. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. llancient bronze, called from its owner the StroganoffApollo, are both considered to have been wholly or partlyimitated, is now, by some, supposed, as suggested by a .^\refiinniiiliii|iilfii,liil|i| German scholar, LudwigPreller, to have stood atthe apex of the pedimentof a temple at Delphi withthe statue called Dianaa la Biche (page 75, TheGenesis of Art-Form ), atone side, and that calledAthena of the Capitol (Fig. 37. page 76), at theother side. This would bein accordance with theanswer said
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. llancient bronze, called from its owner the StroganoffApollo, are both considered to have been wholly or partlyimitated, is now, by some, supposed, as suggested by a .^\refiinniiiliii|iilfii,liil|i| German scholar, LudwigPreller, to have stood atthe apex of the pedimentof a temple at Delphi withthe statue called Dianaa la Biche (page 75, TheGenesis of Art-Form ), atone side, and that calledAthena of the Capitol (Fig. 37. page 76), at theother side. This would bein accordance with theanswer said to have beengiven when the Gauls ap-proached Delphi, to thequestion of the peoplewhether the treasures ofthe temple should be re-moved. The answer was:I myself [meaningApollo] and the WhiteMaidens [meaning Athenaand Diana] will take care of that. Besides this, all of theGreek statues, even when not in groups, were more or lessliteral reproductions of others that had been in groups,or with which in some way, at least, the Greeks had come toassociate conventional meanings. The complete transition. FIG. 149.—VENUS LEAVING THE BATH: Capitol at Rome. See pages 76, 223, 225, 2S1, 2S2. AEPAESEXTA EV PAINTING AND SCULPTURE. 22$ from conveying this conventional meaning to a conditionin which they conveyed no meaning at all, took placeonly after the art had begun, in a very marked way, to de-cline. In the earlier reliefs and statues, for instance, bothBacchus and Venus were clothed, and characterized bythe dignity becoming a god. A convincing proof of thisis that almost all authorities—as a result, of course, oftheir study of these earlier representations—agree thatthe fourth form from the right, in Fig. 148, page 223,which is a copy of some of the figures of the gods carvedon the frieze of the Parthenon at Athens, representsBacchus, and that the third form from the right repre-sents Venus. Nor was this dignity wholly dropped when,as in the so-called Venus of Milo, the desir
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