o h S gy b e long s t o t hat ag e o f disord e re d imagination whe n as V itruvius re marks capric e s of fancy w e re more sou g ht aft e r in works of art t han imita tion o f nature C/i as ti ty almost e ntire ly e nve lope d in h e r ve il and lon g rob e s Tw o D a nci ng F a u ns o n e wit h a b e auti ful body from t h e s h ould e rs to t h e middl e o f t h e t highs and t he re st a m e re re st o ra tion pl ays with littl e cr ota li or small Gre cian cymbals th e ot he r wit h t he s ca bi l i u m or s ca bell u m a small instrum e nt wh ic h was pre ss e d wit h t he foot Bot h a re full o f t he vivacity t he impe tuosity and t he infe ctious g ai e ty always c haract e ristic o f t h e s e singular b e in g s F inally t he group call e d t h e F a u n w i t h the Chi ld t h e sam e as Si len u s w i l l: The e l e g anc e and b e auty o f on y ou ng B aee/zus ’
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G RE I AN S
C
form
C UL P TURE
1 15
.
and ex pres si o n and th e d e licacy of t he e x ecu tion in t his g roup e ntitl e it to rank amon g st t he c hie f sc ul ptures in the F re nch m us e um of anti ,
,
Fi g
.
1 4. -
i e u t i s q
F aun w i th
a
Ch i l
d
.
P a r i s v re u h L o M f use m o t e u ) , ( .
It was found in t he si x t e e nt h c e ntury in t he g ard e ns o f Sal lu st i u s n e ar t he Q uirinal B e sid e s t he diviniti e s the re are many important and e x c e ll e nt statu e s o f h u man he roe s an d at h l e te s ,
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G RECI A N SC ULP T URE
1 16
.
in t he L ouvre Among st othe rs a ve ry b e autiful yout hful fi g ure wh ic h mi g ht hav e disput e d t he palm wit h th e A c/zi lles h ad not t he he ad b e e n re store d and made too smal l for t he body F or a long t i m e .
,
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F ig
.
15
.
—Th p e
d
G e rman i cu s Lou vre , P ari s )
r et e n d e
.
f t h o e u u m M se (
.
it was call e d Ci nci n na tus on account of th e plou g h s hare at t he fe e t It cannot h ow e ve r re pre se nt t h e R oman s e nator as t h e styl e is Gr e cian a n d t h e fi g ure too yout hful Wi nck e l mann a ft e r studying ,
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G RECI A N SCULP TURE
1 18
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t he
num e rous copi es in scu lpture in full or bas re li e f of t he c e l e brat e d picture by Z e u x is call e d t he B ou nd M a r sy as wh ic h w a s to be s e e n at Rom e in t h e tim e of Pliny in th e t e mpl e of C oncordia A D i scobolu s o r ath l e t e t h rowin g t he quoit a happy imitation of t h e c e l e brat e d D i s cobolu s of Nau cy d e s We now com e to t hat class of statu e s calle d ,
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— 16 A D iscobol .
us
.
( Mu seum of the Louvre, Pari s ) .
by the R omans i e statu e portrait s f a e h e rom e i x ima T y b cam f as h ionabl w e e e ( g ) w he n Gre cian scul ptors w e re commission e d to i m mortalise t he at h l ete s w ho we re victorious in t he public g am es I n t h e m all notion of t he id e al b e aut y g ive n to t he g ods was laid asid e all flatt e ry and nature was fai th all d e c e ption was forbidd e n
s ta tu e
i con i ca
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GRE CI AN SCULP TURE
1 20
.
of
G re cian
statu e portraits The nam e o f her mes (w h ic h is not th at of M e rcury but com e s from épua ston e ) is g iv e n to s hort busts cut o ff at t he e lbow with out arms o r body Amon g st the m t he re is a H omer o r at l east t he fi g ure said by traditio n to re pre s e nt t he po et of Ach ill e s and U lyss e s H e is crown e d wit h t he sacre d fill e t he is t he divin e H om e r A M i lti ades distin g uis h e d b y t he bull o f M arat hon e ng rav e d on hi s h e lm e t A Socr a tes t h e fac e of wh ic h is a tru e portrait b e caus e b e ing t he son o f a sculptor and h ims e l f a sculptor in h i s e arly ye ars t h e wis e Gre cian was t h e fri e nd and councillor of t he artists of hi s tim e and b e caus e a ft e r h i s d e ath t he re mors e ful Ath e nians mad e Lysippus rais e a bron z e statu e o f t he g re at man t he y h ad unj ustly cond e mn e d by m e ans o f w hich h i s fe ature s since s o o ft e n re p e at e d w e re pre se rve d An unfinish e d A lci bi ades v e ry int e re st i ng b e cause t he h e ad still re tains t he pr oj ect i ng e d by Gr e cian sculptors to assur e mplo y o i t s n e p A H er ma t h e correctn e ss o f t h e ir m e asure m e nts hi cippu s (o r a t e rminal he rm e s wit h two h e ads back s
carcit y
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Socrates w as the au th or of a gr ou p of The Th r ee Gr aces , w h i ch w as sti l l i n a p ub li c p osi ti on at At he n s w h e n P au san i as v i si te d t ha t I n X eno ph on ( F amou s ci ty , i n the secon d ce n tu ry of our e ra Sayi ngs of Socrates ) w e may fin d th e e x celle nt advi ce w hi ch h e gav e to art i sts as to the b es t mod e of e x pre ssi ng th e p ass i ons of the soul .
as
w e ll
as
th e forms
of
th e
bod y
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G RECI AN SC UL P TUR E
1 21
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to back ) of Epi cur us and hi s fri e nd M etr odor us I n t h e fet e s call e d [ca des b e caus e t he y w e re he ld on t he 2 0t h of e ac h mont h t he Epicure ans carri e d t he bust of t he philosop he r crown e d wit h flow e rs t hrou g h t he ir h ouse s Amon g st t he bas re li e fs w hic h may be call e d re lig ious be caus e t he y have re fe re nce to t he various cre e ds w e will s e l ect fo r notic e t h e M us es a large d e si g n w h ic h cove re d t he t h re e principal sid e s of a sarcop ha g us I n it w e s e e t he nin e dau g ht e rs of Ge nius and M e mory Cl i o holdi ng a vol u me in which to writ e h isto ry ; Tha l i a w e arin g a comic mas k pas toral buskins and with bare l e g s t o typify t he lice ns e of com e dy ; Er a to is m e re ly notic e abl e on account of t he fill e t (cecrypha l us ) w hich binds h e r h air and is all t hat marks he r for t he pre sidin g spirit o f e rotic po e try of wit and of ph ilosophic conve rs e Eu terpe holds he r two flut e s t b i a ) and in addition t o t he laure l o f Apollo s he i ( we ars t he rob e o f t he lyric sing e rs (or thos ta dus ) ; P oly mn i a wrapt in he r vast mantl e m e ditat e s on poe try and e l e g anc e Ca ll i ope a s tyl us in on e hand a tabl e t in t he ot he r is pre parin g to writ e e pic vers e s Terps i chor e plays o n t he lyre to incit e to a choral danc e ; Ur a n i a w ith he r r a d i us trace s t he move m ents o f t he stars upon a g lob e ; and lastly Melpomene w e arin g t he cothu r n u s and t he reg al .
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G RECI AN SC UL P T UR E
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tu n ic rais e s the trag ic mask from he r t hou g htful T he Ner ei des anot he r s e pulch ral a n d g loomy brow ornam e nt o f e x c e ll e nt workmans h ip in wh ic h are s e e n four s e a nymphs e scortin g t he sam e numb e r o f littl e spirits typifyin g h appy h um a n souls to t h e T he B i r th of Ven u s t h e sam e fortunat e isl e s subj e ct as t he Ven us A n ady omene of Ap e ll e s I n t h is g roup w e s e e t he b e autiful Aph rodit e e m e rg in g from th e spray o f t he wav e s (o ppae) surround e d by an e scort o f Ner ei des and Tr ztons w ho j oy fully ce l e brat e t he arrival of t he M othe r of t h e L ove s m our world Amon g st t he bas re li e fs t he subj e cts o f w h ich myt holog ical w e will a re rat h e r h istori cal t h an nam e —t he Obsequ i es of H ector a vast composition which includ es t he g re at e r numb e r of t h e p e rsonag e s immortalise d by t he H om e ric po e ms The anci e nt Priam is at t he kn e e s o f A ch ille s o f w h os e statu e t he re re mains unfortunat e ly only a frag m e nt In d e fault of t h e he ro of t he I l i a d howe ve r t he he ro o f t h e Ody ss ey is r e co g nisabl e by h i s cap m M S w i v ( ) Ag a memn on b e tw e e n h i s of t h e sh ap e o f h alf an e g g h e rald Ta l thy hi us and Epeu s w ho built t h e famous T rojan hors e T h is bas re li e f is o f t he ve ry anci e nt styl e e arli e r t han t hat of t he se cond or ch orag ic ’ Th e P r es i di ng Spi r i ts of the Ga mes a work s tyl e ,
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na
ppropri
w as a
at ed
to th e
mon u men ts
o f art rai sed at
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GRECI A N SC ULP TURE
1 24
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pose d to be t he Ei ly th i m w ho pre sid e d ove r t he birt h o f mortals in opposition to t he P a r cw or M oi r a Th e s e fi g ure s of di ffe re nt arch aic cha ract e rs h av e b e e n t h ou g h t to be o f t he AZ i n e t an g styl e or at l e ast of that of t he choragi c monu m e nts T his would account for M e rcury s lon g b e ard and for t he mod est clot h in g of V e nus and the Grac e s But on t he ot he r hand the calm re pos e of t he attitud e s t he fuln e ss of t he drap e ri e s t he refin e m e nt of t he drawing and t he d e licacy of t he carving wh ich do e s not bring t he fi g ure s into g re ate r pro mi n e n ce t han t he v e ry d e pre ss e d bas re li e fs of t he fri e z e of t he Part he non conn e ct t h is altar wit h t hat lat e r ag e whe n Gre cian sculpture was at t he z enith of its g lory T o re co n cil e t he conflictin g c haract e rs o f form and e x e cution t h e in g e nious su g e st t hat g it may be an imitation of the chorag ic style pro d u ce d a ft e r t h e ag e of Phe i d i as F rom F rance w e pass to Italy and accordi n g to t he usual custom of trave ll e rs w e g o to F lore nc e b e fore R om e and Napl e s The s e ri e s of antiqu e marbl e s b eg ins in t he s e cond h all of t he mus e um deg l Ufi z i We will m e re ly nam e t he two imm e nse wolf hounds wit h h a n e e e apin mout s fi r y y s w h ic s m to uard h ee d g g g t he e ntranc e to t he g all e ri e s ; and t he c e l e brat e d marbl e boar call e d t h e B oar of F lor ence of wh ich ,
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G RECI A N S C ULP TUR E
1 25
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d e e e ma y copi s av b n ma and pass on to e h e n so b e e h e t e apart for valua l s ri s e e s t i o b N o o m o h e r t f statu e s call e d Ni obe and t h ose o f h er o f Gre e k c h ildre n and t h e pe da g ogu e T he y we re a ll ,
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F ig
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18
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—Ni ob e
.
( F l oren ce )
discov e re d tog e t h e r in I 5 8 3 at R om e n e ar t h e Th e M e dicis w h o obtain e d o f St Paul s t a e o p g took t he m t o F lore nce Eve ry s e ssion of t h e m is w e ll acquaint e d w it h t he myth olo g ical on e ,
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G RECI A N SC ULP T URE
1 26
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Niob e told by O vid and Apollodoru s of t hat Niobe th e daught e r of T antalus and wife o f Amp h ion w ho as t he moth e r of a num e rous family d s pi se d h e r sist e r Latona b e caus e s h e h a d but t w o c h ildre n Apollo and D iana cru e lly ave ng e d the ir mot he r by slayin g t he sons and daug ht e rs o f w h om Niob e w as so proud b e fore h e r e ye s The sce n e of t h e massacre is not quit e a g re e d upon O vid says it took plac e on t he H ippo drom e o f At he ns ot he r at T he b e s ot he rs a g ai n o n Si by l u s a mountai n o f Le sbos o r Le s bu s The numb e r of c h ildre n is e qually disput e d d i fl e re nt aut hors stat e the re w e re t h re e five t e n fou rt e e n H o m e r has fi x e d it at tw e lv e a n d e v e n tw e nty The g roup of F lore nc e consists o f si x t e e n statu e s and includ e s t he mot h e r and t he p e dag ogu e But two of t he m ce rtainly do n ot prop e rly b e lo ng to it and it is t he re fore re duc e d to twe lve statu e s of c h ildre n the numb e r ch os e n by H om e r I f w e re fe r to a passag e in Pliny w h ich may apply t o t he m as we ll as to an ol d Gre e k e pig ram t he g roup o f Niob e would s e e m to be t h e w ork of Pra x it e l e s but som e antiquari e s attribut e it to It is c e rtain t hat Niob e h e rs e lf t he young Scopas irl on h er l e ft t he dyin g boy a n d t h e two c h i ld re n g lac e d on e it he r sid e of t h e p e da g o g u e ar e o f suc h p s ublim e b e auty t h at t h e y a re wort h y o f t he g r e at e st of
h isto ry
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G RE CI AN S CUL P TURE
1 28
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fro m t his
t hat t he fourt e e n stat u e s fo u nd tog e the r in o ne e x cavation once d e corat e d t he pe dim e nt of a t e mpl e Ind ee d in a drawing mad e to support it h i s Opinion he re construct e d t he p e dim e nt ,
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Fi g
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19
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—Th V e
en u s of
Me d i ci
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( Florence ) .
woul d have e x ist e d b e fore t he Romans d e spoil e d t he t e mpl e s o f Gre e c e In t he c e ntre Ni obe h olds a dyin g maid e n in h e r a rms and o n e it h e r sid e s i x .
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G RECI A N SCULP TURE
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fi g ure s arra ng e d to su it t he trian g ular t ympa num c o mpl e t e t h e g roup I n t h e Tr i bu n a t h at room o f mast e rpi e c e s t h at sanctuary o f art wh e re t he most pre ci o us re lics or a n ci e nt statu a ry and t he b e st mod e rn painting s m e e t face t o fac e is pre s e rv e d t he most c e l e brat e d pie ce of sculpture in t he poss e ssion of t he rich mus e um deg l Ufi z z, t he Ven u s of M ed i ci It was found in t he middl e of t he fift e e nt h — ce ntury brok e n in th irt e e n place s at t he sh ou ld e r t h e middl e of t h e body at t h e t h i g hs t h e kn ee s and t he a n kl e s The fracture s b e in g re g ular how e ve r i t was e asily put to g e t h e r and it would hav e be e n a t housand tim e s b e tt e r if inst e ad o f fe e lin g bound to re s tore t he arms w hic h w e re mi s sing t he o w n e rs ha d l e ft it mutilat e d lik e o u r Ven us of e sp e ctator s o w n imagination to elos l e avin h JW t g supply w hat was wanting Alt hou g h t he re s t ora tions a re v e ry cl e ve r B e rnini says t hat t he y are notic e abl e more e spe cially in t he hands in wh ich the re is now a kind of awkward a ffe ctation a prud e ry in fact w h ic h could not have e x ist e d in t he antiqu e work Th is V e nus was brou gh t to Ve nic e durin g t he re ig n of C osmo I I I and t he na e it still re tains w as t h e n g ive n to it Alt hou g h so small and d e licate for it is no h ig he r ,
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G RECI AN SC ULP TURE
1 30
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t han four fe e t or e ig ht inch e s old F re nch m e asure m e nt t he Ven us of M ed i ci is consid e re d t he mod e l of t h e proportions o f a woman as t h e Apoll o B el veder e is of t h e proportions of a man Th e work is so p e rfe ct th e h e ad so b e autiful t he body so e t h e de tails so d e licat e rac ful all h and e w h ol e t g so full o f charm t hat it would doubtl e ss h ave b e e n attribut e d t o o n e o f t h e g re at anci e nt sculptors ; P he i d i as Pra x it e l e s or Scopas fo r instance if an i n scription o n t he bas e copi e d from t he original did n o t prov e it to be from t h e c h is e l of C l eo me n e s t he son of Apollodorus an Ath e nian P e rhaps inst e ad o f t h e nam e C l e o me n e s w e ou g ht to r e ad A lca me n e s also an At h e nian and t he g re at e st Gre cian sc u lptor b e tw e e n P he i d ias and Pra x it e l e s aut hor of a famous V e nus allud e d to by Pliny w h ich was at R om e in h is tim e O t h e rw is e t h is is t h e only work w e have o f an unknown a rtist not onc e m e ntion e d by Pausanias In any cas e it must be plac e d in the h i g h e st rank for if copi e s had not multipli e d i t t o profusion it would be wort h wh il e to g o to F lore nc e to admire t he Ve nus o f Cleo me n e s as t h e t e mpl e o f G n i d u s ( C nidus ) was visit e d from all parts o f Gre e c e by admire rs of t h e Ve nus o f Pra x it e l e s o f wh ich it was s aid t hat it was t o t he statu e s o f Ve nus w hat V e nus he rs e lf was amon g st t h e o dd e s s e s e e d it a pp e ar e d so instinct wit h l i fe ind g ,
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G RECI A N SC ULP TURE
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sublim e s i d e re d
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Apoll i no c e rtainly d e s e rv e s to be
t he
t he
con
mod e l of t he g race ful T h is obs e rva tion mad e b y t h e dis c e rnin g R ap ha e l M e n g s is also t he first to occur t o t h e obs e rve r Th e care l e ss .
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Fig
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21
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—Th e Musi cal
F au n
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( Fl oren ce ) .
attitud e the fre e and suppl e action t he fine l y mould e d limbs the pos e o f t he he ad wit h t h e almost ironical smil e and e x pre ssion all combin e to mak e the Apollzno t he most grac e ful form whic h ,
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G RECI AN SC UL P TUR E
1 13
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ve r aros e b e fore th e cre ative imag ination of t he sculptor The work o f t he c h ise l is no l e ss pe rfe ct t he d e tails o f t h e fl e s h a re re nd e re d wit h a d e lic acy a mor bi dez z a w h ich is actually d e ce ptive C anova s e e ms t o h av e imitat e d t h is styl e in h i s most e labo rate works Th e Apoll i no w as pre c e d e d at t h e g all e ry of F lore nce by t h e F a u n a re lic o f t h e b e st ag e of Gre cian sculpture wh ich was admirably re touc he d and fini s he d by Mic ha e l An g e lo T h is F au n e ntir e ly nak e d and full o f g ai e ty life and impe tu o s i t y is g e n e rally attribut e d t o Pra x it e l e s fo r no othe r re ason t h an th e pe rfe ction of t he s hape and of t he e x e cution Ne ar to it w e find t he famous group of t he Wr es tler s ( La Lotta) attribut e d to Its ch i e f m e rit is t hat it give s a Ce ph i ss o d o t us mos t accurat e re pre se ntation not of a h uman body in re po s e but o f o ne in motion sh o w in g t he t e nsion of t he m uscl e s the swe lling of t he ve i n s in fact all t he p he nom e na of activ e pow e r in t h e e x cit e m e nt of a stru g g l e In t h is re spe ct th e g roup of t h e Wr es tler s may c hall e n g e t h e e x aminatio n of t he strict e st anatomist and t he pre cision of t he drawin g and grace of the l i n e s in t he e ntan g l e d limbs of th e se tw o pri z e fig ht e rs may invite t he criticism o f The e x pre ssion too is t he most e x acting j udg e e qually fait h ful to anatomy Th e he ad of t he e
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G R ECI AN SCUL P TURE
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nquis h e d is pure ly a ntiqu e and t h e g lo omy and distort e d fe ature s e x pre ss impot e nt fury w h ilst t h os e of t he conqu e ror alt hou g h finish e d by mod e rn re touche s a re full of t he p rid e o f victo ry va
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F ig
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22
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— Th e
W
res tl ers
.
( F lo rence ) .
T h e re re main s a fig u re d i flficu lt to nam e o f w hich w e h av e a bron z e copy in t h e gard e n o f t he T uil e ri e s It is a man wit h a coars e and common fac e a lo w fore h e ad and s hort rough h air in a co n s tra i n e d pos ition n e it he r s eat e d nor kn e e ling ; ,
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G RECI AN SCULP TURE
1 36
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re storing t he T arquins ; othe rs t hat it was t he slave w ho re ve al e d the Catilin e plot Non e o f t he se conj e cture s could be tru e of a Gre cian work and t he y have b e e n prove d t o be fals e by con Amon g st t he e ng rave d ston e s in cl u s i ve e vid e nc e t h e coll e ction of t he Kin g o f Prussia t he re is o n e d e scrib e d by Winck e lmann w hic h re pre s e nts t h e to rture o f Marsyas B e fore the cond e mn e d w ho i s alre ady bound to t he tre e is t h e fi g ure e x actly re s e mbling t he A r r oti n o of t he Scyt h ian ord e re d by Apollo to flay h is unfortunat e rival The sam e pe rsonage in th e sam e attitud e occurs in many bas re li e fs and on t he re v e rs e sid e of numb e rs o f antiqu e me dals T he re is no doubt th at t he ,
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Gr i nder , t he R ota tor , t he Spy t h e Ci n ci n na tus , t he ,
slave re ve alin g s e cre t conspiraci e s a re all non e ot he r t han t he Scyth ian w ho put Marsyas to d e at h At R om e th e re are two ch i e f coll e ctions of a ntiquiti e s in t he Vatican and in t h e Capitol We will say a few words o f t h e latt e r in w hich a fe w b e autiful Gre cian works are mi x e d wit h an i mm e ns e nu mb e r o f Roman F irst w e must notic e a charming statu e of Ven us lea v i ng the B a th t he subj e ct o f w h ic h allows o f fre e r action t han was usual in t he g odd e ss w h ose b e auty was all su fh ci e n t n e x t com e s a colossal M ar s w ho is p e rhaps a Pyrrh us t h e n th e c e l e brat e d Dy i ng Gladi a tor ; ,
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G RECI A N SC ULP TURE
1 38
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e e h e h n fi ld and m ntio suc mast rpi c s as mi e e a g t ‘ b e coll e ct e d in anot he r Tr i bu n a n h V f t e e o most c l brat d st tu atica and e a e e e h T ,
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—Ve nu s leavi ng
th e
B
ath .
( Rome ) .
most popular is c e rtainly t h e P y thi a n Apollo b e tte r known und e r t he nam e o f t he Apollo B e lve d e re b e caus e it was at first plac e d so to spe ak
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the
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We
re fer
th e
d d iff
re a
er
to th e I ti n er a i r e
me n ti o n s th e e re n t p arts an d th ei r mos t i n t e re s ti ng con te n ts
w h i ch
.
of
en
th e
I ta l i c,
by M
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y
D u Pa
s,
Mu seum of An ti qui ti es
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G RECI A N SC ULP
TUR E
1 39
.
in t hat room by M ich a e l An g e lo T h is statu e was found at t he b e g innin g of t he 1 6t h c e ntury in t he bat hs of Ne ro at Porto d A n z o t he anci e nt A nt i u m Ev e ry one knows t hat A pollo is re pre s e nte d in .
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— 6 Th e Amazon F ig 2 .
.
of th e
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p
C a i tol
.
( Rome ) .
act of disch arg in g a mo rtal arrow at t he Pyt hon e g iv e n it from w h ic h h i s statu e acquire d t h e n a m b y the At he ni ans and pre s e rv e d by Pa usani a s T h is e x plains t h e som e w h at t he atrical attitud e o f t he
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G RE CI A N SC ULP TURE
1 40
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body and t he proud an d t riu mp hant e x pres sion of t he face Winck e lmann M e n g s and a hundre d ot he rs hav e pronou n c e d t his Apollo t he most b e au ti ful of antiqu e statu e s t he pe rfe ct mod e l o f t he sublim e T o re alis e t he m e rit o f t h is mast e r pi e ce of art says Wi n ck e lmann t he mind must soar to t he re alm of incorpore al b e auty and strive t o imag in e a c e l e stial nature for t he re is not h in g mortal he re But ot he r e nli g ht e n e d j udge s h av e cont e st e d its e x clusiv e ri g ht to t he first plac e C anova and V isconti t h ink it is a copy more d e licat e ly e x e cut e d of t he ancie n t bron z e Apollo by t h e sculptor Calam i s e re ct e d in C aria by t he At he nians aft e r t he g re at plag u e ; and Chate au “ briand d e clare s it t o be too much vaunt e d Is t he re t he n no m e dium t e rm ? It app e ars to me that alt hou g h it doe s d e s e rve most of the praise t he P y thi a n Apoll o o f its e nt h usiastic admire rs ou g ht not t o hold t he first ra n k alon e but t h at it sh ould s hare it wit h suc h works as t h e Ven us t he D i a n a and t he Gla d i a tor o f Paris t he Ven us t h e Ni obe t he F a u n of F lore nc e t he L aocoon and t h e M er cu ry of R o me e t c P e rh aps it would app e ar more s upe rior i f it w e re l e ss c e le brat e d As it is e v e ry trav e ll e r on h i s first visit t o t he d ee p and illuminat e d niche in wh ich a kind of altar has be e n rais e d wh e n he h e ars from th e lips o f t h e g uid e t he the
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GR ECI AN SCUL P TURE
1 42
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and A the nod oru s A ccording to Pl i n y t h is w h ol e g roup was wrou g h t ou t of on e b lock o f marbl e As t he subj e ct is from t he s e cond canto of t he z Enei d in w h ic h V irg il t e lls t he fat e of t h e h ig h pri e st o f Ne ptun e w e may conclud e t h at it is of the ag e of t he first e mp e rors w he n e ve n Gre e k statuary h ad l e ft t h e cal m simplicity o f t h e tim e o f P e ricl e s far b e h ind Th e M er cu ry (or M eleag er ) is a fi n e statu e in p e rfe ct pre s e r vation re pl e t e at onc e wit h g rac e and vig o ur of wh ic h it is e nough to stat e t hat it is j ustl y class e d wit h t he most valuabl e work s w h ich have com e down to us from antiquity B u t in t h e opinion o f connoiss e urs t he y are all in fe rior to a m e re brok e n fra g m e nt a Tor s o also call e d The It is in w h it e marbl e t he re mains of a B elveder e statu e of H e rcul e s in re pos e by Apollonius son o f M iston or Ne stor of At h e ns as state d in the Gre e k inscription on t he ba s e so t hat it must b e lon g to ee Fi S p is t he g re at ag e o f Gre e c e 0 1 I t ( 44 ) g 3 re markabl e for e ve ry b e auty possibl e in a sin g l e fo rm and combin e s t he mos t opposit e e x ce ll e nci e s suc h as e n e rg y and g race stre n g th and e las ticity M icha e l An g e lo call e d h ims e lf t he pupil of t he H e copi e d t h e d e tai ls and t h e g e n e ral Tors o e ffe ct in hi s fi g ure of St B a rt holom ew in t he L as t y udg men t ; and it is re lat e d t h at in hi s e x tre me P olydorus
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F ig
.
29
.
—The
Torso
of
th e
B
d
el ve
e re
.
( Rome
.
Vati can ) .
GRE CI A N SC ULP TURE
1 44
.
some bron z e antiquiti e s obtain e d in e x cavati ons at Pomp e ii H e rculan e um and Stabiae T he y a re ve ry rare as numb e rs o f t he sam e kind w e re d e stroye d in barbarous tim e s for t he sak e of t he valuabl e mat e rial O f about a h undre d of t he se fi g ure s t he — be st are t he littl e D a nci ng F a u n a p e rfe ct g e m a ve ry marve l o f g rac e e as e and vivacity ; t he t h e D r u nken F a u n l e anin g ov e r Sleepi ng F a u n h i s bottl e and snapping h i s fin g e rs ; t he Sea ted M er cu ry wh ich e vid e ntly b e lon g s to t he b e st ag e of Gre cian art ; t he fi g ure call e d Sappho also t he bust of P la to t he hair of wh ic h is most d e licat e ly c h is e ll e d a horse sol e re mnant o f t he qu ad r i ga of wh ich it form e d part Amon g st t he marbl e s of t he Stu d] , t he Venus of Capua and t he Ven us Ca ll zpyg os tak e first rank The first g roup e d with C upid re pre s e nts t h e g o d d e ss victorious ove r he r rivals in t he m ee ting on Mount I da Althou g h t he amph ithe atre of Capua w he re it was found was built und e r H adrian in the b est ag e of R oman art t his Ven us is so b e autiful t hat it is suppos e d to b e lon g to t he g rand era of Gree c e and to be from t h e ch ise l of A lcame n e s or Pra x it e l e s Th e g rac e ful attitud e of t he Ven us Ca ll zpyg os e x plains th e Gre e k nam e w h ic h is u n translatabl e C asts have mad e t his fin e de licate and bew itch ing statu e familiar to e ve ry o ne and i t ,
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G RECI A N SC ULP TUR E
1 45
.
rival of t he Venus de M ed i ci The Apol lo w i th the Sw a n s h ould be class e d wit h t he s e c e l e brat e d statu e s o f Ve nus Wi nck e lmann forge tting th at of t he B e lve d e re pronounc e d it to be t he fi n e st o f t he statu e s o f Apollo and t hat t he he ad is t he p e rfe ction o f h uman b e auty Th e nam e of F ar nese h as be e n g ive n to t hree v e ry valuabl e antiquiti e s o f g re at re nown wh ic h we re found in 1 5 40 in t he t he rmal bat hs of Caracalla durin g t he pont i ficat e of Paul I I I (of the H ouse of F arn e se) The F lor a alth ou g h a colossal statu e lik e t he M e lpom e n e of t he Louvre is li g ht animat e d and full of g rac e Gre e k c haract e rs inscribe d on t he bas e of t he F ar nese H er cu les prov e it to be t he work o f t he At he nian G ly con At first only t he torso was discove re d and Pa u l I I I ord e re d M ichae l An g e lo to supply the missing l eg s But t he F lore n tin e h ad scarc e ly finis he d hi s clay mod e l when h e brok e it to pi e c e s with a h amm e r de claring h e would not add a fing e r to suc h a statu e It was a l e ss c e l e brat e d and l e ss scrupulous artist Giacomo d e lla Porta w ho re store d t he work of Gly con A littl e lat e r t he l eg s w e re found in a w e ll t h re e mil e s from th e bath s and t he Borghe si pre s e nt e d t he m to t he kin g o f Napl es w h o was th us e nabl e d to compl e t e t he antiqu e st atu e almost e ntire ly t he l eft h and alon e b e ing still wanting The h istory is j ustly call e d
t he
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GR ECL JN SC ULP TUR E
1 46
.
,
e e e t is colossus s fici ntly prov s its b auty and f u h of va lu e It is a marve llous re pre s e ntation of powe r in re pos e —of the calm s e lf s u fli ci e nt stre n g th d e scri be d by A ristotl e (de P hy s i og nomi a ) .
-
,
0
F ig 3 l .
.
—Th e
F arn e se F u ll
.
( Naples )
roup t o w h ich t h e nam e o f th e g Tor o F a r n es e has b e e n g iv e n was found wit h t he F l or a and t he H e r cu les Accordin g to P l iny it w as A s i n i u s Pollio w ho bro u g h t it from R h od e s t o Th e
e
normous
,
.
,
GRECI AN SC ULP T UR E
1 48
.
The followin g
statu e s must also tak e h ig h rank — Ga ny mede a nd the Eag le ; a s e mi colossal sittin g statu e of t he Apol lo Ci tha r oed us playin g t he lyre fin e ly drape d in Spit e o f t he hardn ess of t he mat e rial wh ich is all of porphyry e x c e pt t he h e ad and fe e t o f wh it e marbl e ; an A tlas h an d s s us ta i n i ng a Celes ti a l Gl obe a fin e and pow e rful fi g ure which admirably re nd e rs t he e x ertions of a man b e ndin g und e r h i s burd e n ; and lastly t he admirabl e Gre e k statu e by an unknown author o f As t he re is no acknowl e dg e d portrait Ar i s ti des of t he wis e At he nian it is e vid e nt t hat t he statu e h as b e e n nam e d from a suppos e d re s e mblanc e to It is in fact an unpre t e nding calm h is charact e r h on est face wit h th e s e re nity o f virtu e on t he brow and is w e ll nam e d the ?us t Canova w ho had a e re nc e fo r t h is statu e i n e r at fl ec o almost a r v e a t g has mark e d on the floor of t h e room in wh ich it is place d the t hre e be st points of vi e w for t horou g h appre ciation of its b e auti e s We mi g ht m e ntion ot he r i mportant re l i cs o f Gre cian art scatt e re d ov e r Europ e The Mus e u m of the H e rmita g e at St P e t ersburg for instanc e wh ich long poss e ss e d a b e auti ful Cha ste Venu s e t e r t he Gr e at by Pop e C l e m e nt X L iv n to P e g a y upi ter Ser api s a small statu e of Hyg ei a t h e d rape ri e s of w h ich are e x ce ll e nt & c ; has lat e ly -
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G RECI A N SC ULP TURE
1 49
.
acquire d from the C ampana M us e um a valuabl e se ri e s of Ninh M us e s all Gre e k and of about t he sa m e si z e wh ich mak e t he Russian an e ntire ly uniqu e coll e ction But w e must h ast e n to London and re ve re ntly admire th ose most ma rve llous re lic s of the g e nius o f t he Gre eks e x hibit e d in t he British M us e um T h e Ly ci a n room contains t h e re mains of t he anci e nt city o f Xant h us on t he rive r Xant hus or Scamand e r in Lycia wh ic h was i mmortalise d by H om e r T he y b e lon g to t h e e poch s includ e d be twe e n t he y e ar 5 4 5 B C and t h e By z antin e Empire The mos t anci e nt are bas re li e fs from t he H a rpy Tomb which stood on t he Acropolis on t he ori g in and ca n i n g of w h ic h various conj e cture s found e d o n myth olo g y have be e n ha z ard e d Wit h t he se bas re li e fs t he re is a figure of t he Ch i me r a t hat fi re bre at h ing monst e r whose body was a combination of t hat o f a lion of a dragon and of a g oat A native o f Lycia t h e o ffsprin g of T yp hon and Ec h idna and slain by B e ll e rophon th is fe a rful cre ature was in re ality not h in g more t han an impe rsonation of a small volcano on t he summit o f Mount Crag u s The more re c e nt bas re li e fs are Roman works wit h wh ic h w e h ave not h in g to do at pre s e nt and which m e re ly i llustrat e t he di ffe re nt conqu e sts o f Lycia The principal are of an an d h er c han g in g cre e ds ,
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G RECI AN SC ULP TURE
150
.
T he y com e from w hat is simpl y styl e d the M on u men t o f Xant hus Si r C F e llows w ho coll e ct e d t he m mad e a littl e mod e l of t he ori g inal block in paint e d wood w hic h g ive s t he form si z e and sit e and by m eans of w h ic h an e ntire lat e ral wall has b e e n r e built wit h t he ruins We se e t hat it was an Iconic pe ristyl e building w ith fourt e e n columns runnin g round a solid eel/a and t he statu e s in the int e rcolumniations place d on a bas e and supporting a lig h t attic Two scul o t u re d fri e z e s d e corat e d t h e upp e r and low e r part Althou g h m uch mutilate d the b e st o f t he bas e pre s e rve d the fin est and t he most int e restin g parts t h is ruin e d t e mpl e are som e of the fe mal e of sta t u es w h ich alt e rnat e wit h t h e columns of t he circular g all e ry Th e he ads hands and fe e t are wantin g but t he bodi e s t he arms and the l eg s are admirably proportion e d t he action is full o f g rac e Rob e d in a and t he e x e c u tion ve ry sup e rior transpare nt stu ff w h ich t he Romans call e d tog w n ebu la l i nea ven tu s tex ti l zs ( rob e s of g lass v i tr ez clouds of lin e n wind tissu e ) t he y are so to sp e a k c haste l y nud e Agil e and sl e nd e r t he y se e m to cl e ave the air in ru nning o r danci ng Som e have at the ir fe e t marin e e mbl e ms such as dolp hin s crabs or s e a bird h alcyons and t he y are there fore on he r su ppos ed to form t h e e scort of Latona i nte r m e diat e
ag e
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GRECI A N SC UL P T URE
15 2
.
But t h e int e re st of t h e P hi g ale i an saloon re ally c e ntre s in som e othe r antiqu e re mains w h ic h would h ave b e e n b e tt e r plac e d in t he Lycian room wit h It is w e ll known h ow t he t h e marbl e s of Xant h us s e cond qu e e n Art e misia widow of he r brothe r M a u s olus Kin g of Caria h a d a c e l e brat e d tomb rais e d in h onour of he r broth e r h usband in t he town of H alicarnassus about 3 5 3 y e ars B C T h is monum e nt was at first call e d P ter on but sub s equ e ntly M a usoleu m and from it all future tombs took t he ir nam e It was con s id e re d o n e of t he s e ve n wond e rs of t he world and was built by P hi t e u s and Sat y ru s and adorn e d by five sculp tors v i z Py t his w ho mad e a quadriga for t he top B ri a x i s w ho sculpture d t h e h as re li e fs for t h e north e rn sid e ; T imot he us t hos e for t he sout he rn ; L e ochare s t h os e fo r t h e w e st e rn ; and t he c e l e b rat e d Scopas or Pra x it e l e s t hos e for t h e e ast e rn s id e The dat e of t he monum e nt and t he ir nam e s prove t hat all t he se artists be longe d to t he latt e r days of t he g re at Athe nian school But t he y n e ithe r copi e d P he i d i as nor hi s styl e Working for Asia t he y assum e d a di ffe re nt mann e r to t he ir fe llow countrym e n and cont e mporari e s As M Vi o lle t le D u c re marks t he y might hav e b e en call e d coma n ti c at t hat e arly dat e In t he conqu e sts o f th e R omans and Part h ians t he M a u s ole um s hare d ,
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G R EG/A N SCUL P TURE
15 8
.
t h e fat e
of
all buildin g s rais e d by Gre cian g e nius We know positive ly that in 1 3 2 2 t h e kni g hts o f Rhod e s e mploy e d its walls and frag m e nts in t he constru ction o f t he castl e o f H alica rnassus w hic h und e r t h e victorious T urks s oon be cam e t he for tre ss of B o u d ro u m In 1 8 46 t he y w e re pre se nt e d by t he Sultan Abd u l M e dj id to Si r Stratford C annin g and by h i m t o t he Britis h M us e um Since t he n M r Ch arl e s Ne wton h as j oin e d to g e t he r l t he fra g m e nts o f o n e o f t he h orse s o f t h e coloss a quad ri g a by Py t h i s and of a statu e suppo se d to be I con i c or a portrait of M au s o l u s In passing to t he Ath e nian room t he El g in Saloon w h ic h may be call e d t he tru e sanctua ry of t he Britis h M u s e um w e must bri e fly nam e c e rtain obj e cts w h ich a re class e d w it h t he marbl e s of t he Part he non T he y are wort hy of notice not only b e caus e t he y are all Gre ci an and mostly At he nian but b e caus e of t he ir g re at valu e as monum e nts o f t h e arc h it e cture and sculpture of t h e anci e nts Among st various re mains o f t e mpl e s altars and tombs w e must nam e a capital and a pi e c e of t he T he s e s h aft o f a D oric column o f t h e Part h e non two frag m e nts give a j ust id e a wit hout m e asure me nt o f t h e proportions o f t he t e mpl e of t he ’ A cropolis of At h e ns A capital and som e frag .
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To
ex
pl
ai n
how
a si ngl e
frag men t
of
the
ru i ns o f a
Grecian
G R ECI A N SCULP TURE
154
.
m e nts of t he s ha ft and bas e of an Ionic col um n o f t h e portico o f T h e Ere ct h e u m w h ic h surround e d ,
p
tem l e
gi ve
ca n
da i pl i
an
p
the w hol e ,
of
e
mu st
we
re
member that
d i n th eli gi ous ar hi t ct planati o f thi f G e W w il l g i v b i f mm y f h i t by M l t fa t f om the C B é A f o i ty w ti l l i n i ts i nf H ll i y th At fi t w h f th d d l m h m y i lf t mpl e w b t sh l t g k f t es w e t k i t th g n d i h m Up i g ht t b am w t n a f m a l g q are th t l y l i d lo g th tw pp t th sl pi ng ft f th oo f l g ted i d es to y b th t th d i the th and Th t nk b i ng l i b l t d d th b m b f t w i n t d t i the e t mi ty th t m ble ppl nted th f i l and Li ttl by li tt l i t ol mn i h t k d t t d b tt m b m h t t h t ca ec ru n e p g p f th e l m Th l t ral b m t i v l y th ca p i tal d th b hi t h ng e d i t t he e f i t bl t d Th p i ts o f th p j e tions f th ft f b c me th e t i gl y ph d the m t pe th m th B y l pi ng t th ri g ht h ll w p es b t w f f m d th t i ng l b t e gl s th p di m t a d l ft i n d fi nall y the o n m t of d t i l h as i th e f c d tte b i (h d of i ti m ) gg m ldi g p l m l mpl y d b y t h d al l b b f th y w m der t b w e d by t d th e de l p d them l hi t i al ly b y tu al Th e h F i t cam th D i o d th t of th d ti c mb i g w hi h li k Do i n th m w t on g a t nd v i go d th at of th ft d ol p t m li Th n the I n i w pl i g l g t nd f mi i of I o i Th fl t i g f m y be l i k m ll l m d t th pl i t f d es d th th thed h d d es F i l ly th f t oons of th e cap i tal to w th t fi d ci il i ti d th of C i thi n o d c mbi t i ti f th e t w h nd th tw es i n i ts comple b a ty ty p b m fi d a d it w i Thi p i mi ti w i th o d f G w i t th t al l th t mpl t d difl i g f m h ly i n i ti B t th p ts al w ays d m nt f d th r m ce r tai n constan t
o
r ece .
c
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a a
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s,
or
r ace
a
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race ,
o
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as
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r
cs
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.
