9999,transcriber's notes3     italics   
represented by underscores e4g4 italics 
bold represented by  e4g4 bold          
ligatures by ,,oe e4g4 ,,oedipus        
,letters with ,diacritical ,marks are   
rendered according to     the following 
table3                                  
----------------------------------------
-------------------------               
diacritical mark                        
sample       above  below               
----------------------------------------
-------------------------      macron   
7straight line7                         
x     x                                 
----------------------------------------
-------------------------      #b dots  
7dieresis1 umlaut7                      
3x     x3                               
----------------------------------------
-------------------------      #a dot   
4        4x     x4                      
----------------------------------------
-------------------------      grave    
accent                                  

x     x                                 
----------------------------------------
-------------------------      acute    
accent 7aigu7                    '      
'x     x'                               
----------------------------------------
-------------------------               
circumflex                              
x     x                                 
----------------------------------------
-------------------------      caron    
7v-shaped symbol7                v      
vx     xv                               
----------------------------------------
-------------------------      breve    
7u-shaped symbol7                u      
7x     x7                               
----------------------------------------
-------------------------      tilde    
x     x                                 
----------------------------------------
-------------------------      cedilla  
1        1x     x1                      
----------------------------------------
-------------------------     ,the city 

of ,terracina was mispelled ,terracino  
in paragraph #i1        section #c of   
the ,introduction     end of            
transcriber's notes9999  ,illustration3 
,john ,andrew  ,son1 ,sc4  ,,pericles   
,british ,museum1 ,london       ,the    
,riverside ,art ,series    ,,greek      
,,sculpture   ,a ,,collection ,,of      
,,sixteen ,,pictures  ,,of ,,greek      
,,marbles  ,,with ,,introduction ,,and  
,,interpretation   ,,by   ,,estelle ,m4 
,,hurll   ,illustration   ,,boston ,,and
 ,,new ,,york  ,,houghton ,,mifflin     
,,company  ,the ,riverside ,press       
,cambridge   ,,copyright #aija1 ,,by    
,,houghton1 ,,mifflin  ,,co4 ,,all      
,,rights ,,reserved     ,,preface       
,within the limits of this small        
collection of pictures an attempt is    
made to bring together as great a       
variety of subjects as possible4        
,portraiture is illustrated in the      
statue of ,sophocles and the bust of    
,pericles1 genre studies in the         
,apoxyomenos and ,discobolus1 bas-relief

 work in the panel from the ,parthenon  
frieze and the ,orpheus and ,eurydice1  
and ideal heads and statues in the      
representations of the divinities4 ,both
 the ,greek treatment of the nude and   
the ,greek management of drapery have   
due attention4  ,as classic literature  
is the best interpreter of ,greek       
sculpture1 the text draws freely from   
such original sources as the ,iliad and 
the ,odyssey1 the ,homeric hymns1 and   
,ovid's ,metamorphoses4      ,,estelle  
,m4 ,,hurll4      ,,new ,,bedford1      
,,mass4     ,january1 #aija4            
,,contents ,,and ,,list ,,of ,,pictures 
,,pericles     7,frontispiece7  ,from   
original in ,british ,museum            
,,introduction      ,i4 ,,on ,,some     
,,characteristics ,,of ,,greek          
,,sculpture     vii     ,,ii4 ,,on      
,,books ,,of ,,reference     x    ,,iii4
 ,,historical ,,directory ,,of ,,the    
,,marbles ,,reproduced         ,,in     
,,this ,,collection     xi   ,i4 ,,bust 
,,of ,,zeus ,,otricoli     #a  ,picture 

from ,photograph by ,fratelli ,alinari  
,,ii4 ,,athena ,,giustiniana 7,,minerva 
,,medica7     #g  ,picture from         
,photograph by ,d4 ,anderson   ,,iii4   
,,horsemen ,,from ,,the ,,parthenon     
,,frieze     #ac  ,picture from         
,photograph by the ,london ,stereoscopic
  ,co4   ,,iv4 ,,bust ,,of ,,hera       
7,,juno7     #ai  ,picture from         
,photograph by ,d4 ,anderson   ,v4 ,,the
 ,,apoxyomenos     #be  ,picture from   
,photograph by ,d4 ,anderson   ,,vi4    
,,head ,,of ,,the ,,apollo ,,belvedere  
#ca  ,picture from ,photograph by ,d4   
,anderson   ,,vii4 ,,demeter 7,,ceres7  
#cg  ,picture from ,photograph by ,d4   
,anderson   ,,viii4 ,,the ,,faun ,,of   
,,praxiteles     #dc  ,picture from     
,photograph by ,fratelli ,alinari       
,,ix4 ,,sophocles      #di  ,picture    
from ,photograph by ,d4 ,anderson   ,x4 
,,ares ,,seated      #ee  ,picture from 
,photograph by ,d4 ,anderson   ,,xi4    
,,head ,,of ,,the ,,olympian ,,hermes   
#fa  ,picture from ,photograph by the   

,english ,photographic  ,co41 ,athens   
,,xii4 ,,the ,,discobolus 7,,the        
,,disk-,,thrower7     #fg  ,picture from
 ,photograph loaned by ,edward          
,robinson1  from the only negative known
 to exist   ,,xiii4 ,,the ,,aphrodite   
,,of ,,melos 7,,venus ,,of ,,milo7      
#gc  ,picture from ,photograph by       
,neurdein ,freres   ,,xiv4 ,,orpheus    
,,and ,,eurydice     #gi  ,picture from 
,photograph by ,d4 ,anderson   ,,xv4    
,,nike 7,,the ,,winged ,,victory7       
#he  ,picture from ,photograph by       
,neurdein ,freres   ,,xvi4 ,,pericles   
7,see ,frontispiece7     #ia            
,,pronouncing ,,vocabulary ,,of ,,proper
 ,,names ,,and  ,,foreign ,,words       
#ie  ,nine of the above illustrations   
are from photographs in the collection  
of the ,william ,hayes ,fogg ,art       
,museum of ,harvard ,university         
,,introduction   ,i4 ,,on ,,some        
,,characteristics ,,of ,,greek          
,,sculpture4  ,the history of ,greek    
sculpture covers a period of some eight 

or nine hundred years1 and falls into   
five divisions4#a ,the first is the     
period of development1 extending from   
#fjj to #dhj ,b4 ,c4 ,the second is the 
period of greatest achievement1 under   
,phidias and his followers1 in the ,age 
of ,pericles1 #dhj-dcj ,b4 ,c4 ,the     
third is the period of ,praxiteles and  
,scopas1 in the fourth century4 ,the    
fourth is the period of decline1        
characterized as the ,hellenistic ,age1 
and included between the years #cbj and 
#ajj ,b4 ,c4 ,the fifth is the          
,graeco-,roman period1 which includes   
the work produced to meet the demand of 
the ,roman market for ,greek sculpture1 
and which extends to #cjj ,a4 ,d4  #a   
,see ,gardner's ,handbook of ,greek     
,sculpture1 page #db4  ,modern criticism
 differentiates sharply the             
characteristics of the several periods  
and even of the individual artists1 but 
such subtleties are beyond the grasp of 
the unlearned4 ,the majority of people  
continue to regard ,greek sculpture in  

its entirety1 as if it were the         
homogeneous product of a single age4 ,to
 the popular imagination it is as if    
some gigantic machine turned out the    
,apollo ,belvedere1 the ,venus of ,milo1
 the ,elgin ,marbles1 and all the rest1 
in a single day4 ,nor is it long ago    
since even eminent writers had but vague
 ideas as to the distinctive periods of 
these very works4 ,certain it is that   
all works of ,greek sculpture have a    
particular character which marks them as
 such4 ,authorities have taught us to   
distinguish some few of their leading   
characteristics4  ,the most striking    
characteristic of ,greek art is perhaps 
its closeness to nature4 ,the sculptor  
showed an intimate knowledge of the     
human form1 acquired by constant        
observation of the splendid specimens of
 manhood produced in the palaestra4 ,it 
is because the artist clung to nature as
 a kind mother1 says ,waldstein1 that   
the influence of his work persists      
through the ages4  ,again1 ,greek art is

 distinctly an art of generalization1   
dealing with types rather than with     
individuals4 ,this characteristic is of 
varying degrees in different periods and
 with different sculptors4 ,it is seen  
in its perfection in the ,elgin         
,marbles1 in exaggeration in the ,apollo
 ,belvedere1 and at the minimum in the  
work of ,praxiteles4 ,yet it is         
everywhere sufficiently marked to be    
indissolubly connected with ,greek      
sculpture4  ,the quality of repose1 so  
constantly associated with ,greek       
sculpture1 is another characteristic    
which varies with the period and the    
individual sculptor4 ,between the calm  
dignity of the portrait statue of       
,sophocles and the intense muscular     
concentration of ,myron's ,discobolus1 a
 long range of degrees may be included4 
,yet on the whole1 repose is an         
essential characteristic of the best    
,greek sculpture1 provided we do not let
 our notion of repose exclude the       
spirited element4 ,fine as is the effect

 of repose in the ,parthenon frieze1 the
 composition is likewise full of spirit 
and life4  ,a distinguishing            
characteristic of the best ,greek       
sculpture is its simplicity4 ,compared  
with the ,gothic sculptors1 the ,greeks 
appear to us1 in ,ruskin's phrase1 as   
the masters of all that was grand1      
simple1 wise and tenderly human1 opposed
 to the pettiness of the toys of the    
rest of mankind4 ,their work is free    
from that vain and mean decoration--the 
weak and monstrous error--which         
disfigures the art of other peoples4    
,as we turn from one ,greek marble to   
another in the great sculpture galleries
 of the world1 the best features of the 
art impress themselves deeply even upon 
the untutored eye4 ,the ,greek instinct 
for pose is unfailing and unsurpassable4
 ,standing or seated1 the attitude is   
always graceful1 the lines are always   
fine4 ,the best statues are equally well
 composed1 viewed from any standpoint4  
,the camera may describe a circumference

 about a marble as a centre1 and a      
photograph made at any point in the     
circle will show lines of rhythm and    
beauty4  ,the faultless regularity of   
the ,greek profile has passed into      
history as the accepted standard of     
human beauty4 ,the straight continuous  
line of brow and nose1 the well moulded 
chin1 the full lip1 the small ear1      
satisfy perfectly our aesthetic ideals4 
,the art of sculpture was an essential  
outgrowth of the ,greek spirit1 and     
perfectly suited the requirements of    
,greek thought4 ,in the words of a      
recent writer1 it was the consummate    
expression in art of the genius of a    
nation which worshiped physical         
perfection as the gift of the immortals1
 which honored the gods by athletic     
games and choral dances1 and whose      
deities wore the flesh and shared the   
nature of men4#b ,it was moreover a     
national art1 entering into every phase 
of public life1 and embodying the ,greek
 sense of national greatness4  #b ,from 

,italian ,cities1 by ,e4 ,h4 and ,e4 ,w4
 ,blashfield4  ,greek sculpture can be  
sympathetically understood only by      
catching something of the spirit which  
produced it4 ,one must shake off the    
centuries and regard life with the      
childlike simplicity of the young world3
 one must give imagination free rein4   
,the same attitude of mind which can    
enjoy ,greek mythology and ,greek       
literature is the proper attitude for   
the enjoyment of ,greek sculpture4 ,the 
best interpreter of a nation's art is   
the nation's poetry4   ,,ii4 ,,on       
,,books ,,of ,,reference4  ,many learned
 works on the subject of ,greek         
,sculpture have been written in various 
languages4 ,three standard authorities  
are the ,english work by ,a4 ,s4        
,murray1 ,history of ,greek ,sculpture1 
second edition1 ,london1 #ahij2 the     
,french work by ,collignon1 ,histoire de
 la ,sculpture ,grecque1 ,paris1 #ahib2 
and the ,german work by ,furtw3angler1  
translated into ,english by ,e4         

,sellers1 ,the ,masterpieces of ,greek  
,sculpture1 ,london1 #ahie4 ,naturally  
these three writers are not always of   
one opinion1 and the student must turn  
from one to another to learn all the    
arguments concerning a disputed point4  
,for the practical every-day use of the 
reader who has no time to sift the      
evidences on difficult questions of     
archaeology1 ,gardner's ,handbook of    
,greek ,sculpture is an excellent       
outline summary of the history of the   
subject4  ,charles ,waldstein's ,essays 
on the ,art of ,pheidias1 ,new ,york1   
#ahhe1 is an exceedingly valuable and   
suggestive volume4  ,two small books1   
written in a somewhat popular vein1 make
 very pleasant reading for those        
pursuing these studies3 ,studies in     
,greek ,art1 by ,j4 ,e4 ,harrison1      
,london1 #ahhe1 and ,greek ,art on      
,greek ,soil1 by ,j4 ,m4 ,hoppin1       
,boston1 #ahig4  ,besides the works     
devoted exclusively to the subject of   
,greek sculpture1 the subject receives  

due attention in various general        
histories of art1 of which may be       
mentioned1 ,lucy ,mitchell's ,history of
 ,ancient ,sculpture1 ,l3ubke's ,history
 of ,sculpture1 and ,von ,reber's       
,history of ,ancient ,art4  ,a valuable 
bibliography is given in ,gardner's     
,handbook4   ,,iii4 ,,historical        
,,directory ,,of ,,the ,,marbles        
,,reproduced ,,in ,,this ,,collection4  
,frontispiece4 ,terminal bust of        
,pericles1 after an original by         
,cresilas4 ,approximate date1 #ddj-dcj  
,b4 ,c4 ,in the ,british ,museum1       
,london4  #a4 ,bust of ,zeus ,otricoli4 
,considered by ,brunn and others a copy 
from a head of the statue by ,phidias4  
,later critics do not agree with this   
opinion1 and ,furtw3angler calls the    
head a ,praxitelean development of the  
type of ,zeus created in the time of    
,myron4 ,now in the ,vatican ,gallery1  
,rome4  #b4 ,athena ,giustiniana        
7,minerva ,medica74 ,considered by      
,furtw3angler a copy1 after ,euphranor1 

