Part 11

Pausias fell in love with a beautiful damsel, a native of his own city, called Glycera, who gained a livelihood by making garlands of flowers, and wreaths of roses. Her skill in this art induced Pausias, in a loving rivalry, to attempt to compete with her, and he ultimately became an inimitable flower painter. A portrait of Glycera with a garland of flowers, called Stephanopolis, or the Garland Twiner, was reckoned his masterpiece. So great was the fame of it, that Lucius Lucullus gave for a copy, at Athens, two talents, or about two thousand dollars.

PROTOGENES, THE GREAT RHODIAN PAINTER.

The most famous of his works was the picture of Ialysus and his Dog, which occupied him seven years. The dog, represented as panting and foaming at the mouth, was greatly admired; and it is related that Protogenes was for a long time unable to represent the foam in the manner he wished, till at length he threw his sponge in a fury at the mouth, and produced the very effect he desired! The fame of this painting was so great, that, according to Pliny, Demetrius Poliorcetes, when besieging Rhodes, did not assault that part of the city where Protogenes lived, lest he should destroy the picture. His studio was situated without the walls, where, to the astonishment of the besiegers, he continued to paint with perfect tranquillity. This coming to the ears of Demetrius, he ordered the artist to be brought to his tent, and demanded how he could persist in the quiet exercise of his profession, when surrounded by enemies? Protogenes replied that he did not consider himself in any danger, convinced that a great prince like Demetrius did not make war against the Arts, but against the Rhodians.

PARRHASIUS.

This great painter was a native of Ephesus, but became a citizen of Athens, where he flourished about B. C. 390. He raised the art to a much higher degree of perfection than it had before attained. Comparing his three great predecessors with each other, he rejected their errors, and adopted their excellencies. The classic invention of Polygnotus, the magic tones of Apollodorus, and the exquisite design of Zeuxis, are said to have been united in the works of Parrhasius. He reduced to theory the practice of former artists, and all cotemporary and subsequent painters adopted his standard of heroic and divine proportions; hence he was called the _Legislator of Painting_.

THE DEMOS AND OTHER WORKS OF PARRHASIUS.

One of the most celebrated works of Parrhasius was his Demos, or an allegorical picture of the Athenians. Pliny says that “it represented and expressed equally all the good as well as the bad qualities of the Athenians at the same time; one might trace the changeable, the irritable, the kind, the unjust, the forgiving, the vain-glorious, the proud, the humble, the fierce, the timid.” There has been considerable dispute among critics whether this picture was a composition of one or several figures. Supposing it to have been a single figure, Pliny’s description is absurd and ridiculous, for it is impossible to represent all the passions in a single figure. It does not seem, however, that Parrhasius usually introduced many figures into his compositions. Pliny mentions as among his principal works, a Theseus; a Telephus; an Achilles; an Agamemnon; an Æneas; two famous pictures of Hoplites, or heavily armed warriors, one in action, the other in repose; a Naval Commander in his armor; Ulysses feigning insanity; Castor and Pollux; Bacchus and Virtue; a Cretan nurse with an Infant in her arms; and many others, apparently composed of one, two, or at most three figures.

Parrhasius was equally celebrated for his small, or cabinet pictures of libidinous subjects; hence he was called the _Pornograph_. His famous picture of Archigallus, the priest of Cybele, mentioned by Pliny, is supposed to have been of this description. Also the Meleager and Atalanta mentioned by Suetonius. This picture was bequeathed to Tiberius, on the condition that if he were offended with the subject, he should receive in its stead one million sesterces (about forty thousand dollars). The Emperor not only preferred the picture, but had it hung up in his own chamber, where the Archigallus, valued at six hundred thousand sesterces, was also preserved.

PARRHASIUS AND THE OLYNTHIAN CAPTIVE.

Seneca relates that Parrhasius, when about to paint a picture of Prometheus Chained, crucified an old Olynthian captive, to serve as a model, that he might be able to portray correctly the agonies of Prometheus while the Vulture preyed upon his vitals. This story is doubtless a fiction, as it is found nowhere but in the Controversies. Olynthus was taken by Philip of Macedon, B. C. 347, about forty years subsequent to the latest accounts of Parrhasius.

