I ntroduc tion

C H OO L R OO M dec o r a t i o n — th e cre a t i o n of a be a utiful enviro n m ent

w h ic h w il l s i lentl y c o o p er a te wit h th e v o i ce of th e te a c h er in th e m ent a l ,

aest h et i c a nd s pi r i tu a l de vel o p m en t of th e c h i ldren — i s a m o ve m ent of

e ver i ncre a s i ng i m p o rt a nce a nd

-
, one to w h i c h M i ss G ertrude L . Brin k h a u s ha s
given h e r a ttent i o n s i nce th e be g inn i ng of th e yea r on e t h o u s a nd n i ne h u ndred
five .

A t th e cl o se of th e L o u i si a n a P urc h a se E x p o siti o n , w h ere M i ss Br i n k h a u s

served a s a ss i st a nt d i rect o r fo r th e M a ss a c h usetts E duc a t i o n a l E xh i b i ts , sh e

f o u nd h erself p o ssessed w i t h th e i de a of h el pi n g a l o n g sc h o o l s a nd te a c h ers

t o w a rd th e a tt a i n m en t of sc h o o lr o o m dec o r a ti o n b y p re se nt i n g to th em th e

be a utiful in scul p ture — th e m a ste rp iece s of th e w o rld . It was on e t h i ng to

wis h to d o a n d a n o t h er to h it u p o n a pla n of d o ing but suddenl y th ere c a m e

, to

h e r th e t h oug h t t h a t ne ws p a p ers m u st g i ve c o llect i o n s of scul p ture a nd t h a t th e

sc h o o ls to receive th e g i ft s s h o uld b e decided u p o n b y m e a n s of a v o ting con

te st . T he p ublish er of th e B o st o n H e r a l d w a s fi rst ap p r o a c h ed a nd , th e pl an
m e t wit h h is h e a rt y a pp ro v a l a nd su pp o rt . An intere sting c o ntest w a s th e

re sul t .

N ex t , th e o rig i n a t o r wa s i n vi ted to Wa sh i ngt o n ,

D . C .
, by th e E v en ing S ta r ,

a nd in 'une o f t h i s y e a r cl o sed a p eri o d o f w o r k dec o r a ting s o m e o f th e sc h o ol s ,

of C h i c a g o t h r o ug h th e C h i c a g o R ecor d H er a l d T h r o ugh th e genero s i t y o f th e

-
.

T z mes D zlrpa tc /z , th e t h i s y e a r will see m a n y sc h o o l s in R i c h m o nd V a

'

- end of , .
,

b y t h i s s a m e p l a n under M i ss
’
b e a u tifi e d ,
B r in k h a u s s p ers o n a l d i rect i o n .

I n p u rsu ing her w o rk M iss Brin kh a u s

,
h a s a lw a y s u sed scul p ture ,
not bec a u se
sh e doe s n ot belie ve in p icture s but bec a u se ,
sh e bel i eve s i n te a c h i ng th e c h i ld
th e be a utiful in f o r m . C o m m enting on th e pl a n ,
one of th e m e m bers o f th e

C h i c a g o B o a rd of E duc a t i o n , a l ad y w h o h a d m a de a s p eci a l stud y of a r t in th e

best sc h o o ls “ T he th e of
of E ur o p e , s a id : p re sence a nd stud y scul p ture i n
th e sc h o o l s ,
n ot o nl y d e vel o p s th e a rt i st i c sense of th e p u pi l s a nd re fi ne s t h e i r
i de a ls a n d i n st i ncts but a l so ,
ha s a p o we r to i m p a rt p s y c h o l o g i c i ns i g h t . Wh en I

in sc h o o l s we were i m p ressed wit h th e f a ct t h a t th e of

wa s th e P a ri s ,
e x p re ssi o n
c h a r a cter w a s th e fi rst a nd m o st i m p o rt a n t t h i n g in th e stud y of scul p ture . I n

g a z ing o n th e o u tl i ne s o f th e scul p tured f a ce th e y o ung c h i ld gra du a ll y gr o ws

i nt o a n u nderst a nd i ng o f th e e m o t i o ns w h i c h a r e t h ere g iven f o r m a nd t h u s ,

le a rn s a v a l u a ble lesso n in th e r ea ding o f h u m a n c h a r a c te r .

T he fo ll o wing i s a n a bstra ct fro m a le tter rece i ved b y th e C h i c a go R ec or d

H er a l d fr o m a well k n o wn p ers o n in C h ic a g o - .

A side fr o m th e gre a t h ist o r i c a l v a lue t h ere i s a n o t h er v a lue still gre a ter ,

t h o se we a ry o ver w o r k ed y o u ng m inds t a x ed to t h eir very ut m o st in th e c o m

,
 “

p re h en si o n of dull studie s (fo r m a n y se e m d ull to th e strugglin g y o ung m ind )

all rise as t h o ug h o n e a n d wit h a n a ctu a l cr y o f jo y sei z e a stu d y t h e y c a n
, ,

gr a s p ,
fo r its be a u t y ha s entered t h r o ug h t h eir e y e sigh t ,
a nd n ot t h r o u g h we a r y
w o rd s c o m ing to tired br a ins .

A nd it s m issi o n will be p r o ven in th e

’
c h ild s l a ter w o r k . A t l a st th ey know

w hy m a ny stu die s m u st be m a stere d i f t h e y ever a re to be p r o fi cie n t in o ne .

T he c h ild w ho h a s gr a s p ed th e m a t h e m a tic s a nd gr a m m a r of art can never

degener a te fr o m th e p rinci p le s of trut h a nd sincerit y in h is ow n life s w o r k
’

,
no

m a tter w h a t w o r k it is .

