fl THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES WONDERS OF SCULPTURE. jAV O N D E R S OF SCULPTURE. BY LOUIS .VIARDOT. ILLUSTRATED WITH SIXTY-TWO EXGRAVJNGS. . • •■ ..» LONDON: SAMPSON LOW, MARSTON, LOW, & SEA RLE, CROWN BUILDINGS, 188, FLEET STREET. 1872. All Rights Rfsen'cd. lONDOX • PR.XTEO B. ^-. CLOUKS ..n SONS. STAMrORD STREET AND CHARING CROSS. ^"'til • • • .'. ••• ... • ••••« * • • • <•••. ' • • « • • * '•■ • • ••• \/L6rrr,£. NOTE. The present volume is a translation of " Les Mer- VEILLES DE LA SciILPTURE," by M. VlARDOT, published last year by Messrs. Hachette and Company. The author is so well known as an art critic, that it is unnecessary to recommend his work ; but on this account we regret the more the incompleteness and injustice of his chapter on Sculpture in England. In mourning over our short-comings, and- ridiculing our public monuments, he has omitted to mention the works of Gibson, Bailey, Mac-Dowell, Foley, Bell, Marshall, Woolner, and other equally eminent sculptors. The rest of the work, however, is full of interest. The antique schools, especially the Greek, are ably and fully reviewed, and the reader is introduced to all the master- pieces of modern sculpture in continental galleries. In accordance with the usage of modern scholars, the original Greek names of the divinities, as Zeus, Poseidon, Pallas, have been in most cases substituted for their 4S9095 vi NOTE. Latin synonyms of Jupiter, Neptune, and Minerva ; and, in the case of a well-known Venus, the proper name, Melos, of the island in which the statue was discovered, has been preferred to the generally used Anglo-French corruption, Milo. With these exceptions, the translator has endeavoured to give a faithful reproduction of M. Viardot's work, and trusts that it may give pleasure and instruction to English readers. N. d'Anvers. CONTENTS. BOOK I. ANCIENT SCULPTURE. CHAPTER I. EGYPTIAN SCULPTURE. " r.\ f, E Statue of Ra-em-Ke, of Sepa, of Nesa — Meaning of Egyptian terms — The aixhaic style— The second artistic epoch — The renaissance of art in Egypt— Egyptian statues in the Louvre, in the British Museum — The Rosetta Stone ... 5 CHAPTER IL ASSYRIAN SCULPTURE. Influence of Assyrian art on the Greeks, Etruscans, and Hebrews — Palace of Khorsabad — Discoveries at Koyunjik, Karamles, Kalab-Shergat — Colossal Bulls in the Louvre — Assyrian bas-reliefs in the British Museum — Obelisk of Kalab-Shergat ........ 42 CHAPTER IIL ETRUSCAN SCULPTURE. Statues in the Uffizi Gallery : the Idolino, the Chimasra, and the Orator — The Lydian Tomb — Etruscan Vases (so-called) — Rhytons — Amphorce — Vetri Antichi .... 62 viii CONTENTS. CHAPTER IV. GRECIAN SCULPTURE. PAGE Influence of mythology on Grecian art — Dsedalus — Glaucus — Dipcenusand Scyllis— Dameas— Ageladas— ^ginetan marbles at Munich — Praxiteles — Phidias — Scopas — Grecian Sculp- tures m the Louvre : the Venus of Milo, Diana Huntress, Achilles, the Dying Gladiator — at Florence : Niobe and her Children, the Venus of Medici, the Apollino, tlie Faun, the Wrestlers, the Arrotino — at Rome : the Apollo Bel- vedere, the Laocoon, the Torso Belvedere — at Naples : the Flora, the Hercules, and the Toro Farnese — in the British Museum : the Marbles of Xanthus, the Elgin Marbles, Sculptures from the Parthenon ... 70 CHAPTER V. ROMAN SCULPTURE. Influence of Greece on Roman art — Statues of Emperors and Empresses : of Ctesar Agrippina, Augustus, &c. ; of Anti- nous, Balbus, and others — Busts of Agrippa, Nero, Domitian, Caracalla, &c — Bas-reliefs : Suovetaurilia, a Conclamatio, the Praetorian Soldiers ....... 181 CONTENTS. ix BOOK 11. MODERN SCULPTURE. CHAPTER I. ITALIAN SCULPTURE. PAGE Nicolas of Pisa— Ghiberti— Delia Robbia— Sansovino— Ver- rochio — Agratus — Michael Angelo : his character and mode of working ; his sculptures : Bacchus, the Tombs of the Medici, the Madonna della Pieta, Moses, the Captives, Brutus, &c— Cellini : his group of Perseus and Andromeda, the Nymph of Fontainebleau, &c — Ammanato — Bernini — Algardi— Canova : his Tomb of Maria Christina, his groups of Perseus with the Medusa's head, and Theseus with the Minotaur ......••• 201 CHAPTER II. SPANISH SCULPTURE. Vigarni—Berruguete—Becerra— Tombs of Isabella of Arragon and Charles V. , of Juana la Loca and Philip the Handsome — Cano — Gines . . . . • • • .238 CHAPTER III. GERMAN SCULPTURE. Erwin of Baden— Schuffer—Vischer—Dannecker : his group of Ariadne on the Panther — Ranch — Kiss : his Amazon on horseback— Rietschel—Thorwaldsen .... 249 h X CONTENTS. CHAPTER IV. FLEMISH SCULPTURE. PAGE Tombs of Charles tlie Bold and Mary of Burgundy, at Bruges — Sluter — Claux de Vousonne — Jacques de Baerz— Her- mann Glosencamp : his chimney-piece of sculptured wood . 264 CHAPTER V. ENGLISH SCULPTURE, Sir R. Westmacott — Statues of the Duke of Wellington — the Tombs in Westminster Abbey — Sheemakers — Roubiliac — Chantry —Baron Marochetti ...... 270 CHAPTER VI. FRENCH SCULPTURE. Its development in the Gothic ages — Michault Colomb — Juste — Texier — Demigiano — ^John of Bologna — ^Jean Goujon — Cousin — Pilon — Trebatti — Pierre Jacques — Puget : his groups of Milo of Crotona, Hercules in repose, &c — Coysevox — Girardon — The Coustous — Bouchardon — Hou- don — Sculptures by living artists in the Luxembourg. . 283 LIST OF ILLUSTRATIONS. 1. Pie-Historic Remains . 2. Ditto ditto 3. Ra-em-Ke ..... 4. Schafra . . ' . 5. Colossal Bas-relief, Nineveh, in the Louvre 6. The Infant Apollo with a Duck . 7. The Venus of Milo, in the Louvre 8. Achilles, in the Louvre 9. Pallas of Velletri, in the Louvre . 10. Bacchus, in the Louvre 11. Mercury, in the Louvre 12. The Tiber, in the Loin re 13. The Nile, in the Vatican 14. Faun with a Child, in the Louvre. 15. The Pretended Germanicus, in the Louvre 16. A Discobolus, in the Louvre 17. The Faun of Praxiteles — at Rome 18. Niobe — at Florence .... 19. The Venus of Medici — at Florence 20. Apollino — at Florence 21. The Musical Faun — at Florence . 22. The Wrestlers — at Florence. 23. The Arrotino— at Florence . 24. The Dying Gladiator — at Rome . 25. Venus leaving the Bath — at Rome 26. The Amazon of the Capitol — at Rome . 27. The Apollo Belvedere — at Rome . 28. The Laocoon — at Rome 29. The Torso of the Belvedere — at Rome . 30. The Dancing Faun — at Naples 31. The Farnese Bull — at Naples PAGE 3 3 8 8 51 63 92 99 106 108 109 112 113 "5 116 118 119 125 128 131 132 134 135 136 139 139 140 141 142 143 146 xu LIST OF ILLUSTIiATIOXS. 32. Gods. Frieze of the Parthenon . 33. Young Man. Frieze of the Parthenon 34. Cavalier. Ditto ditto 35. Cavaliers. Ditto ditto 36. Metope of the Parthenon 37. Heads of Horses — from the Parthenon. British Museum 38. Theseus, from the Parthenon 39. The Parc£e, from the Parthenon . 40. Torso ....... 41. Agrippina of Germanicus — at Rome 42. Antinous — at Rome ..... 43. Equestrian statue of Bartolommeo Colleoni . 44. Ivy-crowned Bacchus — at Florence 45. Statue of Moses — at Rome .... 46. The Perseus of Canova — at Rome . 47. Mausoleum of Maria Christina — Vienna 48. Theseus vanquishing the Minotaur — Vienna . 49. Ariadne on the Panther — Frankfort 50. Bronze monument of Frederick the Great — Berlin 51. The Amazon — at Berlin .... 52. Goethe and Schiller ..... 53. Entrance of Alexander into Babylon 54. Tomb of the Dukes of Burgundy — at Dijon . 55. The Flying Mercury . 56. Fountain of the Innocents — Paris 57. Tomb of Pien-e de Breze 58. Riding-Master of Marly — Paris 59. Ditto ditto . 60. Voltaire, by Houdon . 61. The Marseillaise, by J. Rude 62. Pediment of the Pantheon, Paris, by David PAGE 163 164 164 166 171 172 177 183 '85 207 212 Frontispiece. 230 232 234 254 257 258 259 262 266 294 298 301 318 319 327 333 334 THE WONDERS OF SCULPTURE. BOOK I. ANCIENT SCULPTURE. IN a former work, the " Wonders of Painting" we made the preHminary remark, that of the three arts of design, universally styled " The Fine Arts," painting was the latest in age, in historical date. For a long time it was but the handmaid, the accessory, the finisher of the other two. Sculp- ture, also, although it preceded painting, long remained subordinate to architecture, which, of course, was the earliest of the three. From the first appearance of our race upon the earth, man required a habitation to shelter him from the cold and heat, from the fury of the elements, and from the attacks of wild beasts. Soon arose a demand for palaces as dwellings for those whose superior strength or skill had made them chiefs of tribes and kings of nations ; and temples had to be raised 2 ANCIENT SCVLPTUBE. ; * mt in honour of the powers of nature, which man, in his wondering ignorance and awe, deified and wor- shipped — invoking their blessings and deprecating their wrath by presents and sacrifices. Sculpture, which employed the same materials as architecture, wood, stone, and marble, soon stepped in and supplied the earliest ornaments ; and like architecture, it was at first content to derive its ideas as well as its materials from inor- ganic nature. A column was a tree trunk in white marble, a capital represented the sprouting of branches and leaves. Gradually, however, archi- tecture became perfected, embellished, transfigured ; it became an art, and from the useful sprang the beautiful. At the same time, sculpture insensibly attained to importance and independence. Relics of the first crude efforts at sculpture and drawing have been preserved to us from the Stone Age in the clumsy carvings on rocks or bones found in caverns, once occupied by the men of th::t remote period, and in the ruins of those lake cities which are almost as ancient as the caves which sheltered the first inhabitants of our planet. Sculpture, as an art, gradually advanced as man became interested in the study of organised nature, of animals, and, finally, of himself. He was no longer content to represent things, he endeavoured ANCIENT SCULPTURE. 3 to imitate living creatures, and to reproduce his own image. " After admiring the universe," says M. Charles Blanc, " man began to contemplate him- Fig. I. — Stone Age. self ; he realised that the human form is adapted to the spirit, that it is, so to speak, its clothing ; that its proportions, its symmetry, its ease of motion, its superior beauty, render it alone, of all living forms, capable of fully manifesting thought. Fig. 2. — Stone Age. Therefore he copies the human body, and sculpture is born." We add : from this moment it may be called statuary. But as the human mind required 4 ANCIENT SCULPTURE. the gradual training of ages before painting pro- duced what we call a picture, so a long period of actual and mature civilization was needed before sculpture, freed from its vassalage to architecture, could bring forth those independent works which we name bas-reliefs and statues. ' ( 5 )^ CHAPTER I. EGYPTIAN SCULPTURE. FAR back in that remote and primitive civiliza- tion which witnessed the birth and growth of the fertile Nile, we must look for the origin of all the arts. The Egyptians excavated the sepulchres of Samoun and the temple of Karnak from the rocks, and raised the great pyramids of Djizeh (Geezeh) on the borders of the desert ; they engraved epitaphs on stelae or tablets ; they placed rows of sphinxes resting on pedestals in the avenues of the temples which contained the images of their gods and all but deified Pharaohs. Until the present day it was not unreasonably believed that Egyptian art under the influence of the priesthood, or rather, practised by the priests alone — who had arrested its progress by con- demning it to the limits of an unchangeable law, and placing it under the restrictions of religion — must have been purely sacerdotal from its origin 6 EGYPTIAN SCULPTURE. and early development to its total extinction. Recent discoveries have distinctly proved this to be an error. It is certain, that before they were restricted by dogma, Egyptian artists were able freely and truly to represent animate and in- animate forms in all their variety. M. Frangois Lenormant justly remarks : " Now that we are well acquainted with its various phases, art in Egypt appears to have followed a contrary direction in its development to that of any other country. Other nations began with purely sacer- dotal art, and only subsequently and gradually attained to true and free imitation of nature. . . . Alone of all the world, the Egyptians began with living reality to finish with hieratic con- vention. The proof of this well-founded assertion was com- pletely seen in the last Universal Exhibition. The most indifferent visitors, ignorant alike of archae- ology and art, were struck dumb with admiration before a wooden statue which has come down to us from these most remote ages. " A miracle alike of preservation and art," says M. F. Lenormant, " this statue, as a study of nature, as a striking and life-like portrait, is unsurpassed by any Grecian work. , . . From the inscriptions on the tomb in which it was discovered, we know that it represents EG YP TIAN SCULP TUBE. 7 a certain Ra-em-Ke, a man of some importance during several reigns of the fifth dynasty. . . . The sculptor has represented him on foot, calmly walk- ing in some town under his government. . . . Parts of this figure have been much injured ; ... it has lost the thin coating of coloured stucco which ori- ginally covered it, and on which the sculptor pro- bably added his finishing touches. What must it not have been when intact and free from the ravages of time .-* Everything is faithfully copied from living nature ; ... it is evidently a true por- trait. . . . The modelling of the body is marvellous, . . . but it is the head which most challenges admiration ; it is a prodigy of life. . . . The mouth, parted by a slight smile, seems about to speak. The expression of the eyes is almost distressing. The eyeballs are shaded by lids of bronze, and are formed of pieces of opaque white quartz, . . in the centre of which are inserted rounded bits of rock crystal to represent the pupils. Under each crystal is fixed a shining nail, which indicates the visual point and produces the astonishing and life-like expression. As this Ra-em-Ke lived under the fifth dynasty, his iconic statue must have been executed about the year 4000 B.C. More than 5800 years have therefore passed over these fragile pieces of cedar 8 EGYPTIAN SCULPTURE. and mimosa wood without effacing the marks of the artist's chisel. At the same Universal Exhi- bition was to be seen the colossal statue in diorite Fig. ^. — Ra-em-Ke. Fig. 4. — Schalra. (a substance harder than basalt) of a Pharaoh ot the fourth dynasty, the celebrated Schafra (the Chephren of Herodotus), who had the second of the great pyramids built as a sepulchre for him- EGYPTIAN SCULPTURE. 9 self. Schafra lived more than a century before Ra-em-Ke. At the Louvre we have two statues in calcareous stone, one of the High Priest of the White Bull, named Sepa, and the other of his wife Nesa, pre- served from that early age which witnessed the elevation of the first great pyramids, under the third, or, perhaps, the second dynasty. To con- clude, the Egyptian museum of Montbijou at Berlin, in addition to some bas-reliefs from the tomb of Amten of the time of Senefru I. of the third dynasty, contains the entrance gate of the pyramid of Sakkara (Sagara), the construction of which carries us back to the still more remote age fixed by the tables of Manetho (the correctness of which has now been so completely established) as the first of the twenty-six there ascribed to Egypt. The ornaments on this gate cannot be less than seven or eight thousand years old. " Such figures are overwhelming ; ... it is a stupendous antiquity for the work of a man's hand, still more for a monu- ment of true art. No relics from ages so near to that of the origin of our race have been found in India, China, or Assyria. But the most over- whelming thought is, that instead of savage races, we find a firmly constituted society, the formation of which must have required long centuries of 10 EGYPTIAN SCULP TUEE. development, a civilization far advanced in science and art, and possessed of mechanical processes suitable to the construction of huge monuments of indestructible solidity." — Francois Lenormant. The primitive period from the first to the sixth dynasty is usually called the ancient empire, or Memphian Egypt. As we have before remarked, its monuments show freedom, indeed, secularity of art. Not until after that confused and obscure period between the sixth and eleventh dynasties, did the middle empire or Theban Egypt, known to the Greeks, commence, under which Egyptian art, condemned by religion to immobility, became purely sacerdotal and hieratic. We must here call to mind that paramount and universal idea which pervaded the religion, the politics, laws, sciences, arts, public and private cus- toms, and, indeed, the very amusements and recrea- tions of ancient Egypt. We allude to the belief in immutability and eternity. Nothing must change, nothing must perish. The living must lead a life of uniformity, and even the dead must last for ever. Weary of this perpetual monotony, foreign nations pronounced Egypt dull and melancholy. It was in obedience to their national idea that the Egyptians, from the earliest ages, built up the pyramids of Djizeh on imperishable foundations. EGYPTIAN SCULPTURE. 11 and excavated the gates of the kings, the temple of Karnak, the sepulchres of Samoun and Thebes from granite rocks, and finally condemned arts of decoration, such as sculpture, never to change their subjects, their forms, or their proportions. Fearing that free imitation of nature in art might infect the human spirit with a love of independence, the priests restricted it by immutable rules, and im- posed models, which it was bound to copy for ever. It is also very probable that, for greater security, they reserved to themselves the exclusive culture of the arts, as they had that of the sciences, astro- nomy and medicine, and of literature — public records and national chronicles — leaving only the trades to the laity. Thus limited, art could merely add to the images of the gods those of the kings, ministers, and pontiffs ; it ignored the exploits of heroes and conquerors, whether in trials of mental or bodily capacity ; and thus checked in its develop- ment, it could only manifest itself in purely mechan- ical delicacy and polish. All its phases of progress, elevation, debasement, renaissance, and decadence, were confined to the narrow limits of simple exe- cution. So that Plato, in his day, could justly observe that painting and sculpture, practised in Egypt for so many centuries, had produced nothing better at the end than at the beginning ; and 12 EG YP TIAN SCULPTURE. M. Denon in our own age remarks with equal truth : " The lapse of time may have led to some per- fection in Egyptian art, but each temple is so exactly alike in all its parts, that it seems to have been sculptured by the same hand ; nothing better, nothing worse, no negligence, no sudden flights of a superior genius." M. Denon's words apply equally to statuary, which was but the acces- sory of architecture. We think excellence would have been a more accurate term to employ than perfection. We will presently endeavour to describe those works in the various collections of Egyptian relics most worthy of study and admiration. But before we turn to this world of the tomb, which seems never to have been really alive, and review its sleeping lions, pensive sphinxes, sluggish heroes, and recumbent gods, without speech, hearing, sight, or motion, and notice those strange and gross com- binations intended to embody the divinity, and which, if meant to exalt, in reality debased it, it will be as well to make some preliminary remarks. In the first place, we may learn to recognise the divinities by their forms and symbols, which were as unchangeable as the creed itself; and, secondly, we may discover at about what period their images were made, and connect them with the correspond- EGYPTIAN SCULPTURE. 13 ing phase of Egyptian art, so as to be able to say, when before any particular figure : " This represents such a divinity, it belongs to a certain period of Egyptian art, and consequently to a corresponding era of Egyptian history." To begin with, we give the meaning of the names of diiiferent parts of the clothing of Egyptian statues. Pschent, a cap or crown worn by divinities or Pharaohs. It is double, composed of the schaa and the teshr. Schaa, a conical cap, forming the upper part of the pscJmit. It is white. Teshr, a cylindrical cap with an inclined peak behind, and a spiral ornament in front, forming the lower part of the pschent. It is red. Alf i^Xi ?), the crown of Osiris and other divinities, composed of a conical cap resting on the horns of a goat, and flanked by two ostrich feathers. The a/f has a disk in the centre of the frontlet. Tesch. Royal military cap. Het, the cap of Upper Egypt. Claft, a head-dress with long lappets pendent on the neck and shoulders. Oskh, a semicircular collar or tippet round the neck. Scheiiti, a short tunic worn round the loins. The statues of the Pharaohs also wear the royal apron. 14 EGYPTIAN SCULPTURE. Gom, a kind of sceptre, terminating in the head of the animal called Koiikoupha. Now follow the forms and emblems of the chief divinities of Egyptian mythology. When possible, we shall add the name of the corresponding Grecian and Roman divinities, and that of the town where they were held in most honour. A human form (male), wearing the teshr sur- mounted by two feathers ; or a human form with a ram's head. Amen, Hamnion, or Ammoii, "the hidden." The supreme God, king of the gods. Zeus, Jupiter. Thebes. A female form (woman), wearing the tcsJir. Mouth, "the mother," wife of Amen. Hera, Juno. Thebes. A young man with a single lock of hair upon his head, and the crescent of the moon. Chouns or Chons, "force," son of Amen and of Mouth. Heracles, Hercules. Thebes. A human form with a goat's head. Noum, " water," called by the Greeks Zens Chnoumis, " creator of mankind." Poseidon, Neptune. Elephantine. A female form wearing a circular crown of feathers. Aneka, wife of Noum. Hestia, Vesta. Elephantine. A female form wearing the het, with a goat's EGYPTIAN SCULPTURE. 15 horn on either side. Sate, "sun's arrow or beam." Another Juno, another wife of Jupiter Chnoumis. Elephantine. A bandy-legged child or dwarf, with a scarabaeus on its head, or a human form swathed like a mummy. Phtah or Phta, god of fire, creator of the sun and moon. Hephaestus, Vulcan. Mem- phis. A female form with a lion's head. Paslit or Pacht (Bubastis), " the lioness," wife of Phtah. Artemis, Diana. Memphis. A human form with the head surmounted with two high feathers and a lily. Atum-Nefer, called " the guardian of the nostril of the Sun," supposed to be the son of Phtah and of Pash't. Memphis. A human form with a hawk's head, wearing two long feathers. Moimt, personifying the solar power. Ares, Mars. Harmonthis. A female form with a shield upon her breast, or often with two wings, trampling the serpent Apoph under her feet. Neith, goddess of wisdom and the arts. Athena {Athene), Minerva. Sais. A simple female form with the head of a cow. A thor or Hathor, goddess of beauty, personification of the cow which produced the sun. Aphrodite, Venus. Latopolis and Athos. A human form, hawk-headed, wearing the solar 16 EGYPTIAN SCULPTUBE. disk. Ra (Re), son of Athor, personification of the rising sun. Helios. Heliopolis. A human form wearing the pschent on the head. Atoimi, the personification of the setting sun. A kneeling human form with the solar disk upon her head. Maoit, " brilliancy," personification of the light of the sun. A human form with a crocodile's head. Sebak, "the subduer." Crocodilopolis (Ombos). A human form with a goose upon its head. Sep (Seb), " star," god of time. Chronos, Saturn. A female form with a pitcher of water upon her head. Nitpte, Ntitpe or Ncpte, " abyss of Heaven," wife of Seb. Rhea, Cybele. A human form with the head of an ibis, some- times wearing the lunar crescent. Thoth, " Logos, or the word," son of Ra, inventor of speech and writing, scribe of the gods. Hermes, Mercury. Hermopolis. A human form with four feathers on the head. En-pe or EmepJi, " leader of the heaven," son of Ra, another form of the god TJioth. A mummy wearing the het. Ousri (Osiris), eldest son of Seb and Niipte, then called Oun-Nefer (Onnophris), " the manifester of good or opener of truth." Dionysiu.s, the Bacchus of the Greeks. Busiris. EGYPTIAN SCULPTURE. 17 A mummy wearing the A If. Osiris, then called PetJiempamentcs, " he who is resident in Hades." The Pluto of the Greeks. Abydos. A female form with a throne upon her head, /sis, " the seat," the daughter of Seb and Nottpte, sister and wife of Osiris. Demeter, Ceres. Abydos. A female form wearing on her head the hiero- glyphics of the words mistress and palace. Nep-t-a (Nephtys), "the mistress of the palace," another daughter of Seb and Noupte^ sister and concubine of Osiris. Persephone, Proserpine. Abydos, A human form with a hawk's head, wearing the pschent. Haroer (Harueris), son of Sep and Noupte. His eyes are supposed to represent the sun and the moon. The elder Horus, Apollo. ApoUino- polis Magna. (Osiris, Isis, and Horus represent the beneficent principle.) A human form with an ass's head, or an old dwarf in a lion's skin, wearing feathers. SetJi, " the ass," son of Seb and Noupte, the spirit of evil. Typhon. Ombos. A hippopotamus standing erect, with a croc:o- dile's tail and a woman's head. Taiir or Ta-Her (Thoueris), wife of Seth. Ombos. Seth (Typhon) and Taur represent the evil principle.) c 18 EGYPTIAN SCULP TUBE. A child with weak legs, and locks of hair on either side of its head. He)', " the path of the sun," son of Osiris and Isis. The younger Horus, Harpocrates. Apollinopolis Parva. A human form with a dog's head. Anoup (Anubis), surnamed " the embalmer of the dead," and the "watcher of the gate of the Sun's path," son or brother of Osiris, Lycopolis. A priest seated in a chair unrolling a volume. I-Einp-Hcpt, " coming in peace," son of ThotJi. Asclepios, ^sculapius, Philae (Philoe). A pied bull with the solar disk on its head. Hepi (Apis), " the hidden number," the eternal son of Phtah. Memphis, A gryphon with the head of an ass. Bar, god of the Assyrians and Phoenicians (Philistines), the Baal of the Bible. A human form in Asiatic costume, with a diadem bearing an onyx cross on the frontlet, Reiipoii (Rephan), god of the Semitic races, A human form wdth the head of an oryx, Nubi (Nubia), or NasJii, " the rebel," god of the black people. A female form wearing the /let, and carrying the shield and spear, Anta (Anaitis), goddess of the Armenians and Syrians, After this long list of gods, or rather of different I EGYPTIAN SCULPTURE. 19 manifestations of the same god, which the Egyptians worshipped under so many forms, we will pass to the second part of our preliminary remarks. <» We have already stated the nature of early Egyptian art when still secular and free from the restrictions of dogma. It is, I believe, admitted that after its submission to the hierarchy the art, like the history of Egypt, may be divided into four principal epochs. The earliest, or " the archaic style," is entirely included in the middle empire, and extends from the 6th to the 12th dynasty (about the year 2000 B.C.) At that time architecture, simple, massive, and colossal, was content with piling up masses of stone ; and sculpture, equally solid, seems to have entirely forgotten its early excellence and freedom from tutelage. In the statues of this period the face is large and common, the nose long and coarse, the forehead projecting, the hair, of scarcely varying thickness, falls in straight heavy curls, and the body is thick-set and clumsy. However the execution, and to a certain extent .the style, improved steadily until the twelfth dynasty. At the second epoch, when architecture was more refined, varied, and richer in ornaments and com- binations, employing columns and triglyphs, &c. 20 EGYPTIAN SCULPTURE. (as seen in the sepulchres attributed to Beni Hassan) ; statuary was advancing to relative per- fection, and growing in grace and delicacy. We now find more symmetry and proportion in the limbs of the figures, greater truth and finish in the features, the hair is better shaded, and falls in more graceful curls ; indeed, some statues are handled and finished with the delicacy required for cameos. Bas-relief became more and more uncommon, and disappeared entirely on the accession of Rameses II., surnamed Sesostori ("the son reared by the Creator "), who became the Sesostris of the Greeks. The invasion of the Arab Kouschites, called shepherds (Hyksos), under the seventeenth dynasty (about 2200 B.C.), led to the immediate decline, or rather cessation and disappearance of art in Egypt, which did not reappear until the expulsion of the invaders five centuries later. After the deliverance of Egypt by Amosis (in the seventeenth century B. c), under the famous reigns of Moeris, Sesostris, Rameses III., and Amenophis, called the new empire, there was a renaissance of Egyptian art. Architecture reached its highest perfection.