of a statue dedicated below the         
,capitol1 called ,minerva ,catuliana1   
set up by ,a4 ,lutatius ,catulus4 ,the  
aegis and sphinx are copyist's          
additions4 ,found in the gardens of the 
convent of ,s4 ,maria sopra ,minerva1   
,rome4 ,both arms are restored4 ,now in 
the ,vatican ,gallery1 ,rome4  #c4      
,horsemen from the ,parthenon ,frieze4  
,the frieze of the ,parthenon is part of
 the decorative scheme of the marble    
temple of ,athena1 built during the age 
of ,pericles 7#dhj-dcj ,b4 ,c47 on the  
,acropolis1 ,athens1 and decorated under
 the direction of ,phidias4 ,the frieze 
consisted of a series of panels or      
slabs1 about #c ft4 #d in4 in height1   
and was set on the outer wall of the    
cella4 ,being lighted from below1 the   
lower portion is cut in low relief      
7#a-a_/d in47 and the upper parts in    
high relief 7#b-a_/d in474 ,the panel of
 the ,horsemen is one of the ,elgin     
,marbles1 removed by ,lord ,elgin from  
the ,parthenon in #ahja-ahjb1 and now in

 the ,british ,museum1 ,london4  #d4    
,bust of ,hera4 ,considered by ,murray a
 copy after ,polyclitus4 ,regarded by   
,furtw3angler as a ,roman creation based
 on a ,praxitelean model4 ,catalogued in
 ,hare's ,walks in ,rome as a probable  
copy after ,alcamenes4 ,in the ,ludovisi
 ,villa1 ,rome4  #e4 ,the ,apoxyomenos44
 ,a marble copy of the original bronze  
statue by ,lysippus1 who flourished in  
the #dth century ,b4 ,c4 ,according to  
,pliny the original was brought from    
,greece to ,rome by ,agrippa to adorn   
the public baths4 ,this copy was found  
in #ahdi in the ,trastevere1 ,rome1 and 
is now in the ,vatican ,gallery4  #f4   
,head of the ,apollo ,belvedere4        
,according to ,gardner1 a marble copy   
7,roman7 of a bronze original of the    
,hellenistic ,age 7#cbj-ajj ,b4 ,c474   
,some 7,winter and ,furtw3angler7 have  
assigned the original to ,leochares1 a  
sculptor of the #dth century1 and others
 to ,calamis1 in the #eth century4 ,this
 copy was found in the #afth century at 

,antium1 and was purchased by ,pope     
,julius ,,ii4 for the ,belvedere        
,palace4 ,now in the ,vatican ,gallery1 
,rome4  #g4 ,demeter 7,ceres7           
,considered by ,furtw3angler a copy from
 an original by ,agoracritus1 who was a 
pupil of ,phidias1 and whose works are  
closely allied to those of ,alcamenes4  
,by the same authority the statue is    
called the ,nemesis4 ,in the ,vatican   
,gallery1 ,rome4  #h4 ,the ,faun of     
,praxiteles4 ,a copy of the original    
statue by ,praxiteles1 which was in the 
street of the ,tripods1 ,athens4 ,in the
 ,capitol ,museum1 ,rome4  #i4          
,sophocles4 ,referred to by ,collignon  
as a faithful copy of the bronze statue 
raised by ,lycurgus4 ,found at          
,terracina in #ahch1 and now in the     
,lateran ,museum1 ,rome4  #aj4 ,ares    
,seated4 ,considered by ,furtw3angler   
and others a copy on a reduced scale of 
a colossal statue by ,scopas4 ,the      
little god ,eros is the copyist's       
addition4 ,found in the portico of      

,octavia1 and restored by ,bernini4 ,now
 in the ,ludovisi ,villa1 ,rome4  #aa4  
,head of the ,olympian ,hermes4 ,an     
undisputed original work of ,praxiteles1
 dating from the middle of the #dth     
century ,b4 ,c4 ,it was in the ,heraeum 
7or ,temple of ,hera7 at ,olympia1 and  
was discovered by ,german excavators1   
,may #h1 #ahgg4 ,now in the museum at   
,olympia1 ,greece4  #ab4 ,the           
,discobolus1 a copy from an original by 
,myron1 one of the last masters of the  
severe style1 whose career culminated   
#dfe-dej ,b4 ,c4 ,in the ,lancelotti    
,palace1 ,rome4  #ac4 ,the ,aphrodite of
 ,melos 7,the ,venus of ,milo74         
,formerly attributed to the period of   
transition between ,phidias and         
,praxiteles1 but assigned by late       
critics to the ,hellenistic ,age        
7#cbj-ajj ,b4 ,c474 ,believed by        
,furtw3angler to be based on a work by  
,scopas1 with considerable modification 
of the original4 ,found in #ahbj on the 
island of ,melos at the entrance of the 

,greek ,archipelago4 ,purchased by the  
,french government for #fjjj francs1 and
 now in the ,louvre1 ,paris4  #ad4      
,orpheus and ,eurydice4 ,one of several 
copies of an original bas-relief        
referred by ,collignon to the second    
half of #eth century ,b4 ,c4 ,in the    
,albani ,villa1 ,rome4  #ae4 ,nike 7,the
 ,winged ,victory74 ,a marble statue    
believed to have been set up by         
,demetrius ,poliorcetes to celebrate a  
naval victory in #cjf ,b4 ,c4 ,found in 
#ahfc by the ,french consul on the      
island of ,samothrace4 ,now in the      
,louvre1 ,paris4     ,i  ,,bust ,,of    
,,zeus ,,otricoli   ,from the earliest  
times men have sought to explain in one 
way and another the common facts of     
daily life4 ,sunrise and sunset1        
seedtime and harvest1 life1 death1 and  
the hereafter are some of the mysteries 
which have always puzzled the human     
mind4 ,the primitive races1 knowing     
nothing of science1 looked upon the     
forces of nature as gigantic            

personalities1 or gods1 who controlled  
human destiny4  ,the most refined and   
imaginative of the ancient nations were 
the ,greeks4 ,they invented innumerable 
tales or myths1 in which all the changes
 of nature and all the affairs of life  
were attributed to the workings of the  
gods4 ,when the sun rose1 they said that
 ,apollo had begun to drive his chariot 
across the sky4 ,when the wind blew1    
,zeus was sending his messenger from the
 sky to the earth4 ,when a man did a    
courageous deed1 it was because ,athena 
had whispered to him what to do4  ,in   
this way the beliefs gradually took form
 which made the ,greek religion4 ,great 
temples were built for the worship of   
the gods1 and statues were set up in    
their honor4 ,the finest works of ,greek
 art were connected with religious      
worship4  ,the gods were conceived as   
having the same form as human beings1   
but of colossal size4 ,they lived in an 
ideal country called ,olympus1          
,olympus1 where the gods have made1     

,so saith tradition1 their eternal seat4
     ,the tempest shakes it not1 nor is 
it drenched     ,by showers1 and there  
the snow doth never fall4     ,the calm1
 clear ether is without a cloud1        
,and in the golden light that lies on   
all1     ,day after day the blessed gods
 rejoice4#c  #c ,odyssey1 ,book vi41    
lines #ed-fj in ,bryant's translation4  
,here each god had a separate dwelling1 
and in the midst was the palace of their
 supreme ruler1 ,zeus1 known to the     
,romans as ,jupiter or ,jove4  ,zeus was
 the sky god1 the father of gods and    
men1 and the ruler of heaven and earth4 
,he was the cloud compeller at whose    
will the clouds gathered or scattered   
across the sky1 the ruler of the storms1
 the thunderer1 by whom were hurled the 
ruddy lightnings4 ,how far he surpassed 
all other gods in power is explained in 
the ,iliad in an address made by ,zeus  
himself to the gods3--                  
,suspend from heaven     ,a golden      
chain2 let all the immortal host        

,cling to it from below3 ye could not   
draw1     ,strive as ye might1 the      
all-disposing ,jove     ,from heaven to 
earth4 ,and yet if ,i should choose     
,to draw it upward to me1 ,i should     
lift1     ,with it and you1 the earth   
itself and sea     ,together1 and ,i    
then would bind the chain     ,around   
the summit of the ,olympian mount1      
,and they should hang aloft4#d  #d      
,iliad1 ,book viii41 lines #ba-cj in    
,bryant's translation4  ,illustration3  
,alinari1 ,photo4 ,john ,andrew  ,son1  
,sc4  ,,bust ,,of ,,zeus ,,otricoli     
,vatican ,gallery1 ,rome  ,in the       
imagination of the ,greeks ,zeus was    
endowed with all the noblest elements in
 human character4 ,he ruled the affairs 
of men with fatherly benevolence4 ,he   
rewarded goodness1 punished the wicked1 
and was withal the fountain-head of     
justice4 ,by a nod of his head he made  
known his will1 and there was no appeal 
from his decrees4  ,naturally1 the      
,greeks pictured this god as a being of 

majestic stature and grand1 benignant   
countenance1 and sculptors did their    
best to make statues worthy of this     
conception4 ,by common consent a certain
 type of countenance was accepted as the
 most fitting expression of this ideal4 
,at last a great artist named ,phidias  
produced a statue which perfectly       
carried out all the ideas at which other
 sculptors had aimed4 ,it was of        
colossal size1 made of gold and ivory1  
and was set up in a temple of ,olympia4 
,from this time forth every sculptor who
 had to represent ,zeus had only to     
repeat the design of ,phidias4  ,now we 
know that the farther an imitator gets  
from the original standard1 the weaker  
is his copy4 ,the first successors of   
,phidias made direct studies from his   
statue1 but those coming after worked   
from copies4 ,still later artists took  
for their models copies of these copies1
 until at last much of the original     
grandeur of ,phidias's conception was   
lost4  ,the bust of ,zeus reproduced in 

our illustration is thought to be a     
far-away copy of the head of ,phidias's 
statue4 ,from the marble of which it is 
made we know that it was executed in    
,italy1 probably by some ,greek sculptor
 who had come thither after his own     
nation had been conquered by ,rome4 ,the
 marvel is that he preserved so well the
 noble dignity of the ideal ,zeus4 ,this
 is the father of gods and men in his   
most benign aspect4 ,the massive head is
 crowned like that of a lion with long1 
overhanging locks with which the flowing
 beard is mingled4 ,these are the       
,ambrosial curls     ,upon the          
,sovereign ,one's immortal head1  of    
which ,homer writes in the ,iliad4 ,the 
symmetrical arrangement of hair and     
beard carry out the character of perfect
 evenness belonging to the supreme      
ruler4  ,the forehead has the full bar  
of flesh which denotes virility4 ,the   
brows are straight1 the nose finely     
modeled1 the lips rather full1 the      
expression benignant4 ,altogether the   

impression is of a being of mental and  
moral equipoise1 full of energy and     
noble dignity4     ,,ii  ,,athena       
,,giustiniana 7,,minerva ,,medica7      
,athena was the air goddess of the      
,greeks1 or1 in ,ruskin's phrase1 the   
queen of the air4 ,she was known also by
 the name ,pallas1 and among the ,romans
 as ,minerva4 ,as the air comes to us   
from out the great dome of the sky1 so  
,athena was said to have sprung fully   
armed from the head of her father ,zeus4
 ,the old ,homeric hymn tells how       
,wonder strange possessed     ,the      
everlasting gods that shape to see1     
,shaking a javelin keen1 impetuously    
,rush from the crest of aegis-bearing   
,jove4#e  #e ,in ,shelley's translation4
  ,her eyes were blue1 the color of the 
sky2 her hair hung in ringlets over her 
shoulders4 ,her dress was               
,a gorgeous robe     ,of many hues1     
which her own hands had wrought4#f  #f  
,iliad1 ,book viii41 lines #dhc1 #dhd4  
,when arrayed for war she wore a golden 

helmet and carried a shield1 or aegis4  
,in the centre of this shield was       
fastened the gorgon's head which        
,perseus had cut off with her aid4 ,in  
her hand she wielded a mighty spear4    
,the owl was her symbolic bird1 and she 
was called glaukopis1 or owl-eyed1      
because her wisdom gave her sight in    
darkness4 ,the serpent was the emblem of
 her command over the beneficent and    
healing influences in the earth4 ,her   
favorite plant was the fruitful olive1  
valued by the ,greeks both for the      
beauty of its foliage and for the       
usefulness of its oil4  ,in the fortunes
 of war1 when it was for defensive aims1
 ,athena took an intense interest and an
 active part4 ,in the war between the   
,greeks and the ,trojans1 she was on the
 side of the ,greeks1 who sought to     
recover from their enemies their queen  
,helen1 whom the ,trojan prince had     
captured4 ,when the ,greek army         
assembled before the walls of ,troy--   
,among them walked     ,the blue-eyed   

,pallas1 bearing on her arm     ,the    
priceless aegis1 ever fair and new1     
,and undecaying2 from its edge there    
hung     ,a hundred golden fringes1     
fairly wrought1     ,and every fringe   
might buy a hecatomb4     ,with this and
 fierce1 defiant looks she passed       
,through all the ,achaian host1 and made
 their hearts     ,impatient for the    
march and strong to endure     ,the     
combat without pause1--for now the war  
,seemed to them dearer than the wished  
return     ,in their good galleys to the
 land they loved4#g  #g ,iliad1 ,book   
ii41 lines #edi-efj in ,bryant's        
translation4  ,as the air gives us the  
breath of life1 so ,athena gave         
inspiration to the heart of man4 ,it was
 her friendly mission to fill with      
strength and courage the hearts of those
 who were beset by difficulties of many 
kinds4#h ,to ,achilles1 lamenting the   
death of ,patroclus1 she came with      
nectar and ambrosia1 that his limbs     
might not grow faint with hunger4#i ,it 

was because of her aid that ,diomed     
could proudly declare1 ,minerva will not
 let my spirit falter2 and when he cast 
his spear1 ,minerva kept the weapon     
faithful to its aim4#aj  #h ,see the    
,iliad1 ,book v41 line #b1 and the      
,odyssey1 ,book i41 line #cif4  #i      
,iliad1 ,book xix41 lines #dbg-dbi4  #aj
 ,iliad1 ,book v41 lines #cji and #ceb4 
,illustration3 ,d4 ,anderson1 ,photo4   
,john ,andrew  ,son1 ,sc4  ,,athena     
,,giustiniana 7,,minerva ,,medica7      
,vatican ,gallery1 ,rome  ,to ,athena   
,ulysses owed his safe return to ,ithaca
 after the adventures related in the    
,odyssey4 ,it was her adroit planning   
which brought together the long lost    
father and his son ,telemachus1 with the
 faithful wife ,penelope4 ,she also     
found ways to help ,jason when he went  
in search of the golden fleece2 she     
aided ,hercules in his labors and guided
 the hand of ,perseus when he cut off   
the ,gorgon's head4  ,athena was also   
the patroness of the industrial arts4   