I n c o n necti o n wit h th e m a n y wee k s of w o r k i n C h ic a g o M iss Brin k h a u s ,

h ad

th e g o o d f o rtu ne to p ersu a de L o r a d o T a ft C h ic a g o s m o st distingui s h ed sc u

,
lp ’

to r , to write a serie s of a rticl e s on scul p tu re . He was a s k ed to write t h e m in a

wa y intere sting fo r c h ildre n ,

not a b o ve t h eir hea d s, and y et ol d e n o ug h f o r th e

gro w n u p s - . M r T a ft . wa s given a li st of fi ft y Or m o re sub ject s of th e c a sts

give n b y th e C h ic a g o R ecor d H er a l d to th e sc h o o l s o f C h i c a g o P re ssu re of w o rk
'

- .

d id n ot p er m it h im to write m o re t h a n t went y fiv e -
a rticle s ,
a nd t h ese a p p e a re d

fr o m ti m e to ti m e in th e C h ic a g o R ec o r d H e r a l d , e a rning
-
th e well d e served
-

p r a i se o f ol d a n d y o ung .

So cle ver a nd intere sting were th e Ta lk s on S cul p ture , t h a t i t bec a m e th e

a m biti o n of M iss Brin kh a u s to p ublis h t h e m in pa m p h let f o r m in o rder t h a t t h e y

m ig h t b e distrib uted m o ng th e te a c h ers o f th e c o untr y
‘

a .

T he a rticles a re h ere re p r o duce d b y p er m i ss i o n of th e C h ic a g o R ecor d - H er a ld ,

a nd th e sub ject s t o uc h ed u p o n a re a m o ng t h o se given b y t h a t p a p er to th e

sc h o o l s of C h ic a g o .

A s th e c a st s were furnish ed b y th e fi r m of P . P . C a p r o ni a nd Br o t h er t h e y
,

ta k e p le a su re in p ubli s h ing t h is l i ttl e p a m p h let w h ic h c o nt a in s a l s o ,

a fe w illu s
tr a tio n s of well de c o r a ted sc h o o lr o o m s
- .

P . P CA P R O N I
. BR O .

Boston

A catalo gue ,
ill ustrati ng o ver o n e
tho usa nd subj ects of scul pture , wil l
be se n t o n rece i pt of twe n ty fi v e ce nts - .

A n y i n f o r m a t i o n t o p r o s p e c t i ve
p urchasers will be gladly furnished .

[ 4 ]
 AV E y ou ever see n th e li ttl e wo od e n riddles a s th e year s went by u ntil t o -d a y its
”
S choolmaster as we shall call him , , very significance is m ystery We shall never .

i n an Art I nstit ute ' Well now h e , , k now what the sere ne faced monster meant -

1 5 w o rt h goi ng t o see T o b e s ure he is i n .

, to the me n who crea ted i t We o nly know .

no se nse a no velt y havi n g firs t see n li ght , that they re peated i t over a nd over wi th a
som e fi ve t housa nd y ears ago a nd wh ile we , devotio n which seems to u s worthy of a be t
are a t i t we ma y a s well co nfess also tha t h e is ter cause I n times of activity i n times o f
.
,

nei the r a schoolmaste r n o r o f wood H e is . de press i o n t hey made s p hin x es ; w he n i n

,

o nly a p laster cast made from the woode n , do ubt they made more sphinxes O n the .

ori gi nal a nd colore d t o look like i t ; a li ttle , si te of ancie n t T hebes there is a royal high
fa t ma n wi th pl um p face a nd holdi n g a stick
, way abo ut a mile and a half lo ng e xte nd i ng ,

i n his righ t ha nd I t is thi s latter fea ture

.
from the tem ple of K arnak to that of Luxor .

which h as give n hi m th e pe t nam e of Th e O n ei ther side o f the road a t intervals of

”
Sch oolmaster H is costum e i s rather old
.
abou t fourteen feet are sto ne s phin x es a s big
fashio ned and no t very elab o rate bu t tha t
, ,

moo n face of his is al l ri gh t T he most skil

-
.

fu l scul ptors o f l ater times could hardl y have

made a m o re s pe aki ng like ness T h e q ueer .

t hi ng abou t i t is tha t this li ttl e fi gure i s no t

o nly s o go od i n workmanshi p bu t i t i s j u st ,

abou t t he earliest E gyptia n scul p ture tha t we

know . I t l ooks as i f th e y bega n pre tt y near
t h e to p t hose old p y ramid builders a nd
,
-

mumm y makers a nd the n spen t a few th ou

-
,

sa nd years i n forgettin g how

Sober seco nd though t will c o nvi nce u s ,

h owever tha t t he E gy p tians mus t have

,

carved man y a fi gu re before they lear ned to

do a s tru thful work a s this a nd further in v e s ,

tig a tio n will show u s tha t th ey p roduced man y

o ther i nteresti ng scul ptures eve n i n their ,

la ter p eriods I shall no t a sk yo u to admire

.

cat headed fi gures of wome n n or sti ff limbed

-
,
- - The S phinx
me n with eagles or h awks h eads o n them ’

'
’
.

There are thou sa nds o f these grotesq ue crea as h orses ; i t i s estima ted tha t there were
tures which symbolized puri ty a nd stre ngth about o ne thou sa nd of them The bod y w a s .

an d al l sort s o f virtues to the E gy ptia ns but ,

always that o f a l ion bu t the h eads i n this ,

whi ch mea n li ttl e e no ugh t o u s We h urry by . case were those of rams J us t wh y this i n no .

t hem i n th e m useums a nd feel mu ch m ore a t ,

vation was made i s q uite as m ysterious a s why
h om e wi th t h e m ummies Bu t some of those . the S phi nx a t all bu t we are gla d t hat i t was
.

s tra nge scul ptures m ust have bee n tr e m e n not generally adopted The S p hi nx wi th the .

d o us l y im p ressive i n th e twil igh t o f the old woma n s head i s m uch be tte r suited to our
’

tem pl es . Possibl y a nythi ng m ore realistic m odern taste I t is a sur p rise however to
.
, ,

wo ul d have bee n far less e ff ective T he very . discover what a personal a p peali ng co un te
ri gidit y o f the p o ses of gi gantic s ta tues like nance the E gy ptia ns sometimes gave eve n to
colum ns o n e after a no th er diml y ou tlined , ,
th ese symbolistic scul p tures T he face shown .

