Six Greek sculptors . asters, among them some byScopas; and the fact that others were by Praxitelesand Bryaxis suggests that the Cnidans took advantage ofthe presence of these famous sculptors at Halicarnassus,just across the gulf, where the Mausoleum was beingbuilt under their direction, and were thus enabled toenrich the shrines of Cnidus with works of the most dis-tinguished masters of fourth-century art. The Demeterevidently belongs to this time and to this set of a more careful examination will justify us ingoing even further. The statue is the one selected byBrunn in his
Six Greek sculptors . asters, among them some byScopas; and the fact that others were by Praxitelesand Bryaxis suggests that the Cnidans took advantage ofthe presence of these famous sculptors at Halicarnassus,just across the gulf, where the Mausoleum was beingbuilt under their direction, and were thus enabled toenrich the shrines of Cnidus with works of the most dis-tinguished masters of fourth-century art. The Demeterevidently belongs to this time and to this set of a more careful examination will justify us ingoing even further. The statue is the one selected byBrunn in his Griechische Gotterideale to illustrateand to justify his criticism of the common assumptionthat, while Greek art is supreme in beauty of form, itis surpassed by Christian art in depth of subject lends itself to such comparison, since itoffers an expression of sorrow such as is alien to a greatdeal of what is most characteristic of Greek , however, we have, as in this case, a deviation Plate EIII. HEAD OF DEMETER OF CNIDUS, IN BRITISH MUSEUM To face p. 192 SCOPAS 193 from the healthy and normal type, it is instructive tonotice in what the deviation consists. Here we seethe impersonation of the mother mourning the loss ofher child ; and the beauty of the form and the subtletywith which the sorrow is expressed may serve at firstsight to conceal the intensity of the expression. Butthe power is there, and if the effect seems mild incomparison with the emaciated and ascetic forms andthe distortion of feature which we sometimes see inChristian art—and, it may be added, in some productsof Hellenistic art—yet the very restraint which theartists sense of sculptural fitness has imposed uponhim should vreally increase our appreciation of hiswork. For, when we study the face closely, there iseven emaciation to be found in the wasted tissuesaround the eye-socket, and in the slightly hollowcheeks; but it is rendered with such restraint and re-finement that we are ha
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