THE HERMES 
 
PREFACE 
 
 § reece, besides the everlasting· beauty with which nature has so richly 
 endowed her, the azure depths of her cloudless skies, the sunlit smile of 
 - the sea which bathes lier shores, the rays of the sun which gild her summits 
 and which ripen in her valleys the Apples of Hesperides, Greece, I repeat, 
 lias something besides all these to offer for the gratification of the artist, and the ad¬ 
 miration of the traveller who visits her. 
 
 Greece, in spite of the despoiler from Mummius downwards, remains still in pos¬ 
 session of a certain number of masterpieces of art, the envy ol the richest Museums in 
 Europe. 
 
 Unfortunately, as said the Ancients sit is not given to every one to go to Corinth», 
 and at the present day, notw ithstanding the great facilities for travel which we possess, 
 few of us find it possible to gratify the desire to visit the masterpieces of art which are 
 treasured up in Greece. 
 
 For these last especially this work has been compiled, since, to quote the well- 
 
wor n Arabian proverb, «if the mountain cannot, come to the Prophet, the Prophet must 
 go to the mountain.» 
 
 The far less numerous class, however, who have the good fortune to be able to 
 visit our fair Greece, will not lind the work useless, it will be, on the contrary, a constant 
 souvenir of one of the greatest pleasures given to man, the power to en joy works ol 
 faultless beauty. 
 
 We shall commence with the Hermes of Praxiteles, the only masterpiece of the 
 inspired genius which has come down to us. 
 
DIVISION 
 
 OF 1 THE WORK 
 
 «5% efore speaking of Praxiteles, and of the only one 
 ■ ot liis great works which has come down to us, we 
 ' think if would he well to say a few words respecting 
 iff ; locality where lliis great masterpiece was originally 
 w placed, and the spot where it was found after the lapse 
 ' many ages. 
 
 \\ e shall divide this study into three chapters. In the first, we 
 shall give a short description of Olympia; in the second, we shall 
 speak of the life and of the talent of Praxiteles, as well as of his principal 
 works which are known to us hy means of copies; while in the third 
 chapter, we shall give extracts from what was written by the principal 
 archaeologists of Europe at (lie time of the discovery of the statue of Hermes 
 on the site of the Temple of Hera. 
 
 
CHAPTER I 
 
 OLYMPIA 
 
 lympia (’Ολυμπία) was not a city, but a sacred grove, similar 
 to those of Nemea and Epidaurus, and dedicated to Zeus under 
 the name of Altis, the ancient word for άλσος ; sacred grove. 
 It was in this sanctuary, once in every four years, when all the 
 inhabitants ot Greece were convoked, thal the Olympic games were cele¬ 
 brated. During this celebration hostilities were everywhere suspended; the 
 bitterest foes took part in these peaceful contests on the sacred soil ol 
 Olympia. Viewed with regard to their effect on civilisation, these games 
 were amongst the most remarkable institutions of antiquity. I heir origin 
 dates back to a remote period, but they were only permanently established 
 about the year 884 by Iphitus and Lycurgus, and it is only from 770— 
 a year rendered remarkable by the victory of Goroebe—that the era of 
 the Olympiad dates. 
 
 \I . Beulé, in his book (Étude sur le Péloponnèse pag. 238—244), has demon¬ 
 strated the happy influence exercised by the Olympic games on the manners 
 of the Greeks, by establishing, so to say, a sort of truce amongst them 
 every four years, and by tightening the bonds of brotherhood ; this influence 
 was not, however, sufficiently strong to totally extinguish those rivalries 
 amongst the Greeks, which finally caused them to become subject to a 
 foreign yoke. 
 
 The Altis was situated in the plain between the rivers Alpheus and 
 Kladeus, Mount Kronios, and the hill of Miraka. In it were enclosed thou- 
 
 2 
 
sands of statues, altars, temples to all the Gods, a Stadium, a Theatre, a 
 Hippodrome, and a crowd of other edifices mentioned bv Pausanias. All 
 were entirely destroyed by the inundations of the Alpheus, the embankments 
 and terraces which protected the Altis being first swept away; the ruins 
 were subsequently, during a course of ages, gradually embedded in deposits 
 of sand and mud. 
 
 To the French expedition to the Peloponnesus is due the honour 
 of recognising in the columns and stylobates which still exist, the remains 
 of the celebrated temple of the Olympian Zeus. In the early days of Mav 
 1829, die French Mission under the direction of Abel Blouet, arrived at 
 Olympia. On the 10 lb ot May, M. Dubois opened a trench in front of the 
 Eastern facade of the great Temple; on the 17“*, Blouet commenced work on 
 the terrace in front of the Western façade. The work was only continued for 
 six weeks, but one can learn from what was done, the proportions of a 
 great part of the building: many important pieces of sculpture were found; 
 amongst them, the magnificent Metope representing Hercules and the Bull, 
 now in the Louvre; it was presented to the French bv the National As¬ 
 sembly at Argos. These bas-reliefs were embarked on the Alpheus and 
 transported to France. 
 
 The remains of ancient Olympia were brought to light by the Ger¬ 
 mans, who expended over a million Marks on the work. The excavations 
 were begun in the autumn of 1875, and completed in 1881. The greater 
 part of the artistic treasure discovered has remained at Olympia, and has 
 been arranged in the gallery of a museum built by a generous Greek 
 named Syngros, after whom the museum is named. 
 
 We cannot better close this chapter than by quoting from the great 
 work of Μ. M. Laloux and P. Monceaux their opinion as to the relative 
 importance of Olympia. 
 
 Traces of Hellenic civilisation are to lie found in all the countries 
 bordering on the Mediterranean, in all the islands of the Archipelago, and 
 in all the States ot the Balkan peninsula; they are, however, as a rule, 
 
 3 
 
sparse and fragmentary; to-day they are found in their highest development 
 in two places only, Athens and Olympia. In the Altis, as in Attica, we can 
 reconstruct in imagination by the help of unimpeachable documents, the 
 political, religions, commercial, artistic and literary life of the ancient world : 
 every archaeologist therefore should linger long on the banks ol the Al- 
 pheus. The different arts are there represented by very curious specimens, 
 often unique of their kind; in no other place, is such a variety ot monuments 
 to be found. The temple of Zeus, like the Parthenon, presents the perfect 
 type of a sanctuary of classic form, and offers new elements tor the study 
 of interior arrangement and decoration. The Heraion, first built of wood, 
 is the most ancient Doric temple known. From the soil of Greece, nothing 
 has up to this time been recovered at all analogous to the terrace of the 
 Treasury, to the mound of Pelops, or to the great elliptic altar. The paint¬ 
 ings and mosaics of the Metroon furnish interesting studies for the student 
 of ancient polychromy. The Philippeion is the most ancient round temple 
 found in Greece, and has served perhaps as a model for similar monuments 
 in Italy. The gates of the Agora are the first of their kind which have been 
 found in Greece. The Gymnasium presents an original style of arrangement. 
 The Bouleuterion, the Prytaneion, the Leonidaon, and the palaces of the 
 Priests, show how suitably buildings for administrative purposes were 
 contrived in Greece. The famous Hippodrome, of which the people of 
 Elis were so proud, has not been found, but new light has been gained as 
 to the planning of race-courses by the discovery of the Stadium, while 
 many traces of pictorial decoration are still to be seen in the temple of 
 Zeus, the Metröon, and in the Treasuries. Thus, in all the buildings at 
 Olympia we find valuable suggestions for the student of Hellenic archi¬ 
 tecture. The excavations have brought to light thousands of statuettes in 
 clay or bronze, vases, decorative terra-cottas, and bas-reliefs in metal of 
 rare interest to the student of the industrial arts. In sculpture, the pediments 
 and metopes of the Temple of Zeus, the pediments of the Treasuries, and 
 the Metroon, the archaic statue of Hera, the heads of the two Olvmpian 
 
 -4 
 
OLYMPIA 
 
 PHOTOTYPE 
 
 HERMES OF PRAXITELES 
 
 RHOMAÏDES 
 
Nike, and of Aphrodite, above all the Nike of Paionios, and the Hermes of 
 Praxiteles, rank amongst the most beautiful and most interesting treasures 
 ol Hellenic statuary. Though the masterpiece of Pheidias is lost to us, we 
 at any rate possess the remains of the pedestal on which it was placed, and 
 we have such a minute description of the God, and of the Throne, that we 
 can picture to ourselves with sufficient exactness, the image of the colossal 
 Zeus, and the great Temple in which it stood. For the plastic and industrial 
 arts, for painting or for architecture, Olympia is now one of the richest 
 museums, and is perhaps the most valuable mine which exists for the 
 
 student of Hellenic Art (Restauration d’Olympie par MM. V. Laloux, P. Monceaux). 
 
 -S 
 
CHAPTER II 
 
 PR 
 
 he age of Pericles had just closed, Pheidias was no more, 
 (%j|Polycleitos had followed him to the tomb. These two men of 
 gp,immortal genius' had carried the art of the sculptor to per¬ 
 fection. each had breathed into marble everything but the 
 breath of life, each had fashioned in ivory the Gods of Olympus. The Zeus 
 of Pheidias and the Hera of Polycleitos were works which rendered vain 
 any effort to surpass them, for in them perfection had been attained. But 
 not to advance in art is almost to go back; there is no fear however of 
 decadence in Greek art, for Skopas and Praxiteles have already appeared, 
 and with such names on our lips who dares speak of decay ! 
 
 Praxiteles, according to Vitruvius"’, must have worked with Skopas 
 on the sculptures of the Mausoleum; he was first known about 357 B. C. 
 and Pliny <*) gives the Olympiad (CIV 364), as the time when he was at 
 the zenith of his talent. Without entering into a discussion respecting 
 contradictory testimony, it must lie admitted that the period of his greatest 
 activity was from 360 to 340. The following inscription found in the village 
 of Leuca (ancient Leuctra) near Thespiae, which Boeckh considers to have 
 reference to the great sculptor, fixes Athens as his birth-place; — 
 ΑΡΧΙΑΣ 0PAITMAXO 
 ΘΡΑΣΤΜΑΧΟΝ ΧΑΡΜΙΔΑΟΤΟΙΣ 
 
 ΠΡΑΞΙΤΕΛΗΣ ΑΘΗΝΑΙΟΣ < 3 > 
 
 It is known, besides, that Praxiteles lived at Athens, and that his sons 
 Kephisodotos and Timarkhos were Athenians. 
 
 I! Db Mausoleo Satyrns et Hiiteus, tjuikts vers félicitas m perpetuo noblllissimas landes et sempîternu dorantes 
 
 summum maxtmumque contulit mnnns· Quorum entra artes habere juditatntur et cogitatis egregks opéras praestitemnt. 
 
0 LY Μ P IA 
 
 PHOTOTYPE RHOM AIDES 
 
 HERMES OF PRAXITELES 
 
Although Praxiteles holds a first place in ancient art, we can only 
 make simple conjectures as to the principal events of his life. He was born 
 after the death of Pheidias, and lived during the old age of Lysippos, 
 who may have seen his first attempts; with him commenced a new phase 
 in Greek art. The works of Pheidias were remarkable for the grandeur 
 and sublimity of their expression; in those of Praxiteles, the severity of the 
 sculptor was softened down to the most tender grace; in his hands marble 
 acquired the suppleness and appearance of life. 
 
 Praxiteles was the first to abandon the severe style of the ancient 
 Dorian school, and a complete revolution took place in Greek art, which 
 now rose to the acme of refinement and delicacy: this is the period when 
 the exquisite Tanagra figurines were produced, when the chefs-d’œuvre 
 of Athenian pottery were being produced by men who were true artists 
 in their craft, when in sculpture Praxiteles and his followers produced the 
 lovely types of Goddesses and young Satyrs; and thus taught the sculptor 
 to seek above all things grace and delicacy of form. In order to under¬ 
 stand the influence which Praxiteles exercised on Greek art, we must first 
 give a glance back, and see to what point sculpture had been brought bv 
 Pheidias, and the state in which Praxiteles consequently found it. 
 
 Up to I he time of Pheidias, no emotion had yet been expressed in 
 the marble; Pheidias himself and his school preferred the grand to the ex¬ 
 pressive, or rather they spread expression over the whole figure; it breathed 
 in the attitude, in the graceful form, and in the character of the drapery; 
 they refused to concentrate it on the face fearing to mar its beauty. The 
 feeling with which Greek sculpture was inspired was so far restrained that 
 il still remained impersonal. What is the result? Each figure having the 
 dignity of a Type, it would appear that its sentiment must consequently 
 he weakened by becoming general, but this is not the case. The Type 
 
 Namque singulis frontibus singuli artifices sumpserunt cer- (2) Centesima quarta, Praxiteles, Eupliranor. (Plinii, lib. 
 talim partes ad ornandum et probandurri, Leochares, Brya- XXXIV, 19, ï). 
 
 xis, Scopas, Praxiteles. (Vitruvii, Lib. VII) (3) Restitution ' Α,ρχίας Θρασυμάχου Θρασύμαχον Χαρμίΐαο 
 
 (Θεοϊς?) ΙΙραξιτέλ·/]ς Ά0·/]ναΐος (έποίει?). 
 
 - / 
 
embraces within itself the whole range of joy and of grief; il is not one, it is 
 all; thus the emotion is the deeper in the mind of the spectator the more 
 it is restrained in the work of the artist. 
 
 The exquisite poise found in Greek sculpture in the time of Pericles 
 must little by little disappear. The Parthenon had shown all possible grace 
 and warmth that majesty could have, allied with strength. At the end of a 
 century, proportion was neglected, or at least commenced to be disregarded; 
 it was sacrificed to grace. Form, in its turn, was to preponderate over Type. 
 Art tended to a sensuality which was at least concealed by its delicacy; so 
 much charm was lavished on the subject, that soon it was sufficient to 
 portray only the enchantment of its natural beauty. It is this epoch in 
 Greek art with which the name of Praxiteles is associated. It was espe¬ 
 cially in his statues of women and Goddesses that Praxiteles wrought this 
 revolution in Greek art — a revolution fraught with danger. The artist him¬ 
 self, the consummate master, sure of expressing in the marble no more 
 than he intends and always true to his ideal, may not perhaps change, but 
 his imitators may easily fall victims to the seductions of a refined sensualism. 
 It is not correct to say that Praxiteles was the first sculptor who dared to 
 represent the female form nude; au Aphrodite completely nude had long 
 before his lime been represented on one of the pediments of the Parthenon; 
 but. it is certain that he gave a prominence to the female type never before 
 known. His statues of females are very numerous, and hold the first place 
 in his works. His statues of youthful Gods, Fauns, Loves, and Apollos 
 differ but slightly from his statues of women. It was seldom man which 
 Praxiteles loved to represent, but youth with as yet undeveloped manhood. 
 «They present,» says Beule, «a type of youth, of tender delicate form, of 
 ideal softness, of winning and veiled grace which breathes from them like 
 an intoxicating perfume. In his male figures, Praxiteles was not afraid to 
 aim after that charm of youth so loved by the Greeks, that Type so little 
 accentuated, so nearly feminine, which followed after the heroic propor¬ 
 tions of the Gods of Pheidias.» The talent of Praxiteles delighted itself in 
 
 I_ 
 
subjects ot this kind, and therefore Aphrodite is the one most sympathetically 
 treated. Here perhaps is betrayed the influence of the «Hetairai,» who at this 
 lime played such an important part in Greek society, and in the life of the 
 arlisl. The Aphrodite of Praxiteles is less a Goddess than a mortal who 
 unu ils heiselt .it I he loath in tact, it is Phryne rising from the water whom 
 he has raised to the dignity of a Type. Phryne played, as regards the artistic 
 hie of Praxiteles, a part analogous to that played centuries later by «The 
 h ornanna» on the life of Raphael. Before proceeding further we will say 
 a few words respecting that famous «hetaira.» 
 
 Phryne (Φρύνη), the daughter of Epieles, was born about 328 B. C. 
 at Thespiae m Bœotia; she was employed first in tending goats and selling 
 capeis, then we hear ot her as a famous flute-player at Athens; as she 
 possessed a form of beauty rare even in Greece, she soon became a leader 
 amongst the «hetairai,» and Aphrodite herself did not receive richer offerings. 
 She ill time amassed such wealth, that it is said, she proposed to rebuild 
 lhebes, on condition that the following inscription should be placed on its 
 walls;·** «Alexander destroyed Thebes, but Phryne restored it.» 
 
 ΑΛΕΞΑΝΔΡΟΣ MEN ΚΑΤΕΣΚΑΨΕ Ν'. 
 
