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PONTIUS 100.00%
A special name of the sea-god Glaucus (q.v.).
GLAUCUS 100.00%
Great-grandson of (3): grandson of 1 The swords used by gladiators often resembled rapiers: see fig. 1. ellerophoutes, and son of Hippolochus, prince of the Lycians. With his kinsman Sarpedon, he was leader of the Lycian auxiliaries of Priam, and met Diomedes in the melee. The two chieftains recognised each other as friends and guests of their grandfather Bellerophoutes, and (Eneus, and exchanged armour, Glaucus parting with his golden suit for the brazen arms of Diomedes. When the Greek entrenchments were stormed, Glaucus had reached the top of the wall when he was put to flight by an arrow shot by Teucer. He protected Hector when wounded by Achilles; with Apollo's aid he avenged Sarpedon, and took a prominent part in the struggle for the body of Patroclus. He finally met his death at the hand of Ajax.
GLAUCUS 100.00%
Son of the Cretan Minos and Pasiphae. When playing in his infancy he fell into a jar of honey, and was stifled. His father, after a vain search for him, was told by the Curetes that only one person could find the child and bring him to life again. That was the man who should devise a suitable comparison for a cow in his herd, which became white, red, and black, alternately at intervals of four hours. The seers of the country being unable to solve the difficulty, Minos called in the seer Polyidus of Argos, the, great-grandson of Melampus. He read the riddle by comparing the cow to a blackberry or mulberry, which is white, red, and black at various stages of its growth. The corpse of the child he found by aid of the flight of a bird. Professing himself unable to revive the corpse, Minos, in anger, ordered him to be shut up with it in a vault. A snake crept up to the corpse, and Polyidus killed it: he then saw another snake revive its dead fellow by laying a herb upon it. With this herb he brought the dead child to life again. Finally Minos compelled him to teach the boy the art of prophecy. But on his return to Argos, Polyidus made the child spit into his mouth, which caused him to forget all that he bad learned.
GLAUCUS 100.00%
King of Corinth, son of Sisyphus and father of Bellerophontes. At the funeral games of Pelias in Iolcus, he was thrown and torn to pieces by his own horses, which Aphrodite in her wrath had driven mad. His ghost was said to appear to the horses racing at the Isthmian games and terrify them. He was accordingly worshipped on the Isthmus, under the name of Taraxippos, or Terrifier of Horses.
GLAUCUS 100.00%
A god of the sea, therefore commonly called Pontios, who possessed the gift of prophecy. Originally a fisherman and diver of Anthedon in Boeotia, he once chanced to eat of a herb which he had seen fish feed on to refresh themselves when tired. It drove him mad, and he threw himself into the sea, on which he was changed into a sea-god by Oceanus and Tethys. According to another story he threw himself into the sea for love of the young sea-god Melicertes, with whom he was sometimes identified. He was also said to have been the builder and the pilot of the Argo, and to have been changed into a god in a wonderful way after the battle of the Argonauts with the Tyrrhenians. According to common belief he visited all the coasts and islands of the Mediterranean every year, prophesying, and lamenting that he could not die. He, and the Nereides with him, were said to have uttered oracles in Delos. The stories had much to tell of his loves, notably of those of Scylla and Circe. He was represented in works of art as an old man with a fish's tail, with sea-blue scales, long hair and beard, and breast covered with sea-weed and shells.
According to Homer, son of Zeus and Laodamia and grandson of Belleroplion; like his cousin Glaucus (q.v., 4), a prince of the Lycians and ally of Priam. At the storming of the Greek camp he, in company with Glaucus, was the first upon the enemy's wall; on his falling by the hand of Patroclus, a fearful battle arose over his body, until Apollo, by the command of Zeus, rescued the disfigured corpse from the Greeks, and, after washing it and anointing it with ambrosia, had it carried through the air to Lycia by the twin brothers Sleep and Death [Homer, xvi 419-683]. Later writers describe him as a son of Zeus and Europa, and brother of Minos; driven out by the latter, he won for himself a lordship in Lycia, and lived there by the favour of Zeus for three generations.
Son of Coeranus, grandson of Abas, great-grandson of Melampus, father of Euchenor, Astycratia, and Manto; like his ancestor, a celebrated seer, who flourished, according to different accounts, either at Corinth or Argos or Megara. To his son he prophesied his death before Troy; and the son of Minos, Glaucus (q.v., 2), he raised from the dead. At Megara he cleansed Alcathous from the murder of his son Callipolis, and erected the temple of Dionysus.
Son of Glaucus of Corinth (or according to another account, of Poseidon), and grandson of Sisyphus. His proper name is said to have been Hipponoes; the name Bellerophontes implies that he was the slayer of some now unknown monster. In later times his name was wrongly explained as the slayer of a certain Corinthian, Belleros, on account of which be was supposed to have fled to Proetus at Tiryns, or (as Homer has it) at Corinth. The wife of Prcetus, Anteia (or Stheneboea), falls in love with the beautiful youth: he is deaf to her entreaties: she slanders him to her husband, who resolves on his destruction. He sends Bellerophon to Lycia, to his father-in-law Iobates, with a tablet in cypher, begging him to put the bearer to death. Iobates first commissions Bellerophon to destroy the fire-breathing monster Chimaera, a task which he executes with the help of his winged horse Pegasus (see PEGASUS). Thereupon, after a fierce battle, he conquers the Solymi and the Amazons, on his return slays an ambush of the boldest among the Lycians, and Iobates now recognises his divine origin, keeps him with him, and gives him the half of his kingdom, and his daughter to wife. The children of this marriage are Isander, Hippolochus, the father of Glaucus and Laodamia, and the mother of Sarpedon by Zeus. Afterwards Bellerophon was bated by all the gods, and wandered about alone, devouring his heart in sorrow. His son Isander was killed by Ares in battle against the Solymi, while Laodamia was sacrificed to the wrath of Artemis. This is the Homeric version; but, according to Pindar, Bellerophon's high fortune made him so overweening that he wished to mount to heaven on Pegasus; but Zeus drove the horse wild with a gadfly, and Bellerophon fell and came to a miserable end. He was honoured as a hero in Corinth, an enclosure being consecrated to him in the cypress grove of Craneion.
Son of Tydeus and Deipyle, and one of the Epigoni. After the death of his maternal grandfather Adrastus, king of Argos, he led 80 ships against Troy, accompanied by his trusty companions Sthenelus and Euryalus. He appears in Homer, like his father, as a bold, enterprising hero, and a favourite of Athene. In the battle which took place during the absence of Achilles she enables him not only to vanquish all mortals who came in his way, Aeneas among them, but to attack and wound Ares and Aphrodite. On his meeting with Glaucus in the thick of battle, see GLAUCUS 4. When the Achaeans fly from the field, he throws himself boldly in the path of Hector, and is only checked by the lightning of Zeus, which falls in front of his chariot. In the night after the unsuccessful battle he goes out with Odysseus to explore, kills Dolon, the Trojan ap and murders the sleeping Rhesus, king of Thrace, who had just come to Troy, with twelve of his warriors. In the post-Homeric story, he makes his way again, in company with Odysseus, by an underground passage into the acropolis of Troy, and thence steals the Palladium. This, according to one version, he carried to Argos; according to another, it was stolen from him by the Athenian king, Demophoon, on his landing in Attica. After the destruction of Troy, according to Homer, he came safe home on the fourth day of his journey. His wife, Aegiale or Aegialeia (daughter or granddaughter of Adrastus), was, according to the later legend, tempted to unfaithfulness by Aphrodite in revenge for the wounds inflicted on her by Diomedes. To escape the fate of Agamemnon, Diomedes fled from Argos to Aetolia, his father's home, and there avenged his old grandfather OEneus on his oppressors. Hence he was driven by a storm to Italy, to king Daunus of Apulia, who helps him in war against the Messapians, marries his daughter Euippe, and extends his dominion over the plain of Apulia (called after him Campi Diomedei). According to one story, he died in Daunia, in another he returned to Argos, and died there; in a third, he disappeared in the islands in the Adriatic, named, after him, Insulae Diomedeae, his companions being changed into the herons that live there, the birds of Diomedes. Diomedes was worshipped as a hero not only in Greece, but on the Italian coast of the Adriatic, where his name had in all probability become confused in worship with those of the native deities of horse-taming and navigation. The foundation of the Apulian city of Argyrippa (later called Arpi) was specially attributed to him. In his native city, Argos, his shield was carried through the streets with the Palladium at the festival of Athene, and his statue washed in the river Inachus.