the sq u are be n t knees of sea ted fi gures seated

-
,
i n our illustratio n is as sweet and full o f life
for all t im e a nd l ooki n g i nto e ndless s pace as that of a ny rosy cheeked sc hool gi rl of -

d o yo u k now th ose dream creatio ns of the

,
- to day Wi th its piq uan t nose i ts smiling
-
. ,

misty past becom e fascinatin g as you study li ps a nd the little touch o f p athos i n the eye
,

t hem i n their p ro per e nviro nme nt ' They brows it off ers as charmi ng a n ex pre s sio n a s
,

have a mi gh t y a p peal ; they fairly h yp h o o ne co uld wish I t would be i nteresting to

.

tiz e you .Did any m a n ever stand i n the change the a ttire a nd see i f she would not
prese nce of th e grea t s phi n x and esca pe its make a nice America n gi rl But whether i t .

spell ' Y o u feel wi th Na poleo n tha t t he ce n be veiled wi th the sacred head dre ss of E gy p t -

“
tur ie s are there lo oki ng down u po n you and or crowne d by a m od ern Tam there is i n ,

si z i n g you u p . every smili ng woman s face a glim ps e of the '

T he s phi nx was famed i n old time legends - e ternal myst e ry of life a hint of the riddle o f
for i ts a n noyi n g q uesti ons I t added to i ts . the S phi nx .

[ 5]
 m il es from o us a nd I t was i n the year 668 B C tha t the K i ng . .

of old time Bab y -

A ssur ba ni p al t he gra ndso n of ol d S e n n a c h e
- -
,

weary years h ave r ib cam e t o th e thro ne a nd a t o nce se t h is

,

bee n s pu n from th e dist a ff of T im e si nce th ose th o usa nds of m aso ns a nd artisa ns to buildi n g
”
e xceedi ng grea t ci tie s battl ed wi th o ne th e grand n ew palace wh ich was t o mark his
a no ther a nd too k t urns i n r uli n g the world of glorio us reign 'ui te u nco nsciou s a nd un
.

me n G reater h owever t ha n th e s pace wh ich

.
, , war ne d tha t his famil y was so o n t o be de
se parates th e m fro m o ur m u ch alive l a nd i s -
thro ne d a nd tha t hi s grea t ci t y was doomed
th e di ff ere nce be twee n th e two civili z atio ns to be come t he prey of a new Babylo n h e ,

which t he y represe n t O n th e gl obe we are . u rged h is architects t o design h im a house

some de gree s fro m N i neve h bu t we are q u ite , that sh oul d rival i n e xte n t a nd sple ndor all
a t the a n ti podes as far as life a nd thou gh t are t he co stl y palaces tha t h is a n cestors had sca t
co ncerned I t seems as if we c o uld h ave no th
. te r e d over th e co u n try .

i ng i n co mmo n wi t h tha t pro ud cruel co n , , E speciall y m ust these n e w hall s be made

q ueri ng race H owever be t ter acq u ai nta nce
.
, ma gni fice n t with e ndless scul p tures telli n g
bri ngs peo pl e toge th er S om e o ne h as wri t . the story of th e ki n g s m igh ty achieveme n ts
’
.

”
te n ,
T o k now is t o u nders ta n d and a h , T he y were to form a n e pic poe m cel ebra ti ng
o ther ki ndl y so ul h as said You ca n n o t ha te , the glories an d pro wess of th e m o narch buil der ,
”
a m a n whe n yo u k now h im well So i t m a y . a poe m tha t m i gh t be added t o as th e years
be tha t eve n the ol d tim e Assyria ns are wor th y -
we n t by We k now th a t th e reliefs i n th e
.

o f o ur at te nti o n
_
T he y were no t so very di ff er
.
~
p alace wh ich K ing S argo n b uil t fifty years

A ssyri an L io n H unt

e nt after all from the a ncie n t J ews wh ose

, , ,
earlier m ade a frie z e a mile a n d a half l o ng .

h is tory we study so carefull y T he childre n . I t is from thi s pict ure story this carved h is
-
,

of I srael h ave se nt us a message thro u gh th eir tory that o ur ill ustra tio n i s selected
,
.

noble l i terat ure the ir so n gs a nd proverbs ,

K i ng Assur ba ni pal evide n tl y e nj o yed h u n t
- -

a nd pro ph esies Le t us all o w t he Assyria ns

. i n g as m uch as does Preside n t Roosevel t a nd ,

to tell u s s o meth i ng of the msel ves thro u gh w hile he wrote no books u po n th e subj ec t h e
t heir sc ul ptures wh ich rec o rd ma ny a tal e of
,
evide n tl y ch arged the c ourt scul p tor t o give
prowess . th e sport f ul l p l a c e u po n th e palace walls An d .

I t was the ambi tio n o f e very O rie ntal ki n g y o u may be sure th at th e scul ptor wa s no t
to build a t l eas t o ne grea t p alace which sho ul d slo w to do so H e was tired of carvi ng g ar
'

.
,

be bo th a h om e a nd a mo nume n t to h i s fam e . de ns and ba nq ue ts a nd armi es a nd priso ners