 ΑΝΕΣΤΗΣΕ ΔΕ ΦΡΤΝ Η Η ΕΤΑΙΡΑ. 
 
 This pretentious proposal was declined. Praxiteles made her his 
 mistress, and she was his model for the statue of gold which was placed 
 on a column of Pentelic marble in the temple at Delphi®, between the sta¬ 
 tues ot Archidamos King of Sparta and Philip King of Macedon. 
 
 Herr Murr gathers from a passage from Pliny ®it maitam μ .«λ «mu¬ 
 tilât the Venus de Medici is no other than Phryne represented in her 
 youth by Praxiteles; her perfect form was, according to the ancients, 
 unsurpassed by the most splendid productions of Greek art—the Sosandra 
 of Kalamis, the Aphrodite Pandemos of Skopas, or the Hera of Euphranor. 
 She was especially lovely, says Athenæos, έν voie μή ß/s-nouivoic. She never 
 
 (1) Αθηναίου II", ze<p. 6. τες άνέθηκαν έν Δελφοϊς χρύσεον έπ· κίονος ΠεντελικοΟ. ’4θη- 
 
 (2) Λύτης 8έ τής Ψρύνης οί περιχτίονες άνορίάντα ποίησαν- ναίου II", κεο. 6. 
 
 « 
 
frequented the public baths lest the edge of curiosity might be blunted. 
 Only once at Eleusis during the feast of Poseidon she bathed in the sea, 
 and in sight of all the Greeks came forth from the waves wringing hei 
 dripping hair. Apelles, the fortunate painter, who in turn had for models 
 the most noted «he tairai » of Greece, Lais, Campaspe etc., was present, 
 and having seen this vision sketched his Aphrodite « Αναδυομένη. » (1 The 
 enemies of Phryne, for beauty, no less than genius, arouses jealousy, 
 accused her of having profaned the mysteries of Eleusis : summoned 
 before the tribunal of the Heliastes, she was defended by Hyperides one of 
 her lovers, an orator who perceiving, says Athenseos, that his eloquence 
 was not sufficient to disarm her judges, suddenly during his peroration 
 tore open her garments, and exposed to view her exquisite form; the judges 
 were so moved by the sight that they began to hesitate, and stirred by 
 profound pity, refused to doom to death so beautiful a woman, devoted, as 
 she was, to the sanctuary of the Goddess® Thus it is clear that Praxiteles 
 did not seek his models amongst those of ideal purity, and we cannot fail 
 to note the great distance between the subjects which inspired him, and 
 those chosen by Pheidias, who found his ideal in that sublime conception 
 of Homer; — «the son of Kronos nodded assent with his dark brows, and the 
 divine tresses shook on his immortal head, and the Great Olympus trem¬ 
 bled» H KA1 ΚΥΑΝΕ η Σ[Ν Επ · ΟΦΡΥΣΙ ΝΕΥΣΕ ΚΡΟΝΙΩΝ' 
 
 ΑΜΒΡΟΣΙΑΙ Δ' APA X A I T A I ΕΠΕΡΡΩΣΑΝΤΟ ΑΝΑΚΤΟΣ, 
 
 ΚΡΑΤΟΣ ΑΠ’ ΑΘΑΝΑΤΟΙ Ο" ΜΕΓΑΝ Δ* ΕΛΕΛΙΞΕΝ ΟΛΥΜΠΟΝΟ) 
 
 Through sensualism, materialism glided inperceptibly into the new Attic 
 school, for sensualism is but the poetry of matter. Praxiteles — still full of 
 the inspiration of the ancient school, a finished master, certain to please, 
 always clinging to the traditions of an earlier age — prepared for his 
 
 (1) Έχέσαρκον γάρ χιτώνιον ήμι-είχετο και τοΤς δημοσίοις 
 ούκ εχρητο βαλανείοις, τη 8έ των Έλευσινίων πανηγύρεί και τη 
 των ΙΙοσειδωνίων έν όψει των Πανελλήνιον πάντων άποτιθεμένη 
 Οαύμάτια καί λύσασα τάς κόμας ένέβαινε τη θαλάττη· καί απ’ 
 αυτής ’ Απελλής τήν Άναδυομένην Άφροδίτην άνεγράψατο. 
 
 Αθηναίου ΙΓ' κεφ. 6. 
 
 (2) Ό δε Ύπερίδης συναγορεύων τη Φρύνη, ώς ούδέν ήνυε 
 
 λέγων έπίδοξοί τε ήσαν οί δικασταί καταψηφιούριενοι, παραγαγών 
 αύτήν^ εις τούμφανές καί περιρρήξας τούς χιτωνίσκους γυμνά τε 
 τά στέρνα ποιήσας τούς έπιλογικούς οίκτους έκ της όψεως αυτής 
 έπερρητόρευσε δεισιοαιμονήσαί τ’ έποίησε τούς δικαστάς, τήν 
 υποίρήτιν καί ζάκορον ’Αφροδίτης έλέω χαρισαμένους μή άπο- 
 κτεΐναι. ’Αθηναίου ΙΓ κεφ. G. 
 
 (3) Όμήρ. Α'. 530. 
 
 —10 
 
successors a dangerous descent. Art did not degenerate in his hands, but 
 his choice ot subjects, as well as the conception of those subjects, was 
 marked rafter by effeminacy than by grandeur. In this way Pheidias is 
 greatly superior to Praxiteles, but Praxiteles none the less expressed the 
 most seductive and popular style of perfection. 
 
 Before proceeding to enumerate the works of Praxiteles, we think it 
 well to quote the words of the great artist, M. Ch. Leveque, concerning him. 
 «Pheidias was especially the sculptor of Athena; Praxiteles preeminently the 
 sculptor ot Aphrodite and Eros; it was his good fortune, perhaps also his 
 lault, that he presented to the eyes of his contemporaries, images, idealized, 
 it is true, ot the passion which seizes on every soul, and which needs not 
 to he tanned into flame. Ancient authors do not say that Praxiteles, after 
 the example of Pheidias, sought his ideals in his own soul rather than in 
 living realities; we know not by whose image the sculptor of the Athena of 
 the Parthenon was inspired, but we do know after whose likeness the 
 celebrated Aphrodite of Knidos was fashioned. At the same time, it is said 
 that Praxiteles only regarded resemblance as a means of attaining more 
 perfect beauty. Whilst giving to his creations an expression, sometimes so 
 touching as to approach the pathetic, sometimes the penetrating charm of 
 the passion which is divined rather than seen, whilst concealing the throb- 
 bings of voluptuousness in form pure and almost serene, Praxiteles 
 preserved as much as possible for his art the spiritual character which it 
 formerly possessed ; nevertheless he was not severe on the weaknesses of 
 his age; what those around him loved, he also loved, and strove to render 
 still more loveable. What he ought to have represented to his enfeebled 
 generation was, not an idealized image of Phryne, but the Aphrodite Urania 
 herself made famous by Plato. Though it is good to be of one’s generation, 
 still one cannot but think that Praxiteles was too much a child of his.» 
 
 The first works of Praxiteles were part of the sculptures of the temple 
 at Ephesus, rebuilt between the G VI. and the CXII Olympiad after its 
 complete destruction in 356 by the famous lire of Eurostrates—the ancients 
 
 II 
 
attributed the altar in this temple to Praxiteles. A. bronze Faun, placed 
 in a temple in the street of the Tripods at Athens, which on account ot ils 
 great beauty was named Ιίεριβόητο; (the celebrated', was the work ot Pra¬ 
 xiteles when he was twenty-six years of age, about the time ol the CXI 
 Olympiad; so also was the Eros which he presented to Pliryne. Pausanias 
 records that Pliryne was promised the most beautiful of his statues, but 
 the artist refused to say which he valued most. Pliryne therefore caused 
 him to be told that his studio was on fire, and when lie cried out, «Let 
 them save at least my Eros and my Faun,» she laughingly undeceived him 
 exclaiming — «I have discovered what I wished to know,» and at once 
 chose the Eros 11 . The Faun was placed as a votive offering in a temple of 
 Dionysos; other Fauns are mentioned by Pausanias and by Pliny 131 . The 
 earlv works ofPraxiteles ranked immediately as chefs-d’œuvre. The youth¬ 
 ful Faun in the Capitol carelessly leaning on the trunk of a tree, with 
 crossed legs and his left hand on his hip, is a copy of the Faun «Περιβόητο;» 
 by Praxiteles; his Eros was in marble with gilded wings, holding a bow 
 in his hand.-Pliryne consecrated it in the temple of Eros at Thespiæ, where 
 it still remained in the time of Cicero. It was carried to Rome by Caligula, 
 who placed it in the Portico of Octavia where it perished when the building 
 was destroyed by fire in the time of Nero. Kallistratos mentions other 
 bronze statues of Eros by Praxiteles, and also another in marble, which for 
 a long period decorated a temple in the city of Parium on the Propontis; 
 finally. Verres possessed a duplicate of the Eros at Thespiæ by Praxiteles; 
 it had been carried off from a rich citizen of Messina as is seen in one of 
 the Verrine Orations* 31 . 
 
 έποίησε. Ψρΰνη μέν ουν ούτω τον Έρωτα αίρείται. (ΙΙαυσαν. 
 V. 20). 
 
 , 2) Σάτυρος δέ παρέστηκεν αύτώ ΙΙραξιτέλους έργον, Παρίου 
 λίθου. (ΙΙαυσαν. .4' 43 ; Plinii lib. XXXIV, 70). 
 
 |3) lfji'at apud Hei um sacrarium magna cum dignitate in 
 aedibus in quo signa pulcherrima quatuor: unum Cupidinis 
 marmoreum, Praxitelis; idem, opinor, artifex ejusdem modi 
 Cupidinem locit ilium,qui est Thespiis, propter quem Tlies- 
 piae visunlur: nam alia visendi causa nulla est. (Cicer. In 
 Verrem, de Signis, I|. 
 
 fl) Σάτυρος γάρ έστιν, έ®’ ώ ΙΙραξιτέλην λέγεται φρο- 
 νήσαι μέγα· χαί ποτέ Φρύνης αΐτοΰσης δ,τι οί χάλλιστον είη 
 τών Ιργων, όμολογειν μέν φασι διδόναι οί εραστήν όντα, κατειπεϊν 
 δ’ ούκ έθέλειν ό,τι χάλλιστον αύτώ οί οάνοιτο. Έσδραμών ουν 
 οίκέτης Φρύνης εφασκεν οίχεσθαι ΙΙραξιτέλει τό πολύ τών έργων 
 πυοός έσπεσόντος ές τό οίκημα, ου μέν ουν πάντα γε άψανισθή- 
 ναι. Πραξιτέλης δέ αύτίκα έθει διά Ουρών έξω, χαί οί χαμόν τι 
 ούδέν έφασκεν είναι πλέον, εϊ δή καί τόν Σάτυρον ή ψλόξ καί τον 
 'Ερωτα έπέλαβε. Φρυνη δέ μένειν θαρσουντα έκέλευε, παθεΐν 
 γάρ άνιαρόν ούδέν, τέχνη δέ άλόντα όμολογεΐν τα κάλλιστα ών 
 
 12 
 
Two celebrated statues, the Aphrodite of Kos and that of Knidos, 
 both modelled after the exquisite form of Phryne, as well as two statues 
 ol 1 hrvne herself, one placed in the temple at Delphi, the other in the 
 temple ot Eros at Thespiæ, were the work of Praxiteles in his younger 
 days, probably between the years 830 and 325, when Phryne was at the 
 zenith of her youth and beauty. The Aphrodite of Kos was a draped figure, 
 that ot Knidos, which was considered the finer of the two, was nude. The 
 people ot Kos, for whom the statue was made, refused it on account of 
 religious scruples, and thus it became the property of the people of Knidos 
 whose fortune it made — voyages to Knidos being frequently undertaken 
 simply to see it (l) . «From the ends of the earth,» says Pliny, «they sail to 
 Knidos to see the statue of Aphrodite,» i2) Nicomedes offered to pay the debts 
 of the people in exchange for this statue, but the proposal was rejected; the 
 statue was to them, on account of the great influx of strangers who came 
 to see it, an almost inexhaustible source of wealth ,3) : it was taken to Con¬ 
 stantinople during the Later Empire, and perished together with many of 
 the grand works of Pheiclias and of Lysippus in the fire of 475. 
 
 Other famous masterpieces were collected in the temple at Knidos, 
 the Dionysos of Bryaxis by the side of the Athena of Skopas: but as though 
 quite alone, the Aphrodite of Praxiteles effaced them all. «The Goddess 
 carved out of a block of Parian marble dazzlingly white stood erect in the 
 midst of the sanctuary; she wore a somewhat proud and disdainful smile 
 and stood with all her glorious beauty unveiled. The temple had two gates 
 on opposite sides, so that the gazer might view the Goddess from every 
 
 point, and not the smallest detail escape his admiration.Look at 
 
 the graceful shoulder, the rounded side, bow exquisite the curve of the 
 thigh, not shewing the bone too clearly, vet. not too tleshv or large. What 
 
 (I) Duas lecerat, simulque, vendebat, alteram velata spe¬ 
 cie, quam ob id quidem praetulerunt, quorum conditio erat, 
 Coi, quum alteram etiam eodem pretio detulisset, severum 
 id ac pudicum arbitrantes; rejeetam Gnidii emerunt, im- 
 uiensa differentia tamae. (Plinii lib- XXXVI. 4. 9). 
 
 (2) Venus, quam ut vidèrent, multi navigaverunl Gnidum. 
 (Plinii lib. XXXVI, 4, 9). 
 
 (3) Voluit earn postea a Gnidiis ineroari rex Nicomedes, 
 totum aes civitatis alienum, quod erat ingens, dissoluturum 
 se promittens. Omnia perpeti maluere, nec immerito. (Plinii 
 lib. XXXVI 4, 10). 
 
 13 
 
words can express the sweetness of the twin smiling dimples imprinted on 
 the hip, how perfect is the rhythm of the leg straight down to the foot.» 1 * 
 Still more enthusiastic is Lucian’s praise of the swimming eyes which are 
 yet so full of lustre and grace. This was the loveliness which explains the 
 well known story of the strange mad love of the young Pygmalion, whose 
 passionate embrace could only mar the fine form of the Goddess, but could 
 not waken her from her stony sleep. Pliny tells us of one in love with her, 
 how he concealed himself for the night in the shrine, and how in the 
 morning the statue betrayed the violence of his passion. (2) 
 
 The ancients one and all acknowledged that Praxiteles created the 
 Type of the Goddess Aphrodite when he produced the famous statue of 
 Knidos, «Who has endowed marble with a soul? Who on this earth has 
 seen the Cyprian Goddess! the work of the hand of Praxiteles.» Olympus 
 has been deprived of the Goddess of Paphos, since she has descended 
 to Knidos. 
 
 ΤΙΣ ΛΙΘΟΝ ΕΨΥΧΟΣΕ; ΤΙΣ ΕΝ ΧΘΟΝΙ ΚΥΠΡΙΝ Ε Σ ΕIΔ Ε Ν ; 
 
 ΙΜΕΡΟΝ ΕΝ ΠΕΤΡΗι ΤΙΣ ΤΟΣΟΝ ΕΙΡΓΑΣΑΤΟ: 
 
 ΠΡΑΞΙΤΕΛΟΥΣ ΧΕΙΡΟΝ ΟΔΕ ΠΟΥ ΠΟΝΟΣ Η TAX’ ΟΛΥΜΠΟΣ 
 ΧΗΡΕΥΕΙ, ΠΑΦΙΗΣ ΕΣ ΚΝΙΔΟΝ Ε P X Ο Μ Ε Ν Η Σ ( 3 ). 
 