- Vast rectangular temples were raised with walls covered with sculptured ornaments, vestibules with conical domes, columns surmounted by capitals represent- ing flowers or papyrus and lotus buds. The EGYPTIAN SCULPTURE. 21 renaissance of statuary was remarkable for a com- plete return to the archaic style, and palpable imitation of early sacerdotal sculpture. This, however, applies to the style alone, the execution was different. The limbs were freer and more rounded, the muscles more fully developed, the features sufficiently refined and varied to raise them a second time to the dignity of portraits. The details were completed with the most minute care, and the general effect is produced by the finish of every part, rather than by the breadth and harmony of the whole. The invasion of the Ethiopians, after the 22nd dynasty (loth century B.C.), like that of the shep- herds, led to an interruption of Egyptian art, which, however, again revived on the expulsion of these new interlopers in the reign of Psammetichus I., founder of the 26th dynasty (about 600 B.C.). The art of this second, or Saite renaissance, lasted no longer than the dynasty from which it took its name. Its chief characteristic was the appearance of a totally new style, or rather the revival of the portraiture of the ancient empire. At this time the Egyptians combined the study of nature and truth with that of traditional and hieratic art. The iconic figures of this epoch are numerous and excellent. The conquest of Egypt by the Persians under 22 EGYPTIAN SCULPTURE. Cambyses (525 B.C.) again interfered with the prin- ciples and practice of Egyptian art, and led to its third and final decay. It is true that after Alex- ander's conquest, under the Ptolemies, and the Roman conquest, under Adrian and others, efforts were made to introduce Grecian civilization into Egypt, and more especially to graft Grecian upon Egyptian art. But these designs were frustrated almost immediately, and art became totally extinct in Egypt under the rule and worship of the Pharaohs. The substances employed by Egyptian sculptors were more numerous than those in favour with the Greeks ; they required longer work, and were gene- rally harder, denser, and more durable. Artists were not content with marble, and it may be said that every other substance suitable to sculpture is to be found in their works — black, grey, and red granite, basalt, diorite, porphyry, jasper, serpentine, cor- nelian, aragonite, limestone, sandstone, gold, silver, bronze, iron, cedar, pine, sycamore, ebony, mimosa or acacia, ivory, glass, porcelain, terra-cotta. The bas-reliefs were very low and depressed, and were sometimes hollowed out on the reverse side of the relief, like those of engraved stones ; they were, however, but little employed by the Egyptians, most of their sculptures being in full relief. EGYPTIAN SCULPTURE. 23 In statues, at least in all but those in metal or stone, the arms remain fixed to the chest, and are not separated from the body, whilst a block of the material employed connects the legs, which are no freer than the arms. At the back a plinth is inserted for the cartouche with the inscriptions. To this general arrangement, combined with the solidity of the materials, is due the strange preser- vation of Egyptian sculptures as compared with the terrible mutilation of more recent Grecian works. The hair falls in straight masses from the top of the head, and the beard, instead of spreading along the cheeks, is merely plaited under the chin. The eyebrows and lashes extend almost to the ears, the holes of which are on a level with the eyes, indicating to a phrenologist a limited supply of brains, and consequently of intelligence. The lips are very marked, dilated, and smiling, a pecu- liarity which also occurs in the marbles of ^gina, even in those which represent the dying and the dead. When the sculpture is in low or hollowed relief, the profile is, of course, chiefly employed ; but even theh the eyes and shoulders are seen in full, as in the Assyrian images, and those by the earliest Grecian artists. In all Egyptian sculptures produced after the archaic epoch, the figures are long and thin, the 24 EGTFTIAN SCULPTURE. features calm and without expression, the limbs and muscles in repose. In addition to immobility, the chief characteristic of the sculpture of this age was a regularity, a proportion, a perfect symmetry, which brought it into intimate connection with architecture ; and, as I have before remarked, the fine polish and the exquisite delicacy of the work in statues and bas-reliefs of the hardest materials would have been suitable to cameos and precious stones. A modern sculptor would be puzzled to carve and polish granite, porphyry, diorite, and basalt, in the manner of the Egyptians, and one of their gigantic works would require the labour of a lifetime. The statues of the gods, kings, priests, and officers of the court, were subject to immutable laws ; but often, especially during the later epochs, the faces of the merely human figures were so true to nature as to become portraits. The different deities had a settled type of form and feature, by which they could be recognised as readily as by their symbols. The features of reigning kings were often given to these gods, and whilst it reflected the tone of society, this was certainly the most shameful adulation to which art has ever stooped. A man who had been exalted, not only to the despotic throne of Sesostris, but also to the pedestal of Osiris, required a pyramid for his EGYPTIAN SCULPTURE. 25 tomb, which was laboured at by a whole nation of slaves. These preliminary observations may be a useful guide to the visitor to the Egyptian rooms of the museums in Paris and London, and may enable him to examine their contents with greater ease and profit. It would not be easy to rebuild the Pantheon of Egypt ; the gods were few — indeed, we are inclined to believe that, like the Hebrews, the Egyptians adored but one deity, probably the goddess Pash't, the wife of Phtah, known also by the names of Artemis and Hephaestus. In the Louvre we have but one image of a god, and no less than eleven statues of this goddess, with the head of a lioness wearing the solar disc upon her head. The breadth of the lines and the finish of the work of four of them give a high opinion of the artists of the third epoch under the i8th dynasty, yet we would willingly exchange some of these lioness' heads for those of dogs, goats, cows, or hawks. There are more kings than divinities in the Louvre, and their images belong to various dy- nasties. We bitterly regret the loss of a cornelian statuette of Sesurtasen I., of the I2th dynasty, which disappeared in the July days of 1830. It was the earliest of its kind, more ancient than the 26 EGYPTIAN SCULPTURE. statues in pink and grey granite of Sevekhotep III. of the 13th dynasty. All three were executed long before the invasion of the shepherds, whereas the four king-sphinxes without cartouches, who have a kind of lily engraved on their basalt brows, belong to the ages of the Ptolemies, to the last relics of the national art. During the long interval included between these two extreme dates, the 1 2th dynasty and that of the Ptolemies, we find successively the head and feet of colossi in pink granite, which are fragments of images of Ame- nophis III., called Memnon by the Greeks, whose vocal statue at Thebes seemed to greet the first rays of the sun with singing. In the ornamented cartouches which encircle the base of the later colossus are decipherable the names of twenty- three conquered races, followed by the Egyptian idea borrowed by the Psalmist : " That thine enemies may be thy footstool." The colossal statue in grey and pink granite of Rameses-Meiamun (the Great), of the 19th dynasty (about 1500 B.C.), who, not content with raising the Raineseitm of Thebes as his funeral monument, and sculpturing his victories at Aboo Simbel and Luxor (Luqsor), deified himself under the figure of the sun, appropriated to himself the beautiful images of his father, Seti I., and of his ancestors, and substituted his own history for EGYPTIAN SCULPTUBE. 27 theirs even in the temple at Karnak. A sphinx (a lion with a man's head, symbol of wisdom and strength combined) in pink granite, a portrait of the same Pharaoh, in the double inscription on the base of which is a representation in beaten work of a gryphon with an ass's head, the type of the god Seth or Typhon, then the impersonation of courage, but later of the spirit of evil. Another magnificent sphinx in pink granite, portrait of the son of Rameses, Menephtah, who, from certain dates and events of his reign, is supposed to be the Pharaoh who was embroiled in disputes with Moses, and perished in the Red Sea when pursuing his fugitive slaves the Hebrews. A colossal statue in red sand- stone of Seti II., son of Menephtah (the Sethos of Manetho and Flavins Josephus), wearing the pschent and holding a kind, of sceptre in his left hand, bearing his royal and pompous legend. The figure of the god Seth, as a man with an ass's head, engraved several times on the base and the plinth, is also in beaten work. In the museum of the Louvre, amongst mere images, there are some monuments which are far rarer and more valuable than the statues of gods and kings. The chief of these are those already named of the priest Sepa and his wife Nesa, con- temporary with the first dynasties of the great 28 EGYPTIAN SCULPTURE. pyramids, and consequently belonging to primitive Egyptian art, and not less than six thousand years old. The man is naked, except for the schenti round his loins, and he holds a large and small sceptre in either hand ; the woman wears a tunic with a triangular opening on the breast. Two other groups in calcareous stone, one of two men, the other of a man and woman, also belong to the remote antiquity of Memphian art. Another group, on the contrary, of the father and son, Teti and Pensevau, both great standard-bearers, are of the second era of portraits, that of the i8th dynasty. A statue in grey granite of Un-Nefru, the first prophet of Osiris, or high-priest of the temple of Abydos, belongs to the beginning of the second decadence under the 19th dynasty ; whilst one in black granite of Horns, chief of soldiers, son of Psammetichus and Novreu-Sevek, and another in black granite of Ensahor, surnamed Psammetichus- Mouneh, or the Beneficent, are splendid specimens of the third and last, or Suite renaissance, which preceded the Christian era by 600 years only. They are absolute masterpieces for their style and age, and in them we see in the greatest per- fection the peculiarly delicate work of Egyptian artists in substances which appear to defy human strength and patience. EGYPTIAN SCULPTURE. 29 We have said that bas-reliefs are of rare oc- currence in Egyptian sculpture, as their culture was abandoned long before that of statuary — indeed, from the time of Rameses the Great. Two frag- ments in the Louvre, representing a certain Totnaa, one of whose numerous titles was Surveyor of Royal Buildings, are attributed to the archaic period. Another fragment, a portrait of Seve- khotep IV., wearing the royal tirmis (aspic or asp), to whom the god Tapheru, with the jackal's head, is presenting the sceptre, or symbol of life, with the words : " We grant a life of peace to thy nostrils, O good God," is of the 13th dynasty. But although it is more recent, an artist will value a bas-relief from the tomb of Seti I., founder of the 19th dynasty, above all others. It is of calcareous stone and is entirely painted. Seti I., who, according to his epitaph, conquered forty-eight nations in the north and south of Egypt, and had the wonderful hypostyle room (raised on columns) made at Karnak. figures in this bas-relief giving his right hand to the goddess Hathor (Venus, with a cow's head), from whom he is receiving a necklace with the left hand. The goddess wears a solar disc between her horns, and the uraeus upon her fore- head. The symbolic ornaments upon her robe are a long address to Pharaoh : " Good god^ lord of 30 EGYPTIAN SCULPTURE. diadems, loved of tJie gods, son of justice and of truth ;" praying him to grant her " tlionsands of years of peaceftil life and myriads of panegyrics'.' * Although we have few statues of Egyptian gods in the Louvre, we have a complete series of them in statuettes. By means of these little figures in gold, silver, bronze, porphyry, basalt, stone, or wood, in many cases covered with hieroglyphics, which were household gods, we are introduced to the widespread polytheism of Egypt, and we are able to rebuild its pantheon entirely. Here we have Ammon-Ra, lord of the three zones of the universe (the Egyptian Jupiter), his wife. Month (Juno), his first-born, Chons (Hercules) ; here are Nnm (Neptune), and ^;z^/i'(2 (Vesta) ; P/z/rt'// (Vulcan), and PacJit (Diana) ; Mnnt (Mars) and Hathor (Venus) ; Thoth (Mercury), and Neith (Minerva) ; Seb (Saturn), and TV/z/Zt' (Cybele) ; Ra, PJire, Atnm, or the rising, midday, and setting sun ; the bene- ficent triad of Osiris, Isis, and Horns ; the male- volent pair, SetJi (Typhon) and Taiir, &c.t We have even compound figures, which unite several gods in one ; they are double-faced and * Panegyrics were great state occasions when princes and gods were extolled. — (Tr.) t These three Egyptian divinities, — Ammon, Mouth, and Chons — ■ Osiris, Isis, and Horus, which occur again in the religion of the Brahmins as Brahma, Vishnu, and Siva, and in that of the EGYPTIAN SCULPTURE. 31 shoulder to shoulder. The symbols of the divinities are as numerous as the gods. We know that, on account of true or supposed analogies and pre- tended resemblances of form and character, the Egyptians consecrated to each of their gods, or manifestations of the same god, worshipped under so many different forms,* one of their native animals, and those so set apart were called sacred. The ram was the emblem of Amnion, the ichneu- mon of Chons, the lion of Phtah, the cow of Hathor, the ibis of Thot, the gazelle of Seth, the sow of Tanr, &c. Again, as certain gods personified many divinities in one, different parts of the consecrated animals stood for single divinities, and monstrous combina- Buddhists as Buddha, Dharmas, and Sangghas — are all, like the Christian trinity, represented by the rectangular triangle. On this fact, already noticed by Plutarch, some learned travellers (M. Tremaux amongst others) have recently relied to prove that the pyramids of Egypt, which appear triangular from every point of view^, v/ere religious monuments, in fact actual temples, the entrance to which was marked by pylons, and the interiors of which were equally suited to the sacrifice of the living as to the burial of the dead. A pyramid would be a sepulchral chapel. * Plutarque diet que ce n'estoit pas le chat ou le boeuf (pour exemple) que les /Egyptiens adoroient, mais qu'ils adoroient en ces betes-la quglque image des facultes divines : en celle-ci la patience, en celle-la la vivacite, ou I'impatience de se voir enfermez ; par ou ils representoient la Liberte, qu'ils aimoient et adoroient au dela de toute autre faculte divine; et ainsi des aultres. — (Montaigne.) 32 EGYPTIAN SCULPTURE. tions of their limbs were types of a complex unity. They were called symbolic animals. The sphinx, as the impersonation of united intelligence and power, could represent other gods according to the emblem on its head. The different headdresses of the uraeus or asp could severally typify all the goddesses ; in fact, by heterogeneous amalgamation, all the sacred animals were converted into single impersonations of many types. The beetle, or scarabaeus, generally made in enamelled terra-cotta, enjoyed the privilege of being a sort of common framework on which were engraved images of the gods, hieroglyphics of their names, or the sacred, typical, and symbolic animals. This circum- stance, which connects them with sculpture, ex- plains the immense number of amulets of this form found in tombs and collected in museums. Since our illustrious Champollion discovered the secret of the hieroglyphics, which had remained hidden for two thousand years, the steles, or tablets with historical and funereal inscriptions, have become the true annals of Egypt. The stel Every one and no one : it is the work of a people." 72 GRECIAN SCULPTURE. It was the same with art. Grecian art only- borrowed what was technical and mechanical ; and when free to wing its flight towards the lofty regions of the sublime and beautiful, it was un- checked by any religious or political barrier. Daedalus was able to shake off Egyptian traditions with impunity ; he could free the legs and arms of statues from their bodies ; he could impart move- ment and life to them, without incurring the censure of a priest or the anger of a king. Instead of this, his bold and happy innovations excited the admi- ration of all Greece and the envy of every rival. With the Greeks enthusiasm was piety. " It was the longing for clearness," says M. Taine, " the perception of proportion, the hatred of the clumsy and outrageous, the taste for marked and distinct outlines, which led the Greeks to embody their conceptions in a form easily understood by the senses and the imagination, and to produce works intelligible to every race in every age — works which, being human, may be eternal." However, free as it subsequently became, even Grecian art " was for a long time debased ; poetry was already at its zenith when it scarcely existed. In fact, poetry is but a flight of fancy with language ready to express it. Art had to struggle with and subdue materials, and this process often GRECIAN SCULPTURE. 73 required centuries. At first, then, sculpture was humble, embarrassed, and timid ; it dared not leave the certain to attempt the unknown ; it could take no step in advance without first looking back ; but as it grew, it left behind it an indestructible chain, the chain of tradition, . . . which finds strength for the future in respect for the past. Grecian sculpture advanced slowly, because it sought not novelty but progress. The aim of each school was to copy the master, to excel him if possible To obtain certainty by repeated trials, to pause rather than to err, to soften by shading without abrupt transition. . . . On art itself, not on religion, rests the blame, . . . if it remained stationary long; but condemnation is misplaced ; in this slow but lofty education we must recognise the source of the grandeur and admirable principles of Grecian art. Thus," continues M. Beule, " we find the true theory of liberty applied to the arts. In the name of Grecian art we claim not only that outward liberty which depends on the weakness of men and the freaks of fortune, but the true freedom which fears no attacks, which is more than liberty — independence. Independence was the soul of Grecian art." It would be impossible now to write the history of the schools of Greece from the time when Cupid 74 GRECIAN SCULPTURE. was represented by a stone at Thespise ; Juno by a column at Argos ; Castor and Pollux at Sparta, by two beams joined by a cross-bar in token of fraternity — to the age of Pericles. A very brief summary will suffice. The first statues, made of wood, are attributed to Dsedalus, whom the Greeks claim as a fellow-citizen, but who was probably a native of Crete, and a contemporary of Minos^ Daedalus, whose name means industrious, is said to have invented the saw and the plane, and to have introduced his art into Sicily and Apulia. Who is this all but fabulous person .? Probably a myth, to whom all early inventions are attributed, as all the great national poems to Homer. We only know, that even in the time of the traveller Pausanius, there existed very old wooden statues, called Daedali, in which movement and life were imitated, the legs being separated from each other and the arms from the body. In the Isle of Samos, on the coast of Asia, between the years 570 and 525 B.C., a family of artists arose to whom the Greeks gave the name of stone scrapers, because they sub- stituted harder and more durable materials, such as stone and marble, for wood. Their names were Rhoecus, his son, Telecles, and his grand- son, Theodorus. To them is also attributed the invention of the plastic art, or that of modelling OBECIAN SCULPTURE. 75 clay, of engraving on metals and precious stones, and even of the casting of bronze statues. The last-named invention, which the Samians may have borrowed from Egypt, was also practised by the Etruscans and known in Sicily, where at the same epoch the sculptor Perillus made the celebrated brazen bull for the tyrant Phalaris, in which he burnt his enemies alive. Tradition says that Theodorus engraved the famous ring which Poly- crates threw into the sea, to change his too constant ill-fortune ; that he recast the silver krater given by Croesus to the temple of Delphi ; and chased the golden vine with grapes of precious stones, found at Sardis, by Cyrus, on the throne of the kings of Persia. Glaucus also, to whom is attributed the inven- tion of the art of smelting and soldering iron, was perhaps an inhabitant of Samos or of Chios. And we know, on the authority of Pliny, that these islands can boast of another family of sculptors. First, Melas, then his son Miciades, his grandson Anthermus, who made a winged Victory for Delos, and the sons of Anthermus, Bupalus and Athenseus, who worked together. Bupalus is the most cele- brated of this generation of artists. In the time of Augustus, many of his works were collected at Rome ; the unaffected simplicity of his archaic 76 OBECIAN SCULPTUBE. style found favour with the Romans. The school of Chios took root in an island of the ^gean Sea, near Paros, and, laying aside the wood with which Daedalus was content, and the bronze of Theodorus, it adopted white marble. This was decided pro- gress in statuary — a great step towards perfection ! In carving Parian marble the Chiote sculptors were able to give full scope to the vivacious, pliant, elegant, and delicate genius of Ionia, which, sub- sequently combining with the more sober, vigorous, and austere talent of the strong Dorian race, pro- duced that dualism from which sprang true Grecian art. In those Ionian islands where the first Greek artists appeared, the first poets also arose. There were born the Iliad and the Odyssey, from which sculptors took their inspiration. One word of Homer or of Hesiod — Jupiter with the powerful locks, Venus with the sweet smile, Juno with the beautiful arms, Diana, the fair-limbed goddess — was enough to fix a type, and make it traditional, without interfering with the independence of the artist, for a symbol is not a dogma. When fleeing before the conquests of Cyrus and the domination of the Persians, the Ionian artists spread over the continent of Greece, they introduced, if not an absolutely new art — Corinth had already produced GRECIAN SCULPTURE. 77 the ancient colossal statue of Jupiter Olympius, and the celebrated carved chest of Kypselus, two important works in cast metal — but new elements of art, a new style and new materials. Cretan artists founded the school of Sicyonia. A neigh- bour of Corinth, and far inferior to that town in population and commercial wealth, Sicyonia ex- celled her in the arts. There the Dorian was first blended with the Ionian genius. " The schools of Sicyonia," says M. Beule, " united the principles and the stability of the one, with the liberty and grace of the other." Sicyonia, like Corinth, had long had her metal-founders and carvers. The Cretans, Dipoenus and Skyllis, introduced, with the employment of marble, the true art of statuary. It was about the fifteenth Olympiad, in Sicyonia itself, that Dipcenus and Skyllis produced, at the cost of the state, the four statues of Apollo, Arte- mis, Herakles, and Athene, besides other gods, for Ambrosia, Cleonae, Argos, and Tirynthus. Their school spread throughout Greece, and even to the Italian Magna Graecia, for the sea, instead of separating, united the Hellenic races. Dameas, of Crotona, who made for the temple of Olympia that celebrated bronze statue of the athlete Milo, which the latter carried on his shoul- ders, was the pupil of Dipoenus and Skyllis. Their 78 GRECIAN SCULPTURE. lessons also formed the talents of Laphaes of Phlius (untis) ; Eucheir of Corinth, Eutelidas, Chy- sothemis, and Aristomedon, of Argos, who after- wards educated Ageladas, the master of Phidias, of Polycletus, and of Myron. It is probable that the two Cretan sculptors were afterwards sum- moned to Athens ; and it is certain that, after being under the direction of the bronze-founder, Theodorus, the Spartan school was developed by the instructions of disciples of Dipcenus and Skyllis — Doryklidas, Dontas, Theokles, Medon — who taught them to carve Parian marble. Sparta, which cherished the old Dorian genius in all its early austerity, and rejected painting as too effemi- nate an art, admitted sculpture, whilst strictly confining it within the limits of morality and utility. She retained the archaic style, " which did not trans- fer the attractions of living nature to inert material " (Beule), and never attempted the ideal expression of beauty. Her school of sculpture was prolific and celebrated in the age of Pisistratus ; but in the time of Pericles it was supplanted by that of Athens, and the rugged Dorian genius disappeared, buried beneath the innumerable and surpassing works of her conqueror, the charming genius of Ionia. Before this period of Athenian supremacy, how- GRECIAN SCULPTURE. 79 ever, we find the old Doric style, though already- tempered by the Ionic, in the works left by Kana- chus of Sikyonia, Ageladas of Argos, and by the whole school of ^gina ; to Kanachus, who flourished about 500 B.C., and did not die until after the invasion of the Persians, is ascribed a statue of Apollo, made for the sanctuary of Didy- mae, near Miletus, in Asia Minor. This Didymsean Apollo was carried away by Xerxes in his flight, and returned to the Milesii two centuries after- wards, by Seleucus-Nicator. Cicero's words : " The statues by Kanachus are too stiff to be true to nature," prove that the Sicyonian sculptor remained faithful to the archaic style, so much admired by the Romans. The Argian Ageladas was a contemporary of Kanachus, for we know that, aided by a third sculptor, Aristokles, they produced a group of the three Graces. That by Kanachus held the flute of Pan ; that by Aristokles the lyre of tortoise-shell ; that by Ageladas the Barbiton, or great lyre of Apollo. We know little of the life of Ageladas, but tradition has preserved the remembrance of some of his most celebrated works. He was pro- bably the first- of Grecian sculptors ; he made statues of different athletes — Anochus of Taren- tum, Timosithse of Delphi, and Kleosthenes of 80 GBECIAN SCULPTURE. Epidamnus, whom he represented on a chariot drawn by four horses, guided by a driver. The beauty and entirely novel grandeur of this rich offering excited the admiration of all Greece. But Ageladas gained more renown by his disciples than by his works. We have already slated that he was the master of the three great sculptors of the age of Perikles — Pheidias, Polykletus, and Myron.* It was in the school of ^gina that the fusion of the Doric and Ionic styles was most apparent, and in that of Athens that the victory of the Ionic over the Doric was consummated. The constant rival of Athens, until her final decay and absorption into the great republic, " The island of .^gina," says M. Beule, " situated in front of Attica, was like the advanced sentinel of the Peloponnesus, the protector of the Dorians from * It is unfortunate that no authentic work of Myron has been preserved to the time of our modern collections. We know that he was admired by all Greece, because he expressed life better than any other artist. His Cow suckling her calf, of Eleutheris, was as celebrated as the Venus of Knidus. It has suggested numerous epigrams: "Shepherd, take thy cows further away, lest thou also take that of Myron." "No, Myron did not model this cow: time changed it into bronze, and he passed it off as his work." "O Myron ! when thou didst model this cow ; which the shepherd mistakes for his own, and the heifer for her mother, thou didst more than the immortal gods ; for they are gods and thou art but a man. It would have been easier for them to create thy model, than for thee to imitate it." GRECIAN SCULPTURE. 