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

314 THE AGE OF PHEIDIAS AND OF POLYCLEITOS.

the side, assuming a pose difficult to maintain, as experiment will prove. More-
over, the poise of the trunk is not made to harmonize with this concentration of
weight on one leg; the shoulders being on a level, instead of naturally follow-
ing the bend of the knee. Severity also appears in the pose of the head,
which, although not painfully erect, as in older works, does not bend, as in later
ones. In these archaic traits of his temple-statue, Pheidias seems still to have
been influenced by tradition. And yet, in its standing position, it seems an
advance on the seated pose of his Zeus. So great is the contrast of this
Athena to the dramatic, tempestuous compositions of the Parthenon pedi-
ments, that we are tempted to believe that the study for it was made at an
earlier period, — perhaps when the building of its temple was begun, about
447 B.C. The sculptural decoration of the pediments would naturally be
undertaken later, as the building advanced, when the master had grown into
that marvellous freedom evident in every line of the Parthenon groups. That,
however, so emphatically a religious work of art should have retained the old
traditional type, and have been represented as standing still in imposing quiet
while receiving the offerings and prayers of worshippers, seems most appro-
priate ; besides, its very size would have rendered excited motion out of place,
especially within the temple. But, in order fully to realize the master's wisdom
and taste, we must call to mind again the setting of imposing columns, by which
his colossus was immediately surrounded on three sides ; the incorrectness of
the old plans of the interior, which made the statue stand in a niche, having
been shown by Dorpfeld's admirable investigations (see p. 229). This arrange-
ment of the columns around the statue was thus richer than in the older tem-
ple at Olympia, where the rear row was omitted. As at Olympia, however, the
golden colossus was set out some distance into the enclosure ; the pedestal hav-
ing been 4.17 meters in front of the rear colonnade, but approaching nearer the
columns at the side. The statue, lighted by the opening in the roof, stood re-
splendent with color, and abounding in costly decorations : we would fain recall
its surfaces in agreeable contrast to the darker, deep-red background, and
its gently varying outlines, set off by the regular fluted forms of the columns
occurring at intervals about it. Directly in front of this beautifully placed
image of the goddess was, as at Olympia, a space partitioned off, where, in all
probability, stood the altar for sacrifice.

In Pheidias' conception of the goddess, we have a worthy exemplification of
the artistic tendencies of his sublime age. Athena is no longer the fierce war-
rior of olden times, brandishing her lance, or raising her shield, as on archaic
vases and reliefs ; but she blesses her people in peace. The barbarian being
vanquished, her implements 01 war are lowered. Victory flies from her hand,
freighted with good things ; and the serpent, symbolical of the people, finds
shelter at her feet. The whole statue, even to the remotest details, seems to
sound a hymn of praise to the Athenian deity for the triumph of right over