 Of the statues of Phryue. the one at Delphi was of gilded bronze, and 
 bore the following inscription, — «Phryne, a Thespian, daughter of Epicles;» 
 
 ΦΡΥΝΗ ΕΠΙΚΛΕΟΤΣ ΘΕΙΠΙΚΗ 
 the other was of marble, each was perfect in grace of form and position, 
 and in the delicacy with which it was modelled. Praxiteles also executed a 
 group of the twelve Gods for an ancient temple at Megara, where it was 
 seen by Pausanias, (i) and for the temple at Mantinea, a Hera on a throne 
 
 (I ; Ή μέν duv Θεός έν μέσω καθίδρυται, ΙΙαρίας οέ λίθου 
 δαίδαλμα κάλλι στον, ύπερήοανον καί σεσηρότι γέλωτι μικρόν 
 ύπομειδιώσα. Ιίάν δέ τδ κάλλος αυτής ακάλυπτον ούδεμιδς έσθή- 
 τος άμπεχούσης γεγύμνωται, πλήν δσα τη έτέρα χειρ! τήν αιδώ 
 λεληθότως έπικρύπτειν. Ιΐστι δ’ άμψίθυρος ό νεώς τοίς Οε'λουσι 
 και κατά νώτου τήν θεόν ίδείν ακριβώς, ί'να μηδέν αυτής «θαυ¬ 
 μαστόν “Οση μέν των μεταορενων εύρυθμία, πώς δ’ άμφι- 
 
 λαοεΐς «ί λαγάνες, άγκάλισμα χειροπληΟές· ώς δ’ εΰπερίγραφοι 
 τών γλουτών αι σάρκες έπικυρτουνται μήτ’ άγαν ελλιπείς αύτοίς 
 όστέοις προσεσταλμέναι μήτε εις ύπέρογκον έκκεχυμέναι πιότη- 
 
 τα. Ιών οέ τοίς ίσχίοις ένεσιρραγισμένων έξ έκατέρων τόπων 
 οΰκ αν εϊποι τις ώς ήδύς ό γέλως· μηρού τε καί κνήμης έπ’ ευθύ 
 τεταμένης αχρι ποοάς ήκριβωμένοι ρυθμοί. 
 
 (Α,ουκιανοΟ \η. 13, 14). 
 
 1'2) Ferunt arnore captura quemdam, quum deliluisset no- 
 ctu, siraulacro cohaesisse, ejusque eupiditatis esse indicem 
 maculam (Plinii lib. XXXVI 4, 10|. 
 
 (3) Antliol. Planud., IV, 1S9· 
 
 (4) Ενταύθα καί τών δώδεκα δνομαζομένων θεών έστιν αγάλ¬ 
 ματα, έργα είναι λεγάμενα Πραξιτέλους. (Παυσαν. 4'., 40). 
 
 Η 
 
Avilli Hebe and Athena, as well as another Hera known as Teleia at 
 1 latsea, and Rhea ottering to Kronos the stone enveloped in swaddling 
 clothes which he was to devour in place of Zeus. 
 
 the rape of Proserpine in bronze is spoken of by Pliny. (l) Another 
 1 roserpine had previously been placed in a temple close to one of the 
 gates of Athens together with Dionysos and Demeter. A mural inscription 
 states that the group is the work of Praxiteles, and another Demeter is 
 spoken of later, as standing in the gardens of Servilius at Home with 
 a Iriptolemos and a Flora. It is not known from what part of Greece 
 they were taken. Opportunity and Tyche to be seen in the Capitol are 
 more doubtful; numerous copies of the Apollo Sauroctonos are to be 
 found in modern museums. The Artemis Brauronia on the Acropolis at 
 Athens, as well as the Artemis of Anticyra who holds a torch in her right 
 hand, and has on her left a dog, are also by Praxiteles. Trophonios in 
 a temple bearing his name in Livadia was fashioned by him after the 
 likeness of Aesculapius. The Tyche of Megara is also noted (2) . Dionysos 
 with his train was a favourite subject with Praxiteles, as we see by the 
 infant Dionysos in the arms of the Hermes which is the principal subject 
 of this work, another Dionysos alone in the temple at Elis, and again 
 another which forms one of a celebrated group where he is seen with 
 Methe and a Satyr/ 3 * His Menades. his Thyades, his Silenus, his Caryatides, 
 Pan with his goat’s feet, some Nymphs and Danäe, all at Rome completed 
 this set of studies. Finally, Praxiteles represented various heroic subjects, 
 amongst them the greater part of the Labours of Hercules which adorned 
 the temple at Thebes. The Harmodios and Aristogiton are copied on the 
 Attic tetradrachmæ. (4) A funereal monument on the road to the Peiræus re¬ 
 presenting a warrior standing by his horse is also attributed to his hand, and 
 also some statues of women adorning themselves with wreaths. One admires, 
 
 (1) Praxiteles quoque marmore felicior: ideo el clarior 
 luit. Fecit tarnen el ex aere pulcherritna opera : Proserpinae 
 laptum. Plinii lib. XXXIV 19, 20. 
 
 (2) Πλησίον δέ του τής ’Αφροδίτης ναοΟ Τύχης έστίν ιερόν. 
 
 Πραξιτέλους καί αυτή τέχνη. (Π'αυσαν. 4', 43). 
 
 (3) Fecit ... et Liberum patrem, et Ebrietatem, nobilem- 
 que una Salyrum. (Plinii lib. XXXIV 19, 20). 
 
 (4) Item Harmodium et Aristogitonem Ivrannicidas, quos 
 a Xerxe Persarum rege captos victa Perside Atheniensibus 
 remisit Magnus Alexander lib. XXXIV 19, 21. 
 
also, says Pliny, two statues by Praxiteles depicting opposite emotions, 
 one a mourning matron, the other a smiling hetaira; the figure of Joy 
 was, it is believed, Phryne, and it is suggested that the great artist’s passion 
 for her is to be seen in the statue, and that his reward may be discerned by 
 the expression on her face. (1) With regard to the Colossus on mount Cavallo 
 at Rome, on which the name of Praxiteles is carved, it is needless to say 
 that the inscription must have been a later addition, and a mere forgery. 
 From what has been said, some important facts may be gathered; amongst 
 thems the fertility of the genius of Praxiteles, and his love tor the composi¬ 
 tion of groups; it was difficult to group various figures to compose a scene, 
 and to give to each figure an expression of its own, whilst being careful 
 that the whole group should at least be no less striking than the details: 
 we also note how the Artist idealized his creations, and yet how faithfully 
 he adhered to the traditions of the Attic school, the school of Pheidias; he 
 did not depart from general types, gave preference neither to the athlete 
 nor to the strict study of nature, nor to portraits in the realistic sense of the 
 word. Even in copying Phryne he transformed her into an Aphrodite and 
 presented her for mortals to worship; this is why we said at the commence¬ 
 ment of the chapter, that the character of the works of Praxiteles, no less 
 than his tendencies proclaim him an Athenian. 
 
 Some of the masterpieces of Praxiteles are known to us only by 
 copies. From descriptions in tradition and epigram we see that the Knidian 
 Aphrodite was too perfect to allow us to recognise her without reserve, in 
 the endless statues in Western museums which recall her by gesture, above 
 alt by the attempt to bring before us her elegance and grace so voluptuous 
 and yet so chaste. Amongst the many which exist, the Aphrodite of Munich 
 is perhaps the most correct copy as we may learn from a Knidian coin, but 
 how far it falls below the original! A bronze head of Aphrodite found in 
 Armenia (2) must be added to the list; we agree with M. 0. Ravel in thinking 
 
 (1) Spectantur et duo signa ejus diverses aflectus expri- tant Phrynen fuisse, deprehendunti|ue in ea amorem artii'i- 
 
 mentia, flenlis rnatronae, et meretricis gaudentis. Hanc pu- cis, et mercedem in vultu meretrieis. Hin. XXXIV 19, 21- 
 
 (2) British Museum. 
 
 16 
 
that it must have been inspired by the masterpiece of Praxiteles: in so far 
 as bronze can resemble marble, we find in this head Hie beauties mentioned 
 by Lucian more marked than in any copy. The pure forehead and the 
 majestic arch of the brow are the principal features in this bronze; whilst 
 in the softness of the large wide open eyes, one can easily picture the 
 expression, calm and frank, with which she looks into our eyes with a 
 glance at once intimidating and bewitching which is spoken of by the critic 
 of Samosata: on the lips so voluptuous in their outline wanders the shy 
 smile which he admires so much: the loosely braided tresses which fall 
 coquettishly down the neck, the round fulness of the cheek, the soft skin, 
 are all meet for the Aphrodite Hetaira which Praxiteles wished to fix as 
 a type. 
 
 A much mutilated Torso now in the Louvre enables us to form an idea 
 of the Faun, which with the Eros at Thespiæ, Praxiteles prized most of all 
 his works; a copy in the Museum of the Capitol has this one advantage 
 over that in the Louvre; it is perfect, and therefore one can better under¬ 
 stand the attitude; this alone makes the statue of priceless value. The happy 
 careless life of the golden age, the freshness of early manhood and of 
 exuberant health, the simple grace, the shadow of happy musing which 
 tlits over the face, these are all expressed in the attitude of the young 
 Faun: the pose so full of grace and of dignity, the outline so soft, refined 
 and exquisite, have a fulness, a harmony and a seduction which are almost 
 effeminate. Art bad now attained its highest charm. But a cloud has fallen 
 over the eyes of the Sculptor which surrounds and softens the form; with 
 his right arm gently leaning on the trunk of a tree, the Faun inclines his 
 head on one side as though still listening to the sounds of the flute he was 
 playing anon; the rhythm of the body falls in natural contrast, the hip 
 on which the hand is placed with womanish abandon gracefully raised, 
 the position of the legs one before the other, and the foot poised ou tiptoe 
 give to the figure the expression and the impression of that innocent 
 enjoyment which belongs only to the infancy of the world Thus it is not 
 
 17 
 
surprising to be told that this type differs lint slightly from that of the Eros. 
 A copy to be seen amongst the Elgin marbles in the British Museum which 
 probably came from Athens, shows us the young God as a twin brother of 
 the Faun; the outline, form, character and pose up to a certain point recall 
 the Faun; besides, Ihe Apollo Sauroctonos (a bronze in the Villa Albani) 
 an antique replica of the original by Praxiteles, offers again the same type 
 of youth, of tender and delicate form, and of ideal softness; change the 
 head or only the arrangement of the hair, and you see the Faun. These 
 works notwithstanding their perfect grace and delicacy are but copies or 
 replicas. 
 
 Just twelve years ago, whilst the German Government was carrying 
 on Ihe excavations at Olympia, some workmen discovered a statue among 
 the ruins of the temple of Hera; it was on May 8 th 1877, a red-letter day 
 for the artistic world, a day which will be for ever memorable in the 
 annals of Archaeology; up to that time, we had only known the talent of 
 Praxiteles from copies more or less perfect, but from that lime forth an 
 original work by the immortal sculptor was restored to light for our 
 enjoyment and for the admiration of future ages. To give some idea of the 
 importance of this discovery, we cannot do better than to quote some of 
 the opinions expressed concerning it by competent critics of the lime. 
 
 -18 
 
0 LY Μ P IA 
 
 PHOTOTYPE RHOM AIDES 
 
 HERMES OF PRAXITELES 
 
CHAPTER III 
 
 OPINIONS OF THE MOST DISTINGUISHED ARCHAEOLOGISTS CONCERNING 
 
 THE HERMES OF PRAXITELES 
 
 ni .mai 1877 Belangte nadj Teutfdjtanb 
 bie bielliergeißeubc Mmbc baban, baß bem 
 tcidjeu 23abcu lion Ttyinpia Vnieberum ein 
 bcbcutenbc# Mmfttuecft unb jluar cine 
 .©tatue aUerecften iSangee cnrftiegcn fei. 
 >ίΗη Ttiginal bet. pcaciteie# ijt in bem 
 .sdjutte be# Ijccatcmpcl# Vuicber aufge* 
 fiiiibcn Uiatben, baa ecftc iPeeli lion ber 
 ÏJanb bet. geaßcii 25ilbßauer#, bai 11115 
 JjpStgefioreiien 511 crblicRen licrgûmit luirb. tlnb man burfte 
 liclj ber flâmift bei «pcfcgidie# um fo inelje freuen, lucldjc# jenen 
 .Srijatj burdj alte ïPcdjiclfâilc bei alympifdjen {Egale#, burdj 
 fliinberitug unb 25tanb, £rbbebcn unb litcberfdjtuennmmg 311 
 11115 geriibccgccettet gatte, at# jener %-rmei mit bem Tionyfa#* 
 liiiaüen bai einzige IPcrll bei Praritrie# liiar, beffeu fid) nnferc# 
 JPiffen# Ciympia riiljmcu fianntc. 
 
 £i iff begreiflidj, baß biefr .liîadjridjt bie lPißbegicrbc 1111b bai 
 Jntercffe tacitefîcr Streife luadjgcntfen gat. ff t e# badj—urn an 
 einem Pcrgleidj au# ber mobernen Mmftgcfdjidjte fidj ber epo» 
 djemadjeuben 25ebeutung biefc# j-unbe# bcluußt 311 taerben — ale 
 füllten luir nun sum erften .male erfagren, luic ein Original rtlua 
 be# Correggio aber bei £131.111 auificljt, nacgbem luir uiiljct nur 
 ein yaar iPerlic biefet .1,15 elfter aui mittelmäßigen, unter einaiu 
 ber ftarli abtucidjcuben ïiopieen geßannt gâttcu unb bon alten 
 iilirigcn arbeiten bcrfelticu nur bau fâürenfageu luüßten. ©cim 
 nidjt bict beffer ftanb e# in ber £gat um unfere üienntniß bon 
 ben .sdjöpfuugcn eine# Minftler# luic pratitclc#, neben bem badj 
 nur bie crlauigtcftcn .I5ameu au# ber fieiijc ber maberuen Minftler 
 genannt lucrbeu burften. 
 
 Öerme# ift at# ein naditer fiingfing gcbilbct, ber nadjlnßig 
 an einem iSaumftammc tegnt. lieber biefen gat er bie Cglann.i# 
 geluorfen, lucldjc er fonft teidjt fiber bie .sdjuiret gelmupft 311 
 tragen pflegt nadj jetst liegt man beutlidj igre ttcftctimg, lucldjc 
 ber Muffler gefdjidit benutst gat, um für beu ftiitsenben .stamm 
 eine originelle unb remballe Trapinmg 311 erfinbeu. auf bem litt- 
 lien aufgeffiitsten arm tragt er brn jungen Tinnyfa# : ber Meine 
 fitst mit einer .sidjerljcit ba, tuie fie in feinen f aljrrn lebiglidj bei 
 Tötterfögncn liülirij ift: nur ber rcdjte j-uß, bem jetst bie Siegen 
 feglen, fingt auf einem aft bc# SSaiunitamme# feinen stutspimiit; 
 ber finite, jetst abgebradjene, ging frei ljcrab. an ber liultcu lijaub 
 be# lilcrmc# Rann er fidj idjlncrlidj gegaltcu gaben, nadj gatte 
 biefer ign mit bcrfelben gefaßt. Tiefe Ijanb bc# ijerme# trug bici 
 inegr beu ileraibftab, luic fidj au# bem .iaiiannncnfdjiiiß ber jfin» 
 ger, igrer fiidjtimg unb brr Erarbeitung iljrer fnneußStgcu 
 fdjließen laßt ; audj mödjtc bie# attribut erfarbertidj fein, um bem 
 25efcgauet beu gättlidjcn Mnbcrpßcgcr fafnrt Itcnnflidj 311 madjeu. 
 
 I fetst ift bcrfclüc gcrau#gcbradjcn, bicllcidjt abfidjtiidj, bicif bie 
 j bcrgalbrte 25rause au# ber er gcbilbct gclucfen fein luirb, bie 
 ! ©abfudjt reisen mödjtc; babei ift bann audj ber Zeigefinger 
 unb ba5 barberfte dich bc# Tamncn# berlarcn gegangen. 
 
 JCcibcr gaben luir an nuferer .statue ben Perluft nadj anberer 
 Haftbarer Cgciic 311 beftfagen. £# fegten bie unteren partgien 
 briber 2?cinc mit ber gauscii piintgc 1111b bem unteren £nbc be# 
 iPatimftnnnnc# ; bar allem aber ber rcdjte Unterarm mit ber 
 Uanb unb bem attribut, ba# fie ague Ztuciftf giclt. Hub bie# ift 
 um fo belilageii#tuerter, at# fidj igr Teftu# jetst nidjt mcljr fidjer 
 erraten läßt. Hirschfeld : 1 1 gat bie Pcrmutljimg geäußert, ber 
 Jpott möge in ber Ijadj rrljobcncn ficdjten eine .Craitbc gegaltcu 
 gaben, allein ba biefc Tcbctbc bodj nur bem Miäblcin auf feinem 
 arm gelten ftönnte, bem er fic etlua gesrigt gätte, io bleibt c# 
 auffaltcnb, baß er c# babei gar nidjt anblidit uub baß ba# Mnb, 
 auftatt nadj ber ,Traube 311 langen, gaus rugig bafitst. audj geftege 
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 crnftcrc aiiffaffung bau ber IPiirbc eine# ôûttcrbilbe# 311 fpicicub 
 unb genregaft, bie ïjanbïuny etlua# 311 tranfitarifig erfdjeint. Paß 
 anbererfrit# ber arm auf bem ljauptc au#gcrugt gaben bonne, 
 luic bicllcidjt maudjer auf beu erften iPürn aiisunegmeu geneigt 
 fein mödjtc, fdjeint bn'eberinn nadj brr fiidjtuug unb beu ,H5itfbeL 
 sögen bc# fpätcr giusiigefunbeucn Oberarm# nidjt möglidj. 3dj 
 erluägnc ba# au#briidilicg, lueil man bei einer .statue bc# prari- 
 tetc# lcidjt geneigt ift, jenen ali#brudt#boIfcu, Uicidjen Ccftii# bc# 
 au#rugcn# baraufsufctscu, ber Pielen, uub bicticidjt nidjt mit 
 Unrcdjt, für eine praritclifdjr £rfinbuug gilt. 
 