T he walls o f th ese e normo us str ucture s of h ere was som e thi n g th at h e co uld do wi th
su n dr ied bricks were covered with reliefs
—
e nth usiasm What p o wer a nd
. go h e h as
marvel o usl y carved i n alabaster T he As . . pu t i n to th o se h orses ' Wh at vigor i n t hose
syrians had no q ua rrie s of marble a nd th eir spri n gi ng l i o ns '
statues were few bu t thi n slabs of alabaster ,
T here are a nimals amo n g th ese h u n ti ng
were to be h ad i n abu nda nce a nd so th is art ,
sce nes th at have never bee n surpassed by
of l ow relief was m uch practised
-
F or two . scul p tor s of a ny a ge or co u ntry ; a dyi ng
ce nturies or m ore the scul ptors of N i neve h lio ness pierced wi th several arrows a n um ,

h ad bee n l earni n g h o w to do i t T heir fi gure s . ber of do gs i n leash t u ggin g w i th all their

of m e n were never firs t class T he y always . m i gh t a nd some h orses h eads w h ic h tho u gh
,
’
,

showed the m well wra pp ed i n h eavy draperies h alf h idde n wi th tra ppi n gs seem fairl y to
-

with m uch fri nge a nd e m broidery all carve d ,

brea the fi re from their d iste nded nostrils .

wi th greatest care bu t th e y seeme d to take ,

T hese are Assyria s great co n tribu ti o n to th e
’

e special d eli gh t i n c hiseli n g fi ery h o rses a nd world s trea s ures of scul p ture
’
.

ferocio us l i o ns .

[ 6 ]
 of Athens and And now they a r e gath ered t o ge ther to plan
struc k 450 B c . their masterpiece The grea t walls . a re
'

i t was B C . . fi nished the defe nses of Athens are com plete .

nor heard th e s trokes — whe n the leadi ng ci ti Pericles the clear headed far seeing leader
,
-
,
-
.

ze ns go t toge ther and decided that i t was hi gh feels tha t th e time is ri pe to make their d ear
time some thi ng shoul d be done abo u t tha t city a worthy ca p ital of the new s ta te w hich
long promised tem pl e to Athena o n th e A c r o p
-
he is develo pi ng H e is ready a t last for the
.

olis T hirty years had pass ed since t he Per

. u nder takin g which they have so ofte n dis
sia ns well whi pped had take n their broke n
,
-
, cussed the crowni ng of the sacred Acro po l is
wi nged fl igh t homeward a nd for thirty years , with a tem ple a nd a p p roaches befi tti ng the
the blacke ned rui ns of A thena s old tem pl e ’
dignity of their p atro n saint the gl o rious , ,

had stood there upo n the grea t rock far above blue eyed warri or maid whose p ro tecti ng
-
,
-

the ci ty a m o nume n t to the horrors of those

,
shield had guarded A the ns so well .

barbaric i nvasions a n appeal for new acts of T hree years were to p ass before the actual
pa tri otism T he well beloved goddess h ad by
.
-
buildi ng should begi n b ut those were busy , ,

no m eans bee n forgo tte n Ph idias the scul p .

,
ha pp y years for I c tin o s 8: K a l l ic ra te s archi ,

Portion o f the Western F rie ze o f P rtheno n

a

tor had already erected to her honor a migh ty

, teets , and for Phidias w h o was to look after ,

sta tue which towered above those rui ns a nd al l the scul ptural decora tion s of t he edifice .

could be see n by home fa r i ng mari ners far o u t

-
besides creati ng a nother gia nt stat ue of Athe na
o n the blu e E g e a n bu t her h ouse was still
,
to be placed w i thi n the temple T his fi gure .

lacki ng . was to be no less tha n thirt y eigh t fee t hi gh -

.

The heroes of th e Maratho n a nd Salamis a nd of gol d a nd ivory a s rich a nd magnifi ce nt ,

were m ostl y gone a nd a new ge neratio n of as possible T hat Phidias wa s the ma n to do

.

Athe nians trod th e wi ndin g stree ts of the i t was certai n for he had already made a simi
,

reb uilt city These me n of Athe ns i n their

. lar coloss us for th e tem ple a t Ol y m p ia a w o n ,

beautiful picturesq ue garm e nts w ere di ff er

, d e r f ul seated fi gure of Z eus tha t w a s famed
e n t from those of all other la nds They com . throughou t all the old w orld '
.

bin e d i n thei r m ake u p the dignity of the-

Both of th e s e s pl e n did s tatues were bro k e n
Orie n ta l s wi th a n animatio n like tha t of the u p by robbers ages a go so we will tal k of the m ,

modern Fre nchme n and they were the most

,
no more .

b r illian t a nd artistic pe ople tha t the worl d had H owever there are man y fi ne fra gme n ts of
.

ever see n The be au tiful thi ngs which they

. the marble scul ptures left a nd our illu s tratio n ,

created a t this period a r e the treasures of shows one of these ; a section of the famous
civili z ation ; th e heri tage of all w h o e nj o y frieze of the Partheno n .

great literature and gr eat art .

[ 7 ]
 Gree k t e m pl e was ver y sim p le i n
HE Bu t ca n i t be see n u p th ere nearly forty
T
,

design j ust a big st one box

,
called t he fee t from th e gr o u nd '
”
cella — wi th a porch ru n ni ng e nt irel y Trust m y boys says Phidias
,
to carve ,

aro und i t T h e exte nded roof was sup p orted

. a nd c o lor t ha t frieze so tha t i t may be see n .

by gr ea t c o lu m ns formi ng m aj estic colo n , T hi n k o f i t whe n t he l evel ra y s of th e m or ni ng

nades T he two gable e nds of th e bu ildi n g
.
-
a nd eve ni ng su nligh t cu t across i ts l e ngth i t
were filled wi th scul ptures i llustra ti n g i n th e ,
will fa irl y si n g An d a t noo n the l igh t will be
.

case of the Parth e no n tw o gr eat eve nts i n r e fl ec ted u p from the pave me nt a nd bathe it i n
‘

,
”
t he life of A the na T he n there was u sually a
. rich ness a nd wo nderful u nex pecte d eff e cts .

“
frie z e m ade u p of a grea t ma n y p an els fi lled I c tin o s ha d bee n fi guri ng a l i ttle Five .

wi th stru ggli n g fi gures T h ese were nex t t o . hu n dre d a nd twe n t y fee t I mak e it T hat i s a .

t h e cornice righ t u nder th e ea ves of t h e

,
pre t t y bi g u nder taki n g al o ng wi th th e r est
b uildi ng . I t wo ul d need to be a t l eas t fo ur fee t hi gh .

