Six Greek sculptors . osition. The subtle and varied symmetry withwhich the two sets of three figures balance each otherhas often been pointed out. But it is, above all, thesculptured forms of the extant figures that place theirauthor immeasurably above his predecessors, and causehim to be recognised by all artists as attaining a per-fection in sculpture such as has never been surpassed inany other age. His treatment of the nude male figure,as it may be seen in the Theseus and the Ilissus,contrasts alike with the muscular emphasis of Myronswork and with the formal perfection of Polyclitus; v b
Six Greek sculptors . osition. The subtle and varied symmetry withwhich the two sets of three figures balance each otherhas often been pointed out. But it is, above all, thesculptured forms of the extant figures that place theirauthor immeasurably above his predecessors, and causehim to be recognised by all artists as attaining a per-fection in sculpture such as has never been surpassed inany other age. His treatment of the nude male figure,as it may be seen in the Theseus and the Ilissus,contrasts alike with the muscular emphasis of Myronswork and with the formal perfection of Polyclitus; v both figures have individuality and character, the onein his monumental repose, the other in the delicacy andalmost fluid quality of his flesh, which goes far toconfirm his usual identification as a river-god. Butperhaps, for their contrast with the work of a slightlyearlier date in Athens, the draped figures, such as theThree Fates or the Demeter and Persephone, are evenmore wonderful. The earlier Attic sculptors had,. PHIDIAS 99 indeed, given great pains to the study of drapery ; butthe result was the elaboration of a stiff and formalsystem of folds rather than an approximation to thenatural effect. Here in these pedimental figures wefind the most wonderful richness and variety, and themost perfect truth to nature. But there is also an in-dividuality of style so marked that it is easy for anyone who has made a study of the sculptures of theParthenon to pick out portions of them from a heap ofmiscellaneous fragments. It is impossible to expressthis character in words ; but one may notice certainqualities which at least contribute to it. Of theseperhaps the chief is harmony—the harmonious relationof every part to the whole, of the drapery to the humanform, of every minute fold to the general scheme ofarrangement, the absence of anything accidental to marthe complete satisfaction and repose with which the eyecan travel over the whole surface of the marble. Closelyassociated wit
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Keywords: ., bookcentury1900, bookdecade1910, bookpublis, booksubjectsculptors