The seven daughters of Atlas and the Ocean-nymph Plelone, born on the Arcadian mountain Cyllene, sisters of the Hyades. The eldest and most beautiful, Maia, became the mother of Hermes by Zeus; Electra and Tayggete, of Dardanus and Lacedaemon by the same; Alcyone, of Hyrieus by Poseidon; Celaeno of Lycus and Nycteus by the same; Sterope or Asterope, of (Enomaus by Ares; Merope (i.e. the mortal), of Glaucus by Sisyphus. Out of grief, either for the fate of Atlas or for the death of their sisters, they killed themselves and were placed among the constellations. According to another legend, they were pursued for five years by the Giant hunter Orion (q.v.), until Zeus turned the distressed Nymphs and their pursuer into neighbouring stars. As the constellation of the seven stars, they made known by their rising (in the middle of May) the approach of harvest, and by their setting (at the end of October) the time for the new sowing. Their rising and setting were also looked upon as the sign of the opening and closing of the sailing season. One of the seven stars is invisible; this was explained to be Merope, who bid herself out of the shame at her marriage with a mortal. The constellation of the Pleiades seems also to have been compared to a flight of doves (Gr. peleides). Hence the Pleiades were supposed to be meant in the story told by Homer of the ambrosia brought to Zeus by the doves,-one of which is always lost at the Planetae rocks, but is regularly replaced by a new one [Od. xii 62]. Among the Romans, the constellation was called Vergiliae, the stars of spring.
(i.e. "the crafty"). The son of Aeolus, brother of Athamas, husband of the Pleiad Merope. His son is Glaucus, the father of Bellerophon. He is regarded as the builder of Ephyra, (afterwards Corinth) and as originator of the Isthmian Games. In legends he appears as extremely cunning and crafty; in Homer he is called the "slyest of all men" [Il. vi 153]. The reason why he is punished in the other world, where he is forced for ever to keep on rolling a block of stone to the top of a steep hill, only to see it roll again to the valley, and to start the toilsome task again [Od. xi 593], is not mentioned by Homer; and later legends vary on this point. According to the account which gives the best idea of his cunning, Sisyphus discloses to the rivergod Asopus, in search of his daughter Aegina (see AeACUS), how she had been carried off by Zeus; but this information was not given until Asopus has satisfied the condition laid down by Sisyphus, by creating the spring Peirene, which ever after supplied the citadel and town of Corinth [Pausanias ii 5 § 1]. Zeus desires to kill Sisyphus as a punishment for revealing the facts, and sends Death to him; but Sisyphus fetters Death in strong chains, and no one dies, till at last Ares sets him free and hands Sisyphus over to him. But be commands his wife not to inter him, and succeeds in persuading Pluto and Persephone to let him return for awhile to the upper world in order to punish her want of love. Having no desire to return to Hades, he forgets his promise, and eventually Hermes has to come and fetch him. In the post-Homeric legends Odysseus, on account of his cunning, is made the son of Sisyphus and Anticleia [Sophocles, Ajax 190, Phil. 417; Eur., Iph. at Aulis, 524].
SCYLLA 11.66%
(1) In Homer, daughter of Crataeis; a terrible monster of the sea, with a loud bark like that of a young dog, twelve shapeless feet, and six long necks, each of them bearing a horrid head with three rows of teeth closely set. Her lower half lies in a dark cavern, which is in the middle of a rock, smooth of surface, not to be climbed, and rising up into the clouds; while with her heads she fishes for dolphins, sea-dogs, and the larger animals of the sea. If a ship come too near to her, with each of her six heads she snatches up a man of the crew, as from the ship of Odysseus. Opposite her, a bow-shot off, is a lower rock with a wild fig tree on it, and under it the whirlpool of Charybdis, which three times in the day sucks in the sea and discharges it again in a terrible whirlpool, against which even the help of Poseidon is unavailing. Whoever tries to avoid one of the two evils falls a prey to the other [Homer, Od. xi 85-110]. In later times Scylla and Charybdis, the position of which is left uncertain by Homer, were supposed to be placed in the Strait of Messina, Scylla being identified with a projecting rock on the Italian side. She was also made a daughter of Phorcys and of Hecate Crataeis. When Heracles, as he is passing by, is robbed by her of one of Geryon's oxen, he slays her in her cavern; but her father burns her corpse, and thus recalls her to life. According to another myth, she was originally a beautiful princess or sea Nymph, loved now by Zeus, now by Poseidon or Glaucus or Triton, until she was changed by the jealousy of her rivals, Hera, Amphitrite, or Circe, into a monster, imagined as a maiden above, but as ending below in the body of a fish, begirt with hideous dogs. (2) Daughter of Nisus (q.v.).
MINOS 11.17%
A mythical king of Crete, the centre of the oldest legends of that island. He is the son of Zeus and of Europa; in Homer, brother of Rhadamanthys, father of Deucalion and Ariadne, and grandfather of Idomeneus. Residing at Gnossus as the "familiar friend of Zeus," he had a "nine-yearly" rule over the flourishing island [<italic>Od.</italic> xix 179], an expression which later generations explained as signifying periods of nine years; at the end of which he went into a cave sacred to Zeus, in order to hold converse with his father, and to receive the laws for his island. Just as he was thought to be the framer of the famous older Cretan constitution, so he was also considered a founder of the naval supremacy of Crete before the times of Troy; Hesiod calls him the "mightiest king of all mortals," who rules with the sceptre of Zeus over most of the neighbouring peoples. Later legend gives him another brother, Sarpedon, and a number of children (among others Androgeos, Glaucus, Catreus, and Phaedra) by his wife Pasiphae, a daughter of Helios and Perseis. When after the death of Asterin, the husband of Europa, he has driven away his brothers in consequence of a quarrel, he seizes the kingship of Crete, in which he is supported by Poseidon, who, on his prayer that he should send him a bull for sacrifice, causes a wonderfully beautiful snow-white bull to rise from the sea. But as he, desiring to keep it for his own herd, sacrifices another, the god to punish him inspires his wife Pasiphae (q.v.) with love for the bull. Homer [Od. xi 322] calls Minos the "meditator of evil"; in later times he was represented as a hard-hearted and cruel tyrant, especially on the Attic stage, because of the part he played in Attic legends. On account of the murder of his son Androgeos (q.v.) at Athens, he undertook an expedition of revenge against Attica, captured Megara (see NISUS), and compelled the Athenians to send him once in every nine years seven boys and seven girls to Crete, to be devoured by the Minotaur (q.v.; see also THESEUS). Tradition made him die in Sicily, whither he had pursued Daedalus (q.v.) on his flight, and where king Cocalus or his daughters stifled him in a hot bath. His Cretan followers interred him near Agrigentum, where his grave was shown. In Homer [Od. xi 568] Odysseus sees him in Hades with a golden sceptre in his hand, judging the shades; he does not appear in the legends as judge of the dead by the side of Aeacus and Rhadamanthys till later [Plato, Apol. 41 a, Gorg. 523 e].