“
O ne ca n almost h ear Phidias describi ng t h e A n d wha t s ubj ec t coul d yo u p ull o u t to
”
beau tie s of all these thi n gs as h e sees them i n that l e ngt h ' i nterru p ts Pericles m u ch i n
ima gi natio n . te r e s te d b u t ra ther s ke p tical Y o u are .

Po rtio n o f the N o rth rn

e F riez e o f Pa rthen on

”
Wh y says he,
th e tem pl e at O lym pia , goi n g t o u se u p t h e Ce n ta ur stor y o n th e
”
will no t be m e ntio ned i n th e sam e breath wi th m e topes a nd the Ama z o ns a nd the Gia nts
,
.

ours . I k now t hat we ca n im p rove o n i ts I have somethi n g be tter tha n all these ,

scul pt ur es as m uch a s the y surpass t hose is th e r epl y of th e grea t scul ptor Le t m e .

”
weaze ned thi ngs a t ZE gi n a . make a processio n th e Pa na the nai c p r o c e s
Go od a nswers Pericles
, I h ave all co n ,
si o n a nd show o ur p eo ple ga theri ng h ere to
fi d e n c e i n yo u a n d y our skill T h e easter n . celebrate O ur Lady I ll s how o ur noble old
.
’

‘
pe dime nt th e n shall sh ow T h e Bir th of m e n wi t h th eir s no w y beards o ur beautifu l ,
‘
Athe na a n d th e wester n A the na s C o n tes t
’ ’
maide ns i n s tatel y arra y the sacrifi cial a ni
, ,

with Poseido n a nd th ere are n i net y tw o o f

,
’
-
m als a nd t hose wh o h e a r o ff eri ngs Then .

th e m e to pes which yo u will a p p orti o n to th e th e greater part of th e s pace I would fill with
bes t artists available Th at p rovides for th e . th e cavalcade of you ng me n h urryi ng t o
scul pture th e festival I see them now canteri n g
.
,

B ut I am no t thro ugh ye t cri es Phidias , . alo ng i n p erfect rh ythm a dream of beauti ,

I wa nt a seco nd frieze all aro u nd the cella ful li nes .

”
wall . I t was d o ne as th e grea t ar tist desired .

O u tside or i n ' , E i ther h e or trusted assista n ts traced th e

O utside of course where i t ca n be see n
, , . wo nderful poem i n marbl e which was t o e m
M y Ath e na will fur nish a nd decora te th e circl e th e Parth e no n a nd of which ou r illus tra
”
i n te r i or . ti o n gi ves us a bri ef sta nza .

[ 8 ]
 HE Parthe n o n faced t he east bu t w a s
fi rst see n from the w est as the visitor
reached the level o f the Acro po lis The
, the pi ty bu t e nough are i ntact to sho w us
how beaut iful mus t have bee n this portio n of
.
the frieze They are me t by the magistrates
.

usual co urse was alo n g th e north wall to the of the ci ty who lea n U po n their sticks a nd
,

e n tra nce o n t he eas t T he desi gner h ad

.
welcome the m .

the i nge n ui ty to start th e processio n fro m Now co mes a n u nex pected i nterru ption .

th e southwes t corner a nd le t i t ru n i n bo th
, As all this ceremo nial must be for some obj ect .
di rectio ns t o mee t over the eastern p ortal
, . so the processio n must lead to so me de fi nit e
T he fri eze o n the wes t en d was made u p of thi ng a nd w e fi nd most of the eas tern frieze
,

the gatheri ng peo ple o n foo t a nd horseback , devoted to a gatheri ng of the gods who h a ve
all i n active p re para tio n A marshal stands .
assembled to receive the homage of the mor
a t either e nd ri ght a t t he corner of the build
, tals These figures are so mewhat larger a nd
.
,

i ng a nd thi s q uie t fi gure ta kes away all

, all are sea ted o n chairs or thrones I n the .

suggestio n of th e horses p l un gi ng madl y o u t very ce nter are a num ber of pr iests a nd a t

i nto spa c e .
te n d a n ts of the same scale as the peo ple of
Wh e n we tur n th e corner th e pr oce ssion i s the processio n T hey look a s though they
.

see n to be m ovi n g o ff q ui te bris kly w i th o nl y were i n pare ntheses '

Portion o f the Ea stern F rie ze o f P arthenon

a l ittle more tigh te ni ng u p of belts A nd now . O n o ne side of th is ce ntral gro u p sits Z eus ,

as the sculptor wishes to su gges t m ore rapid th e king of all the gods O p po si te him in the .

moveme nt h e i ncreases the n um be r of horses o ther place of ho nor is Athena Nex t to Z eus .

abreas t ; the le gs become a ta ngle a nd give i s h is w ife H era lifti ng her veil so t hat no ne
,

th e eff ect o f horses ru n ning I n the mids t of . bu t he may see her face The n fo llow various .

this gr ou p of magnifice nt chargers there rides m inor divi nities At A the na s si d e is lame .
’

some o fii c e r alo ne H is head alas is go ne

.
, , , H e phaistos whom w e call Vulca n the n prob
, .

bu t we can see t ha t it was tu rned back to call abl y Ne ptu ne Bacchus etc The G ree ks d id
, , .

u po n those be hi nd t o clos e u p the ranks T his . no t u se t hese names bu t we un d e rsta nd them ,

de vi ce adds further to the ill us io n o f speed . be tter .