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ea
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o n
e
.
s , an
o
r a
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,
e or e
n a u re
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eaves ,
-
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a
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.
ra
a e
en s
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or c
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,
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as
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,
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ea
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s
ce a
e
arc
n o
o
or
c u
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o
n s o ne
an
a
o
s
e
,
anc
as
s on e
es o
cu
e
s
.
as
e
u re
e
n o
s
an
,
n o
e ca
o
e
s on e
e
ro
,
o
or
su
,
u
,
e
c
ea
e
e
en a
eu
as
c
a n ex
o
.
s oc e
or
,
a
e
er
u
ar
su
re s uc
s
a
s
er
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u
ru
a
a
as
o e on
e
en c
e
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cc u r c
rc
en
,
or
o
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e a
ou r se
“
w e r e fol low e
es
e
r
s
ri n c
ne
o
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ra c
x
.
s
ve
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eca
xe
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,
n
as
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an ce
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ar
eac
GRECI A N SC UL P T URE
15 6
.
ach othe r in the sam e dire ction as furrows m a de b y an ox in plough ing th at is to sa y one line g oe s from l e ft to ri g ht and t he n e x t back from rig h t to ” “ “ l e ft ; lik e t hose says Pausanias w ho ru n t he ” doubl e stadium and so on to t he e n d of the pag e or tabl et I nsc riptions in th is primitive form of Gre cian writin g are ve ry rare Among st t he sculpture s wh ich do not b e long to t he Parthe non w e must sin gl e out for admiration and study a m uch mut ilat e d colossal statu e o f Bacc hus wh ich was on t he top of t he chorag ic monum e nt rais e d to t he m e mory of Thrasy llu s by t he re mors e ful At he nians w ho h ad put h i m to d e at h afte r t he naval victory of Arg i nu sm ; and still more must w e ad mire a we ll pre s e rve d ar ch i t e ct u ral statu e w h ic h all may g a z e u pon in its primitive p e rfe ction It is o ne of t he four caryatid e s wh ich support e d t he littl e roo f und e r wh ich t he olive tree of Min e rva w as she lte re d in t he t e mple of Pand ros u s It has be e n place d on t he capital of a D oric column of t he Propyl aea It is o n foot up ri g ht and immovabl e but b e ne at h t he he avy fallin g folds o f t he lon g tunic one k n e e mov e s and by su g g e stin g l i fe and animati on s li g h tl y bre aks and g ive s a kind of undulation to t he ge ne ral outlin e of the body T h is trifling action mark s t he g re at d i fl e re nce be tw e e n Eg yptian art e
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G RECI A N SCULP TURE .
s e rvil e ly submissive to an infl e x ibl e cre e d an d t hat o f Gre e c e w h ic h was as fre e from do mas and as g ind e p e nd e nt as t he d e mocracy of At he ns An e mbl e m of cal m po w e r t his admirabl e caryatid mig ht be tak e n for a K a nephor a fo r sh e s e e ms to b e ar t he capital w h ic h crowns h e r and t h e e ntablature support e d by t h is capital wit h as muc h e as e and g rac e as if it w e re a m e re amp h ora T his statu e i s o f t he sam e age an d styl e and p e rhaps from t he sam e hand as t he Pallas Polias ; in any c as e it is wort hy of t he aut hor of t he latte r the divin e P he i d i as We now com e to t he marbl e s o f t he Parthe non I n t he c e ntre o f t he Acropo lis ( uppe r town ) or fortre ss of Ath e ns stood t he t e mpl e of t h e g uardian godd e ss At he na fr om w hom t h e city took its nam e D e dicat e d to t he V irgin M in e rva ( Part he nos) it was call e d the Part he non (o r V irg in s Chamb e r) The P e rsians und e r X e rx e s w ho we re iconoclasts lik e t he J e ws utt e rly d e molis he d it whe n b e fore t he battl e o f Salamis T he mistocl e s wit hdre w t he At he nian troops to t he ir s h ips Aft e r t he g lo rious victori e s of t h e M ed i a n war wh e n At he ns h e r d e mocracy re store d occupi e d t he first rank amongst t h e towns and stat e s of Gree c e P e ricl e s h ad t h e Part he non re built (about 440 The sit e and proportions of t he anci e nt t e mpl e w h ic h was call ed H eca tompedon ,
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G RECI AN SC ULF TUR E
158
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b e caus e t he faea d e m e asure d a h u ndre d Gre e k fe e t w e re re tain e d but t h e form and d e corations o f Ictinus and t h e lat e r building w e re e ntire ly n e w C allicrat e s w e re c harg e d wit h its construction and P he i d i as w ho ha d b ee n e l e ct e d pre sid e nt of public works by t he popular voic e was commission e d t o supply t he ornam e nts H e cannot h av e e x e cut e d t h is gre at work alon e W he n w e re m e mb e r how many statu e s he mad e for t he t e mpl e s of Gre e c e w e cannot doubt t hat he re c e iv e d he lp from h i s coll e agu e s and pupils But P he i di as in t he Pa rthe non lik e Raph a e l i n t he Sta nz e and L ogg i e o f t h e V atican h ad supre m e control ove r t h e works : h e ch ose t he subj e cts dre w t he plans t he pe dim e nts t h e m e top e s t he fri e z e s ; corre ct e d touc he d up and finis h e d t h e works o f h i s h e lp e rs and h ims e l f ch ise ll e d t he c h i e f figure s of t h e larg e compositions Th e colossal P a l la s P r oma chos o r Wa r r i or wh ic h occupi e d t he most promin e nt p art o f t h e Acropolis on a h igh pe d e stal and w h ic h rivall e d t hat gre at Zeu s Olympi as w h ic h was acc e pt e d as ‘ h i s imag e by t he kin g o f t he go ds h i ms e lf was b e caus e on t he e vid e ntly from t h e h and o f P he i d i as ,
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J pi t u
Ph eid i as
to
be
hi msel f
e n treate
fi ed ; pvm
an d
sati s
th e
er
a
e
see n.
d
it is
en t o f
pp
a
ro v e
the g od
d mp l
r e l ate
th e t e
e
P au san i as , E li
d th i s w o r
k;
for w h e n i t w as
k
fini h s
ed ,
g i v e h i m some t o en i f h e w er e th at a th u n e r olt i mme i atel stru c to
on
th e
e,
cha
..
p
s .
p
d b
ot
xi.
)
w he r e
a
b
d
r on z e
y
u rn
k
is
s t i ll
GR ECI A N SCULP TURE
1 60
.
of
re ligious s e cts The d e struction of the buildi n gs of At he ns must have b e g un wit h t h e conqu e st o f t h e R omans und e r M u m mi u s M e t e llus and Sylla w ho laid a d e s e cratin g h and o n a ll t h e t e mpl e s of Gre e c e t hat t h e y mi g ht accumulat e a promiscuous coll e ction of spoils in th os e of R om e U nd e r t h e Romans a g ain wh e n t he doubl e t h ron e o f t he e mpire was und e r C h ristian s w a monu m nts t h e e y o f G r e e c e e sp e ci a lly t h e t e mpl e s fe ll a pre y t o t h e rag e of t h e first conve rts w ho in t he ir blind fanaticism brok e all t h e idols and ot h e r o bj e cts o f h e at h e n worsh ip A t h ird and t e rribl e d e vastation took plac e during t h e he re sy of t he iconoclasts w h ic h w as rampant in t h e By z antin e e mpire from T he n cam e t he t h e fift h to t he e i g ht h c e ntury crusad e s and t he conqu e st of Gre e c e and takin g of Constantinopl e und e r Ba ldwin of F land e rs T he se barbarians of t he W e st w ho brok e in pi e c e s t h e Zeu s Oly mpi a s and t h e H er a of Sa mos unti l t he n pre s e rve d in t he city o f C onstantin e did not 0 1 cours e spare t he Pallas of At he ns And lastly w he n R og e r d e F lor and h i s Aragon e s e adve nture rs took Attica from t he Gre cian e mpire w he n t he V e n e tians took it from t he Ara g on e s e and w he n Ma h om e t I I wre st e d it fro m t h e V e n e tians w e can imag in e t h at n o class of pillag e or d e vastation was spare d But t he conqu est of th e .
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GRECI A N SC ULP TUR E
1 61
.
ous Turkish iconoclasts was not t he las t calamit y w h ich fe ll upon t h e city and t e mpl e of Pall as T he Ve n e tians re conqu e re d Gre e c e in 1 6 8 7 w e re not e x p e ll e d from it by th e T urks an d until 1 7 1 5 aft e r many bloody battl e s and whe n in all Gr e e c e ros e a g ainst he r E g y ptian and 1 82 1 T urkis h mast e rs and du rin g t he nin e y e ars t h at t h e war of ind e p e nd e nce last e d until t he F re nc h e x pe d i t o n in 1 8 2 8 t h e re was not a town w h ic h did n o t h av e t o re sist assaults not a buildin g wh ich was not conve rt e d into a fortre ss Situate d as it was in t he Acropolis t he Part he non could not e scap e t h e common doom and t he bull e ts o f Islam d e stroy e d all t hat h ad b e e n spare d by the T urks and M ahom e t t he Ve n e tians th e Ara o f Se lim e By z antin e iconoclasts n es e t h e o e crusad rs t h g t h e bigot e d Ch ristians and t he barbarous Romans F ranc e t he disint e re st e d lib e rator o f Gre e c e mi g ht j ustly h ave claim e d t he privil eg e of reve re ntly coll e cting t he re mains o f t he Part he non sh e had fre e d but t he En g lis h w e re b e fore he r not in t he s e rvi ce re nd e re d but in carryin g o ff the pri z e We know t h at durin g hi s e mbassy to Constantinopl e from 1 799 to 1 807 L ord El g in profitin g by the w e akn e ss of Se lim I I I w h os e policy and actions he g uid e d pillag e d t he t e mpl e s o f Gree ce with out c e re mony althou g h not without e x cus e and too k
z e al
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M
G RECI AN
1 62
SC ULF
T URE
.
poss e ssion of all t he sculpture d d ec or ations wh i ch still re main e d in t he Parthe non T hou g h s atiri z e d by t h e pe rsonal e nmity of Byron Lord El g in brou g ht to En g land t he produce o f h i s succ e ssful pillag e and t he marbl e s of t he Part he non w e re t he n plac e d in t he room in t h e British M us e u m w h ich is nam e d aft e r t h e ir ra vis he r T o illustrate w hat t h e s e pre cious spoils we re b e fore t he y we re torn from t h e building th e y d e corat e d two small mod e ls o f t he t e mpl e o f M in e rva have b e e n place d in t he sam e room O ne re pre s e nts t he Part h e non as a wh ol e as it was in t he a g e of P e ricl e s ; t h e ot he r w h at it h as b e e n re duc ed t o by tim e and t he hand of man a m e lan and rubbis h Wit h t he s e ch o ly he ap o f ruins mod e ls b e fore ou r e y e s it re quire s but littl e att e n tion and consid e ration t o re store e ve ryt h ing to its plac e in o ur imag ination and from the s e scatt e re d frag m e nts e ntire ly to re build t he work of P he i d i as It consists o f t h re e principal pa rts —t he fri e z e The e x t e rior t h e m e top es and t h e p e dim e nts fri e z e of the cella or sanctuary insid e t he colonnad e w h ich e ntire ly surround e d t he cella o r per i s ty l e was simpl y call e d the f r i ez e It consists o f a lon g s eri es of marbl e slabs succ e e din g e ach othe r w it h out int e rruption of e qual proportions all sculp t u re d in bas re li e f and all re lati n g t o o n e subj e ct .
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G RECI A N SC ULP TURE
[6 4
.
L ouvre ) ,
and t he ir plac e s h ave b e e n suppli e d by pla s te r cas t s t o co mpl e t e t he s e ri e s w h ic h is arran g e d in t he El g in Saloon in t he sam e ord e r as it was on t he outside of t he cella o f t he t e mpl e o f Min e r va The subj e cts o f t h e bas re li e fs o f many o f t h e first o f t he slabs a re es ods and odd ss s d ifi d ro h e e e e o r e g g ,
.
-
,
F ig
.
— l i r v a e C a 4 3 .
.
F i g 35 .
.
—Caval i ers
.
( Fri eze of the P arthen on ) .
at e d in pairs : J upit e r and J u no Ce re s and T riptol e mu s tEs cu la pi u s and H yg e ia C astor and Pollu x T rains o f fe mal e s follow wit h t he ir fac e s dire ct ed to t he g od s to w hom t he y are carryin g ifts e rtain of t h e dire ctors or r e ulators of t h e C g g proc e ssion rec e ive t he pre s e nts o ffe re d to th e gods A ft e r t h e fe mal e s co me t he victims d e stin e d fo r a ll
se
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.
GR ECI A N SCULP TUR E
.
acrifice t he c hariots and ch ariot e e rs t he meta ct or stran g e rs re sid e nt in At h ens b e arin g on t he ir sh ould e rs a tray fill e d wit h fru its cak e s and othe r o fl e ri ngs ; las tly cam e t h e h ors e m e n youn g me n of h i g h rank from t he towns of Attica u n arm e d and w e arin g t he chla my s only The g roups of hors e m e n and wom e n t h e form e r e spe cially are ce rtainly t h e b e st part o f t he fri e z e o f t he Par Not h in g can e x c e e d t he vari e ty and the non bold ne ss of t he attitud e s o f hors e s and me n The e l e anc e of t h e forms t he accuracy o f t h e propor g tions t he pow e rful mod e lling t he d e licacy a nd finish of t he c hi s e llin g combin e t o mak e t he m t he mast e rpi e c e t he unattainabl e id e al o f t he art o f bas re l i e f The sculpture s o f t he g r e at e x t e rnal fri e z e w e re call e d m e tope s b e caus e t he y occ u pi e d the spac e s b e tw ee n t he arch it e ctural ornam e nts call e d tri h e d t he e ntablature o f t h e lyp s w ic h surmount h g colonnad e Th e m e tope s w e re square niche s wh ich form e d a kind of fram e fo r t h e subj e ct re pre s e nt e d T he y w e re paint e d in antiqu e re d ( rosso antico) and t he int e rv e nin g tri g lyphs w e re blu e As t he se niche s w e re on t he o ne h and not d e e p e nou g h fo r statu e s and on t h e ot he r too h i g h up and far back fo r bas re li e fs to be visi bl e t h e y w e re suppli e d wit h ornam e nts in hi g h re li e f wh ic h w e re of a m e dium
s
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G RECI A N SC ULP TUR E
1 66
.
c h aract e r b e twee n full and low re li e f T he s e m e tope s of w hich t he re a re si x t e e n all re pre se nt e pisod e s o f t he conflict b e tw e e n t h e C e ntaurs and La pi t haz or rat he r b e tw e e n t he Ce ntaurs and A t h e n ians w ho und e r T he s e us join ed t h e La pi t hzs .
,
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,
F i g 36 .
of
t he
Ce nta u rs
.
— M e to p e of the P arthenon
,
.
a race o f t h e vall e y s o f O ssa and P e lion t he lic e ntious robb e r sons o f I x ion and t h e P h antom or clo u d w ho w e re suppos e d to b e ,
,
,
GRECI AN SC ULP TURE
1 68
.
arm e d from t he brain o f Z e us und e r t he h atche t of V ulcan The w e st e rn pe dim e nt re pre s e nt e d the D i spu te of P os ei don a n d P a llas for the h onour o f g ivin g nam e to t he native city of ‘ C e crops The y ag ree d t hat t he produce r o f t he most us e ful inve ntion sh ould be the victor P o s e i d on form e d a h ors e and Pallas caus e d an oliv e tree to sprin g up ; t h e latt e r b e in g the e mbl e m o f pe ac e At he n e w on t he pri z e Both subj e cts stood out from a re d g round lik e t he m etope s and t h e artist so arran g e d t he m t h at e ach statu e h ad its d u e sh are of li g h t and s had e e ve ry hour of t he day I say the pe dim e nts r epr es en ted not re pre fully
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me to the
You the n
co
y of th bi th of Mi n N pt ne ab t Atti ca th W i th the e cepti o of a tor
ou
u
e
e rva
r
e
G ri ffi ns seco n
y
he i d ias ,
P
d
dd
a
of
Icti nus
,
“
s :
Near
( from r apvotp,
di p
u i P a s a n as, At ti ca, (
cha
,
an d
p p
b
of
a ro o s
s
of
us
the
p
the fa l e
P arth e non
w i th
u te
th at the arti s t rh e tori ci an
Ro me te l ls
xx i v .
.
)
of
the
of
the
Ne i the r
.
d
C all i crates , are e ven menti oned Su ch col ness A fe w lines fur ther on , P ausan i as aston i sh i ng .
.
pl
the te m
a
The h i s
on.
he r
e tai l s
al l
r
n or
i n i ffe rence i s
an d
d
few
Ari maspi , thi s i s
ce n tu r
”
d the Pa then
ped iment
s o ne .
n
and
d
fi ll
e o th e r
,
x
p
te m l e cal l e
locust ) ,
is
e
sai
dt Ap
statu e of
ro nz e
of
be the w ork
o
me d P arnopos, b ecau se fro m the locu sts w hi ch w e re na
b
a
p
ro
w as ti ng
it
ol l o
mi sed
poll
A
P heidias
to
We
d
e li ve r
o
P a rn o pos It is
.
su r
y
t he
cou n tr
know th t h k p t hi w by w h t m ns I h ve s en th l t w d b t w d n ot k d t ye d n M nt Si pyl th ti m s a d each t im i n d i ff t The fi t w m nn ca i d aw ay by a d i olen t w i d t h nd the thi d p e i h ed f m y d by h y i w e de t ol d Th i s i th w y i n w hi h the All th i h ppened i my d y f C th i t i c f n l b ated t a el l t c ci t ti mes ea g j dg d w o k s f art d pok f t t e by P hei dias ! or
rs
s ro
er
s
e
r v
r
e re
rr e
eav
ra n ,
n
o
er o
an
a
e
,
a
a
.
n
a
s
.
e o
n
e
r
a s a u
r s
e
r
e
e
e
r
”
e
e
v
aesa re a,
s
ea
ree
us
e
a
r
a
no
ou
e r.
a
u
o
o
e s ro
ce e
e
u
,
.
e re n
e se co n
ro
a
o
ocus s
a
,
s
c
.
c
a
en
,
GRECI A N SCULP TURE
.
t for alas ! w e only know from history and conj e cture s w h at w e re t he subj e cts and w ho w e re t he p e rsonag e s w h o fi g ure d in t h m The most mast e rly sch olars h ip would fail to ons t ru ct one distinct sc e n e from t he ruins wh ich w e re coll e ct e d from t h e t e mpl e and are e x hibit e d in London Not only are t he re mainin g fig ure s m e re frag m e nts but many and t h ose t he ch i e f have e ntire ly dis appe are d in t h e battl e s t he ass aults t he ravag e s o f wh ic h t he city of Pallas was so oft e n t he t he atre and t he victim We will try and g ive som e id e a of t h e mag nitud e of t he s e irre parabl e loss e s I do n ot know t he e x act di ffe re nc e b e twee n t he old At he nian and t he mod e rn En g lish foot me a sure but it is suppos e d t h at the fagad e of t h e old H eca tompedon o r at l e ast of t h e tympanum o f t he pe dim e nts b e in g e x actly on e h undre d En g lish fe e t lon g mi g ht h ave b e e n s o ca ll e d b e fore t he ag e o f P e ricl e s We ll t h e n to confine mys e lf t o t he e ast e rn pe dim e nt (the B i r th of P a llas ) t he re re main o u t of all t he fi g ure s w h ic h compos e d it but five frag me nts o f t he l e ft an g l e in l e n g t h t hirty t h re e fe e t and four frag m e nts o f t he ri g ht angl e in l e n g t h twe nty s e ve n fe e t A most care ful s e arc h has b e e n mad e but n ot a ve sti g e has b e e n discove re d of all that fill e d th e forty fe e t in t he middl e ; th at is to e e us b incipal sc e n Z surround ed say r th e y p sen
,
e
.
t
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GRECI A N SC ULP TURE
1 70
.
e t h e r brok e n r at ods is alto d stroy d e e e g g g anni h ilat e d ! Art lik e R ac he l in t he Scriptures must w e e p for e ve r for s he too has lost he r be love d c h ildre n h e r nobl e st productions s he t oo can ‘ n e ve r be comfort e d Et n olu i t cons olar i L e t us n ow re turn to t he frag m e nts wh ic h re main t o us m e re fra g m e nts o f almost sh ape l e ss ston e y e t more pre cio ns in spit e of the ir t e rri bly mutilat e d condition t h an t he riche st diamonds o f Golconda According t o O tfri e d M ull e r w ho was followe d by M M B e ul e and M e nard t h e subj e ct o f t he e ast e rn p e dim e nt is tak e n from a hymn of H om e r in wh ic h t h e
t he
,
,
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,
.
.
,
,
Wh en
Marq u is
t he
p
C onstanti n o le , i n
p pi l
th e
of
u
p dim nt bui ldi ng w
s, and
e
e
Le
th e at tack
P arthen o n
b
dy V
mu ch i nj u red bu t e ne ti an s ,
H
dm
o s t.
un
d
mbassador
as
a
meto pes,
he ar
d
an d
ye g comp l ete
care full s t i ll
by
made
raw i n g s
the
tw o
Th e
.
I t w as
.
1 68 7,
to
C arrey,
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1 6 74,
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Ve ne ti an general had b ombs thrown i n to i t a d on the n i ght of the 2 6 th of Se p te mbe ell u t the P the non i n a t erri bl e e p l o i n b rs t o p n th e an d When r the l te Mo sini w as c mpelled to band on his tw o he w i sh d to ca y o ff th e i ch e t t oph i es to V en i c en terp ri se l m f th e p i n i pal t t es w as so has ti l y an d B t the ffe t d th t th e y w e th w n to th e ear th n d brok en aw k w ard ly to p i eces Athe n i n th e fiftee nth ( M Le n d L b d e r
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GRECI A N SC ULP TUR E
1 72
.
point of t he an g l e w e find first : t he he ad o f s e a e h t e y p rion lios sun l avin in h e e t h t e H e H ) g ( h t e f e e arly mornin arms rais d rom wat r i h s e g h oldin g t he re ins of h i s ch arg e rs t h e n two h e ads of t h e hors e s o f t h e sun risin g from t he wave s ; t he n The s e u s t he Athe nian h ero h al f re cumb ent ,
,
,
,
-
,
F i g 38 .
,
.
—These
us
.
( F rom the P ar th enon ) .
a rock cove re d wit h t h e sk in of a lion and imitatin g the at t i t u d e of H e rcul e s ; th e n a g roup o f two g odd e ss e s on low s e ats wh ic h a re alik e i n t h e ir construction T he y a re suppos e d to be P e r s e ph on e and D e m e t e r ; on e of th e m l e ans h e r h e ad on t he s hould e r of t he ot he r th at he r fi g ure may on
,
,
'
,
.
,
GRECI A N SCULP TURE
1 78
.
lowe r T he n risin g g radually h i ghe r to su it t he a statu e of Iris t he he i g h t of t he tympanum m e ss e n g e r of t he g ods w ho wit h he r ve il inflate d by t he wind app e ars in hast e to e x e cute her mission of communicatin g to t he world t he int e l l i g e n ce of t he birt h o f At he na Passing ove r t he d e plorabl e bre ak of forty fe e t in t he c e ntre w e find succ e ssive ly in the rig ht an g l e beg innin g at the h i g h e st point : t he torso o f a statu e suppos e d to be a win g e d Victo ry t he wing s o f wh ic h w e re doubtl e ss o f bron z e fo r t he hol e s on t he s hould e rs in w h ich t he y w e re fast e n e d to t he marbl e may still be se e n ; t he n in two fra g m e nts t h e famous r oup call e d t he t h r e e P a r ca ; on e by h e rs e lf is g s e at e d with h e r fe e t tuck e d und e r he r s e at lik e a spinne r at a dista ff t h e ot he r two conn e ct e d re pose on a Tha la mos one re stin g ag ainst t he bosom o f t he othe r so as to suit t he slope o f t he an g l e lik e Ce re s and Pros e rpin e on t h e opposit e sid e ; lastly t h e h e ad of on e of t he hors e s b e long i n g to t h e c h ariot o f Se l e n e ( ni g ht) w h ic h is plun g ing into t he oc e an at t h e e x tre m e e n d of t he an g l e a d corr e sponds wit h t h e car o f H ype rion on t he n l e ft I do not know if t he ma rve llous g roup of thre e wom e n re ally re pre s e nts t he t hre e Parcae If s o it will j ustify my re mark in sp e akin g of t he picture o f t he F ate s by M ic h a e l An ge lo t hat the
be
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,
,
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GRECI A N SC ULP TURE
1 74
.
Gre e ks in the ir e x ce ssive love o f t he b e autifu l mad e t he P a r ca and e ve n t h e F uri e s not o ld and h i d e ous witc h e s lik e t h e mod e rns but b e auti ful and pow e rful matrons althou g h not quit e so c h armi ng as t he young virg ins w ho re pre se nt e d t h e Grac e s The subj e ct of t h e w e st e rn p e dim e nt was th e "E disput e of Pos e idon and Fa llas With t h e e x ce pt i o n of t h e first fi g ur e on t h e l e ft its r e mains a re in a still wors e condition o f ruin and mutilatio n t han t hos e o f t he opposit e p e dim e nt Noth ing is pre s e rve d but a sh ap e l e ss mass of fra g m e nts t he ,
,
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Three di fl ere n t tradi ti on s '
of
thi s
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me
co
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own
to
Accor i ng to H ero otu s an d P ausan i as, Ne tu n e caus e a s ri n g of sal t w ate r to s r i n g from th e Acro oli s , an d Mi n er va ma e Accor i ng to o th ers —an d thi s i s the more an ol i ve tr e e gr ow u p ve ve rs i on —Ne tun e an d M i n e rva , the o n e wi th a n r a ll i y r e e e ce g l ow fro m a tri en t, th e oth er fr om a s ear , ro u ce a horse and A thi r s tor re lat es that Ne tun e an ol i ve tre e fr om th e e art h creat e u tti n h ors e , and M i n e r va t ame i t a w il o n t h e b i t g H ippi a , a nd to he r favou ri te Th i s is w h y th e l atte r w as call e Erecth e us w as att ri u te t he h on ou r of havi ng t au g ht me n th e use I t must be ac n o w l e g e that th e l as t o f th e ri l e an d rei ns t o th e e ct i s e tte r su i te d t han th e oth e r tw o i ctu res u e su ’ e i me n t, an d C arr ey s a r rang emen t of th e gr ou s of a raw i n g “ e l i ef th at Ph e i d i as a o te it au th or i ze s th e Th e mean i ng , “ i s th e same as th at of the tra i ti o n sa s M Loui s d e Ron ch au d , The e feat of ru te force i rth of the oli ve i ntell i g en t of th e th an i n th e m th e n e rg u ote i s more stri i n gly ty i e by H e ro otus, e cau se M i nerva, after havi ng su ecte the force created osi t i on t o h e r, to h er l aw s , ma e i t su se rvi e n t t o h e r in O es i gns us
d
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GRECI A N SC ULP T UR E
1 76
.
tre m e o ld ag e Aft e r th is i mm ense fi g ure of I ly s s u s com e s t he colossal tor s o of a man call e d Cecr ops t he found e r of At he ns T he n som e supe rior frag m e nts also of colossal propor tions o f a h e ad of P a llas originally w e arin g a bron z e h e lm e t and wit h e ye s o f coloure d ston e t he n a frag m en t o f t he body o f t he sam e Pallas a part o f t h e c he st cov e re d wit h t he a e g is t h at is t h e h e ad o f M e dusa wit h t h e s e rpe nts i n bron z e ; t h e n a frag m e nt of t he tor s o of Ne ptun e ( Pos e idon ) o f t he maj e stic c h e st T he n t he torso o f Ni he Apter os or Vi ctory w i thou t Wi ng s w h o was t h us re pre se nt e d by t he At he nians to indicate t hat t he y he ld he r in pe rp e tuity and s he could n e ve r d e s e rt the m Th is fait hful Vi ctory dre w t he car on wh ic h Min e rva was to asce nd to H e ave n a ft e r he r victory ove r Ne ptun e Lastly at t he ri g ht an g l e o f t he pe dim e nt a small fra g m e nt o f a g roup of L a tona hands
in
hi s
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Whe n Mari e Jos e ph blind poe t of Ch ios :
B
Che ni e r
po ten tat 1 c é on t p
said
of
t he
inspi red
émé re , ’ Tr oi s mi ll e an s ass su r l a ce n d r e d H omé re, Et , dep ui s troi s mille ans , H omé re res pecte ’ Es t j eu n e ca cor de gl oi re et d i mmortali té ; ri sant
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ou ron ne e h p
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b e fore h i s mind t wo H om e ric po e ms wh i ch b ee n pre s e rve d wit hout alt e ration first in t he
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had
,
GR ECI AN SCULP
TURE
1 77
.
m e mory o f me n t he n in fra il writing and las tl y Th e arts are not so i n impe ris h abl e p rintin g fortunat e as l ett e rs ; fo r inasmuc h as t he ir works cannot b e multipli e d by copi e s and a sin g l e spe cim e n o f cours e occupi e s but one spot in t he world n e ith e r the canvas of t he paint e r the m arbl e o f t h e sculptor n or t he pillars and vaults ,
,
.
,
,
,
,
,
F i g 40 .
.
—Torso
.
arch it e cture can re sist t he d es tructive action of Th e tim e as w e ll as print e d o r writt e n matt e r I liad still re mains compl e t e and t h e l e ss ag e d Par t he non is in ruins W h ilst th e g lory of H om e r re sts on imp e rishabl e foundation of h i s works t he ru t h l e ss tim e and sacril e g ious me n h ave l e ft to P he i d i as noth in g but pitiabl e re mains o f w h ic h w e may say as of t h e mutilat e d body o f H ippolytus Tri ste bj t oi d e D i e u t i om ph l cole Et que mé conn ai trai t l il meme d e on pe e
of
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.
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s
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oe
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GRECI A N SC ULP TURE
1 78
.
t h e se re lics are so b e auti ful so wond e rful so d ivin e ; t h e fe e bl e st ima g ination can so re adily re combin e and compl e t e th e m th e y addre ss th e soul in lan g uag e so lofty and profound ; t he y awak e n s uc h insatiabl e curiosity suc h fe r ve nt admiration ; t he y j ustify so e ntire ly t he v e rdict of C ic e ro on — t he ir author M en ti i ns i deba t i dea pu lchr i tu di n is t h at althou gh ce nturi e s have not spare d hi m Phe i d i as lik e H om e r E t j e n e en o d e g loi e e t d i mmortali té B ut
,
,
,
,
,
,
s
u
c r
’
r
.
I could not sp e ak in more m e asure d t e rms marbl e s of t h e Part he non It would be o f t he culpabl e n e g l e ct of duty to do so I s hou ld fe e l t hat I was as sacril e g ious as t he ir d e stroye rs But I must re mind t he visitor to t he Britis h M us e um w he n h e mak e s h i s sacre d pil g rimag e round t he Eli g n room of on e or two facts v i z t he mutilat e d m e top e s are not now s e e n from t he sam e point of vi ew as whe n t hey occupi e d th e e ntablature of t he colonnad e ; the fri e z e w hich is in parts b e tt e r pre s e rve d th an t he m e top e s doe s not pre s e nt t he sam e asp e ct in th e insid e of a room as it did in t he r ona os of t h e t e mpl e rou d outsid of h e t e h t e n p cella ; and lastly t h at t h e re r e main fra g m e nts only t hat t he y o f t h e lat e ral fi g ure s o f e it h e r p e dim e nt w e re t he l e ast important in t h e g roups and t hat t he c e ntre or principal part is abso lut e ly wanting in .
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GRECI A N SC ULP TURE
18 0
.
picture s of R apha e l t h e statu e s of M ic hae l Ange lo t h e monum e nts of Palladio or t he op e ras of M oz art Th is is w hy w e may call t h e m t he fin est works of art e ve r produc e d by h uman g e nius To b e li e ve ” it possibl e to surpass th e m say s Mont e squi e u will ” always be not to know t he m It cannot be d e ni e d t h at the Greeks of t h e pre s e nt day s ee ing th e ancie nt te mpl e of the ir Acropolis d e spoile d of all its ornam e nts h ave a ri g ht to curse t he d e pre dators But whe n it is re m e mb e re d how oft e n t h e s e works have be e n ill tre at e d h ow totally th e ch i e f statu es h ave be e n d e stroy e d how much t h e ot he rs have be e n muti lat ed and th e dan g e r the latte r we re in of b e ing d e stroye d in t he ir turn w he n t he y consid e r t hat t hes e precious re lics of art are now in a place of safe ty in t he c e ntre of artistic Europe ; t he wish and almost th e right to re proach t he Eng lish fo r dismantling the ir t e mpl e must pass away And i f a re g re t has marre d t h e inte nse pl e as ure of my own admiration in my many and re ve re nt visits to t he marbl e s of P he id i as it is t hat t he t h i e f w ho stol e t he m was not a F re nch man and t hat t he re ce iving h ouse w h ich took t he m in was not the M us e um o f Pari s ,
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RO MAN SC ULPT URE
.
UR re marks in a form e r work on Roman paint
apply e qually to sculpture C onqu e re d and subdu e d re d uce d to t he condition of a m e re province of t he Re public and subse qu e ntly o f t he E mpire Gre e ce was n e ve rt h e l ess t he instructre ss of Rom e It was h e r sons w ho introduce d all t he arts and cultivat e d t he m in Rom e We have alre ady notice d th at t h e famous g roups of th e L aocoon and the Tor o F ar nes e alt hou g h produc e d aft e r t he Roman c onqu e st we re e x e cut e d b y Gre e ks and in Gre e ce C ice ro Pliny Quintilian Pausanias h ave transmitt e d to us t h e na me s of all t he g re at sculptors of H e llas ; th e y do not m e ntion a sin g l e The Romans borrow e d t h e i r native of Rom e subj e cts and in arts as in l e tt e rs and in e ve ryt h in g e ls e t h ey always care d more for t he r e al t h an t he id e al t he y we re e ve r n e are r e art h th an he ave n Th e sculpture s by native artists or t hos e by Gre e ks i ng
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R OMA N SC ULP TURE
18 2
.
we re re duce d to t he positions of artisa ns i n R om e w e re but ima g e s of t h e ir d e ifi e d Cae sars and th e ir lib e rtin e wive s or o f t he favourit e s of t he imp e rial palac e Industry usurpin g t he plac e of a rt manufacture d statu e s of e mp e rors and e m pre ss e s b e fore t he y we re n ee d e d and t he he ads w e re add e d accordi n g to t he re quire m e nts of dif fe re n t re i g ns Sta tu a i con i ca o f th is kind w e re far more nu m e rous in Rom e t han in Gre e c e The sam e kind of public homage re nd e re d t o th e family of t h e re i g nin g e mp e ror in t he c apital of t h e world w as accord e d in t h e provinc e s t o t he proconsuls t h e pre fe cts and t he powe rful patrician famili e s w ho h e ld w h ol e towns und e r t h e ir control Th e nin e statu e s of th e B al bu s family found in t he t h e atre of We will conte nt H e rculan e um are a proof of th is ourse lve s wit h noticin g t hos e g rand spe cim e ns of t h e Roman e ra contain e d in di ffe re nt coll e ctio ns o f works o f art w h ic h s e e m to us to m e rit att e ntion We b e g in in Italy at F lore n ce The mus e um deg l Ufi z i poss e s s e s a coll e ction call e d t hat of t he Roman e mpe rors wh ich i s n e rally consid e re d t h e most compl in e e t e h e t g world In it the re are in fact som e v e ry rare busts suc h as t hos e o f C ali g ula and of O th o Including me n wom e n and c h ildre n t he re a re si x ty nin e ; from Pomp e y (w ho would doubtl e ss be rat he r w ho
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R OMAN SCULP TURE
1 84
.
can only quot e one A ug u s tu s ha ra n g u i n g t h e p e opl e o n e Tr aj a n and on e H a dr i a n At R om e w e must look for re lics of anci e nt national art in t he Capitol not in t he V atican T he mod e rn Romans who h av e partly d e molishe d t h e C oloss e um w h o h ave call e d t he F orum t h e Ca ttle M a r het ( Ca mpo Vacci no and plant e d arti chok e s o n the T arp e ian Rock h ave not e ve n re spe ct e d t h e anci e nt nam e of Capitol wh ich s hould for e ve r h ave d e sig nat e d t he fortre ss of t he Et e rnal C ity T he y h ave conve rt e d it into a stran g e word Ca mpi dog li o w hich sig nifi e s rathe r a fi e ld o f col z a a fi e ld of o il th an t he citad e l of risin g Rom e wh ich b e cam e t he t e mpl e whe re victorious R oman g e n e rals sung t he Te D e um in th e ir imposin g triumphal ce re moni e s Asce nding to t h e n e w C apitol by t h e doubl e staircas e o f M ic h a e l An g e lo We pass b e tw e e n t he t w o blac k Eg yptian lions t he colossal statu e s of Castor and Pollu x call e d t he Tr ophi es of M a r i us and re ve re ntly bowin g b e fore th e bron z e e qu e strian statu e o f Marcus Aure lius on t h e nobl e h e ad o f w hich t he anci e nt g ildin g is still visibl e w e e nt e r t he Muse um ” In it th e re is anot he r room of Emp e rors co n tainin g an Ag r ippi na w hic h is a fair type of t he R oman ladi e s o f t he ag e ; an A n ti noics t h e fin e st of all t he statu e s of H adrian s d e vot e d fri e nd ; and a num e rou s
we
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R OMA N SC ULP n li us
?
.
Ca s a r , plac e d und e r t h e portico o f t he palac e
The last nam e d is said to portrai t of the fo u nd er o f -
F i g 42 .
P apa l
TURE
.
.
be t h e th e
onl y authe ntic e m pire w h ic h t he
( Rome )
Anti nou s
.
.
city h as pre s e rv e d Th e prov e rb which says a saint is at h ome in h i s s hrin e would apply t o C ae sar in t he C apitol n e ar to a fine statu e .
,
,
U
R OMA N SC LP T URE
1 86 of
Tr i u mphan t
.
R ome,
and s e at e d b e twee n t w o captive kin gs not far from t he c e l e brat e d Wolf ; ve n e rat e d by th e anci e nt R omans and immo rt alis e d by C ice ro in h i s Ca ti li ne Or a ti ons and in h i s po e m on t h e C onsulat e At Napl e s w e find th e nin e statu es of t h e B albu s family alre ady allud e d to —t he fath e r mot h e r son — and t hree d a u g ht e rs found tog e the r in t he t he atre H e rculan e um ove r w hich town this family of a prot e ctorat e T wo of th e m t he e x e rcis e d e qu e strian st atu e s of Marcus Nonius B a lb u s and of h i s son are v e ry fin e and v e ry curious Th e h ors e s are ambling t h at is to say t h e y rais e bot h l e g s on — o n e sid e in trottin a stran g e attitud e not re pre g s e nt e d to my knowl e d g e in any oth e r a n ci e nt or mod e rn e qu e strian statu e The h e ad of t he young e r B alb u s was brok e n to pi e c e s by a F re nch cannon ball wh e n it was in t he Palace of t h e Po rtici in 1 7 99 and a n e w he ad w as T he b e st mad e from a cast of th e frag m e nts o f t h e ot h e r statu e s of t h e sam e family are t h os e of B a lb u s t h e fat he r and of C iria h i s wife w ho is We notic e the m for re pre s e nt e d as Polymnia se ve ral re asons : in t he first plac e t he e x e cution of most of t he m is g ood ; s e condly t h e ir discove ry tog e the r was curious ; and lastly t he ir arran g e m e nt in t he t he atre as tute lary diviniti e s of a con ,
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R OMA N SC ULP TURE
1 88
.
acc e ssion t o supre m e pow e r H ad n o t th e nam e of t he t h ird Cae sar T ib e rius b e e n disgrac e d by blood s he d and d ebauch e ry and brand e d by T acitus h i s statu e mi gh t h ave claim e d first rank It was found at Capri ( Capr ea ) th e favourit e re sid e nce of t his gloomy tyrant w ho is re pre se nt e d h olding t h e small sce ptre call e d s cipi o (sta ff ) and it may be consid e re d o ne of t he fin e st works of t he I mpe rial e poc h It g ive s a p e rfe ct spe cim e n o f the tog a t he rob e of wh ich t h e R omans w e re so proud and o n account o f w h ic h t he y w e re call e d by fore ign e rs s e n t o t s a a t h e u e o f w h ic h was discontinu d e g g soon aft e r t he ag e of Au g ustus in spit e of th e e dicts o f t h e e mp e rors Marcus Aure lius was totally di ffe re nt from T ibe rius H e j u stifi e d Plato s dictum : Me n will n e ve r be h appy unl e s s t he y are gove rn e d by H e was a royal p h ilosop he r h e was p hilosophe rs Th e s e cond plac e o f h onour is Socrat e s crown e d t he re fore ri g htly g ive n to o ne o f hi s statu e s : he w e ars th e military costum e t h e pa lu da men tu m and t he cuirass of ornam e nt e d l e at he r fittin g to t he s hap e and l e avin g parts of t he body bare as in t he imag e s o f h e ro e s an d g ods T h is s e cond statu e was probably not rais e d u ntil afte r th e d e ath of M Aure lius whe n t h e e x c e sse s of h i s succ e ssor had incre as e d the re g re t of t h e world fo r h i s loss .