The story of the Trojan War, like the story of the Argonauts, underwent, in the course of time, many changes and amplifications. The kernel of the story is contained in the two epic poems of Homer: the Iliad and the Odyssey. The incidents, either narrated or briefly touched upon in these, were elaborated or developed by the post-Homeric poets, partly by connecting them with other popular traditions, and partly by the addition of further details of their own in ation. While in Homer it is simply the rape of Helen which is the occasion of the war, a later legend traced its origin to the marriage of Pelous and Thetis, when Eris threw down among the assembled gods the golden apple inscribed For the fairest. The quarrel that ensued between Hera, Athene, and Aphrodite for the prize of beauty was decided by Paris in favour of Aphrodite, who in return secured him the possession of Helen, while Hera and Athene became, from that time onward, the implacable enemies of the whole Trojan race. According to Homer, after Helen had been carried off by Paris, Menelaus and Agamemnon visited all the Greek chieftains in turn, and prevailed on them to take part in the expedition which they were preparing to avenge the wrong. According to the later account, the majority of the chieftains were already bound to follow the expedition by an oath, which they had sworn to Tyndareos. Agamemnon was chosen commander-in-chief; next to him the most prominent Greek heroes are his brother Menelaus, Achilles and Patroclus, the two Ajaxes, Teucer, Nestor and his son Antilochus, Odysseus, Diomedes,Idomeneus, and Philoctetes, who, however, at the very outset of the expedition had to be left behind, and does not appear on the scene of action until just before the fall of Troy. Later epics add the name of Palamedes. The entire host of 100,000 men and 1,186 ships assembled in the harbour of Aulis. Here, while they were sacrificing under a plane tree, a snake darted out from under the altar and ascended the tree, and there, after devouring a brood of eight young sparrows and the mother-bird himself, was turned into stone. This omen Calchas, the seer of the host, interpreted to mean that the war would last nine years, and terminate in the tenth with the destruction of Troy [Iliad ii 299-332]. Agamemnon had already received an oracle from the Delphian god that Troy would fall when the best of the Greeks quarrelled. In Homer the crossing to Troy follows immediately; but in the later story the Greeks at first land by mistake in Mysia, in the country of Telephus (q.v.), and being dispersed by a storm and driven back to Greece, assemble afresh at Aulis, whence they are only permitted to set out after the sacrifice of Iphigenia (an incident entirely unknown to Homer). On the Greek side the first to fall is Protesilaiis, who is the first to land. The disembarkation cannot take place until Achilles has slain the mighty Cycnus (q.v., 2). After pitching their camp, Odysseus and Menelaus proceed as ambassadors to Troy, to demand the surrender of Helen. But this proposal, in spite of the inclination of Helen herself and the admonition of the Trojan Antenor, falls to the ground, owing to the opposition of Paris, and war is declared. The number of the Trojans, whose chief hero is Hector, scarcely amounts to the tenth part of that of the besiegers; and although they possess the aid of countless brave allies, such as Aeneas, Sarpedon, and Glaucus, in their fear of Achilles they dare not risk a general engagement. On the other hand, the Achaeans can do nothing against the well-fortified and defended town, and see themselves confined to laying ambuscades and devastating the surrounding country, and compelled by lack of provisions to have resource to foraging expeditions in the neighbourhood, undertaken by sea and by land under the generalship, of Achilles. At length the decisive tenth year arrives. The Homeric Iliad narrates the events of this year, confining itself to the space of fifty-one days. Chryses, of Apollo, comes in priestly garb into camp of the Greeks to ransom his daughter Chryseis from Agamemnon. He is rudely repulsed, and Apollo consequently visits the Greeks with a plague. In an assembly of the Greeks summoned by Achilles, Calchas declares the only means of appeasing the god to be the surrender of girl without ransom. Agamemnon assents to the general wish; but, by way of compensation, takes from Achilles, whom he considers to be the instigator of the whole plot, his favourite, slave Briseis. Achilles withdraws in a rage to his tent, and implores his mother Thetis to obtain from Zeus a promise that the Greeks should meet with disaster in fighting the Trojans until Agamemnon should give her son complete satisfaction [Il. i]. The Trojans immediately take the open field, and Agamemnon is induced by a promise of victory, conveyed in a dream from Zeus, to appoint the following day for a battle [ii]. The hosts are already standing opposed to one another, prepared for fight, when they agree to a treaty that the conflict for Helen and the plundered treasures be decided by a duel between Paris and Menelaus. Paris is overcome in the duel, and is only rescued from death by the intervention of Aphrodite [iii]. When Agamemnon presses for the fulfilment of the treaty, the Trojan Pandarus breaks the peace by shooting an arrow at Menelaus, and the first open engagement in the war begins [iv], in which, under the protection of Athene, Diomede performs miracles of bravery and wounds even Aphrodite and Ares [v]. Diomede and the Lycian Glaucus are on the point of fighting, when they recognise one another as hereditary guest-friends. Hector goes from the battle to Troy, and the day ends with an indecisive duel between Hector and Ajax son of Telamon. In the armistice ensuing both sides bury their dead, and the Greeks, acting on the advice of Nestor, surround the camp with a wall and trench [vii]. When the fighting begins afresh, Zeus forbids the gods to take part in it, and ordains that the battle shall terminate with the discomfiture of the Greeks [viii]. On the following night Agamemnon already begins to meditate flight, but Nestor advises reconciliation with Achilles. The efforts of the ambassadors are, however, fruitless [ix]. Here-upon Odysseus and Diomede go out to reconnoitre, capture Dolon, a Trojan spy, and surprise Rhesus (q.v.), king of the Thracians, the newly arrived ally of the enemy [x]. On the succeeding day Agamemnon's bravery drives the Trojans back to the walls of the town; but he himself, Diomede, Odysseus, and other heroes leave the battle wounded, the Greeks retire behind the camp walls [xi], to attack which the Trojans set out in five detachments. The opposition of the Greeks is brave; but Hector breaks the rough gate with a rock, and the stream of enemies pours itself unimpeded into the camp [xii]. Once more the Greek heroes who are still capable of taking part in the fight, especially the two Ajaxes and Idomeneus, succeed with the help of Poseidon in repelling the Trojans, while Telamonian Ajax dashes Hector to the ground with a stone; but the latter soon reappears on the battlefield with fresh strength granted him by Apollo at the command of Zeus [xiii]. Poseidon is obliged to leave the Greeks to their fate; they retire again to the ships, which Ajax in vain defends [xv]. The foremost ship is already burning, when Achilles gives way to the entreaties of his friend Patroclus, and sends him, clad in his own armour, with the Myrmidons to the help of the distressed Greeks. Supposing it to be Achilles himself, the Trojans in terror flee from the camp before Patroclus, who pursues them to the town, and lays low vast numbers of the enemy, including the brave Sarpedon, whose corpse is only rescued from the Greeks after a severe fight. At last Patroclus himself is slain by Hector with the help of Apollo [xvi]; Achilles' arms are lost, and even the corpse is with difficulty saved [xvii]. And now Achilles repents of his anger, reconciles himself to Agamemnon, and on the following day, furnished with new and splendid armour by Hephaestus at the request of Thetis [xviii], avenges the death of his friend on countless Trojans and finally on Hector himself [xxii]. With the burial of Patroclus and the funeral games established in his honour [xxiii], the restoration of Hector's corpse to Priam, and the burial of Hector, for which Archilles allows an armistice of eleven days [xxiv], the Iliad concludes. Immediately after the death of Hector the later legends bring the Amazons to the help of the Trojans, and their queen Penthesilea is slain by Achilles. Then appears Memnon, who is also mentioned by Homer; at the head of his Aethiopians he slays Antilochus son of Nestor, and is himself slain by Achilles. And now comes the fulfilment of the oracle given to Agamemnon at Delphi; for at a sacrificial banquet a violent quarrel arises