So o n a nd o n they ca nter the horses throwi ng

,
M ost of these reliefs have suff ered greatly .

their heads hi gh i n the air their noble riders , S torms a nd misha ps of all ki n d s have worn
sit ti ng so steadily fine fellows all . them away bu t there is o ne sla b which w a s
,

As we approach the eastern e nd of the b uild wo nde rfully well preserved I t d m p ped ou t .

i ng the ho rseme n gi ve wa y to chari ots wi th a nd ha p pe ned to fall fa c e down i n the rubbish .

armed riders I n fro nt o f these march a grou p

. For ma n y years i t se rved a s a paving stone -
.

of me n beari ng great j u gs u po n thei r sh oulders , bu t i t was the back and not the p recious
gi fts of wi ne The n foll ow th ose radia n t
. car v i n g which careless fee t trod u po n ; the
Ath e nian maide ns i n their e xq uisi te costume . gods were saved ' To day tha t pa vi ng-s to ne -

M o st o f the m h ave los t their h e ads mo re s

’
is worth its weigh t in gold .

[ 9 ]
 N H AP P Y tim e s ca m e u p o n fair A th e ns t h e whole w o rld over m ore beau tiful tha n th e
,

so o n after th e dedi catio n of the Parthe carya tids of th e E rech the um .

no n J ealou s S parta aro used th e So ut h

.
T h e o ther buildi ng was made no table li ke
t o i nsurrectio n a nd a l o ng drawn o u t war
,
- -
wise t hrou gh i ts scul p t ure I t is a li ttl e tem pl e
.

weake ned th e prou d ci ty I n t h e m idst of i t

. to A the na th e Victress so me t imes called th e
,

came a great plague wh ich carrie d o ff ma n y T em pl e of th e Wi ngless V ic tor y O nl y e igh .

of th e i nh abi ta n ts s p ari n g no o ne because of

,
tee n by twe nt y seve n fee t i n dime nsio ns a n d
-
,

h is promi ne n ce or u seful ness Peri cles hi m

. si t ua te d u p o n a l o wer level o f th e A cro polis ,

self surre ndered to this new e nem y . i t would a ttrac t n o a t te ntio n were i t n ot for
Bu t thro ugh all th ese woes th e A th e nia ns t h e b eau t y of i ts elabora te frie z e a nd m ore
ch erish ed their ide as a nd co n ti nu ed t o build e speciall y t h e grace a nd c harm of th e b alu s
trade which par tially s urro u nded t h e str uct ure .

Perhaps thi s l ow p ara pe t was necessar y to

k ee p the A the nia n childre n from falli ng o ver
t he edge of th e narrow sh el f o f r ock u po n
which the tem ple was bu il t bu t we h ave o ther ,

reaso ns for taki n g a frie ndl y i nterest i n i t .

N ever has a no th er s u ch bal ustrade bee n

see n i n th is worl d ' I t was made u p o f r eliefs
o f li ttl e Victori es wi nged fi gure s i n t h e mos t
,

gracefu l a t ti t udes M an y of t h ese precio u s

.

l it tle creat ure s h ave bee n lost — for Tim e a nd

t he T urks have destro ye d ru thlessl y bu t we
possess o ne a t l eas t ( see ill us trati o n ) which
h as s u ff ere d li ttl e S h e i s s o p erfect i n grace
.

of pose a n d o f fl owi ng dra p ery tha t we scarcel y

m iss h er h ead a t al l .

S om e of these t i ny ladies were e ngaged i n

l eadi ng o xe n t o sacri fi ce o th ers i n carryi n g ,

o fferi n gs bu t t h i s o ne has no thi n g m ore im

,

por ta n t t o d o t h a n faste ni n g h er sa ndal H e r .

posi ti o n m a y n o t ex plai n i tself a t fi rst si gh t

N ike U ntying S a ndals O ne li ttl e girl th o ugh t th a t s he was “
ho p
.

”
pi n g ,
bu t the fact i s th a t h er ri gh t foo t
t e m pl es t o t h eir bel oved goddess T wo s tr uc . rested u po n a s t o ne which h as si nce bee n
t ures o f thi s p erio d — th e last q uar ter o f th e bro ke n awa y wi th t h e corner of th e relief .

fi fth ce ntury B C , . while no t large are

.
, T hus th e pose i s see n to be perfectl y na tural
amo n g th e m ost artistic b uildi n gs i n th e world . a nd as beau tiful a s th e carvi n g i tself .

Bo th are u p o n th e Acro polis T h e larger was

. I t was always a proble m wi t h th e Gree k
th e E rech th e u m fam ed for i ts Porch of th e
,
scul ptor t o fi ll h is gi ve n s pace adeq u atel y ye t
“ ”
M aide ns wh o se ei gh t s turd y fi gures o f y o u n g
,
witho u t .l u ggi n g i n th i ngs Ca n you .

wome n ar e u sed a s col um ns to su pp ort th e i magi ne a pa nel of thi s s ha p e fi lled m o re

roof T he y are s o s tr o n g a nd adeq u a te th e y
.
,
gracefull y th a n i t i s h ere ' I will ve nture to
carr y th eir burde n wi th s uch e ase tha t th ere ,
sa y tha t th ere i s n o t a no t h er reli ef i n th e
i s n o a ppeal for pi ty We feel th a t th e y were
. world more exq uisi te i n i ts p lay of l igh t s a nd
m ade for thi s pu rpose a nd th at th e y e nj o y i t . sh adows tha n this rare li ttl e N ike of th e
Archi tect ur al scul ptu re h a s no thi n g to o ff er , bal ustrade .

[ 10 ]
 O T H I N G coul d be m ore characteristic
'

N
si ngle thing as p e r fect as th is Wit h tr ue .

of Gree k reserve than t he treatmen t poetic i nsti nct the artist has allo w ed the fo n d
,

of the relief w hich we show here I ts . lovers a mome nt of parti ng while Hermes ,

them e is o ne of the te nderest of a ncie nt leg waits patie ntly a nd sym pa thetically But no .

e nds t h e story of Orpheus and E urydice a

,
, tice that i n this su pr eme mome nt there are no
tale whose swee t pathos has appealed to me n h yst e rics no paroxysms of grief .

of every la nguage an d of every time .