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R OMA N SCULP TURE
18 9
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In bot h M arcus Aure lius w e ars t he be ard wh ic h was a gain introduc e d by t he family of Antoninu s afte r b e i ng discontinu e d for four c e nturi e s fro m the tim e of t he o ld Scipio ( Barbatus ) g rand fat he r of t he first Africanus Amon g st t he ot he r impe rial statu e s w e will notice : a L i vi a t he wife of Au g ustus re pre s e nt e d as Ce re s wh os e tunic is as w ort hy of study as t he ‘ tog a of T ibe rius ; a Su li a da u ght e r o f Au g ustus ; and lik e h e r mot he r i n law dre ss e d as Ce re s t h e f l e ft h and o t h is infamous woman h o w w as ( succe ssive ly the wi fe o f Marc e llus Ag rippa and T ib e rius h as fortunat e ly b ee n pre se rve d an e x cep t i on a l circumstance as t h e hands and o ft e n t he arms of most antiqu e statu e s have b e e n re store d ) a Ca l ig u la or rath e r a h e ad of C ali g ula on a strange body for t he fe e t are wit hout t he simpl e l e ath e r boots (ca li g ae ) wh ich t hat e mpe ror wore from h is infancy in the camp of hi s fat he r G e r mani cu s and from whic h he obtain e d h i s surnam e t is e ad is valuabl e on account of its rarity for h h ( it is we ll known t hat t he sword of Cha rcas h ad scarc e ly fre e d t he e arth from t he furious madman w ho wis he d t h at t he R oman p e opl e h a d but ” w he n t h a t o n e he ad to b e struck o ff at a blow peo pl e w h o always survive d the ir m as t e rs th rew down and d e stroy e d all the imag e s of the tyrant) .
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R OMAN SCULP
1 90
TURE
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a Vi ctor i ous Ner o triumph ant not ove r t he conspi racy o f Piso or t hat of V ind e x but in c hariot race s or in trials of skill on t he cithara (xi fla pa ) H e w e ars t h e he roic costum e or on th e flut e that is nudity and o n h i s he ad re sts t he diade m not of a king but of a victorious at hl e t e Who would re cog nis e in t h is b e autiful and t e nd e r fi g ure of t h e son o f A g rippina t h e assassin of h i s mot h e r hi s brot he r hi s wife o f Se n e ca L ucan and many oth e rs t he inc e ndiary of R om e and the torture r of t h e Ch ristians ? A Ti tus d o ubtl e ss sculpture d wh e n he re turn e d from t he sack of J e rusal e m be fore h e be cam e t h e p e ac e ful and b e n e vol e nt princ e w ho was call e d del i ci a g ener i s hu ma n i H e is in fact in t h e attitud e o f a g e n e ral addre ssin g t he military H i s armour is re markabl e adl ocu ti o to h i s troops for t h e ocr ea or gre av e s (t h e [an y/1 686 9 of t h e Gree ks) wh ic h cove re d th e le g from t he ankl e t o t he knee and also for t he s hort he avy sword h ang ing A Tr aj a n that gre at and nobl e from a b e lt prais e d by Pliny t he younge r and e mp e ror by Mont es qui e u s e ve nte e n c e nturi e s afte r his re i g n th e conqu e ror of t he D acae and th e Par t h i a ns he w e ars an Isis on hi s bre astplat e inst e ad of t he M e dusa and h i s fe e t are bare as was h is custom in war Lastly a P upi en us ( or Ma x imus) almost nud e as re quire d in th e s o call e d he roic ,
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R OMA N SC ULP
1 92
hi m
T URE
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as H e rcul es but probably t he he ad only i s t hat of A nt i n o ii s,and t he body t hat of C ommodus t h e ot he r as Arist aeus t he T h e ssalian h e ro b e cam e I n t he t he g od of b e e s o f flocks and o f oliv e s latt e r wh ich is p e rfe ctly w e ll pre s e rv e d A nt i noii s — w e ars t he costum e o f a s he phe rd t h e petas us or straw h at t he half tunic w hich l e av e s t h e ri ght arm fre e and t he l e at he r boots call e d per on es Among st t h e R oman busts w e will bri e fly nam e in ch ronolo g ical ord e r : an Ag r ippa an e x c e ll e nt portrait of t h e re al conqu e ror o f Actium A D omi ti u s Cor bu l o w hom Ne ro n e v e r forg av e for intro d u ci n g t h e h onour and virtu e of R om e into t he camp th e reby cond e mnin g t he cri me s o f the A Ner o in w h ich t h is last o ffsh oot of t he Cae sars h at e ful rac e o f Au g ustus is re pre s e nt e d in a sid e ral crown wit h e ig ht rays A D omi ti a n wh os e por traits are as rare as t hos e o f C aligula fo r t he s e nat e proscrib e d e ve n h i s m e mory A colossal A n ti n ous as O siris w h o once had th e lotu s t he sacre d plant of E g ypt on hi s he ad pre cious ston e s in h is e y e lids and gilt bron z e drap e ri e s on hi s sh ould e rs A L uci us Ver us a d e licat e and pl e asin g portrait of t he adopt e d brot he r of Marcus Aure lius of th at e fl e mi n at e type of R oman peti ts ma i tr es w ho powde re d t he ir h air and b e ard wit h g old dust A Septi mu s Sever us, w e arin g t he anci e nt mantl e ,
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R OMA N SC UL P T URE
1 93
.
of
he avy
s tu fl ,
ll e d la na by th e Romans an d h k a z va or It is m oem) by t he Gr e e ks e ntion e d x X by H om e r an d by a return to ancie nt fas h ions it finally supe rs e d e d t he tog a A Ca r aca lla and a Geta t he brot he rs w ho s h are d t he imp e rial t h ron e fo r a s hort tim e until o n e stabbe d t he ot he r We re cog nis e Caracalla not only by his fe rocious e x pres sion but also by t h e inclination o f h is hea d t n t h e l e ft in imitation of Al e x and e r t he Gre at A P la n ti lla t h e wife of this insan e monst e r A M a ti d i a t he amiabl e an d virtuous ni e c e of T raj an A F a us ti na mot he r of t he first Anton i n us ; a e of M arc u s oun r lascivious wif F a us ti na th e e y g Aure lius g ive instance s of t he strang e h ea d d re ss e s adopt e d by R oman ladi e s in li e u of t he s impl e braids of hair w h ic h t h e G re e k ladi e s bo u nd The form e r wore so tastily with colour e d ribbons larg e u g ly wi g s call e d cas que (g a ler us or g a ler icu lu m) of e ve ry fantastic absurd and inconce ivabl e s hape wh ich w e re usually mad e of red h air import e d from G e rmania T he re are som e bust p ortraits of th is pe riod wh ich for g re at e r accuracy have the w ig o f coloure d ston e mad e t o tak e o ff and on so t hat i t co u ld be chan g e d at will Las tly of t he bas re li e fs mad e at R om e and w h ich w e re n e arly all e x t e rn al orna me nts o f s ar co p ha g i w e w ill se l e ct for not ice : two of t h ose ’
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1 94
T URE
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sol e mn sacrific es wh ich w e re o ffe re d up e ve ry five y e ars in e ach quart e r of t he Et e rnal Ci t y calle d s uovetau r i l i a b e caus e t h e ma g is trat e ord e re d t he v i ct i ma r i i to immolat e a pi g s u s ) a s h e e p ov i s ) and ( ( a bull ( ta ur us ) The larg e r and coars e r on e b e tt e r illustrat e s all t he d e tails of t he sacrific e and the small e r is of more d e licat e e x e cution ; o n e will d eli g ht antiqu ari e s t he ot he r artists A Concla ma t i o a fun e ral c e re mony in w h ich t h e d e ad a re loudly c all e d to t he sound of warlik e instrum e nts to a sc e rtain i f li fe be re ally e x tinct In this bas re li e t w e s e e t he strai g h t trump e t of t he R oman infantry h e e u h t b a and t h curv d trump t f t e cavalry e t e o ( ) u T r h h l i u s h e P r t r i a n s o d e s to w om an e t a o l i t ) ( In t h is g rand a dlocu t i o is p e rhaps b e in g addre ss e d has re li e f w e may profitably study t he e ntire costum e o f Roman soldi e rs t he lon g oval sh ie ld t he bre astplat e fittin g to t h e che st t h e s h ort broad and he avy swords which inflicte d such te rribl e blows in a h and to h and conflict The c e nturion h as a win g e d t h und e rbolt on hi s s hi e ld as a tok e n t h at h e b e lon g e d to the famous twe lft h l eg io n c all e d leg i o f u lmi na ns With regard to t he s e iconic statu es both Gr eek and R oman I may p e rh aps be allowe d to mak e o ne closin g re mark applicabl e to t h e works o f o u r In almost all the s e marbl e portraits ow n d ay ,
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BOOK MO D ERN
N the h appy
II
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SC ULP T URE
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call e d the re i g n of t he A nt o nin e s from Ne rva to Marcus Aure lius and und e r Hadrian surnam e d r epa r a tor e sp e cially or bzs a g re at and nobl e e ffort o f re naissanc e was mad e in e ve ry branch of art Th e nu me rou s statu e s o f Antinous tog e t he r wit h t he i mag e s of t he C ae sars and t h e bas re li e fs of t he T rajan column su ffi ce to s h ow us t h at t he R om e w e re abl e at t h is s culptors o f I mp e rial t im e to cont e st t h e palm wit h t h os e o f Re publican B e fore t he era of t he Antonin e s how eve r G ree c e art had d e clin e d and aft e r it all tru e culture was W he n R om e h ad e nric he d e ntire ly abandon e d h ers e lf with t h e spoils of t he world he r w e alt h as w e h ave b e fore obs e rve d vitiat e d he r tast e and s he l e arn e d to car e more for ric he s t h an for b e auty for the pre cious m e tals th an for t he ordinary m a te ria ls of t he arts Pompe y e x h ibit e d his p ortrait mad e in pe arls and Ne ro conc e ive d the ag e
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M ODERN SCULP TURE
1 97
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id e a of g ildin g the bron z e A lex a nde r of Ly sippu s aft e r h avin g a picture paint e d of h ims e l f one h undre d and twe nty fe e t h i g h wh ich Pliny call e d i ns a mu m i n pi ctu r a We h av e also notic e d t h at t he statu e of t h e Emp e ror P u pi e n u s kill e d in a re volt in 2 36 is the last work of antiquity—that is to say — to be e x e cut e d b e fore t h e triump h of C hristianit y found i n t h e mus e ums of Europ e Whe n Constantin e trans fe rre d the seat of the new e mpire to By z antium h e took wit h h i m ma ny of t h e obj e cts of art wh ich h a d e mb e llish e d Rom e We know for instance that h e h ad four hundre d and tw e nty s eve n statu e s place d in t he te mpl e of The g ods and he ro e s of St Soph ia alon e pa g anism we re adapt e d to suit t he re quire m e nts of t h e ne w re li g ion in t he sam e mann e r t hat basilicas and praetorian j ustic e h alls w e re trans form e d into ch uche s But Constantin e was not accompanie d by artists ca pabl e o f producin g statu e s of e qual m e ri t alt hou gh h e ord e re d imag e s of J esus M ary and t he apostl e s It w as t he mat e rial not t he o f t he s e statu e s wh ich was valu e d e x e cution Whe n Anastasius e num e rat e s t he g i fts pres e nt e d to t he c h urc h e s by Constantin e he m e ntions e i g ht ee n “ statu e s in solid silve r nam e ly : The Saviou r se at e d we i g h ing one h undre d and twe nty pounds t he tw e lv e apostl e s nin e ty pounds e ac h ; fo ur ,
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M OD ER N SC ULP
1 98
T URE
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n ge ls of on e h undre d and tw e nty pounds we i ght e ac h wit h e y e s mad e of pre cious ston e s e tc A sin g l e fact is e nou g h to prove t o wh at an e x t e nt t he h orribl e tast e fo r t he fantastic and impossibl e was carri e d at t h is tim e Con stantin e s h istorians re lat e that h e also ord e re d a g roup which combin e d t he portraits of h i s t h re e sons C onstantin e C on T his g roup i n porphyry s t an t i u s and C onstans had t h re e bodi e s s i x arms and s i x l e g s but only wh ich alt e rnat e ly g ave t h e lik e n e ss o f on e h e ad e ach of t h e t h re e broth e rs accordin g to t h e point The first Christians h a d o f vi e w o f t h e sp e ctator non e of t he e nli g hte n e d taste and e nt h usiasm for th e ir i gnorance and t h e fi ne arts o f t h e polyt h e ists prej udic e we re alik e profound Whe n t he Apostl e Paul visite d At he ns (about A D 5 0) it still pos s e ss e d almost all its mast e rpie c e s of anci e nt tim e s but t he Acropolis was still an unrivall e d mus e um ” all t he s e wonde rs says M E Re nan a ffe ct e d t he apostl e littl e ; h e saw t he most p e rfe ct t h ing s t hat e v e r e x ist e d t h at e v e r will e x ist and he was unmove d ; he did n ot tre mbl e The prej udic e s of t he iconoclast Je w blind e d h i m and re nd e re d h i m ins e nsibl e to t he be auti e s o f plastic art ; h e took t he s e incomparabl e imag e s for idols A h fair and c hast e ima g e s tru e g ods tru e g odde sse s t re mbl e b e fore h i m w ho will rais e t he h am mer a
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M OD ER N SC ULP TURIt
Z A)
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viol e nt prej udice s that t he first Christian e mpe rors we re compe ll e d to issu e s e ve ral e dicts fo r t he d e struction of idols and th is d e struction was so e t e t h at w h e n H onorius re n e w e d n ral and compl e e g t h e ord e r t h at t he y s h ould be brok e n fo r t he I f an y still re main s z qua fourth tim e he add e d ,
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cons i s ta n t.
Ne e d I say more o f t he outrag es of the icono cl asts ? n ee d I re p e at t h at th e s e s e ctarians in t he Eas t at l e ast succ e e d e d in d e stroyin g all anci e nt sculpture s and that int e rpre tin g the sacre d t ex t lit e rally t h e y pre ve nte d any new cultivat ion of t he art ? Whe n j ew e ll e ry was pre fe rre d to e v e ryth in g e ls e and w h e n paintin g was co n fin e d to e nam e ls s h e ms an d c a in s on old or silv r sculptur e e g g g produce d nothin g but miniature fig ure s in on e m e tal or in a combination of di ffe re n t m e tals The only arc hit e ctural art of t he Lowe r Empire was t he mosaic We must the re fore re turn to the we st for t he re vival of sculpture and the re naissance of all t he .
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C HA P TER I
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I TALI AN SC UL P T URE
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E cannot paus e to notic e
cru d e pro d u ct i ons o f t he first C h ristian ag e in Italy ; t he y are not e ve n e ssays in art Wh e n b e auty was proscrib e d as fatal and culpabl e whe n th e F at he rs said wit h Mi n u ci u s F e li x impure spirits are ” h idd e n in statu e s w h at u se could art mak e of stone and marbl e ? In t he ru ins o f som e of t he e arli e st c h urc he s w e find t h ick and clu msy blocks wit hout s hape or e x pre ssion suppos e d to re pre se nt a g od o r a saint re minding us of t he primitiv e d i viniti e s of Gre e ce be fore t he tim e o f D ae dalus ; or c h i m e rical monst e rs formin g t he e h e h ar oyl s of roof s of c urc s dis uis d und r t h e e e g g g t he nam e of d e vils ; t hat is all In F rance and Ge rmany alon e w e find t h e b e g innin g s o f a national art at t h is e poc h In Ita ly t he n w e will pass wit h o n e h u e strid e ove r t h e e ntire int e rval b e tw e e n g the Antonin e s and t he Re naissance and b e g in our work wit h t he M iddl e Ag e t he
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I
202
TALI A N SO ULF TURE
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It was not at R om e but in anci e nt Etru ri a i n re p u blican T uscany t hat t he re vival of t he arts beg an and t he first re sult was t he re form of sculpture The c h i e f h onour of t h is re form b e lon g s to Nicola of Pisa w h o was th e Giotto of statuary H e was t he first to study t he bas re li e fs re pre s e nting a ch as e of H ippolytus or of M e l e ag e r on t he sarcop h ag us containin g t he body o f B e atrice He mot he r of t he famous C ount e ss Matilda maste re d t he styl e of t he anci e nts and succe e d e d i n imi t atin g it in t he pulpits of Si e na and Pisa a nd la t e r in t h e tomb of St D ominic at Bolog na H e was call e d Ni col a d el l u m a b e cause in 1 2 3 1 h e mad e t he b e autiful urn o f t he found e r of t he Inquisition What a di ffe re nc e b e tw e e n t he works of t h is first re form e r of art and t he rou g h bas re li e fs produce d l e ss t han hal f a ce ntury e arli e r by a — ce rtain Ans e lm call e d h ow e ve r B a da las a l ter to comm e morate t he re takin g of M ilan from F re d e ric Barbarossa ! Aft e r Nicola o f Pi s a com e succe ssive ly h i s son Giovanni ; h i s pupil Arnolfo t he brot h e rs A g o s ti no and Ag nolo of Si e nna ; t he n Andre a of Pisa ; Andre a O rcag n a a unive rsal artist a M icha e l A ng e lo anticipat e d and lastly G h ib e rti D onat e llo D e lla R obbia and Sans avino all of F lore nc e H e si gned h i And rea d i C i one p i tto e and cu l p t r s F h i p i n ti ngs F d i C i one scu l to e An l ,
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I TA LI A N S ULP T URE
C
204
fastin g
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T h is last work i s a marve llou s re pre s cu tation of t he inspire d fore runn e r o f t he z e alou s locust e at e r ; it is o n e o f t he prod u ctions o f t hat consci e ntious D onat e llo w ho in the and st e rn midst o f t he fet e s g ive n at Padua i n h i s honour could writ e down t he profound t hought : I f I re main e d he re whe re e ve ry on e fl at t ers me I s ho u ld soon forg e t what I know ; but in my own country criticism will k e e p me vig ilant and comp e l me to ad vance C onnoiss e urs co mpare th is ?al mt/ze B aptis t to t he St Georg e of t he Dr Sa n M i elzele at F lore nce alone and t he F r a B a r a u eei o Cker i e/zi n i in o ne of t he nic h e s of t h e Ca mpa n i le is t he only sculpture pre fe rre d to it Th e last nam e d commonly call e d lo Zaccone (t h e bald he ad ) was D o n at e l lo s favourit e work and whe n he ha d finis he d it he e x claim e d lik e Py g m a lion to Galat e a Sp e ak ! spe ak l ( F ave lla ! fave lla !) and was in t he h abit of sw e ar i ng by t he fait h I hav e in my Zuccon e — 1 4 8 1 ) is suppos e d to L uca d e lla R obbia ( 1 400 h ave inv e nt e d t he proc e ss of e nam e lling t e rra cottas be pre ce d e d B e rnard Palissy by about a c e ntury but n e ithe r of t he m laid claim to t he inve ntion o f Th e Gre e ks t he P hoenicians e ve n t he e nam e l E g yptians we re familiar wit h t h e art of coating t e rra cotta obj e cts with g la z e d colours D e lla R obbia adapt e d it to sculpture Palissy to pott e ry. '
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and t he e nam e ll e rs on m e tal to painting We h av e so me ve ry va l uabl e works by D e lla R obbia in t he L ouvre ; a St Sebas ti a n bound to a trunk o f a tree w h ic h see ms to be m e re ly a trial of t h e styl e for t he only part g la z e d is t he white clot h Tlze Vi rg i n a dor i ng t/ze I nf a n t round t he loins Sa vi ou r a kind of bas re li e f in t he c e ntre of a round fram e rathe r lik e a larg e plat e is anot he r spe cim e n of the proce ss but incompl e te also fo r t h e e e h h wit h e x c e ption of y s w ic a r e black t h e ( ) t he e ntire g roup fi g ure s and drap e ri e s alik e is a z e d w h it e o n a g round of two c olours—blu e for l g t h e sky and g re e n fo r t h e landscap e We see t he inve ntion brou ght t o p e rfe ction in a M a don na lzold i ng the I nf a n t yes u s a v e ry fin e g roup in full re li e f t h e di ffe re nt parts of wh ich are g laz e d in all t he colours wh ic h would be e mploy e d in a paintin g with t he b e aut i ful varnish call e d i n vetr i a to by t he T uscans Sansovino (Jacobo T atti ) was born at F lore nc e in 1 4 79 an d l e ft a B aeelzns to t he Uffi z i Gall e ry w h ic h will b e ar comparison wit h t h at by M ic ha e l An g e lo ; but he took up h i s abod e at Ve nic e w he re he was summon e d a n d re tain e d by t h e dog e Andre a G ritti aft e r having first work e d at R om e D uk e C osmo D uk e H e rcul es und e r J ulius I I and Pope Paul I I I all urge d hi m to d e vot e h i s .
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I TA LI AN SC ULP
206
T URE
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doubl e tale nt as a sculptor and an arch it e ct to the ir re spe ctive capitals F lore nce F e rrara and R om e ; but accordin g to V asari h e re pli e d to all “ t he ir solicitations : H avin g t he g ood fort un e to re sid e in a re public it would be madn e ss to g o and ” live und e r an absolut e prince The principal works produce d fo r V e nice by Sansovino h ave re main e d in t he ric h and altog e t he r oriental ch urch The most important are t he four M ark o f St bron z e statu e s of t he Eva ng el i sts in t he choir and still more admirabl e is t he mag nific e nt g ate of the sacristy be h ind t he altar also of bron z e ; an astonish in g work at w h ich T atti is said to h ave laboure d for thirty y e ars Amon g st the d e sig ns on t h is gate Sansovino h as plac e d hi s own bust in re li e f b e tw e e n t hos e o f h i s two fri e nds T itian and Are tino w ho h owe ve r can la y littl e claim to sancti ty Th e e qu e strian statu e of t he famous cond otti er e Bartolomm e o Co lle o ni of B e rg amo in t he sma l l lat e ral pia z z a of t h e c h urch of Sa n Gi ova nn i Sa n P aolo ( in common parlance Sa n Za n ipolo) at It Ve nic e also b e lon g s to t he fi ft e e nt h c e ntury was d e si g n e d by t he F lore nti ne Andre a Ve rrocch io w ho was a paint e r sculptor e n g rav e r j e w e ll e r — and musician and was cast in bron z e by Al e s s andro Le onardo w ho also e x e cut e d t he g rac e ful ,
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2
TA LI A N SCULP T URE
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also claim o n e of t he most mar v e l lo u s work s e v e r produc e d by sculpture wh ich is place d in t he ki n d o f s e mic i rcular g a ll e ry wh ich runs roun d t he choir o f t he D n omo of Milan It is t he statu e o f a flay e d man call e d St B a r t/zolomew o n account o f t h e l e e nd e a h uman body Imagin g as larg e as life e ntire ly d e prive d of its skin from t he crown o f t he h e ad t o t he sol e s o f t h e fe e t standin g in t he natural position o f a man free from pain and we arin g t h is skin flung ov e r h i s sh ould e r lik e a mantl e I mag in e furt he r t he g re at e st b e aut y of form t h e strict e st truth o f action t he most incre dibl e pe rfe ction of e x e cution o f t he muscl e s t he n e rve s t he bon e s t h e sin e ws t he v e ins ; of all t he d e tails re v e al e d by anatomy and you will h ave an id e a of t h is stra nge mast e rpi e c e w h ich for pati e nt an d scrupulous ch is e llin g is probably u n surpasse d by any anci e nt o r mod e rn work The ve ry colour o f t h e marbl e w h ich h as assum e d a re ddis h tint aids t he illusion and adds t o t he admirabl e e fi e ct B e n e at h t h is stran g e statu e is t he followin g inscription
T h is
ag e c a n
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Non me
P rax i t el es,
se d
M arcu s finx i t Agrates
” .
The
nam e o f t he aut ho r is all t h at is known of its h istory T h is A g rat u s A g rat e s or A g rat i or wh at e ve r h e is call e d is allud e d to i n no biog raphy i n no book on art h i s birt h hi s d e at h h i s cou ntry .
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TALI AN SC ULP TURE
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the
tim e at wh ic h h e live d are alik e unknown and I know o f no ot he r production of h is ch is e l Most probably lik e a B e n e dicti n e he work e d all hi s li fe at t h is of i nf oli o in marbl e a n o di e d cont e nt kind aft e r h avin g proudly compare d h imse lf t o Pra x it e l e s Th is statu e o f t he P lay ed M an would be more appropriat e ly plac e d in a muse um t han in a c h urch We h ave now com e to M ich a e l An g e lo We know th at M icha e l An g e lo Buonarroti w as born in 1 47 4 in th e castl e of Capre s e in t he H e was of a nobl e family w hi ch Cas e ntino re ckon e d t he famous C ount e ss M atilda amon g i ts H i s nurs e was t he wife o f a ston e anc e stors cutt e r and t he youn g An g e lo showe d g e rms o f h is artistic g e nius e ve n in hi s cradl e Sp e akin g of hi m “ Vasari says : Wh il e th e b e st artists w e re e n d e avo u ri n g by t h e lig ht o f Giotto and h i s follow e rs to g ive t h e world e x ampl e s of such pow e r as t he be ni g nity o f t he ir stars and t he vari e d characte r of t he ir fantasi e s e nabl e d t h e m to command and t o imitat e t he p e rfe ction of nature vh i le d e sirin g by t he e x c e ll e nc e o f art t he y we re stru g gling to attain t h at h i g h compre he nsion wh ic h me n call Int e llig e nce and w e re unive rsally toilin g but for t h e most part in vain t h e R ul e r of H e ave n w as pl e ase d t o turn t he e y e s of h i s cl e m e ncy tow ard s ,
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I
21 0
TALI A N SCULP TURE
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arth and pe rce ivin g t h e fruitl e ssn e ss of so many e fforts t h e ard e nt studi e s pursu e d wit h out any result d e ig n e d t o s e nd t o t he world a spirit ‘ in e ach art e ndow e d wit h univ e rsality of pow e r and in e ve ry profe ssion capabl e of s h owin g by h imse l f alon e wh at 1 8 t he p e rfe ction of art in painting sculpture and arch it e cture The Almi g hty C re ator w as also pl e as e d to a e com pany t he above wit h t he compreh e nsion of tru e P h ilosophy and th e adornm e nt of g rac e ful Po e sy to t he e n d t hat t he world mig ht admire i n hi m an e x ampl e of blam e l e ssn e ss in life and e ve ry action as w e ll as of p e rfe ction in all hi s work s ; insomuc h t hat he migh t be consid e re d by us a ” nature rat he r divin e t h an h uman t The mask of a faun s h e ad sculpture d by M ich ae l An g e lo in marbl e as an amuse m e nt w he n a ch ild and wh ich re ve al e d hi s vocation and le d t o hi s imm e diat e admission into t he acad e my of Loren z o t he Ma g nific e nt is care fully pre s e rv e d in t he muse um deg l Ufi ei at F lore nc e Your faun is o ld and t he D uk e h ad said t o t h e youn g artist h o u e e h i m i h av l ft all h s t ee t H av not e o u y y notice d t hat old p e opl e always h ave som e missing e
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H i sto i an r
of
p
ai n ters
P r o Ang e l i co , Masacci o , .
i Mrs j onarnan ’
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and
an d
F ors ter
’
s
s cu l
p t rs y u d d V i nci
Le on ar
o
o
,
o
ar e
n ow
forgetful
of
a
tran slati on
.
Vol
.
v
.
pp
.
22 7 an d 2 28.
I
21 2
TA LI A N SCULP T UR E
.
re ve al e d T rul y th is s e cre t is wort hy of stud y and it is e asy to s e e to w h at p e rfe ction t he artist could attain whe n he c hos e to work pati e ntly b e caus e i h s w ic h is probabl y most h u s e / z B a e k e n u n r D h e t ,
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F i g 44 .
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—I vy
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cr o w n e
dB
acch u s
n l F r o e ce ) (
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d e licat e and h igh ly finis he d wo rk is n e ar at hand Inst e ad o f t he passion th e st e rn prid e of t he at R om e t he B ace/zus is full of g rac e a n d t e nd e r C rown e d wit h ivy and vin e l e ave s he i s n e ss .
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I TA LI A N SC ULP e r s s p
TURE
21 3
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mg g rap es into a cup from wh ich a littl e ,
atyr wrappe d in a g oat s s k l n i s trying to dri nk unobs e rve d The smilin g mout h t he sl e e py e ye s t he lan g uid attitud e t he appare nt di fficulty in re mai n ing standin g all admirably e x pre s s t he e ffe cts of drunk e nn e ss F lore nc e may cou n t he rs e l f fo rtunat e in h avin g c oll e ct e d t he s e productions of he r illustrious s o n ; fo r w e l e arn wit h dismay how many o f M ic ha e l An g e lo s works b e sid e s h i s c e l e brat e d cartoon of the P i s a n Wa r hav e p e ris he d and disapp e are d from t h e world l e avin g no trace but t he ir n am e In 1 49 2 a Coloss a l H er cu les s e nt to Charl e s V I I I o f F ra nc e ; in 1 49 5 a Sleepi ng Cupi d se nt t o t he D uk e o f Mantua ; in 1 5 0 1 a bron z e D a vi d ob t a i n e d by a c e rtain F lorimond R obe rt e t of Blois ; in 1 5 0 7 t he bron z e statu e of Pope J ulius I I brok e n by t h e re be llio u s Bolog n e se ; th e n a picture of L eda sold to F rancis I by t he s e rvant at M ic ha e l Ang e lo s studio and burnt on e h undre d ye ars a ft e rwards by ord e r of a confe ssor of t he qu ee n and lastly t h e M a rg i na l D a n te in w h ich h e had s k e tch e d t he g re at e r part of t he figure s and inci d ents of th e D i vi na Commed i a All t he s e form a — a g loomy mortuary ve ry lon g and sad catalo g u e t abl e The c hi e f of t he works w hich F lore nce p ride s s
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I TA LI A N SC ULP
2 14
T URE
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poss e ssin g are not in t he M us e um of F lore nc e but in t he sacristy o f t he old c h urc h d i Sa n L or enz o ori g inally bui lt in t h e fourt h c e ntury and co n s e crat e d by St Ambrosius but re con struct e d in 1 4 2 5 aft e r B ru n e lle s ch i s d e si g ns T his is Spl e ndid e difice built by ord e r of C l e m e nt V I I call e d t h e M e dici Ch ap e l It is a stran g e fact t h at Micha e l An g e lo was workin g at th is fun e re al c h ape l wh e n he was call e d upon t o d e fe nd re publican F lore nce a g ainst t he M e dicis Eve rything in it e ve n t he altar in front of w h ic h is th e Vi rg i n n u r s i ng the I nf a n t Yes us is from the h and of t he g re at mast e r with t he e x ce pt i o n o f t h e statu e s o f Saints Cos mo and D a mi a n by h i s pupils M o n t ors o li and R a ffa e llo da Mon t e lu po O n on e sid e is t h e M aus ole um of Gi u l i a n o M edi ci in w h ic h t h e statu e of t h e D uk e is plac e d ove r t h e fi g ure s o f t h e D ay an d o f t he Ni ght ; on t he ot h e r t h e M a us oleu m of L or enz o M ed i ci D uk e of U rbino with whos e statu e are t he Ea r ly D a w n and Even i ng T h is statu e o n e of t h e mast e r pi e c e s of mod e rn sculpture is famous und e r t he nam e o f P ens i er os o on account of t h e m e lancholy and th oughtful attitud e in wh ic h M ic ha e l An g e lo has re pre s e nt e d t h is pre cocious tyrant O f t he four all e g orical fi g ure s e qually g loomy morose and t e rribl e th e Even i ng and Nig ht a re t he most he rs e l f
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21 6
TA LI AN SCULP TUR E
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Min e rva wh ich still re tains th e nam e o f t he h e at he n te mpl e contains t he no l e ss ce l ebrate d statu e call e d t h e Chr i s t of Micha e l An g e lo ; an an g ry and av e n g ing Christ t he re p e tition in marbl e of t he th ou g ht at l e ast e mbodi e d in t hat of t he L as t ?u dg men t But w e s hall find a still more famous work if w e asc e nd a st e e p h ill call e d in anci e nt R om e t he Vicas Sceler a tus —be cause T ullia is said the re to h ave crushe d he r fathe r s body und e r t he wh e e ls of he r chariot—and e nte r t he o ld basilica o f St P e t e r in c h ains ( San Pi e tro in V incola) w h ich has b e e n re store d s e ve ral tim es sinc e its foundation und e r Pope Le o t he Gre at but h as always re tain e d its primitive form It contains t h e mausol e um o f J ulius I I an d t he M os es o f M icha e l An g e lo O n e word of pre liminary e x planation T he re we re points o f similarity in t he g e nius and ch aract e r of t he two me n pop e and artist wh ich t e nd e d both to unit e and s e parat e t he m And t he J ulius I I had hardly asce nd e d e v e nt prove d t h is t h e pont i fica l t h ron e b e fore he conc e ive d t he id e a h i s m e mory by a m ag nific e nt of p e rp e tuatin g mausol e um and having chose n Mich a e l Ang e lo to be summon e d h i m from F lore nc e for e x e cut e it M icha e l A ng e lo w ho w as the n th e purpos e onl y twe nty nin e ye ars o ld s oo n prese nte d to of
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21 7
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pope a plan of t he most colossal tomb th at mod e rn art e ve r att e mpt e d t o construct It was to be a combinati on o f archite cture and a d e corat e d e dific e I mag in e an e x s culpture t re me ly massiv e quadran g l e wit h nic h e s in t h e sid e s containin g V ictori e s and in t h e an g l e s t e rminal fi g ure s formin g pilaste rs on wh ic h t he fi g ure s of captive s w e re to be plac e d on t h is larg e bas e m e nt a s e cond narrow e r massive block sur round e d wit h colossal statu e s of prophe ts and sibyls was to be adde d and t hat in its turn sur mount e d by a pyramidal mass e ntire ly cove re d with al l eg orical fi g ure s in bron z e Such was the o f w h ic h e n g ra vin g composition has pre s e rve d M ichae l An g e lo s sk e tch It would h ave be e n as larg e as the mausol e um of Au g ustus w hich towe re d ab ov e all t he buildin g s of he athe n R om e The artist b e g an t he work but hi s disag ree m e nts wit h J ulius I I soon e nsu e d and h e fl e d to F lore nc e to Bolog na to V e nice and e ve n t hou g h t of g oin g to Constantinopl e w he re h e was invit e d by t he Sultan Solim an t o e re ct a brid g e b e tw e e n t h at town and H e did n o t re turn to t he t he suburb of P e ra pope at Bolog na until h e was s e nt as F lore ntin e ambassador by t he Gonfaloni e r Sod eri n i A fte r the ir re conciliation t he pope ord e re d hi m to mak e hi s statu e in bron z e but it w as brok en by t he
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I TALI A N S ULP
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21 8
T URE
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Bolog ne se in a re volt and mad e into a cannon ‘ call e d th e Giulia It was lon g a fte rwards whe n Paul I I I command e d h i m to paint t he fre sco o f t h e L as t Yu dg men t t hat an arran g e m e nt was e nt e re d into at t he sugg e stion o f t h e ponti ff be tw e e n M ic hae l An g e lo and t he h e irs of J ulius I I wh ic h re sult e d in t h e re duction o f t h e mausol e u m to its actual proportions O f t h e ori g inal plan not h in g was finish e d but o n e Vi ctory now at F lore nc e two Capti ves in t h e Louvre and on e o f t h e prop he ts t h e M os es an all e g orical portrait o f Julius I I formi n g part of h i s actual mausol e um and e ntire ly e x e cut e d by M ich a e l An g e lo h i ms e lf T T h is colossal Mos e s is s e at e d h olding t he tabl es of t he Law in h i s ri g h t h and and strokin g t h e lon g b e ard which flows ov e r hi s bre ast wit h on e fin g e r O n h i s h e ad wh ic h is sli g h tly turn e d to t h e l e ft ascrib e d to hi m by tradition a re t he two h orns w h ich sprin g in g from h is t h ick hair e x actly re se mbl e t h ose o f a youn g calf or g oat P e rh aps M ich ae l Ang e lo lik e all hi s cont e mpora ry artists was in lov e w it h anci e nt myt h olog y and wis he d ,
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I t w as w h en h e w as ma i n g th e mo Mi chael An ge lo sai to th e w arri or o e
H
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y
F ath er , to pu t ul i u s an sw ere ol
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v h a w o e r t r e e Th e e 1 te mol a tive Life, St P a u l , .
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Com
I TALI AN SCULP
220
TURE
.
Pu g e t or C anova I sh all not t he re fore paus e t o d e fe nd it from t he c harg e of faults o f d e tail but re mark in my turn th at t he anatomical drawi ng of t he fe e t h ands arms and fac e may be compare d to t h at of t h e most p e rfe ct spe cim e ns l e ft by t he an ci e nts I n sp e akin g of Mich a e l Ang e lo I pre fe r to follow hi s mod e of proc e dure i n t h e a rts ; and to say t h at tak e n as a wh ol e h is M oses is t h e g rand e st and most admirabl e e mbl e m of stre n g t h s e ve rity and pow e r e ve r produce d ; and th at n e ve r h ave t h ose vario us qualitie s wh ich iv e aut h ority and constitut e t h e supe riorit y of one g man ove r hi s fe llows be e n s o fully e x pre sse d H i s irre sistibl e g lanc e s e e ms t o be ove rawin g a muti nous p e opl e and re ducing t h e m t o s bmis s i on at p h i s fe e t H e is ind ee d t h e st e rn l e g islator of t he H e bre ws arm e d wit h t he t e rribl e Law I do not b e li e ve th at c e l e brat e d as t h e y we re in antiquity t he y upi ter Olympi u s t h e Yu no o f Samos or t h e M i ner vas of Athe ns we re more maj e stic more fe arful or b e tt e r calculat e d to inspire t h e popu lac e with t e rror and re li g ious aw e V asari says of t h is statu e : So we ll at a word has t he artist re n d e re d t he divinity wh ic h t he Almi g hty had i m part e d to t he most holy counte nanc e of t hat g rea t lawg ive r At a word t he sculptor has compl e te d h i s work in such a so rt th at M oses may be tr u ly Sansovino
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I TAL I A N SC ULP TURE
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affi
rm e d more t h an e ve r to m e rit his nam e of the fri e nd of God ; and to M ich ae l An g e lo t he care of pre parin g h is re surre ction was intrust e d Nay the J e ws are to be s e e n e ve ry Saturda y or on t he ir t o visit and wors h ip t h is Sunday h urryin g fi g ure not as a work o f th e h uman h and b ut as ” F som e th in g divin e M rs orst e r s translation ( .
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p
2 49
We
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)
alre ady said t h at th e Louvre may prid e its e l f on poss e ssin g a work by th is T itan of art We allud e to t he two Capt i ves w h ich we re to h ave b e e n plac e d in t he an g l e s o f t h e monu m e n t to Julius I I O n e p e rhaps t h e more b e auti ful is incompl e t e lik e t he monum e nt its e l f Th e he ad is scarce ly ch ise ll e d t he n e ck hardly rou g h he wn F ortunat e ly no sacril eg ious h and h as dare d to finis h And w h o could t h e work of M ic h a e l An g e lo complain at se e in g hi s mod e o f workin g re ve al e d ’ to t he m as in t he B r u tus o f t he Ufi e i Are not t h e fe ature s o f t h e on e Capti ve bare ly indicat e d as t he y are as su gg estiv e ind e e d as full of admirabl e as thos e of its h ighly finis he d co m ex pre ssion panion ? Is not e ve ry limb of bot h full of h ave
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We marbl e cu r ve s,
human
can see,
fo r i n stan ce , h ow i n th e
fi
rs t roug h
h ew i ng
of
the
M i chael Angel o tr i ed to i mi tate the si n uou s li n es th e th e serpen ti ne f or ms as h e h i ms el f calle d them, of w hi ch th e fi gu re i s alw ays made u p i n every atti tude and every vari ety
of act1 on .