THE VANITY OF PARRHASIUS.

This great artist was well aware of his powers, but the applause which he received, added to a naturally vain and conceited disposition, so completely carried him away, that Pliny terms him “the most insolent and the most arrogant of artists.” He assumed the title of _The Elegant_, styled himself the _Prince of Painters_, wrote an epigram upon himself, in which he proclaimed his birth, and declared that he had carried the art to perfection. He clothed himself in purple, and wore a wreath of gold on his head; and when he appeared on public occasions, particularly at the Olympic games, he changed his robes several times a day. He went so far as to pretend that he was descended from Apollo, one of whose surnames was _Parrhasius_, and even to dedicate his own portrait as Mercury in a temple, and thus received the adoration of the multitude.

THE INVENTION OF THE CORINTHIAN CAPITAL.

About B. C. 550, there died at Corinth a marriageable virgin; and her nurse, according to the custom of the times, placed on her tomb a basket containing those viands most agreeable to her when alive, covering them with a tile, for better preservation. This basket was unintentionally placed over the root of an acanthus, the spring leaves and stems of which growing up, covered it in so elegant a manner as to attract the notice of Callimachus, who, struck with the idea and novelty of the figure, modelled from it the Corinthian capital, thus giving a remarkable proof of the intimate connection between Art, and Nature--the source of all true art--and producing that exquisitely graceful design which for twenty-four centuries has charmed the civilized world.

THE INVENTION OF SCULPTURE.

Pliny relates a pleasing and highly poetic anecdote of the invention of sculpture. Dibutades, the fair daughter of a celebrated potter of Sicyon, contrived a private meeting with her lover, on the eve of a long separation. After a repetition of vows of constancy, and a stay prolonged to a very late hour, the youth fell fast asleep. The fair nymph, whose imagination was on the alert, observing that her admirer’s profile was strongly reflected on the wall by the light of a lamp, eagerly snatched up a piece of charcoal, and, inspired by love, traced the outline, that she might have the image of her lover before her during his absence. Her father, when he chanced to see the sketch, struck with its correctness, determined to preserve it, if possible, as a memento of such a remarkable circumstance. With this view, he formed a kind of clay model from it, and baked it; which, being the first essay of the kind, was preserved in the public repository of Corinth, even to the fatal day of its destruction by that enemy to the arts, Mummius Achaicus.

PRAXITELES.

Praxiteles, one of the most eminent Grecian sculptors, was cotemporary with Euphranor, and flourished, according to Pliny, in the one hundred and fourth Olympiad, or B. C. 360. The place of his birth is not mentioned. He lived in the period immediately subsequent to the age of Phidias, but his genius took a different course from that style of elevation and sublimity which distinguishes the Æschylus of Sculpture. Praxiteles was the founder of a new school. His style was eminently distinguished for softness, delicacy, and high finish; and he was fond of representing whatsoever in nature appeared gentle, tender, and lovely. Consequently his favorite subjects were the soft and delicate forms of females and children, rather than the masculine forms of athletes, warriors, and heroes.

PRAXITELES AND PHIDIAS COMPARED.

The peculiar abilities of Praxiteles were admirably displayed in the Venus of Cnidus, which, with the exception of the Olympian Jupiter of Phidias, has received higher and more unqualified eulogiums from ancient writers, than any other work of Grecian art. These two great artists may therefore be considered as standing at the head of their respective schools; Praxiteles, the delicate and beautiful--Phidias, the grand and sublime.

THE WORKS OF PRAXITELES.

