File:Handbook of archaeology, Egyptian - Greek - Etruscan - Roman (1867) (14801205113).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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e subject demands it, and an ease andcomfort of repose when, as in the gods especially, it appeared fitting;the greatest truth and lightness in the treatment of the draperywhen regularity and a certain stiffness is not requisite, a luminousprojection of the leading idea and abundance of motives in subor-dinate groups, evincing much ingenuity of invention; and lastly, anatural dignity and grace united with a noble sublimity and unaf-fectedness, without any effort to allure the senses, or any aiming atdazzling effect and display of the artists own skill, which charac-terized the best ages not merely of art, but of Grecian life generally.The sculptures of the Parthenon, now in the British Museum, canlead us to appreciate the manner of Fhidias, and the character of hisschool, as observed by Flaxman ; they are to be admired for their k 2 132 HANDBOOK OF ARCHAEOLOGY. simplicity, grandeur, elegance, and nature. The Theseus of thepediment, the metopes, and bas reliefs, are remarkable for that
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THESEUS. PAKTHENON. grandeur of style, simplicity, truth, beauty, which are the character-istics of the school of Phidias. These sculptures, however, whichemanated from the mind of Phidias, and were most certainly executedunder his eyes, and in his school, are not the works of his hands.Phidias himself disdained, or worked but little in marble. Theywere, doubtless, the works of his pupils, Alcamenes, Agoracritus, andsome other artists of his time- For, as Flaxman remarks, thestyles of different hands are sufficiently evident in the alto andbasso rilievo. Praxitelean.—This period is characterized by a more rich and flow-ing style of execution, as well as by the choice of softer and moredelicate subjects than had usually been selected for representation.In this the beautiful was sought after rather than the sublime.Praxiteles may be considered the first sculptor who introduced thismore sensual, if it may be so called, style of art; for he was thefirst who, in the unrobed Aphrodite, co

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