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I
222
TA LI A N SCULP TURE
.
su ffe ring and h umiliation ; in t he on e born e wit h re sig nation in t he ot h e r wit h g loomy i m ? pati e nc e R ightly t o admire t h e s e g rand fi g ure s w e h av e only to re m e mb e r w h at t h e y a re or rath e r wh at the y w e re to h ave be e n ; and b e fore the m w e re pe at t h e e x clamation of t he sculptor F alcon n e t : I h ave s e e n M ich ae l Ang e lo ; he is appallin g ! O n t he h igh altar o f Notr e D am e at Bru g e s a c e l e brate d M adonna is s hown said t o be by M icha e l Ang e lo In t h e nort h wh e r e statuary is always poor its c h i e f mat e rial marbl e b e ing wantin g t h is M a d onna was sure t o e x cit e e x tra I t is ind e e d a v e ry fi ne ordinary admiration f roup in a nobl lo ty and sol mn styl e e e h T e g V irg i n is s e at e d and lik e a By z antin e M a d on na sh e is clot h e d t o t h e t h roat and h e r h e ad is cov e re d with a ve il but all t he drap e ri e s ar e lig ht and h h e ful H rac T e oly ild stands b tw n C e ee h r e g kn e e s as in R ap h ae l s M a donn a w i th the Goldfi nch he is nak e d h i s attitud e e asy and t h e mod e llin g of h i s fl e sh pe rfe ct O n t h e whol e I admit t hat t h e too o ft e n misappli e d titl e o f mast e rpi e c e m ay rightly be b e stowe d on t h is b e autiful g roup But ? D oubt is j ustifiabl e on is it by M ich a e l Ange lo t h is qu e stion and I do not he sitat e to doubt Whe n a fine pi e ce o f Italian sculpture arrive s in ,
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224
TALI AN SC ULP T URE
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a l t h ou gh nobl e and di g nifi e d is n ot ve ry s e ve re ; and th is toge th e r wit h t he som e wh at fastidious d e licacy of many d e tails l e ads me t o suppose th at it doe s not b e lon g t o the e p oc h clos e d by M ich a e l An g e lo but migh t be ascrib e d for instanc e to D onat e llo D e lla R obbia o r Jo h n o f Bolog na It re se mbl e s still more t he works o f Sansovino w ho was re nown e d fo r t he lightn e ss of h i s draperi e s a n d t h e re fin e m e nt o f t h e h e ads of h i s wom e n and But might not t h is M ad on na o f Bru g e s ch ildre n be t he work of t h e F lore ntin e To rr e g i an o or Torre g i an i w h o l e ft hi s own land ou t of j e alousy of t he succ e ss of M ic h a e l An g e lo and a ft e r wand e ri ng t h rou g h F ranc e F land e rs and England fin ally di e d mis e rably in Spain ? Torre g i an o was call e d M ich ae l An g e lo s rival and in a boyish quarre l he brok e t h e future mast e r s nos e by a blow wit h h is fist T h is would be e nou g h to l e ad tradition to ascribe h i s work to M ich ae l Ang e lo h ims e l f At t he sam e tim e t h at t he g re at F lore ntin e w as livin g at R om e and Sansovino at Ve nice anothe r native of F lore nce was rising into notice ; and h avin g l e ft Italy e stablish e d h ims e lf at F onta i n e bl e au whe re he re nd e re d t he sam e s ervic e s to F re nch sculpture as Andre a d e l Sarto R osso and Primaticcio h ad t o painting We allud e t o B e n ,
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I TA LI A N SC ULP
TURE
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nuto C e llini ( 1 5 00 w ho was a j e w e ll e r an e n g rave r on ston e and m e tal a found e r a c has e r and a sculptor H e struck the be auti ful coins us e d by Cl e m e nt V I I at R om e and Al e x and e r M e dici at F lore nc e and wrot e tre atis e s on sculpture j e w e ll e ry and t h e castin g o f m e tals b e sid e s t he curious M emoi r s in wh ich he re lat e s h i s stran g e adve nturous life H e l e ft a g roup o f P er seus cu tti ng of the M ed us a s hea d at F lore nce in front o f t he fine portico of O rcag na call e d t h e L ogg i e d e L a nai ; and in F rance he sculpture d t he Ny mph of F on ta i neblea u n ow in th e Louvre It is scarce ly a g roup or a statu e but rathe r a h ig h re li e f cast in bron z e A nud e fe mal e of colossal si z e wit h limbs of inordinat e l e n g t h suppo rts h e rs e lf on t he l e ft arm in a s e mi re cumb e nt posi tion w h ilst t he rig h t is round t he n e ck of a stag t he he ad o f wh ic h wit h its h u g e h orns proj e cts b e yond t h e re st of t he g roup Ce llini was soon d ri ve n from t he court of F rancis I by t he scorn of t he D uc he ss e D Et a mpe s and t h is nymp h o f t he woods this h untre ss D iana is t h e most important o f t h e works produc e d by h i m durin g h i s sojo u rn t h e re It was plac e d in an arche d fram e a nd int end e d to d e corat e t h e tympanum o f t he P or te D or ee at F ontain e bl e au ; bu t D iana o f Poiti e rs pe rsuad e d H e nry I I to g ive it t o he r and place d ve
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I
226
TALI A N SCULP TURE
.
it ove r t he e ntrance of h e r chat e au of An et Ne ar t his Ny mph are two spl e ndid ch as e d vas e s in F lo re nt i n e bron z e also attribut e d to B e nve nuto Ce llini but t h e re is no proo f t h at h e is t he ir author : th e mat e rial styl e and b e auty o f work mans h ip alon e warrant t h e id e a A mman at o a wort h y pupil of Sansovino con stru cte d t he inne r court of the Pitti Palace and s culptur e d t h e b e autiful fountain w h ic h b e ars h i s nam e for t he public g ard e n— the colossal Neptu ne d rawn by four se a h ors e s Aft e r h i m Italian sculpture pass e d into t he h ands of a Ne apolitan Lore n z o B e rnini ; and at t he s am e tim e Italian paintin g finally d e s e rting t he Bologn e s e was most s ucc e ssfully practis e d by anot h e r nati ve of Napl e s L uc a Giordano T he tw o g r ea t s i s ter s as V asari calls th e m simultan e ously d e clin e d Th e Ca va l i er e B e rnini ( 1 5 9 8 w ho was ost e ntatiously call e d the second M i cha el A ng elo was t he arbit e r o f t h e tast e of Europe and t he j ud g e o f all artistic matt e rs in Italy for h alf a Louis c e n t ury and und e r nin e di ffe re nt pope s X I V summon e d h i m to Paris in 1 6 6 5 to advis e h i m about t h e re storation of t h e L ouvre ; and w e t h ink th at h ad B e rnini live d w h e n art was at its z e nit h h e mi g h t h av e b ee n a g re at man ; bu t commg as h e did w h e n t he d e cad e nce h ad s e t i n .
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I TALI A N S ULP T URE
C
228
.
a h uman soul e x tricatin g its e l f from vice— that is to say a sort of h uman fish tryin g to break t h e m e s he s o f a marbl e n e t in w h ic h of cours e t h e d e vil had e ntan g l e d it T here may be a c e rtain e as e o f workmans hip in t h e se stran g e productions of Antonio C orradini e ve n as t he re is d e x t e rity of touch in t he works o f Van Loo and Bouche r ; but for all t h at the y e vid e ntly be lon g to a sc h ool still more infe rior t han that of B e rnini —a d e ge ne ration from hi s in fact ; and t he ir influ e nc e is so fatal to t h e caus e of art t at w e only allud e to t he m for t he sak e of warning e ve ry o ne ag ainst looking at t he m and urg in g s e nsibl e me n e ve n n eve r to sanction t he production o f such mo n strou s In a nomali e s e it he r by vi s itin g or praisin g t h e m t he m w e have e x e cution w ith out styl e or taste manual powe r without soul or spirit T o find Italian sculpture once more rising t o t he position of a g re at art and re alising t he id e al w e must pass on to Antonio Canova ( 1 747 w h o lik e Giotto and Mant e g na ros e from t he position of a he rdsman to th at o f an artist In t he room appropriat e d to h as re li e fs in t he Acad e my o f t h e F in e Arts at V e nic e is pre s e rv e d t he pr e ciou s orp yry urn containin anova s ri t and h h h h C i s g g p h eart is in t h e c h urch o f t he F r a r i and t h e re st B e n e a th o f h is body in t h e villag e o f Possa g no of
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I TALI AN SC ULP
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229
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t his urn h is c h is e l is suspe nd e d and inscription e ng rave d Q od m t i m i s m n m n t m Id m gl i i nci t men t m i t ,
u
u u
e
a
or
or as
u
o
a
followin g
u
"l
s
u
Canova
e
th e
.
only l e ft one g roup D aeda lu s a nd I ca r us to V e nice alt h ou g h h e di e d the re It was o n e of h i s e arli e st productions y e t it fully re ve al e d h i s powe rs It form e d part of t h e B arbar i g o coll e ct ion We must look for C ano va s works n o w disp e rs e d at Rom e In t he c h urch o f t h e H oly Apostl e s w Apostoli find t h mausol um f l m t e e e o e e n SS C ( ) X I V ; in t he basilica o f St P e t e r s t he tomb o f Pius V I t hat o f t he St u a 1t s and th e still more c e l e brat e d mon u men to di R ez z on i co to C l e m e nt X I I I ; and lastly in the V atican such of h i s sculpture s as h ave re c e ive d the pe rilous honour of be ing m i x e d wit h t he most valuabl e re lics of anci e nt Gre e c e T he s e are the Wr es tler s D a mox en us a nd Cr eug as fr wh ic h are v e ry in fe rior — to th ose of F lore nc e t he y are appropriat e ly call e d t he bo x e rs fo r t he y e x pre ss not h in g but clumsy bru te force and the statu e o f P er s eus wh ic h Canova did n ot h e sitat e to und e rtak e alt h ough h e w as familiar wit h t h at by B e nv e nuto C e llini and ,
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May th i s monu ment, th e me mo ri al of a mu tu al affe ct i on, be also an
y y
i ncen ti ve t o gl or 1 See th e h i stor '
.
of
th e se
p
u gi li s ts
in P ausan i as
.
( B ook
xi ii
I TAL I
230
o ff
.
t he
which re c e ive d of
A N S C ULP TUR E
sig nal h onour o f fillin g t he place t h e Apol lo B el veder e w h e n t h e latt e r was carri e d to Paris by t he F re nc h Th e b e a utiful titl e of .
F i g 46 .
.
—Th e
P erseus
of
Cons ola tr i ce was also g iv e n
C an ova
.
m R o e (
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)
fac e of t he P e rs e us re s e mbl e s t h at of t h e Apollo and t h is is a fault rat he r t h an a m e rit It is v e ry d e licat e l y finis h e d and sl i g htl y a ffe ct e d The Med u s a s he ad to
it
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Th e
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I
23 2
TA LI A N SC ULF TURE
.
a lion Alth ou g h th is oste ntatious tomb is som e w h at the atrical and may almost be call e d h e athe n i t is undoubt e dly a fin e work and t he styl e and All t he s e fi g ure s combin e e ffe ct are alik e g rand and harmonis e w e ll t h e y are admirably g roupe d .
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F i g 47 —Grou .
.
p f om th r
,
e
M au sol eu m of Mari a C hr i stina,
C an ova
.
( V i en n a )
by
.
— and many of th e m o ne of t he young g irls and t he old man support e d by B e n e vol e nc e for instanc e would be e x c e ll e nt statu e s i f s e e n alon e On t he w h ol e w e t h ink t hat t he mausol e um o f M aria C h ristina w hic h is t he m ost important o f C anova s ,
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I TAL I A N SCULP
TURE
233
.
monum e nts is as lik e ly t o pre s erve hi s fam e to future e e f h o h h e n rations as any tombs w ic r ct d t e h e e e g und e r t he vast dom e of t h e Cat h olic m e tropolis Anothe r of Canova s works t he colossal g roup of Thes eu s con quer or of the M i n ota u r is still more ce l e brat ed in t he art worl d F o r t he wort hy re ce pt i o n of th is Italian u st a t mpl was con e e e g struct e d in the V olksg art e n ( P e opl e s Gard e n ) o f V ie nna wh ich was an e x act copy in si z e and s hape o f t h e t e mpl e o f T h e s e us at At he ns ; t he mat e rial alon e is di ffe re nt plast e r has tak e n t he place of t he w h it e marbl e o f P e nt e licus Canova s g roup lik e t he old statu e of t h e d e mi g o d is worsh ipp e d in t h is t e mpl e and its pri e sts are a kind of polic e m e n w ho ope n t he doors at prom e nad e hours E x ce pt for a Gre cian h e lm e t T h e s e us is nud e and is raising hi s club t he w e apon o f t he companion of Alcid e s to d e spatch t he monst e r whom h e has j ust t h rown down at h is fe e t T h is attitud e is pe rhaps the atrical t h e ordina ry fault of C anova s larg e compositions b ut t he statu e as a w h ol e is a spl e ndid st u dy e ve ry limb e ve ry muscl e pe rfe ct ly F or my part how e x pre ss e s stre n g t h in action e v e r I consid e r t h e fin e st part o f t h e roup to e b g — i f suc h it may still be call e d now th e M inotaur that sculpture sacrificin g historic truth to be auty of form has conve rt e d th e son of Pasipha e the ,
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23 4
TALI AN SC UL P T URE
.
H i s act ion man bull into a man h ors e a ce ntaur und e r t he w e ig ht of Th e s e us w ho pre sse s hi s th roa t ‘
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F i g 48 .
.
—Theseus van qu i shi ng
th e
( V i enn a )
Mi n otaur, by C anova
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with t he l e ft arm and h i s stomach with on e kn ee is most h appily re nd e r e d and full of e n e rg y The
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,
It is r ou g
p
,
p
ossi
bl e l pt
th e scu
,
pi t dd t
that i n
or
i n te n
s
e of
e
o
re
t he n ame
p
re se n t
ve n t o t h i s fam ou s i g
n ot
Theseu s
s l ay i ng
the
Ill i n ota u r , b u t Th ese us hi lli ng the Ce ntau r E u ry ti on , w h o w r ri ed I t i s the o ff th e e au ti ful i ng of P i ri thou s o ami a at t h e w e i su
bj
b
e ct o f o n e of
fou n
H pp d the
d at P ompeii
,
most
valu a
bl
an d col l e c te d
dd
e
mo nochrome
.
d
raw i ngs o n
i n th e mu seu m o f
Nap le s
.
marbl e
I TALI A N SCULP
236
TURE
.
i e e e ymnast c am s w r e c l e brat d and lik man e e g g y oth e r illustrious Gre cians e ve n a fte r t he h e roic ag e Pyth a g oras Ch rysippus and e ve n the divin e Plato for instanc e he is suppos e d t o h av e tak e n part in t he m p e rsonally C anova also e re ct e d anot he r tomb at F lore nc e t hat of A lfie ri and was aft e rwards invit e d to Pari s by Napol e on and mad e a m e mbe r of t he I nstitute T he re he l eft h is c h armin g statu e of R epen ta n t M ag da lene w h ich h as pass e d th rou g h so many di ffe re nt coll e ctions and on e othe r work t he g roup of Zcphy r us car ry i ng of the s leepi ng P sy che to t he myste rious abod e of C upid wh ich j ustly e nj oys the only pi e c e o f e x c e ptional h onour o f b e in g t h e statuary by a fore ig n e r in t he F re nch mus e um o f T h is charmin g light s culpture in t h e Louvre and airy g roup re produc e s all t he charms o f t h e It t al e of Apul e i u s as translat e d b y La F on ta i n e worth ily re pre s e nts t h e h e rdsman trans form e d into a g re at artist s o g re at i n d ee d t hat no mod e rn not e v e n M ic ha e l An g e lo h ims e l f succ e e d e d b e tt e r in imitating t he b e auty of form t he c harm of e x pre s sion and t he d e licat e workmansh ip of t he produ c tions of antiquity In 1 8 1 5 he und e rtook to r estore to I taly t h ose obj e cts of art wh ich we re se i z e d by F rance in t he t im e of t he e x actions o f t he Empire t h at t he y ,
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I TA LI AN SC ULP TUR E
23 7
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mi g ht adorn the ca pital o f the contin e nt Fo r t his he has be e n cond e mn e d : but was C anova We re not t he tre asure s wh ich F re nc h or Italian h e re store d to h i s count ry by forc e first tak e n from it by forc e ? And i f w e blam e d as much as w e re g re t h i s mission how could t hat a ffe ct t he m e rit of hi s works ? L e t us be as j ust to tal e nt as to valour e ve n in our e n e mie s C anova s was t h e re i g nin g sc h ool of Italy until our own age and is so still It produc e d t he D an e T horwalds e n of wh om w e sh all pre se ntly spe ak and t he F lore ntin e Bartolini w ho a fe w y e ars ago mig h t hav e b e e n call e d t he only artist of Italy T o t he l e ssons e x ampl e and traditions of t his sc hool also w e ow e all t hos e rising sculptors w ho cam e into notic e at t he U nive rsal E x h ibition M e ssrs D u pré Ve la Arg e nti L u cdard i St raz z i alt hou g h som e wh at fe e bl e and e t c w h os e works a ffe ct e d y e t posse ss tru e g rac e The d e licacy of t he e x e cution is re ally marv e llous ; t h e marbl e is mad e t o accommodat e its e l f to all t he vag ari e s plaite d and cove re d wit h of fas h ion ; it is b e nt lac e s and e mbroid e ry lik e a t e x til e fabric Italy produce s many succe ssful imitators o f C anova but alas not o ne discipl e of M icha e l An g e lo Le t he r tak e he e d : b e auty t he re is but no g rand e ur in s uc h an imitatio n .
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SP AN S
I H
SC UL PT URE
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C UL PT U R E
did not occupy an e qual or even a propo rtionate pos ition to painting in Spa i n We find sca rc e ly an y traces of t h e culture of th is art at l e ast of its h i g he st branch sta tuary an d no marble or bron z e work e qual to t h e canvass e s o f V e lasqu e z M urillo or R ib e ra has e ve r be e n pro d u ce d The Arabs cou ld t e ac h t h e Spani ar ds not h ing but arc h it e cture as t he Ko ran h ad pro n o u n ce d an anat he ma on all t h e ot h e r a rts o f d e si g n and e ve n on music It is tru e t hat t he Arabs o f Spain submitt e d to th e s e r e strictions l e s s scr n h e t h t an t ir yrian br t r e n but lions l l e e u us h h S o p y o f t h e Al h amb ra alt h ou g h m e re ly fa nciful cre ature s c h im e ras monst e rs e t c in re ality constitut e d an he re tical o ffe nce Ne it he r t he Mussulmans of A frica nor of Andalusia w e re e ve r allowe d to mak e any but clumsy imitations of c e rtain no x ious animals su ch as rats s corpions an d se rp e nts wh ich we re to .
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SP A NI SH SC ULP
240
TURE
.
tatu e t he M adon na holdi ng the I nf a nt 9 cs us for a duk e of A rcos w ho fo r som e unknown re as on insult e d t he sculptor by paying for it in marave di s wh ich w e re carri e d in sacks by two me n T orre h h e h a d iano at first t ou t r e c iv d an imm ns e e h e e g g sum b ut wh e n h e discove re d t hat all t h is he ap of coppe r mone y was not worth th irty g old ducats h e took a hamm er and brok e h i s statu e I nc e ns e d at t h is o ffe nce ag ainst a gr and e e of Spain t he duk e accus e d t he artist b e fore the Inquisition of impi e ty and the un fortunat e Torre g i ano starve d h imse lf to d e ath in h i s prison O n e of t he h ands of t he brok e n V irg in w h ich is v e ry b e auti ful is pre se rve d at Sevill e Re stin g on on e of he r bre asts it is call e d t he ma no de la teta and has b e e n re pro d u ce d man y tim e s by copi e s or casts O f t h e Spanis h artists w ho w e nt to Italy in t he re ig ns of F e rdinand of A rag o n and Charl e s V t o tak e l e ssons in all t he arts only two Alon z o B e rru g u et e and J aspar B e c e rra l e a rnt and prae The form e r ( 1 480 t i s e d t he t hree arts of d e si gn 1 5 6 1 ) was tau ght by M ic h a e l A n g e lo h ims e l f and w as invit e d to R om e by Pop e J ulius I I to assi st h is illustrious m ast e r in h is works of e v e ry kind H e re tu rn e d to h i s native land in 1 5 2 0 rich i n and was disting u ishe d by e x pe ri e nce and tal e nt Cha rl es V w ho nom i n ate d hi m h i s pa inte r and s
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SP A NI SH SC ULP
TURE
241
.
culptor de cdmar a and lat e r to honour hi m s ti ll furt he r appointe d hi m to t he o fli ce o f valet de A ft e r t his B erru g u e t e was intru st e d cha mbr e wit h som e important commissions at V alladolid T ol e do and Granada At T ol e do he sculpture d t he t h ron e o f t he Primat e Arc hbis h op and e x e cut e d t h e Tr a nsfig u r a ti on of Ou r Sa v i ou r in marbl e H e is said to h ave g ive n t he e mp e ror t he d e si g n fo r t h e un fortunat e and pre t e ntious palac e wh ic h C harl e s V ha d e re ct e d in t h e v e ry he art o f t h e A l h ambra de stroyin g pa rt of t he d e licat e more squ e but t his is a mis s t ructure s to mak e room fo r it tak e : t he arc h it e ct of t he unfinis he d palace was Pe dro d e M ach uca B erru g u e t e only work e d at t he d e tails and ornam e ntation in wh ich h e e x ce ll e d ; an d e v e n now in spit e o f t h e barbarous mutilations to w h ic h t he y h ave b e e n and still are s ubj e ct e d it is e asy to s e e t hat t he y w e re of t he fin e st tast e and t he most e x quisit e d e licacy T he y are ch i e fly h as re li e fs e x e cut e d on plaqu e s o f marbl e o f a r but v ry e yis h viol e t colour v e ry hard to work e g pl e asant to look at ; and t he y do g re at cre dit to B e rru gu e t e w ho was always more succ e ss ful as a sculptor t han as a paint e r or an archit e ct The subj e cts are t h e triump hs o f Charl e s V w ho c h os e t o be re pre s e nt e d as a nud e H e rcul e s w i th t he club and t he skin of t he Ne me an lion Lat e r w e s
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SP ANI SH SC ULP
242
T URE
.
as Apollo with t he rays and t he l y re The e mp e ror h ow e ve r was not cont e nt with t he motto o f t he d e mi g o d The Ne pl us u l tr a of t he columns of Abila and C alp e s e e m e d too mod e st for h i m and he c h an g e d it into P l u s ou l tr e w h ich was writte n in t he F re nch of t he day on all t he d e corations of h i s palace and und e r h i s succe ssors be cam e t he P l u s u l tr a of t he coat of arms of t hat monarch y on wh ic h t he s u n n e ve r s e ts — Gaspar B e ce rra ( 1 5 20 1 5 w h o is v e ry favour ably m e ntion e d by V asari as t he author of t he drawing s in a book on anatomy publishe d at R ome in 1 5 5 4 by D octor J uan d e V alve rd e and of two anatomical statu e s h ig h ly e st e e m e d in the schools had scarce ly re turn e d to Spain whe n P h ilip I I did for h i m w hat Ch arl e s V did for B e rru g u e t e : h e intrust e d h i m wit h s e ve ral w orks in t h e old Alca z ar at Madrid and t he new Pardo palac e and to mark h i s royal approval nominat e d h i m h i s sculptor in Lik e B err u g u et e 1 5 6 2 and h i s paint e r in 1 5 6 3 B e c e rra was a g re at e r sculptor t han painte r Ce an B e rmud e z do e s not he sitat e to say t hat in th is par t icu lar h e e x c e ll e d all t h e Spanish a rtists w ho pre c e d e d hi m and t h at he was surpass e d by non e of t hos e w ho s ucce e d e d h i m H i s mast e rpi ec e is said t o be a s tatu e of Ou r L a dy of Soli tu de ( Nu e stra Schora d e la Sol e dad ) w hich was ord e re d by t he s ee
L ouis X I V
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SP A NI SH SC ULF TUR E
244
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whos e royal dust t he y inclose The first is a solid socl e or p e d e stal t he e nlarg e d bas e of wh ich g ive s it an appe aranc e of stre n g t h and solidity w hilst t h e ot h e r is fin e r mor e d e licat e and e laborat e s o t hat t he styl e s o f t he two tombs corre spond with t h e c h aract e r o f t h e ir r e sp e ctiv e t e nants w h o would s e e m to be re stin g o n t h e m as b e ds of state for t he last tim e Looking at t he s e fin e tombs from an arti stic point of vi e w it is impossibl e to avoid a m e ntal comparison wit h t hos e o f C harl e s t h e Bold and M ary of Burg undy in Notre D am e at Bru g e s and a g ain with t hos e of t he duk e s o f B u rg undy P hilip t he H ardy and J ohn t he F e arl e ss w h ich w e re transfe rre d from t he old C art h usian conve nt of D ij on to t he mus e um It would be i n t e rest i ng to draw a parall e l b e tw e e n t h e s e s i x tombs F re nc h F l e mis h and Spanis h mad e fo r prince s of t he sam e family in t he cours e o f a c e ntury and a hal f F or my part I c e rtainly pre fe r t hos e at Granada to t hos e at Bru ge s and t h os e at D ij on whic h are t he most anci e nt t o t he tombs at Granad a F or a lon g tim e t he last nam e d e nj oy e d t he advanta g e of standin g in a vast and b e auti ful c h ape l t h e walls f of w h ic h w e r e e ntire ly com av and roo e m e nt p pose d of black sto n e t he pilast e rs voussoirs and pe nd e ntive s b e ing mark e d out in fin e g old line s t he w h it e tombs alon e standin g out from t h e dark .
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SP A NI SH SC ULP TURE
245
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and sol e mn surrounding s The ca non s how e ve r consid e re d t he c hape l royal too g loomy and had it w h it e w a s he d from top to bottom The tombs pave m e nt roof and walls are now all o f o ne colour all e q u ally bri g ht and in t h e unive rsal wh it e n e ss not h ing stands ou t but t he black cassocks of t he cl e rg y At Granada anoth e r Spanis h arti s t w as born w h o lik e B e rr u g u e t e and B e c e rra h as b ee n com pare d to Mic ha e l An g e lo be caus e he cultivat e d t he t h re e arts o f d e si g n H i s nam e w as Alon z o C a no ( 1 60 1 H i s fat he r was a common carpe nt e r w ho mad e an art of h is trad e and was a j oin e r (ens a mbla dor ) of t hos e h ug e d e corat e d altars wh ich w e call r eta bles Whe n Alon z o C ano w e nt to Se vill e and took up h i s abod e amongst t he mast e rs w ho found e d t he sc hool of t his At he ns of A ndalusia h e mad e up h i s mind to do som e t h in g more th an l e arn to put a r eta hle tog e t he r lik e h i s fath e r ; in fact to compos e o ne e ntire ly h ims e lf with its columns statu e s and picture s ; to be at onc e its arch it e ct sculptor and paint e r T his was ho w he b e cam e a t hre e fold artist H e took l e ssons in sculpture from a ce rtain J uan Martin e z M ont afi cs but at onc e d e part e d from h i s mast e r s styl e ; and as all hi s works are re markabl e fo r a simplicity of attitud e a nobility of form and a g ood taste i n ,
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SP ANI SH SCULP
246
T URE
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arran g e m e nt unknown b efore h i m w e must co n e lud e t h at h e studi e d in pre fe re nc e t h e few statu e s and Gre e k busts w h ich w e re t he n at Se vill e in t he palace of the D uk e s o f Alcala at l e ast if w e sup pos e t hat he maste re d th e antiqu e wit hout h aving s ee n Italy About 1 6 3 5 Alon z o C ano e re ct e d t he h ig h altar o f t he c h urch of Le b rija w h ic h is o n e of t he most Th e statu e of t he b e autiful works o f t h e kind Vi rg i n holdi n g the H oly Ch i ld w h ic h occupi e s t he c e ntral nic he of t he r eta ble is e sp e cially admirabl e H i s oth e r sculpture s n e arly all in wood are dis tribute d in di ffe rent ch urche s at Se vill e Cordova Granada and M adrid w he re som e of the m are still proudly sho w n Alon z o Cano combin e d a fastidious tast e wit h a ve ry h ot t e mp e r It is re lat e d of h i m t hat b e in g at t he point of d eath he t hre w a crucifi x w h ich was o ffe re d to hi s lips in t he fac e of t he o fli ci at i ng pri e st b e caus e h e t houg ht i t clumsily carv e d and di e d e mbracin g a plain wood e n cross It may be said t hat t he art of statuary b e cam e d e at h of Alonz o Cano e x tinct in Spain on t he I ts cultivation was n e g l e ct e d the carvin g e ve n of simple wood e n ornam e nts was discontinu e d and soon no o n e could be found abl e to s e t up a c h urch The two g r ea t s i s ter s h ad e x pire d to retabl e ,
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SP ANI SH SC ULP
248
TUR E
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pre s e nt c e ntury Th e d e tails of the se g roups are o f an infinit e vari e ty ; t h e e x e cution is stran g e ly and wond e rfully powe rful and if t he y h ave a fault it is t hat t he y are too e x actly copi e d from nature as t he colours on t h e m mak e t he m look li k e w a x fi g ure s T he y prove howe ve r t h at Spanish sculpture migh t h ave k e pt pace with t he prog re ss of paintin g h ad it not b e e n so e ntire ly n e g l e ct e d after Alo nz o Cano prod u c e d h i s bea ut i ful w orks .
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GER MAN SC ULP T URE
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C UL P TUR E
was cultivat e d e ve n less i n G e rmany t han in Spain during t he Middl e Ages I nd e e d w e may ass e rt almost u n co n d i ti on a lly t hat not a sin g l e pi e c e o f statuary was contribut e d to t he common stock by a G e rman artist until the pre se nt c e ntury F rom the banks o f t h e Rh in e to t h os e o f t h e Ni e m e n w e s hall find no works of t he ch is e l but a fe w d e corations of no particular styl e in t h e old Goth ic cathe drals I t is but a popular l e g e nd w h ich attribute s t he d e licate ston e carvin gs wh ich adorn t he tow e r of t he won d e rfu l cat he dral of Strasburg e re ct e d b y Erwin of Ste inbach to h i s dau g h t e r Sabina ; and alt h ou g h h istory h as pre s e rv e d t h e nam e s o f som e arc h it e cts of t he sam e age such as P u chSpa u m aut hor of t he Saint St e phe n o f V i e nna I know of no oth e r sculptor b e sid e s t h is dau g hte r o f Erwin of Bad e n It was di ffe re nt i n t he tim e of t he Re naissance .
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G ERMA N SC ULP T URE
25 0
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G e rmany t he n practis e d th e ir art Nicolas e v e n in Italy for Vasari says e x plicitly : of Pisa surpass e d t h e G e rmans w ho work e d with ” But t he s e mod e st artists simpl e artisans hi m did not put t he ir nam e s to t h e ir works so t hat t he Cal vary o f Spire s and t h e coppe r B apti s tery o f Saint Se bald at Nure mb e rg ar e by unknown authors We know howe ve r t hat t h e b e autiful fountain o f Nure mb e rg e re ct e d rat h e r lat e r is b y Sebald Schu ffe r and th at t he lon g bas re li e fs of t he P as s i on in t h e sam e town are t h e work o f H ans D e ck e r and Adam Kra ff t At Nure mb e rg too is t he b e auti ful tomb o f St Se bald w h ich has j ustly e stablis he d t he fam e o f P e t e r V isc h e r T h is tomb combin e s a numb e r of fi g ure s of saints apostl e s and ang e ls with many ot h e rs w h ich b e long not to At t he Christianity but to univ e rsal h istory foot of St Se b al d s tomb says Woltmann V ische r h as g roupe d t he he ro e s o f J udaism and of he ath e n antiquity ; c h ildre n play with lions or are cradl e d in t he caly x of flow e rs ; a h ost of sire ns tritons and satyrs t he e ntire anci e nt myt holog y d e fil e b e fore ou r e y e s Th e w h ol e unive rs e ad ” vanc es to re nd e r prais e to t h e Saviour P e t er V isch e r l e ft h is own portrait in t he dre ss o f a work man amon g st the s e fi g ure s ; and it must b e re m e m be re d t hat he li ve d ve ry n e ar t he tim e o f Albe rt Sculptors from ,
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GERMA N SC ULP TURE
25 2
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was t he same durin g t he age of t he t h re e schools o f G e rman paintin g at Nure mbe rg A u g s burg and D re sd e n re pre s e nt e d by Alb e rt D ii re r H olbe in and Lucas Kranac h No t a sin g l e sculptor aros e capabl e of compe tin g wit h t he se g re a t mast e rs and i f w e wis h to find a pi e ce of sculpture wort hy to be compare d to t he ir canvas e s w e must turn to one of the ms e lve s w ho lik e the g re at a rtists of I taly aspire d to b ecoming a unive rsal artist Albe rt D ii re r e x e cut e d sculpture s in wood and in ivory and such are t he g rande ur of styl e and skill of workmans hip t hat t he y may be con s i d e re d tru e works o f art in spit e o f t he unsuitabl e n e ss of t he mate rial e mploye d I n t he small mus e um at Carlsru he for instanc e the re is a littl e ivory g roup in hi gh and low re li e f of t hre e nud e fe mal e s w h ic h mi g ht be call e d t he T hre e Grace s only one of t he m is a di g nifi e d matron and on t he g round a fou rth woman not so w e ll pres e rv e d is disting uis habl e w ho is appare ntly takin g part in a rou nd dance The fi g ure s are not only corr e ctly proportion e d t he y are so full of g rac e ful and pl e as i n g b e auty t hat w e are not surpris e d to discov e r — e e e cut in re li ef also so t hat t h e c l brat d mono g ram — forg e ry is impossibl e so oft e n trac e d on aust e re painting s and powe rful e ng ravings H e re Albe rt D ii re r has prov e d t hat vi g our was not t he onl y It
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G ERMA N SC ULP T URE
25 3
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ch aract e ristic of his masculi n e g e nius With t he grav e r or brush in hand he was D orian ivo ry mad e hi m Ionian The nam e it b e ars t he curiosity it awak e ns and t he admiration wh ic h it ou g ht to inspire combin e to re nd e r th is g roup of in e stimabl e valu e T o und e rstand t he sudd e n d e clin e of t he tw o s ter s in G e rmany w e hav e only to re m e mb e r e a s i r t g t h at t he re t he P rote s t a nt re li g i on l e ss showy t han t h e C at h olic ch e ck e d t h e pro g re ss o f t he arts w h ilst t he t e rribl e Thi r ty Yea r s Wa r ( 1 6 1 8 wit h its att e ndant rava g e s and d e solation soon fol lowe d to compl e t e t he ir ruin and d e al t he ir d e at h blow I n sp e aki ng of G e rman sculpture as of paintin g w e must the re fore pass ove r t he e ntire in t e rval b etwe e n t he t hre e sc hools alre ady me n t i one d w h ic h b e cam e e x tinct wit h t h ei r found e rs and t he re naissance att e mpt e d at t he b e g innin g o f t he pre s e nt c e ntury by O ve rb e ck C orn e lius and t he ir follow e rs A marbl e g roup of importance and wort h y of t h e notic e o f visitors for many re asons was plac e d amon g th e plast e r casts of c e l e brat e d anci e nt and mod e rn statu e s at F ra n kfort on t he M ain by on e of riche st bank e rs of t h at comm e rcial city in w hich t h e cradl e of t he R ot h sc h ild family may still be We allude se e n in t h e J ud e n g ass e (J e ws Stree t ) .
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GERMA N SC ULP T URE
25 4
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to A r i ad ne on the P a n ther si g n e d D ann e ck e r o f T h is A r i a d ne is ve ry c e l e brat e d Stutt g art 1 8 1 4 at l e ast o n t he bord e rs of t he Rh in e from M ann The in habitants o f F rankfort he im to C ob le nt z prid e t h e ms e lv e s on its poss e s sion an d have treat e d ,
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Fig
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— n d o i n A r a e 49 .
k
the P anther
f r t o F r a n (
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an n e cxer .
Mai n ) .
it as th e Ne apol itans d id th e g re at mosaic of P om p e ii re producin g it as a national g lory in bron z e plast e r ivory and e ve n in stag s h orn I t is a fine work c e rtainly but I t hink i t far b e n e at h i ts re pu ,
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G ERMAN SCULP TURE
25 6
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B e gas et c Ne ve rt he l e ss its fam e is j ustifiabl e and I f I w e re to be ask e d to stat e e asily e x plain e d its c hi e f and most indisputabl e m e rit I shou l d answe r : Its dat e 1 8 1 4 Aft e r t he int e rminabl e wars of t he Empire during w h ic h all t he arts lay dorm ant G e rmany g re et e d t h e ir re vival in th is A r i a d ne w it h as muc h joy and prid e as pe ac e its e lf It was t he g lory o f t he artist an d is still t he honour of h i s work t o have inau g u rat e d th is re nais sance Th e B e lv e d e re of V i e nna poss e ss e s o n e o f t he b e st production s of t h is G e rman re vival t he ?as on ca r ry i ng a w ay the Golden F leece by Jos e p h K ae s ch mann e x e cut e d at Rom e in 1 8 29 in t he more h e e e rac ful t an pow rful styl of anovas and t h e C g T horwalds e ns Amon g st t he monstrositi e s sur ‘ roundin g i t t h is 3 as on appe ars an incomparabl e mast e rpi e ce At t he sam e tim e but at B e rlin Christian Ranch — e n e e not only op d a studio ound d 1 h f 8 1 e 5 7) ( 777 a school The work w hich plac e d h i m at once at t h e he ad of all t he sculptors of G e rmany is t he tomb at C harlott e nburg o f Louisa call e d t he be au tiful qu e e n wife of F re d e rick William I I I and mot he r of t he pre se nt kin g and his pre d ec e ssor R auc h re pre s e nt e d he r re posin g on h er tomb and he mad e anoth e r statu e of he r on foot for Potsdam .
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Fig 5 0 .
.
—B z
ron e
monumen t
G reat
.
erecte
By C hristia
memory of Fre deri ck the Ranch ( Be rl i n )
d to the
n
.
.
G ERMAN SC ULP T URE
25 8
whom A u g ustus Kiss and F re d e ric D rak e are The latt e r is t he author es p e cially distin g uis he d of t he ch armin g h i g h re li e fs w h ic h e mb e llis h t h e e d estal o f t h e statu e o f F re d e rick William I I I in p .
-
.
F ig 5 1 .
t he
.
—Th
Thi erg a r ten
e
Amazon ,
of
by A
u
g
.
Ki
ss
( B erl i n ) .
B e rlin and t he form e r of th e Ama z on on hors e back attack e d by a lion e ss place d in front o f the pe ristyl e o f t he mus e um Th is bron z e g roup is spl e ndid full of action an d l i fe ,
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G ERMAN SC ULP TURE
25 9
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Th e warrior maid e n o f t h e The rmo d o n e x cit e d by an g e r rat he r t han by t e rror ; t he qu e e n of t he d e s e rt clin g i n g to t he h ors e s n e ck with t eet h and claws ; t he h orse quive rin g b e n e at h h e r h orrible most pow e rfull y re nd e re d and are all e mbrac e -
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F ig 5 2 .
.
—Goe the
an d
Schil l er
.
dmirabl e w hol e We are t e mpt e d to addre ss the hors e as t h e Gre e k po e t d i d t h at o f “ What a g rand he ad ! w hat flam es are Lysippus : I f the rid e r to uch hi m e mitt e d from h i s nostrils ! form
an
a
.
GERM
260
A N SCULP TURE
.
wit h hi s h e e ls he will carry hi m onwards for t he h n bron z e live s Gr e c Ant ol I v e ow v r t u re h e e ) ( to find o ne fault wit h t his b e autiful statu e I do n ot approv e of t h e rou g h locks worn by t h e h e roin e b e n e at h he r P h rygian cap T he y surround h er fac e w it h a kind of aure ola wh ic h t he mat e rial re nd e rs sti ff and he avy and t h e y give he r t he app e aranc e o f a Gorg on wit h t he he addre ss o f s e r pe nts U n fortunat e ly an e arly d e at h pre ve nt e d Kis s from makin g a companion statu e to h i s A ma z on Aft e r the Prussia n R auch Ern e st R i e ts che l a took t he l e ad in G e rma Sa x on ( 1 8 04 sculpture Amon g st ot he rs t he followin g works a fin e g roup o f t he M a d on na are ascrib e d to h i m a d or i ng her D ea d Son w h ic h t he Italians call e d a P i eta ; t h e marbl e statu e s of t he four g re at sculp tors of Gre e c e plac e d in t he fagad e of the ne w mus e um of D re sd e n and t h e b e autiful bron z e g roup o f Go e t h e and Sc h ill e r w h ic h was cast at Mu n ic h in 1 8 5 7 by H e rr M ull e r and now adorns t he Thea ter h e s ervin g t he appro at W e imar W ilst pr z a t l p e r of e ac h o f t he illustrious fri e nds h c aract r i a e t p R i e t s che l has e nd e avoure d to e x pre ss t he warm a n d t e nd e r a ffe ction w h ic h unit e d t he m till d e at h and wh ich not hin g n ot e ve n t he ir succe ss and fam e could alt e r The g re at minds of bot h po e ts w e re above j e alousy ,
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GERMA N SC ULP TURE
26 2
a mast e rpi e ce ;
t he
Gr aces ,
M us es
t he
,
Venus
,
t he n a M adon na for Naples Apollo M er cu ry Chr is t a n d the Tw el ve Apos tles for t he cath ed ra l of ,
,
C op e n h ag e n , t he
qu e strian statu e o f Poniatowski at Warsaw t hat of Gut e nb e rg at M aye nc e et c T horwalds e n was as succ e ss ful wit h bas r e li efs as with works in full re li e f A g re at many by hi m h av e b e e n re produc e d in casts or e n g ravin g s and e
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-
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,
F ig 5 3 .