T here i s dign i ty i n all G reek sc ul p ture of
O rpheus was a mor tal gi fted wi t h super , this period . I n all thi ngs avoid the too
natural powers as a mu sicia n Wi th his l yre .

h e co ul d tame the most ferocious a nimals a nd ,

eve n the rocks a nd trees woul d da nce at the

sou nd of his ma gi c i nstr umen t H is skill was .

hi s rui n h owever for i t wo n the u ndyi ng e n

, ,
“
mi ty of Apoll o wh o was somethi ng of a
,
”
m usicia n himself, a nd the irate god str uck
his victim i n the te nderest s p ot H e tore .

fair E ur y dice from the arms of her l oving

husba nd and confi ned her i n the gray land of
shadows Orpheus wandered inconsolable for
.

many days bu t fi nall y learned where his treas

,

ure was impriso ned By means of his art h e .

passed fierce Cerberu s th e three headed watch ,

-

dog o f H ades a nd such was the persuasive

,

magi c of his lyre tha t K i ng Pl uto fi nall y co n

se nted to h is leadi ng forth his lo ng lost com -

panio n .

T here was o ne co ndition H e m ust not look .

u po n his wife s face u ntil they should arrive i n

’

the u p per world of su nl igh t With exulta n t

O rphe us d Herm es
.

heart the happy ma n retraced his gro pi ng , E urydic e . an

,

wa y u n til suspicions seized him Could i t be .

”
that this sile n t shadow which foll owed h im so much was their motto and their art,

closel y was i n truth his beloved E ur y dice ' great because of this m oderatio n .

Or was he bei ng tricked by the powers of dark I t is so easy to ove rdo the d ra matic as in
ness ' J ust as they emerged i n to the light his later pe riods of ar t whe n the emotio ns be came
resolu tio n fo rsoo k him H e turned a nd — she .
, grotesq ue -
but eve n th e great tom bston e s
was go ne H ermes the m esse nger god had
.
, ,
are masterpieces of di gnity and reserve Our .

once more laid his i nexorabl e hand u p o n her . ancestors used to festoo n their monuments
The sc ul ptor of this beautiful relief is u n w i th scul ptured skulls and crossbo nes a nd ,

k nown bu t as the style is that of the Parthe

, fairly revel ed i n the horrors of dea th and d e
no n fri e z e we may believe him to have bee n
, cay T he Greeks marked their graves wi th
.

of the time o f Phidias or a lit tle later T ha t , . ge ntle farewells like this or pictured family
,

he was a true artist a nd a m aster of the d iffi gatherin gs where the l oved o ne is shown p re
cul t probl ems of l ow relief is proved b y th is -
pari ng for a j ourney The very self-c o n trol
.

one w ork I t i s worth livin g to have done a

. of these t o uchi ng tribu tes gri ps fas t the heart .

[ 11 ]
 H I D I A S a nd P o l y c l e ito s , t he gr eat scul p Praxi teles I n 1 8 77 a party of Germa n
.

tors of
t he fifth ce ntury B C were su c
,
. .
,
arch aeol o gi sts made a careful s urve y a nd di d
k“ ' c e e d e d b y Praxi teles a nd S k O p a s The . m uch e xcavati n g a t O l ym pia T he y revealed .

growin g te nde ncy towar d refi nem e n t a nd per

'
t he fo u ndatio ns of t he two pri nci pal tem ples ,

f e c tio n o f skill is illustrated i n t heir work . bu t fo u n d few remai ns of val ue T h e sacred .

Praxi teles c hooses su bj ects ver y di ffere n t ci ty h ad too l o n g bee n a shi ni n g m ark for th e
from t hose wh ich deligh ted Phidias The . Rom a n robbers T he stude nts were pre pari ng
.

da y s of m o nume ntal gra nd eur are past The to leave so mewha t disap poi nted a t t heir
“

.
,

later m a n re prese nts t he gods to be sure bu t , ,

small harvest whe n o ne of th e n umber pro,

h e sele cts th e subordi na te m ore h uma n divi n ,

pose d to tur n a few m ore shovels of dir t with i n
i ties a nd pi ctures the m wi t h a less revere n t
,
t he i nclosure of th e H era Tem pl e .

to uch . S carcel y had th e y be gu n w he n the spade

stru ck a sto ne wh ich so o n pro ved to be a
sta t ue A n d s uch a sta tue I Wi th the grea t
.

es t care i t was free d from th e soil which had

bee n i ts bed a nd pro tec tio n thro ugh so ma n y
ce n turies a n d gradu all y i ts beau tiful form
,

e merge d to th e dayli gh t N o do ub t t h ese .

happy scholars were familiar wi th t he passage

i n Pau sa nias a n d r eco gni z e d the fi gure a t
,

o nce th o ugh i t m u st have seem ed too good t o

,

be tr ue A t a ny rate the y ap precia te d th e

.
,

nobl e workma nshi p o f the fi g ur e — t here is

no th i ng fi ner i n e xiste nce a n d we ca n
i magin e th at th ere was a grea t deal of exci te d
Germ a n spoke n arou nd there tha t M a y after
noo n .

T h e l egs a nd arms were broke n bu t t he ,

body a nd h ead were i n tac t a nd h ere a t las t ,

was a Greek stat ue wit h i ts no se i n goo d order .

