The diamond drill. (Crystal Falls, Iron County, Mich.) 1887-1996, 1888-08-01


The legs In the earliest specimens
are not wrought out separately; later we
find both legs and feet finely chiseied In
the round, but the statue does not yet
possess that light and graceful posture OF
that more free treatment In which the
weight OF the body rests upon one leg,
while the other Is free, gently bent and
touches the ground only with the ball OF
the foot or the toes.
In these archaic statues the head 10
placed straight on the body without in-
clinatlon orturn. The forehead Is retreat
ing, the nose protrudes the eyes stand
out. Later, when attention was to be d.
rected to the spiritual expression OF the
eye, II was placed In socket, In imitation
OF nature. The mouth is closed Ia the
earlier types, later partly open. A general
feature OF all archaic statues Is the shipper
upon the face, whether gods or men, the
dead or the living are 20 be represented.
IL Ia the FIRST attempt 10 represent the
soul-lIfe and springs from the motive TO
give the form the appearance OF friendli-
ness and animation. The influence
Of Egyptian art upon these prim-
five statues Is traeeable In the
unnaturaly high position OF the ears,
the forward position OF the left leg,
the hanging down Of the arms by the sides
OF the body, the narrowness OF the hips In
distinction from the breadth OF the shout
ders and In the conventional treatment Of
the hair with its way bands aud stiff
locks.
Among these archaic types are TO
be noted the seated statues which line
the avenue from the harbor Of Panormos
TO the sanctuary OF Apollo near Miletus
and which are 10 be seen Ia the Lycian
room Of the British museum. One OF these
Is the portrait-fgure, the Oldest known
IN Greek art, OF Chares, lordcf Teichioussa.
With all that is rude and stolid IN this
figure there Is a certain advance 10 be
marked In the details OF the decoration
which shows decided Assyrian influence.
Many OF these details, however, II Is
evident from certain lacks aud Omissions,
were 10 be supplied by the application OF
colon which Glled out and made clear
what was left unexpressed by the sculp-
tor.
Marking another step in advance and
especially interesting as evidence for the
application OF color to marble are the
Archaic statues found imbedded ia the
soil on top Of the Acropolis about two
years ago, and representing probably
priestesses or attendants OF the temple of
Athena. To be sure, the conventional
smile still fingers upon the face, the treat
ment Of the hair, with It's three braids
over each shoulder, is stiff, the eyes have
not lost wholly their almond shape, yet
the entire expression OF the countenance
aud the treatment Of the drapery show
decided advance upon the type already de
scribed.
The next stage OF progress is marked by
the so-called Hginitan marbles, preserved
Ia the galleries Of Munich. We observe
In these figures certain constraint. The
full expression Of feeling and freedom OF
movement has not yet been reached, but
long step has been taken from the stiff
and wooden posture OF the earlier types.
The anatomy OF these heroes is marvel
OF exactness and realism. Details OF the
muscles and other relnements OF the
surface Of the body are not neglected.
The narrowness Of the tanks Is dSubtless
a concession TO the old tradition, and
leanness OF certain figures also lends
an archaic touch. Especially mol ceable,
however, is the superior treatment Of the
body as compared with that Of the face.
The large protruding chin, the conven-
tional arrangement OF the hair and the
staring eyes remind US OF the earlier
| period.
But this contrast remains. Greek
sculpture proceeds by way directly
opposite to the modern. With us mod
erns the FIRST and great aim Is to make the
head as perfect and llfealxe as possible;
the Greeks began with the body. To rep
resent this "a perfectly as possible, true TO
the life, was the nrSt object. II was re-
served for later period TO make the life
OF the soul and spirit as tangible as posi-
BILE.