.
—Entran ce of Al e
x an
de
r
B abylon
i n to
,
by Th orwal dsen
.
t he
most re markab le is t he lon g s e ri es re pre s e nting t h e En tr ance of A lex a nder i n to B a by lon w h ic h was ord e re d by Napol e on and now e mb e l lis h e s the g re at h all of t he palac e of Christiansborg i n D e nmark Sp e akin g o f i t a bio g raphe r of t h e “ artist s ays : I t is p e rhaps t he most admirable mast e rpi e c e produce d by art sinc e the e ve r g loriou s ” ag e of Gre cia n sculpture Whe n old and w e althy ,
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GERMA N SC ULP TURE
26 3
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T ho rwalds e n d e vot e d pa rt of h i s large fortun e to Th is t he foundation of a mus e um at C op e n ha g e n buildin g b e ars hi s nam e and contains a consid e rabl e n umb e r of t he div ers e work s w hich re nd e re d h i m illustriou s .
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I H
F LEM S
E
e av g
SC UL P T URE
nam e of t h e P a i n ti ng of the L ow Cou n tr i es to t he sist e r schools of F land e rs and H olland lookin g upon t h e m as two manife stations o f on e g rand styl e It w ould be u se l e ss h owe ve r t o try and find a common titl e for t he two sc hools o f sculpture wh ic h w as but littl e and ve ry indi ffe re ntly cultivat e d in F land e rs and not at all in H olland Poss e ssing no marbl e quarri e s n o coppe r min e s not e ve n ston e and drawin g he r ve ry timbe r suppli e s from abroad H olland app e ars from t h e first to h ave re nounc e d an art for w hich nature ha d d e ni e d h e r t he mat e rials No sculptor rivall e d Lucas van Le yd e n R e mbrandt and Paul Pott e r nor w e re t he re any statu e tt e s o r carvings e qual t o t h e porc e lain of t he Th e bron z e o r marbl e C he vali e r V an d e r W e rff statu e s in t h e public square s mus e ums or town halls o f c e rtain D utc h towns are t h e w ork o f for e i g n artists s o t h at w e h av e only t o tre at o f F l e mis h scul p ture t he
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F LEMI SH S CULP
266
TURE
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n g rave d t he motto of th is e nte rprisin g and pe r seve ring prince ?e l ay a mpr is bi en e n a vi eng ne It would h ave be e n w e ll to insc rib e on h i s tomb t he words pronounc e d by D uk e Re né of Lorrain e whe n the corps e o f C h arl e s was found a fte r t he battl e of Nancy Votr e d me a i t D i eu beau cous i n e
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ca r
vou s
a vez
f
mou l t ma ux
ai t
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et
The
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of
Mary of Burg undy re sts on a large cush ion and he r fe e t on two small lapdogs H e r statu e is ch i e fly re markabl e for t he d e licate carving of t he drape ri e s and clothe s M ary die d as w e know at twe nty five from a fall from he r h ors e and he r tomb mad e se ve ral years be fore t hat o f he r fathe r is t he b ett e r of t he two The branche s of t he tre e s in coppe r and t he littl e ang e ls of t he sam e m e t al — h w hich support t e armorial be aring s all the orn a — m e nts in fact are of t he most d e licat e e x e cution But alth ou gh t his tomb of Ma ry o f Burg undy may surpass t hose of he r son P h ilip th e Good and J oanna t he C ra z y whic h o f h e r dau g h t e r i n law w e notic e d in t he cat he dral o f Granada it is by no m e ans e qual to t h ose of he r anc e stors J oh n the F e arl e ss and P h ilip t he H ardy D uk e s of Burg undy n o w in t h e mus e um o f D ij on All t he d e tails of t hes e Lilliputian buildin g s t he point e d arche s t hree fe et h i gh t he Cloist e rs in wh ic h pace fig ures fi ft ee n inches long the pinnacles t he littl e a nge ls he ad
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F LEMI SH SCULP
268
TURE
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y e ars lat e r by a Spanis h artist J u an d e la H u e rta a native of D aroca in Arag on w ho was aid e d by t w o Burg undian artisans J e han d e D rog ué s and Antoin e Le mo u t u ri e r I could not find out at Bru g e s w ho w e re t he auth ors of t he tombs of Charl e s and Mary ; th e ir nam e s are probably for e h ott n t r e n w e o g We must not l e ave Bru g e s wit hout visiting the Palais d e J ustice In the room in w h ich the j uri e s d e li be a t e is t he famous ch im ne ypi e ce o f carve d and sculpture d wood o f wh ich t he cast is in T h e re is a l eg e nd conn e ct e d with t he Louvre I t is said t h at a c e rtai n t h is ch imn e ypie ce H e rmann G lose n ca mp cond e mn e d to d e at h for I know not what misd e e d ask e d pe rmissio n to produc e o n e last sp e cim e n of h is h andicraft H e was a wood carve r Wit h t he aid of hi s dau ght e r h e und e rtook th is famous mant e lpi e ce wh ich save d h i m from t he g allows and g ain e d h i s full pardon The statu e s wh ic h e mb e llis h it are n e arly t h e si z e of life In t he c e ntre is Charl e s V on foot and in armour holdin g a nak e d sword in one h and and O n t h e ri g ht are hi s g re at t h e g lob e in t h e ot h e r grandfathe r Charl e s t h e Bold and Margare t o f En g land h i s t h ird wife ; on t he l e ft h is g rand parents Mary of Burg undy and Ma x imilian o f Austria Spirits C upids armori al be aring s and forty
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F L EMI SH SC ULI I URE
269
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di ffe re nt ornam e nts fill up t h e space s b e twee n th e se five statu e s and compl e t e t h e g e n e ra l d e coration above t he fri e z e of the ch imn e ypi e ce w hich latt er re pre s e nts the h istory of Susannah in ve ry low alabast e r bas re li e fs and is by a ce rtain Guyot d e B e a u g ra n t It would be d i fli cu lt to e x ce l t he g ood taste of t he arran ge m e nts and t he b e aut y o f t he workmansh ip of t his m aste rpi e c e No artist e ve n to save hi s he ad could h av e don e be tt e r t han H e rmann Glose ncamp I am care ful not to say cou l d d o b e tt e r for t he a rt o f sculptu rin g in wood t he a rt of G e rmany as w e ll as o f Spain of t he North as we ll as of t he South is almost lost and wh e n w e look at th e fine works it h as prod u c e d our reg re t is incre as e d t hat it should have b ee n so compl e t e ly abandon e d B e tw ee n t h is ag e and t he be g inning of our own I find no othe r F l e mis h work to m e ntion worth y o f b e in g class e d amon g st t h e wond e rs of sculpture and R ub e ns V andyck and Te nie rs had no sculp tors to rival the m more t han Re mbrandt In our own day M e ssrs Ga llai t Le ys and oth e rs are con s i d ere d t h e re novators of paintin g as t h e s e artists we re form e rly and with the m w e must clas s M e ssrs Ge e fs F i e rs Sop e rs and Wi e n e r w h o are e qu ally e min e nt and succ e ss ful re vive rs of s cul pt u re ,
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C H A P T E R VI
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ENG LI SH SC UL PT URE
HE
first t h in g w e see whe n w e e nter the British M us e um to visit t he bas alt and por h h r ima s o f E ypt t e alabast r slabs o e e f g p y y g Assyria and t he marbl e s of H alicarnas sus and the Parth e non is t he pe dim e nt o f t he mod e rn bu i lding wh ic h con tains from twe lve to fi fte en all eg orical fi g u re s t he work o f t he most c e l ebrat e d sculptor of En g land Si r Rich ard We st macott Tak e n se parat e ly t he s e marbl e statu e s are not with out a ce rtain m e rit for t he y are fin e ly and care fully e x e cut e d ; more so ind e e d t h an t h e point o f vi e w re quire s as t he y can only be se e n from be low and at a distanc e But as a w hol e t he y are wanting i n h armony g rac e and di g nity and a more striking and unpardonabl e d e fe ct is th e pre t e nsion of the — subj e ct t he y re pre s ent t h e P r og r ess of Ci vi li z a ti on I f t he En g l i s h h ad ch os e n t h is subj e ct for t he ch i ef e ntranc e of t he docks o f L ondon t he naval a rs e nal ,
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ENGLI SH SC ULP I URE
27 2
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drawing room It is the sam e in the public g ard e ns parks and sq u are s Could I w rite a d e scription of t he bron z e e q u e strian statu e o f t he D uk e of We llington e rect e d in Piccadilly in front of h i s re sid e nce and Opposite t h at othe r g rot e squ e statu e re pre s e nting th is ill ustrious state sman and warrior on foot as a F i ghting Ac hill e s w h ic h is p e rfe ctly Th e e qu e strian statu e n u d e and p e rfe ctly black is s e e n in profil e not full face t hat is to say it is place d side ways on t he mise rable tri umph al arch wh ich se rve s as a p e d e stal and it most re s e mbl e s — Punc h mounte d on B alaa m s ass at l e ast so it has b e e n caricature d by t he witty Charivari of London to wh ose pag e s it prope rly be long s O n t he w hol e — e and t he few pi e ce s of i f I am not mistak n statuary in London appe ar to confirm t h is vi e w t he En g lis h work wit h g ood tast e and re al succe ss in se cond rate styl e s In painting they e x c e l in wate r colours e ithe r cabin e t picture s or portraits ; in e ng ravin g in m e z z otinto coppe rplate or t he K eeps ake ; in sculpture in bust port raits In t he tru e national muse um o f sculpture We stminst e r Abbe y w e s hall find t his last ass e rtion j ustifi e d In the c hape l of H e nry V I I the larg e st and most profus e ly d e corat e d in t he old monast e ry of t he w est whe re t he kni g hts o f t he Bat h are n ow ins tall ed w e find t he b e st and e arli e st piece of -
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ENGLI SH SCULP TURE
273
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sculptu re w h ich En g land ca n prid e he rse lf on pos s e ssin g— t h e tomb of th e found e r o f t he ch ap e l It is t h e work of t he c e l e brat e d F lore ntin e Pi e tro Torre g i an o w h ose tragic h istory w e h av e alre ady r e lat e d O n th e tomb w h ich is o f black basalt cov e re d with various ornam e nts and surround e d by a ric h and massive chantry of cast brass re cline t h e e fli g i e s of H e nry V I I and h i s qu e e n Eli z ab e t h We will not atte mpt to re vie w t horoug hly t he ot he r t e n o r twe lv e ch ap e ls of t he abb e y but bri e fly notice t he principal tombs not accordin g to t he ir positions but according to t he rank occupi e d in t he world by t he illustrious d e ad w hos e ashe s t he y cove r F irst the n w e will compl e t e t he list o f royal p e rsonage s H e re w e find t he g re at Eli z a b e t h w hos e marbl e statu e immortalis e s t he round e y e s and h ook e d nos e t h e cold imp e rious and h augh ty mann e r chi ract e ri s t i c of t he maid e n qu e e n ; Mary Stuart more b e autiful more and more frail ; Edward V and h is l ovabl e brot he r R ich ard both assassinat e d ; Charl e s I I t he re store d monarc h not fa r from t h e instrum e nt G e n e ral Monk ; William I I I o f h i s r e storation call e d to t he th ron e by t he g lor i ous Re volution h i s wife M a ry Qu e e n Ann e and lastly G e org e I I w ho pre pare d h i s o w n g rave in th e vault o f H e n ry V I I s c hape l .
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ENGLI SH SCULP
274
TURE
.
We stminst e r how eve r is not only t he St D e nis All t he me n o f En g land it is also t h e Pant h e on w h o h ave re nd e re d g re at s e rvic e s to t he ir country or whos e works have mad e t he m illustrious s hare t h e h onour and t h e fam e of t hos e w h om accid e nt or birt h call e d to t he t hron e T he re are but fe w warriors amon g st t he m ; w e look in vain for the — Black Prince T albot Marlborou g h Ne lson re sts i n St Paul s almost alon e We st minst e r c ontains more si mpl e ofli ce rs w ho di e d in action t han g re at naval or military command e rs Ne ar t he g org e ous monum e nt to Capta i n J am e s Corn e w all with its e l e g ant bas re li e f s e a pi e ce b e n e ath a pyramid shad e d by palms re st G e n e ral Wolfe F i e ld ‘ mars hal Lord Lig oni e r and M aj or André with on e fore ig n e r t he Corsican ch i e f Pas qual e d e Paoli w ho was hospitably re ce ive d by t he En g lish e ve n in t h e ir national t e mplé The stat e sm e n w ho w e re more nu me rous in En g land ar e also be tt e r re pre se nte d in t he abb e y I s hall not e nu me rat e t he e min e nt politicians of t he T udors and Stuarts but pass on to t hos e of our o w n ag e : Lord Stan h op e ; L ord Mansfi e ld w hos e mag nifice nt mausol e um was e re ct e d in 1 80 5 by .
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ENG LI SH SCULP
27 6
TURE
.
tomb lik e the sanctuary of God s h ould be not in a buildin g not in a country but in the unive rs e t he laws of wh ic h he re cog nis e d and laid down O n e x aminin g h i s statu e w h ic h is a fi ne work by Sch e e mak e rs w e are struck by h i s re s e mblanc e to anoth e r g re at work e r of wid e vi e ws M ich ae l An g e lo Ne wt on was a h andsom e r man c e rtainly for hi s nose was not brok e n in hi s yout h by a c hol e ric ri val ; h i s face too is g e ntl e r and more t h ou g htful ; bu t for all t hat I re pe at t he re s e m blance is striking in the g e n e ral outline of t he he ad in th e lin e s o f the fac e in t he fe ature s in t he e ntire appe arance B e n e ath t he statu e of Ne wton are inscrib e d the tru e and b e auti ful words Si bi g r a tu and 1en tu r mor ta les tale ta n tu mgu e ex ti ti sse lowe r down H u ma n i g e ner i s decu s 1 The part of t he P a n theon of En g land w h ich I found most d e lig htful and sug g e stiv e was t he s o uth transe pt or Po e ts C orn e r B e fore t he e fli g i e s o f kin g s or politician s w e e x pe ri e nc e a m e re cold curiosity but in t h is sil e nt fun e re al acad e my among st t he me n whos e m e mory will live for e ve r and w ho still spe ak to us in t he ir wo rks he art and mind alik e burn wit h in us ; w e s ee m to be in t h e actual pre s e nce of t he imposin g asse mbly an d ,
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ENG LI SH SCULP TURE
277
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und e r t he scrutiny of t he s e acknowle dg e d mast e rs whom w e adm i re rev e re nce and love T h e re in a narro w s pac e are coll e ct e d n e arly all t he writ e rs w ho h av e re n d e re d t he ric h and pow e rful lit e rature h e re ill and wit w om o f En land u strious h w a g familiar t h rou g h t he l ab o u rs of our tran s lators and critics at l e ast : old B e n J o n s o n Ch auc e r call e d t he E n n i u s of Eng land Sp e ns e r William Shak e sp e ar John M ilton T h omas Gray Butl e r W Con D en r v Mason Gay Wyatt Isaac C asaubon ryd e e g Pop e Addison O live r Goldsmit h R owe T homson We re g re t t he abs e nc e of Swift F i e ld Sh e ridan i n g St e rn e H um e and R ic hardson ; but of t he r e at e st aut h ors four only are missing two b e lon g g The i ng to p ast ag e s and two to mod e rn tim e s form e r are R oge r Bacon t he l e arn e d friar and F rancis Baco n L ord H igh C h anc e llor o f Gre at Britain and t he still g re at e r aut hor of t he I ns ta n Byron and Walt e r r a t i o M ag n a ; and t h e latt e r I b e li e ve t hat a plac e is res e rve d for Scott ” Macaul ay The s e pulc h re o f t he illu s trious author of P a r a d i s e L os t is not wort hy of h i m ; t he littl e tomb quite clos e to t h e door is s habby fo r so g re at a nam e Can it be th at t h e re putatio n of t he ,
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—TR
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ENGLI SH SCULP TURE
27 8
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re p u blican pamph l e t e e r h as inj ure d t hat of t he Scriptural poe t ? The g re at Sh ak e spe ar i s more suitably tre ate d H i s tomb is a re mark abl e work by Sche e mak e rs and he is re pre se nt e d at full l e n g t h on a pe d e stal d e corat e d wit h symbols and all e g orical fi g ures T he re is a natural nobility about t h is statu e without any the atrical sti ffn e ss but the fac e appe ars to me too round too full t oo smooth We could wis h t he i mmortal dramatic po e t to have t he long h f e h e e rav and t ou tful count nanc n rav d o h i e s e g g g portraits At Shak e spe ar s fe e t b e n e ath a simpl e s lab of black marbl e li e s She ridan w ho mig ht h av e h ad a statu e amon g st t h os e o f t he state sm e n h a d h e not pre fe rre d to re main wit h the authors ; and opposit e a man w ho wrot e littl e but was a com e dian and doubtl e ss a g re at e r com e dian t han — Sh ak e sp e ar D avid Garrick H i s pre s e nc e h e re might be tak e n as a proof of t he tol e ranc e of Eng lish ch urch m e n so o ft e n d e n i e d did w e not re m e mbe r t hat t he choir alon e of the old R oman Cat holic ch urch is cons e crat e d to t he dominant form of worship Wh ilst t he re st is but a s e cular buildin g Amon g st t he warriors w e found t he C orsican Paoli amon g s t t he me n of l e tte rs t he Swiss Casaubon an d n ow in t h e Poets C orn e r w e m e e t with anot he r fore ign e r a gre at po e t truly alt houg h h e did not writ e in En g lis h or in any spo k e n .
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ENG LI SH SCULP TURE
28 0
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fanci e s ra t he r t han tru e orig inal ity The b e st are t h e simpl e st suc h as statu e s and busts but non e o f t he m appe ar to us to b e ar comparison wit h the tombs of t he M e dici at F lore nc e of Paul I I I or R e z z o nico at R om e of T ure nn e at Paris or of M ars hal We h ave alre ady m e ntion e d Sa x e at Strasburg t h e principal monum e nts : of t h e anci e nt t hat of H e nry V I I by Torre g i an o ; of t he mod e rn th os e of Lord Mansfi e ld by F la x man of Captain Corn e wall o f Ne wton and of Shak e spe ar by Sche e mak e rs ; and to the m w e must add the statu e o f Watt by Chantre y w h ich is said to be a pe rfe ct lik e n e ss T he re a re how eve r two ot he r tombs bot h of wom e n which d e se rve m e ntion if only on account of t he fam e w h ich t hey e nj oy O n e that of Eli z ab e th Warre n re pre s e nts a youn g g irl half nud e in t he s e mi re cumb e nt position of t he M ag “ T h is figure app e ars to me da lene of C anova w e ll studi e d happily re nd e re d but what is p e rhaps most admire d is the imitation in ma rbl e of a g ar m e nt o f coars e clot h of w h ich t he t hre ads may — count d a c h ildis h fancy re minding us of t he e be Chr i s t benea th the s hr ou d and t h e F i s h i n the net in .
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ENG LI SH SCULP TURE
28 1
.
at Napl e s As for t he ot he r tomb I fail e d to discove r e it he r t he nam e of t he sculptor or t hat of t he pe rson to wh om it is d e di cat e d for t he g uid e s at We stminst e r h urry t he visitor past t h e tombs much as Sancho Pan z a s doctor did the dis he s at t he gove rnor s tabl e All t hat I could mak e out was t hat it had som e t h i ng to do with a lady w ho was s hut up so long in a dun g e on that s he di e d on ag ain s e e in g t he day lig ht w he n he r h usband cam e to re scu e h e r T his sce n e is re pre s e nt e d on the upp e r part of t he monu m e nt b e n e at h l e an D e at h comin g t hrou g h t he half ope n door turns back and touch e s t h e e x pirin g ‘ captive wit h h i s scythe It is a stran g e t he atrical and pre t e ntious composition in t h e styl e of t he
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ENGLI SH SCULP
28 2
TURE
.
mausol e um of M ari a Ch ristina of Austria e re ct e d by Canova in t he ch urch o f t he Au g ustin e s at V i e nna ; but w e must acknowl e d g e t h at som e o f t h e d e tails a re v e ry fin e ly e x e cut e d The sk e l e ton of D e at h for in stanc e is pow e rfully re nd e re d and Whe n t he s had e s of night t h e action is g ood b e g in to g at he r in t he spacious aisl e s it m u st form an appallin g apparition Eng lish sculpture s e nt no ch oice work to t he U nive rsal E x h ibition and only g ain e d one insi g ni fican t distinction A n Italian artist e ducat e d in F ranc e Baron Maroche t t i lon g he ld h i g h and undisput e d rank as a sculptor in L ondon but d e ath has late ly re move d hi m fro m t he countr y of his adoption ,
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F R ENCH SCULP
28 4
TURE
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Gre cian art for it may be said th at t he By z antin e styl e was t he old Gre cian coloure d and modifi e d by t he id e as of the East of P e rsia e sp e cially by t hos e arts w h ich subs e qu e ntly b e cam e Arab : arc hit e cture and d e coration At t he be g innin g of t he e l e ve nt h ce ntu ry whe n t he t e rribl e y e ar 1 000 had pass e d away and b e li e f in the world s c ontinu e d e x ist e nce was re store d th e art of sculpture and t hat of stainin g g lass app e are d to ge t he r in F rance The influ e nce of t he C rusad e s was naturally s e e n in re lig ious buildin g s and first o f all in t he imitation o f By z antin e paintin g s According to M V i ol le t le D u c t h is imitation is most e vid e nt in t he sculpture s b e longin g to t he re mot e ag e o f St B e rnard in t he abb e y c h urch of V e z e lai in Burg undy in w h i ch h e pre ache d t he s e cond crusad e L ittl e by littl e h ow e ve r Gothic art free d its e lf from t he tut e la g e to wh ich it owe d its birth The By z antin e Ch rist bl e ssing and j udg in g me n soon b e cam e no more than t he Cr ucified ; t he g lorifi e d V irg in crus h in g th e s e rpe nt and re sting her foot on t he cre sce nt of t he moon was trans form e d into t he M adon na mothe r of t he H oly Ch ild The monks of C luny w hos e ord e r was found e d by St B e rnon as e arly as t he e nd of the nint h c e ntury w e re not only b e tte r sch olars but also ,
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FRENCH SCULP
TURE
28 5
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bett e r artists t h an th os e of othe r institutions Ston e masons work e d und e r t he abbots or friars o f t his ord e r w ho ha d studi e d arc hit e cture and t he more skilful of t he s e art isans b e cam e carve rs of imag e s and w e re intrust e d wit h t he most important and d e licate works T he y mad e t he statu e s o r t he he ads and hands of the statu e s ; but t he y did not g ive t he ir nam e s— t he re was no P he id i as no Pra x it e l e s amongst the m T he ir figure s says M T ain e “ are d e stitut e o f b e auty t h in att e nuat e d mortifi e d motionl e ss in e x p e ctation or a n d su ffe rin g ; rapture t he y a re too frail and impassion e d to live t he y a re alre ady promis e d to h e ave n And y e t strict j ud g e s found fault wit h t he m Greg ory V I I and St B e rnard cond e mn e d t h e lice ns e indul g e d in by t he nasce nt art T he y w e re hostil e to all V irtuous n ot b e auti ful b e auty to all s h ape saints we re re quire d with noth in g about t he m to distract t he e y e or t he mi nd o r to e x cit e e art hly love Should e rs and hips w e re not to be re pre s e nt e d action was forbidd e n t he hands must be fold e d in t he attitud e of pray e r and m e ditation In t h e s e imag e s w he t he r of t he e l e ct or t h e cond e mn e d of an g e ls or of d e vils e x pre ssion was by m e ans of contortions and e n e rally obtain e d g s rimac T h e w h ol e p e riod call e d Got h ic say es g “ M M é nar d was divid e d b e twee n two e qually .
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FR ENCH SC ULP
286
TURE
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vicious e x tre m e s— absolut e rig id it y or d eg rad ing ” manne rism We must he re re mark that t he G re e ks aspire d not only to t he tru e and the b e a u ti ful but also to ri g ht balance in th e tru e and b e autiful H e nce t he comparative calm of t he ir statu e s t he abs e nc e of all force d or painful e x pre ssion and eve n if you will of t e nd e rn e ss The Christians on the contrary in t he ir e nd e avour to supply t he want of b e auty — cond e mn e d by t he ir cre e d by pow e r of e x pre ssion naturally fe ll into e x tre m e s ; and t his fault con tract e d in the Middl e A g es ch aract e ris e d Christian art until the tim e of M icha e l An ge lo of B e rnini of Pu g e t and e x ists still in our own day unde r t he nam e of mann e rism H ow e ve r takin g into account t he id e as unive r sally e nt e rtain e d at th is tim e wit h re g ard to th e impossibility of re pres e nting t he nud e t he morti ficat i on of t he fl e sh and t he sup e ri ority of asc e tic pi e ty ove r mobil e be auty w e must acknowl e dg e that t h e lay artists of t he Middl e A g e s at l e ast w ho ha d more ind e pe nd e nce and individuality of c haract e r t han the ir re li g ious bre t hre n did attain to a c e rtain e x c e ll e nc e a c e rtain id e al and in many cas e s e ve n to tru e and powe rful e x pre ssion B e auty ce rt ainly was wantin g but in t he words of M V i olle t le D u c ” t he st y l e and t he t hough t we re n e ve r at fault .
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28 8
TURE
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wh ich in t he bo dy politic le d to th e institution of commun e s And t h is ind e pe nde nc e was oft en carri e d to audacity The works o f t h is tim e says M V i olle t le D u c show a mark e d d e mo cratic t e nd e ncy a h atre d of oppre ssion w h ic h w as t he n spre ading e ve ryw he re and w h ich is a nobl e r s e ntim e nt and re nd e rs t he m wort hy of the nam e of art t he libe ration of t he inte ll e ct from fe udal and ” pri e stly bondag e The artist s o f t h is tim e we re t h orou g h ly we ll acquainte d wit h t he laws of proportion in pe r s pe ct i ve T he ir statu e s g roups h igh and low re li e fs are suit e d to t he position t he y occupy ; faulty if s e e n close corre ct at a distance t he y a re almost always int e nde d to be l ook e d at from b e low T he ir authors we re also conve rsant wit h t he laws of l i g ht ; which was t he more n e ce ssary as many sculpture s of t he e l e ve nt h to t he fourte e nth ce n tu t i e s are coloure d We may add that t he g roups statu e s and has re li e fs we re adapt e d to t he amount of li g ht w h ich would fall upon t h e m ; in fact at t hat tim e sculpture was still an adj unct t he pri n ci pa l de corat ion o f arc h it e cture In spe akin g o f t he monum e nts o f t h is e poc h w e can n e i t he 1 se parat e t he sculpture from t he archit e cture nor t h e arc h it e cture from t h e sculpture Lik e t he Mahomm e dan mosqu e s a C hri stian ,
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F RENCI I SCULP TUR E
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cath e dral w as inte nd e d to b e a re pre s e ntation of But aft e r the down fall of t he t he world a cos mos iconoclasts artists w e re fre e to re pre s e nt all li vin g t hing s and t he cat he dral b e cam e a more compl e t e picture of t he unive rs e We are t he re fore not surpris e d to m e e t wit h an infinit e vari e ty of ornam e nts ; a ston e fl or a t hat is to say pla n ts free ly imitat e d wit h t he c his e l ; a f a u na t hat is animals of all so rts mostly fabulous o r chim e rical and n e arly always symbolical such as t he phaen i x t he g ri fli n t he harpy t he basilisk t he salamand e r tog e t he r with me n saints d e mons ang e ls and e wit h id e as o f t h is kind ods It was in accordanc g t hat the g re at cat he drals w e re construct e d and d e corat e d at Rhe ims C hartre s Ami e ns Laon Se ns Paris and in t he ce ntral district form e rly known as t he Isl e of F ra nc e w h ic h M V i o lle t l e D u c j ustly calls t he Attica of t he M iddl e Ag e s A ft e r the s e g e n e ral re marks w e will proce e d to notice thos e pi e c e s of sculpture b e st known to fam e whic h are mostly by artists whos e orig inality has re scu e d t h e ir nam e s from oblivion ; w ho w e re artists by nature as w e ll as by e ducation, combinin g tru e g e nius wit h g re at d e licacy and re fin e m e nt Such w e re in t he fourt h c e ntury J e an Ravi and hi s n e phe w J e an Bout e ill e r w ho aft e r t he mis fo rtu n e s o f t he re ig n of C harl e s V I and t he e x .
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F RENCH SC ULP
290
T URE
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En g lish work e d toge the r at a Life e Vi r i n e li e f t h as h in r round cloist r o h t e e f o f g Notre D am e at Paris ; t he unknown aut hor of the fi n e tomb e re ct e d in t he cloist e r St V ictor by Bishop Guillaum e of Paris to hi s cook Jacqu e s ; H e n n e q u i n d e la C ro i x aut hor of t he mag nific e nt mausol e um d e dicat e d by Charl e s V Charl es le Sag e to h is fool T heve nin d e St L eg i e r C onrad Me y t and André Colomban w ho e x e cut e d the tomb of P hilibe rt le B e au in t he c h urch of Brou ; and lastly Miche l C olomb or Mi chau lt Colomb h t h e e to aut or of monum nt at ant s 1 e N 1 ( 43 to F ran cois I I duc d e Bre tag n e (duk e of Brittany) H e it is w ho has d hi s wife Marg u e rit e d e F oi x an t he h onour of g ivin g h i s nam e to t he first of t he rooms d e dicat e d to t he R e naissanc e in the M us e um In the marbl e has re li e f attribut e d of t he Louvre to hi m he has introduce d t he Str ugg le betw een St Georg e a nd the D r ag on in n e arly h i g h re li e f but in re duce d proportions The d e licacy of work manship and t he boldn ess of styl e in t he fi g ure s o f t h e mail clad Ch ristian P e rs e us on h ors e back t he scaly monst e r pi e rc e d by the lance and t he Princ e ss Th e od e li n d a kn e e lin g in t h e distanc e would h ave don e honour to Italy he rs e lf at t his ag e Wh ilst Colomb w as at work on th is has re li e f and ot he r — ue e n b a 8 S rr ) r (Q pulsion
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F RENCH SCULP TUR E
292
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h ands
and clos e d e y e s ; the man in warlike costum e re sts his fee t on a lion the woman in a clos e fitt i ng cap and flowing robe wit h no ornam e nt but a long rosary us e s a d og as a footstool All t he s e d e tails are common e ve n to trite n e ss t he mat e rial m e re lias li m e ston e is not valuabl e nor do t he insi g nificant nam e s of t he p e rsons com me morat e d j ustify t he ex c e ptional m e asure s tak e n to pre s e rve t he ir tombs from oblivion D o w e ev e n know t he nam e of t h e sculptor of the se imag e s ? No ; and the dat e s preve nt us from attributing t he m t o M i chau lt C olumb w ho di e d many y e ar s Why t he n w e re the ir b e fore t he se wort hi e s monum e nts brou g ht from t he c hurch of St G e r main l A u x e rro is to t he M use u m of t he L ouvre ? B e caus e t he ir unknown author has produc e d a doubl e maste rpie c e be caus e t he e x quisite sim h e m e morial fi u re s f e l i t o t s woman i c f e o t h y p g ( t hat t he y may be consid e re d e sp e cially ) is such mod e ls of F re nch art b e fore it was transform e d by Italian influ e nce T he y are fortunat e ly we ll pre s e rve d and uni nj ure d B e nve n u to Ce lli ni was i nvit e d to F rance by F rancis I at t he s a m e tim e as Le onardo da V inci Andre a d e l Sarto R osso and Primaticcio We h ave alre ad y notic e d h i s Ny mph of F on ta i neblea u m our chapte r on Italian sculpture ; i t is in t he ,
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as Michae l Ang e lo s We may also m e ntion a statu e o f Capti ves ‘ F r i en ds h ip by a c e rtain Pi e tro Paolo O livi e r She h alf unbare s he r he art wit h o n e h and a stran g e and far from pl e asin g fancy int e nd e d to typify t he warmt h an d purity of he r fe e lin g s But doe s not ood tast cond mn h e t e u s e of p hysical symbols to e g ? re pre s e nt moral s e ntim e nts Is not e x pre ssion t he on ly le g i ti mat e m e ans at t he artist s command for t he e mbodim e nt of h i s t h ou g h t ? T o attain to t h is is t he c h i e f di fficulty but also t he c h i e f triumph o f art At t he sam e tim e t hat t he Italians introduc e d t h e g rand styl e into F ranc e a F re nc h man took rank amon g st t he first sculptors of Italy T h is was J ean d e Bolog n e born at D ouai in 1 5 24 He live d at F lore nce w he re he was call e d Giam Bolog na ; but w e have as g ood a ri ght to class h i m amon g st F re nc h sculptors as w e have to con sid e r C l aud e and Poussin F re nch painte rs It was prob ably a wh im of t he g loomy M ichae l An g e lo which le d t o h i s b e comin g a g re at artist It is said shortly aft e r t h at t h e youn g J e an d e Bolog n e hi s arrival in Italy pre s e nt e d t he ol d F lore ntin e wit h a ve ry fi ne ly fin i she d plast e r work M ichae l An g e lo brok e it with a blow of h i s stick and e x Y oun g man l e arn to u se t he c h is e l claim e d : b e fore finish ing J e an d e Bolog n e l e ft hi s c e l e
sam e room in
t he Louvre
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e a S a bi n in o h a R e t e e h t o f bron roup z e d p f brat e g e e t h e and e e ral statu tt s in v h o i c c e V o z s P a la z mus e um D eg l Ufi z i amon g st ot h e rs a ?u no a an Apollo a Vu lca n and t he ,
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— T h e 55 .
F lyi ng M e rcu ry
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T h i s known e ve rywh e r e as that of Giam Bologna e copi d e f e e w e ll known M e rcu ry wh ich h as b n o t n quilibrium e e i s a p e rfe ct mast e rpi ec e of li gh tn ss -
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F RENCH SC ULP TURE
29 6
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F re nch
art
must pass wit hout pausing from t he room of M ichau lt C olomb to t h at of J e an Goujon w h o 1 e liv d about 0 s all at W e h s ee 53 ( a g lanc e t h at F re nc h statuary did not lik e painting n e ed to await the l e ss ons of Italians but t hat t he sculptors of th e Re naissance took the ir inspiration from t he ima g e mak e rs of t he middl e ag e A few choice works by a g re at artist w ho is said to have b een lost to F ranc e in t he massacre of St Bart h olom e w h ave b e e n re ve re ntly pre s e rve d Th e larg e st and most c e l e brat ed is t h e marbl e ‘ h e old but still b e auti ful t roup of D a n a mad e for i g lady of An e t D iana of Poiti e rs O n a p e d estal o f stran g e s h ap e rat h e r lik e a s h ip adorn e d wit h crabs lobst e rs and amorous fi g ure s t he g odd e ss o f t h e c h as e in a s e mi re cumb e nt position l e ans u pon a stag with g old e n antl e rs he r g old e n bow in he r hand h e r two guardian dogs b esid e he r T his hal f colossal and e ntire ly nud e fi g ure wit h t he h air dre ss e d in t h e styl e of t h e day is unive rsally look e d upon as t he portrait of t he h au g hty rival of t he D uche ss e d Et a mpe s and of Cat he rin e d e M e dicis To w h o rul e d F ranc e until t h e d e at h of H e nry I I compl ete t he g roup two nobl e and pow e rful lookin g bro n z e huntin g d og s with drooping ears have b e e n j udiciously place d at e it he r e n d T he s e fin e dogs a r e t h os e d e scrib e d and re pre s e nt e d in hi s book 0 11 we
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F RENCH SC UL P T UR E
29 7
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h untin g
by J acqu e s d u F ouillou x h u ntsman to Ch arl e s I X The y may b e quot e d as mod e ls o f rac e and also of th e now flourish in g art of re pre s e ntin g animals The only ot he r work in full re li e f by J e an Gouj on is a bust portrait of H e nry I I fra me d in t he ornam e nts of a ch imn e y pi e c e mod e ll e d by G e rmai n Pilon But w e have h is bas re li e fs in wh ich i f w e may so e x pre ss ours e lve s he was more truly h ims e lf and e x ce ll e d all rivals W e could imag in e t hat t he g re at artist w ho was call e d t he F r ench P he i d i as and t h e Cor r egg i o of scu lptu r e had re ally b ee n abl e to study t he fri e z e of t he Part he non so much do h i s bas re li e fs re se mbl e th os e o f t he P he i d i as o f At he ns n ot only in t he ir form for t he y t oo alt houg h t he strikin g e ffe ct is not l e sse n e d are in ve ry low re lie f but also in t h e g rand e ur of s tyl e t h e corre ctn e ss of drawin g and t h e g rac e and trut h of th e attitud e s M Al e x andre L e noir has re pro d uce d Goujon s D epos i ti on f r om the Cr oss in h i s Ill useu m of F r ench M on u men ts and t he re is no paradox in hi s e ulogium : The Gre eks produc e d ” noth in g more pe rfe ct for non e will d e ny its j ustic e Th e D epos i ti on f r om the Cr oss is now in t he Louvre in t he midst of the four Eva ng el i s ts wit h w h ich it is wort hy to rank O pposit e the se works o f a sacre d styl e are othe rs wh ich are profan e T he se are be ,
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tw e e n two g race fully re cumb e nt Ny mphs of the Sei ne a fin e g roup of Tr i tons and Ner ei d s playin g on t he ” wat e r Whe nce did he obtain t h e s e c harming forms ,
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F i g 5 6 —F ou ntai n .
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F R EN H S ULP
C
300
C
TURE
.
now pre s e rv e d from t he rava g e s o f tim e som e trace s of w hich w e re alre ady visibl e and as t he y a re not only und e r g ood s he lt e r but also in a plac e whe re t hey are ad mire d by b e tt e r j ud g e s t h an t he fe w stra gg l e rs in t h e n ow d e s e rt e d g ard e ns w hy has not t he mast e rpi e c e of t h e F re nc h R e n aissance of t h e Si x t e e nt h c e ntury h a d t h e h onour o f b e in g includ e d in o u r national tre asury T he re it could be b e tt e r k e pt its e x quisit e d e tails could be b e tt e r s e e n it would be an obj e ct of study and admiration for artists and amat e urs of all nations ; in its turn it would b e visit e d by t hos e b e tt e r abl e t o appre ciat e it t han th e d e al e rs in cabba g e s and l e ttuce s w ho would fe e l as littl e re gre t for its loss as t he y do prid e in its poss e ssion It is und e cid e d w hat s hall be put in t he middl e o f t h e square court of t h e Louvre wh ich awaits H e av e n knows w hat som e e qu e strian statu e probably w h ic h a re vo lu tion will t h row down lik e t hos e of H e nri I V and It is re ally us e l e ss to g o to t he L ouis X I V Le t t he F on ta i n e d es I nn ocen ts e x pe ns e of bron z e be s e t up in t h e court o f t h e Louvre in t h e c e ntre T hat is its tru e place and of t h e art coll e ctions t h e re it would re main as lon g as Paris is Paris It 15 customa ry to call J e an Gouj on t he re store r of sculpture i nF rance F ar be it from me t o disput e or d e tract from h i s g lory I would gladly own hi m ,
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to be t he cre ator o f F re nch stat uary But t his titl e can only be h i s in common with two ot he r artists J e an C ousin and G e rma i n Pilon T he y may ind e e d h ave pre c e d e d h i m A lt houg h w e do n ot know t he .
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— 5 7 Tomb of P i e .