 .U5ir fdjeint c# am luagrfdjciniidjfteu, baß praritclc# feinem 
 Ijcrmc# einen £gyrfa# in bie rcdjte Ljanb gegeben. Picfc# attri¬ 
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 luenn burdj ben £gyrfa# ein Pegcngclnidjt gegen beu .stamm 
 auf brr anbereu .Seite gefdjajfen lucrbeu bömite unb böte enbiidj 
 tedjnifdj bem frei gcrau#ragcnbcn, fdjlueren 1111b scrbrcdjiidjcn 
 tfiarmararm eine tniltfiammene unb fidjere .stiitse. Pieltcicgt alfa 
 ift biefc aimagme tuagrfdjciulifg genug, um cinftlucilcn gelten 311 
 liünncn bi# ein glüditidjcr jfunb uii# ba# rcdjte legrt. 
 
 Ten fiopf bc# Ijcrmea fdjeint ein Maus gefdjnu'idit 311 gaben. 
 Tic# scigt ein audj auf nuferen prafiianfidjtcn ber gausen Pcftalt 
 
 (1) Wir wollen diese Gelegenheit nicht vorüber gehen lassen, ohne au er¬ 
 wähnen, dass Herr D r G. Hirschfeld der erste gewesen ist, welcher der 
 gebildeten Well die erste Kunde vom Hermes dos Praxiteles übermittelte. 
 Leider sind wir aber nicht im Stande auch sein Urteil über den Hermes in 
 dieser Publication mitaulheilen, was wir um so mehr bedauern weil wir 
 ! gerade ihm au besonderem Danke verpflichtet sind. (Note des Herausgebers). · 
 
nub be# Kopfe# beutïidj fidjrbarcr £infdjnitt über bcm .n.niicu 
 haare. Kicr siegt fiel) in bec Vertiefung ein baubartigee Streifen 
 gin, bee fidj Inciter nadj liorn als bloße fiirdjc in gaits mircgel» 
 müßigen PÄngeu staifdjeu ben Stadien berliert ; unb eben bie# 
 fdjeint mir baranf Ijinsutacifcn, baß tait c# ijict nidjt mit einer 
 25inbe 311 tljnn ljaüen, bie fidjtbarrr unb regelmäßiger b erlaufen 
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 lilcincn Φίαηηίαό Uiirb fdjtuerlidj fein lïcbenlirau.) gefeljlt Ijabeu. 
 
 10ir Ijabeu Ijicr all bie fdjUictcn Vcrftünnuclungcii aufsÄljlcu 
 mäßen, bie uufre Pruppc im Haufe ber Seit erlitten. Sum Plfidi 
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 Ijaitung ber jDarmorabcrflädjc in allen beujenigen Cljcilcn 311 
 preifeu, bie uns geblieben fiub. Keine Verbutterung Ijat ijier bie 
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 .-lEufeen ücobadjten bann. .Uirgciib# läßt bie «Erhaltung in ben 
 naefiten (Cljeileu br# Körper# fiber bie abfidjten bes i’ilbljaucrs 
 im Stacifcl 1111b audj in bem birtuo# bcljaubcltcn Petaanbe ber» 
 folgt man jebrn JKcifcIftridj. Von befonbercr 23ebciitung ift bas 
 natiirlidj für ben satten Kopf bes Lottes, an bem ftauin ein .stiicb» 
 djen fehlt. 
 
 ?tuc biejenigen, tacldjc es bcrfndjt ijabeu ein 25ilb bou ber 
 Itunftlcrifdjcn Cigeuarr bes praritclcb 311 entlucrfcn, ijabeu es 
 al# bie eigentliche fdjüpfcrifdjc .Cljat biefes großen Künftlerb ge» 
 priefen, baß er, nadjbcm pijibias bie erljabenftcn Portcbgrbaubeu 
 bes Ijelïcnifdjcn Volbcs in Koloßen bou Poib unb «Elfenbein aus» 
 gefprodjen, eine lVcit „gefteigerter Peftaiten" gefdjaffen, bie fidj 
 ber pijantafic feiner Seitgenoßen gicidjfam freunblidjcr entgegen 
 neigte, .mochte man bie Vatermilbc beb oinmpifdjeii Sent, nodj 
 fo fcljr preifen, immerhin thronte er in feiner libermenfdjlidjrn 
 Proßartiglicit in einem JCidjte, ba .©ienianb sugclangcn Itann. 
 «Erft bie Pöttcr bes praritclcb fpradjen all bas boll aus, bias 
 bes .iVenfdjcn Vers in sdjnicr) 1111b jfretibe, in SCeib 1111b «tut» 
 5üd‘tcu bcUicgte : bon ben Pcfüljlcn ber ©aulibarlicit, tacldjc bie 
 milbigbeit ber Cljegüttin 1111b ber Peberin bes Pctrcibefcgcub 
 Ijcrborricf, bis 311 bem fdj 111 er 3Ï idj en Pliicb ber Hiebe in ben S'il» 
 bem ber apljrobitc 1111b beb £ro#, 1111b bem übermütigen ,£3111111·! 
 üacdjifdjcr freubrn in ben Peftaiten beb trâumcnbcn iDioinifos 
 1111b feines trunlieuen Kreifeb. 
 
 £s tairb taol oljnc Uicitcreb füljlbar, taie bettoaiibt fidj bas 
 freunblidjc 25ilb beb Kinberpfleger# Kermes in feiner ftraljlenben 
 lugcnbfdjöuljcir biefer ficiljc anmutiger Peftaiten anfdjließt : bas 
 25ilb gicidjfam beb licbciibtaürbigftrn unter ben Pinmpiern, tuet» 
 cjjcr bon ben oberen unb ben unteren Puttern geliebt ift, unb ber 
 bas Pionpfo#buäblcin nidjt nur alb 23otr im auftrage beb Sens 
 ben näljrcnbcn unb pflegenben .Vimipljeii überbriugt, fonbern 
 feiner audj febft forgfam Uiartcr. 
 
 3tn ber .iKiibiielbilbung bes praritcleb ift jebe .spur jener 
 crliiab trodmen 25cljanbluug beb PacHtcu in ftrengen Jflfidjcu unb 
 fdjarfen Kanten gefdjUuuibrn, bie, tacun tuir nuferen Utopien trauen 
 bürfeii, in ber sdjulc beb poljil'tlet üblich getaefen 311 fein fdjeiut. 
 audj ber üürrUiSltigcnbrn ‘ßroßartiglicit pljibiaffifdjrr Heiber fdjeint 
 Praritclcb nidjt nadjgcftrcbt 311 Ijabeu. pur getaiffe Kürten errin» 
 nern nodj an bie ffrengerrn Pefetsgeber ber Älteren Uiuiift: fo 3.2?., 
 ta enn idj nidjt irre, bie ettaab herbe angabe beb Knorpels über 
 ber rechten, eingesogrncu Kniefdjeibe, bie bei ber gansen .sippc 
 beb 'Dornpljoros befouber# ftarli ansgcbilbet 311 fein pflegt. £# 
 fiiiOct ficlj tiefe €igcntünilidjrtcit, nebenbei bemerfit, audj bei bem 
 ©ermeb boni 25clbebcrc alb ein tacitcrcb dVerltmai feiner abftam» 
 nmug aus biefer llcbergaugbepadje. ‘Dagrgrn frappirt bie lieber 
 einftinnnung beb praritclifdicu Vermes mit bem aporiionienos in 
 ber 25eljanbltmg einseiner Cljeile, uanientlidj in föalb unb 23ruft. 
 abgefrljcn bon brn bcrfdjicbenen Proportionen trennt bribe oft 
 
 nur bab 23cftrcbcn beb Unfipp nadj einer magereren 2ßilbung 
 1111b bcftinimtercn gegenfcitigeii iSegrensung ber dVublicln, bab 
 biellcidjt audj mit brn auforberungrn ber Crstedjnifi sufammen» 
 Ijängt. praritcics bagegen bcrmittelt ftets bie Übergänge bon 
 JitëubM 311 .lOusiiel biirdj eine fo sartc, claftifdjc Kaut, baß man 
 nidjt mübe tairb, ben ijcbuugrn 1111b .Nennungen ber Vbcrfladjr 
 biefes blüljcnben Körper# mit fpürciibcm auge 1111b füljlenbcr Kaub 
 nadjsugeljrn. .S'ieljt mau baneben ein IVerli ber Kopiftemnadjc au# 
 römifdjer Seit, taie jenen bereits meljrfadj crtaaljntcn belbebc» 
 rifdjeu Kenne#, fo bermißt man fidj leidjt, ben 23ctacib für bie 
 Originalität jebe# Solle# ber alpnipifdjcn .statue allein aus biefem 
 Vrrglridj Ijcraub füljrcn 311 tooilcu. lVajjrlidj nidjt umfouft feierte 
 bab aitcrtum beu praritclcb in Ijimbcrtfadj citirten Kunfturtcileu 
 alb ben grüßten feiner .iKarmorbilbncr (qui marmoris gloria -su- 
 peravit etiam semet. Plin. n. h. 36. 2Ü). 
 
 Jlïan Ijat bie jfludjtiglirit in ber a'ubfii|jrung ber £iii5cHjeitcn 
 gctabclt unb susugeben ift ailrrbingb, baß bem Kaarc nidjt bie 
 Sorgfalt 311 Ojcii gctaorbcu ift, mir tacldjer brr Künftler Paditc# 
 unb tßctaanb bi# in# geringftc burdjgcbilbct Ijat. Kirr Ijat er ficlj 
 bannt begnügt bie Kauptpartljiceu l'n'iljn unb frei 311 glirbern. £inc 
 eigentlidje Vernadjläßigung ift aber bodj nur an Kintcrliopf 1111b 
 Padicu 311 bemerlicn, alfo an Cljcilru, bie fotaot biirdj ben Kraiis 
 alb bie àruffteltung ben 231idtcn beb S^efdjauerb mcljr ober taeni» 
 get entsogen taaren. £# fiub bas bicfclben Oniiibc, tacldjc Vrari» 
 tele# 511 bem Vrr.sidjt auf eine feinere Süubfüljrung an ber fiüdi 
 feite feiner .statue betaogen Ijabeu. 
 
 Vaß cubiidj ber 25auniftainni 1111b bie stutsc au ber liulicn 
 Kfiftc beb Kermes siemlidj rolj bcijanbclt fiub, tairb pienianb 
 tanubern, bem bie griedjifdjc IVeife in birfen 'Dingen gclflufig ift. 
 T’as fiub eben pcücnbingc, bie einer untergeorbneten Kraft über» 
 lafjeu bleiben modjten. Vir stiitsc foïïtc überbie# biellcidjt nur ben 
 Prausport brr statue nadj itjrcm 23eftinnnungbott fidjern 1111b 
 blieb bann fpStcr gegen bie 3lbfidjt beb KäuftlCC# ftrijen. 
 
 Vor ben erften Kopf bon ber Kaub beb praritcleb, ben 1111# 
 bie £rbc toicbergefdjcnlit Ijat, tritt man mit gans befonberb 
 Ijoljcn Prtaartungen. llnb in ber (Cljat, biefe Crtaartuugcn tacr» 
 brn nidjt getfiufdjt burdj bab taa# 1111b Ijier geboten tairb : aus» 
 grfudjtcftc i'cinljcit ber j-ormcu unb Kniriffe, bie sartefte iDurdj» 
 bilbung her VbcrflÄdje, bie lnciftcrljaftcfte (Cedjuifi. llnb über 
 bem Pansen ein Icifcr .sdjimmer frcuublirij liebenbtaürbiger £111» 
 pfinbung, ber taie sonnenfdjeiu über bie Singe Ijingleitet. £# ift 
 ba# in her Cljat taie ba# £rtaadjcn ber £mpfinbuug au# bem 
 „ seclcnfdjlunnuer, " ber nadj fricbcridj# Hljünrni IVorrc filier 
 allen Pcftalten ber Älteren Kunft liegt: über ben eljrenfeften 
 herben Sägen beb poliilVletiidjcn Vorupljoro#, beu ernftcu Potter» 
 Hüpfen unb taoljlgesogcncn Knabenpljufiogiioiniccn am partlje» 
 noufric#, ja felbft über bem fricbcbolleu Slintlits bou Kcpljifobot# 
 £ircnc, bei ber bie .scelc nur erft au# ber inüttcrlidj gütigen 
 Veigung be# Kaupte# fpridjt ; über iljrcn iVicncn aber lagert 
 nodj bullige .stille. 
 
 llnb taicbcruin, bliebt man bem apornomeno# in bie uerböfen, 
 bctaegiidjcn Sfige, ober benlit man an ba# unruljige patljo#, 
 ba# taie ein .sturmtainb burdj alle Köpfe her 'Diabodjcu.scit ge» 
 fajjreii 311 fein fdjeiut, fo befinnt man fidj audj Ijier nidjt, bem 
 praritcleb ben Kraus 311 reidjen. îlljui ift bas Ijüdjftc gcglticbt ; 
 er Ijat bie sarteften ßegungen eine# feinfühligen .Seelenleben# 
 feinen Köpfen cingcbilbet oljne ben abci iljrcr .sdjünljeit audj nur 
 burdj einen Kaudj 311 trüben. (Hermes mit dem Dinnysosknaben 
 herausgegeben von 0. Treu, im Aufträge (1er Direction 
 
 fü.· «lie Ausgrabungen in Olympic). 
 
 >« 
 
The impartial spirit with which we have been inspired through¬ 
 out this work compels us to quote the following lines from the 
 pen of M r . A S. Murray, though his opinion about the Hermes of 
 ividely from our own. 
 
 n the Hermes of Olympia, Praxiteles may be 
 said to be in a measure feeling his way. The 
 motive is, as far as may be, identical with 
 that of bis father's Eirene and Ploutos ; the 
 inlant Dionysos is a counterpart of the Ploutos; 
 the head ol the Hermes with all its charms, has not altogether 
 the finished ideal type which would be expected in the later 
 years of the sculptor; the bodily forms are of a larger mould 
 than is associated with the developed style of Praxiteles; and 
 lastly there is felt to be a want of creative force when we see 
 a powerful figure leaning on a stem of a tree to support so 
 diminutive a child. The tree stem is at once an artistic 
 necessity and a factor in the composition of the group. Her¬ 
 mes is supposed to be resting in a wood. But though it is 
 right thus to make an artistic virtue of a necessity, it must 
 be done with sufficient skill as it is in fact done in the copies 
 of the Satyr leaning on a stem by the same sculptor. He is 
 less successful in his Apollo Sauroktonos, where the motive, 
 subtle as it is, does not betray imaginative power. In this 
 respect, however, it is in advance of the Hermes. In the 
 Hermes, the drapery is of exquisite beauty, heightened by 
 the translucency of the marble. The face has a profuseness 
 of subtle modulation as if of an impressionable nature, while, 
 ou the other hand, the strongly cast nose and brow appear 
 to elevate the expression out of the human range. Whether 
 or not in this type of head Praxiteles was influenced by a 
 combination of Attic and Peloponnesian tradition, he does 
 not appear to have had any occasion of employing it 
 again. There is no other Hermes in the list of his works. 
 (A. S· Murray, History of Greek sculpture, Vol. II). 
 