between Achilles and Odysseus, the latter declaring craft and not valour to be the only means of capturing Troy. Soon after, in an attempt to force a way into the hostile town through the Scaean gate, or, according to later legend, at the marriage of Priam's daughter Polyxena in the temple of Thymbraean Apollo, Achilles falls slain by the arrow of Paris, directed by the god. After his burial, Thetis offers the arms of her son as a prize for the bravest of the Greek heroes, and they are adjudged to Odysseus. Thereupon his competitor, the Telamonian Ajax, slays himself. For these losses, however, the Greeks find some compensation. Acting on the admonition of Helenus, son of Priam, who had been captured by Odysseus, that Troy could not be conquered without the arrows of Heracles and the presence of a descendant of Aeacus, they fetch to the camp Philoctetes, the heir of Heracles, who had been abandoned on Lemnos, and Neoptolemus, the young son of Achilles, who had been brought up on Seyros. The latter, a worthy son of his father, slays the last ally of the Trojans, Eurypylus, the brave son of Telephus; and Philoctetes, with one of the arrows of Heracles, kills Paris. Even when the last condition of the capture of Troy, viz. the removal of the Palladium from the temple of Athene on the citadel, lias been successfully fulfilled by Diomede and Odysseus, the town can only be taken by treachery. On the advice of Athene, Epeius, son of Panopeus, builds a gigantic wooden horse, in the belly of which the bravest Greek warriorsconceal themselves under the direction of Odysseus, while the rest of the Greeks burn the camp and embark on board ship, only, however, to anchor behind Tenedos. The Trojans, streaming out of the town, find the horse, and are in doubt what to do with it. According to the later legend, they are deceived by the treacherous Sinon, a kinsman of Odysseus, who has of his own free will remained behind. He pretends that he has escaped from the death by sacrifice to which he had been doomed by the malice of Odysseus, and that the horse has been erected to expiate the robbery of the Palladium; to destroy it would be fatal to Troy, but should it be set on the citadel, Asia would conquer Europe. The fate of Laocoon (q.v.) removes the last doubt from the minds of the Trojans; the city gate being too small, they break down a portion of the wall, and draw the horse up to the citadel as a dedicatory offering for Athene. While they are giving themselves up to transports of joy, Sinon in the night opens the door of the horse. The heroes descend, and light the flames that give to the Greek fleet the preconcerted signal for its return. Thus Troy is captured; all the inhabitants are either slain or carried into slavery, and the city is destroyed. The only survivors of the royal house are Helenus, Cassandra, and Hector's wife Andromache, besides Aeneas (q.v.; for the fate of the rest see DEIPHOBUS, HECUBA, POLYDORUS, 2, POLYXENA, PRIAM, TROILUS). After Troy has been destroyed and plundered, Agamemnon and Menelaus, contrary to custom, call the drunken Greeks to an assembly in the evening. A division ensues, half siding with Menelaus in a desire to return home at once; while Agamemnon and the other half wish first to appease by sacrifice the deity of Athene, who has been offended by the outrage of the Locrian Ajax (see AIAS, 1). The army consequently sets out on its journey in two parts. Only Nestor, Diomede, Neoptolemus, Philoctetes, and Idomeneus reach home in safety; while Menelaus and Odysseus have first to undergo wanderings for many a long year. Death overtakes the Locrian Ajax on the sea, and Agamemnon immediately after his arrival home.
The art of embossing metal, or working it in ornamental relief or intaglio (Pliny, N.H. xxxiv 54, 56; xxxv 77). The Greek verb toreuein means "to work in relief or repoussé," and also "to chase" in metal; toreutos is an epithet of cups that are "chased" or "worked in relief"; toreia is need of a "carving in relief"; the artist is called a toreutes; and his characteristic tool the toreus (Lat. coelum). The corresponding Latin term is coelatura, which, as defined by Quintilian (ii 21 § 9), auro, argento, oere, ferro operaefficit ; while scalptura eliam lignum, ebur, marmor, vitrum, gemmas complectitur. While sculpture in bronze is primarily concerned with designing the work of art which has to be cast in the mould, the toreutic art has to do with the elaboration and finish of the metallic form when it is already cast. In the case of large works in bronze, the task of the toreutes is simply to remove slight flaws and to add a few finishing touches; in that of smaller works, his art becomes of paramount importance. The term toreutes, is virtually confined to artists who produce for ordinary use articles in metal, which owe their value as works of art solely to the adornment bestowed upon them. In the best times of Greek art, the favourite metal for this purpose was silver; but gold and bronze and even iron were also used. The art was often applied to the embellishment of armour, especially shields; and even chariots were sometimes ornamented with embossed silver (Pliny, xxxiii 140, carrucoe argento coelatoe). Articles of plate, especially large silver platters, were occasionally adorned with ferns or ivy-leaves (lances filicatoe, pateroe hederacioe); and goblets were decorated with mythological subjects in relief (anaglypta), such as figures in gold riveted on vessels of silver, or in silver on bronze. These figures were either in high or low relief (emblemata, or crustoe). The art was also put into requisition for ornamenting furniture, for embossing plates of gold, and for making wreaths of that metal. In the Homeric age, copper, gold, silver, iron, tin, and lead were in use in different degrees. Copper, especially when mixed with tin to form bronze, was the ordinary material for armour and for all kinds of utensils; gold is named in connexion with articles of furniture, armour, and jewellery, but is generally described as imported from abroad; silver is less frequently mentioned. Iron was rare, in comparison with copper; but was used for implements of agriculture as well as for armour and tools. A block of iron is given as a prize at the funeral games in honour of Patroclus (Il. xxiii 826). Copper being the commonest metal, a worker in any kind of metal is called in Homer a coppersmith (chalkeus); thus, in Od. iii 425, it is applied to one who in the same context is described as a goldsmith (chrysochoos, ib. 432). The hammer and anvil sufficed for the manufacture of armour and the simpler varieties of household utensils. The process of beating out the metal and fashioning it with the hammer was called elaunein (Il. vii 223, xii 295); and a derivative of this verb, sphyrelatos, "wrought with the hammer," was afterwards used as an epithet of statues made of plates beaten out with the hammer, as opposed to those of cast metal (Herodotus, vii 69). It was in fact applied to all kinds of products of hammering, and to work in repoussé, large or small. The same process was used in making plates of metal to cover tripods and candelabra, as well as shields, scabbards, chariots, and also images of the gods. In such cases the plate of beaten metal was applied to a core of wood by what was termed empaistike techne (Athenaeus, 488 B). The chair of Penelope is thus covered with ivory and silver (Od. xix 56), and the bed of Odysseus, with ivory, silver, and gold (xxiii 200). The cuirass of Agamemnon (Il. xi 24 ff.) has twenty-one alternate stripes of various kinds of inlaid metal, both before and behind, the metals mentioned being gold and tin and kyanos, which is now identified as an imitation of lapis lazuli stained blue with carbonate of copper. The golden belt of Heracles is adorned with figures of bears, boars, and lions, and battle-scenes, in relief (0d. xi 609). The brooch of Odysseus represents a stag attacked by a dog (Od. xix 226). The cup of Nestor is pierced with rivets of gold, has four handles with two golden doves to each handle, and two supports running from the base of the cup to the lower part of the bowl, designed to strengthen the central stem (Il. xi 632, with Dr. Leaf's note). The structure of this singular cup was the theme of learned disquisitions in ancient times (Athenaeus, 489); it has now been made intelligible by the early cups discovered at Mycenae and Caere (Helbig, Das Homerische Epos aus den Denkmalern erlautert, p. 272). In the cup from Mycenae (Schliemann's Mycenae, fig. 346; Schuchhardt, Schliemann's Excavations, fig. 240), we see the supports continued into the handles above them, and even two doves as ornaments on the top of the handles. Elsewhere in Homer a lebes (in Il. xxiii 885, Od. iii 440), and a crater (in Od. xxiv 275), are described as "adorned with flowers," i.e. with the lotus-flowers and rosettes characteristic