81 the lonians." Over ^Egina reigned ^Eacus, the Numa of the Greeks, whom public veneration made one of the judges of hell, and from whom descended a long line of heroes, called ^acides, amongst whom were Peleus, Telamon, Achilles, Ajax, Patrocles, and later, Miltiades and his son Cimon. Rich and powerful before the rise of the city of Minerva, yEgina dates the origin of her school far back in history. According to Pausanius, Smilis of yEgina was the contemporary of Dsedalus. This is to make him also a fabulous myth. Then follows Callo, the sculptor, whose works Ouintilian compared to those of the Etruscans ; Synnoos and his son Ptolycus ; Glaucius, who was ordered by Gelon of Syracuse to make an extra quadriga for the temple of Olympia ; and, lastly, Onatas, the most celebrated of the yEginetan School. He lived after the Median wars, made a number of images of gods for different sanctuaries of Greece, and took part in the ornamentation of the great temple of his country, of which we shall presently give a few details. The ^ginetan marbles rival even those of the Parthenon, and are the most valuable treasure of the Glyptothek of Munich ; in fact, none of the sacred relics of ancient art in Northern Europe are at all to be compared to them. Whilst travelling in Greece in the year 1811 G 82 GRECIAN SCULPTURE. Messrs. Haller, Cockerell, Forster, and Linkh, when measuring the height of an old temple of JEgmdi, found a number of sculptured fragments, seventeen nearly perfect statues amongst others, almost at the surface of the soil. They were bought at Rome by the prince royal of Bavaria, afterwards Ludwig I., taken to Munich, and successfully restored by the celebrated Danish sculptor, Thorwaldsen ; they excited great and general interest. German erudition rejoiced in this fortunate windfall : the learned archaeologist Ottfried M tiller, the philosopher Schelling, Messrs Wagner, Hirt, Thiersch, Schorn, &c., built up vast historical and aesthetic systems on these fragile ruins. We see in them nothing more than works of art. The seventeen statues of Munich are the most precious relics of ^ginetan art ; they were ornaments of the chief building of yEgina, thought by some to be the temple of Minerva, alluded to by Herodotus and others, the Panhellenion, or temple of Zeus Panhellenios. To give an idea of the use and position of these figures, an imitation pediment in relief has been placed in the tympanum of the vault of the room in which they are ; and they are arranged at its base on stylobates in the same relative position, only further apart than they occupied in the original temple. This contrivance 1 OEECIAN SCULPTURE. 83 gives a good idea at a glance of the general appear- ance and detail of the groups. By this means the front and back pediments of the temple of Jupiter Panhellenius have been reconstituted with the seventeen statues. Five figures form the eastern, and ten the western pediment : at the apex of the angle of the latter two little figures were probably placed as external ornaments. This opinion is borne out by the appearance of the objects, and is so well founded that it may be adopted without fear or hesitation. But when thus arranged, what do these seventeen statues represent .^ This question leads to a boundless field of conjectures and opinions, to a trial without a judge ; but they are evidently memorials of combats and victories dear to the pride of the small race of yEgina. No one denies this — but are they victories gained by the Greeks over the Persians at Marathon, at Plataea, at Salamina .-^ or must we go back to heroic times, and seek their explanation in the wars of the Greeks against the Trojans .'' They would still celebrate the triumph of Europe over Asia, and by recalling past victories, symbolically represent the actual success of the age. The latter opinion is most widely entertamed, and also the most probable. We will suppose then that the five figures of the 84 GRECIAN SCULPTURE. back or eastern pediment describe the struggle of Hercules and Telamon with Laomedon, the king of Troy. The kneehng Sagittarius, or archer, letting fly an arrow, and wearing a leather cuirass and a lion's head as a helmet, would be Hercules. The naked warrior on foot, acting on the offensive, and wearing a helmet and shield, would be Telamon, and the falling hero, Laomedon. The king is still supported by his shield, he is naked, and wears a metal helmet with straps to cover the cheeks, and an iron point extended to the tip of the nose as a protection. This is the Homeric helmet. No historical names have been given to the warrior bending forwards, as if aiding a wounded man ; or to the other soldier, lying on his back in the hollow of his shield, who appears to be still fighting with his hands. The last is the most beautiful of this group, and that of Laomedon, and it was only by accident that its singular attitude was discovered. As we have seen, the explanation of the eastern pediment is very arbitrary. That of the western is more plausible. The ten figures of the principal group are supposed to represent one of the most celebrated episodes of the Iliad, the struggle of the Greeks and Trojans round the body of Patroclus. A full-face figure of Minerva stands in the centre, and from the position of her feet and the GRECIAN SCULPTURE. 80 direction of her javelin, she appears to be siding with the Greeks against the Trojans. She wears the pepluin or pcplns, and the t2inic {^nwv), the borders of which are painted red; the helmet is blue, the shield Argolic, and on the breastplate there was probably a Medusa's head in bronze. Patroclus is on the ground, supporting himself on his right hand ; Ajax, the son of Telamon, is protecting him whilst lancing his javelin ; and is followed by Teucer, wearing the short cuirass of an archer, and Ajax, the son of Oileus, who is lifting the shield and javelin with both hands. The figure of a wounded warrior trying to tear the steel from his breast, completes the Greek group to the right of Minerva. On the left are placed Hector, with closed vizor ; Paris as a kneeling archer, wearing a high Phrygian cap and a tight-fitting coat of mail, reaching to the feet, and painted in lozenges ; yEneas, also kneeling, but holding a sword in his hand ; and lastly, a Trojan wounded in the thigh, who has fallen to the ground. A fifth figure, not recovered, must have completed the Trojan part of the group, with the erect Minerva in the centre of the triangular pediment, and the recumbent warriors in the extreme angles. The little figures placed on the outside of the pediment are of two small goddesses, exactly alike, 86 GRECIAN SCULPTUEE. except that the long folds of their robes, which they raise with one hand, are so arranged as to fall towards each other. They are called Damia and Auxesia, as they are supposed to be statues of the goddesses of Epidaurus, which the vEginetans carried away from that town, and the Athenians tried in vain to recover. The entirely legendary history of these goddesses is related by Herodotus and Pausaniiis. Lastly, two gryphons with outspread painted wings ought to be seated face to face on the corners of the pediment. The only one recovered has been placed near the capital of a column of the temple, and the two largest fragments are surrounded by twenty- four smaller pieces of statues, the greater number of which properly belong to the eastern pediment. The fifteen statues preserved, the arrangement and attitudes of which we have indicated, are of various sizes, but except that of Minerva, they are none of them of the medium height of a man. They are all of Parian marble, and so great is the care and delicacy of the execution, that the very wrinkles of the naked parts are rendered, and this without any aid from polish, as the statues were entirely finished with the chisel. Two salient points at once attract notice : the delicately moulded limbs have great energy of action, a kind of con- vulsive agitation ; the attitudes are forcible and GRECIAN SCULPTURE. 87 expressive, the outlines striking angles. These are the characteristics of the first grand style, which Pausanius declares to have been begun by Djedalus, and which was adopted by the two celebrated ^ginetans, Kallon and Onatas ; of that style called the sublime by Winckelmann, and the square or angular by Pliny, which preceded that of calm and tranquil beauty followed by Praxiteles and Pheidias. The heads, on the contrary, long ovals ending in a pointed beard, like those of the earliest Etruscan figures, are but rough casts, like the terra-cotta masks, which were finished ofi" with colouring. The oblique eyes, the slightly retrousse nose, the sharp chin, do not in the least resemble the type which has been called Grecian since the time of Pheidias. The unfinished features are devoid of expression, except for an idiotic smile, which distorts the faces of the dying and victors alike. Placed on such beautiful and perfect bodies, we cannot believe that the heads were left in a crude state from the sculptor's inability to complete them. The contrast marks design on his part, and what we want is an explanation of this design, which we can only obtain by determining, in the first place, the epoch at which these complex statues, and the temple which contained them, were produced. So different are the answers returned to this 88 GRECIAN SCULPTUBE. question that some, looking upon the temple of ^gina as Doric — for were not the ^ginetans of the Dorian race ? — ascribe its construction to the fabulous times of Acachus, and others count it a sign of the progress of the arts under Pericles. These extremes are equally improbable : it is more likely that the temple of ^Egina was built at an intermediate period, directly after the second Median war and the victory of Salamina, the spoils of which were shared by this town. The name of Panhellenion clearly indicates the alliance of the Greeks for the moment against the common enemy, and the oblivion of their civil discords before a great danger. The presence of Minerva on the pediments is a no less decisive proof. It was only at this exceptional time of fellowship that the ^ginetans — hitherto jealous rivals of the Athenians and leagued with Sparta against them, subsequently driven by them from their native isle — could have set up the Athenian goddess in their temple. The acceptance of this date dispels the notion that these two groups represent battles against the Persians, for the Greeks never depicted contemporary events in their temples, and it will add new weight to the generally received opinion. It appears proved then that the Panhellenion GRECIAN SCULPTURE. 89 preceded the Parthenon by forty or fifty years, and that the marbles of yEgina are half a century older than the masterpieces of Pheidias ; so that their double character is easily explained, especially if we adopt Winckelmann's opinion that "the artists of this island retained the early style longer than any others." As long as the first sculptors were content to make images of the gods for the altars, they remained under hieratic influence and employed conventional types, as did the Egyptians and Assyrians. It was when they moulded statues of heroes and athletes for the public squares, that they gave life to the limbs and tried to express power and beauty. There was of necessity a sort of conflict, a compromise, an inevitable blending of the two styles ; as at the beginning of the Renais- sance there was a combination of the Byzantine types with a growing refinement of action, and expression. The statues of ^gina belonged to a transition period between the age of dogma and the age of art. The immobility of the features belongs to the former, the freedom of the limbs to the latter. The heroes of Greece and Troy had the heads of p-ods and the bodies of athletes. Such is the explanation of the famous and remark- able marbles of ^gina, which to me appears to be the most simple, complete, and satisfactory. tiO OBEGIAN SCULFTURE. Whilst the yEginetans were adorning their Panhellenium with these hybrid statues, the school of Attica was gradually freeing itself more and more from dogma, and advancing towards pure art. No doubt, in spite of their just pride, the Athenians ought to have owned that their city, of Ionian origin, received the first rudiments of the arts from the islands of Ionia, and that their very literature was founded on the Homeric forms which also sprung from the shores of Asia Minor. How- ever, aided by the neighbourhood of Pentelicus and Hymettus, which supplied them with marble in abundance, they soon had a national school. They boast of their sculptor Endoeus, who, rather later than the 54th Olympiad, made a seated Minerva for the Acropolis, and who was probably the author of the Diana of Ephesus. They also claim Simmias, Antenor, who sculptured the group of Harmodius and Aristogiton, which Xerxes carried into Asia, and the place of which was after- wards filled by a group of the murderers of Hip- parchus from the chisel of Praxiteles ; Amphi- crates, who immortalized, under the form of a lioness, that Lea^na, the friend of Harmodius, who bit out her tongue that she might never betray her accomplices ; Hegias, or Hegisias, who taught Pheidias before he took lessons from the more GRECIAN SCULPTURE. 91 learned Ageladas of Argos. But according to Ouintilian and Lucian, the statues by these old. masters were still stiff, cold, and coarse, without ease, grace, or suppleness. They had what M, Beule called the ideal lozvcr than nature — that of those Egyptians who endeavoured to produce a moral effect by means of conventional types. Soon, however, after the Median wars, came the great age of Pericles, when the Athenian artists strove after the ideal Jiigher than nature — beauty and grandeur combined with truth and life. Pheidias took his first lessons from an Athenian, but it was at Argos that he completed his education. " So that," says M. Beule, "he united the character- istics of the Dorian with the Ionian genius ; the severe simplicity, the practical knowledge, the masculine grandeur of the first, with the rich elegance, the movement, the grace, of the second. In him the two principles were blended,^ producing an incomparable whole. ... He it was who at Athens created the unity of Grecian sculpture." Now that we have come to the age of the final development of Grecian art, to the time of great works, of grand masterpieces, we can treat our subject differently, resume the travels we began at Munich, and examine the marvellous relics of 92 GRECIAN SCULPTURE. Grecian sculpture collected in modern museums. We will visit our national collection in the Louvre first. After ascending the stairs of the peristyle and advancing a step along the gallery, we see at the end of a long vista, standing out against red drapery, a female figure, alone on its pedestal like a god in his cella, grand, severe, a flowing robe about the loins. It is much mutilated, very incom- plete ; both arms are gone, and one foot, which was evidently stretched forward. This damaged statue is the most precious relic of ancient art which Paris possesses. It is the Venus of Melos, so called, partly because a greater number of antiquaries consider it to be a Venus Victrix (or a Venus triumphing over Minerva and Juno, and proudly holding the apple, the award of Paris, in her hand), and partly because it was found near the little town of Melos in an island of that name, one of the Cyclades, famous for its catacombs, amphitheatre, and the cyclopean ramparts of its vast harbour. Many very different names have been given to it.* It was accidentally * Some think it a sea nymph, the protecting nereid of its isle ; others a Nemesis, and they have considered the forty-three surnames of the ancient Venus, to see which would best suit this attitude and gesture. But a bronze statuette discovered later at Pompeii, which must be a small copy of our Venus of Melos, seems to settle the question, by showing what our statue originally was. She must have Fig. 7. — The Venus of Melo.^. (Paris. Museum of the Louvre. GRECIAN SCULPTURE. 93 discovered in February, 1820; and bought by M. de Riviere, then French ambassador at Con- stantinople, who generously presented it to the museum of the Louvre. Although we must regret the damage done by time and by the hand of man, we have reason to rejoice that the Vejms of Melos has not shared the fate of her sister the Venus of Medici, which has been ruined by useless and unskilful re- storation. Imagination can readily supply what is missing, and Michael Angelo himself might well have refused — as in the case of the Farnese Hercules — to attempt the impossible task of re- construction. The Venus of Melos is certainly the most magnificent specimen of Grecian art of which Paris can boast : produced in that great period of artistic excellence between Pheidias and Praxiteles, it was probably moulded by the great sculptor who supplied the gods of all the temples of Greece, or by the bold artist who held a mirror in her left hand, and "this" says M. H. Lavoix, "would be Venus smiling at her unrivalled beauty." The expla- nation is ingenious, and bears the impress of probability, almost of certainty ; and yet I can scarcely think that this majestic Vemts of Melos is no more than a coquette. But if we do not know what her action, her gesture, was, it matters little. The Greeks cared nothing for action or its absence. Has she beauty ? Has she life ? It is enough. 94 GRECIAN SCULPTURE. first attempted a nude Venus with Phryne for his model. This statue is remarkable not only for the dignity of bearing, the undulations of the torso, the delicacy of the skin, and the ampleness of the drapery ; but also for its unaffected simplicity, and the perfect agreement between the subject and the style. Indeed it is worthy to rank above all the achieve- ments of Greece, whether in literature or art, and from its first arrival in Paris it has met with such unanimous admiration, that it has even eclipsed Diana Huntress, or Diana with the Stag, the worthy sister of the Pythian Apollo, the pride of the Vatican. The latter, however, long reigned supreme. It is supposed that it was brought from Italy for Francis I. by Primaticcio, and at first placed in the palace of Fontainebleau, which Vasari called "a new Rome." Perhaps in the fall of the " Diana " we may trace the influence of the love of novelty and the necessity of a change of idols so common in every class. Certainly Diana with the Stag may contest the palm even with the Venus of Melos. Slender but vigorous, masculine but chaste, she better represents the austere goddess of the Ephesians ; in that there is none of the softness of love in her form or attitude, and she seems more ready to punish Actaeon than to awaken the beau- GRECIAN SCULPTURE. 95 tiful sleeper of Mount Latmos. Diana Huntress is also much less afifected and theatrical than the Apollo of the Belvedere, which has perhaps been too much praised on the authority of Winckelmann. As the stag which bounds by the side of the goddess has horns on its head, M. de Clarac has surmised that it may be the stag of Cerinia, with golden antlers and brazen feet, which Hercules was ordered to bring alive to Eurystheus, and which he caught in Arcadia after a long pursuit, and retained, although Diana at first wished to take it from him, and threatened him with her arrows. This episode in Diana's history may have been the subject of the statue, which is considered the most admirable representation of the fair-limbed goddess left to us by antiquity. In any case these two illustrious rivals, the Venus of Melos and the Diana with the Stag, to- gether with the other gods and goddesses which we are able to admire in Paris and elsewhere, are a striking testimony to the useful influence exercised over the arts by mythology. In the belief that men were made in the likeness of the gods, and that the gods shared all human emotions, that is to say, conceiving gods in their own image, the Greeks had to strive to combine all that was most beautiful in human forms, in order adequately to represent 9G GBECIAN SCULPTURE. divinity — the model, the prototype, the apotheosis of humanity.* In addition to this, there was a perpetual rivalry between the temples of the different states and the various colleges of priests, which did not then, as they do now, form one single corporation ; a burning and ceaseless rivalry, which led to an endeavour to obtain for the gods, altars, tripods, vases, and all the accessories of worship, the most beautiful, elegant, and perfect forms which art could produce. We must not lose sight of the fact that the old Grecian idols were not only painted, but dressed, and that their toilette was attended to by priests and women. "They were washed," says Otfried Miiller, " waxed, rubbed, dressed, brushed, decked with crowns, diadems, necklaces, earrings." This was the act both of religion and ignorance, and we find equivalents of the Grecian idols in the Madonnas of Italy, Spain, and other countries. A crude faith ; a crude art. In order to attract offerings, and if we may so express ourselves, to obtain custom, it was necessary, * "The gods," said Epicurus, quoted by Cicero [de Natura Deor), being perfect creations, could only choose from the most admirable of the forms of the human body; nor could they take any other shape than that proper to man. In our endeavour to discover nature's most perfect -work, what can we conceive superior to the proportions and grace of the human body ? Is there any one who, in a dream or awake, could fancy gods under any other form ?" Epicurus justified Christian artists beforehand. GRECIAN SCULPTURE. 97 in this rivalry of temples and priests amongst a people of excellent taste, to endow a new god with supreme beauty, without which he could not success- fully contend with the old fetiches which had long enjoyed the adoration of the people. Hence sprung the Minervas of Athens, the Jupiter of Olympus, the Juno of Argos, the Venus of Cnidus, and also the Venus of Melos and the Huntress Diana. They might easily seduce from their allegiance the adorers of the horrible bearded Venus of Amathus and the old Diana of Ephesus, which was a triformis monster with numerous breasts.* This is not the only debt of gratitude which art owes to the religion of the Greeks. It was poly- theism which invested each divinity with a suitable peculiar and easily recognised symbol, and not only assigned to it a particular attribute of moral power, as majesty to Jupiter, grace to Venus, force to Hercules ; but also certain tangible types, such as the thunderbolt, the quiver, the caduceus, the thyrsus, the corymbos (the knot or bunch on Apollo's head), etc. These fixed symbols, these dogmas, so to speak, which, however, differed materially from those of Egypt, left the artist free * The primitive Athena— Poliadis, which was replaced by the three Minervas of Pheidias, was a mere puppet without arms wrapped in a peplum. It was to them much what the Madonna of Loretto of the present day is to a work of Michael Angelo or Canova. H 98 GRECIAN SCULPTURE. in the treatment of forms and action, whilst they protected beauty by making it in a manner un- changeable either by caprice of fashion or frivolity of judgment. " The benefit was reciprocal," adds Emeric David {Rccherches siir lart statuaire) ; "religion, by combining with good taste, assured its preservation, and aided her own cause so effec- tually that she seems to live again in the master- pieces she has bequeathed to us." Venus and Diana respectively reign supreme over two rooms of antiquities. The masterpieces of two other apartments are statues of quite a different order, not gods but men, the Achilles and the Fighting Gladiator. The first is supposed to be an antique copy of the bronze Achilles, the celebrated work of Alcamenes, the beloved pupil and rival of Pheidias. It is evident that it belongs to the age of that simple and calm beauty which Winckelmann called " the sublime style." The regularity of the shape, the symmetry of the limbs, is such that, like the celebrated Doryplwroe (standard- bearer), called the rule of Polycletes, it might serve for a metrical model of the beautiful proportions of the human body. The hero of the Iliad has no garment but the elegant Grecian helmet, covering the long hair which he cut off in his despair over the corpse of Patroclus. The cpisphyrion ring, or GRECIAN SCULPTURE. 99 that worn above the ankle on the right leg, was, according to a tradition not adopted by Homer, a protection for the only vulnerable portion of the body of the son of Thetis. It may, however, merely typify the chief excellence of the swift- Fig. 8. — Achilles. (Museum of the Louvre, Paris.) footed Achilles, as he is called by the poet ; no light praise, as the prize in the races was always the most honourable trophy of the public games of Greece. It was Visconti who gave the name (ii Achilles to this statue. Winckelmann is disposed 100 GRECIAN SCULPTUBL to consider it a Mars, and then the episphyrion rin^ would indicate the ancient custom of some of the Grecian races, of the Spartans amongst others, o chaining up this god of battles in their cities, " thai he might never leave them " (Pausanias, chap, xv.) The Fighting Gladiator, which was found in the ruins of the Palace of the Emperors at Antium, i.' of later date than the Achilles. It belongs to the more vigorous and energetic style introduced by Lysippus, less than a century after Pheidias. At this second epoch, artists had acquired a habit ol signing their works, and the age of the Fighting Gladiator is proved, beyond a doubt, by the name of its author, Agasias of Ephesus, son of Dositheos,* which is legible on the trunk which supports the figure. In any case, this statue is Greek, and it is misnamed, because it does not represent a gladiator of the Roman circus, but an athlete of the games of Hellas. Bernini was right to carve gymnastic exercises as bas-reliefs on the pedestal. But does it represent a dancer of the Pyrrhic, or war-dance, in which attack, defence, and all the gestures of a struggle are imitated .