 Praxiteles differs 
 
 κ των άνασκαφών όσαι από τής άναγεννή- 
 σεως τής 'Ελλάδος δέν έπαυσαν τό άνεςάν- 
 τλητον εκείνο έδαφος τής αρχαίας δόξης και 
 μεγαλοφυίας άναδιφώσαι, ούδεμία υπήρξε γο- 
 νιμωτέρα τής ήν, άδεια τής'Ελληνικής κυ- 
 βερνήσεως, ένήργησεν έν έτεσι 1876—1877 ή Γερμανική 
 ’Ακαδημία έν ’Ολυμπία., εις ήν ό Παυσανίας δυο σχεδόν 
 ολόκληρα βιβλία άφιεροϊ, ή 42 κεφάλαια. Τό άπειρον πλή¬ 
 θος των άνευρεθέντοιν έκεϊ ερειπίων καί λειψάνων τής τέ¬ 
 χνης ήν πολύτιμος θησαυρός ταϊς σπουδαϊς έπιπροστιθείς 
 τής αρχιτεκτονικής καί τής γλυπτικής των 'Ελλήνων. 
 
 'Υπάρχει δε iv των ανεκτίμητων τούτων ευρημάτων, 
 πάντων των λοιπών όμοΰ κατ’ αξίαν και σπουόαιότητα 
 ύπερέχον καί μοναδικόν διά τήν ιστορίαν τής τέχνης καί 
 τήν όρθήν έκτίμησιν τής γλυπτικής παρ’ "Ελλησι, τό 
 άγαλμα τοϋ 'Ερμου τοϋ Πραξιτέλους, φέροντος βρέφος είς 
 τήν αγκάλην. 
 
 Τό μόνον τοϋ Πραξιτέλους αριστούργημα, τό μέχρις 
 ημών περιελθόν έστίν, ό ήμέτερος Ερμής. 'Η ήλικία αύτοΰ 
 έστίν ή έν τ$ πλήρει χάριτι τής νεότητος. ’Εντελώς γυ¬ 
 μνός, εις έπίδειξιν τοϋ σωματικού κάλλους ήν έπεδίω- 
 κεν ή αμίμητος τοϋ Πραξιτέλους γλυφές, έχει τήν χλα- 
 
 μυόα έρριμμένην είς κορμόν δένδρου, είς ον στηρίζει ό Θεός 
 καί τόν φέροντα τό βρέφος αριστερόν αύτοϋ βραχίονα, 
 διότι άλλως τό άγαλμα ίστατο έπέ τοϋ έδάφους μόνον 
 όιά τοϋ έτι σωζομένου δεξιοϋ ποδός, τόν αριστερόν ϋπεγεΐ- 
 ρον, πρός μείζονα τής στάσεως ελαφρότητα, όπερ ήν νεω¬ 
 τερισμός είσαχθείς ύπό τοϋ Πολυκλείτου, συγχρόνου τοϋ 
 Φειδίου. 
 
 Η χλαμύς έχει πολλάς πυκνάς καί φυσικώς καταρ- 
 ρεούσας πτυχάς, αίτινες έμφαίνουσι τοϋ υφάσματος τήν 
 βαρύτητα. 'Υπέρ αυτήν δέ πτύσσεται έτερον ύφασμα το- 
 σοϋτο διαφόρως και ποικιλωτέρως, ώστε φαίνεται λεπτό- 
 τερον τήν φύσιν και έλαφρότερον, χιτωνίσκος Ôv τοϋ βρέ¬ 
 φους, κατερριμμένος είς τό κάτω μέρος τοϋ σώματος αύ¬ 
 τοΰ. Τό νήπιον έπικαθήμενον είς τόν πήχυν τοϋ Έρμοΰ, 
 κλίνει τό απαλόν καί σαρκώδες σωμάτιόν του είς τόν ώμον 
 τοϋ 'Ερμοϋ, ον συλλαμβάνει διά τής μικράς δεξιάς του 
 χειρός, καί φαίνεται πρός τό πρόσωπον αύτοΰ άφορών, ή 
 μάλλον πρός τό άντικείμενον 6 ό Θεός έκράτει είς τήν 
 πρός τά άνω καί έμπρός τεταμένην χεϊρά του, ήτις έθραύ- 
 σθη καί δεν εύρέθη άπό τοϋ ώμου καί κατωτέρω. Τό άν- 
 τικείμενον τοΰτο, είς τινας άλλας παραστάσεις τοϋ 'Ερ¬ 
 μοϋ, έστί βαλάντιον, έμφαϊνον τόν χαρακτήρα αύτοϋ ώς 
 προστάτου τοϋ εμπορίου, είς άλλας δέ, καί ένίοτε καί Σα- 
 τύρων φερόντων τόν Βάκχον βρέφος, βότρυς σταφυλής. Ού- 
 τος ήν άναμφιβόλως καί είς τό σύμπλεγμα τοΰτο, έμφαί- 
 νων ότι τό νήπιον ήν ό Βάκχος, ό έπιχαίρων ήδη είς τήν 
 δψιν τής σταφυλής καί πρός αύτήν ώς ίνα τήν λάβ·/] έκτεί- 
 νων τήν άριστεράν χείρα. Τοϋ 'Ερμοϋ τό βλέμμα πλανά- 
 ται είς τό κενόν μάλλον ή ότι στηρίζεται έπί τοϋ παιδιού, 
 διότι ό Θεός δεν φέρει αύτό είς τήν άγκάλην του ώς τρο¬ 
 φός, άλλ’ είς έκπλήρωσιν ίεροϋ καθήκοντος Ô τώ έπέβαλεν 
 ό Ζεύς, τοϋ νά φέρ·ρ αύτό, έξαχθέν έκ τής κνήμης του, είς 
 τάς νύμφας αίτινες έμέλλον νά τό άναθρέψωσι. Τό δέ πρό¬ 
 σωπον αύτοϋ έχει έκφρασίν τινα έμβριθοϋς σεβασμοΰ εν- 
 δεικνύουσαν ότι συναισθάνεται τήν σπουδαιότητα τής 
 εντολής, καί ότι θεόν φέρει είς τήν άγκάλην του. Τοσοΰτον 
 όμως έλαφρά έστίν ή έκφρασις αύτη, ώστε ούδέ κατ’ έλά- 
 χιστον συνταοάττει τήν αρμονίαν τών γραμμών τήν άπο- 
 τελοϋσαν τήν ύπερτάτην καί άπαράμιλλον καλλονήν. 
 Ταύτην άπαρτέζουσι, τό βραχύ καί αίθριον μέτωπον, Ô 
 έπικοσμεϊ φυσικώτατα καί μετά πλείστης ποικιλίας συν- 
 ουλωμένη κόμη, ή έξαιρέτως σύμμετρος καί έλληνικώς εύ- 
 θεϊα £ίς, οί ιλαροί καί έλαφρώς μειδιώντες οφθαλμοί, τά ώς 
 διανοιγόμενος άνθους κάλυξ όλίγον προέχοντα χείλη, καί 
 ό έπιχαρίτως βραχύς πώγων. 
 
 Τοϋ δ’ όλου σώματος, ή μεν στάσις έστίν έν γένει 
 ώραία καί επαγωγός· ή διάπλασις δ’ αύτοΰ υπέρ πάσαν 
 έκφρασίν άνετος καί φυσική, ώς αν ήν έκτυπον σώματος 
 ζώντος, ενός τών χαριεστάτων καί ό όλος σχηματισμός 
 αύτοΰ έστίν άβρότατος, άνευ οίας δήποτε όγκώσεως μυό- 
 νων, άλλ’ ούχ ήττον τήν άκριβεστάτην γνώσιν τής ύπάρ- 
 ξεως καί θέσεως αύτών ύπό τήν τρυφερών σάρκα τεχνικώ- 
 τατα καταδεικνύων, καί έντονος μόνον έπί τοσοΰτον όσον 
 άπαιτεϊται ίνα διακρίνηται άπό παρθενικής λεπτότητος. 
 
 Τοιοΰτον έστί τό άριστούργημα τοΰτο. μοναδικόν καθ’ 
 εαυτό, δι’ ού ή 'Ελλάς άπό τινων έτών έπλούτισε τήν γνώ¬ 
 σιν τής άρχαίας καλλιτεχνίας. 
 
 A. Ρ. ΡΑΓΚΑΒΗΣ 
 
 21 
 
bM er prarfteïifdjc pennes in feiner heiteren uuh 
 freimblidjcii Sdjônhcit ijat iiliErnïï bit Entljufia» 
 ftifdjfte EDcUnmbcrimg Uiacjj gerufen. 25 ci bcncii, 
 
 _ luEldjc fdjou bar biEÎEin gïflnsenbftcu bEu bEii 
 
 ©ciitfdjcn Üudgrabungen in ©Ignipia Uecbaufi* 
 tEii fiinbc bEufndjt hatten, ber in'inftÏEuifdj eu pcrfünlidjiieit bed 
 praritclcd nacljïiirtEljEn unb iljr 23 ilb ans bEn nadjUieisbatcn 
 ©adjaljmmigcn einiger feiner Sdjûgfmigcn fidj 511 cntUicrfeu, 
 ijEfElitE fidj 311 bEin frcubigen «Erftaunen είηε »jcVuiffE ^Betroffenheit. 
 Sie ftaiibeu mit Einem male huîee bEin launigen dauber eines 
 (Periled bas ban bEu EiijEiiEii Ponb bed großen .Ugcifters felbft 
 IjEm'iljrt 1111b bErftanbEii bad «Entstielten bed fpäteren üitcctumd ; 
 aber fie Uiaren liberrafdjt bnrdj bie «Eigenart beffen, toad iljnen 
 fa plfîtslidj leibhaftig bar üiugen trat. Dor allem bon ben ©adj 
 ûiïbungen ber imibifdjcn üpljtübitc and hatte man fidj brmiiljt 
 eine Dorfteïïung graritclifdjer ïîunft 311 gctoiuurn. ©icnianb luar 
 meljr barauf gefaßt einen .©adjfiiaug bcrfclbcu in bem früljcr aid 
 üntinaiib gefeierten permed bed EBclUcberc 1111b ben gleichartigen 
 pcrmebbiibcrii toiebersufmben ; 1111b bem crftcn EBeridjterftattcr, 
 ber mit affeneni 1111b feinem -ëiiin in bie «Eigcntümïidjftcit ber 
 Statue ciiijiibringcn fndjtc, erfdjicn sunial ber tîopf, bei bem fidj 
 bad Urteil am icidjtcftcn feftfteïlcn läßt, fa fcljr Iiifippifdj, baß nadj 
 biefeni 25 cridjt 1111b ben borïSnfigen Übbiïbuugcn, bie iijn beglei¬ 
 teten, bie balb aufgetoorfeile Darfrage, tocldjer praritclcd cd beim 
 fei, uni beffen (Perlt cd fidj [jier ijanbeie, bûlTig berechtigt Uiar. .Sie 
 ift feit bem 25 cfiannttocrbcn ber übgüßc crlebigt. 
 
 •frij leugne nidjt eine Dcrluantfrijaft bed pcniicbllogfcb mit bem 
 ïîopfc bed ügarnamenad. über idj (jaffe im folgcnben 311 ertoeifen, 
 baß bie ufidjftcn 1111b toicljtigftcn Dcrgicidjimgdgimïîtc Uiclmcljc 
 in ber attifdjen ïîunft fclbft liegen 1111b baß in ber attifdjcn ïîunft 
 feïüft bie Darftufeu biefed graritclifdjcii iïogfti.igud fidj surficftUcr* 
 folgen (affen — bid auf ben ©idliobalcn bed .JDiiran. 
 
 3;dj gclje and nidjt ban biefeni unslucifclljaft mnranifdjcn 
 1D celle, fanbern ban ber fdjünen »iDüiidjcnet .Statue bed ütljlr- 
 ten, ber .Salbüi auf fid) fdj littet, iiibeni idj aid ielbftberftônbiidj 
 baraudfetjc, baß fie attifdj unb—bieiiigftciid im Dorbiib— älter ift 
 aid ber praritcîifdjc penned. 
 
 ©icmaiib toirb, einmal aufmerHfani gemadjt, bie fo enge Der* 
 Uiantfdjaft bcrUcnnen. »Der Ijolje rimbe Sdjâbcï, bit ÏCângc bed 
 ©cfidjtd, ber «Einfdjnitt in ber Daarmaffc am pintcrliogf, bie ILinic 
 bed ïjaaranfatjcd hinter bem Dljr 1111b am paid unb bie iDcgr.ïn» 
 31111g ber Stirne burdj bas paar, bie ürt bed paared fellift, bie 
 jrarm ber ©aie 1111b bie .-puljning bed gaumen profils, bie fdjrä- 
 gen «Einfdjnittc neben ben ©afcnflügein 1111b neben ben .iDuub- 
 toinfieln abtoârtd, bie ©inné, tocldjc ©fier - uub llutcrftirn 
 fdjcibet, bie «Erhebung ber Uiitcrftirn unb iljrc fcitlidjc fdjrâgc 
 ülbgräiijung, ber ïlebergang bed .iDafcnriidicnd in bie oberen 
 üugcnljulenräuücr — es ift ailed gleich aber baclj gleichartig : cd 
 ftaml Hein Slucifel fein, bic balle unb freie «Entfaltung ber reich» 
 fteu 1111b Itbendfrifdjen Schönheit, Uieldjc in bem graritelifdjcn 
 ïîopf fa iiuluiberfteljlirij toirftt, ift aufgebaiit auf bem ïîogftngud, 
 ber in einer älteren unb cinfadjcrcn -Form in ber JDündjciicc 
 ütljlctenftatue borliegt. 
 
 ©er fiopf bed ©idliobalb .iDaffimi muß aid bad Itrbilb bed 
 .IDiindjeucr üthïctenliopfd be^eidjnet toerben ; aber er (teilt un» 
 berbennbar eine fruljcre Stufe ncffclbcn («Eppud bar. 
 
 üud bem ïîopf bed ©ίϋΐΐαϋοίηι JDaffimi bann andj her Popf* 
 tppud bed ftcljcnbcu ©idliobalcii abgeleitet Uierben. ©oclj finb bei 
 biefer llmbilbmig bie formen in ettoad bcrfdjicbcncr IDcifc auf 
 gefaßt uub tacitcrenttoicfielt Uiarbcn. 
 
 «Ed finb iibcrljaupt alle farmen meljr nadj ber .Seite bed all» 
 gemein attifdjcn Ijfu berftauben, nadj JDaßgabc berjenigen ä&unft» 
 gcluöljnuiig, tueldjc und and ben flüugiiugdbüpfcn am partlje- 
 nanfried uub and bem föopf bed fag. .Cjjefciid am gcläiifigftcn ift. 
 
 23ci biefeni am (eidjteftcu bann mau bic ruijige unb gleichmäßig 
 bcgränjte fülle, bic sUüfdjcn Süamnmg 1111b SdjUiete bic .Uîitte 
 inncijaltenbc ©arftellung bed f Icifdjcd fidj filar madjeu, bic fortan 
 bad bcljcrrfdjenbc Sbcal ber attifdjen ïîunft Uiurbc. 
 