,she was skilful in weaving and         
needlework1 making both her own and     
others' beautiful robes and teaching the
 craft to some favored mortals4 ,she    
was1 in short1 the personification of   
inspired and impulsive wisdom in human  
conduct and human art1 giving the       
instinct of infallible decision1 and of 
faultless invention4#aa ,finally1 and   
not least important1 ,athena was one of 
the agencies in the productiveness of   
the earth1 and hence the patron goddess 
of farmers4  #aa ,from ,ruskin's ,queen 
of the ,air4  ,our statue shows as many 
as possible of the attributes of the    
goddess4 ,the figure is tall and stately
 and magnificently developed4 ,the      
,greek ideal of beauty was to let nature
 have its way in the human body1        
unhindered by any such restraints of    
clothing as our modern fashions have    
invented4 ,the broad shoulders and ample
 waist bespeak the splendid strength of 
the goddess4  ,the neck rises from the  
shoulders like a column to support the  

well-set head4 ,a tunic falls in        
straight folds to the feet1 and over    
this is worn a long mantle gathered over
 the left shoulder4 ,upon her breast    
hangs the shield1 here made very small1 
and the helmet and spear complete her   
equipment as a goddess of war4 ,at her  
side coils the emblematic serpent4  ,her
 aspect is far from warlike4 ,the face  
is intellectual and the expression      
thoughtful4 ,this is the goddess of     
wisdom reflecting upon grave concerns4  
,the mouth is set somewhat proudly1 and 
the countenance is full of a dignified  
reserve4 ,the masterful element1 so     
strong in her character1 is admirably   
expressed4 ,there is something almost   
austere in the beauty of this virgin    
goddess4 ,a majestic being like this is 
not one to be familiarly approached4    
,,iii  ,,horsemen ,,from ,,the          
,,parthenon ,,frieze   ,to understand   
the history and meaning of the          
bas-relief reproduced in our            
illustration1 we must first learn       

something of the worship of ,athena in  
her chosen city of ,athens4 ,an annual  
festival was held here in her honor1 and
 every four years occurred a very       
elaborate celebration called the        
,panathenaea4 ,the ,panathenaea lasted  
several days1 and attracted throngs of  
people from all parts of ,greece4 ,there
 were contests in gymnastics and music1 
torch-races1 horse-races1 feasts and    
dances4 ,sacrifices of oxen were offered
 on the altar of the goddess1 every     
state having to furnish an ox for the   
purpose4 ,the climax was reached on the 
last day1 when a great procession       
started at sunrise and traversed the    
streets of the city to the temple of    
,athena4 ,it is with this procession    
that the bas-relief of our picture is   
connected1 as we shall presently see4   
,some time before the festival a group  
of ,athenian maidens of the noblest     
families had made and embroidered for   
,athena a beautiful robe called the     
peplos4 ,this was carried above the     

procession1 stretched like a sail on the
 mast of a ship which was rolled through
 the street on wheels4 ,the pageant was 
made up of many different companies4    
,there were the ,athenian magistrates1  
grave and dignified1 maidens carrying   
sacrificial vessels1 men bearing trays  
of cakes1 citharists 7harpists7 and     
flute-players1 old men with olive       
branches1 four-horse chariots with armed
 warriors1 rows of young men mounted on 
prancing steeds1 and attendants with the
 cattle for the sacrifice4  ,during the 
invasion of ,greece by the ,persians1   
the temple of ,athena in ,athens was    
destroyed by fire4 ,later1 on its site1 
was erected another to replace it1      
called the ,parthenon4 ,the city was now
 at the height of its prosperity under  
the statesman ,pericles4 ,at this time  
also lived the great sculptor ,phidias1 
and to him ,pericles intrusted the      
decoration of the new temple4  ,the     
,parthenon was built of ,pentelic       
marble1 and the temple proper was       

surrounded by a portico supported on    
rows of columns4 ,the outside of the    
building was richly adorned with        
bas-reliefs4 ,there were designs in the 
triangular spaces under the roof called 
pediments4 ,above the columns ran a     
series of panels called metopes4        
,finally1 there was a frieze extending  
around the temple wall1 to be seen from 
within the portico4 ,it is a bit of this
 frieze which is reproduced in our      
illustration4  ,illustration3 ,london   
,stereoscopic ,co41 ,photo4 ,john       
,andrew  ,son1 ,sc4  ,,horsemen ,,from  
,,the ,,parthenon ,,frieze  ,british    
,museum1 ,london  ,the ,panathenaic     
procession is the subject carried the   
entire length of this bas-relief        
decoration4 ,on the portion running     
across one end were depicted the scenes 
of preparation4 ,men are in the act of  
mounting their horses1 some having      
spirited animals to deal with1 and all  
making ready for the start4 ,at the     
opposite end is the scene of the arrival

 at the temple4 ,here sit the gods to   
receive the sacrifice1 while the        
magistrates stand ready to perform the  
rites1 and maidens approach with the    
vessels4 ,on the two long sides the     
procession is seen actually in motion4  
,here are represented all the figures   
which took part in such occasions2 old  
men and maidens1 musicians1 horsemen1   
charioteers1 and sacrificial animals1   
all moving forward on their way4 ,group 
follows group1 with that contrast and   
variety which give interest to a        
pageant1 and with the proper orderliness
 to give it unity4  ,our panel shows us 
a line of horsemen riding four abreast4 
,though it is broken and defaced1 we    
catch at once the spirit of the work4   
,the horses are splendid animals2 with  
dilated nostrils1 and necks proudly     
arched1 they seem to prance to the music
 of the flutes4 ,though they are well   
matched in size and type1 no two are    
really alike4 ,every one has as distinct
 a character as a human being1 and      

lovers of horses might choose each his  
own favorite from the four4  ,only two  
of the riders fall within our range of  
vision4 ,they are handsome youths1 with 
the perfectly formed head and finely cut
 profile which we learn to recognize as 
the ,greek ideal of beauty4 ,the line   
across forehead and nose is perfectly   
straight1 and the line connecting nose  
and chin forms a corresponding angle4   
,both faces bear the stamp of refinement
 and high breeding which mark them as   
belonging to the class of ,athenian     
nobles4  ,though the two youths have so 
similar a cast of countenance1 they are 
quite unlike in temperament4 ,the       
farther one is of a somewhat dreamy1    
poetic nature4 ,he rides with bent head 
as if in a reverie4 ,his companion is of
 a sterner1 more virile type4 ,he looks 
straight before him1 and carries his    
head with a sense of the dignity of the 
occasion4  ,both youths sit their horses
 as if born in the saddle4 ,horse and   
rider are one1 animated by a single     

dominant will4 ,the ,athenian youth were
 trained from childhood in all sorts of 
manly exercise4 ,the normal development 
of the body was of first importance in  
the ,greek educational system4 ,these   
young men are typical examples of the   
fine specimens of manhood which that    
training produced4     ,,iv  ,,bust ,,of
 ,,hera 7,,juno7                  ,the  
white armed queen1     ,juno1 the       
mistress of the golden throne4  ,it is  
thus that the ,iliad describes ,hera1   
the wife of ,zeus1 now more often called
 by her ,roman name ,juno4 ,the marriage
 union between the ruler of the gods and
 his queen represented the ,greek ideal 
of perfect conjugal happiness4 ,hera was
 therefore the goddess who presided over
 human marriages1 and was the type of   
matronly virtue and dignity4 ,as the    
queen of heaven1 she had it in her power
 to bestow great riches1 honor1 and     
influence upon her favorites4  ,in the  
,trojan war she was1 like ,athena1 a    
partisan of the ,greeks1 and once or    

twice even accompanied the war goddess  
to the battlefield4 ,usually1 however1  
her pursuits were of a more peaceful and
 domestic order4 ,she was a very        
beautiful goddess1 ox-eyed in the quaint
 ,greek phrase1 that is1 with large     
expressive eyes4 ,she had the august and
 majestic bearing befitting a queen1 and
 is usually described in classic        
literature as wearing a veil4 ,a long   
passage in the ,iliad gives an account  
of her toilet when arraying herself for 
a special occasion4 ,after bathing in   
ambrosia1 and anointing with oil1       
,when thus her shapely form     ,had    
been anointed1 and her hands had combed 
,her tresses1 she arranged the lustrous 
curls1     ,ambrosial1 beautiful1 that  
clustering hung     ,round her immortal 
brow4 ,and next she threw     ,around   
her an ambrosial robe1 the work     ,of 
,pallas1 all its web embroidered o'er   
,with forms of rare device4 ,she        
fastened it     ,over the breast with   
clasps of gold1 and then     ,she passed

 about her waist a zone which bore      
,fringes a hundred-fold1 and in her ears
     ,she hung her three-gemmed         
ear-rings1 from whose gleam     ,she won
 an added grace4 ,around her head       
,the glorious goddess drew a flowing    
veil1     ,just from the loom1 and      
shining like the sun2     ,and1 last1   
beneath her bright white feet she bound 
,the shapely sandals4#ab  #ab ,iliad1   
,book xiv41 lines #baj-bbf in ,bryant's 
translation4  ,one of the prettiest     
stories about ,hera is that in which she
 acted as the friend of ,jason4 ,jason  
was the son of a dethroned king and was 
brought up by the centaur ,chiron4 ,when
 he came of age he set forth1 with much 
good advice from ,chiron1 to reclaim his
 father's kingdom4 ,on his journey he   
came to a swollen stream which seemed   
well-nigh impassable4 ,as he was        
considering the danger of crossing it1  
an old woman on the bank begged him to  
carry her over4 ,this was a hazardous   
undertaking1 and the young man was      

sorely tempted to refuse her4 ,at last  
his kindness triumphed and he consented4
 ,taking her on his back1 he struggled  
across the river at the peril of his    
life4 ,when he set her safely on the    
opposite bank1 a wonderful thing        
happened4 ,she grew fairer than all     
women1 and taller than all men on earth2
 and her garments shone like the summer 
sea1 and her jewels like the stars of   
heaven2 and over her forehead was a     
veil1 woven of the golden clouds of     
sunset1 and through the veil she looked 
down on him with great soft heifer's    
eyes2 with great eyes1 mild and awful1  
which filled all the glen with light4#ac
 ,then he knew that this was ,hera1 and 
from thenceforth she was his guide in   
every time of need4  #ac ,from          
,kingsley's ,greek ,heroes3 the         
,argonauts4  ,illustration3 ,d4         
,anderson1 ,photo4 ,john ,andrew  ,son1 
,sc4  ,,bust ,,of ,,hera 7,,juno7       
,ludovisi ,villa1 ,rome  ,the bust of   
,hera1 reproduced in our illustration1  

shows how the ,greeks liked to think of 
their queen goddess4 ,we at once        
recognize the features assigned to her  
by tradition2 the large eyes set        
somewhat far apart1 the low1 broad      
forehead1 the mild expression4 ,the     
waving hair is parted1 and gathered at  
the back in a matronly coiffure1 and    
over it is worn the crown of a queen4   
,we have seen that in ,greek sculpture  
the artist was not always left to       
represent the divinities according to   
his own imagination4 ,for each one a    
certain fixed type had been gradually   
thought out in very early times1 and    
this type was handed down from          
generation to generation4 ,a statue or  
bust could always be recognized without 
any title4 ,no one1 for instance1 could 
ever mistake ,zeus for ,apollo1 or      
confuse ,hera and ,athena4  ,by         
comparing this head of ,hera with that  
of ,athena in our previous illustration1
 we can see how perfectly sculpture     
carried out the distinctions in the two 

characters4 ,hera was less intellectual 
than ,athena1 and had perhaps more      
distinctly feminine charms4 ,the mouth  
has less strength and firmness1 the     
expression more mildness4 ,her beauty is
 naturally of a more matronly type than 
that of the virgin goddess4 ,the crown  
which she wears belongs as distinctly to
 her as does the helmet to ,athena4  ,a 
careful examination of the face suggests
 that it may have been studied from     
actual life4 ,if1 as some critics       
believe1 the bust was made in ,rome by  
some ,greek sojourning there after the  
conquest of his own nation1 a noble     
,roman matron may have been the model4  
,be that as it may1 this is ,hera as the
 ,greeks worshipped her1 and perhaps the
 best existing representation of the    
great goddess4     ,v  ,,the            
,,apoxyomenos   ,an important part of   
the ,greek system of education was the  
training of the body in physical        
exercise4 ,for this purpose there were  
gymnasia in every city1 where the youth 

were trained in running1 leaping1       
wrestling1 throwing the javelin1 and    
casting the discus4 ,great spaces were  
occupied by these gymnasia1 which       
included buildings for dressing-rooms   
and baths1 porticoes and halls used as  
assembly-rooms1 walks1 gardens1 and the 
palaestra1 or wrestling-field4  ,every  
four years a great national festival was
 held at ,olympia1 consisting of games  
or contests in the various athletic     
sports4 ,every freeman of ,hellenic     
blood had a birthright to take part in  
them4 ,the contestants were required to 
undergo a preparatory training1 often   
lasting months1 in the gymnasium of     
,elis1 the province in which ,olympia   
was situated4  ,during the progress of  
the games a universal truce was         
proclaimed throughout ,greece4 ,all     
hostilities ceased for the time1 and the
 ,greeks as a united people assembled at
 ,olympia for the joyous celebration in 
honor of ,zeus4 ,so important were these
 ,olympic games that they were used as a

 standard for reckoning time4 ,in       
assigning a date to an event1 the       
,greeks used to say that it took place  
in this or that ,olympiad1 an ,olympiad 
being the period of four years between  
two successive festivals4  ,we may well 
believe that the ,olympic festivals1 as 
well as the ordinary daily exercise in  
the city gymnasia1 had great attractions
 for sculptors4 ,the palaestra must have
 been a favorite resort of artists4     
,what a sight it was when the young men 
came out of the dressing-rooms stripped 
for running1 their bodies shining with  
oil1--what a play of muscles in the     
lithe young limbs as the runners pressed
 toward the mark for the prize of the   
high calling6 ,the course was usually of
 deep sand1 and was about three miles in
 length4 ,the runners trained for       
special emergencies attained            
extraordinary speed and endurance4 ,the 
race over1 each youth returned to the   
dressing-rooms of the gymnasium and1    
taking a small instrument called the    

strigil1 made of metal1 ivory1 or horn1 
scraped the oil from his body4  ,it is  
in this cleansing process that the young
 man of our illustration is engaged4    
,the statue on this account is called   
the ,apoxyomenos1 which is a ,greek word
 meaning scraping himself4 ,it          
represents a typical incident of the    
life of the gymnasium1 such as might be 
seen any day of the year4  ,tall and    
graceful1 with slender flexible limbs1  
the youth stands in an attitude of rest1
 scraping his right arm4 ,in his fingers
 is the die which marks his number in   
the race4 ,his body rests upon one leg1 
but so light is his poise that he is    
ready to change his position            
momentarily4 ,neither attitude nor      
countenance shows any sense of          
exhaustion1 only that delicious fatigue 
which makes rest so enjoyable4          
,illustration3 ,d4 ,anderson1 ,photo4   
,john ,andrew  ,son1 ,sc4  ,,the        
,,apoxyomenos  ,vatican ,gallery1 ,rome 
,there is a passage in the ,greek poet  

