File:Handbook of archaeology, Egyptian - Greek - Etruscan - Roman (1867) (14781343615).jpg

Identifier: handbookofarchae00west (find matches)
Title: Handbook of archaeology, Egyptian - Greek - Etruscan - Roman
Year: 1867 (1860s)
Authors: Westropp, Hodder M. (Hodder Michael), -1884
Subjects: Art, Ancient Archaeology
Publisher: London, Bell and Daldy
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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though remarkablebeauty and softness may be observed in the works of his successors,art never recovered the spiritual height she had reached underPhidias himself. In this age alone sculpture, by the grandeur andsublimity it had attained to in its style, was qualified to give aform to the sublime conceptions of the deity evolved by the mindof Phidias. He alone was considered able to embody and to rendermanifest to the eye the sublime images of Homer. Hence he wascalled the sculptor of the gods. It is well known that in theconception of his Jupiter Olympius, Phidias wished to rendermanifest, and that he succeeded in realizing, the sublime image underwhich Homer represents the master of the gods. The sculptorembodied that image in the following manner, according to Pau- K 130 HANDBOOK OF ARCHAEOLOGY. sanias : The god sat on a throne of ivory and gold, his headcrowned with a branch of olive, his left hand presented a Victory ofivory and gold, with a crown and fillet; his right hand held a
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JUPITER OLYMPIUS. RESTORED PROM PHIDIAS BY QUATREMERE DE QUINCY. sceptre, beautifully distinguished by all the different metals, onwhich an eagle sat; the sandals of the god were gold, so was hisdrapery, on which were various animals, with flowers of all kinds,especially lilies; his throne was refulgent with gold and preciousstones. There were also statues; four Victories, alighting, wereannexed to the feet of the throne; those in front rested each on asphinx that had seized a Theban youth; below the sphinxes thechildren of Niobe were slain by the arrows of Apollo and Diana. SCULPTURE. 131 This statue, Flaxman observes, sixty feet in height, was the mostrenowned work of ancient sculpture, not for stupendous magnitudealone, but more for careful majesty and sublime beauty. Mullerthus characterizes the distinctive features of this period: We findeverywhere a truth in the imitation of nature, which, withoutsuppressing anything essential (such as the veins swollen fromexertion) without eve

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