-* Is it an athlete contending* * In reference to this title, we must remark that the affection between master and pupil, and the gratitude of the latter, were often so great that the teacher was called father. " So that," says Pliny, "it is doubtful, when we find the father's added to the artist's name, whether that of the true or adopted parent be intended." GRECIAN SCULP TUnE. 101 for the boxing prize in the Olympian games ? Is it a warrior in a real battle, who seems to be con- tending on foot with a mounted foe ? The choice of these three explanations 'remains open. The form and attitude ars' very beaatiful,: the execution is delicate and bold, and the energy' of strength in action, as seen in this dancer, athlete, or warrior, reminds us of two celebrated groups at Florence and Rome, which belong to the same epoch, at the beginning of the decadence : we allude to the Wrestlers and the Laocoon. In our notice of the Veims of Melos and the Huntress Diana, we alluded to the services ren- dered to art by polytheism. In speaking of the Achilles and the Gladiator ^ we may remark that national education and customs aided to complete the superiority of Grecian art. From their infancy men practised gymnastics naked ; athletes wrestled naked on the stage and race-course ; and the victors were represented naked in the statues raised to their honour by the pride of their native cities. This spread a general knowledge of plastic anatomy, of the play of the muscles, and the fitness of the limbs, according to the laws of their construction, for the various functions of the body. It was by the examination of his naked figure in the race, the dance, the throwing of the quoit, in wrestling 102 GRECIAN SCULPTURE. and boxing, that the master of the gymnasium decided for what a youth was fit The exceptional man, whose, proportions ,were perfect, and whose powers were well balanced,. was declared pentathio7i (five, ox pei.fect-powerecl),, fitted for the five exer- cises ; his was pertect beauty. Hence arose the common taste, the universal rage for physical beauty, called by Socrates " the result of the good and useful." In the solemn games of Olympia, of Nemaea, or of Corinth, it was not only the citizens who wrestled before assembled Greece ; the States themselves contended for the prizes, in the persons of the choicest of their sons ; and to these public contests, as to the processions which bore their offerings to the great divinities, they sent their most beautiful young men ; " in order," says Plato, " to give a good impression of their republic." Zeno calls beauty the "Flower of Virtue;' and Socrates said, " My eyes turn towards the beautiful Autoly- cus, as to a torch burning at midnight." From this double current of ideas tending to the same end, which led to the public games and the religious creeds, sprung a unique law — the law of beauty — by which the sculptors of the statues of athletes and gods were entirely bound. They had a hundred living models before their eyes, in the schools where dancing and wrestling were taught, GllECIAN SCULP TUEE. 103 and in the beautiful women of Ionia, from whom love was learnt. What is beauty ? A " blind man's question," replies Aristotle. We must not, however, imagine that physical beauty was sought after in Greece to the exclusion of moral excellence. On the contrary, as remarked by Aristotle, the Greeks required indications of intelligence and goodness, in addition to those of health, power, and skill ; they knew that Avithout them mere bodily gifts were of little worth, and might lead to prejudicial results. They wished to know of a virtuous soul in an agile and powerful body — metis sana in corpora sano ; and, according to Plato, he alone was beautiful whose mental cor- responded with his bodily perfection. " As a natural consequence of this philosophy," says M. Louis Menard, " we find, in the effective works of Grecian sculpture, that man is always repre- sented as above passion, and stronger than suffering. In leading minds along the enchanted path of beauty to the conception of the true and just, Greece so blended the laws of art and conscience as to translate them, in her plastic art, by one and the same expression." Honours and rewards were not then awarded only to victorious athletes and heroic warriors, but to all who obtained sufficiently brilliant success of any kind — in literature and art, 104 GRECIAN SCULPTURE. as well as in games and war — to become the pride of their country.* We will now continue our review of Grecian works of art in the Louvre. Aphrodite, the type of supreme beauty, had so great a charm for the artists of Greece, and they were able to vary her statue in so many different ways without radically altering the form, that the number of images of Venus is greater than that of all the other divinities put together. The Louvre contains eighteen statues and three busts of this goddess. After the Vejius of Melos, we come to another Veiuis Victrix, not now victorious on Mount Ida, but vanquishing Mars by her charms. She holds his sword with the timid awkwardness of a woman, and by her side Cupid, like an inquisi- * The Greeks loaded their great citizens, and amongst them their great artists, with more honours and rewards than did any other ancient or modern people : their gratitude and liberality were alike excessive. "There was a theory in the act of recompense," says Emeric David, " and the honours accorded by the Athenians were graduated in such a manner that there was ceaseless emulation. Proclamation in the theatre of the name of the man they desired to honour ; proclamation at the public games ; a crown conferred by the senate ; a crown conferred by the people ; a crown given at the fetes of the Panathenasa ; a portrait placed in a national palace ; a portrait in a temple ; support in the Prytaneum ; support granted to the father, the children, to the descendants of the hero for ever ; a statue in some public place ; a statue in the Prytaneum ; a statue in the temple of Delphis ; a tomb ; public games and periodical celebrations at the tomb." I OREO IAN SCULPTURE. 105 tive child, is trying on the helmet of the God of War. A Venus Gcnitrix, a beautiful statue of the best era of art, which combines all the usual cha- racteristics of the mother of the Graces : the apple of Paris in her hand, one breast bare, the ears pierced to receive the valuable rings, and the tunic fitting to the limbs so as to show their graceful outlines. A draped Vauis, with the name of Praxi- teles written on the plinth, supposed to be an imitation of the clothed Venus which the inhabi- tants of Cos demanded of the illustrious statuary, to rival the nude Venus of Gnidus (Cnidus). A libertine Venus, which, as restored, is crushing under foot a human foetus, typifying the destructive effect of vice upon mankind. The Venns of Aries, found in that town in 165 1. This was another Venus Victrix, remarkable for the beauty of the head, decked with graceful ribbons. In restoring the arms, Girardon put a mirror in the left hand, instead of the helmet of Mars or ^neas. The Venns of Troas, an imitation of a celebrated statue from the temple of this Phrygian town : at her feet is a pyxis, or jewel-case. Two Marine Venuses, one rising from the waves at her birth, the other called Euplaea, or goddess of fortunate voyages, etc. If Venus represents physical beauty, Minerva is the type of moral perfection. On this account, and 106 GBEOIAN SCULP TUliE. as protectress of Athens, she was as great a fa- vourite with the Greeks as the sea-goddess. Her statues are plentiful everywhere ; there are nine in the Louvre, amongst which we will notice the 'l|||liTiiiiii II iiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiimiiii 11 II iiiiiiiiiiii!iiiiiiiiii!iiiijii[[m||||™ Fig. 9.— Pallas of Velletri. (Museum of the Louvre, Paris.) Pallas of Velletri, semi-colossal, wearing a helmet, with a mctopon (closed visor), a lance in her hand, the aegis on her breast, modestly confining the GRECIAN SCULPTURE. 107 tunic, and an ample pcphini falling to the feet. The severe and noble attitude of this fine statue, the flowing folds of the long draperies, the calm and sweet expression of the majestic countenance in the martial head-dress, are as characteristic as her symbols of the goddess of armed peace, of the arts, of letters, and of wisdom. The Minerva with the Necklace, another Pallas in armour, of the exalted style peculiar to the age of Pheidias, supposed to be a copy in marble of the Athena in bronze by the great sculptor, also called the beautiful, because she is adorned with the pearl necklace usually reserved for Venus. A Minerva Hellotis (whose helmet is decked with myrtles), which is probably a copy of some old wooden idol, draped with heavy stuffs, plaited in perpendicular flutings on the body. Apollo, the usual type of manly beauty, afforded as much scope as Venus for the skill of Grecian sculptors. The French museum also contains nine statues of this god, including that of the Sii7i, with rays about the head, which is not, strictly speaking, an Apollo, but Helios, the son of Hyperion and Thyia, who was only worshipped at Rhodes and Corinth. Although four of the nine are Pythia7i Apollos, the best in the Louvre is one of the two called Lycian, because the attitude, that of repose, with the arms folded above the head, and the serpent crawling at 108 GRECIAN SCULPTURE. the feet, are suggestive of the Lycian Apollo, to whom Athens raised a celebrated temple. We must also admire the young Apollo Sanroctonos, or Fig. lo. — Bacchus. (Museum of the Louvre, Paris.) Lizard slayer, the head of which, although only- restored, is antique, supposed to be a good copy of the bronze Sauroctoiios of Praxiteles. GREGlAll SCULPTUIIE. 100 Agile, and scantily clothed, as Fontaine would express it, a Diana may always be recognised by the tunic raised above the knees, which has gained her ■'iSii:,::' : J.r£ TOT. 'wiiSiiilillB!!^^ Fig. II. — Mercury. (Museum of the Louvre, Paris.) the name of the Fair-limbed goddess. Of the six sis- ters of the Huntress Diana in the collection of the Louvre, the Diana of Gabii is the most celebrated. 110 GRECIAN SCULPTUBE. With a graceful movement she appears to be fasten- ing her chlamys (^j^Xa/xu?, a linen mantle caught to- gether on the shoulder). Of the three statues of Bacchus in our museum, one is the Indian or bearded {'TTcojov) Bacchus, and the two others are Grecian ; one in repose, the other drunken, both wearing the Credemnoii, or diadem with ivy, and no garment but a fawn's skin. Three Hercules, amongst others a semi-colossal group, in which the god of strength holds his delicate child Telephus in his powerful arms, with the hind which suckles it close beside him. Three Mercuries, one with Vulcan, in which group the gods of the mechanical arts are in a manner united. As Vulcan is not here deformed, the two figures were long taken for Castor and Pollux, or for Orestes and Pylades ; but the Greeks hated ugliness, and gave beauty even to the Parcse, the Eumenides, to Nemesis and to the Gorgon. Three Cupids, all charming. The one trying his bow, with a graceful body and a bright arch face, is, per- haps, a copy of the bronze statue made by Lysip- pus for the town of Thespize. Another still younger, full of tender grace, is considered a type of infant beauty by Winckelmann, and may be a copy of the one which Parium prides itself on having received from Praxiteles. The third is a sphserist kicking a ball as he springs along. GRECIAN SCULPTURE. Ill Butterflies, the emblems of the soul, were, however, the usual toys of the god of the affections. A Nemesis, interesting from the position of the right arm, which is so bent as to represents a cubit, the common measure of the Greeks. The allegorical proportion of merit and reward, this metre was the type of the goddess of distributive justice. A solitary Jupiter, coarse, short, heavy, and of clumsy execution. The small number of statues of the king of the gods found anywhere, would seem to imply that Grecian artists despaired of representing him in all his serene and majestic beauty, after the Olympian Jupiter which Pheidias translated from a verse of Homer : " He bent his brows, the hair shook upon his immortal head, all Olympus trem- bled " — that Jupiter, the chief of masterpieces, which should have been as eternal as art itself, but was destroyed at the taking of Byzantium by the crusaders of Baldwin. In the Louvre there are but five of the nine Muses which form the family of Apollo and Mne- mosyne. First the colossal statue of Melpomene, from the theatre of Pompey at Rome. It is four metres high, and none of the entire statues be- queathed to us by antiquity are of greater dimen- sions. Fragments alone suggest the idea of larger colossi, such as the Hippomachi of Lysippus, or the 112 GBECTAN SCULPTURE. gigantic brazen Apollo raised over the port of Rhodes by his pupil Chares. In spite of her massive size, this Muse in the tragic buskin is as graceful and elegant as the Farnese Flora, the giantess of Naples. A Urania holding up the skirt of her tunic with her left hand, which really rather resembles luiihllulltuuiiiliJ Fig. 12. — The Tiber. (Museum of the Louvre, Paris. a personification of Fate, but has become the Muse of astronomy, because Girardon has chosen to put a sidereal crown upon her head. A PolyJiyvinia, also called Study and Reflection, the head and upper part of the body of which are modern, but which is nevertheless admirable on account of the o 3 O 2 tJ3 GRECIAN SCULPTURE. 113 wonderful arrangement of the draperies by which the figure is completely covered. A few local divinities complete the collection of gods. The Tiber, another giant, near to whom the she-wolf of Mars suckles the two founders of Rome. This colossal Tiber was discovered about the begin- ning of the fifteenth century, amongst the ruins of the Rome of the Caesars. It remained at the Vati- can, with the group of the Nile, and was one of the very few ancient statues which the papal city possessed in those days. These two old men with long beards, carelessly resting on the urns from which their waters flow, are characterised by symbols and emblems. The Tiber, crowned with laurels, to suggest the glory of Rome, holds an oar as a sign that his bed is navigable ; whilst the Nile, leaning on a sphinx and holding the cornu- copia or horn of plenty, is surrounded by sixteen little sprites, which typify the sixteen cubits of inun- dation necessary to produce a good harvest. A Genius of Eternal Repose, supposed to be a type of the endless rest conferred hy death ; a charming youthful figure, calmly beautiful, leaning against a pine, from which tree resin was obtained for funeral purposes — the legs crossed, the arms resting above the head, which were the three emblems of repose. " Grecian art," justly remarks M. Menard, "always T 114 GRECIAN SCULPTURE. avoided expressing the idea of death by repulsive representations ; it was never alluded to but with a severe decorum which bordered on afifectation." The Borghese Hermaphroditus, said to be the most beautiful of the many copies in marble of the cele- brated bronze Hermaphroditus of Polycles, who must not be confounded with the great Polycletus of Sicyon. Of the age of Polycles, more than three centuries after Pheidias, when Roman influence was already felt, it is evident that this statue of the son of Hermes and Aphrodite, who had become andro- gynous by his union with the nymph Salmacis, belongs to that age of disordered imagination, when, as Vitruvius remarks, " caprices of fancy were more sought after in works of art than imita- tion of nature." Chastity, almost entirely enveloped in her veil and long robes. Two Dancing Fauns, one with a beautiful body from the shoulders to the middle of the thighs, and the rest a mere restora- tion, plays with little crotali, or small Grecian cymbals ; the other with the scabilium or scabcllum, a small instrument which was pressed with the foot. Both are full of the vivacity, the impetuosity, and the infectious gaiety always characteristic of these singular beings. Finally, the group called the Fatin with the Child, the same as Silenus with the young Bacchus. The elegance and beauty of GRECIAN SCULPTURE. 115 form and expression, and the delicacy of the execu- tion in this group, entitle it to rank amongst the chief sculptures in the French museum of anti- Fig. 14. — Faun with a Child. (Museum of the Louvre, Paris.) quities. It was found in the sixteenth century, in the gardens of Sallustius near the Quirinal. Besides the divinities, there are many important and excellent statues of human heroes and athletes 116 GRECIAN SCULPTURE. in the Louvre. Amongst others, a very beautiful, youthful figure, which might have disputed the palm with the Achilles, had not the head been restored and made too small for the body. For a long time Fig. 15. — The pretended Germanicus. (Museum of the Louvre, Paris.) it was called Cincinnatiis, on account of the plough- share at the feet. It cannot, however, represent the Roman senator, as the style is Grecian and the figure too youthful. Winckelmann, after studying GRECIAN SCULPTVBE. 117 it, decided that it must be Jason, because the youth fastens his sandal on to his right foot, leaving the left bare. In fact, according to the account of Pherecydes, Jason assumed the character of a labourer, in order to allay the suspicions of his uncle Pelias ; and when the messenger of the king of lolchus came to bid him to a solemn sacrifice, the hero set out half-shod, in order to appear before Pelias as the man luitJi a single sandal, whom the oracle had designated as his future murderer. This scientific explanation appears incontrovertible, and the statue is called Jason : it appears to be from the skilful hand of the author of the Fighting Gladiator. A Centaur, supposed to be a repetition of one of those by Aristseus and Papias of Casius. The little victorious genius on the crupper, who is fastening his victim's hands behind his back, is not love but intoxication, as proved by the wreath of ivy on his brow. By a strange whim, the nose of this cen- taur is distorted and wrinkled like that of a neigh- ing horse. A Marsyas, hanging by the arms to the branches of a pine, and about to suffer the mar- tyrdom he has provoked by his challenge on the flute of the God of the Lyre, the pitiless god of the gemis irritabile vatum. This beautiful figure, re- markable for the profound knowledge of muscular anatomy displayed in it, is thought to be one cf 118 GRECIAN SCULPTURE. the numerous copies in sculpture in full or bas- relief of the celebrated picture by Zeuxis, called the Bound Marsyas, which was to be seen at Rome in the time of Pliny, in the temple of Concordia. A Discobolus, or athlete, throwing the quoit, a happy imitation of the celebrated Discobolus of Naucydes. We now come to that class of statues called Fig. i6. — A Discobolus. (Museum of tlie Louvre, Paris.) statues iconiccB by the Romans, /. e., statue-portraits (from eiKOiv, image). They became fashionable when Grecian sculptors were commissioned to im- mortalise the athletes who were victorious in the public games. In them all notion of the ideal beauty given to the gods was laid aside ; all flattery, all deception, was forbidden ; and nature was faith- I"ig. 17. -The P'aun of I'laxilelfS. (Rome. GRECIAN SCULPTUBE. 119 fully copied ; actual proportions were retained, and even faults were not disguised. There are but few of these Grecian iconic statues in the Louvre. A seated philosopher meditating is called DcmostJiencs, because the features, which are restored, resemble those of the great Athenian orator. The volume he is unrolling upon his knees may be the History of the Peloponnesian War, by Thucydides, which Demosthenes admired so much that he copied it ten times. It would be well to write that beautiful inscription on the pedestal which was, according to Plutarch, engraved on the statue raised to the orator by his fellow-citizens : " If thy powers, oh, Demosthenes, had been equal to thy genius, the Macedonian armies would never have triumphed over Greece." We recognise Alexander the Great in a hero on foot wearing a helmet, with effeminate features and an arrogant expression. This statue, which is of the heroic style, is probably a copy of an Alexander by Lysippus, who, like Apelles in painting, had the exclusive right of sculpturing the conqueror of Darius. This Alexander of haughty mien seems to be saying to Jupiter, as in the epi- gram of Archelaus : " Our division is made, oh, king of the gods ! To thee, heaven, to me, the earth !" The large number of Hermes make up for the 120 GRECIAN SCULPTURE. scarcity of Grecian statue-portraits. The name of hermes (which is not that of Mercury, but comes from epyu-a, stone) is given to short busts, cut off at the elbow, without arms or body. Amongst them there is a Homer, or at least the figure said by tradition to represent the poet of Achilles and Ulysses. He is crowned with the sacred fillet, he is the divine Homer. A Miltiades, distinguished by the bull of Marathon, engraved on his helmet. A Socrates, the face of which is a true portrait, because being the son of a sculptor, and himself a sculptor in his early years, the wise Grecian was the friend and councillor of the artists of his time ;* and because after his death the remorseful Athenians made Lysippus raise a bronze statue of the great man they had unjustly condemned, by means of which his features, since so often repeated, were preserved. An unfinished A Icibiades, very interest- ing, because the head still retains the projecting points employed by Grecian sculptors to assure the correctness of their measurements. A Herma- bicippus (or a terminal hermes with two heads back * Socrates was the author of a group of The Three Graces, which was still in a public position at Athens when Pausanias visited that city, in the second century of our era. In Xenophon (Famous Sayings of Socrates) we may find the excellent advice which he gave to artists as to the best mode of expressing the passions of the soul as well as the forms of the body. GRECIAN SCULPTURE. 121 to back) of Epicurus and his friend Metrodorus. In the fetes called Icadcs, because they were held on the 20th of each month, the Epicureans carried the bust of the philosopher, crowned with flowers, through their houses. Amongst the bas-reliefs which may be called religious, because they have reference to the various creeds, we will select for notice the Muses, a large design which covered the three principal sides of a sarcophagus. In it we see the nine daughters of Genius and Memory. Clio, holding a volume in which to write history ; Thalia, wearing a comic mask, pastoral buskins, and with bare legs, to typify the license of comedy ; Erato is merely noticeable on account of the fillet [cecjyphalus) ^.vhich. binds her hair, and is all that marks her for the presiding spirit of erotic poetry, of wit, and of philosophic converse ; Euterpe holds her two flutes [tibid), and in addition to the laurel of Apollo she wears the robe of the lyric singers {orthostadus) ; Polymuia, wrapt in her vast mantle, meditates on poetry and elegance ; Calliope, a stylus in one hand, a tablet in the other, is preparing to write epic verses ; Terpsichore plays on the lyre to incite to a choral dance ; Urania with her radius traces the movements of the stars upon a globe ; and lastly, Mclpomeuc, wearing the cothurnus and the regal 122 GRECIAN SCULPTURE. tunic, raises the tragic mask from her thoughtful and gloomy brow. The Nereides, another sepulchral ornament of excellent workmanship, in which are seen four sea-nymphs, escorting the same number of little spirits, typifying happy human souls, to the fortunate isles. The Birth of Venus, the same subject as the Venus Anadyomcne of Apelles. In this group we see the beautiful Aphrodite emerging from the spray of the waves (d^po?), surrounded by an escort of Nereides and Tritons, who joyfully celebrate the arrival of the Mother of the Loves in our world. Amongst the bas-reliefs the subjects of which are rather historical than mythological, we will name-;— the Obsequies of Heetor, a vast composition, v/hich includes the greater number of the personages immortalised by the Homeric poems. The ancient Priam is at the knees of Achilles, of whose statue there remains unfortunately only a fragment. In default of the hero of t\\Q Iliad, however, the hero of the Odyssey is recognisable by his cap (771X18 lcov), of the shape of half an egg. Aganiemno7i, between his herald Talthybius and Epeus, who built the famous Trojan horse. This bas-relief is of the very ancient style, earlier than that of the second or choragic style.* The Presiding Spirits of ike Games, a work * This name was appropriated to the monuments of art raised at GRECIAN SCULPTURE. 123 full of grace and spirit, where children instead of men show all the exercises of the gymnasium. Under the superintendence of a president, they compete at races, games of quoits, and wrestling- matches ; and the victors proudly display their palms and crowns. Amongst the many' objects employed in the worship of the gods and of the dead, we will only notice the grand and coXQhrdXQd Altar of the Tivelve Gods. It is of triangular form, and on each side in the upper division are four of the twelve great gods, beginning with the five children of Saturn, Jupiter, Juno, Neptune, Ceres, Vesta — and ending with the seven children of Jupiter, Mercury, Venus, Mars, Apollo, Diana, Vulcan, and Minerva. In the lower division, the figures being larger, are only nine in number, three on each face ; on one side a dancing group of Graces ; on the other the Hours or Seasons, Eunomia, Dice, and Irene, who, as they typify spring, summer, and autumn, carry leaves, flowers, and fruit. On the other side are three goddesses, with the sceptre in the right hand, sup- their own expense by the choragi (from x^pos, choir, and ^-ynv, to conduct), or directors chosen by each of the ten parties or classes of Athens, to preside at religious ceremonies and the games in the theatre. The office of choragus was a high public post, and rich citizens in accepting it pledged their honour to desei"ve the prizes which were kept in the temples and preserved their names. 124 GRECIAN SCULPTURE. posed to be the Eilythiae, who presided over the birth of mortals, in opposition to the Purees, or Moires. These figures of different archaic cha- racters have been thought to be of the ^ginetan style, or at least of that of the choragic monuments. This would account for Mercury's long beard, and for the modest clothing of Venus and the Graces. But, on the other hand, the calm repose of the attitudes, the fulness of the draperies, the refinement of the drawing, and the delicacy of the carving, which does not bring the figures into greater pro- minence than the very depressed bas-reliefs of the frieze of the Parthenon, connect this altar with that later age when Grecian sculpture was at the zenith of its glory. To reconcile the conflicting characters of form and execution, the ingenious suggest that it may be an imitation of the choragic style pro- duced after the age of Pheidias. From France we pass to Italy, and according to the usual custom of travellers, we go to Florence before Rome and Naples. The series of antique marbles begins in the second hall of the museum elcgl' Uffizi. We will merely name "the two immense wolf-hounds with gaping mouths and fiery eyes, which seem to guard the entrance to the galleries ; and the celebrated marble boar called the Boar of Florence, of which GRECIAN SCULPTURE. 