DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5253#0306
SCULPTURE IN THE NORTH. 273
and in the bronze priestess found at Tegea a resemblance may be traced to
the stiff, precise drapery of the Hippodameia and the Athena of the Olympia
metope.
But, whatever the final light which may be thrown upon the connections of
these marbles, they already, like the temple structure for architecture, glori-
ously fill up a gap in the history of Greek sculpture just before it had reached
its prime. While failing to meet the highest aesthetic demands, they lay the
foundation-stones, and show us how many and varied were the tasks upon which
the archaic sculptor ventured as he smoothed the way to the summit. Although
he could not express individual passion, still he caught the general scheme,
handing it on to be perfected by later times. Although he could not give the
full benignity of the god, and his radiant character, still he made him nobler
in form than mortals. Although he could not purge his realism, the fountain-
source of his inspiration, of all its dross, still the stream was clearer which
flowed from his creations; and we cannot fail to recognize here one of the
great tributaries of the full-flowing art-current of the early half of the fifth
century, which should bear on its bosom a Pheidias.
Passing from Olympia, we turn to consider art during the early half of
this fifth century in the more northern parts of Greece. From Naupactos in
Locris are the names of but two sculptors, Menaichmos and Soldas, who
executed an Artemis Laphria in gold and ivory as hunting.477 From Thebes
in Bceotia was one Pythodoros, who executed for the Temple of Hera at
Coroneia a figure of the goddess, bearing on her hand Sirens.478 Ascaros, also
from Thebes, executed a thank-offering to stand in Olympia, commemoratin
the Phokian victory over the Thessalians. This offering was a Zeus crowned
with flowers, and bearing a thunderbolt.479 This latter artist, who lived in the
time of Xerxes, was probably the scholar of some Sikyon master. Two other
sculptors from Thebes, Aristomedes and Socrates, gain interest as connected
with their great countryman, Pindar, who piously dedicated, at the entrance to
his dwelling, a temple to Kybele. The statue of the goddess seated on a
throne, for this temple, was erected by these artists ; and Pausanias tells us
that statue and throne were of one block of marble.4So
Two monuments have been found in Bceotia which date certainly from this
age, but the names of their sculptors are unknown. A fragment of the tomb-
stone of one Agasinos was found near the modern village Proskyria, and is now
built into the wall of a church.4Sl We see the worthy man leaning on his staff,
as in the tombstone by the Naxian Alxenor ; but here the head is erect, and
the drapery more natural and flowing in its lines. The shoulder and arm are
admirably rendered; color still on the cornice above, and on beard and hair,
shows that painting played an important part in its finish ; but the face has,
no doubt, suffered severely in the process of cleansing. The Pentelic marble
b
and in the bronze priestess found at Tegea a resemblance may be traced to
the stiff, precise drapery of the Hippodameia and the Athena of the Olympia
metope.
But, whatever the final light which may be thrown upon the connections of
these marbles, they already, like the temple structure for architecture, glori-
ously fill up a gap in the history of Greek sculpture just before it had reached
its prime. While failing to meet the highest aesthetic demands, they lay the
foundation-stones, and show us how many and varied were the tasks upon which
the archaic sculptor ventured as he smoothed the way to the summit. Although
he could not express individual passion, still he caught the general scheme,
handing it on to be perfected by later times. Although he could not give the
full benignity of the god, and his radiant character, still he made him nobler
in form than mortals. Although he could not purge his realism, the fountain-
source of his inspiration, of all its dross, still the stream was clearer which
flowed from his creations; and we cannot fail to recognize here one of the
great tributaries of the full-flowing art-current of the early half of the fifth
century, which should bear on its bosom a Pheidias.
Passing from Olympia, we turn to consider art during the early half of
this fifth century in the more northern parts of Greece. From Naupactos in
Locris are the names of but two sculptors, Menaichmos and Soldas, who
executed an Artemis Laphria in gold and ivory as hunting.477 From Thebes
in Bceotia was one Pythodoros, who executed for the Temple of Hera at
Coroneia a figure of the goddess, bearing on her hand Sirens.478 Ascaros, also
from Thebes, executed a thank-offering to stand in Olympia, commemoratin
the Phokian victory over the Thessalians. This offering was a Zeus crowned
with flowers, and bearing a thunderbolt.479 This latter artist, who lived in the
time of Xerxes, was probably the scholar of some Sikyon master. Two other
sculptors from Thebes, Aristomedes and Socrates, gain interest as connected
with their great countryman, Pindar, who piously dedicated, at the entrance to
his dwelling, a temple to Kybele. The statue of the goddess seated on a
throne, for this temple, was erected by these artists ; and Pausanias tells us
that statue and throne were of one block of marble.4So
Two monuments have been found in Bceotia which date certainly from this
age, but the names of their sculptors are unknown. A fragment of the tomb-
stone of one Agasinos was found near the modern village Proskyria, and is now
built into the wall of a church.4Sl We see the worthy man leaning on his staff,
as in the tombstone by the Naxian Alxenor ; but here the head is erect, and
the drapery more natural and flowing in its lines. The shoulder and arm are
admirably rendered; color still on the cornice above, and on beard and hair,
shows that painting played an important part in its finish ; but the face has,
no doubt, suffered severely in the process of cleansing. The Pentelic marble
b