of archaic decoration (Schliemann, Mycenae, fig. 344). The shield of Achilles, as wrought by Hephaestus, is an elaborate work, including numerous figures distributed over separate compartments and inlaid in various kinds of metal. The metal facing has apparently a bronze ground, inlaid with gold, silver, and kyanos; and the designs may be best regarded as resembling the peculiar combination of Egyptian and Assyrian styles which was introduced into Europe by the Phoenicians (Il. xviii 478-607, ed. Leaf ; op. Helbig, l.c., chap. xxxi, and Murray's Greek Sculpture, chap. iii). In the Homeric age the articles in metal which were most highly prized are generally described as imported from abroad. Thus the silver crater given as a prize at the funeral games of Patroclus is the work of Sidonian craftsmen (Il. xxiii 743). It is the king of the Sidonians who sends a crater to Menelaus (Od. iv 616; Il. xxiii 741). The tripods and basket of Helen are said to have been brought by Menelaus from Egypt (Od. iv 126). The cuirass, as well as the chariot, of Agamemnon, are described as a present from the king of Cyprus (Il. xi 24). According to Greek mythology, the first blacksmiths were the Idoean Dactyli (q.v.); the first goldsmiths, the Telchines (q.v.). The legends about the latter imply that the forms and processes of the art were transmitted to Greece from the East. They are described as dwelling in turn in Crete, Rhodes, Cyprus, Cos, Lycia, and in various cities of Greece, especially at Sicyon, which, according to Pliny (xxxvi 4), was long the home of all kinds of manufacture in metals. Working in metal was afterwards much advanced by two important inventions, (1) that of casting in moulds, attributed to a Samian artist Rhoecus, son of Phileas, and his son Theodorus; and (2) that of soldering, ascribed to Glaucus of Chios (Pausanias, x 16 § 1), who was also famed for his skill in hardening and softening iron (Plutarch, De Def. Orac. 47). The toreutic art is described by Pliny as having been founded by Phidias (xxxiv 54) and brought to perfection by Polyclitus (56). For the former, it is sufficient to refer to the chryselephantine statue of Zeus at Olympia, and that of Athene in the Parthenon. Among other sculptors who were also toreutoe may be mentioned Calamis, Myron, Euphranor, Boethus, Stratonicus, Ariston, Eunicus, Hecataeus, Posidonius, Pasiteles, and Zenodorus. The artists who excelled in the chasing of silver (argento coelando) are enumerated by Pliny (xxxiii 154-157), who observes that no one had attained renown by the chasing of gold. The first named is Mentor, the most celebrated of all, and with him Acragas, Boethus (Cicero, Verr. 2 iv 32, hydriam Boethi manu factam proeclaro opere et grandi pondere), and Mys (q.v.). The last of these executed in bronze, from the designs of Parrhasius, the battle of the Centaurs and Lapithae which adorned the shield of the Athene Promachos of Phidias (Pausanias, i 28, 2). Pliny's second group includes Calamis and Antipater, who is probably mentioned by mistake for Diodorus (Anthologia Groeca i 106,16). His third group consists of Stratonicus and Tauriscus, both of Cyzicus; Ariston and Eunicus of Mytilene; and lastly Hecatoeus. In the next we have Pasiteles (in the time of Pompey); also Posidonius of Ephesus, with Hedystrachides, Zopyrus, and Pytheas. After these, he adds, there was an artist named Teucer, famous as a crustarius, a worker of plaques in low relief. Thereupon, he continues, art fell into abeyance, and only works ascribed to the old masters were of any account, even when the design had been almost worn out by use. The age of imitations and forgeries followed. The work of Calamis was skilfully opied by Zenodorus (Pliny, xxxiv 47), the sculptor of the colossal bronze statue of Nero (ib. 45). In the above list Pliny is probably following the order of fame rather than that of time. Stratonicus, Ariston, Eunicus, and Posidonius, all belong to Asia, and possibly to the age of the Diadochi. To the same age may be ascribed Pytheas and two artists remarkable for their skill in the most minute and delicate kinds of work, Callicrates of Lacedaemon and Myrmecides of Athens, who inscribed an elegiac couplet in letters of gold on a grain of sesame, and carved a quadriga of ivory which a fly could cover with its wings (Aelian, Var. Hist. i 17; Cicero, Acad. ii 120; Pliny, vii 85, xxxvi 43). Some of the technical processes of working in metal can be illustrated from the remains of ancient art. Thus on a cylix in Berlin (fig. 1) exhibiting scenes from a foundry, we have (1) two workmen, one attending to the fire in a furnace, the other resting on a hammer, and a boy blowing the bellows; on the wall hang two hammers and a saw, and a number of metal plaques with heads and figures in relief; (2) a workman putting together a bronze statue, the head of which lies a part on the ground; (3) two workmen scraping the excrescences off a statue of a warrior by means of a hooked instrument resembling a strigil. The first of the above scenes is closely similar to the design on a vase in the British Museum (B 458) representing the forge of Hephaestus at Lemnos. Again, a mural painting from Pompeii shows us one of the attendants of Hephaestus seated at his work; in his right hand he holds a hammer, and in his left a sharp graving-tool (Gr. toreus; Lat. coelum), with which he is tracing the ornament on the helmet of Achilles (fig. 2). According to the ornament required, tools were used of different kinds, with the extremity blunt, round, or square; as well as punches for repoussé work. Among the extant specimens of the art a foremost place in point of time must be given to those discovered by Schliemann at Hissarlik in the Troad, especially the bracelets, earrings, diadems, and discs of gold, figured in Ilios, and in Schuchhardt, Schliemann's Excavations (figs. 35, 54, 56-58). Those of a more advanced type, found at Mycenae in and after 1874, include plaques and golden studs in repoussé, bowls and diadems; also sepulchral masks of gold, imitating the human countenance and placed on the faces of the dead; arms and other objects in gold, copper, and bronze. The blade of a short, two-edged sword (Schliemann's Mycenae, fig. 446), when set free from the incrustations on its surface revealed a spirited representation of a hunt with five armed men pursuing three lions. The bronze ground is covered with dark enamel, the lions and the limbs of the huntsmen are inlaid with gold of different hues; their clothing and their shields with silver, and other details with black (fig. 3). Still more interesting in respect to artistic design are the two prehistoric gold cups found in 1889 at Vaphio, the ancient Pharis near Amyclae, adorned with remarkable reliefs representing men hunting wild bulls (Ephem. Arch. 1889, pl. 7-10; Gazette des Beaux Arts, 1890, pp. 428 and 434). We must also mention the small bronzes which abound in museums of ancient art. These may be divided into (a) Greek bronzes of archaic style, such as those of the 6th century B.C. discovered at Dodona (e.g. the flute-player, fig. 4). Many such bronzes are votive; e.g. the Naxian statuette in the Berlin Museum, inscribed as "dedicated by Deinagoras to Apollo the Far-darter," and the Apollo dedicated by Polycrates, probably as Argive of that name, now in the Museum at St. Petersburg. (b) Bronzes of later style, such as those of Pompeii and Herculaneum, preserved in large numbers in the Naples Museum. Earlier Italo-Greek statuettes are rare; e.g. the bronze from Tarentum representing a general in the act of addressing his troops (Collignon, Gr. Arch., fig. 134). Among objects for ornament we have numerous bronze reliefs in repoussé work, which are often perforated with holes for the purpose of attaching them to some other material, whether to strips of leather or articles of furniture. Some of the finest of them are pieces of armour, such as the cheek-guard of a helmet with the combat between Pollux and Lynceus found at Dodona (Collignon, fig. 135), and the Bronzes of Siris, two shoulder-pieces of Greek armour found in Southern Italy and now in the British Museum (Second Bronze Room, table-case D; Baumeister's Denkmaler, fig. 2204-5). In the same museum is the Castellani cista, a cylindrical casket in wood, covered with bands of silver fixed with rivets, and representing lions and winged animals, with lotuses and palmettes of an oriental character (fig. 5). Another group of examples includes the Greek and Etruscan Mirrors, with their metal backs or cases ornamented with figures traced by the engraver's burin (fig. 6); and the cistoe Proenestinoe (of the 3rd century B.C.). The finest of these is the Ficoroni cista, in the Museo Kircheriano at Rome, with figures in outline representing a scene from the Argonautic expedition and with the archaic inscription, Novios Plautios med Romai fecid (Daremberg and