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

284 ARCHAIC SCULPTURE.

study of their classics, and by the cultivation of music. The Homeric epos
awakened the heroic sense and a love for great deeds ; while the hymns and
lyric verse, with their pious aspirations, and rich fund of holy legend, aroused
the religious sentiment in the breast of each free-born Athenian boy. Thus
public-minded citizens were produced, broad in the scope of their character,
and manifold in their interests ; and the effect of this liberal training was to
make the Athenians, first of all, citizens, and after that merchants, sailors,
etc. Moreover, they clung affectionately to their ancient gods, who they be-
lieved had aided them in the ordeal of war, and given them the victory at
Marathon. Pan, of old an honored Athenian deity, came, they believed, to
their aid; and Theseus arose from the underworld to join his people in battle.
It was said that the heroes Marathon and Echetlos were seen fighting even in
the ranks. Simplicity also marked this age. The rich dwelt in unpretending
houses, and only the gods were worthy of dwellings of beautiful stone and fine
workmanship. The adherence of the Athenians to their old divinities was,
moreover, mingled with deep, intensely human feelings. This more truly
human spirit showed itself in the humblest departments of art. The Attic
vase-painters no longer keep the stiff, conventional groupings, and well-nigh
exclusively typical mythical scenes, they had learned from their neighbors.5°7
They ascribe far more of the poetry of human life to the actions of their gods
and heroes, and introduce, in addition, into their art, every-day scenes, such as
pleasant pictures from the schoolroom, and the like. We long to be able to
picture to ourselves, in detail, the Attic life of this century, which was bringing
to blossom the flowers of a civilization richer than any that had gone before.
To realize its perfect bloom, we need but "call to mind the names of the poets,
philosophers, and statesmen of this century,—yEschylos, Sophocles, Euripides,
Socrates, Aristeides, Themistocles, and Pericles ; and her sculptors,—a Myron,
a Calamis, and a Pheidias.

In daily life, as we are told, the ceremonious linen robes of the men of the
olden time, trailing upon the ground, came to be supplanted by a shorter,
lighter garb, consisting of a woollen under-garment without sleeves, and a four-
cornered mantle wrapped about the body, leaving the right shoulder bare.
The hair was no longer left to grow, and be adorned with a golden cicade, nor
the beard trimmed into a prim and pointed shape. The solemn, stately gait
while treacling the street, with slaves bearing cushioned chairs, was no longer
in vogue. Dress and life became adapted to the earnest, active duties of
citizens in a new state fermenting with fresh life.

According to tradition, the Daidalids had long practised their trade in Athens :
but in the sixth century, according to the monuments, the influence of Asia
Minor and the islands, especially Paros, prevailed in sculpture ; and thus seeds
pregnant with rich fruit had been sown on this susceptible Attic soil.

Under Themistocles, during the first decade of the fifth century, the walls