The sun., 1910-05-08

show dlstinos survivals Of the awkward
ness and stiffness Of archaic schoola.
though they show sass ths premise that
was 10 bs fulfilled in other parts Of tho
building. such early mAsterpieOea No
tho head Of a warrior. probably kginetAn.
from the Athens AcropOlis. tho bronze
charioteer at Dolphi and the relief nom
the LudoviE throne arc studied and the
evolution from the rigid. hIoratiO attitudes
Of the Egyptians 70 the vitality modelled
figures in the round. bathed In light OF
the great Greeks. IL traced.
II may b. noted that Prof. Gardner 10
not pedant heavily burdsned with dry a.
dus, theories. Great art 10 for him. a. it
should he for all. a living art. an art
sufused with emotion and charged with
dynamic humanity. The deadly air Of
tho average college and university lecture
room and the still moro deadly cata-
combs thai are our sO-called mussums
make % classical art and literature
something it is not and never was.
Nietzsohs, a profound Greek scholar. has
let iy his arrows az the false teachings
of the classes and Il 10 q pleasure TO nnd
Prof. Gardner doing the sane in the
cause Of his beloved art.
lie has now led us a. far as MyrOn.
according 20 the common verdict OF
antiquity the earliest Of the great masters
Of Greek soulpturs. He was q native Of
Elsutherw. a town on the frontiers OF
Attioa and B0Otia. The dates Of HIS artis-
ito career can be fixed with certainty
by the Olympiads Of the victors whose
statues hs made. The traditional date
given by Phny which makes Myron .
contemporary Of POlyolitus ia evidently
wrong. His artistic activity may be
assigned 70 the first half Of the ffth
century B. c. Qulntilian declAres that
20 find fault with the -DisoObulua' argues
4 lack Of appreciation Of art. Quintilian
was riEht, yet how like an ART critic he
spoke. Tho "DtscObulus. the -Marsyas'
"a bronze statustts ls In the British Mu-
scum. the Hercules. Me metOps OF the
Parthenon: 'LApith and Centaur,' and
the -Diomsd With the Palladium at
Munich are Myrons. He rendered with
almost supreme certainty physical life,
especially athlstio typea. but ancient
writer's denied TO him the power Of sug-
Resting mental or emotional states.
Phidias was probably born about the
end Of the sixth century b. C. On The
shield OF the -Athsne PATthsnos' there
il said TO be q portrait Of him. that OF .
bald headed old man In full possession
Of his vigor. In his work was all that WA
best and most characteristics Of Atttc
art. He is said TO have studied painting
in his youth. and the lmoWledge he thus
gained was useful In designing the or
and aocessories Of his
colossal statnsa. His chief statues are
studied. Polyclitus IL the most typical
Of ell Greek soulptors and perhAps for
this very reason. his personality may seom
at frat sight bess interesting than that
Of Olhers whose work was lees perfect.
We read that hia statues were almost
al Of a uniform type. that he affected
with monOtOny certain poses and pro-
portions. He said Successful attain
nent in art 10 the result Of minute ao-
rurAcy in a multituds Of Arithmstical
proportiOna.- He publiShed his theory
Of sculpture In a work entitled The
Canon Ne vas probably born In the
age Of the Persian WaFa, and his pupil
age would fan before 80 b. c. ThsrS v
a tradition that MyrOn. PhidiAs and
Polyclitus we're all pupils Of AgOlAdas
Of Argos. There 10 . sound reason for
believing that Polychtus fixed the type
Of Hera for all later art very much -
Phidias fixed that Of zsuB.
Phidias IL thu master who won for
Greek ART the most enthusiastic admira-
ton among modern artists and critics.
With Polyclitus II 10 his formal perfection
and technical skill which we're ideals Of GER
tain ancient critics: Praxiteles. however.
was probably In popular estimation Of
his own and later times the most famous
OF all Grosk sculptOrs. The sansuous
beauty Of form. the faoiie and swssping
lines % his composition ths personal and
individual charm Of bis statues all COM
binsd 20 make his works the most highly
prized in the 0rRco-ROman age. Need
We mention the -Hermes' At Olympia,
the sAphrodife " Cnidus- In the Vatican.
the -Satyr.' Apollo the Lizard Slayer
or the -Artemis BFauronia'
on the Acropols? None Of his works
can bs exactly dated. but they all ht
in with most probability 20 the time
before the middle Of the
fourth century B. C; thus. concludes
Prof. Gardner. he Was approximately
a contemporary Of Scopas. This lat
ter named 10 In many ways the most mod
ern q all ancient sCulptora; his works
give the most direct denial 70 the Oft
repeated assertion that Greek art lacks
and the power 10 express
emotion Soopas 10 the master Of pas
sion. whether IN the actual energy Of
strife or feeling or IN the character
stamped upon the features by q passion
ate nature His artistic career may be
slsigned 70 the years preceding the middle
Of the fourth century B. c. To tho
public hs IL probably BEST known by
tho reproductions Of tho LansdoWne
. 'HeFacles- There IL a chapter on Lysip-
pus. who. % IL is reported. said himself
that while others had made men a. they
were. he had made them a. they appear
70 the eye: the principle Of impression
ism. suggests Gardner. Lysippus was
prolific. The -ApoHyomenOs' IN the Vatl-
can IL a masterpiece familiar % lovers
OF art. az II the head Of Alexander In the
British Museum The book ends with
a discussion Of Hellenistlc scuIpturv
Il is excellently illustrated throughout
with photographic plates.
RnsLIn and HIA CIFeIe.
l. ..,-.,.s.ri,,y har afttAy ~ gtsEt, ,,.,a