,aristophanes' comedy of the ,clouds1 in
 which a speaker urges upon a young man 
the life of the gymnasium4 ,fresh and   
fair in beauty-bloom1 he says1 you shall
 pass your days in the wrestling-ground1
 or run races beneath the sacred olive  
trees1 crowned with white reed1 in      
company with a pure-hearted friend1     
smelling of bindweed1 and leisure hours1
 and the white poplar that sheds her    
leaves1 rejoicing in the prime of spring
 when the plane tree whispers to the    
lime4 ,this is the kind of life typified
 in the figure of our statue1#ad a side 
of ,greek life which no one can overlook
 if he would understand the genius of   
the ,greek nation4  #ad ,the application
 of this passage to the ,apoxyomenos is 
made by ,j4 ,a4 ,symonds in his ,greek  
,poets4  ,it must not be supposed that  
our statue represents an actual         
individual4 ,it is not a portrait1 but  
an imaginary typical figure4 ,it is true
 that portrait statues of athletes were 
made in great numbers1 as we shall note 

again in another chapter4 ,it was indeed
 this practical experience among        
athletes that led sculptors to see what 
a perfect human figure ought to be4 ,in 
the study of many different forms they  
developed an idea of a type common to   
all and uniting all the perfections4    
,certain sculptors figured out what they
 regarded as the true proportions of the
 ideal human form4 ,one of these was    
,lysippus1 who is believed to have      
executed this statue as an illustration 
of his theories4 ,we note as the special
 characteristics of his ideal figure    
that it is tall1 with slim light limbs1 
and a rather small head1 about one      
eighth the total height4  ,we may now   
see how such a statue as the            
,apoxyomenos was a preparatory study for
 statues of the gods4 ,the gods were to 
be represented in the most perfect human
 forms which it was possible to         
conceive1 and by working out typical    
figures like this1 forms were found     
worthy of the noblest subjects4 ,thus   

the proportions discovered by ,lysippus 
were peculiarly appropriate for the     
lighter1 fleeter gods1 as ,apollo and   
,hermes4  ,lysippus executed his works  
entirely in bronze1 and the statue      
reproduced in our illustration is a     
marble copy of the original1 which was  
long since lost4     ,,vi  ,,head ,,of  
,,the ,,apollo ,,belvedere   ,phoebus   
,apollo was the ,greek god of day1 who  
drove the great chariot of the sun      
across the sky from dawn to sunset4 ,as 
the sun's rays pierce the air with darts
 of fire1 so ,apollo is an archer god   
carrying a quiver full of arrows4 ,the  
old ,homeric hymn calls him--           
,heaven's far darter1 the fair king of  
days     ,whom even the gods themselves 
fear when he goes     ,through ,jove's  
high house2 and when his goodly bows    
,he goes to bend1 all from their thrones
 arise     ,and cluster near t' admire  
his faculties4#ae  #ae ,in ,chapman's   
translation4  ,if we count up all the   
gifts which the sunlight brings us1 we  

shall have a list of the offices of     
,apollo4 ,he brought the spring and the 
summer1 and ripened the grain for       
harvest4 ,he warded off disease and     
healed the sick4 ,one of his earliest   
adventures was to slay the serpent      
,python lurking in the caves of ,mt4    
,parnassus4 ,like the legend of ,st4    
,george and the ,dragon1 the story is an
 allegory of the triumph of light over  
darkness1 health over disease1 the power
 of good over the power of evil4        
,apollo was also the patron of music1   
having received from ,hermes the gift of
 the lyre4 ,he was wont to play at the  
banquets of the gods1 and the poet      
,shelley describes his music in these   
words3--      ,and then ,apollo with the
 plectrum strook     ,the chords1 and   
from beneath his hands a crash     ,of  
mighty sounds rushed up1 whose music    
shook     ,the soul with sweetness1 and 
like an adept     ,his sweeter voice a  
just accordance kept4#af  #af ,from     
,shelley's translation of the ,homeric  

,hymn to ,mercury4  ,poetry and the     
dance were also under ,apollo's         
protection1 and he was the leader of the
 nine muses4  ,his highest office was   
prophecy1 and in all his temples the    
priestesses gave mystic revelations of  
the future4 ,the most famous of these   
was at ,delphi1 built over an opening in
 the ground1 whence a strange vapor     
rose4 ,the priestess1 a young woman     
called a pythia1 from the python slain  
by ,apollo1 sat over this opening on a  
three-legged seat1 or tripod1 and       
answered the questions brought to her4  
,her sayings were in verses called      
oracles1 supposed to be communicated to 
her by the god4  ,now1 as might be      
expected1 the character of ,apollo was  
as pure and transparent as the sunlight 
itself4 ,he required clean hands and    
pure hearts of those who worshiped him4 
,as the sunlight shines into the dark   
places of the earth1 driving the shadows
 away1 so ,apollo hated all that was    
dark and evil in human life4 ,he was not

 only the rewarder of good but the      
punisher of evil4 ,in ,shelley's ,hymn  
of ,apollo these words are put in the   
god's mouth3--      ,the sunbeams are my
 shafts1 with which ,i kill     ,deceit1
 that loves the night and fears the day2
      ,all men who do or even imagine   
ill     ,fly me1 and from the glory of  
my ray     ,good minds and open actions 
take new might1     ,until diminished by
 the reign of night4  ,illustration3 ,d4
 ,anderson1 ,photo4 ,john ,andrew  ,son1
 ,sc4  ,,head ,,of ,,the ,,apollo       
,,belvedere  ,vatican ,gallery1 ,rome   
,the head of ,apollo in our illustration
 is from a famous full-length statue of 
the god known as the ,apollo ,belvedere4
 ,the name ,belvedere1 which is useful  
only to distinguish the statue from     
others of the same subject1 comes from  
the fact that the marble once adorned a 
pavilion of the ,vatican called the     
,belvedere4  ,the god stands with left  
arm extended holding1 it is supposed1   
either a bow or a shield4 ,a quiver of  

arrows is slung across his back1 and a  
chlamys1 or cloak1 hangs over his left  
shoulder4 ,his is the proud attitude of 
one who is defending some sacred trust4 
,so he holds his head high and gazes    
steadily before him as if watching an   
arrow speed to its mark1 or perhaps     
scanning the vanguard of an approaching 
army4 ,the expression is not a little   
haughty1 and one detects an almost      
disdainful curve of the lips as if the  
god regarded the enemy with scorn4 ,the 
face is cut in an aristocratic mould1   
with fine sensitive lines which mark the
 lover of music and poetry4 ,in fact1   
the refinement of his beauty has        
something of a feminine quality4  ,the  
carefully curled hair is gathered in a  
bow knot on the top of his head4 ,it may
 indeed be supposed that the handsome   
young god was by no means unconscious of
 his charms1 and took no little pains to
 display them to good advantage4  ,the  
,apollo1 however1 is a god worthy of our
 admiration for the noble purity of his 

countenance4 ,surely1 all base thoughts 
and mean motives would be put to shame  
by this pure presence4  ,the poet       
,byron1 whose ,childe ,harold's         
,pilgrimage describes many interesting  
sights in ,greece and ,italy1 has       
written these lines about the ,apollo   
,belvedere3--        ,the ,lord of the  
unerring bow1     ,the god of life1 and 
poesy1 and light--     ,the sun1 in     
human limbs array'd1 and brow     ,all  
radiant from his triumph in the fight2  
,the shaft hath just been shot--the     
arrow bright     ,with an immortal's    
vengeance2 in his eye     ,and nostril  
beautiful disdain1 and might1     ,and  
majesty flash their full lightnings by1 
,developing in that one glance the      
deity4     ,,vii  ,,demeter 7,,ceres7   
,the ,greeks worshipped among their     
deities a goddess called ,demeter1 which
 means mother earth4 ,it was her office 
to attend to the sowing and reaping and 
all kinds of farm work4 ,she first      
taught mankind the use of the plough2   

she helped the men in their threshing   
and the women in their baking4 ,all     
country folk sought her blessing in     
their labors4 ,she was1 in fact1 a      
personification of nature1 and perhaps  
it is a remnant of the old ,greek belief
 in our speech that we still refer to   
mother earth and mother nature4         
,demeter's only child was a daughter1   
,persephone1 and upon her she lavished  
all a mother's fond devotion4 ,the story
 runs that one day ,persephone was      
gathering posies in the meadow when a   
strange accident overtook her4 ,a       
beautiful flower suddenly attracted her 
attention1 the like of which she had    
never before seen4 ,when she put forth  
her hand to pluck it1 the entire plant  
came up by the roots1 leaving a hole in 
the ground4 ,the hole widened into a    
great crack1 the earth shook with a     
mighty thundering1 and out dashed a     
chariot drawn by coal-black steeds1     
bearing ,pluto1 the king of the lower   
regions4 ,he caught up the astonished   

,persephone1 and away they sped again   
into the gloomy kingdom beyond the      
,styx1 where ,persephone was installed  
as queen4  ,demeter1 missing her        
daughter1 inquired everywhere what had  
become of the maiden1 but none could    
tell her4 ,then she lighted a torch and 
began a weary search for the lost child4
 ,nine days she wandered without finding
 any clew4 ,but on the tenth day she met
 the old witch ,hecate1 who had heard   
,persephone scream when she was carried 
away4 ,together the two sought ,apollo1 
who sees all the doings of gods and men1
 and he told them the whole story4 ,then
 a more terrible grief took possession  
of ,demeter1 and 444 she forsook the    
assembly of the gods and abode among men
 for a long time1 veiling her beauty    
under a worn countenance so that none   
who looked upon her knew her4 ,she      
declared that the earth should not again
 bring forth fruit till she had seen her
 daughter4  ,it comforted her not a     
little in this time of mourning to take 

a mother's care of a certain sickly     
little child she chanced upon4          
,disguised as a nurse1 she fed the child
 upon ambrosia1 held him in her bosom1  
and at night covered him in a bed of    
coals4 ,under this treatment he thrived 
amazingly2 but the parents discovered   
the nurse's strange ways and became     
alarmed4 ,their anxiety was turned to   
dismay when they learned that this was a
 goddess1 who would have made their son 
immortal but for their interference4    
,illustration3 ,d4 ,anderson1 ,photo4   
,john ,andrew  ,son1 ,sc4  ,,demeter    
7,,ceres7  ,vatican ,gallery1 ,rome  ,in
 the mean time the crops fell into a bad
 state1 and it was a year of grievous   
famine4 ,demeter still kept her vow to  
let no green thing appear upon the      
earth4 ,then ,zeus came to the rescue of
 perishing humanity4 ,he sent a         
messenger to ,pluto begging him to let  
,persephone return to her mother4 ,the  
request was granted1 the chariot was    
made ready1 but the wily king first     

pressed his bride to eat with him some  
pomegranate seeds1 designing that she   
should return to him again4 ,mother and 
daughter were now joyfully reunited1 but
 not without further separation2 for a  
portion of each year ,persephone        
returned to her kingdom below the earth1
 reappearing in the spring to visit her 
mother4 ,and this is why to this day the
 harvest is followed by winter until the
 spring revisits the earth4#ag  #ag ,the
 story of ,demeter and ,persephone is   
related in the ,homeric ,hymn to        
,demeter1 of which an abridged ,english 
version is given in the chapter on the  
,myth of ,demeter and ,persephone in    
,pater's ,greek ,studies4 ,the same     
chapter refers to various other ancient 
forms of the story1 one of the most     
important being that of ,ovid's         
,metamorphoses1 translated into ,english
 blank verse by ,edward ,king4  ,in all 
this story we see that the most striking
 characteristic of ,demeter is her      
motherliness4 ,in some respects she is  

like ,hera1 because both are matrons and
 are patterns of the domestic virtues4  
,but while ,hera is the model wife1     
,demeter is the model mother4  ,it is   
the motherliness of our statue which    
makes us feel sure that it must be      
intended to represent ,demeter4#ah ,the 
goddess stands holding in her           
outstretched right hand a sheaf of      
wheat1 and lifting high in the left hand
 the torch with which she journeyed     
round the world4 ,it is as if she stood 
on the threshold of the opening season  
awaiting her daughter's return4 ,she    
gazes straight before her with a look of
 expectancy as if she already saw her   
child from afar4 ,her face is lighted by
 a smile of welcome4 ,one can fancy how 
tenderly those motherly arms will fold  
the child to her heart1 and how gladly  
the daughter will pillow her head on    
that broad bosom4  #ah ,see in the      
,historical ,directory another subject  
assigned to the statue4  ,the figure is 
in striking contrast to the statue of   

