Mitchell, Lucy M.: A history of ancient sculpture (New York, 1883)

2o8 ARCHAIC SCULPTURE.

explained by supposing that the sculptor copied older and already established
types. This original type, as we may conclude from the peculiar treatment of
the earliest of these reliefs, must have been in wood. The figures have some-
thing unbending in the edges, board-like in their surfaces, and are notched in
the folds. Moreover, the Laconian land is known to have been especially rich
in most ancient wooden figures of various kinds. The so-called Spartan stele,
which has been the subject of much discussion, has the same general char-
acter as the works already described.343

In addition to their dependence upon wood, it is thought by Brunn, that in
the breadth and sharpness inherent in the style of these works may be discerned
a peculiar characteristic of what he deems Peloponnesian art, and which, he
thinks, sought, not a free imitation of nature, but its subjugation to the severe
lines of architectonic build ; while the pleasing details of drapery and the like
have led others to see in these old works the influence of the old Ionian, indi-
cated in the tradition connected with Bathycles from Magnesia. The striking
resemblances in subject, and some details of garment, to the Harpy monument,
— those sculptures found in Lykia, doubtless traceable to Ionian influence, —
go farther to confirm the theory, that here early influences from Asia Minor
were at work.

That in the very olden time the sculptors of ancient Laconia attempted
portraiture, appears from a small archaic marble head, now in private posses-
sion, which was found in Meligu, a village on the site of ancient Thyrea.344
Although exceedingly crude, we feel that the artist has tried to represent the
characteristics and friendliness of life, while leaving many details to be
expressed by color. A small bronze discovered in 1871 at Kosmasanct (Seli-
nus), in the midst of Laconia, and now belonging to the Archaeological Society
at Athens, is another interesting witness to the early art of this part of the
land.345 It represents a warrior in armor, wearing a tall, plumed helmet, close-
fitting breastplate, and greaves. His hair falls in a long, heavy mass down his
back, and a pointed beard hangs from his chin. The right arm, doubtless, once
held a lance ; and the left is lowered, as though carrying a shield. He places
both feet flat on the ground, the left slightly in advance, and has altogether a
martial bearing. The inscription surrounding the base tells us, that one
Carmos dedicated this figure, perhaps of himself, to the god Maleates,—a
name under which Apollo was worshipped in the Peloponnesos. The figure
has a precision of outline and lean firmness throughout which is peculiar. The
details of this well-preserved bronze, which appear through the patina, are,
moreover, subservient to the general build and conception of the whole, and
give this small figure a decided character and importance in the history of
ancient Laconian art. The shape of the letters of its inscription fixes its date
at about the end of the sixth century. A statuette of kindred firm style, and
equally fine workmanship, now in Berlin, was discovered at Olympia. This