 IDer ben Itopf bed ©arnpljorad, bed ©idbabald JiDaffinii, bed 
 fog. fljcfcud untcreiuanber uub ettaa um brd «Eegcnfatsed üiilicn 
 mit ben Üeginetcn Uerglcidjt, luirb über bas gcmcinfame liiic 
 über bad imtcrfdjcibcnbc, bad fie an fidj tragen, nidjt lauge 
 im S'Uicifel fein. «Ed ift ber enge lircid ber gleichen Doifidaugeljö» 
 rigficit unb «Epoche, in lucldjem fie entftanben finb. ,©arij meljr, 
 .miiran, pijibiad, paliiblct finb Sdjüler bcffclbcn .iDciftcrd, bed 
 ügclabad. ©eu brd Ci.ipcn gcincinfam finb nidjt nur bic gcidjlaßcnc 
 1111b feftc farmuug, bic filarc 1111b beftimmte %cidjinnig bed bic 
 Uieiiljcrcn farmen bcljcrrfdjcnbcn «?cfügcd, fanbern gcUiiffe «5rimb= 
 jfige in biefeni «Eefiigc fclbft, bic öriißc 1111b fCicfc bed .Sdjäbelo, 
 bad Derhältniß in bem bic brei pnufitc ftcljcn, Vueldjc burdj ©a» 
 fcuUmrjcI, «Einfats bed ©jjrd 1111b bic am tneiteften bartreteubc 
 Stelle in ber ©unbillig bed ïjiiitcrfiapfd be^cidjnet Uierben. «Ed 
 Uürb Uielleidjt nadj gelingen aus foldjeu gemeinfamen Sfigen unb 
 bar allem aus bem Inas in iljnen bad altertiimlidjftc ift mit ïjin* 
 3tnialjme anbereç ungefähr ber glcidjcn «Epadjc aber nadj älterer 
 Seit augeljiirigcr , «Eggen, Uieldjc einen %ufanuuenljang mit ügc= 
 labad nillglidj erfdjeinen (affen, ©i'icfifdjtiiffc auf biefen älteren 
 jD eifter 311 geluinnen. Dau ben brei ;£gpeu, um bie cd fidj in 
 biefeni üiigeublicU Ijanbelt, ift nnUerftcmibar ber niiiranifdje 
 (Kopf ber altertiimlidjftc. «Es Uiürbcn fidj einige «Elemente engerer 
 Sufauuncngch.Srrglicit sUüfdjen bem ©aniuljarud uub bem fog. 
 '«Eljcfcud gegenüber bem ©idftobalen 1111b üiicbcrmn staifcljcn bem 
 ©idliobai 1111b ©anipljaras gegenüber bem «Ehcfcus Uioljl auffinben 
 (affen. «Ein eigciitiimlidj attifdjcd «äepräge ift bem «Eupiid bed ©id" 
 fiaboïen Uiie bem ctliiad jüngeren bed .Cljefcud eigen, ©ic Unter» 
 fdjicbc, bic fdjan innerhalb bed gemrinfameu, in bem ©eilige fclbft, 
 in ber Sdjäbclfarm Ucrfolgbar finb, laffen fidj nadj Icidjtcr in bcu 
 unteren ©efidjtdteilcn nadjUiciicn. 23cim ©argphorod fpriugcn bic 
 beiben unteren ©efidjtsteile gegen bic Stirn beftimmter Uar, her 
 untere ©cfidjtdtcil mit ïîinn 1111b Unterlücfcr ift ficäftigcr, breiter 
 uub Uoller ; bei bem ©idliabalcn finb bic entipredjenben farmen 
 länger, fdjmaler uub fiuapper ; bei bem fog. «Eljcfcud fit bas Unter» 
 gefidjt in ber feinen unb sarten füljniug bes profüs 3iirüdige-- 
 noinmeii, bie aus fa Uielcn attifdjcn ÎPerfien befiannt ift. 
 
 lïcincm biefer brei «Eugen fiat cd au fartbilbimgcn gefehlt, 
 ©idjt ift ber ügap.iamenadiiagf aus bem gratitelifdjcn penned» 
 fiopf Ijeraud crUiadjfcu ; fanbern ed ift birfcibc ©ciftcd — uub 
 ©cfiljniadidridjtung, bic in paralleler DarUiärtsbeUicguun aus bem 
 ©arnpharod ben iïapf bed ügarnaincuad, and bem mnronifdjcii 
 ©isfiobalen ben penn cd llagf gcUionncn Ijat ; cd ift ein gleichartig 
 ged Sbeal, bad ben beiben .ilEciftcru Uorgcfdjüicbt Ijat unb cs ift 
 3111· «Erftlärung bic Einnahme eines unmittelbaren gcrfSnlidjcn '«Ein» 
 flußcs herüber ober hinüber nidjt notUicnbig, fanbern nur bic 
 Ünerftcniitniß, baß praritclcd bereits in bcrfelbcn ©ciftcditrüimmg 
 ftcljt, als bereu Dertretcr in ber ïîimft nadj einer beftimmten .Seite 
 hin und bidljcr lïnfipp Uicncicljt etluad 311 aiididjicßliilj gegolten 
 hat. über ftanb er U011 ünfaug an mitten imic in biefer .Strö» 
 uumg ? ober Ijat er erft fgäter iljre IDcltcn in feine ïîunft Ijinii» 
 bcrgcleitct j 
 
 ©aß ein ïïiinftlcr bon ber ©ruße bed praritclcd ein geUialtiged 
 fortfdjreiten au fidj erfahren, bürfen Uiir aljuc Uicitered aunch» 
 men ; biefe ©litluicfteluug mit ben und 311 ©ebate fteljcnbcu .iDit» 
 tcln nadjUicifen 311 UioKeu, Uiärc Dermcffeiiheit. über Uiir bfirfen 
 Uennuten, baß nidjt ein lDcrli Uüc ber permed ben Üudgaugd» 
 guiilit feines Sdjancud bcscidjucn fiaun. Um ber gansen liiinft» 
 gcfdjidjtlidjcu 23cbeutung bed graritelifljeu penned im ;Eaifanniicn» 
 hang mit früherem gleichseitigem 1111b fgäterem gerecht 311 Uierben, 
 Uiirb cd nadj einbringenber 1111b Uarfidjtigcr i’cotiadjtiiugcn bon 
 
liiclcn lktuïrfcii, audj längerer Seit um mit brr neuen Crfdjci* 
 nung UÖIlig berttaut 311 Vuerben. 
 
 £inc Kcijrc aber ergibt fidj oljnc Uieitcrcs für bie Beurteilung 
 ber bieuigcn anberen ïtëctfie bei fraxitelcs', taeldje au?' ,i5adj= 
 biibuugcH mit .Sidjerijeit ober «Γ· al)rfrtjeiuiirtjHeit fidj nadjbieifcii 
 (affen, Une feiner liiinfficrifdjcn Perfûnlidjficit iiDcrljaiqit. ©cm föcr» 
 mes läßt ber riugirßcubc ^atiir, ber in fo biclcn ©rciiiplatcn bor= 
 Ijanben ift, aii gleichartig fidj Icidjt anfdjlicßcn, ettaai Ineniger 
 leidjt bieneidjt bie Imibifdjc SUpljrobitc ; aber cs ift nidjti tuas 
 bem neu getummelten Bilbc luiberftrebte unb ben fieidjtum prnrh 
 telifdjer fiunft an übernommenem tuic neu crbiorbcucm ©nt biirb 
 man fidj frijüierlidj Icidjt groß genug borftcilcn Mimen. ©ic 
 .ilb'indjcncr Stjjljrobite, mandjc ber 4-taturn bes eingießcubcn 
 .3>nturs ueljmeu unmittelbar burdj bie . 4 >djÖnljcit iijrer ©rfdjci- 
 mmg gefangen. Jtücr berfudjen biir bodj, bicnn bics möglich 
 biärc, |ie in ber ©ollliammcnjjcit bei ljcrnics auigcfnljrt 511 bem 
 ben ! lücnigc fiiinftlcr luerbcn in bem .maße biic Kiouarbo unb 
 Praxiteles ben uncrfdjöpflidjcu Seidjtum ber Patur in jeber ein» 
 seinen form bicttcifrrnb 311 crfdjöpfcn bcrfudjt gaben. Beim ftcr= 
 me? ift bas .m.otib fclbft erfunbeu im ©cbanlien ber leisten unb 
 feiuften Dollcnbung. .pur in biefer Ictstcn unb feinften Pollenbung, 
 fiir unb in ber bie .Statue gebadjt ift, fibt fie iljrc IPirlumg, bie 
 in jeber, aurij ber leifeften aibminberung ber biiiljenben Crfcßeinung 
 berfagt. ©er Dermes scigt nidjt nur Uiic biel getnonnen, fonbern 
 audj taie unenblidj biel für uni bcrlorcn ift, audj ba Uio tair 311 
 befitsen glauben. ^Reinhard Kekulé, lieber den Kopf des Pra- 
 xitelischen Hermes). 
 
 j, e can hardly term the work before 11s a 
 ; group; there is no approximation to an equal 
 balance of interest between its constituent 
 parts. Our whole interest and attention are 
 , attracted by the Hermes, and the infant Dio¬ 
 nysos appears only lo exist in our mind as a means to ac¬ 
 count for the expression of individual character and emotion 
 in the Hermes. And how exquisite and plastically perfect is 
 the expression of this emotion. The Hermes, youthful, and 
 yet with paternal tenderness and strength toned down to 
 gentleness ; while a breath of sweet melancholy, pleasing in 
 its sad rhythm, rests over the wholé composition. The head 
 combines in its featuros all the characteristics of a youthful 
 Hermes, and of the typically Attic youth. The type of the 
 athlete, the ephebe, the director and protector of games, and 
 the swilt-iooted messenger of the gods, is indicated in the 
 firmly cut, tightly connected features, the crisp hair energe¬ 
 tically rising from the knit and vigorous brow, in the athletic 
 development of the temples. A second characteristic of Her¬ 
 mes and of the Athenian youth is the acuteness, almost 
 slyness, of intellect (Κλυτοδουλος, δόλιος, etc.) ; he is the god 
 of skilful speech (λόγιος, facundus); the god of useful inven¬ 
 tions ; the god of commerce and of thieves (έμπολαΐος, 
 πολιγκάπηλος, κερδε'μπορος) ; the god of luck, of gaming and 
 .gamesters (κλήρος). But what is most apparent in this head 
 are the softer and more gentle qualities which were also 
 possessed by the strong and wary Athenian youth. Hermes 
 is a devoted and ardent lover; a tender and kind father, who, 
 for instance, bestowed the gift of an ever retentive memory 
 on his son Aethalides, the herald of the Argonauts. He was 
 the benign bestower of earthly prosperity and the reliever 
 •of the distressed (Ιριοιίνιος, δώτωρ έάων, άκακήτης). And tire 
 
 dreaming, soft and melancholy traits which are shed with a 
 glow over the whole figure, are personified in Hermes as 
 the hestower of sweet sleep, whose staff could «close the 
 eyes of mortals,· and as the leader of all dreams, ήγήτωρ 
 όνείρων; the leader of the dead, of departed souls, into Hades 
 (νεκροπομπός, ψυχοπομπός). In general we may say that Her¬ 
 mes is the most human of the Greek gods. 
 
 But, like a great sculptor who has thoroughly conceived 
 the true province in his art and its means of expression, it 
 is not only tbe head which Praxiteles has formed to express 
 his feelings, his thoughts, his creative mood, however beau¬ 
 tiful we know his heads to have been ; we feel his power 
 in the manner in which the head rests upon the neck, and 
 the neck upon the shoulders, and the limbs join on to the 
 body ; in short, in the plastic rhythm of the whole figure as 
 well as in the peculiar modelling of every sinew and muscle, 
 and in each smallest part of the surface. 
 
 The main features which Praxiteles has expressed in this 
 statue are those of strength and tenderness. It is not a pure 
 and simple type, such as the earlier times would have given 
 us, strength in a Herakles, and softness in a Dionysos, but 
 a composite type of Herculean strength and of Bacchic soft¬ 
 ness, both harmoniously blended in the beautiful forms of 
 an athletic youth ; strength and active energy, penetrated 
 by passive pleasure, capable of delight in passion. Strength 
 is plastically indicated in the powerful limbs, the full chest, 
 the modelling of the well articulated muscles and sinews ; 
 while the apparent relaxation and the soft rest of these pow¬ 
 erful limbs and of the well-rounded chest, express the 
 gentle element in this complex mood. 
 
 The soft layer beneath the epidermis unites, with its tran¬ 
 quil flow, the sinewy muscles that lie below it into a gliding 
 rhythm; propitiates the ruptures of lines, and intermediates 
 each hiatus where each muscle and joint is knit on to the 
 other. The smooth and vibrating surface covers all in lines 
 of gentle yet potentially vigorous cadence, midway between 
 the rippling rhythm of the epidermis of a Farnese Hercules, 
 and the languid and almost effeminate swell of lines in the 
 Lykian Apollo or the Antinous as Bacchus in the Vatican. 
 
 But all this is expressed not mérely in the rhythm of the 
 individual limbs and parts themselves, but in the general 
 rhythm of the body, as well as in the outline rhythm. 
 
 In the relative position of the limbs to the central point 
 of interest of the figure, strength is expressed though im¬ 
 bedded under apparent rest— it is latent. Michael Angelo's 
 Moses in the San Pietro in Vinculi in Rome is seated in 
 comparative rest, and his muscles are partially relaxed. And 
 still we are necessarily impressed, while gazing upon this 
 seated figure, with its latent power, which may at any 
 moment become actual. The broad band round his powerful 
 left shoulder in perfect repose, still gives us the idea of 
 motion and resistance. He could rend it asunder, broad as 
 it is, were his muscles to swell. Nay, we feel that the next 
 moment he will rise from his apparent repose, and all his 
 sinews will be in the most energetic tension, that he will 
 grasp the tablet with his strong hands and shatter it to the 
 ground, that his whole large frame will vibrate with passion. 
 The eve of a great powerful moral outburst is embodied in 
 the seeming rest and relaxation of this statue. So too we can 
 feel that this Hermes, full of tenderness and glowing with 
 
a languid relaxation, can at any moment swing the c/iscus, 
 fling the spear, wrestle and struggle in the Pancration, softly 
 skim over the course, or even fly over »the briny sea and 
 the infinite earth with his beautiful ambrosian and golden 
 pedila» as the messenger of Zeus- He can not only tenderly 
 nurse the infant, but he has snatched it from the flames and 
 he can protect it. On the other hand, the languor and ten¬ 
 derness of the flgure is expressed in the forward bending 
 head which in this position adds to the expression of dreamy 
 abstractedness, and in the slight curve of the neck and 
 shoulders, in the gentle uplifting of the right arm, and in 
 the careful semi-suspension of the left, as well as in the 
 wavy curve of the flank and the outward swell of the hip 
 (as intelligibly a line of soft melancholy as any minor pass¬ 
 age of low and gliding violoncello tones in music). 
 
 So much for the general rhythm nf the body. In the 
 outline rhythm, the flow of the simple lines of the outline, 
 there is the same mixture and thorough harmony of soft rest 
 and latent movement. And this is so whether, as Hirschfeld 
 and Milohlioefer maintain, he held in his right uplifted hand 
 a bunch of grapes to incite the appetite of his little ward, 
 or, as Treu maintains, he held the thyrsos to indicate the 
 nature of the infant. This staff would counteract the effect 
 produced by the heavy drapory and the child on his left, 
 which without a similar line on the right would be unsym- 
 melrical in composition. With regard to the outline rhythm 
 we are again midway between the restless, outward-driving 
 lines of a Borghese gladiator, and the restful symmetry of 
 outline in a Somnus, with his hands folded over his head. 
 
 With regard to the technique (in the restricted sense), I 
 have already remarked the exquisiteness of the modelling. 
 The surface and what is below it seems to vibrate under the 
 gaze and touch of the spectator. The delicate play of light 
 and shade over the ribs of the right side will assist in appre¬ 
 ciating the quality of the modelling when we compare it with 
 similar Roman works, in which each part seems put together, 
 not to flow together. All this points to the expression of 
 what we may term texture in plastic art, and here it appears 
 to me that Praxiteles was decidedly an innovator. /Charles 
 Waldstein ; Praxiteles and the Hermes with the infant Dionysos). 
 