Saglio, fig. 1544). There are several others in the First Bronze Room of the British Museum, one with the Judgment of Paris, another with Bellerophon and Sthenoboea. Among silver vases of various ages may be mentioned the archaic patera of Amathus in Cyprus, with concentric bands of besieging warriors and winged sphinxes showing the influence of Assyrian and Egyptian art (Cesnola's Cyprus, p. 277; Daremberg, fig. 927); the Munich vase, with representations of captive Trojans, in low relief; the magnificent amphora of the 4th century B.C., found at Nicopol in South Russia in the tomb of a Scythian king with a frieze in high relief running round the upper part, representing Scythians taming and tending their horses, while the body of the vase is covered with ornaments in repoussé, including large birds and flowers (Daremberg, fig. 975); the Corsini cup, found at the ancient Antium, aná sometimes supposed to be copied from a Greek original by Zopyrus (ib., fig. 976); the pateroe of Hildesheim (q.v.), about the time of Augustus; that of Rennes, of the 3rd century A.D., in the Paris Cabinet des Antiques (ib. 972); and the vases from Bernay in the same collection. Further, in the British Museum we have a number of embossed and chased caskets, vases, or ornaments, found at Rome in 1793, and ascribed to the end of the 5th Century A.D. As a late Roman specimen of opus interrasile, or open work in which part of the silver is cut away on the same general principle as in fig. 5, we have a cantharus of dark red glass mounted in silver gilt, found near Tiflis in 1871, and now in the Museum of the Hermitage, St. Petersburg (fig. 7). One of the richest collections of Greek jewellery, that of the Hermitage Museum, comes from the ancient Panticapaeum. (Kertch). The Vatican and the Louvre contain remarkable specimens of Etrusco-Greek jewels, mainly found at Vulci and Caere. Modern ingenuity has at present failed to recover the secret of the process of "granulation" employed in many of these jewels, a kind of decoration in which the surface of the gold leaf is covered with minute and almost invisible globules of gold (see frontispiece to Martha's L'Art Etrusque). The Antiquarium of Munich possesses a votive crown of gold, superbly executed, with sprays of oak-leaves and festoons of flowers with winged figures among them (fig. 8). Lastly, in the British Museum we have specimens of Phoenician art, ascribed to the 8th century B.C., in the gold jewellery from Camirus in Rhodes. In the same museum "the Melos necklace, and the sceptre from the tomb at Tarentum, are admirable specimens of that fine combination of filagree and vitreous enamels which characterizes the Greek goldsmith's art in the middle of the 4th century B.C., and the bracelet and earrings from Capua, ornamented with lions' heads, are still more precious, as examples of repoussé work in its perfection" (Newton's Essays, p. 393). Authorities. Brunn, Gr. Kunstler, ii 397-412; Marquardt, Das Privatleben der Romer, pp. 669-718 2; Saglio, article on Coelatura in Daremberg and Saglio's Dict. des Antiquités; and Blumner's Technologie, vol. iv, pp. 228-413. Cp. the short sketch in the last chapter of Collignon's Manual of Greek Archoeology.] [J.E.S.]
The origin of painting as an art in Greece is connected with definite historical personages. That of sculpture is lost in the mists of legend. It was regarded as an art imparted to men by the gods; for such is the thought expressed in the assertion that the earliest statues fell from heaven. The first artist spoken of by name, DAeDALUS, who is mentioned as early as Homer, is merely a personification of the most ancient variety of art, that which was employed solely in the construction of wooden images of the gods. This is clearly proved by his name (= "the cunning artificer"). To him were attributed a series of inventions certainly separated far from each other in respect of time and place, and embracing important steps in the development of wood-carving and in the representation of the human form. Thus he is said to have invented the saw, the axe, the plummet, the gimlet, and glue [Pliny,N. H. vii 198], to have been the first to open the eyes in the statues of the gods, to separate the legs, and to give freer motion to the arms, which had before hung close to the body [Diodorus iv 76]. After him the early school of sculptors at Athens, his reputed native city, is sometimes called the school of Daedalus [Pausanias v 25 § 13]. During a long residence in Crete he is said to have instructed the Cretans in making wooden images (xoana) of the gods [ib. viii 53 § 8]. The invention of modelling figures in clay, from which sculpture in bronze originated, is assigned to the Sicyonian potter BÜTÄDES at Corinth [Pliny, xxxv 151]. The art of working in metals must have been known early in Greece, as appears from the Homeric poems [esp. ll. xviii 468-608, "the shield of Achilles "]. An important step in this direction was due to GLAUCUS of Chios, who in the 7th century B.C. invented the soldering of iron [Herodotus, i 25; Pausanias, x 16 § 1], and the softening and hardening of metal by fire and water [Plutarch, De Defectu Orac. 47]. The discovery of bronze-founding is attributed to RHOECUS and THEODORUS of Samos about 580 [Pausanias, viii 14 § 8]. The high antiquity of Greek sculpture in stone may be inferred from a work of the very earliest period of Greek civilization, the powerful relief of two upright lions over the gate of the castle at Mycenae. (See ARCHITECTURE, fig. 2.) Sculpture in marble, as well as in gold and ivory, was much advanced by two famous "pupils of Daedalus," DIPOENUS and SCYLLIS of Crete, who were working in Argos and Sicyon about 550 B.C. [Pliny, xxxvi §§ 9, 14; Pausanias, ii 15 § 1, 22 § 5], and founded and influential school of art in the Peloponnesus. [This school included Hegylus and Theocles (Pausanias, vi 19 § 8, 17 § 2); Dontas and Dorycleidas (ib., vi 19 § 12, v 17 § 1); Clearchus of Rhegium (iii 17 § 6); Tectaeus and Augelion (ii 32 § 5, ix 35 § 3).] Among their works are recorded not only statues of gods, but also of heroes, often united in large groups. Some conception of the artistic productions of this period may be, formed from scattered monuments still extant, originating in different parts of the Greek world; e.g. the rude and more primitive metopes of Selinus Sicily (fig. 1); the statues of Apollo from the island of Thera and from Tenea, near Corinth (fig. 2); the reliefs on the Harpy Monument from the acropolis of Xanthus in Lycia (figs. 3 and 4), etc. These works, in spite of their archaic stiffness, show an effort after individual and natural expression, though the position of the foot in striding, with the sole completely touching the ground, and the unemotional and stony smile on the mask-like face, are common to all. Even after Greek sculpture had mastered the representation of the human body, not only at rest, but also in the most violent movement, it still continued unable to overcome the lifeless rigidity of facial expression. This is seen in the Trojan battle-scenes (date about 480) on the Aeginetan pediments. Here the figures are represented in every variety of position in the fight, and depicted, not indeed with any ideality, but with perfect mastery even to the smallest detail; whereas the faces are entirely destitute of any expression appropriate to their situation. (See fig. 5, and the (West Pediment under AeGINETAN SCULPTURES.) The athletic forms in which the Aeginetan heroes are represented indicate another important extension of the sphere of artistic representation. From about 544 B.C. it had become usual to erect statues of the victors in the athletic contests, Olympia especially abounding in these. [Ol. 59; Pausanias, vi 18 § 7 ; the statues there mentioned are of wood.] By this innovation the art was freed from the narrow limits to which it had been confined by the traditions of religion, and led on to a truer imitation of nature. In this department the school of Aegina was specially active, attaining its highest perfection in the bronze statuary of GLAUCIAS, CALLON, and above all ONÄTÄS (500-460). Sculpture in bronze flourished simultaneously in the Peloponnesus at Sicyon under CÄNÄCHUS [for a supposed copy of his Apollo see CANACHUS] and his brother ARISTÖCLES, the founder of a school which lasted long after, and at Argos under AGELADAS, the teacher of Phidias, Myron, and Polyolitus. The transition to the period of the finest art is represented by CÄLÄMIS of Athens, PYTHÄGÖRÄS of Rhegium, and especially MYRON, another Athenian, in whom the art attained the highest truth to nature, with perfect freedom in the representation of the human body, and was thus prepared for the development of ideal forms. This last step was taken at Athens, in the time of Pericles, by PHIDIAS. In his creations, particularly in his statues of the gods, whether in