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act d at e of t he birt h of J e an Gouj on he is sup e pos d to have b e e n born about 1 5 30 J e an Cousin ex
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F R ENCH SCUL P T URE
302
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t hree w e re cont e mporari es rivals and fe llow laboure rs in t he common work of t he F re nch R e naissance The fin e tomb of Pi e rre d e Brez e h i g h s e n e sch al of Normandy at Rou e n is attribute d to Je an but in t he L ouvre w e h ave only one C ousin pi e c e o f sculpture and on e painting from h i s hand — both howe ve r e qually e x c e ll e nt The form e r is t he M a us oleu m of P hi l ippe de Cha bot admiral o f F ranc e w h ich C icog nara calls th e mast e rpi e c e of F re nch sculpture in t he si x t e e nt h c e ntury The se mi re cumb e nt fi g ure of t he brave and nobl e admiral l e ans upon t he h e lm e t wit h the l e ft arm But t he author of t he L as t ?u dg men t and t he A r t i o s D e i n n L r d e D e s A t s er was so e ntir e ly ez n f g g ( g ) occupi e d in painting g lass windows and writin g pre c e pts th at he has only l e ft a fe w e ase l painting s and still fe we r sculpture s Chabot s mausol e um i f it be ind e e d by J e an Cousin combin e s in its e lf all t h at g ive s valu e to art obj e cts it is a fin e work its aut hor is c e l ebrat e d and h i s productions are rare — 1 G e rmain Pilon (about 5 1 5 1 5 90) was a sculptor only and as industrious as he was skilful T he re was n o n e e d to rob th e vaults of St D e nis of t he tombs of F ran cois I and H e nri I I for th e Louvre contains a larg e coll e ction o f h is works It pos s e ss e s for instanc e th e mausol e ums of t he Chan ,
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supportin g a g ilt vas e int e nd e d it is s a id to con tain t he he arts of H e nri I I and Cat h e rin e d e M e dicis T his g roup w h ich was c his e ll e d in a sing l e block o f marbl e was ord e re d by t he mot he r of t he t h re e kin g s ( F ran cois I I Charl e s I X and H e nri and plac e d by he r in t he c hurc h o f t he W hat doe s it re pre s e nt ? F or a lon g Ce l e stin e s tim e it was call e d t he Thr ee Gr a ces and it is u n d e r t h is nam e th at it is know n ot h e rs h ow e ve r have cont e nd e d t hat t h e y w e re m e ant for t he t h re e H e nc e a l e arn e d controve rsy Theolog i ca l Vi r tu es O n t he o n e sid e in support o f t h e ol d b e li e f att e ntion is call e d to t he inscription of t he word Cha r i t i es (xa por es) t he Gre e k nam e o f t h e Grac e s wh ilst hold e rs of t he mod e rn opinion h ave re pli e d t hat t his nam e badly writt e n or badly re ad was m e re ly Charity and t hat t he Ch ri stian V irtu e s w e re more lik e ly to be re pre se nt e d on a s e pulch ral monum e nt place d in a c h urc h t han A dh u c s u bj u d i ce li s es t But t he h e at he n Grac e s ‘ t he latt e r s uppositio n is t he more probabl e ,
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M M Wi th eg d t th G e k L i nd R é y d w m t m k th t th g t i d f w hi h th M h dd p e i n as b en g ral l y ill comp e th h n d ed g l w y th w i th i by the m d m yn nym Th d el g e i g n i fi es both be fi e d th fo m w dg been f g tt n w hil t th e o d h s b e d pted m an i ng h f Si en w t th w h e th ey took the ea e th Th i h bi t n t e n ar
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F RENCH SC ULP
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305
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Wit h t h is famous and pu z z lin g g 1 oup w e will notice four ot he r fi g ure s fe mal e also but o f wood w hich support e d t h e Shrin e of St G e n e vi eve I shall not att e mpt t o e x plain t he m fo r according to t he ada g e Nu mer o D eu s i mpa r e g a u det it is di fficult to find a re li g ious m e anin g in t he numbe r four Tog e t he r wit h t h e bust portraits o f H e nri I I C harl e s I X and H e nri I I I a sm all c h ild s bust (probably t hat o f C at he rin e s ot he r son t he D uk e of Al e n con ) and lastly a bas re li e f in ston e t he Ser mon of St P a u l a t A thens w h ic h form e rly adorn e d t he pulpit of t he Grand Au g ustin e s We hav e now m e ntion e d all t he works of t h e illustrious G e rmain Pilon Amon g st t h e works of t he t h re e found e rs o f t h e F re nch sc hool o f sculpture a re to be found two monum e nts e re ct e d by Paolo Pon z io Tre bat t i of F lore ntin e orig i n w ho is oft e n call e d M a i tr e P once ,
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F R ENCH SC ULP
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cam e to Franc e wit h Primaticcio and lik e hi m re main e d t he re T he s e monum e nts are t he tombs of Alb e rto Pio o f Savoy duk e o f C arpi o n e o f t h e h e Ma g ny n and of arl s d e ral s of F ran ois I e e C g c or Maig n e captain o f the watch und e r H e nri I I The D uk e o f Carpi s e ffi g y a bron z e lik e n e ss re clin e s upon t h e bas e o f t he tomb ; he is l e aning on t he l e ft e lbow m e ditatin g on a n op e n book Th e statu e of Ch a rl e s d e Mag ny a portrait also but in ston e is compl e t e ly clothe d in mail ; he sl e e ps in a sittin g posture h i s halb e rd in h i s hand The s e two fi g ure s by Trebatt i h e is at h i s post e h h iv us a v e ry i opinion of h f t r e n i fi e c h e d g g Italian w h o h as b e e n much laud e d for t he boldness of his styl e and t o wh om many of t he b e st works of othe r artists have b ee n attribut ed suc h as the St Georg e of M ich a e l C olomb and e ve n t he A d mi r a l Cha oot of J e an C ousin Above th e D u k e of C arpi in a t e rra cotta m e dallion w e s e e a he ad o f H er cu les in h ig h re lie f w e aring t he lion s skin It be lo n gs to t he d e co ra tio n s of a hous e at R he ims an d is attribute d t o Pi e rre Jacqu e s Who is Pi e rre J acqu e s ? C an it by happy chanc e be that M a i tr e ffaeqnes native o f An g oul em e w ho in 1 5 5 0 comp e t e d with M ic hae l Ang e lo at R om e for a fi g ure of St P e t e r and w ho has l e ft som e e x ce ll e nt w ax mod e ls of a living He
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F R ENCH S C ULF T URE
8 08
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In t he c e ntre o f t he ir room ris e s an ob e lisk in d e corat e d marbl e wi th four symbolical figure s round t he bas e T ruth U nion J ustic e and F orc e An inscription informs us t h at it is t he fun e re al monum e nt o f H e nri d e L ongu e vil le O f wh ich ? O f t h e H e nri I w h o g ain e d t he battl e of Se nlis o n t h e L i g n e in I 5 8 9 o r H e n ri I I w h o was o n e o f t h e c hi e fs of t he F rond e in conj unction wit h h i s wife ? In C ardinal d e Re t z and t h e Princ e o f C ondé any cas e t he e ld e r of t he Ang ui e rs F ran cois ( 1 604 is t he aut hor o f t he mausol e um and also of t h e tombs o f Jacqu e s Au g ust e d e T hou and o f t h e Princ e s s o f C ondé C harlott e d e la T r emouill e two m arbl e fi g ure s kn e e ling in pray e r Anot he r t h at of Jacqu e s d e Souvre s e pulc h ral monum e nt d e C o u rt e nv a u x tog e t h e r with a bust of t h e gre at by t h e you n g e r Angui e r M ic he l a re C olb e rt e h h 6 w os nam ou t to b e popular in 2 1 1 e ( g Paris fo r he e x e cut e d aft e r t he d e s ig ns of L e brun t he ornam e nts of t he triumph al arc h w h ic h has b e com e t he St D e n is g at e and t he fi n e Chr i s t o n the Cr oss s e t up on t he t h e atrical d e coration intro d u ce d into t he c h urch of St R oc h and call e d t he Ca lva ry Alth ou g h e x e cut e d wit h care knowl e dge a n d tal e nt t h e s e various w orks by t h e two A n g u i e rs are s poil e d by t he ir h e avin e s s t h e fault w hic h s h ould be e sp e ci a lly avoid e d in handlin g marbl e and bron z e ,
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FR ENCH SCULP
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It
appe ars t hat F re nc h sculptu re was for a lon g tim e c hi e fly e mploy e d in tombs T he re a re two ot he rs in t he s am e room : t hat of t he constabl e Ann e d e Montmore ncy kill e d at t he battl e o f St D e nis in 1 5 6 7 and t h at of hi s wife Mad e l e in e d e Savoi e T e nd e T he s e a re two marbl e fi g ure s lying on t he ir backs wit h fold e d hands in t he o ld form of t h e tombs of t h e M iddl e A g e s T h e se mau s o le u ms tog e t h e r wit h t h e busts of H e nri I V and t he pre sid e nt C h ristop h e d e T h ou ar e by a c e rtain Bart hel e my Pri e ur an artist but littl e k n own no w and of whom t he re is no re cord in biog raphi e s J ud g i n g by h i s styl e h owe v e r h e must h av e pre c e d e d t h e An g ui e rs and probably e v e n Simon Guillain H e would t h us be t h e cont e mporary of Pi e rre F ranch e vill e ( 1 5 48 w hom a som e wh at e x h s mad e t h e e n e rosity a odfat r of h e ce ss i v e t h e g g last room Sure ly t h e dis tort e d and u nsightly statu e s of Orpheus and of D a vi d conqu e ror of Goliat h h av e not obtai n e d t h is h onour for t h e e n e rvat e d pup i l o f G lam Bolog na ; but rat he r w e imag in e t he four bron z e fi g ure s of vanquis he d and c hain e d nations mad e by hi m for t he four ang l e s of t he pe d e stal of H e n ri I V s statu e on t he Pont Ne uf of which a fe w frag m e nts only now re ma i n it ‘ h avi n g b e e n d e stroy e d in t he Re volution .
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F R ENCH SCULP
3 10
TURE
.
Mich a e l Ang ui e r s is t h e last of t h e rooms of t he Re naissanc e ; and t h e first of t hos e containing mod e rn sculpture s is name d aft e r Pi e rre Pu g e t J acqu e s Sarra z in t h e companion of Simon V o u e t in Italy hi s fri e nd and son i n law in F ranc e playe d t he sam e part in sculpture as t he latt e r i n — painting and Pi e rre Pu g e t s ( 1 6 2 2 1 694 ) was a nalog ous to t hat of Nicolas Poussin ind e e d wit h all hi s faults he was and still is in my opinion In t h e ch ie f t he g re at e st of F re nc h sculptors b e auty of h i s c h aract e r in hi s love h is e nt h usiasm for ind e p e nd e nc e he ag ain re se mbl e d Poussin and at t he sam e tim e Eustache Le su e ur L ik e Poussin Pu g e t for a tim e tri e d living at court und e r royal patrona g e ; but soon disg uste d wit h t h is g ild e d s e rvitud e and re be llin g against t h e e x actions of t he Insp e ct or g e n e ral of t he F i n e Arts w ho wis he d h i m t o adopt h i s id e as and e ve n h i s d e s i g ns h e re turn e d to h i s native plac e Mars e ill e s as Po u ssin did to R om e and g av e h ims e lf up in solitud e to t he su gg e stions of h i s g e nius T he re he b e cam e a pai nt e r sculptor and arc hit e ct aft e r having b ee n ‘ a s hip build e r in h i s y out h H i s paintin g s wh ich ’
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F R ENCH SCUL P
3 12
TUR E
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for t he faults of hi s e arly trainin g by study and H e was wantin g in knowl e d g e and r e fle ction in taste ; he n e it he r kn ew nor und e rstood the b e auti e s of antiquity but h e was as or ig inal as h e was e cce ntric and yi e ldin g h ims e lf unre se rve dly to t h e dictat e s of h i s mi g hty g e nius h e was pre s ucce ssful in e x pre ssin g life action e min e ntly powe r and som e tim e s e ve n passion Non e e x c e ll e d h i m i n g ivin g warmth to marbl e and L ik e I mi gh t add wit hout he sitation colour M icha e l Ange lo h e oft e n s e t to work on a block without pre paration d e sig n or sk e tc h Pu g e t has h i t o ff hi s own lik e n e ss at o n e strok e i n t he l e tt e r writt e n w he n he was alre ady si x ty y e ars o ld to L ouvois wit h hi s g roup of P er s eus a n d A na r omea a “ I am nourishe d by g re at works I labo u r at t he m and th e marbl e tre mbl e s b e fore me h owe v e r larg e be t h e pi e c e Wh o could recog nis e in the H er cu les i n r ¢ose wit hout t he club or th e skin of t he Ne mman lion t h e d e migod whom t h e Gre e ks call e d t he most be autiful of t he pen ta thl i b e caus e h i s limbs w e re not only t he most muscular but also t he most sl e nd e r and suppl e Lookin g at t h is coars e he ad dds the o igi nal w hi h c n n t b w ell en de d The tr nsl to i n ourr i n o u v s ux d s e q d e n a n e i n En gl i sh g g j g J r t re mbl e d e an t moi p ross so i t m b ar t l e t r i e l l g q jy l pi ece .
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F RENCH SCULP
w ith
TURE
3 13
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turn e d up nos e w e say to ours e lve s t hat Pug e t h as m e re ly copi e d som e po rt e r from th e w ha rf But at t he sam e tim e h ow h appily i m passive action is g ive n how w e ll t h e fl e s h and muscl e s are re nd e re d h ow instinct with life is t he w h ol e body ! T ak e from th is statu e th e nam e of H e rcul e s call it only a wre stl e r a mark e t port e r and you h ave a p e rfe ct work Still more pe rfe ct in spit e of t h e unj ust disdai n of C icog nara is t he g roup of M i lo of Cr otona d e voure d by a lion As he is not a g od w e do not e x p e ct hi m to be re pre s e nt e d in a conve ntional and sacre d form and t he C roton i an g ive s us a ve ry fair id e a of an old at h l e t e The life and action of t he body a n d t h e finis he d e x e cution are alik e wond e r fu l w h ils t t h e moral e x pre ssion is no l e ss e x c e ll e n t In e ve ry lin e from h e ad to foot t he rag e and s u fl e ri n g of t h e famous conqu e ror in t h e Gre e k am s admirably r e nd e r e d ; h i s pow e rs w e ak ar e e g e n e d by old ag e and h i s h and caught in t he cl e ft tre e h e fe e ls h ims e lf torn by the t e e t h and claws of hi s tre ach e rous e n e my wit h out t he pow e r of d e fe ndin g and av e ng in g h ims e lf wit h t h e mi g hty fist w h ich onc e fe ll e d an ox Th is g roup n ot only re s e mbl e s it rivals t h at of t h e L aocoon ; and w e und e rstand t hat w he n t he cas e wh ich bro ug ht it to ack e d b e fore Louis X I V the Ve rsaill e s was un p ,
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F R ENCH SC UL P T UR E
314
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t e nd e r he art e d Maria Th e re sa full o f fri g h t and ” pity e x claim e d A h mon D i e u le pauvre h omm e I We b e li e v e t h at th is M i lo of Cr otona is consid e re d t he c he f d oeu vr e of Pu g e t and p e rh aps also of all F re nc h sc u lptur e In sp e akin g of t he g roup of P er s eus deli ver i ng A ndr omeda w h ich is e nlarg e d by a figure of C upid aidin g t h e s on of D ana e to cut th e ch ains of the b e autiful victim Puge t mig ht w e ll say how e ve r larg e be the pi e ce fo r I know of no mod e rn g ro u p of g re at e r si z e and to find a larg e r pi e ce w e must turn to t he Tor o F ar nes e at Napl e s w hich has five fi g ure s The aut h or doe s not app e a r t o h av e b e e n in t he l e ast e mbarrass e d by t he e x tre m e d i fli c u lt y of so complicat e d a work ; n e ithe r t h e cl e arn e ss of t h e subj e ct the g e n e ral action nor th e workmans h ip of t h e various d e tails wh ich mak e up t h e w h ol e a re at all a fl e ct e d or impaire d by it Androm e da is pre tty d e licat e and pl e asin g ; P e rs e us stron g bold irre sistibl e lik e t he son o f J upit e r mount e d o n P eg asus But t he di ffe re nc e in th e si z e of t h e se x e s is e x ag ge rat e d ; e it h e r A n drom e da is a littl e g irl or P e rs e us a g iant We notice the sam e disproportion in an e qu e s trian statu e of t he Vi ctor i ou s A lex a nder the h ors e is e normous compare d to t he rid e r But p e rh aps Pu g et int e nd e d t h is pow e rful Buce phal u s trampling -
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31 6
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t hat the arts should not e ncroach on on e anot he r ; t h at t he re sh ould be no d e bat e abl e land b e twe e n t he ir domains The mission of sculpture is to h e autiful forms only ; at he r ratify t e tast wit h b e g comman d s he has n ot h in g but lin e s h ol lows and proj e ctions ; s he is to e nabl e us to touch w hat paintin g l e ts us s e e and sculpture has no more right t o att e mpt picture s in marbl e t han paintin g to mak e monoch rom e statu e s with all t he re sources of colour Chiaroscuro and pe rspe ctive at he r com mand Pu g e t s e x ampl e is d e cisive as is prove d by no on e havin g followe d it The s e co n d room t hat of Antoin e Coys e vo x 0 1 6 fi h e contains a coll ction n e o f t e ( 4 works of t his e min e nt artist w ho live d s hortly aft e r Pu g e t and re s e mbl e d hi m in tal e nt Am on gst t he m w e notic e particularly t he M a us oleu m of Ca r d i n al M az a r i n wit h a spirit b e ari ng t he lictor s a x e and t hre e all e g orical bron z e fi g ure s wh ich mak e s us reg re t t he M a us oleu m of Col ber t co n A poor e n ou gh s i d e re d C oys e vo x s principal work statu e of th e foolish D uc he ss of Burg undy w ho wishe d to be re pre s e nt e d as D iana t he f a i r li mbed e d s s a statu of ou s I h w h e n o d e L i X w o V ; g young assum e d the c haract e r of Apollo but is now d e pict e d as old d evout and kn e e ling in pray e r The busts of R ic he li e u Bossu e t and F en elon w h ic h .
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F RE
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CH SC ULP T UR E
31 7
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w e re not succe ssful lik e n e ss e s th e face s of all t hre e a re flat t h e fore h e ads low t h e he ads narrow ; not at all lik e t he ir paint e d portraits pre s e rve d to us by P h ilipp e d e Ch ampag ne and H yacint he R i g aud The busts of Pi e rre M i g n ard and Ch arl e s L e brun w h ich are on t he contrary v e ry fin e and g ood lik e n ess e s T he y a re so sup e rior to th e form e r t hat it is di ffi cult to be li eve t he y are from t he sam e hand T he re w e re in fact two pe riods in Coy s e vox s life : one of vi g oro u s powe r w he n h e sculpture d t h e two c e l e brate d paint e rs ; t he ot he r o f unskilfuln e ss or w e akn e ss w h e n h e produc e d t h e busts of t he g re at minist e rs and t he c e l e brate d writ e rs It is a pity t hat t he re is no work in th e Coyse vo x roo m by hi s rival F ran cois Girard on ( 1 6 30 wh om La F ontain e and Boil e au says Th ore compare d t o P h e i d i as as Moli ere compare d Mig nard to R apha e l It is tru e th at Girardon paid court to Louis X I V and Lebrun and only pro d uce d in marbl e t h e d e signs impos e d o n hi m by but for all t h e arrog ant pre sid e nt of t he Acad e my t h at t he g i g antic g roups of P l u to ca r ry i ng a w ay P r os erpi ne and Apol lo d escendi ng to Theti s w it h w h ic h h e adorn e d t he gard e ns of V e rsaill e s h ave e arn e d h i m a distin g uis h e d po s ition amon g st t h e s culptors o f t he re ign of t he g r a n d mon a r qu e ,
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FRENCH SC UL P 1 URE
3 18
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Th e
t hird room is nam e d a fte r t he brot he rs Nicolas ( 1 6 5 8 and G uillaum e Co nstou 1 8 h e T 6 e t h e form r is auth or of t he 7 ( roup call e d u n c o e t i n t h S e o i e n a nd M a r ne ? g f ,
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Fi g
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— d i R i n g M ast e r 8 5 -
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( Pari s, C h am
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i n t he
T uil e ri e s Gard e n ; and t he latt e r of th e famous Ecuy er s or Che va ux de Ma r ly n ow plac e d at t h e e ntranc e to t h e C h amps Elys ee s The works con t ai n e d in t h is room would not alon e h av e e arn e d fo r .
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F RENCH SC ULF
3 20
and b e nding forward
T URE
.
i n t he h umbl eattitud e
of h is Vow to the Vi rg i n lik e t he princ e s o f th e Low e r Empire namin g th e mot he r of J e sus g e ne ralissimo o f t he ir armi e s The e x e cution of t h is fi g u re re nd e rs it b e autiful and it is not ev e n spoilt by th e styl e M In g re s probably without h avin g s e e n it has re prod u c e d it e x actly in h i s picture on t he sam e subj e ct— the Vow of L ou i s X I V T his C o nstou room would t he re fore be ne arly e mpty w e re it n ot fill e d with ot h e r works wh ich appe ar to me more i nt e re sti ng and re markabl e We allud e to t he diploma subj e cts succe ssive ly pre se nt e d by t h e m e mbe rs of t he Acad e my of Sculpture o n t he ir admission t o t hat body w h ic h pre ce d e d t he I nstitut e of t he F in e Arts Th e y are all littl e g roups of fi g ure s a foot and a h alf h ig h som e re pre s e ntin g Ch ristian but th e g re at e r numb e r myt h olo g ical subj ects The ru l e as to si z e b e tt e r e n abl e d t h os e e n e rvat e d succe ssors of Pug e t to compe t e w ho kn e w no t how t o carve larg e pi e ce s and to mak e th e marbl e tre mbl e b e fore ” th e m As most of t h e s e sculptors are e ntire l y unknown in spit e of th e ir titl e of acad e micians it will be us e ful t o re call t he ir nam e s and to m e ntion on e work charact e ristic of e ach We b eg in the n with a H er cu les on the pi le by G uillaum e C o u s t o u ; a H er cu les cr ow ned by Glory ,
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F RENCH SCULP TURE
3 21
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in
high
re li e f by D e sj ardi ns (the F l e min g M artin a y es us bea r i ng H i s Cr os s by Van Bog a e rt) Bouchardon ; a M i lo of Cr otona d e voure d by the “ lion by Eti e nn e F a lco nn e t ( 1 7 06 t he fri e nd o f D id e rot ; a M er cu ry a t ta ch i n g the w i ng s to his — 1 785) and heels by J e an Baptist e P i g all e ( 1 7 1 4 a R i ver God pouring wate r from hi s urn by Jacqu e s All t he se be cam e ce l e brat e d C affi e r i ( 1 7 2 3 by more important works Ca fli e ri for instanc e h as l e ft e x ce ll e nt busts o f Rotrou and t he t w o Com e i lle s in t h e lobby of t he Thed tr e F r a nco i s M T hore ve ry j ustly re marks T he s e busts have t he bold n e ss o f Pu g e t t he g rac e of G e rmain Pilon t he skilful e x e cution of C oys evo x and t h e spi rit of C on stou We now proc e e d to e num e rat e t hos e w h o are n e arly o r e ntire ly u nknown wit h t he singl e work wh ic h is to re s cu e t he m from oblivion The L eda w h ic h a n d the Sw a n by J e an T h i e rry ( 1 6 69 anticipat e d t h e Pompadour s tyl e by t h irty y e ars ,
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i nscri ti on : P etr o pr i mo Ca ther i n a secu n da To ex ress th e t ru e t hou gh t of t h e fou n r ess, i t sh ou l n o w be chan e o t t : e ra P g .
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B ea u x
3 22
F R ENCH SC UL P TURE
St Sebas ti a n
at
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— 8 1 6 1 2 ( 7 7 7)
the
and
P i l la r
by
,
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St A n dr ew befor e h i s Cr oss , .
by
J e an Baptist e d H u e z ; two g ood studi e s o f t h e H er cu les va n qu i s hed by L ove by sacre d styl e Jos e ph V inac h e ( 1 69 7 wh ich s h ows more knowl e d g e and appre ciation o f t he antiqu e th an t he H er cu les of Pu g e t P l u tu s by An se lm e F lam e n — 17 Ulys s es ben d i ng hi s bow by J acqu e s R ouss e au a p o w e rful and fi n e ly finish e d work A Ti ta n s tr u ck by thu nder by Edm e D umo n t w h ic h m e rits t he sam e prais e P olyphemus on the r ock with t he o n e e y e in h i s fore h e ad abov e t h e two e mpty sock e ts by C orn e ill e V an C l eve s w ho was no doubt a Neptu n e ca l mi ng the F l e min g lik e D e sj ardi n s w a ves t h e Q u os eg o o f V irgil by L amb e rt Si g i s be rt P r ometheu s a n d the Vu l tu r e Adam ( 1 7 00 w ho by Nicolas Sebasti e n Ad a m ( 1 70 5 h as we ll e x pre ss e d t he contortions o f acut e a g on y and powe rl e ss rage (t h is is not t he indomitable Prom e t he us o f Ai s chy l u s ) Lastly a Cha r on wit h o u t t h e aut h or s n a m e ; wh ic h i s how e v e r o n e of t he b e st o f t h e s e acad e mic pi e c e s re markab le for t h e gloomy and re s e rv e d e x pre s s ion suitabl e to t he fe rryman of he ll In t he room o f Edm e Bouchardon ( 1 69 8 co ntaining works of t h e e ig ht e e nth century w e are ’
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F R ENCH SC ULP
3 24
TURE
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not e qual praise is d u e to the Vi ctor i ous Cupi d a b e auti ful yout h cutting o u t his bow in H e rcul e s club with t he sword of Mars as we ll as to the s che a n d Cu i d e se t h roup W inquisitiv o f P e e e y p g b e auty drawing n e ar to he r sl e e ping love r wit h t h e H e will fl e e as soon as h e is know n fatal lamp to typi fy that h appin e ss is as littl e e n d urin g as a passing illusion Bouchardon s room rej oic e s in anot he r P sy che by wh ic h re pre se nts h e r A ug ustin Pajou ( 1 7 30 inconsolabl e at the flight o f t he fickl e g od and iv e n up to t h e ve n g e anc e o f Ve nus T h at t e re h g may be no mistak e as to t he nam e and m e aning o f hi s statu e he has writt e n t h e followin g misc hi evou s lin e round t he p e d e stal ,
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P sych e l ost Lo ve i n wi sh i ng to k now hi m
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T h is inscription b e n e ath the nud e fig ure of a clumsy and un g race ful court e san w ho is n e it he r t h e P hryn e of Pra x it e l e s nor t he Ve nus of G u idus re minds us of t hat paint e r of U b eda wh om C e r vant e s mak e s fu n of w ho work e d at random s a lg a to one s ali er e and wrot e b e n e at h t he c hanc e pro ” duction of h i s brush T h is is a cock th at it mig ht Paj ou aton e d for t h is n ot b e tak e n for a fo x h ow e ve r in a fi n e life lik e and spe akin g portrait of B u fl on h e was always succ e ss ful with sculpture d ,
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8 25
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t h os e of wom e n e sp e cially and kn ew h ow to mak e t he m pre tty and pl e asing in spit e of t he s hap e l e ss h e ad dre ss e s to w h ic h t h e y w e re con T wo ot h e r nud e fi g ure s by d e mn e d by fas h ion call e d Ven u s a nd C hréti e n A llé g ra i n ( 1 70 5 D i a n a a t the B a th are scarc e ly wort hy of e v e n a passin g notice The room nam e d aft e r H oudon is n o t re s e r ve d to h i m alon e but to all t hos e w h o may b e con for wit h th e e x c e ption s i d e re d h i s cont e mporari e s of o n e t he sculptors wh os e works it contains di e d afte r t h e b eginning o f t he pre s e nt c e ntu ry J e an Baptist e Pigall e ( 1 7 1 4 1 7 8 5 ) live d and di e d l a st ce n tury he h as only o n e work in t he Louvre a bust po rtrait of M auric e o f Sa x ony in h as lim e ston e T h is artist pre fe rre d trut h to b e auty ; h e was a most p e rs e ve ring work e r as prolific as he was skilfu l and g ood and life lik e as is t h is o n e lik e n e ss it i s not e nou g h to re pre s e nt suc h a man in t he mus e um W e must s e e k h i m rat h e r in t he Library o f F ra nc e o f t h e In s titut e w h e r e w e find h i s strang e statu e o f V oltaire wh om h e in s i s t e d upon re pre s e nting nud e in a lt h ou h h e was o ld and e maciat e d o n t e f h e o g chap e ls o f Notr e D a me wh e re w e find t he Tomb of M a r s ha l H a r cou r t w hic h h e compo s e d in accord anc e wit h a dre am of t he he ro s widow and last not l e ast in t he Prot e stant c hurch of St T homas at lik e n e ss e s
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F R ENCH SC UL P TUR E
3 26
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w hic h contains t he c e l e brat e d M on u men t to M a r s ha l Sax e e x e cut e d in marbl e by Pi g all e aft e r t he d e sig ns of h i s fri e nd C harl e s Nicolas Co c h in D e at h op e ns a g rav e at t h e fe e t of t he h e ro of F ont e noy and w e e ping F ranc e striv e s to re tain h i m We w i ll n ow nam e t he ot he r sculptors of t he sam e ro o m t hat is of t h e sam e ag e as Pigall e according to t he d at e of t he ir bi rt h By J e an Antoin e H oudon ( 1 7 4 1 to w hom w e ow e t he F lay ed M a n so w e ll known i n sc hools of art w e h ave a bron z e D i a na w hom but for t he cre s c e n t and t he h o w w e s hould scarc e ly tak e for t he c hast e g odd e ss of Ephe sus for s h e is re pre s e nt e d e ntire ly nud e without v e il o f any kind It is a fin e study in a p u re styl e I own alt hough som e what he avy fo r t he nimbl e h u ntre ss but it is spoil e d by t he sti ff action and strain e d attitud e T he re is fa r more d i s i n vol tu r a grac e and charm in t he marbl e g roup of Cupi d a nd P sy che c hasing butt e rfli e s and in P sy che w i th the L a mp Psyc he punis he d for he r curiosity and w e e ping for h e r lost h app i n e ss C an t h is di ffe re nc e o f styl e be account e d for by t h e di ffe re nc e o f mat e rial ? Is m e tal l e ss subs e rvi e nt to t he will o f t h e artist t han marbl e ? T his qu e sti o n is ans w e re d o n t he spot by H oudon h ims e lf for t he bron z e bust of J e an acqu s ouss e au w e ari ng t h e narro w fill e t of t he R e J Strasburg
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F RENC] !
3 28
SC ULF
TURE
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T h eatre F ran cais th an in h i s ow n room in the The bust of M oli ere in t he lobby a n d Louvre t h e statu e o f V oltaire s e at e d in t h e v e stibul e a re e x c e ll e n t and sup e rior work s w h ic h w ill b e ar com p arison wit h any o f t hos e by h i s cont e mporari e s In t he m H oudon has s h ow e d h ow t he id e a l may be combin e d wit h t h e re al t he quick e nin g spirit w ith H e h as in e ve ry cas e g iv e n t h e body it animat e s h i s mod e ls e x pre ssion ; an e x pre ssion as k e e n as t h at of t he portraits o f T iti an and R e mbrandt I lik e to t hink t hat t h e statu e of Wash i n g ton mad e by H oudon fo r P h ilad e lp h i a is e qually wort hy of t he virtuous and illustri o us found e r o f A me rican ind e pe nd e nce of t h e gre at e st public man of mod e rn tim e s o n w hom Byron pronou nc e s a e ulog ium at O d e to Napol e on t he e nd of h i s Wh m y th w i ed y po W h g i g th g t i th i Wh y y l l l t w g g g No d pi bl t t — — Y th fi t— th l t—the b t Th C i i t f th W t W h m y d d t h te B q th th e m of W hi gt To m k m b l h th w b t .
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F RENCH SC ULP TURE
3 29
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—1 8 1 9)
By P L R oland ( 1 746 w e have a H omer in rh apsody accomp a nying h ims e lf o n h i s lyre — By Antoin e D e nis C h aud e t ( 1 7 6 5 1 8 1 0) a Cupi d s e i z in g a butt e rfly t h e symbol o f t he soul and t h e d s r r h e h P r a roup of h e a t S er h o b c n w a t h e i a p y g g y ou ng G d ipu s w h ic h is consid e re d t h e b e st of h i s y works and is c e rtainly on e of t he b e st of t he tim e — 1 By Adri e n G o is ( 7 6 5 1 8 2 3) an o f L ouis D avid alabast e r bust of Cor i n n a Is t h is t he anci e nt rival of Pindarus o r t h e he roin e of Madam e d e Stael s — romanc e ( Corinn e) By J os e ph Bosio ( 1 7 9 0 1 84 5 ) an A r i s twus not as a h e ro but as t he god of b e e s and two youth ful figure s mal e and fe mal e w h ic h would mak e a good pair : on e is Hy aci n thu s t he b e love d c h ild of Apollo by w hom he w as struck on t h e h e ad wit h a quoit in cons e q u e nc e of t he j e alousy of Z e phyrus t he oth e r is t he nymph Sa l maci s dy i n g o f love fo r t he s o n o f H e rm es and Aph rodit e wit h whom s he was unit e d in on e body H rmap h rodit e) e ( It is a pity t h at a bust of t he V irgin Mary wit h a sanctimonious and imb e cil e e x pre s s ion has b e e n plac e d n e ar th e s e fin e works It s hows t hat its aut hor Bosio k n e w no b e tt e r how to e x pre s s re lig i ous fe e ling i n sculpture th an in painting H e was foolish e noug h to a tt e mpt t he sacre d styl e i n h i s old ag e and w i th still gre at e r fooli s hn e ss he .
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F RENCH SC ULP T UR E
3 30
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took t h e public into hi s confid e nc e By Charl e s — 1 8 2 5 ) w e h av e a By bl i s c hang e d D upaty ( 1 7 7 5 — into a fountain By P L R oman ( 1 7 9 2 1 8 3 5 ) a N d u ry a l u s dyin f i s u s a n E rou o tog t r as e e h p g g re lat e d in t he si x t h canto of t he fEne i d By J P — 1 8 4 3) anot he r g roup l e ss tra ic and C ortot ( 1 7 8 7 g b e tt e r suit e d to t he re quire m e nts of sculpture of D aphn i s a n d Chloe l e arnin g to play t h e doubl e pipe a pi e c e as pre tty and pl e asin g as t h e tal e of L on g us in t he translation of Amyot We h ave now pass e d th rough t he Louvre and a r e at t h e e ntranc e to t he L u x e mbourg In t h is mus e um w e find non e b u t t he works o f cont e m e rs and sculptors and fo r t h e r e ason p int o r a a r p y e e rk w e s hall abstain from all iv n in a form r wo g criticism on t hos e groups of statuary We will m e re ly m e ntion t he n a m e s and works o f t hos e w ho have b e e n wort hy to pass t h rough t his mus e um o f living artists to be re ckon e d aft e r t he ir d e at h amongst F o r g re at e r impartiality w e o u r national g lori e s w ill arrang e t h e m in alp h ab e tical ord e r A ?ag u a devou r i ng a H a r e by M Antoin e a bron z e g roup cast in L ouis Bary e ( 1 7 9 5 a proc e ss fall e n o n e mould t h e w a x b e ing brok e n i nto disus e sinc e t he R e naiss anc e Amongst t h e ot h e r stat e coll e ctions t he re a re more w o rks by M B ary e such as t he four fig ure s of P eace War .
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F R ENCH SCULP TUR E
33 2
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more ce l e brat e d and succ e ssful as ane n g rave r of m e dals M u ti u s Scwvola by M Ch arl e s T heodore Gruy ere The Gu a r d i a n A ng el lead i ng a q en ta n t Si n ner to God by M J e an Aristid e H usson ( 1 8 0 3 T he A Na i a d by M G e org e s J acqu ot ( 1 7 94 P r ay er and M od es ty by M Léon Louis Nicolas I n n ocen ce a youn g g irl co nfid i ng he r J al e y ( 1 80 2 first s e cre t to Ve nus A You ng Gi r l F r ig hten ed by P h ilipp e H e nri Le maire ( 1 79 7 a Sn a k e by M A r i a d ne by M Aimé M ill e t ( 1 8 1 6 for wh ich hi s B accha n t o f t he U niv e rs a l E x h ibition 1 8 5 5 would be a g ood compa n ion statu e A You ng H u n ter Wou nded by a Sn ahe by M M e ssidor L ebon P e t i t ot ( 1 7 94 The L u x e mbourg also cont a ins a fe w works by d e c e as e d sculptors We find for instance a Ves ta by H oudon a P omona by D up at y ( 1 77 1 — 1 8 2 5 ) a bas re li e f of F r a nce callin g he r c hildre n to he r — d e fe nc e by Moi tt e ( 1 7 46 1 8 1 0 ) a Son of Ni obe a P sy che an A ta la n ta by th e G e n e ve s e Jam e s — 18 Pradi e r ( 1 7 94 w h o is also t h e aut h or of t h e F on ta i ne M ol ier e in t he R u e R i chel i eu and lastly w i th a Tor toi se a t h e You ng F i s her P lay i ng M er cu ry and a ?oa n of A r c by F ran cois R ude w h o is famous for num e rous ot he r works such as t h e pow e r ful bas re li e f of t h e A r e de Tr i omphe de l Etoi le call e d t he D epa r tu r e or t he M a r s ei lla i s e We re gre t not m e etin g with a si ng l e work in t he
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F RENCH SC ULP
TURE
33 3
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by t he two R am eys fat he r and son a r ac u t o r b y F oy at i e r aut h or of t h e c e l e brat e d S s p o f t h e T uil e ri e s ; b y C h arl e s Si ma r t ; D antan t h e y ounge r & c But more in e x plicabl e still is t he L u x e mbourg
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—Th e M
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abse nc e of Pi e rre J e an D avid call e d D avid o f A n g e rs ( 1 7 8 9 Th e aut hor o f t he p e dim e nt o f t h e P ant he on o f t h e monum e nt A ux g r a n d s ,
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F R ENCH SC ULP TUR E
334
hommes la P a tr i e R econ na i ss a n te
of
t he
statu e of P hi lopcemen in t he T u i l e ri e s o f Conde at V e rsaill e s o f Cor n ei lle at R ou e n o f L a F ay ette at Was h in g ton o f A r ma n d Ca r r el at St M andé w h e re t he famous political write r was k i ll e d and of t he busts or m e d allions of all t he cont e m porary c e l e briti e s ou ght to occupy a di s tin g ui s he d plac e in t he M us e um of F ranc e e spe cially w h e n w e re m e mbe r ,
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—P d i men t of the Pantheon by D avi d e
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t hat lik e Pu ge t and Pou s sin he combin e d g re at tal e nt wit h a nob le mind and an ind e pe nd e nt spirit and lik e h i s illustrious pre d e c essors he h as l e ft an e x ampl e of a stainl e ss li fe from birt h to d e at h T o carry o u r account o f F r e nch sculpture down to the pre s e nt tim e w e hav e only to add th a t M M G uillaum e P e rra u d Carp e au x Crauk F a l e e ui r Gum e ry A imé M ill e t T homas Paul g ,
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A MER I C A N SC UL P T UR E
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arly day s of our Am e rican h i story al thou gh th e art of Painti n g e x cite d a consid e rabl e d eg re e of e nth usiasm t he re was no corre spondin g inte re st in the siste r art of Sculpture T h is i s pe rhaps t he more worthy of notic e be cause t he e arl y me n we re not indi ffe re nt to arc h ite cture and the sty l e s of arc h ite cture wh ic h pl eas ed the m be st we re t he classic to wh ic h statuary is pop Y suppos u lar l e d to be a n atural orname n t et y w h il e buildin g s public an d private in t he sty l e w h ic h Wre n and h i s sc h olars h ad introduc ed i nto En g land we re put up in man y of our citi e s and larg e r towns ; and w h il e late r th e fas h ion pre vail ed all ove r the country of erecti ng Greci an te m pl e s to s e rve as c h urc h e s ban k s mints town halls f it was lon b or it was an d dwe llin g s ; e t e e g y propos e d to adorn any on e of the s e buildin g s with sculpture and lon g b efore an Am e rican w as born w ho sh owe d an y aptitu d e for makin g stat The re al re ason of th is n e g l e ct is to be ue s I N th e
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AM ERI CAN S C ULP T URE
33 7
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found
in t he pove rt y of th e country The b u ild in g s that w e have re fe rred to althou g h th ey w e re ofte n to be prais e d for a c e rtain e l e g anc e and di g nity t h e r e sult of harmonious proportion an d simpl e w e ll e x e cute d d e tails of ornam e ntation — we re n eve rthe l e ss built of i n e x pe nsive mate ri al s oft e n of wood and w he n costli e st of brick ove rlaid wit h stucco or of a coars e g rain e d mar But statu e s must be of m arbl e and of mar ble ble fe tc he d from ove r s eas ; and whe n t he labor of t h e sculptor w as add e d to t h e pric e of t h e mate ri al the re we re fe w of t he Am e rican com mu ni t i e s hardl y h e re and t he re an individu al citi ze n w h o could afford t he lu x u ry of g ivin g At the ve ry e nd of the l ast cen commissions tury, howe ve r the influ e nc es th at we re to h ave t he fi rst s hapin g of sculpture in Am e rica h ad beg un to e xe rt t he ms e lve s At the ris k of s ee m i n g to trifl e with t he subj e ct I s hall m e ntion Mrs Pati e nc e Wri g ht whos e maid e n nam e w as Love ll She was born at Bord e ntown Ne w e e e 1 rs y 2 n mad a consid r a bl e r putation a d e e J 7 5 both at hom e and afte rward in En g l and as a mod e l e r i n w ax In En g land sh e mad e li k e n e ss e s of m an y distin g u is he d pe opl e the k in g t he qu ee n Lord C hatham Te mpl e B arre Wil k e s an d othe rs D u nlap in hi s H istory of the Art s me ntion s m ee tin g of D e s i g n in t h e U n ite d State s .