 . n lj.it fidj ein autiRcb iliiunftlucrR in vE>cutfctj= 
 
 laiib fa fdjurll bit allgcmeiuftc SlincrRcnnimg nnb 
 lUpisIll Shincigung rrluorbcu, taie bet lijcrmcd bed pra 
 ïiteic ·· 
 
 JSdjtuicdfl ift cd/ nidjt nut uadj ben pljotogr.v 
 pljicn, fanbern fcllift Stngcfidjtd bed Oypdabguffed fidj ban ber 
 23 cljaubluny bei Dfirpctd nnb feiner Tonnen cine bcftimnitc 
 ttcdjcnfdjaft 511 geben, ©ic fdjEne bom sdjcitcl burdj bic Stjce 
 bed ganjen ïîürpcrd bis 311m stanbfußc butdjgefüljrte, bic ganse 
 Oompofition beljercfdjcnbe gefdjtuungenc 'ICinic binrbe fdjon bio» 
 Ijcr aid cine tuefcntlidje OigentpmiidjRcit praptciifdjcr iiiinft 
 angefetjen, nub ber Denned beftatigt bie fiidjtigRcit biefer Stuf» 
 faffung. To leudjtct aber ein, baß burdj biefe .Neuerung nidjt 
 nur ber lîljiitljniud ber gaujen Oeftalt im Ocgenfatsc 311 ber 
 .Strenge ber frfiljcrcu Seit luefcntïidj berânbert luiirbc, fanbern 
 baß biefem tucidjeren itljutljinud überhaupt audj cine lucirîjerc 
 25 cljaublimg ber Tenu cntfprcdjcn mußte. Td luar notljUicubig, 
 bic ben partljeuoufnilçturcu eigene Oroßartigficit ber JiSaffen» 
 gïieberung burdj Tinfiigung bcrniittcïnber ikuifdjeugiiebcr 311 
 
 niiïbern nnb in ber ©urdjbilbung ber Ikôrpcr ber finniidjen Or» 
 fdjcinung mcljr lîcdjuung 511 tragen, ©aß biefen Jforbcrungen am 
 Dermes im princiji bereits Ocnügc gcfdjcljcn fei, foil Rciuedlucgd 
 geleugnet luerben. lOenn mir jcboclj bon unbefangener 4 >eltc bit 
 jfrage borgclcgt tuurbc, ob ber Dermcd luirfilidj in jeber 23 esic= 
 ljuug ber Ijoljen Porfixïïung entfprcdje, tucldje idj mit gcluiß fdjou 
 friiljcr bon einem praritelifdjcn DAcrUe gebiibet Ijabc, fo finbet ber 
 in bieier Trage liegenbe itaeifcl luoljl barin feine 25 cgriinbuug, 
 baß ber ïïünftïer am Denned nodj nidjt burdjtueg biejenige bolïe 
 .sidjcrljcit in ber SiuSfüljrung erreidjt Ijat, bic nur bad üefuitat 
 langer Hebung fein Raun, ©ic grüßtesdjbjierigReit liegt babei in ber 
 fdjatfen unb bodj tuicbcr satten ißegrenjung ber Tonnen, lucldje 
 bao bolle Pcrftänbiß bed inneren Ortricbcd unb bed Sfnciuanbcr» 
 greifend brr cinjelueu .iDudRciu 311t Paraudfctsung Ijat, obluoljl 
 badfclbc, burdj bic Umhüllung ber Daut bem Äuge entsagen, oft 
 nur in leifen jPobutationcn ber Torrn auf ber Oücrfläcjjc fidjtbar 
 luirb. HD ad ber ßiinftler Ijicr gcleiftct Ijat, foil biclcn, ja ben 
 mciften ber erljaltencu JOerfie gegenüber Reinem Cabei uutertaor» 
 fen bierben. Kegen luir jebodj ben Ijödjfteu iglaßftab an, fo luirb 
 susugeben fein, baß eine nodj größere Verfeinerung unb präcijl» 
 rung namentlidj in ber llmfdjrcibung ber cinseincn Tonnen luoljl 
 möglidj getuefen tnärc, möglidj aid bad ficfultat berjenigen .lPcif» 
 terfdjaft, bic audj bem größten ßcnic nidjt angeboren fein Rann, 
 fonbern iljm erft aid Trudjt langer Arbeit 311 tljcil luirb. 
 
 JCber ber Kopf : barf fidj audj au iljn bic firitiß mit iljren 
 Sätaeifeln unb Oinfdjränfiungeu Ijctanluagcn ? IVer fidj am ßcis 
 ber fcTjönen Otfdjcimmg genügen läßt, mag Ijicr her Ikritifi jebe 
 iPcrcdjtigung abfprcdjen. IVer aber in ber Torrn audj ben geiftigen 
 Ocljalt fudjt, luirb fidj bad licdjt einer unterfdjeibenben Prüfung 
 nidjt ncljmcn laffeu. 10ir finb fo glticRlidj, ein slueited 23 ilb bed 
 Oottcd in mcljrfadjen lOicbenjolimgcn 311 befitseu, bad lucgcn 
 feiner formalen Oerluantfdjaft mit bem oimnpifdjcn mit ficdjt nid 
 eine -ßrfiubuug praritelifdjcn Oeifted in Sliufprudj genommen luor» 
 ben iff. .ßeben ber .statue, bic unter bem .Damen bed SUntiuoufi 
 bom 25 elbebere bekannt ift, barf befouberd bad Oyemplar bon 
 Stnbrod, lucnn audj nidjt aid Original, boclj aid Stlrbeit guten 
 gricdjifdjen .lOcißcld Ijcrbeigcsogcu lucrbcu. .scljcu luir bajjcr bei 
 bem ïîopfc bcffrlbcn bon ben Tciuljcitcn ber îtudfüljrung ab, bic an 
 einer .Dadjbilbung nidjt 311 erluarten finb, unb luir bierben nidjt 
 in aibrebe fteltcn, baß Ijicr ber Oott in ausgeprägterer lOeife Der» 
 med ift, aid in ber .statue bon Olympia. Oie atljlctifdj burrijgcar» 
 beitete .Stirn, bic ctluad gebogene lOibbcrnafc, ber fdjeinbar 
 scrftrcutc, aber abfidjtlidj gîeidjgültige 23 Iicfi, ber auf innere .span» 
 innig unb SlufnicrRfanificit [jinbeutet, ber audbriicR jener befonbe» 
 reii art bed 23 cobadjtcnd, bieldjed „gan.3 Oljr" ift, in Pcrbinbung 
 mit ber Stellung 1111b Daltuug, bic in fdjeinbarer tiuljc unb Kaf- 
 figReit nur bic ïîraftc 311 fdjncller, energifc|jcr OljätigRcit fain» 
 melt, ailed djaraRterifirt Ijicr ben biclgcbianbtcn, biclleidjt am 
 luenigften ibealcn, aber in allen Kagen bed Hebend praRtifdj 
 betuäijrtcu Oott. lOollte man einlucuben, bem Denned bon Olyni» 
 pia aid Dinbcdpffeger eigene ber milbere, fanfterc OljaraRtcr, fo 
 niädjtc cd barum fein, lucun cd fidj nur um einseine feinere .Duan» 
 cirungcu bed aiidbrucRcd, nidjt um eine über bad Oaiije berbrei» 
 tetc, luic Ijalb bcrfdjlcicrtc .stinnmmg Ijanbeltr, bic, fo fcljr fic 
 und gefangen ncjjmcn mag, bodj nidjt aid ein audfiiiß ber inner» 
 l'ten .Datur bed Oottcd gelten barf: eg ift biclmcljr bie .stim» 
 lining bed jugenblidjen ßünftierd, bad nodj jugcublidj sarte 
 Ompfinben bed .sdjöpfcrd biefed lOcrRed, lucldjed fidj über bem 
 antlitsc bed Oottcd berbreitet. 
 
 10 ad Ijicr auf Oruiib bed in bem 10 erbe Ijcrrfdjcnbeu Ompfin» 
 bend behauptet luirb, finbet eine überrafdjenbe 25 eftätigüug bon 
 .seiten ber rein formalen 25 ctradjtung. 10 ad cthia im borliegeubeu 
 Talle aid .Dcufdjûpfung 311 bescidjncn fei, mag burdj ben Cnpud 
 bed fdjon crluäljntcn Dcrnicd bon 51 'nbrod erläutert hierbei!.- ün 
 
 T 
 
bet allgemeinen Stallage befleißen fiiib eùijeïiie Sputen bau béni 
 acchitcfitanifrijen ©ecûft bea iiiyraiiifrljen Cup us uadj batljanbcu, 
 bie immerhin geniigen, ij)u alfl attifdj einem yelayamicfifdjen, ban 
 JpaïyMet ahhSiigigeii inpuö in üeftimmter IPciic gcgcmibecjiu 
 (teilen, aber gerabe bie aedjitelitanifcljeu ©eften unb ïïauten finb 
 aligcMjliffcn. ©ic iiapffaem ift bicnigcr ijoilj unb tritt unter bem 
 etliia? ftMtereii Paar bienigcr lieftinnut Ijerbar, bas fidj über ber 
 ,®tiru niegt in einer cinfadjcn 25 agcnlinic, faubern in «Edlen ge= 
 bradjen aufet^t unb aberluarts fidj in größere .ifâaffen giiebert. 
 ©urdj bie .Stellung bed ©tjrco ntejjt uadj riidibi.lrtd berfdjicbt 
 fidj bas Pcrljaitniß àluifdjeu bem barberen unb Ijintcrcn .©heile bed 
 fîapfed : ber ïjiuterftapf tuir fdjmalcr, bie «Entfernung bam Oljr 
 3ur ^afenfpitse nimmt ücbeutenb 311. ©ad bïûljenbc, üppige 
 IPadjdtljiun bed alnmpifdjcn Denned erfdjeint Ijier geidjmaiert, 
 unb aus ben ctbiad magerem, abet fcftcrcn ©efammtformen treten 
 äugen, Nafe unb .lllunb Hiciner unb fdjärfer, aber üeftinnnter 
 inbibibualifirt Ijerbar. ©einig, an bie .stelle ber ftcengen aber, gc= 
 brauchen toir einmal einen 311 ftarUcn Etaißbriicß : fdjematifdjen 
 .stiii|irmig einer älteren 'Seit ift eine Jtaiffafiimg getreten, liicidjc, 
 aljne fdjan naturaiiftifdj 311 fein, fidj ber lPiebcrgaüc ber lPirlt 
 lidjlieit uadj ihrer «Erftjjcinung im «Eiiiiclncn mcljr aunäljert. 
 
 lPir Ijabeu bie Permcdgruppc bed Ipraritcied unter bcrfdjicbc» 
 neu ©cfidjtdpiinlitcn betrachtet 1111b finb, bind ihre «Eiitftcljuugd.icit 
 anfangt, immer auf bas gleiche «Enbrefuftat Ijiiigcfiiljrt biorbcn. 
 a'111 Permed finb bie .Neuerungen bed Ipraritelcd : bad Etailcljncn 
 an ben .stamm, bie baburdj matibirtc feingefdjbnmgenc Ilinic ber 
 Stare bed ïîarpcrd bcrcitâ batljanbcu. aller bad Startcljuen ift nur 
 erft rin Ijalbed aufftiitscn, unb mit ber bie litiljc cljarafitcrifircnbcii 
 25 agcniiiiic bed ïîôrperd tritt bie 25 ctocgmig unb Pebung bed redj» 
 ten armed in einen gcUiiffcn ©egeufats, ber uadj nirijt, Uiie 3. 25 . 
 an bem a'pailina her «Eribunc 311 flaren.i burdj bad aufliegen bed 
 armed auf bem ïîopfe feine audgleidjcnbc Söfnng gefunbeu Ijat. 
 am Permed Ijat bad «Eiuscine einen ctlnad bicidjen, unbeftinnnten 
 «lljar aliter ; es fetjit uadj bie balle .sidjetijeit ber Paub, bie nur 
 bad (erste fiefultat eines tiefen Perftänbuiffcd fein Hann. 
 
 Namcntlidj Ina cd fidj um bie a'rbrit cined (jerborrngenben 
 .IPeifterd Ijaubcit, ba biirb fidj taie ban felfift unfer Siitcrcffc auf 
 ben .sdjöpfcr bcffclben übertragen, ja cd biirb bad îfiitcreffc fur 
 ben Püiiftler iiberüiiegen, fabalb biir bas lPerli als eine cinselnc 
 .îifâanifeftatian cined umfaffenben Piiuftlergciftcd 311 bctradjten 
 anfangen ; unb ljierbci Hann fidj fclbft bas fcjjeinbar IPibcrfprudjs» 
 bolle ereignen, baß, toad bem eiusclucn IPerlic abgesagen tairb, 
 bem sdjöpfcr beffclbcn toicbcr jutoädjft. IPir mußten bei ber 23 c- 
 tradjtung bed permed auf jlîninljrd Ijintaeifen, toad uns Ijinberte, 
 iljm bie jpalmr ber Pallcnbuug uiuicrHcnncu. IPenu es uns aber 
 gelungen ift, in bem .sati.ir ein IPcrli nadjsutocifcn, in tocidjem 
 ber Mnftler bas PÖdjftc crrcidjt Ijat, bias iljm uadj feiner jpci> 
 foijnlirtjHeit unb feiner Ijiftarifdjen .Stellung 311 crrcidjcu möglich 
 toar, tociin toir ferner aus ber Pcrgleidjuug gcfcjjlaffeu Ijabeu, 
 baß ber Penned eine SJugcnbarbeit bed ïîûnftlecd toar, fa seigt 
 fidj jetst, baß burdj bie .strenge ber analiitifdjen 23 ctradjtung 
 Hcincdtacgd ein iPaßftab ber 25 ciirtljci(ung angelegt toerben fällte, 
 ben au einen uadj in ber ©nttaicßclung begriffenen Mnftler 011311= 
 legen man gar nidjt berechtigt toäre. Nirlmrljr ertoeijt fidj jetst 
 ailed, toad bur bem lPcrlle an abfaluter 23 cbumberung abgesagen 
 Ijabeu, aid eine licdjtfertigung bed uadj an beftinuntc 25 ebin= 
 gungen feines .schaffend gebunbenen Mnftlcts. 
 
 €d ift jetst Hein Parbmrf mehr, baß prantelcd als ein uadj 
 jugciiblidjcr Mnftler in brr ©efanuutcampafitian ber ©ruppc, in 
 ber 23 ilbung bed Mibe# fidj uadj an feinen Pater, in bem ©lipu# 
 ber Mpfform an iiinraiiifdje Mn ft anlcljntc. «Es ift eben ία lueuig 
 ein Portaurf, baß er bie neuen principicn in ber .stiiifirung ber 
 ©etaanbung, in ber Stellung 1111b bem liljntljnms ber drigur, in 
 ber ©urrijüiibung ber farm uadj nidjt bollftäiibig bebiältigt, baß 
 
 er ben ©haraliter bed Permed uadj nidjt in feiner galten Picl= 
 feitiglieit crgriiubet Ijat. îPir freuen und biclmchr bed biclcn Neuen, 
 bad ben bicifcitigftcn fortfdjritt nidjt nur anfiiinbigt, fanbeni 311 
 einem nidjt Hieinen Cljcilc bereits bertoirHlidjt hat; 1111b toir freuen 
 und 11111 ia mehr, tocun toir crHenneu, baß es iljm gelungen ift, im 
 Satyr 311 balicnbcn, Inas er im permed fa erfolgreich begannen. 
 IPit freuen und eublidj au ber jugenblidjen fCicbendtoiirbigHcit bed 
 Hiinfticrifdjcn ©mpfinbend, bad in bem unfdjuibigen spiele bed 
 ©ottes mit bem Idube 311111 ausbrucHc gelangt, .so fühlen toir 
 und bei suneljmciibcm Pcrftänbniß bed liîunftlucrHed immer mehr 
 inncrlidj ertoärmt ; unb eine faldje IPärme bed «Eiiipfiiibcnd toer- 
 ben toir nidjt geneigt fein für einen uncingcfdjräiiHteii £nthufiad= 
 mus hinsugeben, bem ailerbingd bie aiifiühlung ber «Einbilbimgd» 
 (traft nur 311 fdjnell 311 folgen pflegt. (II. Brunn. Ber Hermes des 
 Praxiteles). 
 
 on plus que le Faune ni l’Apollon Sauroetone, 
 Hermès n’a plus rien du dieu primitif, ni le 
 bonnet pointu, ni le caducée, ni les talonni- 
 ères. C est un homme, mais d'une jeunesse et 
 d'une beauté idéales; il n’est plus le messager 
 ni le conducteur des dieux, et s'il est chargé de remettre 
 aux Nymphes le jeune Dionysos, il n'est pas pressé d'ac¬ 
 complir sa mission. Arrêté contre un arbre, où il s’appuie 
 nonchalamment du coude, il a mollement assis le nourrisson 
 divin sur son bras gauche enroulé d’une draperie, et s’amuse 
 à l’agacer par la promesse et la vue d’un objet, quelque 
 grappe de raisin sans doute, qu’il tient élevé dans sa main 
 droite. Dionysos d’un bras s’accroche à l’épaule d’Hermès, 
 de l’autre, se hausse vers l’objet de sa convoitise; tout son 
 petit corps se tend dans l’effort et l’émotion de son désir 
 gourmand. Tout a été dit déjà sur ce monument admirable; 
 tous les termes ont ôté épuisés à louer la suprême beauté de 
 l'IIermès de Praxitèle, et c’est un lieu commun d’admirer le 
 simple et naturel groupement des deux ligures, la grâce des 
 attitudes, la souplesse des mouvements. Comme le Faune, 
 comme l’Apollon, mais avec plus d’élégance encore, l’ondu¬ 
 lation des hanches rompt le parallélisme naturellement dur 
 et monotone des lignes du torse et des cuisses, et ce ressaut 
 de muscles, qui change d’ordinaire l’attitude du corps en 
 repos, donne une impression indéfinissable de mouvement 
 et de vie· Mais ce qu’il nous faut surtout noter, car ces ca¬ 
 ractères marquent pour Praxitèle l’originalité vraie de son 
 génie, c’est le sentiment personnel de la beauté, la conception 
 personnelle d’un type idéal. Rien de réaliste dans l’Hermès ; 
 —nous ne parlons par de l’enfant qui, sans doute parce qu’il 
 est mutilé, nous semble de mérite inférieur. — La tête, la 
 plus jeune, la plus vivante, la plus belle en un mot, que 
 nous connaissions, reste en dehors de toutes les traditions. 
 Vue de face, vue de profil, elle ne rappelle en rien ce type 
 de convention qu’on nomme le type grec, fin, distingué, pur 
 de ligne et certainement admirable, mais qui se répète trop 
 souvent, comme un cliché impersonnel et froid. Le front, 
 court et bombé, dont les saillies font songer aux tètes 
 d’athlète dues à Myron; le nez, tout entier d’un modelé rond 
 et gras, large à sa naissance, un peu brusqué vers son milieu, 
 aminci près des narines petites, mais bien ouvertes ; les yeux 
 très éloignés l’un de l’autre, grands et fendus en amande, 
 peu saillants dans l'orbite profonde, la bouche petite, aux 
 lèvres minces, qu’entr’ouvre et plisse aux angles un discret 
 
sourire, le menton, maigre, creusé d’une fossette, la disposi¬ 
 tion des cheveux par masses de mèches courtes et souples 
 pourtant, où l’air circule, la coupe franchement carrée du 
 visage, tous ces traits forment un type bien neuf et d’une 
 inspiration bien personnelle, où la nature apparaît embellie 
 et rajeunie par la libre inspiration de l’artiste. Et de môme 
 pour le corps ; il n’est plus construit suivant le canon de Po- 
 lyclète, règle trop étroite : les épaules sont très amples pour 
 l’épaisseur de la taille ; les hanches et les cuisses sont peu 
 développées en largeur; les muscles sont modelés avec une 
 précision savante, mais sans sechéresse, et les formes sont 
 plutôt arrondies,n’amollissant pas, mais donnant de la jeunesse 
 et de la délicatesse à la force. Le soin des détails est extrême: 
 nous ne connaissons pas de morceau plus étudié que le pied 
 droit, heureusement retrouvé. 
 
