Gardner, Percy: The principles of Greek art (London, 1924)

VI

THE TYPES OP THE GODS

93

symbolism gave place to an incorporation in the figure itself of
its divine attributes. The swiftness of the deity is no longer
represented by the addition of merely symbolic wings, but
is seen in her tall
and strongly knit
frame, full of an ac-
tive litheness. The
power over the ani-
mal creation which
belonged to the god-
dess is no longer
represented by plac-
ing two lions or two
stags in her hands,
but ' by the deer
which runs beside
her, no longer a
mere captive, but
a willing votary.
Even barbarous art
might easily repre-
sent a deity of wild
nature as drawing
the bow, and such
a figure may be
found on Myce-
naean gems.1 The
superiority of the
Greek rendering lies in the harmonious and ideal character
of the statue, which represents not a mere woman, but a
being of perpetual youth and vigour. It differs from the
works of barbarous art as a Greek poem differs from a
rudely cut pictographic legend.

Fig. 13. —Artemis of Versailles.

1 Furtwangler, Antike Gemmen, PI. II., 24.