The Indianapolis times. [volume] (Indianapolis [Ind.]) 1922-1965, 1927-12-22

IF we have spoken so much of the
L Parthenon 1t is because we have
taken its as a symbol of Greek
are and Of Greek civilization at its
best; but we must not suppose that
it was alone among the architectural
achievements Of the Greeks.
On the Acropolis itself a quite
different style Of architecture from
the mighty Doric had its triumph
in the Erectheum and the Temple
Of Athene Nike; here were the
slender Tonic" columns that had
come from the Greeks of Asia
Minor, with a base for each column
and a graceful "volute," or curling
ear-like top to form the capital;
and here, on the Erectheunl, almost
intact, is the famous Porch Of the
Maidens," held up by six sub
stantial women called the Caryatids
women Of Caryae, probably priest
esSes).
One might find fault with this
Oriental use of human figures as
pillars for an edifice; but see the
strainless adaptation of these ladies;
they do not seem to feel the weight;
they are strong, broad shouldered
women, not the frail and slender
lassies Of our idolatry.
And down on the plain stand the
great of the Olympieon, or Temple
Of the Olympian zeus, built and re-
built by twenty generations of
Greeks and Romans, and illu-
minating. with magnificent flower
like capitals, that "Corinthian''
style which had come to Athens
from Corinth, and presumably, in
its origins. from Egypt and Crete.
So within a little distance three
forms of columnar architecture
found completion.
Such was one part of the work OF
the age of Pericles.
Never before and never since did
democracy spend so lavishly on art.
Indeed, the people complained of
this expenditure; had not the funds
of the Confederacy been voted for
war?
So they questioned Pericles in AS
sembly, and for a time ct seemed
that they would call halt on this
orgy of perfection.
But PericleS, said Plutarch, clev-
erly persuaded them, saying: DO
not then put this expense to the
debt of Athens, but to mine. and
I will inscribe my name" (and not
that of the Athenian people, ION
all public buildings"
when Pericles had said this, !"
Plutarch tells, 1.-The people. either In
admiration Of his muniflcence Of
manner or being eager to bear their
share in the glory Of their buildings,
shouted with one accord that he
should spend as much on the build
ings as he pleased"
Nevertheless, the power of PericleS
waned; one after another his scep-
tical friends we're prosecuted and
exiled Finally Phidias himself was
indicted on a charge of embezzling
gold from the statute of Athens
ParthenoS.
When the artist refuted this by
having the gold weighed, he was
indicted again for having placed on
the shield of the statute the figure
of himself and PericleS.
On this charge he went to prison.
and there, broken with the toll of
creative years and the ingratitude
Of the mob, he died. The world
does not readily forgive a man for
being great until he is dead.
FROM MYRON TO sCOPAS.
IF sculpture. as Santayana thinks,
l. is the greatest of the arts, then
the glory of Greece is secure, for in
sculpture she has no rival
Never since have artists so well
portrayed the strength, the health
and the beauty of the human frame.
and never since has the body been
in such profound harmony with the
mind. The unity and proportion of
ell parts Of the organism, the smooth
cooperation of all the powers Of flesh
and soul-this was the ideal of the
Greeks in life and their ideal in art.
They would show man at one with
himself.
Plato said that the wise man will
wish for three things above al 9TH
ers: First, to be healthy; second, to
be beautiful; third, to be rich with
out dishonor.
Even the intellectuals in Greece