125 so many copies have been made ; and pass on to the room of Niobc, set apart for the valuable series of Greek statues called Niobe, and those of her children, and the pedagogue. They were all Fig. 1 8. — Niobe. (Florence.) discovered together in 1583, at Rome, near the gate of St. Paul. The Medicis, who obtained pos- session of them, took them to Florence. Every one is well acquainted with the mythological 126 G EEC I AN SCULPTURE. history of Niobe, told by Ovid and Apollodorus, of that Niobe, the daughter of Tantalus and wife of Amphion, who as the mother of a numerous family despised her sister Latona, because she had but two children. Apollo and Diana cruelly avenged their mother by slaying the sons and daughters of whom Niobe was so proud, before her eyes. The scene of the massacre is not quite agreed upon. Ovid says it took place on the Hippo- drome of Athens, other at Thebes, others again on Sibylus, a mountain of Lesbos or Lesbus. The number of children is equally disputed, different authors state there were three, five, ten, fourteen, and even twenty. Homer has fixed it at twelve. The group of Florence consists of sixteen statues, and includes the mother and the pedagogue. But two of them certainly do not properly belong to it, and it is therefore reduced to twelve statues of children, the number chosen by Homer. If we refer to a passage in Pliny, which may apply to them, as well as to an old Greek epigram, the group of Niobe would seem to be the work of Praxiteles, but some antiquaries attribute it to Scopas. It is certain that Niobe herself, the young girl on her left, the dying boy and the two children placed on either side of the pedagogue, are of such sublime beauty that they are worthy of the greatest GRECIAN SCULPTURE. Ill Grecian sculptors. Winckelmann, who as a rule is equally reserved and enlightened in his criticism, is lavish in his praise of them. He justly remarks that the daughters of Niobe, at whom Diana is aiming her murderous arrows, are represented in the unutterable anxiety, the stupefaction of the senses engendered by the inevitable approach of death ; and, to quote Montaigne, " in the gloomy, deaf and dumb stupidity which paralyzes us." Niobe herself, so well known from casts and draw- ings, expresses suffering even better than the Laocoon. That of the latter is physical suffering, which he shares with his sons, who like himself are in the coils of the serpent ; that of the Nicbe is nobler, an entirely moral agony ; in no danger of being struck herself, she suffers only in the pain of her children. She does but gaze up to Heaven with eyes full of reproach. The four or five best statues of this fine group will always be models of true beauty as understood by the ancients. It remains to be seen how this group of Niobe was originally arrayed, and what purpose was served by the statues thus united in one conception and one scene. According to Pliny, there was a group of Niobe and her children at Rome, taken from the Temple of the Sosian Apollo, and a skilful English architect, Mr. Cokerell, has argued 128 GRECIAN SCULPTURE. from this that the fourteen statues found together in one excavation once decorated the pediment of a temple. Indeed, in a drawing made to support his opinion, he reconstructed the pediment as it Fig. 19. — The Venus of Medici. (Florence.) would have existed before the Romans despoiled the temples of Greece. In the centre Niobe holds a dying maiden in her arms, and on either side six GRECIAN SCULPTURE. I'JO figures arranged to suit the triangular tympanum, complete the group. In the Tribuna, that room of masterpieces, that sanctuary of art, where the most precious relics of ancient statuary and the best modern paintings meet face to face, is preserved the most celebrated piece of sculpture in the possession of the rich museum degl' Uffizi, the Venus of Medici. It was found in the middle of the fifteenth century, broken in thirteen places — at the shoulder, the middle of the body, at the thighs, the knees, and the ankles. The fractures being regular, how- ever, it was easily put together, and it would have been a thousand times better if, instead of feeling bound to restore the arms, which were missing, the owners had left it mutilated, like our Vemis of Melos, leaving the spectator's own imagination to supply what was wanting. Although the restora- tions are very clever, Bernini says that they are noticeable, more especially in the hands, in which there is now a kind of awkward affectation, a prudery in fact, which could not have existed in the antique work. This Venus was brought to Venice during the reien of Cosmo III,, and the name it still retains was then given to it. Although so small and delicate, for it is no higher K 130 GRECIAN SCULPTURE. than four feet, or eight inches old French measure- ment, the Venus of Medici is considered the model of the proportions of a woman, as the Apollc Belvedere is of the proportions of a man. The work is so perfect, the head so beautiful, the body so graceful, all the details so delicate, and the whole so full of charm, that it would doubtless have been attributed to one of the great ancient sculptors ; Pheidias, Praxiteles, or Scopas, for instance, if an inscription on the base copied from the original, did not prove it to be from the chisel of Cleomenes, the son of Apollodorus, an Athenian. Perhaps instead of the name Cleomenes we ought to read Alcamenes, also an Athenian, and the greatest Grecian sculptor between Pheidias and Praxiteles, author of a famous Venus alluded to by Pliny, which was at Rome in his time. Otherwise this is the only work we have of an unknown artist, not once mentioned by Pausanias. In any case it must be placed in the highest rank, for if copies had not multiplied it to profusion, it would be worth while to go to Florence to admire the Venus of Cleomenes, as the temple of Gnidus (Cnidus) was visited from all parts of Greece by admirers of the Venus of Praxiteles, of which it was said, that it was to the statues of Venus what Venus herself was amongst the goddesses ; indeed it appeared so instinct with life. GRECIAN SCULPTURE. 13 L that Ovid said, "If she remained motionless, it was because her divine majesty enjoined immobihty." A Httle Apollo of four feet high, called the Apollino, is also attributed to Cleomenes, but for no ^— TT m\ 111 THltT"* other reason than a certain resemblance to the Venus in style and execution. It has an advantage over the latter in being entirely antique. If the Apollo Belvedere may be called the model of the 1 vo GBECIAX SCULFTrBE. sublime, the Apolliuo certain}}- deserves to be con- sidered the model of the graceful. This observa- tion, made by the discerning Raphael Mengs, is also the first to occur to the observer. The careless Fig. 21. — The Musical Faun. (Florence.) attitude, the free and supple action, the fineh moulded limbs, the pose of the head, with the almost ironical smile and expression, all combine to make the Apollino the most graceful form which GRECIAN SCULPTURE. 133 ever arose before the creative imagination of the sculptor. The work of the chisel is no less perfect ; the details of the flesh are rendered with a delicacy, a morbidezza which is actually deceptive. Canova seems to have imitated this style in his most elabo- rate works. The Apollino was preceded at the gallery of Florence by the Faun, a relic of the best age of Grecian sculpture, which was admirably retouched and finished by ^lichael Angelo. This Faun, entirely naked and full of gaiety, life, and impetu- osity, is generally attributed to Praxiteles, for no other reason than the perfection of the shape and of the execution. Near to it we find the famous group of the Wrestlers (La Lotta), attributed to Cephissodotus. Its chief merit is that it gives a most accurate representation, not of a human body in repose, but of one in motion, showing the tension of the muscles, the swelling of the veins, in fact, all the phenomena of active power in the excitement of a struggle. In this respect the group of the Wrestlers may challenge the examination of the strictest anatomist, and the precision of the drawing, and grace of the lines in the entangled limbs of these two prize-fighters, may invite the criticism of the most exacting judge. The expression, too, is equally faithful to anatomy. The head of the ]34 GRECIAN SCULFTUBE. vanquished is purely antique, and the gloomy and distorted features express impotent fury, whilst those of the conqueror, although finished by modern retouches, are full of the pride of vactory. Fig. 22. — Ihe Wrestlers. (Florence.) There remains a figure difficult to name, of which we have a bronze copy in the garden of the Tuileries. It is a man with a coarse and comrhon face, a low forehead and short rough hair, in a constrained position, neither seated nor kneeling ; GRECIAN SCULP TUEE. 13: he is crouching before a stone on which he is sharpening his knife. The Italians call him the Arrotino, and we have given him various names — the Knife-grinder, the Rotator, and the Spy, be- ittliiiriiMiliiinTm^Tniii^j:' . Illllllilt r i;' .110. (Florence.) cause, his head being on one side, and his e}-es raised, he would appear to be interested in some- thing beyond his mechanical occupation. Some have supposed it to be the slave who discovered the conspiracy of the sons of the first Brutus fcr 136 GRECIAN SCULPTURE. restoring the Tarquins ; others, that it was the slave who revealed the Catiline plot. None of these conjectures could be true of a Grecian work, and they have been proved to be false by con- clusive evidence. Amongst the engraved stones in the collection of the King of Prussia, there is one described by Winckelmann, which represents the torture of Marsyas. Before the condemned, who is already bound to the tree, is the figure, exactly resembling the Arrotino, of the Scythian ordered by Apollo to flay his unfortunate rival. The same personage, in the same attitude, occurs in many bas-reliefs and on the reverse side of numbers of antique medals. There is no doubt that the Grinder, the Rotator, the Spy, the Cincinnatics, the slave revealing secret conspiracies, are all none other than the Scythian who put Marsyas to death. At Rome there are two chief collections of antiquities, in the Vatican and in the Capitol. We will say a few words of the latter, in which a few beautiful Grecian works are mixed with an immense number of Roman. First we must notice a charming statue of Venus leaving the Bath, the subject of which allows of freer action than was usual in the goddess whose beauty was all suffi- cient ; next comes a colossal Mars, who is perhaps a Pyrrhus ; then the celebrated Dying Gladiator ; I GRECIAN SOULPTURE. 137 then a majestic Juno, called the Juuo of the Capitol ; then a finely-draped Diana ; an Egyptian Minerva (Neith) ; a Harpocrates, distinguished by his lotus crown ; a Disconsolate Hecuba, and two Amazons ; one of them, with a short tunic which does not cover the legs, who is grasping her bow in an energetic manner, might be called a Huntress Diana, if she had the symbol of the Goddess of Night on her brow. From the Capitol we pass to the Vatican. Although very modern, almost recent, the museum of the popes is extremely rich in anti- quities. The various vestibules, halls, and galleries, especially the portico called della Corte, contain an immense number of bas-reliefs, columns, capitals, sarcophagi, vases, candelabra, animals, busts, statues, and fragments of every kind, selected from those which have been dug from the ground of that Rome which Pliny said contained more statues than inhabitants, and from the soil of which, according to the Abbe Barthelemy, no less than seventy thousand have really been exhumed. To realise these figures, we must remember that Pausanias asserts that Nero took five hundred bronze statues from the temple of Apollo at Delphis alone. How many of marble.? I can but select the best specimens for notice in so vast 140 GRECIAN SCULPTUBE. the body, and the proud and triumphant expression of the face. Winckelmann, Mengs, and a hundred others have pronounced this Apollo the most beau- tiful of antique statues, the perfect model of the sublime. " To realise the merit of this master- piece of art," says Winckelmann, "the mind must soar to the realm of incorporeal beauty, and strive to imagine a celestial nature, for there is nothing mortal here. . . ." But other enlightened judges have contested its exclusive right to the first place. Canova and Visconti think it is a copy, more delicately executed, of the ancient bronze Apollo by the sculptor Calamis, erected in Caria by the Athenians after the great plague ; and Chateau- briand declares it to be "too much vaunted." Is there then no medium term ? It appears to me that, although it does deserve most of the praise of its enthusiastic admirers, the Pythiaji Apollo ought not to hold the first rank alone, but that it should share it with such works as the Venus, the Diana, and the Gladiator, of Paris ; the Venus, the Niobe^ the Faun of Florence ; the Laocoon-d,Vi^ the Mercury of Rome, etc. Perhaps it would appear more superior if it were less celebrated. As it is, every traveller on his first visit to the deep and illuminated niche, in which a kind of altar has been raised, when he hears from the lips of the guide the Fig. 27- — The Apollo of the Belvedere. (Rome. Vatican.) I Fig. 28. — The Laocooii. (Rome. GRECIAN SCULPTURE. 141 solemn words '^ Apollo Belvedere," anticipates such surpassing beauty, such passionate emotion, that disappointed in his expectations, he either mutters or exclaims aloud the dictum of Chateaubriand. It is the same with the ocean, the Alps, and all great things which have been much eulogised ; the first view does not do them justice. A little time, a little patience is needed before appreciation comes. The Laocoon can better undergo the terrible ordeal of the first sight. All imitations and copies, even that of which Bandinelli was so proud, are so inferior to the original that the first introduction to its real beauty is almost an unexpected surprise. We understand why first Pliny,* and later Michael Angelo, Lessing, and Diderot, awarded the palm to this famous group ; we comprehend the fete held by the Romans on the ist of June, 1506, under Julius II., in honour of its discovery. The Laocoon expresses physical agony, and a will stronger than agony, better than any other piece of sculpture. Not even the family of Niobe, or that embodiment of active resisting force, the Wrestlers, the chiselling of which has seldom been excelled, can be said to surpass it. It is the work of Agesander, of Rhodes, aided by his two sons, * Opus omnibus et picturce et statuarice artis prceponendum. 142 GRECIAN SCULPTURE. Polydorus and Athenodorus. According to Pliny, this whole group was wrought out of one block of marble. As the subject is from the second canto of the ^neid, in which Virgil tells the fate of the high priest of Neptune, we may conclude that it is of the age of the first emperors, when even Greek statuary had left the calm simplicity of the time of Pericles far behind. The Mercury (or Mcleagcr) is a fine statue, in perfect preser- vation, replete at once with grace and vigour, of which it is enough to state that it is justly classed with the most valuable works which have come down to us from antiquity. B'lt in the opinion of connoisseurs, they are all inferior to a mere broken fragment, a Torso, also called The Belvedere. It is in white marble, the remains of a statue of Hercules in repose, by Apollonius, son of Miston or Nestor of Athens, as stated in the Greek inscription on the base, so that it must belong to the great age of Greece. (See Fig. 30, p. 144.) It is remarkable for every beauty possible in a single form, and combines the most opposite excellencies, such as energy and grace, strength and elasticity. Michael Angelo called himself the pupil of the Torso. He copied the details and the general effect in his figure of St. Bartholomew in the Last Judgment ; and it is related that in his extreme Fig. 29. — The Torso of the Belvedere. (Rome. Vatican.) GRECIAN SCULPTURE. 143 old asTC when he was almost blind, he still liked to trace those outlines with his trembling fingers at which he had so often gazed with admiration. True or false, this anecdote shows the spirit of the Fig. 29. — The Dancing Faun. (Naples.) age, and the enthusiasm of great artists for anti- quity ; and it paints the portrait of the man who, from his birth to his death, loved art and art alone. In the museum dcgli Sti(dJ at Naples, there are 144 GRECIAN SCULPTURE. ■ some bronze antiquities obtained in excavations at Pompeii, Herculaneum, and Stabise. They are very rare, as numbers of the same kind were destroyed in barbarous times, for the sake of the valuable material. Of about a hundred of these figures, the best are — the little Dancing Faun, a perfect gem, a very marvel of grace, ease, and vivacity ; the Sleeping Fa^m ; the Drnnken Faim, leaning over his bottle and snapping his fingers ; the Seated Mercury, which evidently belongs to the best age of Grecian art ; the figure called Sappho, also the bust of Plato, the hair of which is most delicately chiselled ; a horse, sole remnant of the quadriga.^ of which it formed part. Amongst the marbles of the Stndj, the Venus of Capua and the Venus Callipygos take first rank. The first, grouped with Cupid, represents the god- dess victorious over her rivals in the meeting on Mount Ida. Although the amphitheatre of Capua, where it was found, was built under Hadrian in the best age of Roman art, this Venus is so beautiful, that it is supposed to belong to the grand era of Greece, and to be from the chisel of Alcamenes or Praxiteles. The graceful attitude of the Venus Callipygos explains the Greek name, which is un- translatable. Casts have made this fine, delicate, and bewitching statue familiar to every one, and it GRECIAN SCULPTURE. 145 is justly called the rival of the Venus de Medici. The Apollo zuith the Szuan should be classed with these celebrated statues of Venus. Winckelniann, forgetting that of the Belvedere, pronounced it to be the finest of the statues of Apollo, and that the head is the perfection of human beauty. The name of Farncse has been oriven to three very valuable antiquities of great renown, which were found in 1540, in the thermal baths of Caracalla, during the pontificate of Paul III. (of the House of Farnese). The Flora, although a colossal statue, like the Melpomene of the Louvre, is light, animated, and full of grace. Greek characters inscribed on the base of the Farnese Hercules prove it to be the work of the Athenian, Glycon. At first only the torso was discovered, and Paul III. ordered Michael Angelo to supply the missing legs. But the Floren- tine had scarcely finished his clay model, when he broke it to pieces with a hammer, declaring he would not add a finger to such a statue. It was a less celebrated, and less scrupulous artist, Giacomo della Porta, who restored the work of Glycon. A little later, the legs were found in a well, three miles from the baths, and the Borghesi presented them to the king of Naples, who was thus enabled to complete the antique statue almost entirely, the left hand alone being still wanting. The history L 14G GRECIAN SCULPTURE. of this colossus sufificiently proves its beauty and value. It is a marvellous representation of power in repose — of the calm, self-sufficient strength de- scribed by Aristotle {de Physiognomid). t'ig. ji. — The Faniese Lull. (Naples.) The enormous group to which the name of the Toro Farnese has been given, was found with the Flora and the Hercules. According to Pliny, it was Asinius Pollio who brought it from Rhodes to GRECIAN SCULPTURE. 147 Rome. A whole family of artists, father and sons, worked together at the Laocoon, and in the same manner two sculptors, Apollonius and Tauriscus, combined to produce the Toro. In fact, it is the most extensive work which has been preserved to us from ancient statuary ; it is more than a group, it is a complete scene. It is the history of Dirce. Antiope, the wife of Licius, king of Thebes, being divorced on account of Dirce, ordered her sons, Zethus and Amphion, to bind her rival to the horns of a wild bull ; but just as the savage beast was starting forward, Antiope was softened, and par- doned her. Such is the subject ; the four human figures and the bull are all larger than life, and on the base, or rather theatre of the scene, there are plants, a Bacchus, a dog, and other animals. Ac- cording to Pliny, this immense work was chiselled from a single block of marble, fourteen hands long and sixteen high. Its size alone, which is quite exceptional for a sculpture, would suffice to make this composition in marble important, but although restored in several parts, it is also worthy of atten- tion and admiration on account of the vigour and delicacy of the workmanship. Although not equal in this respect to the marvellous Laocoon, the Toro Fariicsc may be classed amongst the most beautiful Grecian statues which have come down to us. 148 GRECIAN SCULPTURE. The following statues must also take high rank : — Ganymede and the Eagle ; a semi-colossal sitting statue of the Apollo CitJiarcBdus, playing the lyre, finely draped, in spite of the hardness of the, mate- rial, which is all of porphyry, except the head, hands, and feet of white marble ; an Atlas sustaining a Celestial Globe, a fine and powerful figure, which admirably renders the exertions of a man bending under his burden ; and, lastly, the admirable Greek statue, by an unknown author, of Aristides. As there is no acknowledged portrait of the wise Athenian, it is evident that the statue has been named from a supposed resemblance to his character. It is, in fact, an unpretending, calm, honest face, with the serenity of virtue on the brow, and is well named the Jnst. Canova, who had a great affection, almost a reverence, for this statue, has marked on the floor of the room in which it is placed the three best points of view for thorough appreciation of its beauties. We might mention other important relics of Grecian art scattered over Europe. The Museum of the Hermitage at St. Petersburg, for instance, which long possessed a beautiful Chaste Venus, given to Peter the Great by Pope Clement XL, a Jupiter Serapis, a small statue of Hygeia, the draperies of which are excellent, &c. ; has lately GRECIAN SCULPTURE. 149 acquired, from the Campana Museum, a valuable series of Nine Muses, all Greek, and of about the same size, which make the Russian an entirely unique collection. But we must hasten to London, and reverently admire those most marvellous relics of the genius of the Greeks, exhibited in the British Museum. The Lycian room contains the remains of the ancient city of Xanthus, on the river Xanthus or Scamander, in Lycia, which was immortalised by Homer. They belong to the epochs included between the year 545 B.C. and the Byzantine Empire. The most ancient are bas-reliefs from the Harpy Tomb, which stood on the Acropolis, on the origin and meaning of which various conjectures, founded on mythology, have been hazarded. With these bas- reliefs there is a figure of the CJdmcEra, that fire- breathing monster whose body was a combination of that of a lion, of a dragon, and of a goat. A native of Lycia, the offspring of Typhon and Echidna, and slain by Bellerophon, this fearful creature was in reality nothing more than an impersonation of a small volcano on the summit of Mount Cragus. The more recent bas-reliefs are Roman works, with which we have nothing to do at present, and which merely illustrate the different conquests of Lycia and her changing creeds. The principal are of an 150 GRECIAN SCULPTURE.- intermediate age. They come from what is simply styled the Monument of Xanthus. Sir C. Fellows, who collected them, made a little model of the original block in painted wood, which gives the form, size, and site, and by means of which an entire lateral wall has been rebuilt with the ruins. We see that it was an Iconic peristyle building, with fourteen columns, running round a solid cella, and the statues in the intercolumniations placed on a base, and supporting a light attic. Two sculp- tured friezes decorated the upper and lower part of the base. Although much mutilated, the best preserved, the finest, and the most interesting parts of this ruined temple, are some of the female statues, which alternate with the columns of the circular gallery. The heads, hands, and feet are wanting, but the bodies, the arms, and the legs are admirably proportioned, the action is full of grace, and the execution very superior. Robed in a transparent stuff which the Romans called togce vitrece, nebula linea, ventus textilis (robes of glass, clouds of linen, wind tissue), they are, so to speak, chastely nude. Agile and slender, they seem to cleave the air, in running or dancing. Some have at their feet marine emblems, such as dolphins, crabs, or sea-bird halcyons, and they are therefore supposed to form the escort of Latona, on her GRECIAN SC UL P TUBE. 15 1 arrival at Xanthus, with her children, Artemis and Apollo. If this monument of Xanthus be the trophy of a Persian victory, it is a Grecian work of art of the great age between Pheidias and Lysippus. As a proof of this assertion we may refer to the Greek inscriptions, in which occur some verses by the poet Simonides, the flatterer of tyrants and princes ; and also to the style and the perfection of the remains, especially of the statues, which are such that no other people and no other age could have produced them. The PJiigateian Saloon is so called because it contains two friezes, in bas-relief, which adorned the interior of the cclla, or sanctuary, of the cele- brated temple of Apollo Epicurius (or the deliverer), built on Mount Cotylion, at a little distance from the city of Phigaleia, in Arcadia. One of these friezes occupies eleven slabs of marble, and the other twelve. The first represents the Battle of the Centaurs and Lapithce, the latter that of the Greeks ajid Amazons, two subjects treated again and again by the artists of heathen antiquity, because they combined beauty of form, variety, and action. To justify the interest taken in these Phigaleian sculp- tures, it is enough to remember that they belong to the age of Pericles, which is to say that they are contemporary with the sculptures of the Parthenon. 132 GBECJAN SCULP TUBE. But the interest of the Phigaleian saloon really centres in some other antique remains, which would have been better placed in the Lycian room with the marbles of Xanthus. It is well known how the second queen, Artemisia, widow of her brother Mausolus, King of Caria, had a celebrated tomb raised in honour of her brother-husband, in the town of Halicarnassus, about 353 years B.C. This monument was at first called Pteron, but sub- sequently Mausoleum, and from it all future tombs took their name. It was considered one of the seven wonders of the world, and was built by Phiteus and Satyrus, and adorned by five sculp- tors, viz., Pythis, who made a quadriga for the top ; Briaxis, who sculptured the bas-reliefs for the northern side ; Timotheus, those for the southern ; Leochares, those for the western ; and the cele- brated Scopas, or Praxiteles, those for the eastern side. The date of the monument and their names prove that all these artists belonged to the latter days of the great Athenian school. But they neither copied Pheidias nor his style. Working for Asia, they assumed a different manner to their fellow countrymen and contemporaries. As M. VioUet-le-Duc remarks, they might have been called romantic at that early date. In the conquests of the Romans and Parthians, the Mausoleum shared GRECIAN SCULPTURE. 153 the fate of all buildings raised by Grecian genius. We know positively that in 1322 the knights of Rhodes employed its walls and fragments in the construction of the castle of Halicarnassus, which, under the victorious Turks, soon became the for- tress of Boudroum. In 1846 they were presented by the Sultan Abd-ul-Medjid to Sir Stratford Canning, and by him to the British Museum, Since then Mr. Charles Newton has joined together the fragments of one of the horses of^ the colossal quadriga by Pythis, and of a statue supposed to be Iconic, or a portrait of Mausolus. In passing to the Athenian room, the Elgin Saloon, which may be called the true sanctuary of the British Museum, we must briefly name certain objects which are classed with the marbles of the Parthenon. They are worthy of notice, not only because they are all Grecian, and mostly Athenian, but because of their great value as monuments of the architecture and sculpture of the ancients. Amongst various remains of temples, altars, and tombs, we must name a capital and a piece of the shaft of a Doric column of the Parthenon. These two fragments give a just idea, without measure- ment, of the proportions of the temple of the Acropolis of Athens.* A capital and some frag- * To explain how a single fragment of the ruins of a Grecian 154 GRECIAN 8CULPTUBE. ments of the shaft and base of an Ionic column of the portico of The Erectheum, which surrounded temple can give an idea of the whole, we must remember that certain constant principles were followed in the religious architecture of Greece. We will give a brief summary of an explanation of this fact from the Course of Architecture by M. Beule. "At first, when Hellenic society was still in its infancy, the temple was but a shelter for the god, and as clumsy as himself Upright trunks of trees were stuck into the ground in such a manner as to form a long square, then a beam was transversely laid along the two elongated sides, to support the sloping rafters of the roof. The trunks being liable to decay, both at the end in the earth and that under the beam, cubes of stone were inserted at either extremity. Little by little columns in stone or marble supplanted the frail and rough trunk, the stone dice at the top and bottom became respec- tively the capital and the base of the column. The lateral beam changed- into the architrave, frieze, and entablature. The points or projections of the rafters of the roof became the triglyphs, and the hollow spaces between them the metopes. By sloping to the right and left in obtuse angles, the roof formed the triangular pediment on either fa9ade, and, finally, the ornaments of detail, such as bucrania, (heads of victims,) cgg-moiildings, palm-leaves, rosettes, fnecBuders, etc., had all been employed by nature before they were borrowed by art. " The orders then developed themselves historically by natural combinations. First came the Doric order, or that of the rough and vigorous Dorian race, which, like them, was strong, austere, and masculine. Then the Ionic order, that of the soft and voluptuous race of Ionia, was pleasing, elegant, and feminine. The flutings of the small columns may be likened to the plaits of dresses, and the festoons of the capitals to wreathed head-dresses. Finally the Corinthian order, that of refined civilization, combined the characteristics of the two sexes and the two races in its complex beauty. " This primitive type became fixed, and it was in accordance with it that all the temples of Greece were erected, differing from each other merely in size and amount of decoration. But the parts always GRECIAN SCULPTURE. 