,athena which we have studied4 ,the     
virgin goddess is stately and           
unapproachable in her panoply of wisdom1
 but the great mother seems to invite   
our confidence4 ,she is one to whom a   
frightened child might run1 sure of     
being soothed4 ,to her the sorrowing    
would turn1 fearing no repulse4 ,she    
would welcome1 she would understand1 she
 would comfort4 ,there is strength and  
repose in every line of her majestic    
figure4  ,the statue illustrates        
admirably the grandeur and simplicity of
 the best ,greek art4 ,the long straight
 lines of the drapery1 unbroken by any  
unnecessary folds1 are the secret of the
 impression of tranquil dignity in the  
work4     ,,viii  ,,the ,,faun ,,of     
,,praxiteles   ,the imagination of the  
,greeks peopled the woods and waters    
with all sorts of mythical beings1 among
 which one of the most delightful was   
the faun4 ,this was a creature half     
human1 half animal1 which frolicked in  
the woods in spring time4 ,in outward   

appearance it looked much like a human  
being1 except that it had pointed furry 
ears4 ,in nature1 however1 it was       
closely akin to the animals1 and lived a
 free happy life1 with none of the      
thoughts and cares which beset the soul 
of man4  ,our statue represents a       
sculptor's conception of this sportive  
being4 ,it is famous not only because it
 is a celebrated work of art1 but       
because it takes an important place in a
 celebrated novel4 ,this is the marble  
faun which gives the title to           
,hawthorne's book4 ,it will be          
remembered that in the beginning of the 
story1 a party of friends are visiting  
the museum of the ,capitol in ,rome1    
where the statue stands4 ,suddenly they 
notice the resemblance which one of     
their number1 a young ,italian named    
,donatello1 bears to the statue4 ,they  
bid him take the same attitude1 and the 
likeness is complete4 ,the writer       
describes the statue in these words3    
,the ,faun is the marble image of a     

young man leaning his right arm on the  
trunk or stump of a tree2 one hand hangs
 carelessly by his side2 in the other he
 holds the fragment of a pipe1 or some  
such sylvan instrument of music4 ,his   
only garment--a lion's skin1#ai with the
 claws upon his shoulder--falls halfway 
down his back1 leaving the limbs and    
entire front of the figure nude4 ,the   
form1 thus displayed1 is marvellously   
graceful1 but has a fuller and more     
rounded outline1 more flesh1 and less of
 heroic muscle1 than the old sculptors  
were wont to assign to their types of   
masculine beauty4#bj ,the character of  
the face corresponds with the figure2 it
 is most agreeable in outline and       
feature1 but rounded and somewhat       
voluptuously developed1 especially about
 the throat and chin2 the nose is almost
 straight1 but very slightly curves     
inward1 thereby acquiring an            
indescribable charm of geniality and    
humor4 ,the mouth1 with its full yet    
delicate lips1 seems so nearly to smile 

outright that it calls forth a          
responsive smile4 ,the whole            
statue--unlike anything else that ever  
was wrought in that severe material of  
marble--conveys the idea of an amiable  
and sensual creature1 easy1 mirthful1   
apt for jollity1 yet not incapable of   
being touched by pathos4 ,it is         
impossible to gaze long at this stone   
image without conceiving a kindly       
sentiment towards it1 as if its         
substance were warm to the touch1 and   
imbued with actual life4 ,it comes very 
close to some of our pleasantest        
sympathies4  #ai ,more likely a         
leopard's skin4  #bj ,compare1 for      
instance1 the slender figure of the     
,apoxyomenos4  ,illustration3 ,alinari1 
,photo4 ,john ,andrew  ,son1 ,sc4  ,,the
 ,,faun ,,of ,,praxiteles  ,capitol     
,museum1 ,rome  ,after this description 
the writer goes on to analyze the nature
 of the ,faun4 ,the being here          
represented1 he says1 is endowed with no
 principle of virtue1 and would be      

incapable of comprehending such2 but he 
would be true and honest by dint of his 
simplicity4 ,we should expect from him  
no sacrifice or effort for an abstract  
cause2 there is not an atom of martyr's 
stuff in all that softened marble2 but  
he has a capacity for strong and warm   
attachment1 and might act devotedly     
through its impulse1 and even die for it
 at need4 ,it is possible1 too1 that the
 ,faun might be educated through the    
medium of his emotions1 so that the     
coarser animal portion of his nature    
might eventually be thrown into the     
background1 though never utterly        
expelled4  ,the original statue1 of     
which the marble of the ,capitol is a   
copy1 was the work of the sculptor      
,praxiteles4 ,as ,hawthorne says3 ,only 
a sculptor of the finest imagination1   
the most delicate taste1 the sweetest   
feeling1 and the rarest artistic        
skill--in a word1 a sculptor and a poet 
too--could have 444 succeeded in        
imprisoning the sportive and frisky     

thing in marble4 ,we are presently to   
see again in the head of ,hermes that   
,praxiteles was indeed a remarkable     
sculptor4 ,the ,faun1 however1 is the   
more difficult subject of the two1 for  
it was puzzling to think what expression
 would be proper to a being partly      
human1 but without a soul4  ,it is said 
that ,praxiteles himself considered the 
,faun one of his two best works4 ,it had
 been impossible for his friends to get 
an expression of opinion from him in    
regard to his statues1 until one day a  
trick was devised to betray him4 ,he was
 told that his studio was on fire1 when 
he exclaimed that his labor was all lost
 if the ,faun and the ,eros were        
destroyed4  ,the ,faun originally stood 
in the street of the ,tripods at        
,athens1 but what has now become of it  
we do not know4 ,the statue in our      
illustration is one of the most         
celebrated copies4 ,many travellers make
 a special pilgrimage to see it1 and    
seeing it recall the words of           

,hawthorne1 describing the spell it     
casts upon the spectator4 ,all the      
pleasantness of sylvan life1 all the    
genial and happy characteristics of     
creatures that dwell in woods and       
fields1 will seem to be mingled and     
kneaded into one substance1 along with  
the kindred qualities in the human soul4
 ,trees1 grass1 flowers1 woodland       
streamlets1 cattle1 deer1 and           
unsophisticated man--the essence of all 
these was compressed long ago1 and still
 exists1 within that discolored marble  
surface of the ,faun of ,praxiteles4    
,,ix  ,,sophocles   ,one of the greatest
 of ,greek writers was the tragic poet  
,sophocles4 ,he was born near ,athens in
 the year #die ,b4 ,c41 and was educated
 after the manner of the ,greek youth of
 his time4 ,every advantage was given   
him for the study of music and poetry1  
and also for that gymnastic training    
which1 as we have seen1 was so important
 in ,greek education4  ,sophocles was a 
handsome youth1 and acquitted himself   

well in the palaestra4 ,when he was     
sixteen years of age the great battle of
 ,salamis was fought and won by the     
,greeks4 ,in the celebration of this    
victory at ,athens1 ,sophocles led with 
dance and lyre the chorus of young men  
who sang the paean or hymn of victory4  
,that such an honor should be given him 
shows how graceful and gifted he must   
have been4  ,the beginning of his       
literary career came when he was in his 
twenty-fifth year4 ,at that time a      
solemn festival was held in ,athens in  
memory of the ancient ,king ,theseus1   
whose bones had been brought thither    
from the island of ,scyros4 ,now all    
religious festivals in ,greece were     
celebrated with contests1 some athletic1
 others artistic and literary4 ,on this 
occasion there was a contest of dramatic
 poets4 ,,aeschylus was at that time the
 greatest of living tragedians1 and as  
he was among the contestants1 it might  
have been supposed that no other        
candidate could have succeeded4         

,sophocles now came forward with his    
first tragedy1 and so remarkable was it 
found to be that the judges pronounced  
him victor4  ,from this time forth      
,sophocles continually grew in dramatic 
and literary power4 ,twenty times he    
obtained the first prize in other       
contests1 and many times also the second
 prize4 ,the amount of his work was     
prodigious4 ,most of his dramas are     
lost1 but we still have a half dozen or 
more to show us the noble quality of his
 work4 ,the finest are perhaps those    
called ,,oedipus ,tyrannus1 ,,oedipus   
,coloneus1 and ,antigone1 all dealing   
with the tragic fate of an ancient royal
 family4  ,athens was justly proud of   
her great poet and bestowed various     
honors upon him4 ,he was even made a    
general1 and served in the war against  
,samos2 but nature had made him a poet1 
and it is as a poet that we must always 
think of him4 ,full of years and honors1
 he died in ,athens at the age of       
ninety4 ,of him the ,greek poet         

,phrynicus wrote1--      ,thrice happy  
,sophocles6 in good old age     ,blessed
 as a man1 and as a craftsman blessed1  
,he died3 his many tragedies were fair1 
,and fair his end1 nor knew he any      
sorrow4  ,our portrait shows admirably  
what manner of man he was1 handsome and 
dignified1 in the prime of life4        
,illustration3 ,d4 ,anderson1 ,photo4   
,john ,andrew  ,son1 ,sc4  ,,sophocles  
,lateran ,museum1 ,rome  ,the scanty    
folds of his toga reveal the fine lines 
of his graceful figure4 ,the pose shows 
the bodily vigor which his early        
athletic training gave him4 ,he holds   
his head erect in a manner suggestive of
 his military life4 ,the face is that of
 an idealist and a poet1 a man who sees 
splendid visions4 ,yet it is not        
altogether dreamy in the ordinary sense2
 it has the alert1 energetic aspect of  
one who would turn from vision to       
action4 ,it is not hard to believe the  
tale of his one hundred and twenty-three
 dramas3 such a man would fill his life 

with activity4 ,the face has1 too1 the  
expression of genial kindliness which   
made the great poet so beloved of his   
fellow men4 ,his must have been that    
calm1 equable temperament not easily    
ruffled1 which goes with the            
self-respecting nature4 ,a receptacle at
 his side is filled with the scrolls of 
his tragedies4 ,he stands in the        
attitude of a poet reciting his lines to
 an assembled audience4  ,the statue    
shows how sane was the ,greek ideal of  
intellectual greatness4 ,in those days  
genius did not mean eccentricity1 but   
the rule of life was a sound mind in a  
sound body4 ,it is a mistaken notion of 
our own times that bodily health must be
 sacrificed to the training of the      
brain4 ,it is even supposed by some that
 oddities of dress and manner are signs 
of greatness4  ,the ,greeks had no such 
delusions4 ,here is ,sophocles1 the     
greatest dramatic poet of antiquity1 a  
magnificent specimen of symmetrically   
developed manhood4 ,he is a man who has 

made the most of life's opportunities as
 he understood them4 ,he enjoys perfect 
bodily vigor2 he is as well a man of the
 world1 at ease among men4 ,there is    
evidently nothing of the recluse in his 
character4 ,he wears his beard carefully
 trimmed as one who looks well to his   
personal appearance4 ,yet intellectual  
greatness is stamped on face and        
bearing3 the noble countenance marks him
 as a poet4  ,there was a period in     
,greek history when it was a custom to  
adorn public buildings with statues of  
famous men1 living or dead4 ,libraries  
were appropriately decorated with       
statues of poets1 and we fancy that our 
statue of ,sophocles was made for such a
 purpose4 ,the original is supposed to  
have been set up by a certain ,athenian 
statesman named ,lycurgus in the fourth 
century ,b4 ,c4     ,x  ,,ares ,,seated 
,old soldiers tell us that sometimes in 
the thick of a battle men fight as      
though possessed by a spirit of fury4   
,the excitement of the conflict seems to

 arouse an impulse of bloodthirstiness  
in them1 and for the moment they seem to
 exult in the carnage4 ,in the ancient  
methods of warfare1 when a battle was   
literally a hand-to-hand conflict1 this 
spirit of brutality was of course even  
more marked4 ,in the wars among the     
early ,greeks men fell upon one another 
with the violence of wild animals4  ,the
 ,greeks with their ready gift for      
personification conceived of this spirit
 of warfare as a supernatural being     
acting on human lives4 ,he was called   
,ares1 the god whose special delight was
 to incite the fierce passions of men4  
,it was natural that the ,greeks should 
refer his influence chiefly to their    
enemies4 ,on their own part they        
preferred to think that their armies    
were inspired by the prudent spirit of  
self-defense embodied in ,athena4 ,this 
explains why in the ,iliad ,ares was on 
the side of the ,trojans1 while ,athena 
aided the ,greeks4 ,thus ,ares and      
,athena were brought into direct        

rivalry1 the spirit of violence against 
the spirit of strategy4  ,an instance is
 related when ,athena makes an appeal to
 her enemy1 the translation running in  
these words1 the ,roman name ,mars being
 used for ,ares4      ,mars1 ,mars1 thou
 slayer of men1 thou steeped in blood1  
,destroyer of walled cities6 should we  
not     ,leave both the ,greeks and     
,trojans to contend1     ,and ,jove to  
crown with glory whom he will1          
,while we retire1 lest we provoke his   
wrath8#ba  #ba ,iliad1 ,book v41 lines  
#cc-cg4  ,as a matter of fact1 however1 
both deities continued to aid their     
favorites4 ,mars was forced to yield    
before the skill and prudence of        
,athena4 ,guided by the goddess the     
,greek hero ,diomed wounds and drives   
him from the battle4#bb  #bb ,iliad1    
,book v41 lines #ajfh-ajge4  ,in spite  
of his violent nature ,mars was a       
handsome god1 stately1 swift1 unwearied1
 puissant4 ,though war was his chief    
delight he was quite susceptible to the 

