. The near East; Dalmatia, Greece and Constantinople. fought the great battle of Chseronea between theGreeks and Philip of Macedon; and there the Greekslost much, but not their honor. Had it been other-wise, would the lion be there now after so many cen-turies, testifying to the grief of men long since dead,to their anger, even to their despair, but not to theircowardice or shame? I have heard people say thatthe face of the lion does express shame. It seems tome nobly passionate, loftily angry and sad, but notashamed. The Thebans raised it to commemoratethose of their comrades in arms who died
. The near East; Dalmatia, Greece and Constantinople. fought the great battle of Chseronea between theGreeks and Philip of Macedon; and there the Greekslost much, but not their honor. Had it been other-wise, would the lion be there now after so many cen-turies, testifying to the grief of men long since dead,to their anger, even to their despair, but not to theircowardice or shame? I have heard people say thatthe face of the lion does express shame. It seems tome nobly passionate, loftily angry and sad, but notashamed. The Thebans raised it to commemoratethose of their comrades in arms who died on thebattle-field. What shame can attach to such men?For long years the lion lay broken in pieces andburied in the earth. Only in 1902 were the frag-ments fitted together, though long before that theyhad lain above ground, where many noted travelershad seen them. The restoration has been splendidlysuccessful, and has given to Greece one of the mostmemorable manifestations in marble of a state ofsoul that exists not merely in Greece, but in the 148. From a photograph, copyright, by Underwood & 1 luierwood, N. Y. IHK LION OF , THE ACROPOLISAND MOUNT PARNASSUS DELPHI AND OLYMPIA world. Lion-hearted men are superbly commemo-rated by this lion. The height of the statue from the top of thepedestal is about twenty feet. The material of whichit is made, marble of Boeotia, was once, I believe,blue-gray. It is now gray and yellow. The lion issitting, but in an attitude that suggests fierce vital-ity. Both the huge front paws seem to grasp thepedestal almost as if the claws were extended in animpulse of irresistible anger. The head is expression on the face is wonderful. There isin it a savage intensity of feeling that is rarely to befound in anything Greek. But the savagery is en-nobled in some mysterious way by the sublime artof the sculptor, is lifted up and made ideal, is as if the splendid rage in the souls of all menwho ever have died fighting on a l
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