DOI Page / Citation link:
https://doi.org/10.11588/diglit.9177#0163
IX
THE PROGRESS OF SCULPTURE
143
made in the highest sense artistic and beautiful, as well as
thoroughly characteristic of the individual, and of the class
to which he belongs.
The rendering of hair and beard in sculpture must always
be difficult and almost paradoxical. For when we look at
these outgrowths we do not observe definite forms, but rather
light and shade. And to render in such hard materials as
marble and bronze soft and flowing locks made up of multitudes
of hairs seldom quite straight is a task almost beyond human
capacity. Archaic Greek art, like the art of Assyria and
Egypt, took the only course open to it and rendered the
strands of hair as a sort of pattern, by spirals and waves and
the like. (See Figs. 18, 35.) Above the forehead of early
statues one finds rows of curls formed like snail-shells, or like
corkscrews, or arranged in wavy patterns. Long curls, three
on each side, fall over the chest, alike in men and women, and
the mane of long hair behind falls straight and square, only
marked with parallel waved grooves to show that it is made
of separate hairs.
After the Persian wars, the fashion of wearing the hair long
gradually gave way among the men. Yet in the art of the
first half of the fifth century long hair was still usual, even in
the case of athletes; it was cut short over the forehead, and
the long locks which fell down the back were worked into a
plait which was wound round the head. As contrasted
with these athletes, young gods, such as Apollo and Hermes,
still usually had curls falling from the forehead and long hair
flowing over the shoulders. The hair of women was done up
in a variety of nets and kerchiefs, and was smooth over the
brows (Fig. 40).
In the great age the artist studied man from the outside.
In the third century there came a change. With the growing
individualism of the people, and with the establishment of
great institutions for learning and research like the Museum
THE PROGRESS OF SCULPTURE
143
made in the highest sense artistic and beautiful, as well as
thoroughly characteristic of the individual, and of the class
to which he belongs.
The rendering of hair and beard in sculpture must always
be difficult and almost paradoxical. For when we look at
these outgrowths we do not observe definite forms, but rather
light and shade. And to render in such hard materials as
marble and bronze soft and flowing locks made up of multitudes
of hairs seldom quite straight is a task almost beyond human
capacity. Archaic Greek art, like the art of Assyria and
Egypt, took the only course open to it and rendered the
strands of hair as a sort of pattern, by spirals and waves and
the like. (See Figs. 18, 35.) Above the forehead of early
statues one finds rows of curls formed like snail-shells, or like
corkscrews, or arranged in wavy patterns. Long curls, three
on each side, fall over the chest, alike in men and women, and
the mane of long hair behind falls straight and square, only
marked with parallel waved grooves to show that it is made
of separate hairs.
After the Persian wars, the fashion of wearing the hair long
gradually gave way among the men. Yet in the art of the
first half of the fifth century long hair was still usual, even in
the case of athletes; it was cut short over the forehead, and
the long locks which fell down the back were worked into a
plait which was wound round the head. As contrasted
with these athletes, young gods, such as Apollo and Hermes,
still usually had curls falling from the forehead and long hair
flowing over the shoulders. The hair of women was done up
in a variety of nets and kerchiefs, and was smooth over the
brows (Fig. 40).
In the great age the artist studied man from the outside.
In the third century there came a change. With the growing
individualism of the people, and with the establishment of
great institutions for learning and research like the Museum