tender passion4 ,venus was the object of
 his devotion1 and the goddess of love  
returned the war god's admiration4 ,it  
was she who soothed his wounded vanity  
when ,athena mocked him in the presence 
of the gods and struck him to earth with
 a stone4#bc  #bc ,iliad1 ,book xxi41   
lines #ejj et seq4  ,illustration3 ,d4  
,anderson1 ,photo4 ,john ,andrew  ,son1 
,sc4  ,,ares ,,seated  ,ludovisi ,villa1
 ,rome  ,the statue reproduced in our   
illustration shows the god in his       
mildest aspect4 ,he is seated in a      
meditative attitude1 clasping his hands 
over his upraised knee4 ,his splendidly 
developed body is relaxed in a posture  
of repose1 the shield is laid aside for 
a moment1 and he rests from his labors4 
,in the best period of ,greek sculpture 
it was entirely contrary to the laws of 
taste to represent ,ares in any warlike 
action4 ,the gods must always be        
portrayed in a dignified repose         
befitting their superiority to mankind4 
,not then in his attitude or expression 

do we find any sign of the character of 
the god4 ,there is no suggestion of     
unrest in his quiet posture4  ,the shape
 of his head perhaps gives some hint of 
his combative nature4 ,the cast of      
countenance1 too1 shows an impulsive    
temper1 weak in intellectual qualities1 
and quick to anger4 ,yet he is          
undeniably attractive1 with his         
well-chiseled features and clustering   
curls4 ,the small ear is as delicately  
cut as a woman's4 ,the fine athletic    
figure is such as any warrior might     
covet2 muscular and supple1 it is full  
of power even in repose4 ,the attitude  
of easy grace displays its best points  
to advantage4  ,sitting on the ground in
 front of the god is the figure of a    
mischievous baby boy4 ,this is the      
little god ,eros1 who in ,greek         
mythology was supposed to be the        
inspirer of love4 ,the artist meant to  
suggest that the subject of ,ares'      
meditations might be some affair of the 
heart4 ,certainly his mild smile would  

carry out that interpretation4 ,some    
critics have thought1 however1 that the 
statue did not originally include the   
child4  ,as we study the modelling of   
the figure1 the free sweep of the long  
lines delights the eye4 ,we shall come  
to understand from repeated examples    
that the best ,greek sculptors          
thoroughly mastered the secret of fine  
lines4 ,our illustration is somewhat    
unusual because the figure is seated4   
,even in this position1 however1 the    
sculptor gives us a sense of the perfect
 grace and lightness of the pose4 ,there
 is nothing heavy or immovable in the   
attitude4 ,we can easily imagine how the
 god1 rising lightly to his feet1 would 
stand erect and beautiful1 ready for    
action4     ,,xi  ,,head ,,of ,,the     
,,olympian ,,hermes   ,to do his errands
 and carry his messages through the     
universe the supreme god ,zeus had a    
herald1 ,hermes1 the god of the wind4   
,as the wind blows out of the great sky1
 so ,hermes descended from ,olympus to  

earth to do the sky god's bidding4      
,equipped as a herald he wore a winged  
cap and winged sandals1 which carried   
him about with great speed4 ,he had also
 a short sword bent like a scythe1 given
 him by ,zeus with the cap and sandals4 
,he possessed the strange power of      
making himself invisible1 and of        
assuming different forms4 ,as he had    
besides a ready wit and an eloquent     
tongue1 he could make himself very      
useful4 ,it was one of his common tasks 
to carry sleep to mortals1 and his most 
solemn office was to conduct the souls  
of the dying to the other world4  ,this 
is the way the ,odyssey describes       
,hermes setting forth on one of the     
errands of ,zeus3--                ,the 
herald ,argicide obeyed1     ,and       
hastily beneath his feet he bound       
,the fair ambrosial golden sandals1 worn
     ,to bear him over ocean like the   
wind1     ,and o'er the boundless land4 
,his wand he took1     ,wherewith he    
softly seals the eyes of men1     ,and  

opens them at will from sleep4#bd  #bd  
,book v41 lines #ee-fa in ,bryant's     
translation4  ,one of the most famous   
adventures of ,hermes was the slaying of
 the many-eyed monster ,argus1 from whom
 he rescued the unhappy ,io4 ,this is   
why the old ,greek poet1 whom we have   
quoted1 calls the god the ,argicide4    
,another of his well known missions was 
the care of the motherless infant       
,bacchus1 whom he conveyed to the nymphs
 of ,nysa to be reared4 ,an adventurer  
himself1 ,hermes was ever ready to aid  
heroes in their exploits4 ,it was with  
his sword that ,perseus cut off the     
,gorgon's head3 we may read the story in
 ,hawthorne's ,wonder-,book and         
,kingsley's ,greek ,heroes4  ,nor was   
,hermes above a bit of mischief now and 
then4 ,an old ,homeric hymn tells of a  
sly prank he played upon ,apollo1 when  
he was a mere baby1 stealing the herds  
of ,admetus which ,apollo was keeping4  
,he was an ingenious fellow too1 and    
this is how he invented the lyre4       

,taking from the beach a tortoise1 he   
cleaned out the shell1 pierced it with  
holes1 and stretched from hole to hole1 
at regular intervals1 cords of sheep    
gut4      ,when he had wrought the      
lovely instrument     ,he tried the     
chords1 and made division meet1         
,preluding with the plectrum1 and there 
went     ,up from beneath his hand a    
tumult sweet       ,of mighty sounds4#be
  #be ,from the ,homeric ,hymn to       
,mercury in ,shelley's translation1     
,stanza ix4  ,illustration3 ,english    
,photographic ,co41 ,athens1 ,photo4    
,john ,andrew  ,son1 ,sc4  ,,head ,,of  
,,the ,,olympian ,,hermes  ,museum1     
,olympia  ,with this instrument ,apollo 
was so delighted that ,hermes           
straightway presented it to him1 to make
 some amends1 as it were1 for the injury
 done him4 ,in return ,apollo bestowed  
the caduceus1 or wand1 upon ,hermes1 and
 the two gods vowed eternal friendship4 
,the ,greeks were very fond of their god
 ,hermes4 ,he was not too grand to be   

companionable1 like the awe-inspiring   
,zeus or the haughty ,apollo4 ,they     
thought of him as a blithe1 gentle being
 whose lighthearted ways and easy good  
nature made him a general favorite4 ,it 
was an early custom to set up in his    
honor stone posts at the crossroads4    
,sometimes they were topped by the heads
 of other gods1 but these were called   
for him1 hermae4 ,in the course of time 
better statues were made in full length 
figure4 ,the head reproduced in our     
illustration is from such an one which  
used to stand in a temple of ,olympia1  
from the ruins of which it was unearthed
 a few years ago4  ,the entire right arm
 and parts of both legs are missing1 but
 the other portions of the statue show  
the god's position4 ,he is leaning      
against a tree trunk1 holding on his    
left arm the infant ,bacchus1 who was1  
as we have seen1 consigned to his care  
by ,zeus4 ,hermes is not1 however1      
looking at the child1 but gazes dreamily
 before him1 his head bent in the       

pensive pose which we see4 ,the features
 are cut with typical ,greek regularity1
 but the countenance has besides its own
 individual charm4 ,the droop of the    
upper eyelid suggests a dreamy nature1  
and in the curve of the smiling lips is 
a hint of playfulness4 ,the lower       
forehead is full1 showing over the eyes 
the bar of flesh which marks the        
strongly masculine nature4 ,the closely 
cropped curls preserve the perfect      
contour of the head4 ,the small1        
beautiful ear is as daintily modeled as 
the ringlets of hair4  ,the face wins us
 at once with its gentle amiability4 ,it
 is tender and playful1 and withal      
exquisitely refined and courteous4 ,what
 a deferential listener is suggested in 
that pose of the head6 ,the pure outline
 of the face calls to mind those knights
 of chivalry who gathered about ,king   
,arthur's ,round ,table1 and one wonders
 if ,sir ,galahad himself might not have
 looked like this4  ,this statue is the 
work of the great sculptor ,praxiteles1 

and is the only original marble in      
existence direct from his hands4 ,all   
the rest of his work is known from      
descriptions and copies4 ,we can        
understand1 then1 how sculptors and     
critics the world over have examined it 
to study the sculptor's methods4 ,it is 
of ,parian marble1 much stained with    
iron rust from its long entombment under
 the soil4     ,,xii  ,,the ,,discobolus
 7,,the ,,disk-,,thrower7   ,we have    
seen how important a part in the ,greek 
national life was occupied by the       
,olympic ,games4 ,they were regarded as 
a sacred institution of the gods1 and to
 contend in them was a religious        
consecration4 ,none could enter them who
 had been guilty of dishonorable conduct
 or sacrilege1 and young men from the   
noblest families were not above taking  
part4 ,the prizes were wreaths of wild  
parsley1 olive1 and pine1 having no     
intrinsic worth1 but of priceless value 
to the recipients4 ,to win them was the 
highest ambition of many a ,greek youth4

  ,the victor was led forth before the  
people1 crowned with the wreath and     
bearing a palm branch in his hand4      
,heralds proclaimed his name and that of
 his father4 ,banquets were spread in   
his honor1 and songs were composed in   
his praise4#bf ,from thenceforth he was 
a person of distinction4 ,finally his   
statue was set up in the altis or sacred
 grove of ,olympia4 ,there were at one  
time as many as three thousand such     
statues in the place4  #bf ,see1 for    
instance1 ,pindar's ,olympic ,odes4  ,it
 will be readily seen that in statues of
 athletes the sculptor had greater      
freedom than in statues of the gods4    
,the latter must be represented in      
dignified attitudes of repose1 but the  
former would naturally be portrayed in  
some characteristic posture of action4  
,it is so with the statue in our        
illustration called the ,discobolus or  
,disk-thrower4  ,the game of            
disk-throwing was very old1 so old that 
there were ,greek legends of famous     

games played by the gods and heroes4    
,apollo sometimes tried his hand at it1 
and also ,perseus4 ,the discus1 or disk1
 was a heavy round plate of metal1      
bronze or iron1 about eight inches in   
diameter1 grasped in one hand1 swung    
around to give it a rotary motion1 and  
then sent flying through the air4 ,a    
modern authority explains that it was   
thrown not as the quoit is to-day1 with 
arm and shoulder only1 but by bringing  
into play and utilizing every limb and  
muscle of the body4 ,immediately        
preceding the actual hurling of the     
discus1 therefore1 there had to be a    
general storing up and compression of   
energy which1 when suddenly set free1   
produced the violence of the projection4
 ,the principle is simply that of the   
spring which1 when compressed1 shoots   
out from the centre4 ,the greater the   
contortion of the body1 the more each   
muscle and sinew is strung towards one  
centre1 the greater will be the impetus 
when this compression is suddenly set   

free4#bg  #bg ,waldstein1 in ,essays on 
the ,art of ,pheidias1 page #di4        
,illustration3 ,john ,andrew  ,son1 ,sc4
  ,,the ,,discobolus 7,,the             
,,disk-,,thrower7  ,lancelotti ,palace1 
,rome  ,our statue shows the            
disk-thrower at the moment immediately  
preceding the throw4 ,as described by   
the ancient writer ,lucian1 he is bent  
down into the position for the throw1   
turning towards the hand that holds the 
disk1 and all but bending on one knee1  
he seems as if he would straighten      
himself up at the throw4  ,the modern   
critic whom we have already quoted shows
 that when we view the statue from the  
front1 all the lines of the modelling   
indicate the tension of the sinews      
towards the contracted centre of the    
body1 and the legs1 neck1 and shoulders 
tend towards the same point4 ,when we   
walk around the statue1 all the lines in
 the back and sides seem to lead towards
 that central point like the spiral     
contraction of a spring4 ,it is by thus 

suggesting the concentration of energy  
on the part of the ,discobolus that the 
figure appears so full of life and      
action4  ,by the choice of this posture 
the artist was enabled to model his     
figure on magnificent sculpturesque     
lines4 ,one long fine curve sweeps along
 the right arm1 is continued down the   
left arm1 and is carried to completion  
in the left leg and foot4 ,the counter  
curve starts under the right shoulder1  
and sweeps down the right side and leg4 
,the original statue of the ,discobolus 
was executed in bronze1 and our         
reproduction is from one of several     
ancient copies in marble4 ,in some of   
these the original head of the statue   
has been replaced by another1 but the   
copy we see here has a fine1 vigorous   
head4 ,the ,english critic1 ,walter     
,pater1#bh describes the face as smooth 
but spare1 and tightly drawn over muscle
 and bone4 ,he shows too how sympathetic
 the face is with the whole intention of
 the statue1 as the source of will4#bi  

#bh ,in the chapter on ,athletic        
,prizemen1 in ,greek ,studies4  #bi     
,this opinion is the more interesting   
because the face of the ,discobolus is  
commonly criticised for absence of      
emotional expression4 ,see              
,furtw3angler's ,masterpieces of ,greek 
,sculpture1 p4 #agc4  ,the sculptor of  
the ,discobolus was ,myron1 who lived in
 the period between the ,persian ,war   
and the middle of the fifth century4    
,his work shows his fondness for        
movement1 though many of his subjects   
did not permit him to indulge his taste4
 ,he made a specialty of figures of     
athletes1 both commemorative portrait   
statues and typical figures4 ,we do not 
know whether this statue represents an  
actual ,olympic victor1 or is a typical 
figure1 like the ,apoxyomenos4 ,in any  
case it gives an excellent idea of the  
great influence exercised upon ,greek   
life by the athletic games4     ,,xiii  
,,the ,,aphrodite ,,of ,,melos 7,,venus 
,,of ,,milo7   ,by ,greek tradition the 

fairest of the goddesses was ,aphrodite1
 the goddess of love and beauty4 ,to her
 every lover paid his vows and every    
maiden prayed for charms4 ,an old legend
 relates that she was born from the foam
 of the sea1 hence the name ,aphrodite1 
which means foam-born4 ,among the       
,romans she was called ,venus4 ,at her  
birth the island of ,cyprus received    
her4                          ,where the
 force     ,of gentle-breathing ,zephyr 
steer'd her course     ,along the waves 
of the resounding sea1     ,while yet   
unborn in that soft foam she lay        
,that brought her forth4  ,here she     
emerged a goddess in the charms of awful
 beauty4 ,the ,hours welcomed her       
eagerly1 taking her in their arms and   
putting a crown of gold upon her head4  
,as she went on her way1 flowers grew in
 her path1--                            
,where her delicate feet     ,had       
pressed the sands1 green herbage        
flowering sprang4#cj  #cj ,an account of
 the birth of ,aphrodite is given in    