 L’Hermès est trop incomplet—puisque les jambes sont 
 
 perdues—pour que l'œil soit pleinement satisfait. Il manque 
 à notre impression ce dernier regard d’ensemble qui enve¬ 
 loppe une statue tout entière au moment où l'on s'en sépare, 
 et les tiges de fer qui supportent le marbre, le lourd socle 
 quadrongulaire où s'appuient les moulages, causent aux yeux, 
 à la fois et à l’esprit une véritable souffrance. Mais ce senti¬ 
 ment même, rarement éprouvé, ce regret qui va jusqu a la 
 douleur, est une preuve de la haute perfection de l'œuvre. Le 
 Képhissos de Phidias, l'Hermès, de Praxitèle sont les deux 
 sommets qui dominent toute la sculpture Grecque. Rien de 
 plus beau ne sortira plus des ateliers helléniques. Dans ces 
 deux statues—nous parlons seulement de celles qui nous sont 
 parvenues et que nous pouvons juger d’après elles-mêmes — les 
 deux plus grands sculpteurs de l’antiquité ont réussi à expri¬ 
 mer leur idéal, le plus noble qui ait jamais été conçu. 
 (P. Paris. La Sculpture Antique). 
 
 26 
 
0 LY Μ P 1A 
 
 PHOTOTYPE 
 
 HERMES OF PRAXITELES 
 
EPILOGUE 
 
 .Tip 1 . 
 
 fter the quotations we have made from the works of the highest 
 ymJaÊËÈk authorities on archæology concerning the Hermes, it would be 
 ijÉ e| 3SE/^ superfluous to oiler our own opinion; still we may perhaps he 
 permitted to say a few words before concluding this work. 
 
 The readers, for whom this work is specially intended, those, we 
 mean, who do not make archæology a study, may after perusing its pages 
 well ask, what rank, amongst the great masterpieces of sculpture which the 
 world inherits from antiquity, should be assigned to the Hermes? We for 
 our part agree with M. Paris in saying without hesitation, « the Kephissos 
 of Pheidias and the Hermes of Praxiteles are the two highest points in 
 Greek sculpture.» M. Paris thus associates the work of Praxiteles with that 
 of Pheidias without, however, proving that it is equal to it; we. go even 
 further, and claim for the work of Praxiteles perfect equality with that of 
 his great predecessor. 
 
 To many Ibis may seem strange, and may at first sight appear in 
 opposition to a passage in a former chapter, where the first place is claimed 
 for Pheidias, but this is nol the case; we acknowledged that the talent of 
 Pheidias as a whole was higher lhan that of Praxiteles, not, as we said 
 before, because art had degenerated in the hands of the latter, but because 
 the subjects he chose were less lofty. The masterpieces of Pheidias were 
 chryselephantine statues, of which not a single one has been preserved to our 
 day. whereas Praxiteles was the sculptor in marble «par excellence.» Pliny 
 
 27 
 
says of him, «Praxiteles was happier in marble than in bronze, and there¬ 
 fore also more celebrated;' 11 lie surpasses himself in marble.»·*’ We admire 
 the simple dignity and silent greatness of the work of Pheidias, but we love 
 Praxiteles, because his works are inspired by grace «more beautiful than 
 beauty,» as says the Arab ; one has genius, the other sentiment; in the one, 
 beauty is shadowed forth in all its power; in the other, it veils itself lan¬ 
 guidly in its own irresistible charm. This is why Pheidias makes his statues 
 of women in the likeness of men; and why Praxiteles gives to his figures 
 of men a womanly delicacy and tenderness. 
 
 A friend of ours, being some twenty years ago at Jersey, asked Victor 
 Hugo what was the exact distance he meant to indicate between the singers 
 of Ionia and of Ausonia by his famous phrase; «Virgil is Homer’s moon.» 
 «I did not intend,» Victor Hugo replied, «to tix any distance between them; 
 Virgil imitated Homer, but was not inspired by him; he got his inspiration 
 from within in the first place by the genius which illuminates, secondly 
 by the sentiment which captivates: they are not each equally powerful, but 
 they are brothers in genius, and the vivifying rays of the orb of day have 
 no greater charm than the «arnica silentia lunae.» 
 
 «Praxiteles is one of the finished geniuses of the family of Virgil, Ra¬ 
 phael. Mozart, not more astounding,» says M. Nisard, «tor having avoided 
 every fault than for having united all good; lights, soft and penetrating 
 which illumine the most ignorant, as well as those most steeped in worldly 
 knowledge and which dazzle no one: harmonious spirits in whom no virtue 
 is strained to its opposite fault, but who possess that superior charm which 
 places them always in front amongst men of genius, namely sensibility. 
 From their soul to ours flows that sympathy more ardent than admiration, 
 which makes us love what they have loved, and feel what they have felt. 
 Virgil makes us feel in harmony with the terrors of nature at the approach 
 of a grand storm, with the joy of the earth refreshed when Zeus sends down 
 the showers of spring, with the labours of the bee, with the pain of the 
 
 (1) Plinii XXXIV, 69. (2) Plinii XXXIV, 20. 
 
 -28 
 
vme whose luxuriant branches are hewed down by the pruning knife, with 
 young oxen wistfully longing to reach the manger full of green food, with 
 the bird which no longer finds in the air a safe asylum, and which is 
 attacked by disease even in its nest. I cannot stand before the «Tête d’un 
 jeune homme» by Raphael, without experiencing a tenderness towards this 
 youth who muses, at his entrance into life, on the joys and griefs of which he 
 as yet knows nothing, and who seems to be gathering up strength before 
 the hour of action. Mozart makes me live all my days over again; he revives 
 my P ast joy»· robbed though of their passion, and my pleasures without 
 Iheir to-morrow;he gives me a voice to express things which are inexpressible 
 in our ordinary tongue; he changes the melancholy which dissipates or 
 saddens reflection, into a delightful attitude of soul which one would fain 
 keep t°i' ever. How many regrets, desires, and hopes which can be breathed 
 to no one, either because words are wanting to express them even to one’s 
 own self, or because no friend has yet been found worthy to share our 
 secret, but which nevertheless do not weigh upon the heart, how many, 
 I say, of these do Ids divine melodies draw forth and thus bring us relief. 
 The melancholy which breathes in Mozart’s melodies is thrown by Praxi¬ 
 teles like a veil over his Hermes, from whom it emanates and carries our 
 soul into an atmosphere of sweet and tender musing. For this reason, the 
 statue affects us like long-drawn strains in a minor key, and never I think 
 have the lines which follow been applied more appropriately than to the 
 statue of which we are speaking: 
 
 Natliless, it grieves me that tliy pensive mood 
 And downcast eyes and melancholy brow 
 Reveal such sorrow ; nay I know not how 
 Stern sadness o'er thy beauty dares to brood. 
 
 And then 1 say : the sorrow is not thine, 
 
 But his who sculptured lltee, weeping to think 
 That earthly suns lo night's cold tide must sink, 
 
 And youth ere long in death's pale charnel pine. ( 1 ) 
 
 Who has ever seen our Hermes, and not loved it from the first 
 moment? Έρβλέψας αΰτώ ήγάπησεν αυτόν. For our part, we shall never forget 
 the emotion we felt, when we contemplated lor the first time the pure 
 
 (1) I. Addington Symonds, the «Genius of the Vatican», in «Many Moods». 
 
 - 29 - 
 
flowing lines of Ihe statue; from that moment, we have never ceased to 
 love and admire it, and to make it more known to the world, is one of 
 our reasons for publishing this work in English,' 11 the speech of one hundred 
 millions of souls. The house of Rhomaides published some years ago copies 
 of the Hermes in various sizes, and chiefly with a view to render the statue 
 still more widely appreciated In Greece, as well as elsewhere, they have 
 just combined with their photographic establishment one for phototypes; Ihe 
 phototype is Ihe only way, says Reinach, to reproduce works of this kind. (s) 
 
 We are proud of what has already been attained in our country, 
 where the Hermes of Praxiteles has transformed Olympia into a place of 
 pilgrimage, and has brought those ruins into such notice, as to necessitate 
 the construction of a railway (as was slated lately in the Greek Chamber 
 by a deputy). The reproductions made by us are now seen throughout 
 the country, no less in private dwellings than in public establishments, 
 for the sight of the beautiful is, according to Greek tradition, the most 
 valuable factor in our national culture. «Beholding each day masterpieces 
 of painting, of sculpture, or of architecture,» says Plato.' 3 ' «spirits the least 
 artistic, being surrounded by things of beauty as by an atmosphere pure 
 and fresh, acquire a taste for the beautiful, become accustomed to take in 
 
 (1) We consider It incumbent upon tie to express 
 our gratitude and thanks to M 1 2 ” Dickson of Athens, 
 who has kindly given us her valuable assistance 
 and has supplied our inellleieney in a language 
 which is not our own. 
 
 (2) Parmi les gravures très nombreuses de Γ Hermès pu¬ 
 bliées dans différents recueils, aucune n’est satisfaisante. La 
 première en date, celle qui accompagne la monographie de 
 M. Treu, Hermes mit dem Dionysosknaben, est mauvaise; la 
 xylographie de la Geschichte der Plastik de Lübke est. mé¬ 
 diocre; celle du livre de M“ Mitchell, A history of ancient 
 sculpture, d’après la pesante restauration de Schaper, est une 
 caricature; les clichés zincogiaphiques de l’article Olympia 
 dans les Denkmæler de Baumeister sont froids et flous comme 
 toutes les reproductions de ce genre, malheureusement si fort 
 à la mode (puisse-t-on y renoncer bientôt!). La phototypie 
 placée en tôtc du second volume de la Geschichte der Plastik 
 d’Overheck est bien mal venue; elle a d’ailleurs été faite 
 d’après un moulage. Si l’on veut rire, il faut regarder l’Her- 
 mès publié dans le deuxième volume de l’excellente History 
 of ancient sculpture de M. Murray (plate XX|. Comment par¬ 
 ler de la gravure insérée à la page 375 des Essays on the art 
 of Pheidias de M. Waldstein? Celle de la tête, donnée au 
 même endroit, est un peu meilleure ; c'est le même bois qui 
 avait déjà servi pour le livie de M" Mitchell (p. 439). La pho¬ 
 
 totypie de la tête est médiocre dans la brochure de M. Kekulé, 
 Der Kopf des praxitelischen Hermes, et quant à la gravure 
 en taille douce dans la seconde édition d’ Olympia par 
 M. Boetticher, elle prouve que l’art de Raphaël Morghen est 
 bien oublié chez nos voisins. Dans le môme ouvrage (pi. XIV), 
 il y a une gravure sur cuivre du groupe ; le corps du dieu 
 est assez bien indiqué, mais la tête pst manquée complète¬ 
 ment. Quid plura commémorera? LTIermès n’a pas eu de 
 chance avec ses graveurs. [Salomon Reinach Revue Archéologique 
 Tome XI). 
 
 (3) Έστι ci yi που πλήρης μεν γραφική αώτων καί πάσα ή 
 τοιαΰτη δημιουργία, πλήρης δε υφαντική και ποικιλία καί οίκοδο- 
 μία καί πάσα αυ ή των άλλων σκευών εργασία, ετι δέ ή των σω- 
 
 εύσχημοσΰνη ή άσχημοσυνη- καί ή μεν άσχημοσυνη καί αρρυθμία 
 καί άναρμοστία κακολογίας καί κακοηθείας άδελφά, τά δ’ εναντία 
 
 Άλλ’ εκείνους ζητητεον τους δημιουργούς τούς εύφυώς βυναμί- 
 νους ίχνεύειν την τοΟ καλοΟ τε καί εύσχήμονος φύσιν, ϊν’ ώσπερ έν 
 ύγιεινω τόπω οίκοΟντες οί νέοι άπδ παντός ώφελώνται, όπόθεν αν 
 'jcj-'Xc, άπί> των καλών εργων ή προς δψιν ή προς ακοήν τι προσ- 
 
 έκ παίοων λανθάνή εις ομοιότητά τε καί φιλίαν καί Ηυμτωνίαν τώ 
 καλώ λόγω άγουσα ; (Πλάτωνος, Πολιτείας γ'.) 
 
 -30 
 
incontestable supremacy in the world of art : 
 
 Excudent alii spirantia mollius aera 
 
 Cedo equidem,- vivos ducent do marmore voltus. il) 
 
 This method will also benefit our descendants, for we cannot believe 
 that genius has for ever abandoned its native soil. We have had in the past 
 
 rare souls, winged spirits, masters; we shall have them again hereafter. We 
 cannot doubt that another ictinos, another Pheidias and Praxiteles will arise, 
 who will discover a new way to reach the sublime. For neither the beautiful, 
 nor (lie ideal, nor tine style have perished, being in their essence immortal : 
 
 and though in certain periods of decadence they may be menaced with 
 
 death, they do but sleep, resembling the Evangelist who is described in the 
 poetry of the Middle Ages as reposing in his tomb where he waits dream¬ 
 
 ing on for Him who is to waken him. In this path we do not fear to arouse 
 
 the jealousies of the ghosts ot our ancestors: should it ever be possible for 
 us to equal them, they would rejoice in their graves, because their loftiest 
 aspiration, the generous desire of Hector as recorded by Homer, was, that 
 their children might surpass them, to the great joy of Greece, the mother of 
 them and of us. 
 
 K AI ΠΟΤΕ ΤΙΣ ΕΙΠΗιΣΙ ΠΑΤΡΟΣ Γ ΟΔΕ ΠΟΛΛΟΝ ΑΜΕΙΝΠΝ 
 
 ΧΑΡΕΙΗ ΔΕ ΦΡΕΝΑ ΜΗΤΗΡ.(2) 
 
 (I) Virgil. Æneis VI, 847. (2) Ίλιάδος Ζ, 479. 
 

OLYMPIA 
 
 VIEW OF THE PALÆLSTRA PHILIPEION e tc. AT OLYMPIA 
 
CONTENTS 
 
 —+·-·-*+- 
 
 DEDICATION. 
 
 PREFACE. 
 
 DIVISION OF THE WORK. . ..Page 1 
 
 CHAPTER I 
 
 Olympia. » 2 
 
 CHAPTER II 
 
 Praxiteles. » 6 
 
 CHAPTER III 
 
 Opinions of the most distinguished archaeologists concerning 
 
 the Hermes of Praxiteles. » 19 
 
 EPILOGUE . » 27 
 
 ILLUSTRATIONS 
 
 View of the Temple of Zeus and the Heraion at Olympia. Page 2 
 
 Bust of the Hermes, profile.. » 4 
 
 Bust of the Hermes with the infant Dionysos. » (i 
 
 Bust of the Hermes, full lace. » 12 
 
 Hermes entire, half turned. » 18 
 
 llermes entire, profile . » 26 
 
 View of the Palaestra, Philipeion etc. at Olympia .... » 31