The news & observer. [volume] (Raleigh, N.C.) 1894-current, 1902-02-04
GREEK ART his sUrJfCr.
DR., @ W. PasclIal Lectures at the Baptist
Female University.

students and visitors enjoyed a splen-
did lecture when they were addressed by
Dr. G.. W. Paschal. Of Make Forest Col
lege.
Or. Paschal began his lecture on Greek
Art" last night at the Baptist Female
University by referring TO the very gem
eral neglect OF art in our education, the
need of the cultivatio of the sense Of
beauty as we'll as any other sense. and
the desirabliity of instruction in drawing
N every public school.
In taking up his subject proper, he re-
ferred first to the home Of the Greeks,
the beauty of their skies, the purity OF
tic air that enyeloped them. the lowell
ress Of the scenery of their hills and
seas, the changing colors of their heaven
and their earth. whence came Greek and
Greek art.
He then referred briefly to the quick in
telligence and sprightliness of the Greek
mind and the Greek sense OF beauty The
first characteristic of the Greek, he said,
is his moderation indicated by his motto,
nothing to excess his sense of proper
ton, of fitness, his taste. The second
characteristic is his simplicity. AS has
been said his ideals We're limited ideals,
but they were realized ideals.
Greek art, he said, was consecrated
art--the Greek was devoted to art for the
gods sake All great art, he said, had
been consecrated art, not art for arts
sake alone
Turning now tc particular phases of
Greek art, he SAID that specimens of
Greek architecture were not wanting in
Raleigh among the private dwellings, but
the most conspicuous example is our cap
itol to which he had occasion several
times in the course of his lecture to re-
fer. He described the Doric and Ionic
columns. bet laid particular emphasis ON
the Doric-the Corinthan he referred to
as a later development He described in
particular the Acropolis at Athens as the
elimination of Greek architecture, hold
ing the finest of Greek sculpture to be
in the statue of Athene by Phydias.
He then briefly referred to the source
Of our knowledge of the sculpture of
Greece. These are first, references in
literature; second Roman models of the
originals which had been carried away TO
Rome; third. the originals themselves.
many OF which had been unearthed and
restored. The idealizing tendency in
Greek sculpture was next referred to. the
rogress from the first stiff and awkward
art to the complete and perfect pose, the
stimulus of the Olympic games IN the
development of perfect physical bodies 10
the art of the chisel in making those
terms immortal--the glory Of Greece
Referring to the great artists of this
grea. period, and their products, ito
these" he said. this great age, we must
look for Inspiration Later the excellent
ulIA psISulm 'suill 7lcIsu9Sep NoosIoJ
the greatness they inherited were weak
ness and incongruities
And last in Greek painting he said, we
are able to interpret Greek life better
than in any other way-theirs was the
great skill in grouping brought
its revival in literature and its living
stream is found in Goethe, Tennyson,
browning. So in modern art we must
depend on Greek models Raphael drew
his aspiration and fed his genius on
classic forms.