155 the double temple, dedicated to Minerva Polias, and to Pandrosus (the daughter of Cccrops who kept the secret of the birth of Erechtheus). These are precious relics of Grecian architecture, very finely finished, which prove the exquisite manner in which every part of this temple by Pheidias was worked up. It contained one of his three Pallases, the Polias, which was no less celebrated than the Lemnian and the Wai'rior Pallas ; some fragments of Propylaea from the temple of Nike Apteros (or victory without wings), from the temple of Theseus, from the tomb of Agamemnon, at Mycense, etc. Amongst various inscriptions of laws and annals, there is one styled the Sigean. It relates to the presentation of three vessels, a cup, a saucer, and a strainer, for the Prytanemn or hall of justice at Sigseum, a little town of the Troad, in which was the tomb of Achilles and Patrocles. This insigni- ficant inscription is valuable on account of its being written in the most ancient Greek characters, in the style called boiistrophcdon, because the lines follow remained in accordance with the whole, both in their proportions and in their style. As a fossil fragment of an antediluvian animal gives a geologist a measure of the whole, so any portion of* a Grecian temple gives the size of the edifice, the architectural order adopted, and even tte amount of general decoration employed." 156 GRECIAN SCULPTURE. each other in the same direction as furrows made by an ox in ploughing, that is to say, one line goes from left to right, and the next back from right to left ; " like those," says Pausanias, " who run the double stadium," and so on to the end of the page or tablet. Inscriptions in this primitive form of Grecian writing are very rare. Amongst the sculptures which do not belong to the Parthenon, we must single out for admiration and study a much mutilated colossal statue of Bacchus, which was on the top of the choragic monument raised to the memory of Thrasyllus, by the remorseful Athenians, who had put him to death after the naval victory of Arginusae ; and still more must we admire a well-preserved ar- chitectural statue which all may gaze upon in its primitive perfection. It is one of the four caryatides which supported the little roof under which the olive-tree of Minerva was sheltered in the temple of Pandrosus. It has been placed on the capital of a Doric column of the Propylsea. It is on foot, upright and immovable, but beneath the heavy falling folds of the long tunic, one knee moves slightly, and by suggesting life and animation, breaks and gives a kind of undulation to the general outline of the body. This trifling action marks the great difference between Egyptian art, GRECIAN SCULPTURE. 157 servilely submissive to an inflexible creed, and that of Greece, which was as free from dogmas and as independent as the democracy of Athens. An emblem of calm power, this admirable caryatid might be taken for a Kanephora, for she seems to bear the capital which crowns her, and the entablature supported by this capital, with as much ease and grace as if it were a mere amphora. This statue is of the same age and style, and perhaps from the same hand, as the Pallas Polias ; in any case it is worthy of the author of the latter, the divine Pheidias. We now come to the marbles of the Parthenon. In the centre of the Acropolis (upper town) or fortress of Athens, stood the temple of the guardian goddess, Athena, from whom the city took its name. Dedicated to the Virgin Minerva (Parthenos). it was called the Parthenon (or Virgin's Chamber). The Persians under Xerxes, who were iconoclasts like the Jews, utterly demolished it, when, before the battle of Salamis, Themistocles withdrew the Athenian troops to their ships. After the glorious victories of the Median war, when Athens, her democracy re- stored, occupied the first rank amongst the towns and states of Greece, Pericles had the Parthenon re- built (about 440 B.C.). The site and proportions of the ancient temple, which was called Hccatompedon, 158 GRECIAN SCULPTURE. because the fafade measured a hundred Greek feet, were retained, but the form and decorations of the later building were entirely new. Ictinus and Callicrates were charged with its construction, and Pheidias, who had been elected president of public works by the popular voice, was commissioned to supply the ornaments. He cannot have executed this great work alone. When wo. remember how many statues he made for the temples of Greece, we cannot doubt that he received help from his colleagues and pupils. But Pheidias in the Parthe- non, like Raphael in the Stanze and Loggie of the Vatican, had supreme control over the works : he chose the subjects, drew the plans, the pediments, the metopes, the friezes ; corrected, touched up, and finished the works of his helpers, and himself chiselled the chief figures of the large compositions. The colossal Pallas Promachos, or Warrior, which occupied the most prominent part of the Acropolis on a high pedestal, and which rivalled that great Zeics Olympius which was accepted as his image by the king of the gods himself,* was evidently from the hand of Pheidias ; because on the * Jupiter himself approved this work ; for when it was finished, Pheidias entreated the god to give him some token if he were satisfied ; and it is related that a thunderbolt immediately struck the pavement of the temple on the spot where a bronze urn is still to be seen. fPausanias, Elide, chap, xi.) ORECIAN SCULPTURE. 159 segis of the goddess who sprung, not from the brain of Jupiter, but from his own genius, he has inscribed his own portrait by way of signature.* Some Anytus (artists are no less intolerant of each other than theologians) charged him with impiety, as the son of the sculptor Sophroniscus was afterwards accused. Pheidias had to flee his ungrateful country, and thirty years before Socrates drank the hemlock he died in exile. But his work was finished, and when the few last fragments have crumbled into dust in the course of ages, Pheidias will still be immortal. As long as the traditions of the human race are preserved upon our earth, he will retain the name bestowed upon him by the admiration of the Greeks — he will be the " Homer of Sculpture." Unfortunately the natural ravages of tw^enty- three centuries have not alone wrought havoc in the works of Pheidias which adorned the Parthenon. Man has too much aided the destructive action of time. No corner of the earth was richer than Attica in monuments of art ; no corner of the earth was oftener or more cruelly devastated by all the enemies of art, by war, conquest, and the fanaticism * At the foot of his Jiipiter Olympius, whicli, Hke the Warrior Minerva, was a chryselephantine statue, that is, one formed of gold and ivory, was inscribed : "Pheidias, Athenian, son of Charmides, made me." 160 GRECIAN SCULPTURE. of religious sects. The destruction of the buildings of Athens must have begun with the conquest of the Romans under Mummius, Metellus, and Sylla, who laid a desecrating hand on all the temples of Greece, that they might accumulate a promiscuous collection of spoils in those of Rome. Under the Romans again, when the double throne of the empire was under Christian sway, the monuments of Greece, especially the temples, fell a prey to the rage of the first converts, who, in their blind fanaticism, broke all the idols and other objects of heathen worship. A third and terrible devastation took place during the heresy of the iconoclasts, which was rampant in the Byzantine empire from the fifth to the eighth century. Then came the crusades, and the conquest of Greece, and taking of Constantinople under Baldwin of Flanders (1204). These barbarians of the West, who broke in pieces the Zeus Olympms and the Hera of Sainos, until then preserved in the city of Constantine, did not of course spare the Pallas of Athens. And, lastly, when Roger de Flor and his Aragonese adventurers took Attica from the Grecian empire (13 12), when the Venetians took it from the Aragonese (1370), and when Mahomet II. wrested it from the Venetians, we can imagine that no class of pillage or devastation was spared. But the conquest of the GRECIAN SCULPTURE. 161 zealous Turkish iconoclasts was not the last calamity which fell upon the city and temple of Pallas. The Venetians reconquered Greece in 1687, and were not expelled from it by the Turks until 171 5, after many bloody battles, and when in 1 82 1 all Greece rose against her Egyptian and Turkish masters, and during the nine years that the war of independence lasted, until the French expediton in 1828, there was not a town which did not have to resist assaults, not a building which was not converted into a fortress. Situated as it was, in the Acropolis, the Parthenon could not escape the common doom, and the bullets of Islam destroyed all that had been spared by the Turks of Selim and Mahomet, the Venetians, the Ara- gonese, the crusaders, the Byzantine iconoclasts, the bigoted Christians, and the barbarous Romans. France, the disinterested liberator of Greece, might justly have claimed the privilege of reverently collecting the remains of the Parthenon she had freed ; but the English were before her, not in the service rendered, but in carrying off the prize. We know that during his embassy to Constantinople, from 1799 to 1807, Lord Elgin, profiting by the weakness of Selim III., whose policy and actions he guided, pillaged the temples of Greece without ceremony, although not without excuse, and took M 162 GRECIAN SCULPTURE. possession of all the sculptured decorations which still remained in the Parthenon. Though satirized by the personal enmity of Byron, Lord Elgin brought to England the produce of his successful pillage, and the marbles of the Parthenon were then placed in the room in the British Museum which is named after their ravisher. To illustrate what these precious spoils were before they were torn from the building they decorated, two small models of the temple of Minerva have been placed in the same room. One represents the Parthenon as a whole, as it was in the age of Pericles ; the other, what it has been reduced to by time and the hand of man ; a melan- choly heap of ruins and rubbish. With these models before our eyes, it requires but little atten- tion and consideration to restore everything to its place in our imagination, and from these scattered fragments entirely to rebuild the work of Pheidias. It consists of three principal parts — the frieze, the metopes, and the pediments. The exterior frieze of the cella, or sanctuary, inside the colonnade or peristyle, which entirely surrounded the cclla, was simply called the frieze. It consists of a long series of marble slabs, succeeding each other without interruption, of equal proportions, all sculp- tured in bas-relief, and all relating to one subject. GRECIAN SCULPTURE, lo;^, • so that it is easy to see what place each one oc- cupied in the original plan. The subject is the general procession of the grand Panathcnaic (Panathenaia) fetes, instituted in honour of Minerv\a, by the old King Erichthonius (1500 B.C.), when the goddess of Athens was proclaimed goddess of ail Attica. They were celebrated once every four Fig. 32. — Gods. Fig. 33.— Young Man. (Frieze of the Parthenon.) years, and the lesser Panathen^as appointed by Theseus were annual. In the grand fetes a rich peplos, embroidered by the maidens of Athens, v>as presented to the goddess. It was borne in pomp to the temple, on a ship moved by hidden machinery. Some of these marble slabs are wantincr in the British Museum Collection (we have one in the in4 GRECIAN SCULPTURE. Louvre), and their places have been supplied by plaster casts to complete the series, which is arranged in the Elgin Saloon in the same order as it was on the outside of the cella of the temple of Minerva. The subjects of the bas-reliefs of many of the first of the slabs are gods and goddesses or deified heroes, Fig. 34._Cavalier. Fig. 35.— Cavaliers. (Frieze of the Parthenon.) all seated in pairs : Jupiter and Juno, Ceres and Triptolemus, ^sculapius and Hygeia, Castor and Pollux. Trains of females follow, with their faces directed to the gods to whom they are carrying gifts. Certain of the directors or regulators of the procession receive the presents offered to the gods. After the females come the victims destined for GRECIAN SCULPTURE. 165 sacrifice, the chariots and charioteers, the metceci, or strangers resident in Athens, bearing on their shoulders a tray filled with fruits, cakes, and other offerings ; lastly came the horsemen, young men of high rank from the towns of Attica, un- armed and wearing the cJilamys only. The groups of horsemen and women, the former especially, are certainly the best part of the frieze of the Par- thenon. Nothing can exceed the variety and boldness of the attitudes of horses and men. The elegance of the forms, the accuracy of the propor- tions, the powerful modelling, the delicacy and finish of the chiselling, combine to make them the masterpiece, the unattainable ideal of the art of bas-relief. The sculptures of the great external frieze were called metopes, because they occupied the spaces between the architectural ornaments, called tri- glyphs, which surmounted the entablature of the colonnade. The metopes were square niches, which formed a kind of frame for the subject represented. They were painted in antique red (rosso antico), and the intervening triglyphs were blue. As these niches were, on the one hand, not deep enough for statues, and on the other, too high up and far back for bas-reliefs to be visible, they were supplied with ornaments in high relief which were of a medium QUECTA^ SCULPTUEE. ^ '^- 4. ~JC' sesj f£l -c.nA kwr relie£ These a^ <£ -wiaada tiaere are sixteen, all represent ^ts of t3ae cxJCifiScS; hetwtea ihe Centaars and Ijaa./rjccsu or tether betaees t!ie Centaors and :er Tijeseras, j^^^ned the Ijupithst:, a f/'//!/!/; of Thf'/iV'ily then g'^/vcrncd by Kinj( P. t^M; frk:n4 of Thcseu*, for the destruction ^/th^; (>mtnur», a race r^f the valleys of Ossa and Vdkm, the licentious robber sons of Ixion and the ]^iinU/m framed in the ornaments of a chimney-piece modelled by Germain Pilon. But we have his bas-reliefs, in which, if we may so express ourselves, he was more truly himself, and excelled all rivals. We could imagine that the great artist who was called the French PJieidias and the Correggio of scidptiire had really been able to study the frieze of the Parthenon, so much do his bas-reliefs resemble those of the Pheidias of Athens, not only in their form, for they, too, although the striking effect is not lessened, are in very low relief, but also in the grandeur of style, the correctness of drawing, and the grace and truth of the attitudes. M. Alexandre Lenoir has repro- duced Goujon's Deposition from the Cross in his Museum of French Monuments, and there is no paradox in his eulogium : " The Greeks produced nothing more perfect," for none will deny its justice. Th& Deposition from the Cross is now in the Louvre^ in the midst of the four Evangelists, with which it is worthy to rank. Opposite these works of a sacred style are others which are profane. These are, be- 208 FRENCH SCULPTURE. tween two gracefully recumbent Nymphs of the Seine, a fine group of Tritons and Nereids playing on the water. "Whence did he obtain these charming forms," Fig. 56. — Fountain of the Innocents. says Michelet, " these strange unnatural nymphs with their immensely long and supple figures ? Are they the poplars of the Fontai)te-Bclle-Eau, the rushes of its stream, or the fantastic branches of FRENCH SCULPTURE. 299 the vines of Thomery which have clothed the human figure ?" (History of the Refor.) These various bas-rehefs are in Has Hmestone, as well as some other small figures of nymphs of the Seine and of the Marne. There is but one marble bas- relief, the small, but beautiful and powerful com- position, called the A zvaking, which seems to me to be rather a symbolical representation of the Resur- rection. A spirit has thrown down the torch of life near a kind of nymph, who is awakening from death, not from sleep. The allegory is as clear as an allegory can be. The sight of these beautiful works makes us deeply* regret that the bas-reliefs which are con- sidered Jean Goujon's masterpiece are not also in the Louvre. I allude to those of the Fontaine des Innocents, now erected in the vegetable market.* As it was very sensibly decided to take the best groups or statues of the age of Louis XIV. from the gardens of Versailles, in order to form the museum of modern sculpture, as these works are * This fountain was designed by Pierre Lescot, in i55o> ^"d put up at the corner of the Rjie St. Denis and the Rue Atix Fers, and Jean Goujon had then only sculptured the ornaments of the three visible sides. In 1788, the architects Poyet and Molinos removed it to the centre of the market, and a fourth side became necessaiy to make it complete. Pajou executed an imitation of the sculptures of Jean Goujon. 300 F BENCH SCULPTU-RE. now preserved from the ravages of time, some traces of which were already visible, and as they are not only under good shelter, but also in a place where they are admired by better judges than the few stragglers in the now deserted gardens, why has not the masterpiece of the French Renaissance of the sixteenth century had the honour of being included in our national treasury ? There it could be better kept, its exquisite details could be better seen, it would be an object of study and admiration for artists and amateurs of all nations ; in its turn it would be visited by those better able to appre- ciate it than the dealers in cabbao-es and lettuces, who would feel as little regret for its loss ae they do pride in its possession. It is undecided what shall be put in the middle of the square court of the Louvre, which awaits, Heaven knows what — some equestrian statue, probably, which a revolu- tion will throw down, like those of Henri IV. and Louis XIV. It is really useless to go to the expense of bronze. Let the Fontaine des Innocents be set up in the court of the Louvre, in the centre of the art collections. That is its true place, and there it would remain as long as Paris is Paris. It is customary- to call Jean Goujon the restorer of sculpture in France. Far be it from me to dispute or detract from his glory. I would gladly own him FRENCH SCULPTURE. 301 to be the creator of French statuary. But this title can only be his in common with two other artists, Jean Cousin and Germain Pilon. They may, indeed, have preceded him. Although we do not know the £.A'ulij»^ tiy;. 57. — Tomb of Pitrre de Breze. exact date of the birth of Jean Goujon, he is sup- posed to have been born about 1530. Jean Cousin and Germain Pilon w^ere therefore his seniors by some twenty and fifteen years respectively The 302 FRENCH SCULFTURE. three were contemporaries, rivals, and fellow- labourers in the common work of the French Renaissance. The fine tomb of Pierre de Breze, high seneschal of Normandy, at Rouen, is attributed to Jean Cousin ; but in the Louvre we hatve only one piece of sculpture and one painting from his hand — both, however, equally excellent. The former is the Mausoleum of Philippe de Chabot, admiral of France, which Cicognara calls the masterpiece of French sculpture in the sixteenth century. The semi-recumbent figure of the brave and noble admiral leans upon the helmet with the left arm. But the author of the Last Judgment and the Art of Desig7iing {UArt de Desseigner) w2lS so entirely occupied in painting glass windows and writing precepts, that he has only left a few easel paintings, and still fewer sculptures. Chabot's mausoleum, if it be indeed by Jean Cousin, combines in itself all that gives value to art objects : it is a fine work, its author is celebrated, and his productions are rare. Germain Pilon (about 1 5 1 5 — 1 590) was a sculptor only, and as industrious as he was skilful. There was no need to rob the vaults of St. Denis of the tombs of Francois I. and Henri II., for the Louvre contains a large collection of his works. It pos- sesses, for instance, the mausoleums of the Chan- FRENCH SCULPTURE. 303 cellor of France, Rene Birague (or Birago, for he was an Italian, like Gondi, Concini, and Mazarin), and of Valentine Balbiani, his wife. It was of him that Michelet said : " Birague, the man of the St. Bartholomew, who was so impatient to be a cardinal, that he suddenly became a widower." These tombs, with the two spirits extinguishing their torches, originally formed one monument, which is now divided. On one tomb the bronze figure of the chancellor, in his long robes, kneels in the attitude of prayer. It would perhaps be im- possible to find a more natural and life-like bronze statue. On the other tomb, which formed a kind of pedestal to the former, the marble figure of Valentine is extended, supporting herself on her pillows, and reading the holy scriptures with down- cast eyes. Near her is a little dog. What con- stitutes the great originality of this monument, is that the same person is seen in very low relief on the front of the base, not now living and clothed, but nude, emaciated, and lifeless. This admirable bas-relief sculptured beneath the statue affords a visible contrast between death and life ; it teaches contempt for the flesh, it embodies the grand but false idea of the Christians. After this double mausoleum, the most celebrated work of Germain Pilon is the group of three women 304 FRENCH SCULPTURE, supporting a gilt vase, intended, it is said, to con- tain the hearts of Henri II. and Catherine de Medicis. This group, which was chiselled in a single block of marble, was ordered by the mother of the three kings (Frangois II., Charles IX., and Henri III.), and placed by her in the church of the Celestines. What does it represent .'' For a long time it was called the Three Graces, and it is under this name that it is known ; others, however, have contended that they were meant for the three Theological Virtues. Hence a learned controversy. 'On the one side, in support of the old belief, attention is called to the inscription of the word Charities (^aptre?), the Greek name of the Graces ; whilst holders of the modern opinion have replied that this name, badly written or badly read, was merely Charity, and that the Christian Virtues were more likely to be represented on a sepulchral monument placed in a church than the heathen Graces. Adhuc sub jiidice lis est. But the latter supposition is the more probable.* * "With regard to the Greeks," say MM. Louis and Rene Menard, "we must remark, that the great idea of which these goddesses are the expression, has been generally ill comprehended by the moderns, as is always the case with a synonym. The word grace signifies both beneficence and elegance, and the former meaning has been forgotten whilst the second has been adopted. Tiie inliabilants of Siena were nearer the truth when they took the FRENCH SCULPTUBE. 30r. With this famous and puzzling gioup we will notice four other figures, female also, but of wood, which supported the shrine of St. Genevieve. I shall not attempt to explain them, for according to the adage, Numero Deus impare gatidet, it is difficult to find a religious meaning in the number four. Together with the bust portraits of Henri II., Charles IX., and Henri III., a small child's bust (probably that of Catherine's other son, the Duke of Alengon), and, lastly, a bas-relief in stone, the Sermon of St. Paul at Athens, which formerly adorned the pulpit of the Grand Augustines. We have now mentioned all the works of the illustrious Germain Pilon. Amongst the works of the three founders of the French school of sculpture are to be found two monuments erected by Paolo -Ponzio Trebatti, of Florentine origin, who is often called Maitre Ponce. three graces for the three theological virtues, Faith, Hope, and Charity ; and as the name of graces no longer suggests anything to the mind, but the childish fancies of the last century, their Gre*>l: name, charities, should be restored to these goddesses. With the ancients this word signified joy and affection, generosity and gratitude. The symbols of these three inseparable sisters, called the beneficent, the charities simultaneously expressed the gifts of the gods and the blessings of men." Can Germain Pilon have anticipated as early as the sixteenth century the learned modern discoveries in symbolism ? X 06 FRENCH SCULPTURE. He came to France with Primaticcio, and, like him, remained there. These monuments are the tombs of Alberto Pio, of Savoy, duke of Carpi, one of the generals of Francois I., and of Charles de Magny, or Maigne, captain of the watch under Henri H. The Duke of Carpi's efhgy, a bronze likeness, reclines upon the base of the tomb ; he is leaning on the left elbow, meditating on an open book. The statue of Charles de Magny, a portrait also, but in stone, is completely clothed in mail ; he sleeps in a sitting posture, his halberd in his hand : he is at his post. These two figures by Trebatti give us a very high opinion of the frenchified Italian, who has been much lauded for the boldness of his style, and to whom many of the best works of other artists have been attributed, such as the St. George of Michael Colomb, and even the Admiral Chabot of Jean Cousin. Above the Duke of Carpi, in a terra-cotta medallion, we see a head of Hercules in high relief, wearing the lion's skin. It belongs to the decora- tions of a house at Rheims, and is attributed to Pierre Jacques. Who is Pierre Jacques 1 Can it by happy chance be that Maitre Jacques, native of Angouleme, who, in 1550, competed with Michael Angelo at Rome for a figure of St. Peter, and who has left some excellent wax models of a living, FRENCH SCULPTURE. 307 a flayed, and a dissected man ? If so, this Hercules is very valuable. We will now continue our study of French sculpture in the Louvre, which contains scarcely any but the greatest works. If the room next to that of Jean Goujon con- tained any more -important works by Sarrazin than a bronze bust of the chancellor, Pierre Seguier, the Maiisoleum of the Prince of Condc, or that of the Cardinal de Bernlle, for instance, it would certainly have been named after him and not after the Anguiers. This honour should legitimately belong to the sculptor who, in conjunction with the painter Lebrun, founded the Academy of the Fine Arts, and who, being born in 1590, and educated in Italy, forms a connecting link and represents the tran- sition between Jean Goujon and Pierre Puget, Francois I. and Louis XIV. But if Sarrazin be set aside, his immediate predecessor, Simon Guillain (1581-1658) would perhaps have the right of naming this second French room. Guillain was the author of the bronze statues of Louis XIII., Anne of Austria, and Louis XIV. as a child, which formerly composed the Momcment of the Pont an Change, and are now in the Louvre. He was the master of the two brothers Anguier, who have been preferred to him. Let us resign ourselves to this choice. 208 FRENCH SCULPTURE. In the centre of their room rises an obeHsk in decorated marble with four symbolical figures round the base, Truth, Union, Justice, and Force. An inscription informs us that it is the funereal monument of Henri de Longueville. Of which ? Of the Henri I., who gained the battle of Senlis on the Ligne in 1589, or Henri n.,who was one of the chiefs of the Fronde, in conjunction with his wife, Cardinal de Retz, and the Prince of Conde ? In any case the elder of the Anguiers, Francois (1604- 1669), is the author of the mausoleum and also of the tombs of Jacques-Auguste de Thou and of the Princess of Conde, Charlotte de la Tremouille, two marble figures kneeling in prayer. Another sepulchral monument, that of Jacques de Souvre de Courtenvaux, together with a bust of the great Colbert, are by the younger Anguier, Michel (161 2- 1 686), whose name ought to be popular in Paris, for he executed, after the designs of Lebrun, the ornaments of the triumphal arch which has become the St. Denis gate, and the fine Christ on tJic Cross set up on the theatrical decoration intro- duced into the church of St. Roch, and called the Calvary. Although executed with care, knowledge, and talent, these various works by the two Anguiers are spoiled by their heavines.s, the fault which should be especially avoided in handling marble and bronze. FliENCH SCULPTURE. 