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AMERI CAN S C ULP T URE
338
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Mrs Wri ght in 1 7 84 the year before h er d eath At that tim e a full l e n g t h e ffi g y in w ax of Lord C hath am m ad e by he r was standin g in a g lass case in We stminste r Abbey She s e e ms to have be e n an artist of consid e rabl e n atural tale nt but hard circumstanc e s t he want of e arly i n s tr u c t ion in art and t he abs e n c e of an art atmo s i n En g land mad e he r inborn bot h r a n d h r h e e e e p d e sir e a barre n tree t hat bore no lastin g fruit H er e x h ibitio n of w ax work fig ur e s w as w e be li eve th e pred e c e ssor of Madam e T ussaud s and was re c k on ed as on e of t h e si g hts of London M rs Adams in t he first of he r livel y l e tte rs writte n from En g land w he re he r h usban d w as ambassador to th e C ourt of St Jam e s d e sc r ibe s i n an amusin g way he r visit to Mrs Wri g h t and he r w ax work ; and lat e r i n a le tte r from Ph il ad e lph ia Mr Adams h i ms el f g ive s hi s wi fe an accou nt of som e of t h e pi e c e s w h ic h had be e n s e nt ove r from Eng land to th is country to be s hown T hus w h il e We st a g r eat name at t hat tim e T rumbull and Stuart and Stuart Ne wton we re doin g us honor wi t h fore ig n e rs and the En g lis h in t he art of painti n g M rs Wri ght was t he only rival w e had to o ffe r t o It w as a F l ax man and Noll ek e ns in sculpture pi t y that she s hould have bee n more thou g ht of b y t he public and w e fear s h e was th an a ,
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AMERI CAN S C ULP T URE
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su bj e ct Good casts from H ou d on s statu e are to be s e e n i n t he C apitol at Wash in g ton and in t h e Boston At he n ae um The c asts from the head alon e ar e v e ry common H ou do n s ori g inal marble bust w as for a tim e in t he poss e ssio n of t he sculptor H e nr y K Brown w ho us e d it in mod e lin g t he h e ad of hi s e qu e strian Was h in g ton in U n ion Square Ne w Y ork Mr Brown afte rward sol d i t to Mr H amilton F is h w ho still owns it A fe w ye ars late r than H oudon cam e Joh n D i x e y an Iris h man by birt h but brou g ht up in L ondon w he r e h e was a stud e nt at the R oyal Acad e my an d he w as amon g thos e s e le cte d to But he be s en t to Ital y to finis h t he ir studi e s cam e to Am e rica inst e ad arr ivin g he re in 1 7 8 9 H e was e l e cte d vic e pr e sid e nt of t he P e n n sylva nia Acad e my of th e F in e Arts in 1 8 1 0 or 1 8 1 2 but he s ee ms to have lived c h i e fl y i n Ne w Y ork H e l e ft be h ind h i m no work of an y i mportan ce so far as w e can l e arn ind eed he s e e ms to have bee n prin cip all y occupi e d in or n am e ntal ston e c uttin g and in wood carvin g I n wood car vin g an d in mod e lin g in clay William R us h of P h il ad e lph ia e arn e d consid e rabl e lo cal reputation H e was bor n in 1 7 5 7 an d di e d in 1 8 3 3 Ne x t to H oudon in impo rt anc e was anoth er for e i g n sculptor an Italian th is tim e th oug h w e ll k nown in F ranc e and En g land — Gius e ppe C e ’
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AMERI
S C ULP T URE
3 41
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acc h i H e was bor n som ewhe re about 1 740 i n R om e an d was e mploy e d tog e t he r with C anova in d e si g nin g and ex e cutin g scul ptur e for t he Pan theon H e l e ft Ital y for E nglan d in 1 7 7 2 and w as w e ll re c e ived say s D unlap by R e y nolds w h o sat to h i m for hi s bu st and he b ecam e the t e ac he r in mod e lin g an d sculptur e of Mrs D am e r of wh om he mad e a full l e n g th statu e as the Mus e But thou gh call e d u pon to e x e cut e of Sc u lptur e a few unimpo rtant works h e found so littl e to do in Eng land whe re e ve n t he n ative sculptors e arn ed t he ir bre ad with di ffi culty t hat he r e turn ed ac cordin g to so me accou n ts to R ome and re sum e d work as a sculptor In 1 79 1 he cam e to A me r ica whe re he did what h e could to awak e n an i n t ere st in t he fi n e art s unitin g h ims e l f w ith C W P eal e th e painte r and Willi am R us h the carve r in wood i n an abortive atte mpt to e stablis h an Acad e my of t he F in e Arts in P hilade lph i a H e had also a s c h e m e of hi s own for a mountai n of all eg ory wh ic h h e woul d pil e u p som e wh e r e in marbl e i n honor of Libe rt y It was to carry out t h is id e a in fact t hat he cam e to Am e rica ; but howe v e r w e ll dispos e d toward hi s sc he m e C on h h r e ss a d not t e mon y n c ssar y and in e e e 1 g 79 5 C e racchi r e turn e d to Eu rope D urin g hi s s h o rt s tay h e mad e se v eral fi n e bu s ts O n e of Al e x and e r H amilton now in t he poss ession of the stat e sman s g randson is d e s e rvedl y admired r
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prais e s h i gh ly C e racchi s bu st of Was h i ng ton w h ic h was purc hase d of the a rtist by t he Spanis h ambassador as a pre s e nt for hi s king but he not carin g for it it r e main e d wit h t he ambas sador of whos e widow R ic hard M e ad of P hila d e lph ia bou g h t it an d s e nt it bac k to Am e rica D unlap spe ak s also of a b ust of J e ffe rson wh ic h he say s is at Montic e llo ; of anot he r of G e org e C lin ton t h e g ov e rnor of Ne w Y ork an d of busts of Paul Jon e s and Joh n Jay T h is was a me morabl e four ye ars work an d C e racchi d e se rve s to be g rate fully re m e mbe re d for it H i s afte r h istory is a m e lan H e be cam e fanatically inte re st ed in ch oly on e an d w he n th e first Napo t he F re nc h R e volution l e on ov e rth re w lib e rty he j oi ne d hims e l f to thos e me n w ho de te rm in e d to rid the land of hi m by as sas s i n at i on H e was acc u s e d of b e in g con cerne d in t he plot of the in fer n al mac h i ne T h is w e be li e ve is doubtful ; but the re can be no doubt w e fear t hat h e had plotte d a more disg rac e ful crim e to poniard Napol eon wh il e t he F irs t Consul w as sittin g to hi m for hi s bust But he w as arre sted on the failur e of t he in fe rnal mac h in e and w as uillotin d in 1 1 e 8 0 g Th e nam e s of a few othe r sculptor s w ho cam e to t h is cou n try to practic e the ir ar t may be he re se t down not be caus e the work t he y le ft be hind t hem i s of muc h importanc e but be c aus e the y no dou bt ’
D unlap ,
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lost hi s only c h ild a son and havin g be e n broug ht u p as a m as on and ston e cutt e r h e att e mpt e d to for ge t hi s g r i e f in makin g a portrait in marbl e of h i s d e ad c h ild T h is was in 1 8 1 5 an d it was not unti l 1 8 20 that he saw a statu e and eve n th e n hi s fi rst id e a of w hat could be don e i n sculpt u re was d d e e h f h ain at s con and b y a si t o plast r h t e e g g casts from th e a n tiqu e s e nt b y Napol e on to t h e Ne w Y ork Acade m y of th e F in e Arts H i s por t rait bust of hi s c h i ld proc u red hi m an i nt rod uc tion to T rumbull t he n pre sid e nt of t he acad e my “ w h o g racio u sl y in form e d h i m t hat not h ing in scul pture would he wante d i n t h is country for a h undr ed y e ars No wond e r t hat F raz ee e x claim ed Is suc h a man fit for a pre sid e nt of an ” acad e m y of fi n e arts ! T he re is no e x cus e for Trumbull w ho was h ims e l f an ar tist but it is wo rth re me mbe ring that about t he sam e tim e ( 1 8 1 8 ) a m uc h g re ate r and a cl ear e r he ad e d man Joh n Adam s w rot e to Binon a F re nc h sculptor who appli e d to h i m for p e rmission to tak e h i s portrait “ in marbl e : The ag e of sculpture and p ainting has not ye t arrive d in t h is country an d I h ope it will be lon g before it doe s so I would n ot g ive a Si xpe nc e for a picture by Raph ae l or a statu e b y ” P hidias T he s e we re t he old man s words bu t H e invit e d Binon hospi t h i s act s w e r e di ffe re nt abl y to Quinc y sat to hi m for hi s b u st and s howe d ,
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r e al kindn ess by cons e nting at hi s advanc e d ag e — h f hi f to ave a mould tak e n o ac e in plaste r a s most disag ree abl e e x pe ri e nc e; We may remark i n passin g th at Binon mad e a ve ry c haracte r istic bust of A d ams w h ic h is n ow in F an e ni l H all Boston T rumbull was discourag in g to a rtists i n h i s acts as w ell as h i s words and F raz e e is n ot alon e in h i s cond e mnati on of h i s man n e rs Mr F raz ee mad e accordin g to D unlap t he fi rst marbl e bu s t b y a n ative h and It w as of Joh n Wells Esq and w as ex e c u ted from imp e rfe ct profil e s afte r t he d e at h of Mr W e lls It was plac e d in Grac e H e g ain e d m uc h e mploy C h urc h i n Ne w Y ork m e nt by t h is commission and made busts from t h e li fe of C h i ef J ustic e Mars hall D ani e l We b D r Bowditc h Jackson J ay and j ud ge s st e r Story an d Pre scott wit h T homas H P e rkins In 1 8 3 1 F raz ee e n an d Joh n Low e ll of Boston t e re d into a partn e rs h ip with R ob e r t E La unitz an d it was wit h Launitz in t he marbl e y ard whe re he an d F raz ee had work e d t hat C rawford first practic e d hi s art F rom th is tim e th e nam e s th ick e n of Am e r i can s w h o h ave won distinction at hom e as we ll as abroad in the di fficult art of sc u lpture I n t he ye ar 1 80 5 we re born H oratio Gre e nou g h and Pow e rs a few months earli e r t han H iram Powe rs Gree nou gh two me n wh o h ave e xe rcis ed a ve ry ,
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wid e but a very di ffe re nt influ e nc e on Ameri can art and on t he ar t cultu re of Am e r ic an s Ar t i s t and sc holar Gr ee nou g h has n e ve r had an y e qu al in Am e ric a Story is t he o nl y man t h at can be compared to hi m bu t Gree noug h ex c e ll e d Story in larg e n e ss of min d and in t h e ardor and e n e rg y of h i s natur e H e di ed in 1 8 5 2 at the r ip e ag e of fort y s e ve n h avin g e x e cut e d com a h r o f t h t a i e wor s but t m v l o n e f e w k e e p y Was h in g ton of th e C apitol — a work w hi ch has h i h f a m h o e iv a plac at ad Am ric n sculp e e t e e n g tors amon g all w h o are accustom e d to j ud g e of th e productio n s of art by the succ e ss with wh ic h th e y unite i ntell e ctu al or moral qualiti e s with that beauty of lin e and form w h ic h with man y is r eck It on e d t he onl y l e g iti mat e obj e ct of t h e artist must alway s be r em e mb e re d in lookin g at t h i s statu e that it was d e si g n e d b y the sculptor to be plac ed in the c e ntr e of t he R otunda and that i t is s e e n to g re at disadvantag e in its pre s e nt posi tion in the op e n air Whe n G ree nou g h l earn e d t hat the statu e was to be r e move d from the place for w h ic h he h ad inte nd e d it h e wrote : H ad I be e n ord e red to mak e a statu e for an y square or similar situ ation at t he m e tropolis I s h o uld h ave re pre s e nte d Was h in g ton on horse back and i n hi s actu al dre ss I would hav e mad e my work pure l y an h istoric al on e I h ave tr eate d the su bj e ct ,
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AMERI CAN SC ULP T URE
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uidanc God f h e c hair in wh ic h t h e h e ro i s o T e g s e ate d is of a g rand d e sig n th e back of ope n work is an antiqu e patte rn the sid e s carve d with bass re li e fs of t he in fan t H e rcul e s s trang lin g t he s e rp e nt and of Apollo g uidin g t he c h ariot of t h e su n O n e e n d of t h e back of t h e c h air whe re it rise s abov e the s id e s is supported by a statu e of C ol u m bus cont e mplatin g a g lobe wh ic h h e h olds in h i s hand the othe r e nd has for support an I h dian ch i e f The w hol e is ex ecut ed in the fin e st C arrara marbl e an d with t h e most admirabl e workmans h ip Gree noug h mad e anothe r statu e ” Th e Re scu e for t h e C apitol w h ic h h e call e d I t stands at t he he ad of t he st e ps l e ad in g to the e as te rn e ntranc e of t h e C apitol an d opposite t h e statu e of C olumbus mad e in 1 8 44 b y an Ital ian L P e rsico It typifi e s th e conflict be tw ee n t he Am e r i can an d t he India n by th e re scu e of a woman and in fant from t he tomahawk of a s avag e by a brawn y h u n te r T o Gree nou g h must be g ive n the cr edit of havin g be e n th e first Ame rican to ex e cute a g rou p in marbl e The C hantin g Che r — u bs an d it is pl e asant to associate wit h t h is most b e auti ful work the nam e of F e n i more C oope r w h o both s u g g e ste d t he d e si g n and g ave Gr e e n ou gh the commission to e xe cute it The sto ry is t hat t he daug hte rs of Mr C oope r we re e n gag e d in copying a p r int afte r t he picture i n t he Pitti .
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AMERI CAN S C ULP T URE
3 49
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Palac e M ad onna d el T rono w hi c h i s the attribute d to Raphae l I n the foreg round are two c he rubs si milar to t hos e in the Madonna di F oli g n o w ho ar e sing in g from an ope n book w hic h the y hold in t he ir hands C oope r ask e d Gree nou g h whe the r he d i d not fi nd t he c he rub s we ll s u ite d for r eproduction in marbl e and Gr ee n ough cordi ally ass e nting the commissio n to ex e cute t he d e si g n was gi ve n It must not be suppos e d h o w e ve r t h at the littl e g r oup is a s e rvile copy of t he fi g ure s in t he pictur e Th e i d ea is borrowed but Gre e nou g h in re n d e r in g it in marbl e h as i n fuse d into it a most te nd e r an d fe e lin g b e auty born of hi s own natur e We cannot do be tte r than to quote th e lat e H e nry T T uc k e rman s d escription 1 wh i ch g iv e s a v e ry cl e ar id e a of of t h is g roup a work th at both on accou n t of i ts intrinsi c b e auty as we ll of e x e cution as of d e si g n and of its hi s toric importanc e as t he first g roup of statuary by an Am e rican hand d e s e rve s to be plac ed in “ The scope som e important pu bli c coll e ction ” say s Mr T uck e rman is obviou sly of t he work limite d It consists m e re l y of t w o nud e c he rubs Y e t a care ful scru tin y will re ve al th os e n ic eti e s of e x e c ution w h ic h proclaim th e tru e artist O n e of .
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1
7 he B ook
ke man
T Tuc .
2 5 6.
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Amer i ca n Ar ti st Life By H enry New York, Ge orge P Pu tn am 8: Sons , 1 86 7, p the
Ar ti sts
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fi g ure s is planted on its littl e fee t and its posi tion is upri gh t ; hi s boso m heave s with a g e ntle as i f inspire d by th e son g ; hi s com e x ultation panion quite as be auti ful is sli g htly awed ; one h as ringl e ts t hat su gg e st more stre n g th t han t h e smooth flowin g hair of hi s brothe r w hose face is also lon g e r and more spiritual and subd u ed h e is more u p look i n g l e ss s e l f sustain e d A most tru e an d d e licate pri n cipl e of co n trast is t h us un fold e d The c e l e sti al and th e i n t he two forms and fac e s c h ild like are ble nd e d w e re al iz e as w e g az e th e holin e ss of in fant b eaut y a pe ac eful ble ss e d c harm s ee ms wafted from the in fantil e forms whos e con tour and e xpre ssion are alive with innoc e nt sacred ” and as it w e re mag n e ti c joy T his g roup h avin g b ee n lon g in th e poss e ssion of M r C oope r pass e d aft e rwards i nto th e h an d s of th e lat e J oh n L Ste phe ns with wh os e famil y w e be l i eve it still re mains H i ram Po we rs was bor n in Woodstoc k Ve r mont J uly 29 1 8 0 5 H i s family e mi g rat ed from V e rmont to we st e rn Ne w Y ork an d th e nc e t o H i s e arl y li fe was pass e d in a va ri e ty of O hio e mploy m e n ts c h i e fl y m e c hanical ; e v e ry s culptor is a m e c hani c b y nature hi s art is t he c h ild of V ulcan and Ve nu s and he g ain ed e x pe ri e nc e as a coll ector of d ebts as k ee pe r of a readin g room i n te ndin g a st eam e n g in e and as work man in a cloc k t he
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must re m e m be r t hat it cam e for j ud g m e nt to a
p u blic full of honorabl e e nth usiasm for t he work of its nativ e artist but v e ry i g norant of art be cause i t had n e ve r s ee n a m ast e rpi e c e H i s bust of Pros e rpi n e is t he b e st re sult of h i s s e arc h for th e id eal but hi s fin al reputation will not be mad e up from a consid e ration of any of t he onc e e ulo h t e i w h z f or ott n rbl s Gr k lav d n e m a e t e e e o e e S g g F i s h e r Boy th e Eve th e Am e rica Cali fornia Pe n s e roso it will re st w e ve nture to th ink e ntirel y upon a fe w man ly an d c haracte ristic busts I n 1 8 1 0 Joe l T H art was born H e is a native of K e ntuck y an d h as r e sid e d sinc e 1 8 49 i n F lor e nc e H e mad e a stat ue of H e n ry C lay wh ich i s i n Lo u isvill e in h i s native State an d h e has also d e si g n e d s e ve ral id eal fi g ure s non e of t he m of an y g reat val u e as contributions to art but showin g careful study of the h uman for m an d consid e rable skill in th e m e c h a n ics of hi s profe ssion H e has inve nt e d a cl eve r mac h in e by w h ic h t he labor of trans fe rrin g the mod e l to marbl e will be g reat l y lig hte n ed T h ree ye ars late r T homas C raw ford was born in New Y ork Marc h 2 2 1 8 1 3 C ra w ford s work is of consid e rabl e importanc e and i f it m u st be con c ed ed th at he work e d too fast and that muc h of h i s production is mark e d by too sup e rfici al t hou ght w h k e t it must so ac k no l d e d t at li Gr e e n a l b e e e g y ,
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oug h t houg h w ith far in fe rior me ntal an d art is — tic pow e r he was a wors h ippe r of t he po e t ry of h i s art busts and portraits w e re th e drudg e ry of t h e studio h e wan te d to put id e as into mar bl e a h i g h aim but some tim e s dan g e rously allurin g th e artist into re g ions w he re he cannot trav e l with profit to h ims e lf or th e world C raw ford beg an to work in t he marb le y ar d of Launitz w h o had b e e n t he partn e r in busin e ss of F raz e e H e t he n w e nt to Italy w he re t he g ood T hor w al ds e n w ho e ncour ag e d e v e ry bod y he lp e d h i m wit h c h e e r fu l aug uri e s ; and w ith e arn e st study of t he be st models and clos e application he fitt ed h ims e lf to brin g al l hi s powe rs into play in hi s c hos e n pro fe ss i on Gre e nou g h had l e arn e d mod e lin g of B i non a F re nc hma n w ho re sid e d a lon g tim e i n Boston an d of w hom w e have al r e ady spok e n as P owe rs t he auth or of a bust of Joh n Adams was tau g ht b y a G e rman a m e c han ic rathe r than an artist C rawford was t h e first Am e rican w h o had a t horou g h trainin g from th e sta rt and it stood h i m in good stead O n e of hi s fi rst works t h e O rph e us d e sc e ndin g into H e l l to s e e k Eur y dic e now i n t he Bosto n Athe n ae um was w e b eli eve a commission from C h ar l e s Sumn e r w ho al way s c he ris hed a live l y inte re st in th e work of hi s pro al l d e ductions mad e t eg e It is to our th in k in g for t he d efe cts i n ex e cution of a first youth ful ,
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work on e of C raw ford s most ori g in al and po e ti c Ne x t to it pe rhaps come s on e mad e muc h s tat u e s late r the Indian C hie f wh ic h mak e s part of t he f h i n t h e o t roup e p e dim nt apitol at as in e C W h g g ton an d of wh ic h a r e pe ti tion is in the Ne w Y ork H isto r ic al Soci e ty buildin g T h is i s t he fi g ure wh ic h G i bs on t he En g li s h sculptor admired so muc h that h e propos ed it s hould be c ast in bron z e and s e t up as a monum e nt to C raw ford in R om e C rawford s work at Was h in g ton compris e s with t he e x c e ption of t h e Equ e strian Was h in g ton at R ic h mo n d and th e B ee t hov e n of t h e M usic H all Boston hi s principal pe rformanc e We have the re th e p e dim e nt of on e of t h e C apitol w in g s wit h i ts rath e r i n con g ruous ass e mblag e of all eg orical r eali s tic fi g ure s typi fy in g pe rhaps th e g ro wt h of Am e r ican civi li z ation but in a disconn e cte d alph abe tic The s e parat e fi g ure s are conc e ive d in a fas h ion manly free spirit and mak e all e g ory as tol e rabl e as it can be mad e T h e re are t h e Sc hool maste r an d th e Sc h ool boy t he M e rc han t t h e Woodman e ac h is doin g t h e Indian H unt e r and t he Sailor what he pl eas e s an d n e c e ssaril y care l ess of th e occupation of the othe rs Th is is not to mak e a i s m e r e l y to forc e s tatu e s roup a p dim nt it f or e e g into a g ive n s pac e and lacking the n e c e ssar y unity of id e a and t he moral as we ll as t he artisti c conn e ction of the ass e mbl ed p e rso n ag es i t must be ’
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AM ER I CAN SC ULP T URE
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unfinis he d works to h i s fri e nd and fe llo w sculptor R andolp h R og e rs and on t h e re turn of Mrs C raw ford to Ital y s he o ffe re d t h e e ntire coll e ction of c asts from he r h usband s sculptur e s to an y insti t u t i on in Am e rica t hat wo ul d pay for brin g in g the m from Ital y and would ag re e t o put the m in a s uitabl e buildin g for fre e e x h ibition T h is has sinc e bee n don e by t he Com m ission e rs of the Ce n tral Par k w ho h ave arran g e d the c asts i n the c hape l of what was onc e t he C onve nt of Mt St The casts are too cro w d e d in the ir pre s Vi nc e nt e n t situ at i o n to be w e ll se e n but w h e n t he n e wl y proj e cted buildin g for th e Mus e um of F in e Arts is finished th ey w i ll be more fairly tre ate d Se e n th us coll e ct e d into on e room crowd e d tog e the r and badly li g ht e d th ey ye t g ive th e impre ssion of a d e cid e d tal e nt i n th e sculptor of a vig orous mind try in g e arn e stl y to ex pre ss its e lf in various dirce tions but nowhe re satis fy in g e ithe r its e l f or us C e rtainly w e look in vain amon g all th e se fi g ure s for on e t h at w i ll dw e ll in t h e m e mo ry It is mel an choly to re cord t h at so muc h e nt h usi asm suc h h i g h he arte d e nd e avor suc h love of h i s art s houl d h ave l e ft so littl e th at will m ak e t he sculptor s nam e d e ar to t he comin g tim e Wh at is g ood e ndur e s h ow e ve r and t h e re ar e qual itie s in som e of t h e wor k s of C ra wfor d t h at will be re sp e cte d to t he e n d thou g h t h e ve rdict on h i s coll e ctive pe r -
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fo r mance
should fal l s hort as w e t h in k it s ure ly th e h i g h e sti mat e h i s fri e nds h ave plac e d ,
will of upo n it H e nry Kirk e Bro w n w as born at Le yd e n Massa He ch u s e tt s in 1 8 1 4 a y e ar lat e r th an C raw ford was drawn fir st to painti n g by l k now not wh at influ e nc e and w he n e i g hte e n ye ars old we nt to Bosto n to stu d y with C h e ste r H ardin g with w hom h e staye d t h re e y e ars bu t as T uck e rm an t e lls us wh il e mod el in g the he ad of a lad y h e found h e lik e d sculpture b e tte r an d he nc e forth g ave hi s ti me al most e x clusive l y to that art H e is h ow e v e r so e ss e n tiall y an artist t h at h i s g ivin g hi m s e l f u p t o sculpture was rath e r a conc e ssion i n s ti n ct i ve probabl y an d unconscious to t he public opi n io n t h at de ma n ds a man s hould be on e t h in g an d sti c k to it t h an suc h a d e cid e d pre fe re nc e for th at par ticular for m of ar t as would mak e it i mpos sibl e for h 1 m to e x pre ss h i ms e lf in an y othe r way than by statu e carvin g F or Brow n is an e x c e l l e n t pai n t e r havi n g produc e d s e ve ral picture s — u l r partic arly som e portraits of ho s e s that s how h e mi g h t h av e mad e h ims e l f a nam e with h i s brus h and h e h as th e making of a g ood arc h ite ct i n h i m be sid e and is at hom e in almost all t he me c hani c arts In 1 8 3 7 be in g the n twe nt y thre e ye ars old he w e nt to C i ncin n ati wit h D r Willard Park e r und e r w hom he h ad be e n stud y in g anatom y and ,
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it was t he re he made h i s first m arble bu st I n 1 840 he r e turn e d to t he e ast and divide d two y e ars b e twee n Alban y and T roy Th is was a bus y tim e for w e l earn from T u cke rman that in th os e two y ears he mad e fort y busts b e side othe r work I n 1 842 he l eft Am e rica for Ital y an d re main e d t h e re for four ye ars re turnin g hom e in 1 846 While in Ital y he did muc h work for pri vate pe r ” — statu e s mostly of th e id eal sort Adonis son s ” ” D avid R e b e cca of wh ic h t he pub R ut h lic k n ows littl e and w h ic h doubtl e ss had no e s s e n t i al re ason for b e in g ; no r eas on of an y sort e x c e pt t he mon e y m ak in g on e the root out of wh ic h most mod e rn statuary sprin g s and wh ic h s ets mo st young sculptors at wor k Brown how e ve r was not to r e main lon g ti e d to suc h p e rform an e cs ; t he re al is hi s c h os e n fi e ld ; the re al an d t he pr e s e nt ; and it is t he re t hat h e has mad e hi s re putation Afte r h i s re turn to A me rica he lived for som e tim e in Brook l y n and it was in hi s studio the re that the statu e of Wash ing ton n ow in U nion Squar e was mod e l ed and the bron z e c h is e l ed and se t u p afte r havin g b ee n cast at Ch icop e e T h is statu e first m ad e Bro w n k nown to t he g e n e ral public and g av e hi m t hat plac e as c h i e f A me rican sculptor wh ic h up to this tim e he e asil y h olds I t is a nobl e monum e ntal work sim l e h e in on ption r stin trut scul c e n h h t t e e i c p p g .
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partn e rsh ip hard ly like l y to prospe r unde r an y circumstanc e s was mad e i mpossibl e in t h is affai r by Mr Gree nou g h s m e ntal condition H e be h ave d in a mann e r so unaccountabl e t hat Mr Brow n withdre w from t he e nt e rpris e but i n a fe w we e k s it app e ar e d that Gree n oug h s conduct so inconsiste nt with hi s noble and g e n e rous nature utt e rl y uns e lfish and fre e from m e rc e nary taint was sadl y ex plicabl e A fe w wee ks lat e r he was carri ed to an asylum for th e insane whe re he s hortly afte r di e d Anoth e r fi n e statu e b y Brown th ou gh be long i n g to an e ar li e r pe riod is th e r e cumbe n t fi g ure of th e lat e Sh ipp e n Bird in St St e phe n s Ch urc h in Ph ilad elph i a I h ave n eve r s ee n anothe r statu e of t h is class t h at s e e m e d to me so p e r fectl y to re n de r th e b eauty of d e ath H un d r e ds of pe opl e h r h e e a u fi n o v r y y to t is c rc to look at e h t h e e g h m e roup b y t in aus e r in m or y f c h ildr n h S e e o t e g of Mr Bird w ho pass Brown s statu e with sli g h t notic e Some th in g of th is n eg le ct is no doubt owin g to its unsuitable position but its simplicity and the qui e t voic e with wh ic h it spe aks to th e pass e r by has also muc h to do with it Bro w n s late st statu e t h e G e n e ral Scott is soon to be se t up in Was h i ng ton an e ve nt on wh ic h w e cong rat nlat e t he Capitol and all love rs of Art The s tatu e of G e n e ral Gr ee n e for w h i ch Bro w n r e ,
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commission from t he Stat e of Rhode Island is at pre se nt in t he old Re pr e s e nta tive s H al l in t he Capitol at Was hi ng ton w he re on e s h ould w h w k o o wis h s to s ee h l i a m a n t a f r o e e ee e g g and royal work of art draws al l b eholde rs and blots out of e x ist e nc e a room full of m e diocriti e s or wors e We l e ave out of this cond e mnation the plaste r cast of H ou d on s Was h i n g ton an d a fi g ure of R o g e r Will i ams b y Simmons w h ic h latt e r i s a re spe ctabl e work in point of e x ecution and pos e th oug h unsatisfacto ry as a conc e ption of the No on e w ho has see n found e r of Rhod e Is land t h e statu e of G e n e ral Gr e e n e will qu e stion w e s hould t hin k t hat it is one of t he fin e st statu e s of our tim e ; it r ejoic e s e ve ry behold e r I n 1 8 5 8 Mr Brown r e c e ive d a commission from t he State of Sout h C arolina to mak e a g roup of th irte e n fi g ure s for t he p edim e nt of the Stat e hous e to be built at C ol umbia W h il e t he sculptor was e n C e a d upon wor avin on to olumbia e t h k e h g g g g with h i s wife to c ar ry out t he commission on the spot t he War of Se c e ssion brok e out an d the work was inte r ru pte d wh e n n e ar compl etion Wh e n Columbia was burnt the Stat e h ous e we nt to d e structio n with t he re st and all th e fi nis he d statu e s with all t h e studi e s casts drawin g s and ind ee d t he g re ate r part of Brown s posse ssions i n P ros th is world we re d e st roy ed at the sam e tim e ce i ve d
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by a s e rious illn e ss in n early ruin ed ci r man y a c u ms t an ce s and in an e n e m y s countr y man would have lost h eart and hope but Brown is of too male a strain for th at H e cam e bac k to t he North and took up li fe agai n whe re he had l eft it wi t h t hat stron g s e re nity t hat qui e t con fid e n ce th at s i l e nt d e li g ht i n work that m ak e hi s nam e m e an what it doe s to th os e w ho k no w hi m H e nry D e x te r w hos e work doe s not n ee d t he re com me ndation t h at it i s produc ed by a man w h o n e ve r had the l e ast ins t r u ction w ho n e ve r saw a sculptor strik e a blow on a block of mar ble and w ho n e ve r had an assistant but has don e e ve ry t h i n g with h i s own hands — is on e of th e b e st of our sculptors in hi s spe cial branc h of por t rai t ure ; w e ow e to h i m a larg e numb e r of busts — Am e ricans stron g individu al of w e ll k n own truthful work w h ich will lon g k e ep in me mory th e sculptor and the men and w om e n w ho have sat to hi m The w e ll k n own Binn ey mon u m e nt in Mt Aubu rn Ce m e tery th e re cumbe nt fig ure of th e littl e c hi ld w ho li e s buri e d be n e at h is the b e st kno w n of Mr D e x te r s work s As our citi e s t h e e u r w in si z e and p opl e s to ta in d e e k g g holiday in the suburbs b e g an to find t he ms e lv e s cut off from t he ir w alks and drive s by the e u cr oachi ng s h ops an d hous e s th e r e spran g up fi rs t in B oston t he n i n P h ilad elph ia last in Ne w t rate d
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was t w e lve ye ars old hi s fathe r di ed and h i s moth e r and siste rs we nt to live in C onn ecticut Th e boy had t he usu al trainin g : w e nt to sc hool in the winte r and work ed on a farm in th e sum me r H i s moth e r want e d to mak e h i m a mi n i s te r he r fri e nds pus h e d hi m to a t rad e and succ e ed e d in ge t t in g hi m appre ntic ed to a blacksmit h Neve r was a more stri k in g instanc e of the impossibility of drivin g out Nature w h o y i e ld e d no mor e to t h e C onn e cticut forg e h amm e r t h a n of old to t he W e cannot he re t ell D e x te r s R oman pitc h fork story at l e n g th but it is g ood to re ad in hi s ow n words i n T ucke rman s book F rancis Al e x an d e r t he por t rait paint e r w hos e own e x pe ri e nc e in youth had be e n hard e nou g h was D e x te r s e arli e st ad — not a flatte rin g fri e nd rathe r vis e r and h e lp e r c hi llin g and d e pre ssin g tha n e ncourag in g u n t il h e saw th e boy s ste ad fast te mpe r and firm w ill t he n he did h i s b e st to ope n a way for h i m The first bust he mad e in marbl e was t hat of the H on Samu e l Eliot At th at t im e D e x t e r had n e v e r handl e d a blo ck of marbl e and had no on e to s h ow h i m how to g o to work But he boug h t t he mar ble and whe n t he bust was finished not k n owi n g its valu e h e l e ft t he payme nt to Mr El i ot w h o r it f n rousl y av two undr d dollars i m h e o h e e e g g and afte rward add e d fi fty dollars more T h is say s t h e mod e s t artist was the w ay I b e cam e a sc u l p he
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In 1 8 5 9 Mr D ex te r formed the d e s i g n of mak in g t he busts of t he Pre sid e nt and of all t he Gove rnors w h o we re in o ffi c e on the I st of January 1 8 60 T o mak e h i s studi e s he was obli ged to visit all the State s e xc e pt C al i fornia and O reg on but d i ffi cult as t he und e rtaki n g was it w as brou g h t to a g ood e ndi n g an d w he n all t he busts we re s e t up in t he R otu n d a of t he Boston State H ous e t hirty t housa n d p e opl e say s T uck e rman we nt to see th e m I f th ey ar e all as fi n e as t he bust of t he lat e Mr F e lton or as t h at of C h i e f J ustic e Chas e w e must t h in k th e t h irty t hou sand pe opl e Mr D e x t e r n ow s aw a v e ry uncommon si g h t i n h i s si xt y si x t h ye ar has hi s studio in C am br i dg e M assac h us e tts and is still active l y work t or
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Erastus D P alm e r was bor n in Pompe y O n on dag a C ount y Ne w Y ork April 2 1 8 1 7 H is pare nts w e re far min g p eopl e but t he boy h ad a stron g be nt to me c han ic al ar t s was bor n with a t humb as th e cou n try pe opl e say and we nt out into th e world at th e ag e of s e ve nte e n to fi n d e m ploy m e nt as a carp e nte r H e work e d lo n g at th is trade an d in th e small l e is u r e that ste ad y e mploy me nt g ave hi m tri ed hi s hand at cutti n g on a s he ll a cam e o portrait of h i s wi fe Eve n in t h is first e ffort of an untri e d h and t h e artist was d i s c ov an d h e soon fou n d t h at more p e opl e w e r e e re d ,
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r to have h i s came os than he had stre n g th of F or in two y e ars t he inc e ssant e y e s to s e rve application to a labor th at d e mand e d absolute st eadin e ss of e ye so w e ari ed th at d e licat e org an as mad e it n e c e ssary for h i m to g ive up hi s cam eo we cuttin g Good said on e w ho he ar d of it s hall n ow have a sculptor i n ex c han g e for a mak e r And in fact Palm e r wit h e n e rgy of br ooc h e s I and lon g in g s for art not to be thwarte d took up mod e lin g in clay and soon afte r produc e d a sm all work i n marbl e The In fant C e re s T h is was t he b eg innin g of a lon g prospe rit y for Palm e r s work was popular from the first and t he pl e asure take n b y t he pe opl e in hi s stat u e s and bas re li e fs The In fan t C e re s first e x h as n eve r flag g ed hi bi te d at th e Acad e m y of D e si g n was follow e d b y s e ve ral has re li e fs The Mornin g Star The ” Eve n in g Star Th e Spirit s F li g h t t he n b u sts c all e d Re si g n ation and Sprin g all of the se swe etl y pre tty girlish or c h ildis h heads wi t h o u t muc h indi vidu al ity and w hic h we re h urt a littl e by the ir fi n e nam e s Soo n Palm e r atte mpte d a “ statu e and t he Indian Girl and Wh ite C ap tive w e re hail e d by t he public with e x travag a n t — prais e pra i s e t hat t he ir ow n me rit g re at indee d compare d with t hat of most of th e hom e sculpt u r e already produc ed has he lped us to out g row T hi s i s not t o d e pre ciate Pal m e r s work w h ic h has its e ag e
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J ustic e Story a gre at n ame i n Mass a ch u s e t t s an d i n t h e h istory of t h e Am e rica n bar for l e arnin g and c h aracte r The care e r of hi s s on has n e ve r b ee n h ind e re d by any of t h e mate ri al wants and an x i e ti e s th at h ave mad e li fe so hard a school to man y of our b e st artists Whe n he w as born C o mp e t e nc e r e c e ive d h i m into he r lap ; he was te nd e rl y nurture d an d w e ll tau g ht h e w as a g raduat e of H arvard and aft e r l e avi n g coll eg e studi e d law and wrot e tre atis e s on law matt e rs ; h e did not h ow eve r fe e l sp e ciall y drawn i n th at dire ction bu t rathe r to t he arts H e wrot e po e t ry and has al w ay s continu e d to writ e it but t he world has n ot muc h cared for h i s pe rformanc e s t hat way ; w e are al w ay s th inkin g w e h ave hear d t h e strai n b e fore in Brownin g i n Te nn y so n i n As a write r of pros e Mr Story has D e Muss e t had a larg e r audi e nc e an d woul d h ave had a larg e r sti ll for h i s book abou t R om e i f he h ad know n h ow to be l e ss di ffus e an d to di g e st h i s mul ti fa We have h eard it said that r i ou s l earn i n g b e tt e r M r Story would pre fe r to be re cko n e d a poe t rathe r th an a sculpt or but th e world so far as it knows hi m at all knows h i m by h i s statu e s t hou g h the Am e rican p ublic has had littl e c h anc e to be com e acquainte d with h i m th is w ay s ee ing that few statu e s by hi m an d no n e of t hos e i n wh ic h hi s fri e nds take most prid e h ave b ee n ex was
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th is s id e t he wat e r H i s e arli e st work a fu ll l e n gth statu e i n marbl e of h i s fa the r is in it is a re spe ctabl e pe r t he c h ape l at Mt Aubur n for man ce but n ot h i n g more t h ou g h w h e n it was mad e it caus e d som e flut t e r n o C h i e f J usti ce s s on in t h at qu art e r h avi n g don e t he lik e b e for e T he re is also a bron z e stat u e of E d ward Eve re tt i n th e Boston Public Gard e n an d h e r e w e t h i n k t he artist has don e all t h a t was possibl e w it h h i s subj e ct th e lik e n e ss is u n d e n iabl e an d t h e action c haract e ristic It h as bee n muc h j oke d ove r but unj ustly for t he re is li fe and pe rso n alit y in it an d t he s e are muc h t o find i n a statu e nowaday s Man y A me rica n s too h ave s e e n t he bron z e sta t u e of G e org e P e abo d y i n L ondon T he s e th re e ar e w e b e li e v e th e o n l y i mp or ta n t work s of Story t h at ar e to be fo u n d outsid e of privat e h ous e s at ho me and abroad I n t h e g re at E x h ibitio n of 1 8 6 2 Brompt on t w o s tatu e s by Stor y w e r e more looke d at an d more ad mire d than an y oth e r two T he s e we re t he L ibyan Siby l an d t he C l e o patra t h e latt e r n o w i n th e poss e s sion of Jo h n T aylo r Joh n s ton of Ne w Y ork A n ot h e r statu e b e l on g s to M r P e te rson of Phi lad e l Sapp h o p h ia T he s e t h re e ar e M r Story s be s t works an d thou g h the t i me h as n ot y e t co me to j ud g e th e m fully for n o statu e n or wor k of art of wh a te ve r kind can be full y j udge d u n til it h as st o od in th e hi bi te d
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— public square t he fi n al ve rdict
w i ll li g h t of t h e probably be that h i s work s ho w s cul t ure stud y native re fin e m e nt an d tal e nt of an e l e g ant sc hol arl y sort but li ttl e i mag i nation an d littl e cre at ive pow e r Th omas B all born i n C h arl e stown Mas s Jun e t h h is known to public c i fl y b y e i 1 s 1 8 e h 3 9 e qu e s trian stat u e of Was h in g ton se t up not lon g ag o in t h e Boston Public Gard e n It is a manly work faithful in portraiture car efull y studi e d a consci e ntious p e rformanc e h avi ng much the same i nte re st to us as th e H oud o n statu e t he str ai g ht forward truth fuln e ss of t h e dag u e rre otyp e Mr Ball w ho h as lon g liv e d in Ital y be g an l ife as a paint e r and mad e some mark i n t hat dire ction ; he is a man of man y acco mplis h m e nts has a fi ne v oic e a n d was at o n e tim e count e d a re m arkabl e sin ge r As a sculptor h i s nam e has not bee n so m uc h in m e n s months as t hat of som e ot he rs bu t th os e w ho know h i s works know that t he y are i n t h e b e st s e ns e wo rks t h ey are n ot trifl in g me r n d e arn e st ce n ar p r ormanc s but sinc r a f e e e e y t he ar t ist putt in g h i s b e s t s e l f i n to t h e m an d t h u s makin g sure in e ve ry case of a re sult with its ow n valu e and th at lasti n g Joh n Quinc y Adams Ward was born i n U rba n a His C hampai g n County O h io J un e 2 9 1 8 30 fat h e r w as a w e ll to do farme r work ing h i s ow n -
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inclinatio n for the farm li fe s howe d its e l f plainly ; h i s family g ave hi m pe rmissio n to stud y me dicin e but t h is suite d h i m no b e tte r ; fin all y as ofte n happ e ns to g rowi n g boy s r e strain e d by k i n d u n wisdom fro m a natural b e n t he fe ll ill an d h i s r n ood sist r divinin h i troubl e w nt H e t o e s e g g y K Brown an d as k ed h i s h e lp in makin g a sculptor of he r brothe r Mr Bro w n with g re at h fi ood s ns discoura bo y rst but in a e e t t a e d e g g way that show ed hi m t he door was not s h ut an d late r i n the ye ar afte r Ward h ad mad e proof that he cou l d d o som e th in g h e e nte red Brown s studio in Brookly n and re main ed wit h h i m s e ve n ye ars Wh il e with Brown War d assiste d hi m in makin g the Was h in g ton in U n io n Square and aft e r ward having take n the stu d io as h i s ow n w he n Mr Brown l e ft Brook l yn h e mad e t he re t he “ mod e l of t he Indian H unte r and of Simo n K e nton t he pion ee r of O h io In 1 8 5 9 durin g a visit to Was h in g ton h e mad e busts of Joh n P H al e Jos h ua Giddin g s and A l ex an d e r H Ste ph e ns and he also produ ce d C opi e s i n bron z e ” Indian I n 1 8 6 3 Ward w as e l e cted a of t h e m e mbe r of t he Acad e my and i n 1 8 64 h e compl e ted In d ian in clay Late r it t h e s e ttin g up of h i s was ex h ibi te d in Ne w Y ork i n plast e r an d in 1 8 6 7 h avin g b e e n cast in bro n z e it was s e nt t o t he me morabl e Paris E x position of t h at y e ar whe r e i t -
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AMERI CA N S C ULP T URE
373
.
was on e of t he ve ry fe w wo rks of art from A me ric a t hat re c e ive d any notic e from t he F re nc h artis t s an d critics W he n i t was brou g h t bac k to Ne w Y ork it was plac e d i n t he C e n t ral Park h aving be e n purc h as e d by t he commissio n e rs Ward s statu e in bro n z e of C o mmodo re P e rry a commis sion fro m a g e ntl e man w ho marri e d into t he P e rry famil y has be e n s e t up at Ne wport R h od e Island and anothe r bro n z e like th at of P e rry of he roic si z e a y oun g soldi e r i n t h e u n i for m of t he Se ve n th R e g i me nt Ne w Y ork State Militia a commission fro m t he Seve nth R eg i me nt has b ee n s e t up in t he C e n tral Park as a m e mo ri al of t he part playe d by t he re g i me nt in t h e war Th e — Good Samaritan carv e d i n g ranite a most n u satisfact ory mat e rial for a statu e was a com m i s sio n e x e cuted by Ward t o comm e morate t h e Mor t on Jackson applicati on of e t he r as an an aest he tic It is on e of t h e sculptor s b e st work s but it n eve r will be known until it is take n down from t he ab surd ped e stal on wh ic h it is hoist e d i n the P u blic Gard e n i n Boston and plac e d on a ped e stal w h i ch s h all bri n g it as e ve ry sta t u e ou g h t to be brou g h t Ward s late st s tatu e is on a l e v e l wi t h th e e y e the Shak e spe are lon g ag o fi n is h e d but not se t up in th e plac e de stin e d for it i n t he Park u n til April of the pre s e n t ye ar 1 8 7 2 The statu e has bee n variousl y criticis e d but on t he w hol e Ward .