bronze or in ivory and gold, he succeeded in combining perfect beauty of form with the most profound ideality, fixing for ever the ideal type for Zeus and Athene, the two deities who were pre-eminently characterized by intellectual dignity. (See ATHENE, ZEUS, and PARTHENON, figs. 4 and 5.) For one of his heroic subjects see fig. 7. Of the pupils of Phidias the two who worked most nearly in the same spirit were AGÖRÄCRITUS and ALCAMENES, the author of the sculpture of the western pediment of the temple of Zeus at Olympia, part of which still remains. The perfection of Attic art at this time can be realized when we consider that, with all their beauty of execution, the extant marble sculptures of the Parthenon, Theseum, Erechtheum, and the temple of "Wingless Victory" must be regarded as mere productions of the ordinary workshop [as compared with the lost masterpieces of Phidias]. The school of Phidias had rivals in the naturalistic school which followed Myron, including his son LYCIUS and CRESILAS of Cydonia. [For a supposed copy of his Pericles, see CRESILAS.] Independent of both schools stood PAeONIUS of Mende, whose Victory, as well as part of his sculptures on the east pediment of the temple of Zeus at Olympia, are still extant [see PAeONIUS and OLYMPIAN GAMES (fig. 1)]; and CALLIMÄCHUS, the "inventor" of the Corinthian order of architecture [Vitruvius, iv 1 § 10] and of the application of the auger to working in marble [Pausanias, i 26 § 6]. Another school of sculpture in opposition to that of Athens was founded at Argos by Phidias' younger contemporary POLYCLITUS, whose colossal gold and ivory statue of the Argive Hera directly challenged comparison with the works of Phidias in its materials, its ideality, and its artistic form, and established the ideal type of that goddess. He mainly devoted himself, however, to work in bronze, the department in which Argos had long been pre-eminent; and made it his aim to exhibit the perfection of beauty in the youthful form (fig. 8). He also established a canon or scheme of the normal proportions of the body. Of his pupils the chief was Naucydes of Argos. As in the first period of Greek sculpture, represented by Myron, Phidias, and Polyclitus, the schools of Athens and Argos held the first rank beyond dispute, so it was also in the second period, which embraces the 4th century down to the death of Alexander the Great. Athens, moreover, during this period remained true to the traditions of Phidias, and still occupied itself mainly with the ideal forms of gods and heroes, though in a spirit essentially altered. The more powerful emotions, the more deeply stirred passions, of the period after the Peloponnesian War were not without their influence on art. The sculptors of the time abandoned the representation of the dignified divinities of the earlier school, and turned to the forms of those deities whose nature gave room for softer or more emotional expression, especially Aphrodite and Dionysus and the circle of gods and daemons who surrounded them. The highest aim of their art was to pourtray the profound pathos of the soul, to give expression to the play of the emotions. With this is connected the preference of this school for marble over bronze, as more suited for rendering the softer and finer shades of form or expression. The art of executing work in gold and ivory was almost lost, the resources of the States no longer sufficing, as a rule, for this purpose. The most eminent of the New Attic school were SCÖPÄS of Paros and PRAXITELES of Athens. Scopas, also famous as an architect, was a master of the most elevated pathos. Praxiteles was no less masterly in regard to the softer graces in female or youthful forms, and in the representation of sweet moods of dreamy reverie. In his statues of Aphrodite at Cnidus and Eros at Thespiae he established ideal types for those divinities. The Hermes with the infant Dionysus, found at Olympia, remains as a memorial of his art (fig. 9). Of the productions of this school (in which the names of BRYAeUS, LEOCHARES, and TIMOTHEUS, who was joined with Scopas in his work on the Mausoleum at Halicarnassus, ought also to be mentioned) an opinion may be formed from the spirited reliefs on the choragic monument of Lysicrates (q.v.) at Athens. We have also extant, in a copy, the Niobid group (see NIOBE), concerning the original of which it was much disputed, even in ancient times, whether the author were Scopas or Praxiteles [Pliny, xxxvi 28]. In contrast to the ideal aims of Attic art, the Sicyonian school still remained true to its early naturalistic tendencies and to the art of sculpture in bronze, of which Argos had so long been the home. At the head of the school stood one of the most influential and prolific artists of antiquity, LYSIPPUS of Sicyon. His efforts were directed to represent beauty and powerful development in the human body (fig. 11). Hence Heracles, as the impersonation of human physical strength, was pourtrayed by him oftener, and with more success, than any other deity, and his type fully established. Lysippus was most prolific as a portrait sculptor, a branch of art which bad been much advanced in the invention by his brother Lysistratus of the method of taking plaster casts of the features [Pliny, xxxv 153]. After Alexander the Great the practice of the art, which had thus developed to perfect mastery of technique, began to deteriorate with the general decay of the countries of Greece proper, and to give place to the flourishing artistic schools of Asia Minor and the neighbouring islands. The characteristic of this period is the rise of a method of treatment which strives after effect. Instead of the naivete of earlier times we get a certain deliberate calculation of a theatrical type, a tendency to make the exhibition of technical skill an end in itself. The most productive school was that of Rhodes, at the head of which stood a pupil of Lysippus, CHARES of Lindus, who designed the famous Colossus of Rhodes, the largest statue of ancient times. Two well known extant works in marble proceeded from this school, the group of Laocoon (q.v.) and his sons, by AGESANDER, ATHENODORUS, and POLYDORUS, found at Rome in 1506, now one of the chief treasures of the Vatican Museum, and the Farnese Bull at Naples. This last group, by APOLLONIUS and TAURISCUS of Tralles, represents the revenge of Zethus and Amphion on Dirce (see cut under DIRCE), and is the largest extant antique work which consists of a single block of marble. Both these are admirable in skill and technique, embodying with the greatest vividness the wild passions of a moment of horror; but the theatrical effect and the exhibition of technical skill are unduly exaggerated. [To the Rhodian school is conjecturally assigned the fine group representing Menelaus bearing the body of Patroclus, several imperfect copies of which are still extant (fig. 12). It is sometimes, however, regarded as one of the later products of the same school as the group of Niobe, and assigned to the early part of the 3rd century B.C. (Friederichs - Wolters, Gipsabgusse, no. 1397.) The Pasquino at Rome is probably the original of the copy in the Vatican and of both of those in Florence.] The second in rank of the schools of this period was that at Pergamon, where the sculptors Isogonus, Phyromachus, Stratonicus, and Antigonus celebrated in a series of bronze statues the victories of the kings Eumenes I (263-241) and Attalus I (241-197) over the Gauls. There are still extant, at Venice, Rome, and Naples, single figures from a magnificent offering of Attalus, which stood on the Acropolis at Athens, and consisted of groups of figures illustrating the conflict between the gods and the Giants, the battle of the Athenians and Amazons , the fight at Marathon, and the destruction of the Gauls by Attalus. Other masterpieces of the school are the work popularly called the Dying Gladiator, now identified as a Gallic warrior, who has just stabbed himself after a defeat (fig. 13), and the group in the Villa Ludovisi, called Paetus and Arria, which really represents a Gaul killing his wife and himself. But the most brilliant proof of their powers is furnished by the relief, of the battle of the Giants from the acropolis at Pergamon. This work-brought to light by Humann in 1878, and now at Berlin -is among the most important artistic products of antiquity. (See PERGAMENE SCULPTURES.) To this period may also be referred with certainty the original of the celebrated Belvedere Apollo, which probably had reference to the rescue of the temple of Delphi from the Gallic army in B.C. 280, which was supposed to be the work of the god (fig. 14). To Greek art in Egypt belong the types of Isis and Harpocrates, and the fine reclining figure of the river-god Nilus, with sixteen charming boys playing round him. The artistic activity of the kingdom of the Seleuecidae in Syria is