Greek bronzes . Fig. 21.—Marble Jtkene Fig. 22. Athen} Parthenos. Bronze Museum. that they are each and all perfectly consistent with the time and mannerof Pheidias. They are not to be classed with those capricious changesin the aspect of Athene which occur in late Greek art. In my judgmentthe whole statuette is as true to the style of Pheidias as could be expectedof so minute a figure. 56 GREEK BRONZES We are accustomed to think of Pheidias as a sculptor of colossalstatues of gold and ivory, or of great compositions in marble brightenedby colour and by acce
Greek bronzes . Fig. 21.—Marble Jtkene Fig. 22. Athen} Parthenos. Bronze Museum. that they are each and all perfectly consistent with the time and mannerof Pheidias. They are not to be classed with those capricious changesin the aspect of Athene which occur in late Greek art. In my judgmentthe whole statuette is as true to the style of Pheidias as could be expectedof so minute a figure. 56 GREEK BRONZES We are accustomed to think of Pheidias as a sculptor of colossalstatues of gold and ivory, or of great compositions in marble brightenedby colour and by accessories of metal. We seldom associate him withsculpture in bronze, though, in point of fact, a bronze statue in theatmosphere of Greece would have been resplendent enough to range evenwith figures of gold. As regards his famous Athene Promachos on the Acropolis of Athens,we are told by an ancient writer, Pausanias (i. 28, 2), that this statuehad been erected as a monument of the victory over the Persians atMar
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