Praxiteles was eminent for his works, both in bronze and marble, but he seems to have had the highest reputation for his skill in the latter. Among those in bronze, Pliny and Pausanias mention a statue of Bacchus; and one of a Satyr so excellent, that it was called _Periboetos_, or the Celebrated. He also made a statue of Venus; a statue of a Matron weeping; and one of a Courtesan laughing, believed to be a portrait of the celebrated Thespian courtesan, Phryne. His Apollo Sauroctonos (or the Lizard Killer), was the finest of his works in bronze, and was greatly distinguished for purity of style, and graceful beauty of form. In the Vatican there is a well-authenticated marble copy of this work, which is justly considered one of the greatest treasures of that storehouse of art. Among the works in marble by Praxiteles, the famous Venus of Cnidus takes the preëminence.

THE VENUS OF CNIDUS.

Praxiteles executed two statues of Venus--the one draped, and the other naked. The people of Coös chose the former, as the most delicate; but the Cnidians immediately purchased the latter. This work is mentioned by Lucian as the masterpiece of Praxiteles; and it is also the subject of numerous epigrams in the Greek Anthology. Its fame was so great that travelers visited Cnidus on purpose to see it. The original work was destroyed at Constantinople, in the fifth century, in the dreadful fire which consumed so many of the admirable monuments of art, collected in that city.

PRAXITELES AND PHRYNE.

Pausanias relates that the beautiful Phryne, whose influence over Praxiteles seems to have been considerable, was anxious to possess a work from his chisel, and when desired to choose for herself, not knowing which of his exquisite works to select, devised the following expedient. She commanded a servant to hasten to him, and tell him that his workshop was in flames, and that with few exceptions, his works had already perished. Praxiteles, not doubting the truth of the announcement, rushed out in the greatest anxiety and alarm, exclaiming, “all is lost, if my _Satyr and Cupid_ are not saved!” The object of Phryne was answered--she confessed her stratagem, and chose the Cupid.

Pliny mentions two figures of Cupids as among the finest works of Praxiteles, one of which he ranks on an equality with the Venus of Cnidus. It was made of Parian marble. There is an exquisite antique Cupid in the Vatican, supposed to be a copy of the Cupid of Phryne.

THE KING OF BITHYNIA AND THE VENUS OF CNIDUS.

According to Lucian, Nicomedes, King of Bithynia, was so captivated with the Venus of Cnidus, that he offered to pay a debt of the city, amounting to one hundred talents, (about one hundred thousand dollars) on condition of their giving up to him this celebrated statue; but the citizens, to their honor, refused to part with it on any terms, regarding it as the principal glory of the state.

PHIDIAS.

Phidias, the most renowned sculptor of antiquity, was born about B. C. 490. Quintilian calls him “the Sculptor of the Gods,” and others, “the Æschylus of Sculpture,” from the character of grandeur and sublimity in his works. The times in which he lived were peculiarly favorable to the development of his genius. He was employed upon great public works during the administration of Cimon, and subsequently, when Pericles attained the height of his power, Phidias seems to have been consulted in regard to the conduct of all the works in sculpture, as well as architecture. Plutarch says, “It was Phidias who had the direction of these works, although great architects and skillful sculptors were employed in erecting them.” Among the most remarkable objects upon which his talents were exercised, the Parthenon, or Temple of Minerva, claims preëminence. It was built by Callicrates and Ictinus, under the superintendence of Phidias. Within the temple, Phidias executed his celebrated statue, in gold and ivory, of Minerva, represented standing erect, holding in one hand a spear, and in the other a statue of Victory. The helmet was highly decorated, and surmounted by a sphinx; the naked parts were of ivory; the eyes of precious stones; and the drapery throughout was of gold. It is said there were forty talents weight of this metal used in the statue. The people, being desirous of having all the glory of the work, prohibited Phidias from inscribing his name upon it; but he contrived to introduce his own portrait as an old bald-headed man throwing a stone, in the representation of the combat between the Athenians and Amazons, which decorated the shield. A likeness of Pericles was also introduced in the same composition. The exterior of the Parthenon was enriched with admirable sculptures, many of which were from the hand of Phidias, and all of them executed under his direction. A portion of these, termed the Elgin marbles, from their having been taken to England by the Earl of Elgin, are now in the British Museum. They have been highly commended by the most excellent judges; and the eminent sculptor Canova, after visiting London, declared that “he should have been well repaid for his journey to England, had he seen nothing but the Elgin marbles.”