represented by Eutychides, a pupil of Lysippus, and his famous Tyche, a work in bronze representing the presiding destiny of the city of Antioch on the Orontes [Pausanias, vi 2 § 6; see fig. 15]. After the subjugation of Greece by the Romans in the middle of the 2nd century, Rome became the headquarters of Greek artists, whose work, though without novelty in invention, had many excellences, especially in perfect mastery of technique. Of the artists of the 1st Century B.C. and the early imperial times the following are worthy of mention: APOLLONIUS of Athens (Belvedere torso of Hercules at Rome), GLYCON (Farnese Hercules at Naples, see cut, art. HERACLES), and CLEOMENES (Venus de' Medici at Florence), though the works of all these are more or less free reproductions of the creations of earlier masters; also AGASIAS of Ephesus, sculptor of the Borghese Gladiator in the Louvre at Paris, a very fine work in the spirit of the Pergamene school (see cut under AGASIAS). In the same period PASITELES, an Italian Greek of great versatility, attempted a regeneration of art on the basis of careful study of nature and of earlier productions. This movement in favour of an academic eclecticism was continued by Pasiteles' pupil,STEPHÄNUS, who has left us a youthful figure (Villa Albani), and Stephanus' pupil MENELAUS, the artist of the fine group called Orestes and Electra (fig. 16). There was a revival of Greek art in the first half of the 2nd century A.D. under Hadrian, when a new ideal type of youthful beauty was created in the numerous representations of the imperial favourite Antinous (see cut under ANTINOUS). The artistic work of the Romans before the introduction of Greek culture was under Etruscan influence. The art of that people was chiefly displayed in pottery and the closely connected craft of bronze-founding, which they developed with great technical skill and for which they had a special predilection. They not only filled their towns with quantities of bronze statues, Volsinii alone containing about 2,000 at the time of its conquest by the Romans in 265 B.C. [Pliny, xxxiv 34], but provided Rome also for a long time with works of the kind. Judging from the extant monuments, such as the Mars of Todi at the Vatican, the Boy with a Goose under his Arm at Leyden, and the Robed Statue of Aulus Metellus at Florence, the character of their art seems wanting in freedom of treatment and in genuine inspiration. After the conquest of Greece, Greek art took the place of Etruscan at Rome; and, thanks to the continually increasing love of magnificence among the Romans, which was not content with the adornment of public buildings and squares, but sought artistic decoration for private dwellings, a brisk activity in art was developed, whereof numberless extant works give evidence. Beside the Greek influence, to which we owe many copies of the masterpieces of Greek art gradually accumulated in Rome, a peculiarly Roman art arose. This was especially active in portrait sculpture. Portrait statues were divided, according as they were in civil or military costume, into togatae and loricatae or thoracatae (lorica=thorax, a coat of mail). To these were added in later times the so-called Achilleae, idealized in costume and pose [Pliny, xxxiv §§ 8, 118]. It was customary to depict emperors in the form of Jupiter or other gods, and their wives with the attributes of Juno or Venus. Of the innumerable monuments of this description special mention is due to the statue of Augustus in the Vatican (fig. 17); the marble equestrian statues of Balbus and his son at Naples (found at Herculaneum); the bronze equestrian statue of M. Aurelius on the square of the Capitol at Rome; the seated statues of Agrippina the elder in the Capitoline Museum, and the younger at Naples. Hand in hand with portrait sculpture went the art of historical reliefs. In accordance with the realistic spirit of Rome, as opposed to the Greek custom of idealizing persons and events, this department strove to secure the greatest possible accuracy and truth. The most important works of the kind are the reliefs on the Arch of Titus (see cut under TRIUMPH); those on the Arch of Constantine, taken from the Arch of Trajan (see cut under TRIUMPHAL ARCHES); and those on the columns of Trajan and M. Aurelius (see cut under ARCHITECTURE, ORDERS OF, p. 58 b). Roman historical sculpture is seen already on its decline in the reliefs of the Arch of Septimius Severus (203 A.D.), and the decline is complete in those of the Arch of Constantine. A Subordinate branch of relief sculpture was employed on the sarcophagi common from the 2nd century A.D. The subjects of these reliefs are rarely taken from events in the man's actual life, they are most usually scenes from legends of Greek gods or heroes, often after compositions of an earlier period, and accordingly showing a Greek character in their treatment. (See out under MUSES.) Materials. White marble was the material chiefly employed: in the earlier times of Greek art, the local kinds, in Attica particularly the Pentelic, which is "fine in grain and of a pure white" (Middleton's Rome in 1888, pp. 11, 12). From the 4th century on that of Paros was preferred. [This is a very beautiful marble, though of a strongly crystalline grain; it is slightly translucent.] It was used in Roman times in preference to the similar marble of Luna (Carrara), a " marble of many qualities, from the purest white and a fine sparkling grain like loaf sugar, to the coarser sorts disfigured with bluish-gray streaks" (ib). It was sometimes used for columns in Rome. The marble of Hymettus "appears to have been the first foreign marble introduced into Rome. It resembles the inferior kind of Luna marble, being rather coarse in grain and frequently stained with gray striations" (ib.). Coloured marble first became popular under the emperors; e.g. black for Egyptian subjects (statues of Isis), red for Dionysus, Satyrs, and others in his train. To the same period belongs the use of striped and spotted kinds of marble, coloured alabaster, porphyry, and granite. Different colours of stone were also combined (e.g. drapery of black marble or porphyry). A noteworthy peculiarity of ancient sculpture, as also of architecture, is the habit of embellishing all kinds of marble work by the application of colours (Polychromy), which is known from references in ancient writers. [Plato, Rep. 420 C, speaks of "painting statues." Plutarch, De Gloria Athen. 348 F, mentions "dyers" of statues side by side with gilders and encaustic painters. Lastly, Pliny, xxxv 133, states that Praxiteles owned he was much indebted to the circumlitio, or touching up, of his works by the painter Nicias.] It is also attested by traces still present on many works. [Thus the straps of the sandal of the Hermes of Praxiteles still show traces of red and gold; and the statues at Pompeii, especially those of late date, are in many cases coloured, especially certain parts of the drapery. The accompanying cut (fig. 18) introduces us into the studio of an artist engaged in embellishing with paint a terminal statue of Hermes. The original sketch in colours lies on the ground, and she is pausing to examine her work, which is also watched with interest by two bystanders. (Cp. Treu, Sollen wir unsre Statuen bemalen? Berlin, 1884.) Wood and pottery were always painted. [It is sometimes supposed that] even sculptures intended for the adornment of buildings, e.g. metopes and friezes, not only had painted backgrounds (generally blue or red), but were themselves richly adorned with colouring. [It is also held that] originally, even the bare parts of stone figures were painted; afterwards a coating of wax was thought enough [Vitruvius, vii9]. In particular statues, many artists coloured only the characteristic parts, fringes of garments, sandals, armour, weapons, snoods or head wrappings, and of the parts of the body the lips, eyes, hair, beard, and nipples. Probably the cheeks, too, received a light reddish tinge; but all was done with discretion. The colours chiefly used were red, blue, and yellow, or gilding. The employment of different materials for the extremities, and for the drapery, also produced the effect of colouring. Similarly metal-sculpture secured variety of colour by the application of gold, silver, and copper to the bronze. The sparkle of the eyes was often represented by inlaid precious stones or enamel. Particular parts in marble statues, such as attributes, weapons, implements, were also made of metal. [There are examples of this in the pediments of Aegina and in the frieze of the Parthenon. Under the Empire metal was sometimes used for the drapery. Thus the Braschi Antinous in the Vatican was formerly draped in bronze.]-On ancient stone-cutting, see GEMS; on terracottas, see POTTERY; on working in metal, see TOREUTIC ART.
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