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AM ERI C AN S C UL P T URE
374
.
c k on ed to have me t the di ffi culti e s of t h e prob l e m he h ad to s olve with more succ e ss — i f suc c e ss can be comparat ive — t h an coul d h ave be e n look e d for Ne x t to t h e Indian H unte r th e Sh ak e sp e are i s Ward s be st work and t he re can be no doubt t hat i t has muc h in cre as ed h i s re putation H e re w e close our too sli g h t notic e of the A me r ican sculptors for lac k of spac e forbi d s our takin g up e ve ry name Launt T hompson th ou gh born in Ire land an d n ot s e e i n g A me rica until he was fourtee n y e ars old h as y e t so id e n tifi e d h i ms e l f wit h A me ri ca t hat h i s name s hould not be omitte d from an y list of A me ric an sculptors t hou g h no on e w ork of h i s stands out ve ry stron g ly fro m t h e g e n e ral A rathe r e x agg e rate d “ bust call e d The T rappe r a h ead of Booth as H aml e t in w h ic h t h e for mali ty an d fatal lack of facial e x pr e ssion of t h e ori g inal are w e ll re pre s e nt ed and a colossal stat u e of Napole on t he Gre at mad e for on e of th e E mpe ror s old soldi e rs a r e t he b e st k n own of M r T h o mpson s works Th e s mall g roups in pl aste r mad e by John R oge rs of Sal e m M as s t h e subj e cts drawn fro m t h e war and from e v e ry day Am e rican li fe h ave had s u c h an imm e n s e popularity t h at the maki n g of t h e m h as b e com e a r e g ular busin e ss an d brin g s T wo or t h re e of the m hav e h i m in a larg e inco me is
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AMERI CAN S C ULP T URE
376
.
Mr Jos e ph H arrison Jr of Ph ilad e lp h ia I n conclusion w e must m e ntion th e fact t hat a n um be r of Am e rican wome n h ave mad e prais e wor th y e ffo rts to ac complis h som e t h in g i n sculpture and i f it woul d be me re flatte ry t o admit t h at any on e of th e m has don e work w ort hy of lastin admira g t i on it is n o l e ss cr e ditabl e to t h e m to h ave tri e d an d t he y may at l e ast be j ud e d t he p e e rs of m an y g me n callin g the ms e lve s sculptors an d c all e d so by an eas worl d y of
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I ND EX O F SC ULP T O R S A ND SC U LP TU R E S
.
P
AB Y D O S ( Se p ul chres
A
ch i lle s
( Statu e
of
)
6 3
of
9 8 , 9 9,
)
Acropol is o f Athens Ad am ( Lambe rt Si gi sbert) i a c o l N s (
Se
2 2 3
b s ti en) a
2 3 2 2 77 26 1 29 4
8 2 , 8 3, 84, 8 5 , 86, 89 1 22
1 00
7 8, 79 .
.
1 41 202 20 2
208 1 92 1 8 3,
Al ban o Al be rt o P i o ( Tomb of) Al camen e s Al ci biad es ( Statue o f) Alexan d er ( Statu e of)
Al e x an d Al fi e 1 i (To mb of) Alg l l ( 11 Al hambra ( Li on s of th e) '
1 84
227
9 8,
1 20 ,
30 6 1 44 , 1 6 7 1 20
D i og enes ( B as
-
li
re
‘
o
1 00, 1 0 1 , 1 1 6
1 5 3, 1 5 8 , 1 6 1 , 1 80
Add i son (Tomb of ) Ad oni s ( Statue of) Adri an of V ri es [Egi n a ( Mar bl es of Ag ame mn o n ( Statu e of Agas i as Agelad as Agesan d e r Agn olo of Si en a Agosti n o of Si en a Agrates o r Agr atus Agri ppa ( Statu e of Agr i ppi n a ( Statu e of)
er and
A GI
e
"
9.
ef
)
I 97
315 1 36 2 2 7,
1 3 5
2 38
All eg rai n Al tar of th e Tw el ve G od s Amazon at tac e a l i o n ess
k d by
Amaz ons A men oph is ( I mage of) Amen t i ( Assess ors o f) A mmanato A mmon Ra ( F i gu re of) Amph i crates Amse t ( H e ad o f) Amten ( To mb of) And rea of P i sa And ré ( Mo nu me n t to) A n ok a ( F i g ure o f) Ang ui e r ( F ran co1s )
30 0 3 7.
309 8 0 0 0 1 0 . , , 7 3 3 3 9 3 79 75 1 84, 1 8 5 1 9 1 , 1 9 2 , 1 96
( Mi chel ) A n ochus ( Sta tue of ) An thermu s Anti noii s ( Statu e of) Ap elles Ap h ro di te ( Statu e of) Apol li no ( The) A p ollod or us A pol lo an d the Sw an
B
d ( The b e l ve
d
C i tharoe
de
s ce n
,
1 22
1 04, 1 2 2 1
di
1 1 2 1 , , 3 3 33 1 30
1 45
1 3 1 . 1 33 . 1
e re r on z e
0 8 3 .
39,
1 40 ,
M
l
,
)
1 40 1 48
us
n
Th et i s
o t g
( The D i d ymaean)
79 151
Epi cu ri u s
( The Lyci an)
1 0 7,
P arn opos
d
R ho
94
es
1 12
Sau r octon os a s t u e t S (
of
1 08
1 68
( Th e P y th i an )
of
2 3°
10 7
)
Ap ol l on i us ’ to il e Ar c d e l E A rg e nti
7 7,
( Ihe)
.
1 0 7.
w
.
2 62 , 29 4,
32 3 1 S7 33 2 23 7
380 n o:
Berull
( Tomb of) B i rague ( Re n é Tomb of ) ” Bi rth of Pall as ( P arth enon)
0 3 7
e
0 3 3
,
Bi
Bl
Ven us
1 22
( Statu e of )
25 7
rt h o f
u ch e r
B oar ( The ,
of
F lorence )
Bogaert ( Ma ti n V n ) ie B n (Jean Ma i B i (J ph) B uh d n Bou ch B oss t ( B t f ) ass
os o o
r e
ux
1 2 3
)
1 33
3 29
ose
c ar
2 1 3 ,
o
er
B ou te ll i er ox ers
(Ja n) ( The)
2 89 2 29
B riax is
B B
1 52
ru n e l les ch i
202 , 2 1 4
( Statu e of ) ” Bull (The B ronze of Pe ril lus) Bulow ( Statu e of ) B uona rot ti ( M ichae l Ang elo) 9 7, 1 33 ru tu s
202 ,
2 1 0,
211,
2 2 3. 2 24. 2 2 6
6 0 3 .
29 5 ,
B u pal us
B
u tl e r
1 1 3 .
2 36
2 3 7. 2 39 . 240 . 2 6 1 . 2 76,
1 2 3 .
1 3 5
of e
CE SA R ( B us t of ) ( Statue of ) C alamis
.
(J acques ) C aligu l a ( B u t o f ) ( Statu e of )
C afli er i
..
C alli crates
y
of
p
S i res
St Roch C am e n ( Tom of ) C anachus of
d
.
b
,
1 39, 1 4 1 , 1 42 , 1 45 ,
2 1 5 , 2 1 6,
.
(Tomb
2 1 1 , 22 1
2 1 4,
Byblis chang d into
C all o C alvar
2 3 3 1 3 6
o
us
2 2 3 ,
2 3 3
.
ue
B
1 24
a
r
on
1 6 7, 1 68 , 1 69
a
fo un tai n
21
7,
2 1 8 , 2 1 9,
75 25 7 1 79 , 1 84 ,
2 20 , 2 2 1 , 2 22, 2 86 ,
2 9 2 . 293.
I ND EX
88 1
.
A GE
P
V
C an in e ( ases of ) C an o ( Al o n o) ” C an o i Canova ( An toni o) 9 7, 1 48 , 2 20 , 2 2 8 , 22 9, 2 36 , 2 3 7 , 2 5 5 , 2 6 1 , 2 80 , 2 8 2 , 32 3 C a i tol i ne Ta l e ts ( Th e ) M Angel o) Ca ti ves (The , C aracalla ( ust of )
p
z
4 3, 66 245 , 247, 248
35 , 2 30 , 2 3 1 , 2 3 2 ,
6 3 ,
37 2 33 , 2 34,
.
b by
p
p
B
C arrel ( Arman
d
.
Statu e
,
of
334 3 34 1 56 315 2 77
)
y ti d ( A) C a y ti d s ( by P g t) C asa bo ( T mb of C ar
a
r
a
e
u
n
u
e
o
C astor and P ol lux ( Statu s C avel i e r ( Pi e rre ul es) C ecro s (Torso of )
of
)
1 84
J
p
( B en
C e lli ni
ven u to
2 1 8, 2 2 1 ,
33 2 93 , 2 9 5 l 93
1 3 3 1 76
)
22 5 , 22 9 , 2 9 2
C en tau r ( A)
1 17
C ephi sod otus C erve tt i ( ases of ) C a re ( Anti u i ti es of )
b
V q
Cha ot ( Statue of ) C ham res ( ele n d e , Tom o f ) C hantry C h arles (Tri um hs of, B as re i e f ) .
b
b
H
l
.
V p th e Bold ( T mb of) I X ( B u t of ) .
0 3 6 2 80
24 1
o
0 3 5
s
.
Ch ares C haron ( Statu e o f ) C hasti t ( Statue o f )
y
b mb
C hath am ( Tom Ch au cer (To
d
of
of
)
1 12 2 2 3
1 14 2 75
.
)
277
C h au et ( An to i ne D e ni s) C heph rem ( Statue of ) Ch evaux d e Ma rl or Ecu ye rs
2 3 9
y
1 8 3
by Pi l Ch ime a ( They C h imn y pi ce b y G l
on
2 68
C hi l
d B ’
s
u st
6 8 2 . . 3 5 3. x49
r
e
-
e
C hons ( F i gu re
of
)
80
ose n ca
mp
26 8
30
3 82
Chri s t
th e Tw el ve A
an d
ben th the Sh t by B h d on by F P to by M A g l ea
C h ri s
rou
d
postl es ”
ou c ar
a
res
n
.
e o
C ross
on th e
Chrysothe mu s C i rcumcis i on ( Th e ) C i ti u m ( An ti ui ti es of)
q
C laux d e Vou sonne
Cl eme n t X III ( Tomb X I V (Tomb of )
of
)
.
2 39
2 29
.
C leomen es
1 30 » I 33
d
C leosthenes ( Statue f) C leves ( C ornei lle Van)
B
79 2 2 3
C olber t ( u st of) ( Tom o f)
0 3 8
b
C ol le oni ( Statu e
1 6 3 of
206 , 2 0 7
)
b ( Mi h lt) b n ( A d é)
C olom C ol om
c
a
2 90 , 2 9 2, 2 96 ,
au
n
r
C olossi of K hors abad C ommi nes ( Tom of )
4 7:
b
mat i o
C on cl a
dé ( St
( Bas
-
rel i e f
)
1 94
)
b of ) e (T mb
3 34 0 3 7 2 76
m T o (
o C ongrev C on solatri ce
of
) ( La)
2 30
C onstan ce C onstan ti ne C on stan t
(C ompound Stat u e o f )
B
C orin na ( u st o f ) C orne i ll e ( Statue o f)
B
C orneill es ( us ts of the) C orneli us C orne w all ( C a tai n , Tom
b
p
d
C orra i ni ( A ntoni o) C ort ot (J ) Courtenvaux ( Tom .
b of)
Cosmo ( Sai nt, Statue
2 5
29 1
atu e of
C on
306 2 90
of
)
.
of
)
I ND EX
3 84
.
P AGE
D elos ( Terra
bbi
D ella Ro
-
cottas of u L ( ca )
a
)
43 202 , 204, 20 5
.
D emi g i ano ‘
29 1
D e mosth enes ( Statue
D en i s ( St De De
.
partu posi ti
of
G a te
,
of
)
0 8 3
)
( Th e , B as
re
1 19
-
re l i e f
)
2 33
fro m th e C ross
on
29 7
D esboeufs ( An toin e )
33 I
D escent from th e C ross
j ardi
D es
3 0 0 8 . 3 9 3 2 3 5 90 . 9 7
ns
b of) B th
D e Thou ( Tom D i an a
t he
at
.
a
Eph esu s
of
H
25 1
u n t ress
95 9 7 1
Gabi i wi th the Stag Statu e of of
Di paen us
b
D i sco D is
p
u te of
p
Dj i zeh ( Scul tures
B
D ogs ( ronze ) D omi ti an ( Statu e
d
on a n d
of
o f)
0
D onatello D on tas D orycl i das
(The)
k e ( F ed ) D g es (J h n d e ) D yd n (T mb f) Du bois ( P ul ) D um t ( Alexand er) m e d E ) ( D p aty ( C h les) D p e r
.
ro u
e
r
o
e
a
o
a
on
ar
u
u
P allas
)
D omi ti us C orbu lo ( Statu e
D ra
1 3 7:
x40
1 18
.
D oryphorae
1 0 9:
94 , 9 S 1 2 7 , 2 96 , 3 26 771 78
( Th e ) P o se i
101:
22
1 09
.
o lu s
1
2 1 3 ,
r
D uret ( F rancoi s Pi erre ) D iire r ( Albert) of ) t u e t a S (
of
)
I ND EX
385
.
Early D aw n
(by M Ang el o) Li o ns o f) .
Egy p t ( B lack P ra m i y ds ( El
fi b
D an ce
n
El i z a
e th
of
”
.
)
h T ( e)
( Tomb of)
End oeus Ensa h or ( Statu eof) En tran ce of Alex an der i nto Epe us Epi cur i us ( Statu e of ) Ere ctheu m ( P orti co of the ) Erecti on of a C olossal B ull Erw i n of Ste i nbach .
B b yl a
( B as
.
Eu tel id as Evang eli sts ( Statu es
B y (
Even i ng
of
th e )
M Ang el o) .
n i E t e n e ) (
F ALC O NNET
F alqu iere F a P resto ( Lu ca) F au n
’
5
H e d ( by M a
l
Ang e o)
.
F au n w i th the C hi l
d
”
(Th e D an ci ng ) ( The D ru nke n ) Th M i ca e us l) ( F auns ( Tw o d an ci n g ) F au sti na ( Statu e of ) F e nel on ( B us t of)
.
d
F er i n an
d
of
Arrag on ( Tomb
F 1e rs Fi sh i n
a net
F lax man
y d Ma
F l ora (Th e
( T he ) F arnese )
F l ore nce
a
F la
n
e
.
f t i s t B p y ) ( Inn ce t in d
F o n ta
de
e
er
es
o
o
n s
Mol i ere
d e la Ru e d e Grenelle
of
)
on
-
re l i e f
)
886 P
303 ,
F orce F oyati e r F t a B ardu cci o Ch e ri ch i n i F rance
( B as
-
( Statu e
2 04
30 9
.
b
B
k the G at ( M n W i ll iam III ( St t e i end shi p ( St t of ) e ri c
re
o
.
a u
Fr
u
a ue
of
)
I 33
me n t
of
290
to )
25 7 z58
)
293
.
GA NYM ED E an d the Eag le Garri c (To m o f )
b
k
Gatteaux ( Ni colas Gay ( Tom of
1 48 2 78
Mari e )
l 33
b
2 77 2 69
G ee i s
b R p
Ge nevi e ve ( Sai n t, Tom
Gen i u s o f Eternal Ge n i us of Li e rt Ge orge ( Sai n t, Statue G e ta ( Sta tue of
b y
G hi
b
33 333 l
2 33
F ranco i s d e re tag ne (Tom F remi ex ( Emmanu el )
d
)
r e li e f
F ran chevi ll e ( P i erre )
F re
of
AGE
e rt i
es
r
0 3 5
ose
1 13
I 33 of
06
)
3
1 93
2 0 2 , 20 3 , 26 7 2 9 3 , 2 94,
a
o
-
)
( Lore nzo)
B logn Gi n (J ) i G i ard F n ( c
G i am
e
of
24 7
uan
on
G i ov ann i
ra
of
o s
0 3 9
)
1 0 5 , 1 1 2,
P i sa
1 3
7
20 2
d
Gla iator ( Th e D yi ng ) (The F i ghting )
1 36
98 ,
1 00,
1 0 1 , 1 1 7, 1 40
Glauci as
81
G l au cu s
75
G los en camp
Glycon
(V
G oe the
an d
d
d j
G ol
mann )
e nu s of
)
1 05 1
Sch i ller ( Statu es
ri an
)
.
mi th ( Tomb o f on (J ean ) s
G ou G races
2 6 8 , 2 69
r
I 4S
G n idus
G oi s ( A
( He
of
)
2 5 9 . 2 60 2 3 9
)
.
( The Three) Gray (Tomb of )
32 4
277 2 9 7, 2 99 ,
79 ,
300 , 30 1
.
0 3 7
1 20 , 2 5 2 , 2 6 2 2 76
3 88
Husson (Jean) H yacinth s ( Statue of ) H ygeia ( Statu e of ) H yperi on ( H ead of ) .
u
.
.
I c rm us I d ol i no ( The) Il yssus ( F igu re of, P arthe non ) Improvi satore at the V i ntage I nn ocence ( Statu e of ) I ri s ( Statue of ) '
I i ( Figure f ) I vory Group by D s s
o
u rer
JA CQ UOT (Geo g ) Jaguar d ev i g a H are l i y n L o i s N co l a s L e ) ( J J me ( Sai nt Stat e of ) Jas on bri ngi ng home the G ld F leece w y th Gol d n F leece carryi ng r es
ou r n
a e
u
o
e ro
u
,
o
a
a
e
en
e
( Statu e of )
J
ean
“
Jes
de us
Boulogn (S Giam B ol ” bea i ng H i C oss ee
e
r
r
s
J n f Arc ( St t e f John the B pti st ( St t e of ) J hn the F earles (Tomb of ) J hnso (Tomb f ) J a la Loc (Tomb of ) J an d la H e t J di th ( St tue f J li a ( Stat e of ) Jul ius II ( St tu e f m T o b o f ) ( J ti on of th e S i and M J o of Argos ( St tu e of f th e C pi t l ( Stat e of oa
a u
o
a
og na
o
a u
s
o
o
n
o
a
ua n
u
.
u r a
e
u
a
u
u
.
o
a
o
e ne
unc
a
un
o
a
Samos f ue o t t a S ) (
of
o
u
ar n e
)
I ND EX
88 9
.
P
J u pi t
Olympi us ( Statu e of ) Pan h ell e ni os ( Sta tu e of ) Se ra i s ( Sta tu e of
77, 9 7,
er
p
Just (J e n ) J ti ( Stat a
e
us
u e of
ce
ph) Kalah She gat ( O beli sk d ( Statu e f
K AESC H M ANN (
J
)
ose
of
r
ou n
) at )
K araml es ( Reli cs from)
k
( H yposti le room at) ( Temple of ) K ebsn i f ( H ead of ) Kertch ( P alace an d Tomb of ) Khorsabad ( C oloss i of ) ( P alace of Kneller (Tomb of ) K ni fe Gri nder (The) K oyu nj ik ( P al ace of ) K ra fl t ( Adam) Krater (The Si lver of D el phi ) K ar na
'
.
,
of
LA F AY ETT E ( Statu e
( Th e )
Laocoon
101,
1 2 7,
1 40 ,
La Lotta Laphaes
.
h er Ch il
an d
La tona
d
re n
( P ar th enon )
b ij ( H igh Al t of Le b n ( B t f ) Leda and the Sw n Lege ndre ( R b e te Tomb of ) Le m i e ( Ph i li pp H n i )
Le
r
ar
a
ru
o
us
a
o
r
,
e
a r
e
r
Le mon tu ri e r ( An toi n e )
Leonar
do (Al ess d an
ro
)
Le ochares Li fe
of
Vi
th e
rg i n
B ( as
Li vi a ( Statu e of Li goni er ( Lor , Tom Li on
devo
b of r i n g a B ar
u
d
o
re l i e f
)
A GE
1 1 1 , 1 5 8, 1 5 9, 1 60 , 2 20
390 P
LO Zu ccone
( Henri Mon umen t to) Lorenzo d e M e di ci ( Mausoleum of ) Loui sa of Russi a ( Tomb of ) ( Statue of Lou is X I I ( Tomb of ) u f t a t e o S ) ( X III ( Sta tu e of X I V ( Statu e of ) X V ( Statu e of ) Longuevi ll e
0 8 3
,
2 14 25 6
25 6 29 1
.
29 1 0 3 7
.
.
A GE
242 ,
0 3 7,
1 6 3 ,
1 3 9
1 3 9
.
2 37
Luci us
Verus ( Bust of )
Lu th er ( Statu e
d
of
)
b (The)
Ly i an Tom Lysi
ppus
1 92 25 7
64
.
1 1 9,
.
1 20 , 1 5 1 , 2 5 9
MACA ULAY ( Tomb of ) M adel ei ne d e Savoi e Tend e (Tomb of ) Madonn a ado ri ng her d ead Son of
B
ru g es
d ell Pi eta h ol d i g th e I fa t Jes of N pl M ag d l ( R pen tant) Magny (T mb f ) f) Manetho ( T bl Mansfiel d (T mb f ) a
n
n
n
us
es
a
a e ne
e
o
o
a
o
es o
o
M ano d e la te ta Marcus Aureli us ( Equ es tri an Statu e of ) ( Statu e of ) Mari a Chri s tin a ( Tomb o f ) Lecz i nsk a ( Statu e of ) Mari us (Troph i es of ) Mark ( Sai n t, Statue of Marochetti ( Baron) Marri age of the Vi rg m ( B as reli e f Mars ( Statu e of ) Marsyas ( Statue of ) u n e B o d) h T ( ”
1 86 , 1 88 , 1 89
2 3 1 , 2 32 , 2 82 1 84
20 3 2 82
29 1 1 36, 2 6 1
7 1 18 11
3 92 P
AGE
55 1 1 , , 97 5 5 57 1 58 1 5 5, 1 5 8, 1 5 9 1
P ol ias P romach os
War i o ) w i th th Neckl e St t es of ( Vari M od esty ( Stat of ) (The
r
r
e
1 07
ac
ous
84. 8 5 . 9 7.
a u
ue
21
Moi tte Moli ere ( Bust of ) Montan es ( Jean Marti nez ) M ontel u po ( Raffaell o d a) Montmorency (Tomb of ) Montorsoli Monu ment of the P on t au Monumen ts of X anth us Moses ( Statue of ) M ou th ( F i gure of ) M u n t ( F i gu r e o f ) Muses (The Ni n e ) Mu ti ns Scaevola (Statue of ) Myron
NA I AD ( A) Nau cydes Nei th (F i gu re of ) Nemesi s ( Statu e of ) Nep tun e calmi n g th e ( Th e C ol ossal , o T ( rso
of
2 8 3
2 45 2 14
309 214
C h ang e
0 3 7
1 5 0, 1 5 1 2 1 2 , 2 1 8 , 2 1 9, 2 20 , 2 2 3, 2 39
30 30 1 1 1 , 1 2 1 , 2 62 2 33
8 0 8 , 7
av es
by Amm
an at o
)
)
Nexci des Ne ro ( Statu e of ) Nesa ( Statu e of ) Nesrok ( Statue of ) Newton ( Tomb of ) Ni col as o f P i sa Ni gh ti ngal e ( Tomb of ) Nigh t ( By M Angelo) Ni ke Apteros (F ragmen ts o f .
,
p
m le T e (
of
)
7,
2 33 2 33
.
W
1 3 7. x76
P ar the non )
I NDEX
3 93
.
Ni le ( Statue of the ) Niobe and her C hi l dren ( A Son of )
Ni sus and Eu ryal us ( Statu es of ) Nola ( Vases of ) ’ Nu e stra Sei i ora de la Soli dad Num ( Fi g u re of ) Nuremberg ( F ou n tai n of Nu pte ( F i g u re of ) Nymph of F ontai nebl eau (Th e) Nymphs of th e Sei ne .
p
OA NNES (Te m l e of ) O li vi e ri ( Pi etro P aolo) O u atas O r h eus ( Statue
p
Orator
”
of
81 , 87 309 63
)
d
drea)
20 2 of
O r er ( Statu e O si ri s ( F i gu re of )
( Statu ette O ver
293
(Th e )
O rcagna ( An
O th o
49
)
1 33 0 3
of
)
0 3
( B ust of )
1 82
be ck
2 53
P A SHT (F i gure of ) P a ou (Au gusti n )
30 324
P al i ssy
2 04
j
d
( B ern ard )
P alla i o
1 80
V elletri P an th e on ( P ed i men t of th e) P a l i ( P as qual e Tomb of ) P ap i as
1 06
Pal l as
of
o
3 33 2 74
,
of th e
Parcae ( Statu es
P ar th en on ( C ell a
of
11
)
1
1
1 6 2 , 1 6 5 , 1 66 , 1 6 7,
o
e
,
r
1 6 2 , 1 63 , 1 64,
e
e
u
8 1 2 1 , , 7 7
u
79,
2 7°
1 74, 1 75
1 62 , 1 6 3 1
th e )
ze of th ) (M topes f th e ) ( P d i men ts of th e) 1 62 1 6 7 h l u r e s o f e V c p t t o s a i S ) ( ( F ri e
73,
,
1 6 8 , 1 69 , 1
1
15 1,
1 5 7, 1 5 9,
70, 1 5 3, 1 5 4,
1 1 , 74, 7
7
78 1 6 7, 1 70 1 70 , 1 78 1 76 , 1 78 1 6 1 , 1 70, 0 7 , 1
I NDEX.
394
PAC .
P ascal ( Statu e of ) P ass i on ( B as reli efs of the ) f T m o P aul o ) ( -
III
33 1 2 50
.
b
.
2 80
( Statu e of ) P ed ro d e Mach ua P ense vau ( Statu e of ) P ensi eroso (The) P eace
0 33
24 1 28 214
P e rillus
75 Perran d 334 1 72 Perse ph one and D emete r ( Statu es of ) 2 29, 2 30 P erseus ( Statu e of ) 1 2 and Andromed a 3 ’ 22 5 cu tti ng off th e Me d usa 3 H ead 1 deli veri ng An dromed a 3 3 2 P eter the Great ( Statue of ) 3 1 P e ti tot ( Messi d or Le bon) 33 2 Phe i di as 78 , 80 . 8 7. 89 , 90 , 93 . 9 7, 98. m , 1 1 4, 1 24, 1 30 . 1 5 1 . 1 5 2 . r ss, 1 5 7. 1 5 8 . 1 5 9 , 1 6 2 . 1 6 7. 1 68, 1 7 7. x79. 1 80 . 2 7 1 , 2 8 5 , 2 9 7, 3 1 5 , 3 1 7 .
.
be t le Beau (Tomb f ) ppe de Chabot (M usol Phil i p th e H andsome ( T mb th H ard y (Tomb of ) P h il i P h i li
o
r
eu
a
o
m of )
of
)
e
Phi l oposmen ( Statu e Phi teus Phré ( F i gure of )
of
)
Ph tah ( Fi gure of ) P i erre d e re e ( Tom
B z b of ) P i erre Jacques P i g all e (J ean B ap ti ste) P il on ( Germain ) Pi sa ( Pul i ts of )
(Tomb of ) P lau till a ( Bust of ) P l u to carryi ng aw ay P lu tus ( Statue of ) P omona ( Statue of P i us
VI
0 1 3 .
p
32 5 . 32 6 30 3 . 30 5 . 3 2 1 2 3 1
0 3 2.
.
20 2 2 29
.
I 93
P rose rpi n e
1 3
7
2 3 2
3 32
P olycl es P olycl e tus
1 14
98. 2 A
"
4
3 96
Rhaecus Rhy tons
B
Ri che l i eu ( ust of ) Ri e ts chel ( Ern es t) Ri ve r god ouri ng w ater from hi s Rolan
d (P
Roman ( P Rome
p
.
.
urn
L
) L) .
.
( Vases
foun
d at)
Rose tta Stone ( The)
Rotator ( Th e ) Ro trou ( B us t of ) Rou bili ac
J c q s ) ( ( B us t of J an Jacques ) Row (T mb f ) Ru d ( F anc is ) Rousse au
ue
a
e
e
e
o
-
o
r
o
SA B I NA of Steinbach Sai nt And rew b efore hi s C ross Sai n t Sebas tian at th e P illar ( Statu e of ) Sakk ara ( P yrami d of ) Salmaci s ( Statu e of ) Samoun ( Se pul ch res of ) .
b
J
2 0 5 , 20 6, 2 2 0, 2 24, 22 6
Sansovi no ( aco o Tatti ) Sa h o ( F i gu re of ) Sarco hagi Sarraz in ( ac ues )
pp
p
1 42
34. 3 5 . 38 . 1 9 3 0 3 7. 3 1 0 2 80, 32 6
J q
Saxe ( Marsh al, Tomb of ) Saty rus Scarabwus Schad ow Sch afra ( Statue of ) Sch arno st ( Gen eral, Statu e
52 32 255 1
.
8 . 9. 4 1 of
)
257
b d
Sch u ffer ( Se al ) Schw anthal er Sco
2 50 2 55
pas
Scu lptors Scyllis
1 26, 1 30, 1 5 2 of
G reece ( Sta tu es
of
)
2 60
7 7. 78
39 7 PAGI
Se b ( F 1g u re of ) Se al ( Sai n t, '
b d
0 3
B pti ste y of ) T mb f )
( Sai n t,
a
2 50
o
o
B
250
r
Segui e r ( u st o f ) Se li nu n ti u m ( Te m l e of ) Se a ( Statue of ) Se t i mus Se ve rus ( ust of Sermon of Sai n t Paul at Athe ns Sesu rtasen ( Statu ette of ) Seti ( Tom of )
0 3 7
p
p p
9
B
I II
.
27
1 92
b
.
( Statue of ) Se th (Fi gu re of ) Se th os ( Statu e of ) Se v ek h o tep ( Statue of ) Shak es p ear ( Tomb of ) .
Shee mak ers “ Sh e h e r Ph orbas
p d She i dan ( T mb of ) r
car r
yi ng
y
aw a
th e
y
ou n g
dp
Oe i
us
o
of a
Si eg e
Tow n
p
Si en a ( Pu l i ts
I
of
”
( B as
Sl ee
re l i e f
)
p
Si g ean nscri ti on ( The ) Si len u s w i th th e young Si mart ( C harl es) Si mmi as Si u mu tf (
-
B
acch us
.
H ead of ) p i n g P e n lo p e
( The )
e
Slu ter ( C l aux ) Smil is of E gi na Socrates ( Statu e .
of
)
Sol a ( Antoni o)
So
pe
rs
SO ph ron i scus
p Sp Sp
S h i nx artacu s
(Statue
of
)
(Tomb of ) Spy (Th e ) Stanh op e (Tomb of ) e nse r
Statuae I con i de Stelm
2 74 1
5
1
2 3 :
341 3 5
I ND EX
3 98
.
P AGE
Stras bourg ( Cath e
d
ral o f
)
b
Str ugg l e e tw ee n Sai n t G e org e Suove tauril ia ( B as reli ef )
an d
the
D rag on
-
i H t or y f s o (
Susann ah
B as
,
-
re l i e fs
)
Synn oos TA B LETS ( Assy ri an) Tah o ( Sarco hag us of )
S3. S4. S7. S9 35
p
Taphe ru ( F igu re Taur ( Fi gure of )
of
)
29
Tau ri scus
I 47
Tel ecles
74 255
p
Ter si ch ore ( Statu e Te ti ( Statu e of ) Texi er ( ean )
of
)
28
J
29 1
Thal i a ( Statu e of ) Th e es ( Se ul chres
b
121
p
of
)
36 78
1 1,
The ocles The o orus .
d
Theseu s con
q
k i ll i
ng
th e C e ntau r
u e r or of
th e
uyti
E
M i no tau r
2 3 3. 2 34. 2 3 5
b of )
2 90 2 1 3
.
Thomas Thom so n (Tom Th or w al sen ( Al
p
2 34
on
.
The ve n i n d e Sai n t Leg u i e r ( To m Th i e rr ( ean )
y J
r
74. 75 . 76. 78
b f) be t B
d
334 2 77
o
r
arth ol o
me w )
82 ,
2 3 7, 2 6 1 , 2 62 , 2 63
Thoth ( F i gu re of ) Ti e r ( The )
b
0 3
b
1 13
Ti e ri u s ( Statu e of ) Ti mosi thn ae ( Statu e of )
1 88
Ti mo theus
79 1 52
Ti r i dates
191
.
k by thund
Ti tan s tru c
Ti tus ( Statu e
b by P
To m
of
2 3 2
)
l
ug e t
Toro F arn ese
Torreg i an o Torso (The
er
B
e l ve
9°
1 3 5
(The)
d e e) r
1 46. 1 49 . 1 8 1 .
1 3 4
2 24. 2 39 . 240 . 2 73. 2 80
1
75
I NDEX
4 00
Verrocchi o (Andrea) Ve ta Vet i A ti h i Vi t ri es ( Si marble) Vi to y ( A by M Angel ) ” V i t ry ( A W i ng d ) Vi tori ous Al e a d e ( St tue f) Vig n i ( Fil i ppo) V i n he (Jos ph ) Vi ne (The Gol den of Sard i s) Vi gin ad i g the I fant S k
.
.
2 3 3 68
s
r
n
c
c o
c
2 S7
x
r
,
21 8
o
.
c o
75 1
e
n
x
c
r
a
73
1 3 4
o
2 39
ar
32 2
e
ac
I
,
n
or n
r
a
r
( Bus t of the)
d
h ol i ng th e nursi ng th e
H ol y Child Infant Jesus
Visch r ( Pet ) Vi i tati on (Th has reli ef ) V lt i e ( Bust of ) e
er
e,
s
o
V
-
a r
f o t a t u e S ) ( u l can ( Statu e of )
WAR Warren ( Eli z Tomb of W ashi ngton ( Statue of ) Watt ( Statu e of ) ( Tomb of Well i ngton ( Equestri an Statue of ) o f t t a u e S ) ( Westmacott ( Sir Ri ch ard ) Wi ener Wi l berforce (Tomb of ) Wil ki e (Statu e of ) Wi lliam III ( Tomb of ) Wolf (Th e Etruscan ) Wolfe (Gen eral Tomb of ) Wrestlers (The) Wyatt (Tomb of ) .
.
.
,
XANr n vs (Monument of ) '
Yone k
e u S t a t (
of )
2 72
2 70. 2 7 1 2 69
2 75 2 71
2 73 1 86 2 74 22 9. 2 3 5 2 76
1 50, 1 5 1
4 57
I ND EX
4 01
.
Yo
pl yi a
Y
d
F i sh er
ung
anci ng
w i th
ng
a
Torto i s e
d by
Gi r l frigh ten e w i th th e Stag
ou n g
Yo
Tara n tella
th e
a
ke
Sn a
H unte pl yi ng w i th hi w un d ed by a S ak e Y o ng Neapoli tan D anc u ng
r
a
o
er
ZEP H Y R US carryi ng
M
C Of
H
D en d
Adams ,
B B
(m )
o
o
0
AM ER I C AN SC ULP TUR E
.
B in
(by
on
)
34 5 3 75
(T homas )
3 70
i
me w ( Edw ard Sh efi el d )
ar th ol o
B
Slee ing P sych e
( P aul )
rs
all
J ohn
p
0 6 th e
I ND EX T O
ke
D og
n
u
A
s
3 75
e e th oven
3 54
Bi y Mo um t Bi Bi d Shi ppen B own ( H en y Ki ke )
2 6 6 . 3 3 3
en
n
nne
344. 3 5 3
n on r
360
,
8 6 0 1 6 . . 9 . 35 35 3 3 . 362 . 3 72
r
r
r
C ape l lan o ( A
.
)
343
C au s i ci ( En ri co)
343
ppe ) b h e C g
C e racch i (Gi u s e
C h an ti n C l eo
p
ru
T h ( e)
348. 349. 3 5 0 369
at r a
C l e ve ng e r C raw for
d
b lV
h S ( o
a
h T o m as ) (
( H en ry) D i x e y ( J o hn ) D ex ter
340 . 34 1
ai l
) 2 35 .
3 5 3. 3 5 4. 3 55 .
375 356
362 . 363. 364 340
I ND EX
4 02
.
G
PA E
Evere tt, Ed w ard Eve
6 3 9
3 75
zee (J ohn )
F ra
N ( )
G e vel ot
343
.
d Sam ee k Sl av
Goo Gr
343 . 344 . 345
( Th e )
ar i tan
35
e
G ree n e
( G eneral )
G re en oug h
( H orati o )
349. 3 5
C hi ef
3 54
”
an
Gi rl
an
H u nter
r
a
p
O r h eu s
P alme r ( Eras tu s D Pow ers
.
)
( H i ram )
P ros erpi ne Res cu e
h T e ) (
J
Rog e rs ( ohn ) R ogers ( Ran ol h ) i i W l l (
R us h
d p m)
a
pph Sh ak pe a Story ( W i ll i Sa
o
es
re
m
a
W e tmo e )
pso n ( L nt ) T h pp e ) (
T h om
Tra
au
er
359
339
be ty Li by n Si byl
Li
0.
2 35
.
an
2 35 .
1 6 3
H art (J oel T ) H ou d on
Indi I nd i I ndi
1.
373 6 3 7
r
A NEW AND VALUABLE SERIES For Reader s of all Ages and for th e School Fami l y Li br ary
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B AYA R D The
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US popular i ty of th e bee n sold in th i s cop i es ha vi n
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N
Li s RARv
or
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( nearly a n
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a nd a
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an d
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cou n tr
R thi
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AR
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s n ew en ter pri se the P u bli s hers wi ll bri n Upon to bear all t he i r wi d e a n d con s ta ntly i n cr e a s in resources Ne i t er pai ns n or e xpe n se w ill be s par e d i n ma k i n t e ir ne w Li brar y n ot on l y one of the mos t eleg an tl y an d profu se ly i llu s tra te d w or k s of the d a y , bu t a t the sa me time one of the mos t ra ph ic an d fas valu a ble
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