PHIDIAS AND ALCAMENES.

The comprehensive character of the genius of this preëminent sculptor, is well attested by his contest with Alcamenes. It was intended to place a statue of Minerva on a column of great height in the city of Athens; and both these artists were employed to produce images for the purpose, which were to be chosen by the citizens. When the statues were completed, the universal preference was given to the work of Alcamenes, which appeared elegantly finished, while that of Phidias appeared rude and sketchy, with coarse and ill-proportioned features. However, at the request of Phidias, the statues were successively exhibited on the elevation for which they were intended, when all the minute beauties of his rival’s work completely disappeared, together with the seeming defects of his own; and the latter, though previously despised, seemed perfect in its proportions, and was surveyed with wonder and delight.

INGRATITUDE OF THE ATHENIANS.

The enemies of Pericles, with the view of implicating that statesman, accused Phidias of having misapplied part of the gold entrusted to him for the statue of Minerva, and desired that he should be brought to trial. The sculptor, however, by the prudent advice of Pericles, had executed the work in such a manner that the gold might easily be removed, and it was ordered by Pericles to be carefully weighed before the people. As might have been expected, this test was not required, and the malicious accusation was overthrown. They then declared the sculptor guilty of sacrilege in placing his own portrait upon the shield of Minerva; and some writers state that he was thrown into prison; others, that he was banished.

THE JUPITER OF PHIDIAS.

Phidias fled from Athens to Elis, where he was employed to execute a costly statue of the Olympian Jupiter, for the temple in Altis. This statue was the most renowned of all the works of Phidias. It was of colossal dimensions, being sixty feet in height; and seated on a throne; the head was crowned with olive; the right hand held a small statue of Victory, in gold and ivory; the left hand grasped a golden sceptre of exquisite workmanship, surmounted by an eagle; the sandals and mantle were also of the same material, the latter sculptured with every description of flowers and animals; the pedestal was also of gold, ornamented with a number of deities in bas-relief. In the front of the throne was a representation of the Sphynx carrying off the Theban youths; beneath these, the Fate of Niobe and her Children; and, on the pedestal joining the feet, the Contest of Hercules with the Amazons, embracing twenty-nine figures, among which was one intended to represent Theseus. On the hinder feet of the throne were four Victories, as treading in the dance. On the back of the throne, above the head of the god, were figures of the Hours and Graces; on the seat, Theseus warring with the Amazons, and Lions of gold. Its base, which was of gold, represented various groups of Divinities, among which were Jupiter and Juno, with the Graces leading on Mercury and Vesta; Cupid receiving Venus from the Sea; Apollo with Diana; Minerva with Hercules; and, below these, Neptune, and the Moon in her Chariot. On the base of the statue, was the inscription, _Phidias, the son of Charmidas, made me_.--Quintilian observes that this unparalleled work even added new feelings to the religion of Greece. It was without a rival in ancient times, all writers speaking of it as a production that none would even dare to imitate. There is a tradition connected with this celebrated work. Phidias, after the completion of his design, is said to have prayed Jupiter to favor him with some intimation of his approbation, whereupon a flash of lightning darted into the temple, and struck the pavement before him. This was hailed as a proof of divine favor, and a brazen urn or vase was placed upon the spot, which Pausanias mentions as existing in his time.

PHIDIAS’ MODEL FOR THE OLYMPIAN JUPITER.

Phidias, being asked how he could conceive that air of divinity which he had expressed in the face of the Olympian Jupiter, replied that he had copied it from Homer’s celebrated description of him. All the personal strokes in that description relate to the hair, the eye-brows, and the beard: and indeed to these it is that the best heads of Jupiter owe most of their dignity; for though we have now a mean opinion of beards, yet all over the east a full beard carries the idea of majesty along with it; and the Grecians had a share of this Oriental notion, as may be seen in their busts of Jupiter, and the heads of kings on Greek medals. But the Romans, though they held beards in great esteem, even as far down as the sacking of Rome by the Goths, yet in their better ages held them in contempt, and spoke disrespectfully of their bearded forefathers. They were worn only by poor philosophers, and by those who were under disgrace or misfortune. For this reason Virgil, in copying Homer’s striking description of Jupiter, has omitted all the picturesque strokes on the beard, hair, and eye-brows; for which Macrobius censures him, and Scaliger extols him. The matter might have been compounded between them, by allowing that Virgil’s description was the most proper for the Romans, and Homer’s the noblest among the Greeks.