,hesiod's ,theogony and in the ,homeric 
,hymn to ,venus1 and the quotations here
 are drawn from both sources4  ,as we   
have already seen1 there were among the 
,greek divinities two other goddesses   
besides ,aphrodite specially famed for  
their beauty1--,athena and ,hera4       
,tradition tells how the beauty of the  
three was tested4 ,an apple was thrown  
into their midst inscribed ,for the     
fairest1 and a contention at once arose 
as to the rightful owner4 ,paris1 the   
prince of ,troy1 being chosen arbiter1  
decided in favor of ,aphrodite1 who     
promised him for a wife the fairest     
woman in ,greece1 that is1 ,helen4#ca   
,this was the real cause of the ,trojan 
,war1 in which the ,greeks sought to    
recover their stolen princess4          
,aphrodite being at the bottom of the   
trouble remained through the war on the 
,trojan side4  #ca ,see ,tennyson's     
poem1 ,oenone4  ,oddly enough the       
beautiful goddess was mated to the      
ugliest of the gods1 the lame blacksmith

 ,hephaestus 7or ,vulcan74 ,at his forge
 were made those fateful arrows of the  
little god ,eros 7or ,cupid71 the mother
 standing by to tip their points with   
honey4  ,the power of love in human life
 made the ideal of ,aphrodite very dear 
to the hearts of the ,greeks4 ,all that 
is most tender and sacred in this human 
relation was personified in her4 ,as    
love ennobles the life and makes it     
unselfish1 so1 they reasoned1 must      
,aphrodite be a grand and noble being4  
,again1 as love glorifies the life1 and 
brings joy into its commonest details1  
she must also be beautiful and          
laughter-loving4 ,in short1 one cannot  
think of any quality of love which was  
not reflected in the person of the      
glorious goddess4 ,temples were built in
 her honor1 and she was worshiped in    
festivals and sacrificial rites4        
,statues of her were set up in many     
places1 and one of the most famous which
 has come down to us is reproduced in   
our illustration4  ,illustration3       

,neurdein ,freres1 ,photo4 ,john ,andrew
  ,son1 ,sc4  ,,the ,,aphrodite ,,of    
,,melos 7,,the ,,venus ,,of ,,milo7     
,the ,louvre1 ,paris  ,we have now      
learned by repeated instances that the  
,greeks had such definite ideas of their
 deities that their statues were as     
readily recognized as if they           
represented actual persons4 ,the        
sculptors followed types accepted by    
tradition as the best embodiment of the 
characters they stood for4 ,so          
especially with ,zeus1 ,athena1 and     
,hera1 and so again with ,aphrodite4    
,she must be supremely fair1 with a     
beauty less austere than that of the    
maiden ,athena1 less regal than that of 
,hera1 and more fascinating than either4
  ,we see then at once that the         
beautiful figure of our illustration    
must be ,aphrodite1 or ,venus4 ,in      
looking at her we think1 not of wisdom1 
or force1 or power1 but just of beauty4 
,she stands resting the weight of her   
body on one foot1 and advancing the     

other with knee bent4 ,the posture      
causes the figure to sway slightly to   
one side1 describing a fine curved line4
 ,the lower limbs are draped1 but the   
upper part of the body is uncovered1 and
 in some mysterious way the sculptor has
 imparted to the marble a seeming       
softness as of real flesh4 ,the head is 
as exquisitely set as a flower on its   
stalk4 ,the parted hair is drawn back in
 rippling waves over the low forehead4  
,the eyes are not very wide open1 having
 something of a dreamy languor4 ,melting
 eyes are indeed characteristic of      
,venus1 and an analytical critic has    
explained that this effect is produced  
in sculpture by a slight elevation of   
the inner corner of the lower eyelid4   
,the nose is perfectly cut1 the mouth   
and chin are moulded in adorable curves4
 ,yet to say that every feature is of   
faultless perfection is but cold praise4
 ,no analysis can convey the sense of   
her peerless beauty4  ,the statue       
originally stood on the ,greek island of

 ,melos1 where it was discovered in     
#ahbj in this broken state4 ,many wise  
heads have been puzzled to know the     
position of the missing arms4 ,some have
 thought that the goddess carried a     
shield1 and others have fancied her     
holding the traditional apple4 ,there   
have also been many discussions as to   
the date of the work4 ,now if the statue
 had been made in the fifth century ,b4 
,c41 the goddess would have been fully  
draped2 if in the fourth century1       
entirely without drapery4 ,our sculptor 
then belonged to neither of these       
periods1 and combined the               
characteristics of both4 ,it is a fault 
on his part to have placed the drapery  
in an impossible position1 whence in    
actual life it would immediately fall of
 its own weight4 ,yet we do not think of
 such criticisms when we see it4 ,the   
beautiful body rising above the drapery 
reminds us of the myth of ,aphrodite    
emerging from the sea foam4 ,her beauty 
is a union of strength and sweetness1 a 

perfect embodiment of a nature at       
harmony with itself and its             
surroundings4     ,,xiv  ,,orpheus ,,and
 ,,eurydice   ,there was once a man     
named ,orpheus1 who lived in the land of
 ,thrace4 ,it was said that his father  
was ,apollo1 and his mother the muse    
,calliope2 so it is not strange that he 
was both poet and musician4 ,so         
enchanting was the music of his lyre    
that wild animals came forth from their 
haunts to hear him4 ,even trees and     
rocks seemed to feel the magic influence
 of the strain4  ,he had a beautiful    
wife named ,eurydice1 whom he loved     
dearly1 and they were happy together    
till a sad accident separated them4 ,she
 was bitten one day by a poisonous      
serpent1 and died from the effects of   
the wound4 ,there was no more happiness 
on earth for ,orpheus1 and he determined
 to seek ,eurydice in the underworld of 
the dead4  ,now the gates of the lower  
regions were guarded by a three-headed  
dog named ,cerberus1 but even this      

fierce beast was subdued by the         
entrancing music of ,orpheus1 who       
,through the unsubstantial realm        
,populous with phantom ghosts of buried 
men1     ,undaunted passed to where     
,persephone     ,sits by the monarch of 
that cheerless folk     ,of shadows     
throned--and struck his lyre1 and sang4 
,pouring forth the mournful tale of his 
lost love1 he appealed to the gods to   
give him back ,eurydice4 ,so eloquent   
was his plea that all who listened were 
moved to weeping4 ,then for the first   
time the iron cheeks of the ,furies were
 wet with tears1 and                    
,of the nether realm     ,nor ,king nor 
,queen had heart to say him nay4        
,eurydice was brought forth and restored
 to her husband1 but a single condition 
was laid upon ,orpheus in leading her   
out4 ,until they had regained the earth 
he was not to look backward1 or the boon
 would be forfeited4 ,the ,latin poet   
,ovid tells how the two fared forth     
together from the underworld1 and how   

,orpheus failed in the conditions of the
 agreement4                             
,through the silent realm     ,upward   
against the steep and fronting hill     
,dark with obscurest gloom1 the way he  
led3     ,and now the upper air was all 
but won1     ,when fearful lest the toil
 o'ertask her strength     ,and yearning
 to behold the form he loved1     ,an   
instant back he looked1--and back the   
shade     ,that instant fled4444        
444,one last     ,and sad ',farewell1'  
scarce audible1 she sighed1     ,and    
vanished to the ghosts that late she    
left4#cb  #cb ,from the ,metamorphoses1 
,book x1 in ,henry ,king's translation1 
from which also the other quotations are
 drawn4  ,illustration3 ,d4 ,anderson1  
,photo4 ,john ,andrew  ,son1 ,sc4       
,,orpheus ,,and ,,eurydice  ,albani     
,villa1 ,rome  ,our bas-relief          
represents a scene of parting between   
,orpheus and ,eurydice1 and we may take 
it1 as we please1 to refer to their     
first or to their last farewell4 ,it    

seems1 however1 to apply more           
appropriately to the first departure of 
,eurydice to the unknown land4 ,she lays
 her hand fondly upon her husband's     
shoulder1 and he touches it gently as if
 to detain her4  ,the figure on the     
other side is the messenger god ,hermes1
 whose mission is to conduct departing  
spirits to the other world4#cc ,he has  
come for ,eurydice1 and he takes her by 
the hand to draw her away4 ,for a moment
 husband and wife gaze into each other's
 eyes with love and sorrow1 while the   
messenger waits with exquisite courtesy4
  #cc ,see page #fa4  ,though the       
,greeks had many tales of sorrow in     
their poetry and mythology1 they did not
 often illustrate them in their art4    
,the subjects of their sculpture are    
nearly always happy ones4 ,even here1   
you see1 grief is made so beautiful and 
dignified that we forget to feel sad    
about the parting4 ,we think most of the
 love and devotion between ,orpheus and 
,eurydice4  ,the simple story of the    

bas-relief touches us more readily      
perhaps than the grand statues of the   
gods4 ,people like in art something     
which corresponds to the common human   
lives of all4  ,the garment worn by     
,eurydice seems quite like that of the  
goddess ,demeter4 ,the drapery is very  
full in front1 falling in long straight 
folds4 ,at the side it is scantier and  
shows the motion of the figure in       
walking4 ,the short tunic worn by the   
other figures is a picturesque costume1 
and the mantle swinging over one        
shoulder is very graceful4 ,when one    
contrasts with these classical draperies
 the stiff dress of modern times1 one   
wonders that the sculptor of to-day does
 not throw down his chisel in despair4  
,the style of the draperies often       
enables a critic to decide in what      
period a work of art was produced4 ,in  
the best art the folds are always       
simple3 it is a sure sign of declining  
art when the folds are complicated and  
broken4 ,here we see the few simple1    

severe lines which mark the purest      
classical taste4     ,,xv  ,,nike 7,,the
 ,,winged ,,victory7   ,upon the death  
of ,alexander the ,great there was much 
disputing among his generals as to what 
should become of the various provinces  
of his empire1 including ,greece4 ,it   
was finally decided that the ,greek     
cities should be left free4 ,a general  
named ,ptolemy soon broke this agreement
 and entered ,greece1 whereupon another 
named ,antigonus promptly proceeded to  
punish him4 ,antigonus had a son        
,demetrius1 who was a skilful engineer1 
and was called ,poliorcetes1 besieger of
 cities1 for his success in raising     
sieges4 ,he was sent to ,athens with a  
fleet of two hundred and fifty ships1   
and won the gratitude of the city for   
delivering it from the hands of         
,ptolemy4 ,demetrius next turned his    
attention to the island of ,cyprus1 of  
which ,ptolemy was in possession4 ,the  
rival forces met off ,salamis1 #cjf ,b4 
,c41 in a fierce sea fight1 and         

,demetrius was victorious4  ,now the    
,greeks were fond of commemorating      
notable events by the erection of       
statues1 and it was an old custom among 
them to set up a statue of victory in   
honor of any success of arms on land or 
sea4 ,we have seen how natural it was   
for them to attribute the affairs of    
life to the agency of the deities4 ,so  
in war1 greatly as they praised their   
armies and their generals1 it was to    
,nike1 the goddess of victory1 that they
 gave the chief credit of success4 ,this
 goddess was conceived as a winged being
 attendant upon both ,zeus and ,athena1 
who1 as we have seen1 controlled the    
destinies of war4  ,to ,nike then1 this 
winged goddess of victory1 was due the  
wonderful success of ,demetrius over    
,ptolemy's fleet before ,salamis1 and it
 was fitting that her statue should     
commemorate the event4 ,the spot chosen 
for it was the island of ,samothrace1   
which stands so high above water level  
that it is very conspicuous in the      

northern ,greek archipelago4  ,the      
goddess was represented standing on the 
prow of a vessel as if leading the fleet
 to success4 ,it may be that the old    
,greek idea of a goddess at the prow was
 the origin of the figure head for so   
many years carried by every ship that   
sailed the seas4 ,the vessels in those  
old days were called triremes1 being    
propelled by rowers who sat at their    
oars in three tiers1 or banks1 which    
gave the name to the craft4 ,the goddess
 stood in the middle of what was called 
the ikrion proras1 which would          
correspond to the forecastle deck4 ,in  
her right hand she held a trumpet to her
 lips1 and in her left she carried a    
crosstree1 the framework of a trophy4   
,illustration3 ,neurdein ,freres1       
,photo4 ,john ,andrew  ,son1 ,sc4       
,,nike 7,,the ,,winged ,,victory7  ,the 
,louvre1 ,paris  ,the figure is in an   
erect poise with the chest held high4   
,you will notice that a walker making   
his way against the wind bends the body 

forward to resist its force1 while one  
who is borne along on some vehicle in   
the face of the wind steadies himself   
upright4 ,so with ,nike2 the attitude   
expresses the sense of exhilaration from
 the rush of wind in the face of one    
borne along on a moving vessel4 ,the    
breeze beats the thin drapery back upon 
her1 outlining the beautiful curves of  
bust and limb1 and fluttering behind her
 in the air4 ,the broad pinions which   
would retard the ship's motion if spread
 open are folded to cut the air like the
 prow4  ,when the statue was set up and 
the colossal figure in white marble was 
seen against the blue sky of a southern 
land1 what an inspiration it must have  
been as a symbol of success6 ,what      
discouraged heart could look at such a  
figure and not be thrilled with new     
ambition6 ,the statue of ,nike was not  
the only tribute to the victory of      
,demetrius4 ,some special coins were    
struck in honor of the event1 including 
gold staters and silver tetradrachms1   

specimens of which still exist4 ,the    
design on the obverse of these coins    
represented the statue of ,nike4  ,years
 passed1 and at length the independence 
of the ,greeks was crushed under the    
heel of the ,roman conqueror4 ,many     
places were laid waste throughout the   
peninsula and the ,greek islands4       
,temples were destroyed and pillaged1   
and statues were thrown from their      
pedestals and buried beneath the soil   
and d'ebris4 ,our statue of ,nike shared
 the sad fate which befell so many other
 great works of art4 ,for centuries it  
lay in fragments in the ruins           
surrounding a temple in ,samothrace4    
,then came the explorer with pickaxe and
 shovel1 some of the precious bits were 
recovered1 and learned men set to work  
to put them together again4 ,the coins  
of ,demetrius were their guide1 and the 
tiny figure of ,nike engraved thereon   
was the model after which the great     
statue was reconstructed4  ,the head and
 arms are still missing1 and a fanciful 

conceit might suggest that these losses 
were the marks of a hard-fought battle4 
,success has been dearly bought1 but the
 goddess emerges1 erect and undaunted1  
her tattered wings beating the air      
victoriously4 ,as we look at the statue 
we think less of what it lacks than of  
what it is4 ,perhaps if head and arms   
were there we should not have eyes for  
the glorious lines in the figure itself4
 ,one particularly fine line is the     
continuous curve running across the bust
 and the arched top of the wings4  ,the 
figure gives us a sense of motion which 
fairly quickens the blood in our veins4 
,we1 too1 seem to feel the strong salt  
breeze in our faces1 speeding through   
the air with courage high1 and hope     
steadily set toward victory4     ,,xvi  
,,pericles   ,in the history of ancient 
,greece the half century included       
between the years #dhj and #dcj ,b4 ,c4 
is called the ,age of ,pericles4 ,during
 forty years of this period ,pericles   
was the political leader of ,athens4    