30:i It appears that French sculpture was for a long time chiefly employed in tombs. There are two others in the same room : that of the constable Anne de Montmorency, killed at the battle of St. Denis in 1567, and that of his wife, Madeleine de Savoie-Tende. These are two marble figures lying on their backs, with folded hands, in the old form of the tombs of the Middle Ages. These mau- soleums, together with the busts of Henri IV. and the president Christophe de Thou, are by a certain Barthelemy Prieur, an artist but little known now, and of whom there is no record in biographies. Judg- ing by his style, however, he must have preceded the Anguiers, and probably even Simon Guillain. He would thus be the contemporary of Pierre Francheville (1548- . . . ), whom a somewhat ex- cessive generosity has made the godfather of the last room. Surely the distorted and unsightly statues of Orpheus and of David, conqueror of Goliath, have not obtained this honour for the enervated pupil of Giam-Bologna ; but rather, we imagine, the four bronze figures of vanquished and chained nations, made by him for the four angles of the pedestal of Henri IV. 's statue on the Pont Neuf. of which a few fragments only now remain, it having been destroyed in the Revolution,* * The work of Jean de Boulogne. The horse was given to 310 FllENOH SCULPTURE. Michael Anguier's is the last of the rooms of the Renaissance ; and the first of those containing modern sculptures is named after Pierre Puget. Jacques Sarrazin, the companion of Simon Vouet in Italy, his friend and son-in-law in France, played the same part in sculpture as the latter in painting ; and Pierre Puget's (1622-1694) was analogous to that of Nicolas Poussin — indeed, with all his faults, he was, and still is, in my opinion, the greatest of French sculptors, In the chief beauty of his character, in his love, his enthusiasm for independence, he again resembled Poussin, and at the same time Eustache Lesueur. Like Poussin, Puget for a time tried living at court under royal patronage ; but, soon disgusted with this gilded servitude, and rebelling against the exactions of the Inspector-general of the Fine Arts, who wished him to adopt his ideas and even his designs, he returned to his native place, Marseilles, as Poussin did to Rome, and gave himself up in solitude to the suggestions of his genius. There he became a painter, sculptor, and architect, after having been a ship-builder in his youth.* His paintings, which Marie de Medici, widow of Henri IV., by her father Cosmo II., Grand Duke of Tuscany. The statue of the royal horseman was added later. * Puget first conceived and carried out the idea of those huge FRENCH SCULPTURE. 3 1 1 are pretty numerous, and of every style, have remained in the towns in which he successively resided, Genoa, Toulon, Aix, Marseilles ; * but his sculptures, which are far superior, were mostly sent to Versailles, and it was the productions of his chisel which earned him the beautiful titles of the Rubens of sculpture and the French Michael Angela. Although resembling Poussin in the circumstances of his life, and in his character, Puget as an artist differed essentially from the great painter of Andelys. He was carelessly and inadequately educated ; he had no instructor in art or in letters, he saw few classical models, and he never atoned poops, with double galleries and wooden figures, which were soon imitated eveiywhere in the decoration of clumsy high-decked vessels. At the age of twenty-one he made his first attempt on the ship Queen, and later he applied his invention with the greatest success, to the Magnificent of 104 guns, equipped by the Duke of Beaufort, the old Roi des Halles {Market King), when he went to aid the Venetians in Candia. Vessel and Admiral perished together on the 25th of June, 1669. * The museum of the last-named town contains four : the Baptism of Clovis and the Baptism of Constantine, bearing date 1652 (when Puget was thirty years old), and much spoilt by unskilful restoration ; the Sah'ator miindi of 1654, better preserved and quite Italian, in the debased style of Pietro da Cortona ; and lastly, the portrait of Puget himself, of which M. Leon Lagrange says : " It represents a man forty years old, whose expression it is difficult to define ; it is a combination of natural roughness, acquired refinement and restless eagerness, the brow is full of genius, and we read the consciousness of his own genius in the eyes and mouth." 312 FRENCH SCULPTURE. for the faults of his early training by study and reflection. He was wantins: in knowledge and in taste ; he neither knew nor understood the beauties of antiquity ; but he was as original as he was eccentric, and yielding himself unreservedly to the dictates of his mighty genius, he was pre- ' eminently successful in expressing life, action, power, and sometimes even passion. None ex- celled him in giving warmth to marble, and I might add, without hesitation, colour. Like Michael Angelo, he often set to work on a block without preparation, design, or sketch. Puget has hit off his own likeness at one stroke, in the letter written when he was already sixty years old to Louvois, with his group of Perseus and A ndromeda : " I am nourished by great works ; I labour at them, and the marble trembles before me, however large be the piece." * Who could recognise in the Hercules in repose, without the club, or the skin of the Nemaean lion, the demigod whom the Greeks called the most beautiful of the pcntatJdi, because his limbs were not only the most muscular, but also the most slender and supple. Looking at this coarse head, * The translator adds the original, which cannot be well rendered in English : "Je suis nourri aux grands ouvrages, je nage quand i'y travaille, et le marbre tremble devant moi, pour grosse que soit la piece." FRENCH SCULPTURE. 313 with turned up nose, we say to ourselves that Puget has merely copied some porter from the wharf. But at the same time, how happily im- passive action is given, how well the flesh and muscles are rendered, how instinct with life is the whole body ! Take from this statue the name of Hercules, call it only a wrestler, a market porter, and you have a perfect work. Still more perfect, in spite of the unjust disdain of Cicognara, is the group of Milo of Crotona, devoured by a lion. As he is not a god, we do not expect him to be represented in a conventional and sacred form, and the Crotonian gives us a very fair idea of an old athlete. The life and action of the body and the finished execution are alike wonder- ful, whilst the moral expression is no less excellent. In every line, from head to foot, the rage and suffering of the famous conqueror in the Greek games are admirably rendered ; his powers weak- ened by old age, and his hand caught in the cleft tree, he feels himself torn by the teeth and claws of his- treacherous enemy, without the power of defending and avenging himself with the mighty fist which once felled an ox. This group not only resembles, it rivals that of the Laocoon; and we understand that when the case which brought it to Versailles was unpacked before Louis XIV., the 314 FRENCH SCULPTURE. tender-hearted Maria Theresa, full of fright and pity, exclaimed, " Ah, mon Dieu, le pauvre homme !" We believe that this Milo of Crotona is considered the chef-d'oeuvre of Puget, and perhaps also of all French sculpture. In speaking of the group of Perseus delivering Andromeda, which is enlarged by a figure of Cupid aiding the son of Danae to cut the chains of the beautiful victim, Puget might well say, " however large be the piece," for I know of no modern group of greater size, and to find " a larger piece " we must turn to the Toro Farnese at Naples, which has five figures. The author does not appear to have been in the least embarrassed by the extreme difficulty of so complicated a work ; neither the clearness of the subject, the general action, nor the workmanship of the various details which make up the whole, are at all affected or impaired by it. Andromeda is pretty, delicate, and pleasing ; Perseus, strong, bold, irresistible, like the son of Jupiter mounted on Pegasus. But the difference in the size of the sexes is exaggerated ; either Andromeda is a little girl, or Perseus a giant. We notice the same disproportion in an eques- trian statue of the Victoriotis A lexander, the horse is enormous compared to the rider. But perhaps Puget intended this powerful Bucephalus, trampling FEENCII SCULPTURE. 315 under foot confused hcap.5 of conquered nations, to represent the various forces which the genius of Alexander held united for his distant and stupen- dous conquests. The rest of Puget's works in the Louvre are a plaster copy of two caryatides which he made for the balcony of the Hotel de Ville of Toulon ; a small tomb, in which two angels and two cherubims are grouped round a sepulchral urn, and the large and singular bas-relief representing the well-known scene of Alexander and Diogenes. This was Puget's last work, which he only finished just before his death, at the age of seventy-four. In this he again resembles Michael Angelo, whose old age was so laborious and prolific. For want of a better name, this group is called a bas-relief, but in reality it contains every kind of sculpture. Those parts which stand out, the head of Alex- ander's horse, and the legs of Diogenes lying near his tub (which should be a large earthenware vessel), are necessarily in full relief; whilst the foreground is in high, and the background in low relief, which decreases gradually in the distant perspective. This sculptured picture is an extra- ordinary feat, and I own that its very strangeness makes its author near akin to Michael Angelo, and still nearer to Algardi, but it removes him far from Pheidias ; which fact, if I am not mistaken, proves 31G FRENCH SCULPTURE. that the arts should, not encroach on one another ; that there should be no debateable land between their domains. The mission of sculpture is to gratify the taste with beautiful forms only ; at her command she has nothing but lines, hollows, and projections ; she is to enable us to touch what painting lets us see, and sculpture has no more right to attempt pictures in marble than painting to make monochrome statues, with all the resources of colour, chiaroscuro, and perspective at her com- mand. Puget's example is decisive, as is proved by no one having followed it. The second room, that of Antoine Coysevox ( 1 640-1 720), contains a fine collection* of the works of this eminent artist, who lived shortly after Puget, and resembled him in talent. Amongst them we notice particularly the Mausoleum of Cardinal Mazarin, with a spirit bearing the lictor's axe and three allegorical bronze figures, which makes us regret the Maiisolcum of Colbert, con- sidered Coysevox's principal work. A poor enough statue of the foolish Duchess of Burgundy, who wished to be represented as Diana, the fair-liinbcd goddess; a statue of Louis XIV., who, when young, assumed the character of Apollo, but is now depicted as old, devout, and kneeling in prayer. The busts of Richelieu, Bossuet, and Fenelon, which FRENCH SCULPTURE. 317 were not successful likenesses ; the faces of all three are flat, the foreheads low, the heads narrow ; not at all like their painted portraits preserved to us by Philippe de Champagne and Hyacinthe Rigaud. The busts of Pierre Mignard and Charles Lebrun, which are, on the contrary, very fine, and good likenesses. They are so superior to the former, that it is difficult to believe they are from the same hand. There were, in fact, two periods in Coy- sevox's life : one of vigorous power, when he sculptured the two celebrated painters ; the other of unskilfulness or weakness, when he produced the busts of the great ministers and the celebrated writers. It is a pity that there is no w^ork in the Coysevox room by his rival Fran9ois Girardon (1630-1715), " whom La Fontaine and Boileau," says Thore, " compared to Pheidias, as Moliere compared Mig- nard to Raphael." It is true that Girardon paid court to Louis XIV. and Lebrun, and only pro- duced in marble the designs imposed on him by the arrogant president of the Academy ; but for all that the gigantic groups of Pluto carrying aivay Proserpine, and Apollo descending to Thetis, with which he adorned the gardens of Versailles, have earned him a distinguished position amongst the sculptors of the reign of the grand monarque. 318 FRENCH SCULPTURE. The third room is named after the brothers Coustou, Nicolas (1658-1735), and Guillaume (1678-1746). The former is the author of the group called the Jiuictioii of the Seine and Marne, i',i'ii,'llVi'il|| >^ iiii|iir iir''''i|'' Fig. 58. — Riding-M aster of Marly. (Paris, Champs-Elysees.) in the Tuileries Garden ; and the latter of the famous Eciiycrs ox Chevaux de Marly, now placed at the entrance to the Champs Elysees. The works con- tained in this room would not alone have earned for FRENCH SCULPTURE. 319 the Coustous the honour of naming it. On one side we have Louis XV. as Jupiter, in Roman costume, and Queen Maria Leczinska, as Juno ; pretentious figures in bad taste, at once feeble and theatrical, Fig. 59. — Riding-Master of Marly. (Paris, Champs-Elysee.) in the false and ridiculous antique style which was introduced on the stage by Lekain and others of his day. On the other side Louis XIV., in regal mantle, holding his crown and sceptre, but kneeling 320 FRENCH SCULPTURE. and bending forward in the humble attitude of his Vow to the Vii'gin, like the princes of the Lower Empire naming the mother of Jesus generalissimo of 'their armies. The execution of this figure renders it beautiful, and it is not even spoilt by the style. M. Ingres, probably without having seen it, has reproduced it exactly in his picture on the same subject — the Voiu of Louis XIV. This Coustou room would therefore be nearly empty, were it not filled with other works, which appear to me more interesting and remarkable. We allude to the diploma subjects successively presented by the members of the Academy of Sculpture on their admission to that body, which preceded the Institute of the Fine Arts. They are all little groups of figures a foot and a half high, some representing Christian, but the greater number mythological subjects. The rule as to size better enabled those enervated successors of Puget to compete, who knew not how to carve " large pieces," and to make the " marble tremble before them." As most of these sculptors are entirely unknown, in spite of their title of academicians, it will be useful to recall their names, and to mention one work characteristic of each. We begin, then, with a Hercules on the pile, by Guillaume Coustou ; a Herc7iles crowned by Glqry, FRENCH SCULPTURE. 321 In high reh'ef, by Desjardins (the Fleming, Martin Van Bogaert) ; a Jcsks bearing His Cross, b}^ Bouchardon ; a Alilo of Crotona, devoured by the lion, by Etienne Falconnet* (1706 — 1791), the friend of Diderot ; a Mercury attacJiing the wings to his heels, hy ]Qdin Baptiste Pigalle (1714 — 1785); and a River God, pouring water from his urn, by Jacques Cafheri (1723 — 1792). AH these became celebrated by more important works ; Caffieri, for instance, has left excellent busts of Rotrou and the two Corneilles, in the lobby of the Theatre Franqais. M. Thore very justly remarks : " These busts have the bold- ness of Puget, the grace of Germain Pilon, the skilful execution of Coysevox, and the spirit of Coustou." We now proceed to enumerate those who are nearly or entirely unknown, with the single work which is to rescue them from oblivion. The Leda and the Sivan, by Jean Thierry (1669 — 1739), which anticipated the Pompadour style by thirty years. * Falconnet is the author of the fine bronze equestrian statue which Catherine II. had raised to Peter the Great, in Saint Isaac's Square, at St. Petersburg. Set up on a granite rock, it bears the inscription : Petro prima Cathcrina sctunda. To express the true thought of the foundress, it should now be changed to : Fetro RIagiio CatJicrina Magna. "The statue that the Empress of Russia raised to Peter the Great speaks to all nations from the banks of the Neva; it says : I await that of Catherine." (Voltaire, art. Beaux- arts, in the Diet. Philos.) Y 322 FRENCH SCULPTURE. St. Sebastian at the Pillar, by Francois Coudray (1678 — 1727) ; and St. Andrezv before his Cross, by Jean Baptiste d'Huez ; two good studies of the sacred style. Hercules vanqidshed by Love, by Joseph Vinache (1697 — 1744), which shows more knowledge and appreciation of the antique than the Hercules of Puget. Plutus, by Anselme Flamen ^_ , , — 1730)- Ulysses bending his boiu, by Jacques Rousseau ( — i74o), a powerful and finely- finished work. A Titan struck by thunder, by Edme. Dumont ( — 1755). which merits the same praise. Polyphemus on the rock, with the one eye in his forehead above the two empty sockets, by Corneille Van Cleves, who was no doubt a Fleming, like Desjardins. Neptune calming the waves, the Quos ego of Virgil, by Lambert Sigisbert Adam (1700 — 1759). Prometheus ajid the Vulture, by Nicolas Sebastien Adam (1705— 1778), who has well expressed the contortions of acute agony and powerless rage (this is not the indomitable Prometheus of yEschylus). Lastly, a Charon, with- out the author's name ; which is, however, one of the best of these academic pieces, remarkable for the gloomy and reserved expression suitable to the ferryman of hell. In the room of Edme Bouchardon (1698 — 1762), containing works of the eighteenth century, we are FRENCH SCULPTURE. 323 surrounded by Cupids and Psyches in the true Pompadour style. And yet no one shared the spirit of his age less than Bouchardon himself. Well-educated, conscientious, and of quiet appear- ance, he avoided pomp, and lived in solitude, because, enamoured as he was of the antique, the absurdity of the fashionable costumes was re- pugnant to his taste and predilections. His style, correct and noble, but somewhat cold, needed only a few sparks of Puget's fiery enthusiasm to give it animation. We can appreciate his statues of Christ, Mary, and of eight Apostles which adorn the church of St. Sulpice, and the fine sculptures of the fountain of the Rue dc Crenelle ; and we might have appreciated his equestrian statue of Louis XV., the horse of which was considered a masterpiece, had it not been destroyed in 1793. But to under- stand to what an extent this eminent artist loved and understood true beauty, in this age of the insipid shepherdesses of Boucher and his fellows, we have only to examine the Young Girl, holding a stag by a cord, in the Louvre. The soft and pleasing attitude, the graceful form, the head, which is more than beautiful, almost grand, and the delicacy of the execution, combine to render this charming statue the most antique of modern works. Canova is anticipated, his spirit is here. Similar, if 324 FRENCH SCULPTURE. not equal praise is due to the Victorious Cupid, a beautiful youth, cutting out his bow in Hercules' club with the sword of Mars, as well as to the group of Psyche and Cupid. We see the inquisitive beauty drawing near to her sleeping lover with the fatal lamp. He will flee as soon as he is known, to typify that happiness is as little enduring as a passing illusion. Bouchardon's room rejoices in another Psyche, by Augustin Pajou (1730 — 1809), which represents her inconsolable at the flight of the fickle god, and given up to the vengeance of Venus. That there may be no mistake as to the name and meaning of his statue, he has written the following mischievous line round the pedestal : "Psyche lost Love in wishing to know him." This inscription, beneath the nude figure of a clumsy and ungraceful courtesan, who is neither the Phryne of Praxiteles nor the Venus .of Gnidus, reminds us of that painter of Ubeda, whom Cer- vantes makes fun of, who worked at random, saiga to que saliere, and wrote beneath the chance pro- duction of his brush, " This is a cock," that it might not be taken for a fox. Pajou atoned for this, however, in a fine, life-like, and speaking portrait of Bufifon ; he was always successful with sculptured FRENCH SCULPTURE. ' 325 likenesses, those of women especially, and knew how to make them pretty and pleasing in spite of the shapeless head-dresses to which they were con- demned by fashion. Two otlier nude figures, by Chretien Allegrain (1705 — 1/95), called Venus and Diana at the BatJi, are scarcely worthy of even a passing notice. The room named after Houdon is not reserved to him alone, but to all those who may be con- sidered his contemporaries ; for, with the exception of one, the sculptors whose works it contains died after the beginning of the present century. Jean- BaptistePigalle(i7i4 — I785)lived and died last cen- tury ; he has only one work in the Louvre, a bust- portrait of Maurice of Saxony in lias limestone. This artist preferred truth to beauty ; he w^as a most persevering worker, as prolific as he was skilful, and, good and life-like as is this one likeness, it is not enough to represent such a man in the museum of France. We must seek him rather in the Library of the Institute, where we find his strange statue ot Voltaire, whom he insisted upon representing nude, althoug-h he was old and emaciated ; in one of the chapels of Notre Davie, where we find the Tomb of Marshal Harcourt, which he composed in accord- ance with a dream of the hero's widow, and last, not least, in the Protestant church of St. Thomas, at 326 FRENCH SCULPTURE. Strasburg, which contains the celebrated Monument to Marshal Saxe, executed in marble by Pigalle, after the designs of his friend Charles Nicolas Cochin. Death opens a grave at the feet of the hero of Fontenoy, and weeping France strives to retain him. We will now name the other sculptors of the same room, that is, of the same age, as Pigalle, according to the date of their birth. By Jean Antoine Houdon (1741 — 1828), to whom we owe the Flayed Man so well known in schools of art, we have a bronze Diana, whom, but for the crescent and the bow, we should scarcely take for the chaste goddess of Ephesus, for she is represented entirely nude, without veil of any kind. It is a fine study in a pure style, I own, although somewhat heavy for the nimble huntress, but it is spoiled by the stiff action and strained attitude. There is far more disinvoltnra, grace, and charm in the marble group of Cnpid and Psyche chasing butterflies, and in Psyche zvith the Lamp, Psyche punished for her curiosity, and weeping for her lost happiness. Can this difference of style be accounted for by the difference of material } Is metal less subservient to the will of the artist than marble } This question is answered on the spot by Houdon himself, for the bronze bust of Jean Jacques Rousseau, wearing the narrow fillet of the FRENCH SCULP TUBE. 32'i conqueror in the Olympic games, is placed near that in marble of the Abbe Aubert, and I do not think that this portrait of the author of Emile is Fig. 60. — Voltaire, by Houdon. inferior in beauty of workmanship and truth to that of the La Fontaine of children. Houdon is however, better represented in the 328 FRENCn 8CULPTUBE. Theatre Francais than in his own room in the Louvre. The bust of Moliere, in the lobby, and the statue of Voltaire seated, in the vestibule, are excellent and superior works, Avhich will bear com- parison with any of those by his contemporaries. In them Houdon has showed how the ideal may be combined with the real, the quickening spirit with the body it animates. He has in every case given his models expression ; an expression as keen as that of the portraits of Titian and Rembrandt. I like to think that the statue of Washington, made by Houdon for Philadelphia, is equally worthy of the virtuous and illustrious founder of American independence, of the greatest public man of modern times, on whom Byron pronounces a eulogium at the end of his " Ode to Napoleon :" "Where may the wearied eye repose, When gazing on the great ; Where neither guilty glory glows. Nor despicable state ? Yes — one — the first — the last — the best, The Cincinnatus of the West, Whom envy dared not hate. Bequeath the name of Washington, To make man blush there was but one."* * On the new monument to Washington, at Philadelphia, the Americans have inscribed : "The first in war. The first in peace. And the first in the hearts of his fellow-citizens." FRENCH SCULPTURE. • 329 By P. L. Roland {1746 — 18 19) we have a Homer in rhapsody, accompanying himself on his lyre. By Antoine Denis Chaudet (1765 — 1810) a Cupid seizing a butterfly, the symbol of the soul, and the group of the Shepherd Phorbas carrying away the young QLdipus, which is considered the best of his works, and is certainly one of the best of the time of Louis David. By Adrien Gois (1765 — 1823) an alabaster bust of Corinna. Is this the ancient rival of Pindarus, or the heroine of Madame de Stael's romance (Corinne) } By Joseph Bosio (1790 — 1845) an Aristceus, not as a hero, but as the god of bees, and two youthful figures, male and female, which would make a good pair : one is Hyacinthus, the beloved child of Apollo, by whom he was struck on the head with a quoit, in consequence of the jealousy of Zephyrus ; the other is the nymph Salmacis, dying of love for the son of Hermes and Aphrodite, with whom she was united in one body (Hermaphrodite). It is a pity that a bust of the Virgin Mary, with a sanctimonious and imbecile expression, has been placed near these fine works. It shows that its author, Bosio, knew no better how to express religious feeling in sculpture than in painting. He was foolish enough to attempt the sacred style in his old age, and, with still greater foolishness, he 330 FRENCH SCULPTURE. took the public into his confidence. By Charles Dupaty (1775 — 1825) we have a Byblis changed into a fountain. By P. L. Roman (1792 — 1835) a group of NisHS and Eiiryaliis dying together, as related in the sixth canto of the ^Eneid. By J. P. Cortot (1787 — 1843) another group, less tragic, and better suited to the requirements of sculpture, of Daphnis and Chloe learning to play the double pipe, a piece as pretty and pleasing as the tale of Longus in the translation of Amyot. We have now passed through the Louvre and are at the entrance to the Luxemboure. In this museum we find none but the works of contem- porary painters and sculptors, and for the reason given in a former work, we shall abstain from all criticism on those groups of statuary. We will merely mention the names and works of those who have been worthy to pass through this museum of living artists, to be reckoned after their death amongst our national glories. For greater impartiality we will arrange them in alphabetical order : A Jagua devouring a Hare, by M. Antoine Louis Barye (1795 — . . . .)> a bronze group cast in one mould, the wax being broken ; a process fallen into disuse since the Renaissance. Amongst the other state collections there are more works by M. Barye, such as the four figures of Peace, War, FRENCH SCULPTUllE. 331 Force, and Order, which adorn the paviHon of the new Louvre ; and the Lio7i devouring a Boa, in the Tuileries Garden. Every one knows how justly famous is M. Barye for his representations of animals. A Cupid clipping his wings, by M. Jean Marie Bonnassieux (1810 — ....). Truth, by M. Pierre Jules Cavelier (18 14), to whom we are also indebted for the statue of Blaise Pascal, on the ground floor of the tower of St. Jacques, and the beautiful Sleeping Penelope, for which the Due de Luynes had a special pavilion constructed in his Chateau de Danipierre. A Young Hunter playing ivith his Dog, by M. Antoine Laurent Dantan (1798). Psyche deserted by Cupid, by M. Antoine Desboeufs (1793). Innocence, by M. Louis Desprez (1799). Cupid tormenting a Soul, symbolised by a Butterfly, by M. Augustin Alexandre Dumont (1801) ; who is also the author of the fine Genitis of Liberty, on the Column of July. A Young Fisher Dancing the Tarantella, by Francois Joseph Duret (1804-), who has since produced the companion groups of the Young Neapolitan Dancer, and the Improvisatore at the Vintage. A Wounded Dog, by M. Emmanuel Fremiet (1824-), which is merely a sample of the numerous animals executed by him in imitation of M. Barye. Minerva after the Judgment of Paris, by M. Nicolas Marie Gatteaux (1788-), who 332 FRENCH SCULPTURE. was more celebrated and successful as an engraver of medals. Mutius Sccevola, by M. Charles Theodore Gruyere. The Guardian Angel leading a Repentant Sinner to God, by M. Jean Aristide Husson (1803-). A Naiad, by M. Georges Jacquot (1794-). The Prayer, and Modesty, by M. Leon Louis Nicolas Jaley (1802-). Innocence, a young girl confiding her first secret to Venus. A Yonng Girl Frightened by a Snake, by M. Philippe Henri Lemaire (1797-). Ariadne, by M. Aime Millet (1816-) ; for which his Bacchant oit\\Q Universal Exhibition, 1855, would be a good companion statue. A Young Himter Wounded by a Snake, by M. Messidor Lebon Petitot (1794-). The Luxembourg also contains a few works by deceased sculptors. We find, for instance, a Vesta, by Houdon ; a Pomona, by Dupaty (1771 — 1825) ; a bas-relief of France, calling her children to her defence, by Moitte (1746 — 18 10) ; a Son of Niobe, a Psyche, an Atalanta, by the Genevese James Pradier (1794— 1852), who is also the author of the Fontaine Molicre in the Rue RicJielieJi ; and lastly, the Young Fisher Playing zvith a Tortoise, a Mercury, and a Joan of Arc, by Francois .Rude, who is famous for numerous other works, such as the powerful bas-relief of the Af'C de Trioniphe de r Etoile, called the Departure, or the Marseillaise. We regret not meeting with a single work in the FRENCH SCULPTURE. 