APOLLODORUS THE ATHENIAN.

Apollodorus, one of the most famous of the ancient Greek painters, was born at Athens B. C. 440. Pliny commences his history of Greek painting with this artist, terming him “the first luminary of the art.” He also says of him, “I may well and truly say that none before him brought the pencil into a glorious name and especial credit.” The two most famous works of Apollodorus, were, a Priest in the act of Devotion, and Ajax Oileus Wrecked, both remarkable, not only in coloring and chiaro-scuro, but in invention and composition. These paintings were preserved at Pergamos in the time of Pliny, six hundred years after they were executed. Apollodorus was the first who attained the perfect imitation of the effects of light and shadow invariably seen in nature. If we may depend upon the criticisms of ancient writers, the works of this master were not inferior in this respect to those of the most distinguished moderns. His pictures riveted the eye, not merely from their general coloring, but also from a powerful and peculiar effect of light and shade, on which account he was called “the Shadower.”

APOLLODORUS THE ARCHITECT.

This great architect, who flourished about A. D. 100, was born at Damascus. By his great genius he acquired the favor of the emperor Trajan, for whom he executed many works. He built the great Square of Trajan, to effect which, he leveled a hill, one hundred and forty-four feet high; in the centre he raised the famous column, of the same height as the hill that had been removed, which commemorated the victories of Trajan, and served as a monument to that victorious Emperor. Around the Square, he erected the most beautiful assemblage of buildings then known in the world, among which was the triumphal arch commemorative of Trajan’s victories. The marble pavements of this Square are fifteen feet below the streets of modern Rome. Apollodorus also erected a college, a theatre appropriated to music, the Basilica Nepia, a celebrated library, the Baths of Trajan, aqueducts, and other important works at Rome. His most famous work was a stone bridge over the Danube, in Lower Hungary, near Zeverino. It was one mile and a half long, three hundred feet high, forty feet wide, and was built upon twenty piers and twenty-two arches. Its extremities were defended by two fortresses. Trajan had it constructed to facilitate the passage of his troops, but his successor dismantled it, fearing that the barbarians would use it _against the Romans_.

TRAJAN’S COLUMN.

This column is one of the most celebrated monuments of antiquity. Its height, including the pedestal and statue, is one hundred and forty-four English feet. It was erected in the centre of the forum of Trajan, and was dedicated to that emperor by the senate and people of Rome in commemoration of his decisive victory over the Dacians. It is of the Doric order, and its shaft is constructed of thirty-four pieces of Greek marble, hollowed out in the centre for the stairs, and joined together with cramps of bronze. For elegance of proportion, beauty of style, and for simplicity and dexterity of sculpture, it is accounted the finest column in the world. The sculptures on the pedestal are master-pieces of Roman art. The shaft is embellished with bassi-rilievi, representing the expedition of Trajan against the Dacians, which run spirally, twenty-three times around the column, and which gradually increase in size, so that those at the top appear to the spectator, to be of the same size as those at the bottom. A spiral stair-case, of one hundred and eighty-five steps, runs up the interior, and receives light from sixty-three openings in the shaft. A gold medal, struck in commemoration of the completion of the column, shows that it was formerly surmounted by a statue of Trajan, holding in one hand a sceptre, and in the other a globe, in which were deposited the ashes of that prince. Pope Sixtus V. placed a statue of St. Peter, by the Cavaliere Fontana, in the place of that of Trajan, which had been destroyed some centuries before. A greater absurdity than placing the statue of a peaceful apostle over the sculptured representation of the Dacian war, can scarcely be conceived.

THE DEATH OF APOLLODORUS.