,under his guidance the city reached the
 height of her power as the capital of  
an empire composed of tributary states4 
,nor was political power the chief glory
 of ,athens at this time4 ,she was the  
centre of arts and science for the whole
 world4 ,this was the age of great      
,greek literature1 when ,,aeschylus1    
,sophocles1 and ,euripides wrote their  
immortal dramas4 ,it was also the age of
 great oratory1 when the ,athenians     
constantly heard the purest lessons of  
patriotism put forth in the loftiest    
forms of eloquence4 ,finally1 it was the
 age of great art1 when architecture and
 sculpture attained perfection and when 
,phidias1 the foremost ,greek sculptor1 
produced his masterpieces4  ,pericles   
was the dominating spirit in all this   
brilliant company4 ,it was his able     
statesmanship which made and executed   
the ambitious plans for the             
aggrandizement of the city4 ,it was1    
moreover1 his generalship which carried 
out successfully so many military       

expeditions4 ,his eloquence gave him    
great influence over the people4 ,he had
 the art of controlling men and moving  
their passions as a musician plays on   
the strings of his instrument4 ,upon his
 return from the ,samian war he         
delivered a remarkable funeral oration  
on those who had fallen in battle4      
,still again1 his oration in honor of   
the heroes of the ,peloponnesian war was
 a noble eulogy of ,athens and the      
,athenians4  ,the part of ,pericles'    
career which interests us most in our   
study of ,greek art is his zeal in      
beautifying ,athens with works of       
architecture and sculpture4 ,he covered 
the ,acropolis1 as the great hill in    
,athens was called1 with beautiful      
buildings richly adorned with sculpture4
 ,he appointed ,phidias superintendent  
of all the public edifices1 and employed
 the most skilled workmen4 ,besides many
 temples1 a theatre for music1 called an
 odeum1 was built1 and ,pericles        
introduced into the ,panathenaic        

festival a contest in music held in this
 place4 ,in addition to the public      
buildings erected1 ,pericles caused a   
long wall to be built to surround the   
city with fortifications4  ,it may be   
supposed that all these improvements    
cost a great deal of money1 and there   
were not lacking men who criticised     
,pericles for extravagance in the use of
 public funds4 ,in an assembly of the   
people1 the great statesman called upon 
them to say if they thought he had spent
 too much4 ,yes1 came the answer4 ,then1
 said he1 be it charged to my account1  
not yours1 only let the edifices be     
inscribed with my name1 not that of the 
people of ,athens4 ,at this they cried  
out that he might spend all he pleased  
of the public funds1 and the criticism  
was silenced4 ,the story shows the quick
 wit of the orator1 as well as his      
knowledge of human nature4 ,he knew he  
was safe in appealing to the pride of   
the people in their city4  ,at the close
 of his long career ,pericles was seized

 with the plague1 and lay sick unto     
death4 ,as his friends gathered about   
his death-bed they recounted his great  
deeds and many victories4 ,suddenly he  
interrupted them by exclaiming that they
 were praising only those qualities in  
which he was no greater than other men4 
,in his own estimate1 the most honorable
 trait of his character was that no     
,athenian through his means had ever put
 on mourning4  ,pericles was in fact a  
true patriot and a benefactor of his    
people4 ,in the administration of public
 affairs he showed an upright and       
honorable character4 ,though all his    
life handling the public funds and      
increasing the wealth of the state1 it  
is said that he added not one drachma to
 his own estate4 ,he managed his private
 fortune with great prudence and        
dispensed many charities to the needy4  
,his manners were calm and moderate1 and
 he never gave way to envy or anger4    
,his biographer1 ,plutarch1 has written 
of him that where severity was required1

 no man was ever more moderate1 or if   
mildness was necessary1 no man better   
kept up his dignity than ,pericles4     
,pericles was a man of fine and striking
 presence1 with a countenance cast in   
the mould we have come to know as the   
typical ,greek4 ,his head was somewhat  
abnormally long1 and the nickname onion 
head was given him on this account4     
,plutarch says that this peculiarity    
accounts for the fact that he was always
 represented in portraits as wearing a  
helmet4  ,we have reason to believe that
 the bust reproduced in our frontispiece
 was made soon after his successful war 
against ,samos4 ,it represents him then 
in the fullness of his manhood and at   
the height of his success and           
popularity4 ,the handsome face is full  
of refinement and shows the calm1       
equable temperament which made him a    
leader4 ,his qualities of statesmanship 
strike us most forcibly in the portrait4
 ,we should hardly suspect that this was
 a great military commander4 ,yet that  

here is a master of men1 we can easily  
believe4 ,one can imagine him standing  
before a great multitude1 moving them   
with the power of his eloquence4        
,,pronouncing ,,vocabulary ,,of ,,proper
 ,,names ,,and ,,foreign ,,words   ,the 
,diacritical ,marks given are those     
found in the latest edition of          
,webster's ,international ,dictionary4  
,,explanation ,,of ,,diacritical        
,,marks4      ,a ,dash 77 above the     
vowel denotes the long sound1 as in     
fate1 eve1 time1 note1 use4      ,a     
,dash and a ,dot 74x7 above the vowel   
denote the same sound1     less         
prolonged4      ,a ,curve 77x7 above the
 vowel denotes the short sound1 as in   
7add1 7end1 7ill1 7odd1 7up4      ,a    
,dot 747 above the vowel a denotes the  
obscure sound of a in     p4ast1 4abate1
 ,am7eric4a4      ,a ,double ,dot 77    
above the vowel a denotes the broad     
sound of a     in f3ather1 3alms4       
,a ,double ,dot 77 below the vowel a    
denotes the sound of a in     ba3ll4    

,a ,wave 77 above the vowel e denotes   
the sound of e in her4      ,a          
,circumflex ,accent 77 above the vowel o
 denotes the sound of o     in born4    
,a dot 747 below the vowel u denotes the
 sound of u in the ,french     language4
      ,n indicates that the preceding   
vowel has the ,french nasal tone4       
1c sounds like s4      -c sounds like k4
      s sounds like z4      g is hard as
 in get4      4g is soft as in 4gem4    
,achaian 74a-ka'y4an74      ,achilles   
74a-k7il'lez74      ,acropolis          
74a-kr7op'4o-l7is74      ,admetus       
77ad-me't7us74      ,,aegis 7e'j7is74   
,,aeschylus 77es'k7i-l7us74             
,agoracritus 77ag-4o-r7ak'r7i-t7us74    
,agrippa 74a-gr7ip'4a74      ,albani    
73al-b3a'ne74      ,alcamenes           
77al-k7am'7e-nez74      3al't7is4       
,antigone 77an-t7ig'o-ne74              
,antigonus 77an-t7ig'o-n7us74           
,antium 77an'sh7i-7um74      ,aphrodite 
77af-r4o-di'te74      ,apollo           
74a-p7ol'o74      ,apoxyomenos          

77a-p7ox-7i-7om'4e-n7os74      ,ares    
7a'rez74      ,argicide 73ar'j7i-sid74  
,argonauts 73ar'go-na3tz74              
3ar'g7us4      ,aristophanes            
77ar-7is-t7of'4a-nez74      ,athena     
77a-the'n4a74      ,athens 77ath'7enz74 
,bacchus 7b7ak'7us74      ,belvedere    
7b7el-v4e-der'74      ,bernini          
7b7er-ne'ne74      ,brunn 7br7oon74     
caduceus 7k4a-du's4e-7us74              
,c7al'4am7is4      ,c7alli'ope4         
,centaur 7s7en'ta3r74      ,cerberus    
7ser'b4e-r7us74      ,ceres 7se'rez74   
,chiron 7ki'r7on74      ,collignon      
7k7ol-l4en-yo,n'74      ,cr7es'7il4as4  
,cyprus 7si'pr7us74       ,delphi       
7d7el'fi74      ,d7eme'ter4             
,d7eme'tr7i7us4      ,di'4om7ed4        
,d7isc7ob'4ol7us4      d7is'k7os4       
,d7on3at7el'lo4       ,elgin 77el'g7in74
      ,eros 7e'r7os74      ,euphranor   
7u-fra'nor74      ,euripides            
7u-r7ip'7i-dez74      ,eurydice         
7u-r7id'i-s4e74       ,furtw3angler     
7foort'v4ang-ler74       ,g7al'4ah7ad4  

,giustiniana 7j7oos-te-ne-3a'n3a74      
glaukopis 7gla3-ko'p7is74      ,gorgon  
7gor'g7on74       ,h7ec'4ate4           
,h7ell7en7is't7ic4      ,hephaestus     
7h4e-f7es't7us74      ,he'r3a4          
,heraeum 7h4e-re'7um74      ,h7er'cules4
      hermae 7her'me74      ,her'mes4   
,he's7i7od4       7ik'r7i7on pro'r3as4  
,iliad 77il'7i-4ad74      ,io 7i'o74    
,ithaca 77ith'4a-k4a74       ,ja's7on4  
,ju'no4      ,ju'p7iter4                
,lancelotti 7l3an-ch4a-l7ot'e74         
,l7at'er4an4      ,leochares            
7l4e-7ok'4a-rez74      ,louvre 7loo'vr74
      ,lucian 7lu'sh7i-4an74            
,ludovisi 7loo-do-ve'ze74      ,lutatius
 ,catulus 7lu-ta'sh7i-7us k7at'u-l7us74 
,lycur'g7us4      ,lys7ip'p7us4         
,m3ars4      ,m7ed'7ic3a4      ,me'l7os4
      ,mer'cur7y4                       
,m7et4am7or'phoses4      ,m7et'opes4    
,mi'lo4      ,m7iner'v4a4      ,my'r7on4
       ,n7em'7es7is4      ,ni'ke4       
,ny's4a4       ode'7um4      ,odyssey   
77od'7i-s7i74      ,,oedipus ,coloneus  

77ed'7i-p7us ko-lo-ne'-7us74            
,,oedipus ,tyrannus 77ed'7i-p7us        
t7i-r7an'-7us74      ,,oenone           
7e-no'n4e74      ,olympia               
7o-l7im'p7i-4a74      ,olympiad         
7o-l7im'p7i-7ad74      ,olympic         
7o-l7im'p7ik74      ,olympus            
7o-l7im'p7us74      ,orpheus 7or'fus74  
,otricoli 7o-tre'ko-le74      ,ovid     
77ov'7id74       palaestra              
7p4a-l7es'tr4a74      ,p7al'l4as4       
,panathenaea 7p7an-7ath-4e-ne'4a74      
,p7an7ath4ena'7ic4      ,p3arn7as's7us4 
,p3ar'th4en7on4      ,pa'ter4           
,p4atro'cl7us4      ,peloponnesian      
7p7el-4o-p7on-ne'sh4an74                
,p4en7el'op4e4      ,p7ent7el'7ic4      
p7ep'l7os4      ,p7er'7icles4           
,persephone 7per-s7ef'o-ne74            
,perseus 7per'sus74      ,phidias       
7f7id'7i-4as74      ,phoebus 7fe'b7us74 
,phrynicus 7fr7in'7i-k7us74             
,p7in'd4ar4      pl7ec'tr7um4           
,pl7in'7y4      ,plutarch 7plu't3ark74  
,plu'to4      ,p7ol7icly't7us4          

,p7ol7ior1ce'tes4      ,pr7ax7it'7eles4 
,ptolemy 7t7ol'7e-m7i74                 
,p7yth'7i4a4      ,py'th7on4            
,reber1 von 7f7on ra'ber74              
,s7al'4am7is4      ,sa'm7i4an4          
,sa'm7os4      ,samothrace              
7s7am'4o-thras74      ,sco'p4as4        
,scyros 7si'r7os74      ,s7oph'ocles4   
strigil 7str7i'j7il74      ,st7yx4      
,symonds 7s7im'7undz74       ,telemachus
 7t4e-l7em'4a-k7us74      ,terracina    
7t7er-r3a-che'n3a74      ,the7og'on7y4  
,theseus 7the'sus74      ,thrace        
7thras74      ,trastevere               
7tr3as-ta-va'ra74      trireme          
7tri'rem74      ,tro'j4an4              
,ulysses 7u-l7ys'sez74       ,vatican   
7v7at'7i-k4an74      ,ve'n7us4          
,v7ul'c4an4       ,waldstein            
7wa3ld'stin74       ,zeus 7zus74