333 Luxembourg by the two Rameys, father and son ; or by Foyatier, author of the celebrated Spartaais of the Tuileries ; by Charles Simart ; Dantan the younger, &c. But more inexplicable still is the ^■.^:^y^bm^^.jsm^iiSim^ ikJ ■pS'S>i. . .;;■■ ;^l!iUii-.-L-'-^,.,'; .. .: -Aj - J-^-'"' l" tJUi Hkr 'jii ii:i:i Vvj,. 6t.— The Marseillaise, by F. Rude. absence of Pierre Jean David, called David of Angers (^1789—1856). The author of the pediment of the Pantheon, of the monument Aux grands 334 FRENCH SCULPTURE. homines la Patrie Reconnaissante, of the statue of Philopcemai in the Tuileries, of Condi at Versailles, of Corneille at Rouen, of La Fayette at Washington, oi Armand Carrel 2X St. Mande, where the famous political writer was killed, and of the busts or medallions of all the contemporary celebrities, ought to occupy a distinguished place in the Museum of France, especially when we remember £.p)i^Oft^ i . vat v.i^ > /j. Fig. 62. — Pediment of the Pantheon, by David, that, like Puget and Poussin, he combined great talent with a noble mind and an independent spirit, and, like his illustrious predecessors, he has left an example of a stainless life from birth to death. To carry our account of French sculpture down to the present time we have only to add that MM. Guillaume, Perraud, Carpeaux, Crauk, Fal- guiere, Gumery, Aime Millet, Thomas, Paul FRENCH SCULPTURE. 335 Dubois, &c., who obtained the highest distinctions at the Universal Exhibition of 1867, have main- tained their art on a level with that of French painting, namely, in the first rank amongst all nations. INDEX OF SCULPTORS AND SCULPTURES. . PACE Abydos (Sepulchres of) 3^ Achilles (Statue of) . . 98, 99, 100, 10 r, 116 Acropolis of Athens . 153, 15S, 161, 180 Adam (Lambert Sigisbert) • 322 (Nicolas Sebastien) . • 322 Addison (Tomb of ) . • 277 Adonis (Statue of) . . 261 Adrian of Vries • 294 ^gina (Marbles of) . . 8 [,82, 83, 84, S5, 36, 89 Agamemnon (Statue of) . 122 Agasias ..... 100 Ageladas. .... 78, 79, So, 91 Agesander . . . . . 141 Agnolo of Siena . 202 Agostino of Siena . 202 Agrates or Agratus .... . 208 Agrippa (Statue of) . 192 Agrippina (Statue of) . . . 183, 184 Albano . . . . • . 227 Alberto Pio (Tomb of) . . 306 Alcamenes .... 98, 120, 144, 167 Alcibiades (Statue of) . . . 120 Alexander (Statue of) . 119, 197 Alexander and Diogenes (Bas-relief) • 315 Alfieri (Tomb of) . . . . 136 Algardi ..... • 227, 315 Alhambra (Lions of the) . . . 238 INDEX. 337 Allegrain (Chretien). PAGE 325 ' ' Altar of the Twelve Gods " . • 123 "Amazon attacked by a lioness" 258, .260 Amazons .... • 137 Amenophis (Image of) . 26 Amenti (Assessors of) 36, 40 Ammanato . 226 Amnion Ra (Figure of) • 30 Amphicrates . . 90 Amset (Head of) ■ . 36 Amten (Tomb of) 9, 40 Andrea of Pisa . 202 Andre (Monmiient to) • 274 Aneka (Figure of) . • 30 Anguier (Francois) . 307, 30S, 309 (Michel) ." 307, 308, 309, 310 Anochus (Statue of). 79 Anthermus • 75 Antinoiis (Statue of) 184, 185, 191, 192, 196 Apelles . . 122 Aphrodite (Statue of) 104, 122 Apollino (The) 131, 132, 133 Apollodorus . ■ 130 Apollo and the Swan . 145 Belvedere • 95. 130. 131, 138, 139, 140, 141, 230 (The bronze) . 140 Citharoedus . 148 descending to Thetis • ' • -317 (The Didymcean) • 79 Epicurius ... .151 (The Lycian) . . ' . . 107, 108 Parnopos . 168 (The Pythian) . 94, 107, 188, 189, 140, 235 of Rhodes 112 Sauroctonos .107 (Statues of) 77, 107, 211, 262, 294, 323 Apollonius • 157 " Arc de I'Etoile " (The) • 332 Argenti . • 237 54, 55, 56 338 INDEX. ' ' A riadne on the Panther " (Statue of) . . . Aristoeus .... (Statue of) . . . Aristides (Statue of ) . Aristocles .... Aristomedon .... Assyria (Bas-reliefs of) . . . 53' Athene (Statue of) . Athenodorus .... Athens (Terra-cottas of) . " Atlas sustaining a celestial globe" Atuni (Figure of) . Aubert (Bust of ) . Augustus (Statue of) Auxesia (Figure of) . " Aux grands hommes la patrie reconnaissante " (Bas "Awaking "'(The) Bacchante (A) Bacchus (The Drunken) . (The Indian, or Bearded) (Statue of) Baerz (Jacques de) . Balbiani (Valentine, Tomb of) Balbus (Statues of) . Bartholomew (Saint, Statue of) Bartolini. Barye (Antoine Louis) Basilicata (Vases of the) . Bas-reliefs by Anselm " Battle of Assur-Akh-Bal" (Bas-relief) " of the Centaurs and Lapithse " «' of the Greeks and Amazons " Becerra (Jasper) Begas .... Bernini (Lorenzo) Berruguete (Alonzo) . loo, 129, 226, PAGE 54, 255, 256 • 332 . 117 • 329 . 148 • 79 . 78 57, 59, 270 • 77 . 142 • 43 . 148 - 30 • 327 184, 187 . 86 relief) 233, 234 • 299 • 332 212, 223 no 10, 156, 205 . 267 • 303 . 186 . 208 • 237 330, 331 . 66 . 202 . 56 • 151 • 151 240, 242, 245 256, 261 227, 228, 261, 286 240, 241, 242, 245 INDEX. 339 PAGE Berulle (Tomb of) ;^o7 Birague (Rene, Tomb of) . • 303 " Birth of Pallas " (Parthenon) 167, 168, 169 "Birth of Venus" . 122 Blucher (Statue of ) . . 257 Boar (The, of Florence) . 124 Bogaert (Martin Van) • 321 Bonnassieux (Jean Marie) . • 331 Bosio (Joseph) . • 329 Bouchardon 321, 322, 323 Boucher . • 323 Bossuet (Bust of) . 316 Boutellier (Jean) . 289 "Boxers" (The) . 229 Briaxis . • 152 Brunelleschi 202, 214 Brutus (Statue of) 211, 221 "Bull " (The Bronze of Perillus) • 75 Bulow (Statue of ) . • 257 Buonarotti (Michael Angelo) 97, 133, 139, 141, 142, 145, 179, 184, 202, 210, 211, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 226, 236, 237, 239, 240, 261, 276, 286, 292, 293, 295. 306, 311. 312, 315- Bupalus .......... 75 Butler (Tomb of ) . • 277 " Byblis changed into a fountain " • 330 C/ESAR (Bust of ) . • . 183 (Statue of) . 1S4, 186 Calamis . . 140 Cafiieri (Jacques) • 321 Caligula (Buct of) . . 182 (Statue of) 109 Callicrates 158, 168, 271 Callo 81, 87 Calvary of Spires • 250 of St. Roch • 308 Camden (Tomb of) . • 275 Canachus • 79 540 INDEX. Canino (Vases of ) . Cano (Alonzo). "Canopi" .... Canova (Antonio) 97, 148, 220, 228 236, 237, 255, 261, 280, 282, 323 " Capitoline Tablets" (The) Captives (The, by M. Angelo) Caracalla (Bust of) . Carpeaux Carrel (Armand, Statue of Caryatid (A) . Carj'atides (by Puget) Casaubon (Tomb of) Castor and Pollux (Statues of) Cavelier (Pierre Jules) Cecrops (Torso of) . Cellini (Benvenuto) . Centaur (A) Cephisodotus . Cervetri (Vases of) . Ceere (Antiquities of) Chabot (Statue of) . Chambres (Helen de, Tomb of Chantry . Charles V. (Triumphs of, Bas-relief) the Bold (Tomb of) IX. (Bust of) . Chares . Charon (Statue of) . Chastity (Statue of) . Chatham (Tomb of). Chaucer (Tomb of) . Chaudet (Antoine Denis) Chephrem (Statue of) " Chevaux de Marly or Ecuyers " Child's Bust by Pilon "Chimera" (They . Chimney-piece by Glosencamp . Chons (Figure of) . . . 43. 66 245, 247,248 . 35. 36, 37 229, 230, 231, 232, 233, 234, • 33 218, 221, 293, 295 . 193 • 334 • 334 . 156 • 315 • 277 . 184 • 331 . 176 225, 229, 292 . 117 • 133 43. 65 ■ 43. 65 . 306 . 291 . 280 . 241 244, 265 • 305 . 112 • 322 . 114 • 27s • 277 • 329 . 80 . 318 . 268 52, 63, 149 . 268 • 30 INDEX. 341 " Christ and the Twelve Apostles" " beneath the Shroud " Christ by Bouchardon by Fa Presto . by M. Angelo . on the Cross Chrysothemus . "Circumcision" (The) Citium (Antiquities of) Claux de Vousonne . Clement XIII. (Tomb of) XIV. (Tomb of) Cleomenes Cleosthenes (Statue of) Cleves (Corneille Van) Colbert (Bust of) (Tomb of) CoUeoni (Statue of) . Colomb (Michault) , Colomban (Andre) . Colossi of Khorsabad Commines (Tomb of) " Conclamatio " (Bas-relief) Conde (Statue of) (Tomb of) Congreve (Tomb of) " Consolatrice " (La) Constance j Constantine ^Compound Statue of) Constant ' Corinna (Bust of ) . Corneille (Statue of) Corneilles (Busts of the) . Cornelius Cornewall (Captain, Tomb of) Corradini (Antonio) . Cortot (J.) Courtenvaux (Tomb of) Cosmo (Saint, Statue of). PAGE 197, 262 227, 280 • 323 . 227 . 216 . 308 . 78 . 291 60, 61 . 267 • 239 . 229 130, 133 • 79 • 322 - 308 . 316 206, 207 290, 292, 296, 306 . 290 47, 50, 52 291 194 334 307 276 230 198 329 324 321 253 273 228 330 308 214 U2 IXDEX. Coudray (Francois) Cousin (Jean) . Coustou (Nicolas) (Guillaume) " Cow of Myron" Coysevox (Antoine) Crauk Croix (Hennequin de la) Cuneiform Inscriptions "Cupid and Psyche " clipping his wings (A sleeping) seizing a Butterfly tormenting a soul (A Victorious) . Cupids . Cypselus (Carved Chest of Cyprus (Terra-cottas of) Dameas Damia (Figure of) . Damian (Saint, Statue of) " Danioxenus and Creugas Dannecker Dantan (Antoine Laurent) "Daoizand Velarde" " Daphnis and Chloe " David (by Francheville) (by M. Angelo) (by Donatello) . (Louis) Pierre Jean Davy (Tomb of) "Day" (by M. Angelo) Decker (Hans) "Daidali" Daedalus " Daedalus and Icarus " De la Croix (Hennequin) 72, 74, 76, PAGE . 322 301, 302, 306 318. 3i9> 321 319 80 16, 317, 321 324 290 60 326 331 213 329 331 324 no 77 43 77 86 214 229 254 247 330 309 213 203 329 333 275 214 250 74 ', 201 229 290 81, 87 IN DEX 343 PACE Delos (Terra-cottas of) ....... 43 Delia Robbia (Luca). 202, 204, 205 Demigiano . 29 Demosthenes (Statue of) . 119 Denis (St., Gate of) . 30 "Departure" (The, Bas-relief) . 332 " Deposition from the Cross " 297 Desboeufs (Antoine) . . 331 " Descent from the Cross " > . 251 Desjardins . 321, 322 De Thou (Tomb of) , . 308, 309 "Diana at the Bath'" • 325 of Ephesus 90, 97 Huntress H, 95 , 97, loi, 109, 137, 140 of Gabii . 109 with the Stag 94. 95 Statue of 127, 296, 326 Dipcenus. 77. 78 "Discobolus" (The) . 118 " Dispute of Poseidon and Palla s" . 168, 174 Djizeh (Sculptures of) 5. 10 Dogs (Bronze) . . 296 Domitian (Statue of) 192 Domitius Corbulo (Statue of) . 192 Donatello 202, 203, 204, 214, 224 Dontas . . . . 78 Doryclidas . . . . 78 " Doryphorc^ " (The) . 98 Drake (Fred) . 255, 258, 261 Drogues (Jehan de) . . 26S Dryden (Tomb of) , • 277 Dubois (Paul) . • 334 Dumont (Alexander) • 331 (Edme) . . 322 Dupaty (Charles) . 330, 332 Dupre .... • 237 Duret (Fran9ois Pierre) • 331 Dlirer (Albert) . 251, 252 (Statue of) . 257 344 INDEX PAGE " Early Dawn " (by M. Angelo) 214 Egypt (Black Lions of) . 184 (Pyramids of) . 9 "Elfin Dance" (The) ■ 203 Elizabeth (Tomb of) . 273 Endoeus - . . . . . 90 Ensahor (Statue of) . . 28 " Entrance of Alexander into Babylon 51 . 262 Epeus ..... . 122 Epicurius (Statue of) 121 Erectheum (Portico of the) • 154 " Erection of a Colossal Bull " (Bas-re lief) . . 56 Erwin of Steinbach . • 249 Euchir ..... . . 78 Eutelidas .... . . 78 Evangelists (Statues of the) 206, 297 " Evening " (By M. Angelo) . . 214 Falconnet (Etienne) • 321 Falquiere .... • 334 Fa Presto (Luca) . 227 Faun's Head (by M. Angelo) 210, 211 " Faun with the Child " . . 114 (The Dancing) . 143, 144, 294 (The Drunken) . • 144 (The Musical) . 132, 133, 140 Fauns (Two dancing) . 114 Faustina (Statue of) . • 193 Fenelon (Bust of) . . . .316 Ferdinand of Arragon (Tomb of) • 243, 244 Fiers ..... . 269 "Fish in a net" . 280 Flaxman .... . 280 " Flayed Man " (The) . 326 Flora (The Famese) . 112, 145, 146 Florence (Baptistery of) . . . . 203 " Fontaine des Innocents " . 299, 300 de Moliere • 332 ' ' de la Rue de Crenelle " . • 323 INDEX • 345 PAGE "Force" 308,331 Foyatier .... , ■ 333 Fra Barduccio Cherichini (Statue of) 204 "France" (Bas-relief) . • 332 Francheville (Pierre). . , • 309 Francois de Bretagne (Tomb of) . 290 Fremier (Emmanuel) • 331 Frederick the Great (Monument to) • 257 William III. (Statue of) . 258 " Friendship " (Statue of ) . 293 " Ganymede and the Eagle " . 148 Garrick (Tomb of) . 278 Gatteaux (Nicolas Marie) . 331 Gay (Tomb of) 277 Geefs ..... 269 Genevieve (Saint, Tomb of) 305 " Genius of Eternal Repose " "3 " Genius of Liberty " 331 George (Saint, Statue of ) . 306 Geta (Statue of) 193 Ghiberti (Lorenzo) . . ' . 202, 203, 267 Giam-Bologna 293. 294, 309 Gines (Juan) .... ■ 247 Girardon (Fran9ois) . 105, 112, 317 Giovanni of Pisa . 202 Gladiator (The Dying) . . 136 (The Fighting) . 98,1 00, loi, 117, 140 Glaucias ...... . 81 Glaucus . . . . . . • 75 Glosencamp (Hermann) 268, 269 Glycon ...... • 145 Gnidus (Venus of) .... . 105, 324 Goethe and Schiller (Statues of) 259, 260 Gois (Adrian) ..... • 329 Goldsmith (Tomb of) • 277 Goujon (Jean) .... 267, 296, 297, 299, 300, 301, 307 " Graces " (The Three) . 79, 120, 252, 262 Gray (Tomb of ) . • • 276 346 INDEX. Gruyere (Charles) " Guardian Angel leading a Repentant Sinner to God " Guillain (Simon) Guillaime Gunnery .... Gutenberg (Statue of) Guyot de Beaugrant Hadrian (Statue of) Handel (Tomb of ) . Hapi (Head of) Harcourt (Tomb of). " Harmodius and Aristogiton " Harpocrates (Statue of) Harpy Tomb (The) . Hathor (Figure of) . Hector (Obsequies of, Bas-relief) Hecuba (Statue of) . Hegias or Hegesias . Henri H. (Bust of) . in. (Bust of) . IV. (Bust of) . IV. (Statue of). Henry VII. (Tomb of) . Heracles (Statue of). " Heracles crowned by Glory " (The Farnese) . • (Head of) in Repose on the Pile vanquished by Love (Various statues of) . Hermabicippus (A) . Hermaphrodite (The Borghese) "Hermes" . Hippomachi of Lysippus . " Homer in rhapsody " Horus (Statue of) Houdon (Jean Antoine) PAGE . • 332 ler to God ' • 332 . . 307, 309 • 334 • 334 . 262 . 269 . 184 . 279 . . 36 • 325 . 90 • 137 . ■ , 149 29, 30 . 122 • 137 . 90 297, 305 • 305 • 309 • 309 273, 280 • 77 . 320 ?3, 145, 146 306, 307 . 312 . 320 . 322 84, I [o, 213, 321 . 120 . 114 119, 120 . Ill • 329 28, 30 325> 3 26, 3: !7. 328, 332 INDEX. 347 Huez (Jean Baptiste) Husson (Jean) . Hyacinthus (Statue of) Hygeia (Statue of ) . Hyperion (Head of). ICTINUS .... "Idolino" (The) . Ilyssus (Figure of, Parthenon) " Improvisatore at the Vintage ' Innocence (Statue of) Iris (Statue of) Isis (Figure of) Ivory Group by Diirer Jacquot (Georges) . ' ' Jaguar devouring a Hare " Jaley (Leon Louis Nicolas) Jerome (Saint, Statue of) . " Jason bringing home the Golden Fleece " carrying away the Golden Fleece (Statue of) .... Jean de Boulogne [See Giam Bologna) "Jesus bearing His Cross" Joan of Arc (Statue of) John the Baptist (Statue of) John the Fearless (Tomb of) Johnson (Tomb of ) . " Juana la Loca " (Tomb of) Juan de la Huerta Judith (Statue of) . Julia (Statue of) Julius II. (Statue of) (Tomb of) " Junction of the Seine and Mai-ne ' Juno of Argos (Statue of) of the Capitol (Statue of) . of Samos (Statue of) EAGE 329 148 172 158, 168, 271 . 62 175. 176 • 331 331, 332 • 173 • 30 . 252 • 332 • 330 • 332 • 239 . 261 • 256 • "7 • 321 • 332 203, 204 244, 266, 268 • 277 242, 266 . 268 . 203 . 189 J13, 217, 218 216, 217 . 318 • 97 • 137 160, 220 • 294 348 INDEX. Jupiter Olympius (Statue of) Panhelleuios (Statue of) Serapis (Statue of) Juste (Jean) Justice (Statue of ) . Kaeschmann (Joseph) Kalah Shergat (Obelisk of) (Statue found at) Karamles (Relics from) Karnak (Hypostile room at) (Temple of) Kebsnif (Head of) . Kertch (Palace and Tomb of) Khorsabad (Colossi of) (Palace of) Kneller (Tomb of) . " Knife Grinder " (The) Koyunjik (Palace of) Krafft (Adam) . Krater (The Silver, of Delphi) La Fayette (Statue of) " Laocoon " (The) . "LaLotta" . Laphaes . " Latona and her Children Lebrija (High Altar of) Lebrun (Bust of) " Leda and the Swan " Legendre (Roberte, Tomb Lemaire (Philippe Henri) Lemonturier (Antoine) Leonardo (Alessandro) Leochares "Life of the Virgin" (Bas Livia (Statue of) Ligonier (Lord, Tomb of) " Lion devouring a Boar " lo of) relief) PAGE 77, 97, III, 158, 159, 160, 220 82,83 148 291 308 256 59 59 50 29 5. ". 27 36, 37 • 43 47, 50, 52 47, 4^ • 275 135, 136 50 250 75 127 (Parthenon) 140, 141, 47. I 81, 23s 334 313 133 78 176 246 317 321 29 332 268 206 152 290 189 274 330 INDEX. 349 " Lo Zuccone "... Longueville (Henri, Monument to) Lorenzo de Medici (Mausoleum of) Louisa of Russia (Tomb of) (Statue of) Louis XIL (Tomb of) (Statue of) XIIL (Statue of) XIV. (Statue of) XV. (Statue of) Luccardi Lucius Verus (Bust of) Luther (Statue of) . Lydian Tomb (The) . Lysippus . Macaulay (Tomb of ) . Madeleine de Savoie Tende (Tomb of) " Madonna adoring her dead Son " of Bruges della Pieta holding the Infant Jesus of Naples " Magdalene " (Repentant) Magny (Tomb of ) . Manetho (Tables of) Mansfield (Tomb of) "Mano de la teta" . Marcus Aurelius (Equestrian Statue of) ■ (Statue of) Maria Christina (Tomb of) Leczinska (Statue of) Marius (Trophies of) Mark (Saint, Statue of) . Marochetti (Baron) . Marriage of the Virgin (Bas-relief) Mars (Statue of ) . Marsyas (Statue of ) . (The Bound) PAGE . . 204 • . 308 • . 214 . . 256 • . 256 • . 291 • . 291 • • 307 242, 307, 316, 319 • • 319 • • 237 • . 192 • • 257 . , . 64 119, 120, 151, 259 . • 277 . • 309 . . 260 • 222, 224 • • 215 . 205, 240 . , . 262 236, 255, 280 • • 306 • 9 • ■ 274 . . 240 . 184 186, 188, 189 231, 232, 282 • 319 . 184 • 203 . 282 . 291 136, 261 • 117 . 118 350 INDEX. Mary of Burgundy (Tomb of) Stuart (Tomb of) (The Virgin, Statue of) wife of William III. (Tomb of) Mason (Tomb of ) . Matildia (Bust of ) . " Massacre of the Innocents Maurice of Saxony (Bust of) Mausolus (Mausoleum of) Maximilian (Statue of) Mazarin (Tomb of ) . Medici (Tombs of the) Medou .... Melas .... Meleager (Statue of) Memnon (Statue of) Memphis (Sepulchres of) . Menephtah (Statue of) Mentichetes (Sepulchral Room of) " Mercury attaching the wings to his heels carrying off Hebe (The Flying) and Psyche of Rome . (The Seated) (Statue of) " Metrodorus and Epicurius " (Statues Meyt (Conrad) Micciades Michael Angelo [See Buonarotti) Mignard (Bust of) Millet (Anne) . Milo (Statue of) of Crotona (Statue of) Miltiades (Statue of) Milton (Tomb of ) . " Minerva after the Judgment of Paris of Athens Hellotis . of) lo. PAGE 244, 265, 266 273 277 193 247, 291 325 257 316 14, 280 78 75 145 26 36 27 40 321 295 295 295 140 144 42, 262, 294, 332 121 290 75 317 332, 334 77 314, 324 . 120 277, 278 • 331 90, 97, 1 60, 220 . 107 1 INDEX. 351 Minerva (The Lemnian) Polias Promachos (The Warrior) . with the Necklace (Various Statues of) Modesty (Statue of) Moitte . Moliere (Bust of) . Montanes (Jean Martinez) Montelupo (Raffaello da) Montmorency (Tomb of) Montorsoli " Monument of the Pont au Change Monuments of Xanthus Moses (Statue of) . . . 212, Mouth (Figure of) Munt (Figure of) Muses (The Nine) Mutius Scsevola (Statue of) Myron Naiad (A) Naucydes Neith (Figure of) Nemesis (Statue of) " Neptune calming the Waves " (The Colossal, by Ammanato) (Torso of) "Nereides" . Nero (Statue of) Nesa (Statue of) Nesrok (Statue of) Newton (Tomb of) Nicolas of Pisa Nightingale (Tomb of) "Night" (By M. Angelo) Nike Apteros (Fragments of, Parthenon) (Temple of ) . 84 2IJ PAGE • . 155 97 155 . 157 158 I 55 158 . 159 107 ,85, 97 137 , 176 227 332 332 328 245 214 309 214 307 150, 151 19, 2 20, 223, 239 30 30 II, 121, 262 332 78, 80 , 332 . 118 30, 137 III •; 322 226 176 122, 298 190, 192 9 , 27 58 275. 276 15 9, 202, 250 281 214 176 • 155 352 INDEX. Nile (Statue of the) . Niobe and her Children ■ . (A Son of) Nisus and Euryalus (Statues of) Nola (Vases of) " Nuestra Sefiora de la Solidad ' Num (Figure of) Nuremberg (Fountain of) Nupte (Figure of) ' ' Nymph of Fontainebleau " (The) " Nymphs of the Seine " Cannes (Temple of) Olivieri (Pietro Paolo) Onatas . Orpheus (Statue of) . " Orator " (The) Oixagna (Andrea) "Order'' (Statue of ) Osiris (Figure of) (Statuette of ) . . Otho (Bust of) Overbeck Pasht (Figure of) Pajou (Augustin) Palissy (Bernard) Palladio . Pallas of Velletri Pantheon (Pediment of the) Paoli (Pasquale, Tomb of) Papias Parcce (Statues of the) Parthenon (Cella of the) (Frieze of the) . . . . 162, (Metopes of the) . . 162, 165, (Pediments of the) 162, 167, 168, 169, 170, (Various Sculptures cf the) 151, 153, 154, 172, 178, 179, 270. PAGE . . 113 125, 126, 127, 128 • 332 • 330 43, 66 . 242 . 30 • 250 • 30 225, 226, 292 . 298, 299 ■ 49 ■ 293 81, 87 • 309 . . 63 . 202 • 331 • 30 • 30 . 182 • 253 • 30 • 324 . 204 . 180 106 • 333 • 274 . 117 173, 174. 175 162 , 163 170, 178 163, 164, 167, 170 166, 167, 170, 178 171, 174, 176, 178 157, 159, 161, 170, 1 INDEX. 353 PAGE Pascal (Statue of) . . ^^i Passion (Bas-reliefs of the) . . 250 Paul III, (Tomb of) . 2S0 " Peace " (Statue of ) • 330 Pedro de Machua . 241 Pensevau (Statue of) . 28 " Pensieroso " (The) . 214 Perillus ..... 75 Perrand ..... • 334 " Persephone and Demeter" (Statues of) . 172 Perseus (Statue of ) . • 229, 230 and Andromeda • 312 cutting off the Medusa's Head • 225 delivering Andromeda • 313 Peter the Great (Statue of) • 321 Petitot (Messidor Lebon) . • 332 Pheidias 78, 80, 87, 89, 90, 93, 97, 98, in, 114, 124, 130, 151, 152, 155, 157, 158, 159, 162, 167, 168, 177, 179, 180, 271, 285, 297, 315, 317. Philibert le Beau (Tomb of ) . . . . . . 290 Philippe de Chabot (Mausoleum of) . • 302 Philip the Handsome (Tomb of) • 243, 244 the Hardy (Tomb of) 244, 266, 267 Philopoemen (Statue of) . • 334 Phiteus .... • 152 Phre (Figure of) . 30 Phtah (Figure of ) . . 30 Pierre de Breze (Tomb of) . 301, 302 Pierre Jacques . • 306 Pigalle (Jean Baptiste) 321, 325, 326 Pilon (Germain) 301, 3 02, 303, 305, 321 Pisa (Pulpits of) . i02 Pius VI. (Tomb of) . 229 Plautilla (Bust of ) . •. 193 " Pluto carrying away Proserpin " ■ 317 Plutus (Statue of) . 322 Pomona (Statue of) . 1 . 332 Polycles ..... 114 Polycletus .... • 78, 80, 98, 1 14 2 A 354 INDEX. PAGE Polydorus ......... 142 Polyhymnia (Statue of) 112 " Polyphemus on the Rocl^ )) 322 Pompey (Bust of) • 182 Poniatowski (Statue of) 262 Pope (Tomb of) 277 Porta (Giacomo della) 145 Poucher (Tomb of) . 291 Pradier (James) 332 "Prayer" 332 Praxiteles 87, 90, 93, 105, 108, no, 126, 130, 133, 144, 152, 209, 28s, 324. " Presiding Spirits of the Games " ..... 122 " Praetorian Soldiers" (The, Bas-relief) • 194 Prieur (Barthelemy) .... • 309 " Progress of Civilization " (Bas-relief) . 270 " Prometheus and the Vulture " . • 322 Psammetichus-Mouneh (Statue of) . 28 " Psyche and Cupid " • 324 deserted by Cupid • 331 (Statue of) 324, 332 with the Lamp . ■ 326 " Pteron " (The) • 152 Ptolycus . . 81 Paget 220, 286, 307, 310, 312, 313, 314, 315, 316, 320, 321, 322, 323. 334- Pupienus (Statue of) ...... 190, 197 Pythis • 152, 153 Ra (Figure of) . 30 Ra-em-Ke (Statue of) • 7, 9 Rameses-Meiamun (Statue of ) . . 26 Rameys (The two) .... • 333 Ra-Nefer (Statue of) . 41 " Rape of a Sabine " • 294 Ranch (Christian) .... X 255. 2 56, 257, 260 Ravi (Jean) ..... . 289 Rene Birague (Tomb of ) . • 303 " Repose in Egypt " (Afte r A. Diirer) . 251 INDEX. 355 Rhsecus . Rhytons . Richelieu (Bust of) Rietschel (Ernest) " River god pouring water from Roland (P. L.)i Roman (P. L.). Rome (Vases found at) Rosetta Stone (The) . Rotator (The) . Rotrou (Bust of) Roubiliac Rousseau (Jacques) . (Bust of Jean -Jacques) Rowe (Tomb of) Rude (Fran5ois) Sabina of Steinbach " Saint Andrew before his Cross " Saint Sebastian at the Pillar" (Statue of) Sakkara (Pyramid of) Salmacis (Statue of). Samoun (Sepulchres of) Sansovino (Jacobo Tatti) Sappho (Figure of) Sarcophagi Sarrazin (Jacques) Saxe (Marshal, Tomb of) Satyrus . Scarabseus Schadow . Schafra (Statue of) Scharnost (General, Statue of) Schuffer (Sebald) Schwanthaler . Scopas . Sculptors of Greece (Statues of) Scyllis .... his urn " 202, 205, ■ACE . 74 . 66 . 316 255, 260 321 329 330 66 38,3^ ), 40 135, 136 321 279 322 326 277 332 249 322 322 205 9, 40 114, 329 t ;, II 206, 2 20, 224, 226 142 • 34, 35, 38, 193 ■ 307, 310 280, 326 152 32 255 . 8, 9, 41 • 257 • 250 255 I 26, 130 152 , 260 7 h 78 35G INDEX. PAGE S^b (Figure of) . 30 Sebald (Saint, Baptisteiy of ) . . 250 ■ (Saint, Tomb of ) . . 250 Seguier (Bust of ) . . . • 307 Selinuntium (Temple of ) . • 43 Sepa (Statue of ) . • • • 9, 27 Septimus Severus (Bust of) . 192 " Sermon of Saint PauJ at Athens " . .305 Sesurtasen (Statuette of ) . . 26 Seti I. (Tomb of ) . . 29 II. (Statue of ) . . .27 Seth (Figure of) ... . 27, 30 Sethos (Statue of ) . . 27 'Sevekhotep (Statue of ) . 26, 29 Shakespear (Tomb of ) . 277, 278, 280 Sheemakers ..... . 276, 278 " Shepherd Phorbas carrying away the youn g Oedipus " . 329 Sheridan (Tomb of ) . • 277, 278 " Siege of a Town " (Bas-relief) . . . 56 Siena (Pulpits of ) . . 202 Sigean Inscription (The) . • 155 " Silenus with the young Bacchus " . 114 Simart (Charles) .... • 333 Simmias ...... . . 90 Siumutf (Head of) 36, 37 " Sleeping Penelope " (The) • 331 Sluter (Claux) . 267 Smilis of ^gina . 81 Socrates (Statue of) . . 120 .Sola (Antonio) .... • 247 Sopers . . . 269 Sophroniscus ..... • 159 Sphinx ...... • 5. 27, 41, 45. 53 Spartacus (Statue of) • 333 Spenser (Tomb of ) . . 277 Spy (The) • 135, 136 Stanhope (Tomb of) . 274 " Statuae Iconicse " .... \i8, 182, 187 'SteL-e" . . 5. 32, 34, 35 INDEX. 357 Strasbourg (Cathedral of) . Strazzi .... " Struggle between Saint George and the D " Suovetaurilia " (Bas-relief) Susannah (History of, Bas-relief: Synnoos . Tablets (Assyrian) . Taho (Sarcophagus of) Tapheru (Figure of) Taur (Figure of) Tauriscus Telecles . Terpsichore (Statue of) Teti (Statue of) Texier (Jean) . Thalia (Statue of) Thebes (Sepulchres of) Theocles . Theodorus " Theseus killing the Centaur Eurytion " conqueror of the M?hotaur . Thevenin de Saint Leguier (Tomb of) Thierry (Jean) .... Thomas ..... Thompson (Tomb of) Thorwaldsen (Albert Bartholomew) Thoth (Figure of ) . "Tiber "(The) Tiberius (Statue of ) . TimosithuDs (Statue of ) . Timotheus .... Tiridates. .... " Titan struck by thunder " Titus (Statue of ) . Tomb by Puget " Toro Farnese " (The) Torregiano .... Torso (The Belvedere) PACE • 244 • 237 )ragon )J . 290 • 194 • 269 . 81 • 53, 54, 57, 59 • 35 . 29 30, 35^ ■ • 147 • 74 • 255 . 28 . 291 • . 121 "> 36 ■ 78 74, 75, 76, 78 • 234 233 234, 235 . 290 . 321 • • 334 • 277 82, 2 37, 261 262, 263 • 30 • "3 . 188 . • 79 • . 152 . . 191 • 322 . 190 - 315 146, 149 181, 314 224, 239, 240, 273, 2S0 • • • 143, 175 358 INDEX. " Transfiguration of our Saviour " Trebatti (Paul Ponce) Tremouille (Charlotte, Tomb of) "Tritons" ' ' Triumphant Rome " " Triumph of Maximilian II." "Truth" (Statue of) Turenne (Tomb of ) . Un-Nefru (Statue of) " Union " (Statue of) Urania (Statue of ) . Urban VIII. (Tomb of) . " Ulysses bending his Bow " Van Bogaert (Martin) Vase (The Grecian) . with three Graces Vases (by Cellini) (Etruscan) Vela Venus of Amathus . Anadyomenes . at the Bath Callipygos of Capua . (The Chaste) . (A Draped) Euplcea . Genetrix . of Knidus leaving the Bath a Libertin of Medici of Melos . . .92 • of Praxiteles ■ of Troas . Victrix Venuses (Two Marine) PAGE . 241 • 308 . 298 . 186 • 251 308, 331 . 227 . 28 . 308 . 112 . 227 • 322 • 321 . 61 303. 304 226 64, 65 • 237 • 97 122 • 325 • 144 • 144 . 148 . 105 •• 105 • 105 80, 97, 105, 324 136, 138 • 105 93, 128, 129, 130, 140, 145 93. 94, 95, 97, loi, 104, 129, 140 • 130 • los 92, 104, 105 . 105 INDEX. 359 Verrocchio (Andrea). Vesta . . . " Vetri Antichi " " Victories " (Six marble) . Victory (A, by M. Angelo) "Victory" (A Winged) . Victorious Alexander (Statue of) Vigarni (Filippo) Vinache (Joseph) Vine (The Golden, of Sardis) "Virgin adoring the Infant Saviour" (Bust of the) . holding the Holy Child " nursing the Infant Jesus" Vischer (Peter) Visitation (The, bas-relief) Voltaire (Bust of) (Statue of) Vulcan (Statue of) "War". Warren (Ehz. Tomb of) Washington (Statue of) Watt (Statue of ) (Tomb of) Wellington (Equestrian Statue of) (Statue of) Westmacott (Sir Richard) . Wiener .... Wilberforce (Tomb of) Wilkie (Statue of ) . William III. (Tomb of) . Wolf (The Etruscan) Wolfe (General, Tomb of) "Wrestlers" (The) . Wyatt (Tomb of ) . Xanthus (Monument of) . YoRCK (Statue of ) . 75. lOI, '0J> [34, PACE 206 68 257 218 173 314 239 322 75 205 329 246 214 250 291 328 325 294 330 280 328 280 275 272 272 271 269 275 271 273 186 274 141, 229, 235 . 276 150. 151 • 257 J70, 360 INDEX. " Young Fisher dancing the Tarantella " playing with a Tortoise " . " Young Girl frightened by a Snake " with the Stag " Young Hunter playing with his Dog " wounded by a Snake ■" Young Neapolitan Dancer " . " Zephyrus carrying off the Sleeping Psyche " Zeuxis ....... " Zodiac of Denderah" (The) . jj' - 256 . 118 39, 40 THE END. London: printeo by wiLLrAM clowes and sons, STAMFORD STREET AND CHARING CROSS. UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. J Vndcrgra Libr^ '"■lEWALS AUG 7 APR 3 1987 AUG ' '•-- ' O-llRl Ik AUG21tW JAl FEBl JUN JAN Form L9-4! f m m '8 i r t r liiiiiiiiii 3 1158 00322 5488 4 % AA 000 281 510 8 i illil