As for tu ne wo ul d have i t the y eve n fo u nd t he ,

bab y Dio nysos la ter u se d as a sto ne i n th e ,

H e rmes o f P axiteles
r
buildi ng of a wall T h us th e H ermes sta nds
.

to day al mos t com ple te i n the l it tle mu se um

-

T her e is a n air of easy famil iari ty i n his of Ol ym pi a H e l ea ns comfortabl y u po n a

.

ap proach H is fi r st obj ect seems to be th e

. hi gh stu m p o ver wh ich h e has throw n his
ex pressio n of ge niali t y a nd grace O nl y o ne . ma n tle a nd seems to be looki n g wi th ge ntl e
, ,

origi nal fro m his ha nd rem ai ns bu t we trace ,

dream y e yes at th e fu n ny baby perched u po n
h is style i n m a ny co pies a nd ada ptatio ns We . his left arm T h e grace of th e pose t he fi rm
.
,

k now tha t h e was cel ebrate d for h is s ta tues ye t softl y ro u nde d forms t he combi na tio n of ,

of Aphrodite ( V e nu s ) a nd E ros ( Cu pid ) . stre ngth a nd ge ntle ness so well show n i n bo th

I ndeed i t h as bee n said of him tha t
, wh e n t h e subj ect a nd th e treatm e nt were a new ,

e ver h e pu t his chisel t o th e st o ne t h e l i t tl e revelatio n to th e world H ere a t last was a n .

god of love was pee pi ng over h is shoulder . origi nal directly from the h a nds of th e grea t
Pausa nias wh o traveled i n Greece i n th e
, m aster I t was as fi ne as me n had dream ed
. .

seco nd ce n tury A D tells us th at h e saw i n th e

. .
,
I f this was o ne of th e m i nor works of Prax i
“
H era Tem pl e a t O lym pia a H ermes of s to ne teles wha t m ust have bee n t h e beau t y of his
,

carryi ng th e yo u n g D io nysos i t w a s m a d e b y m ore celebrated ach ieveme n ts .

[ 12 ]
 This suggests another thou ght I f we enj oy
so m uch the beau tiful things created i n the
olde n time how much more ou gh t we to do
,

are very p o or wh ile ofte n th e ori gi nal has

, for those comi ng after us We co ns ider our
.

served merely as a theme or text for the later selves the most civilized nation that ever lived .

scul ptor T he dai nty littl e figure which we

.
We boast of ou r freedom a nd of our ed uca tion ,

show h ere seems beau tiful e nough to be a n of our wealth a nd of ou r O p p ortu nities I .

ori gi nal bu t i t is probably a clever co py of a

,

still fi ner work Some thi nk tha t the origi nal

.

mus t have bee n from the hand of Praxi teles ,

so gracefu l is i ts pose a nd so swee t its ex

pressio n .

T he y ou ng lady is known as th e Artemis ( or

Dia na ) of G a bii from the place where she ,

was u nearthed i n the fateful year of 1 79 2 She .

sta nds now i n the M u seum of the Lo uvre i n

Paris o ne of the most charmi ng works i n all
,

that vast collectio n .

As a rule Gree k statues are very im per

,
”
so nal ; their bea uty seems ty pical rather
tha n i ndividual ; o ne does no t thi n k of them
as real peo ple Bu t here is a marble gi rl that
.

o ne could easil y fall i n love with as ma n y a n

art stu de nt has do ne i n the past and man y
ano ther will i n the fu ture u ntil the en d of
time . O ne of these en th usiastic admirers de
scri bes h er as foll ows
N oth i ng coul d be m ore graceful tha n h er
sim ple easy pose the a ttitude of a maide n
, ,

godde ss fi nishi ng her toile t H er head t ur ned .

,

to the r igh t is carved wi th i nimi table r e fi n e

,

ment .T he delicate half parted li ps recall ,

-

th e p r a is e s which the a ncie nts lavishl y be

,

s towe d o u th e statu es of Artemis by Praxi

teles . Wi th exq u isite feeli ng the a rtist has
e nlive ned his com positio n by well chose n bi ts -

of co ntrast O n o ne side o ne sees the rou nded

.

co ntours of th e raised arm the shoulder hid ,

de n by th e draper y th e straight folds o f the ,

belted garment a nd the leg which su pports ,

th e weigh t of the body O n the other side the .

shoul der is bare the arm is pressed agai nst ,

the breast the h eavy folds of the cloak de

,

sce nd to below th e k nee and the left le g is ,

be nt a nd se t back T he sub tle ty of pose a nd .

moveme nt combi ned wi th th e beau tiful co n

,

c e p tio n and perfect executio n make of the , wo nder what the y w ill sa y of us a hu ndred or
,

stat ue a work of su preme charm and d i gnity .

'
a th ousand years from now ' Will they be
I t is a pl easure to realize that there were grateful to us for ideals of beauty ex pres sed
wome n i n those days beau tiful e nough to ih i n music and poe try i n pai nti ng a nd scul p
.

spire such works and m en wi th skill to carve ,

t ure ' Will they sa y ,
What a happy refi ned ,

them I do not su ppose that the scul ptor was

. peo ple they must have bee n how t hey m us t
thi n ki ng particularl y of us whe n he made this have e nj oyed crea ti ng these rare things a nd ,

delightfu l fi gure bu t we have i nheri ted the ,

h ow fortu na te we are to e nter i nto their
‘

weal th of the past and I for o ne am grateful , , ,

labors '
‘
Or will the y sa y of us T he v
,

to the u nknown artist The school that has . were a sordid race ca ri ng o nl y for the a l
,
‘

the girlish Di ana at Toile t has a thi ng migh ty dollar

of beau ty a nd a j o y forever . Le t us learn some thing fro m t he G reeks '

[ 13 ]
 wh o la ter was called M i nerva ,
sc ulp ture bu t is q ui te di ff ere nt from the
,

goddess of e ducatio n as well as descri ptio ns l eft us of th e At he na of th e Par

us i ndustries a nd no prese nce
,
v

th e n o n .

”
coul d b e m ore a ppro priate withi n the walls of Am o ng th ose o ther i ndustries referre d
a schoolroom Of all th e sta tu es of this
. t o was th e bu si ness of fi gh ti ng to whi ch ,

sple ndid patro n of l ear ni ng the o ne which we

,
A th e na was no t a t all averse S he is describe d .

pic ture here is th e ge neral favori te T hi s . by H om er as taki ng par t i n ma n y a ba ttle ,

a nd there are nu merous scul pt ures which sh ow

h er i n th e thi ck of th e combat I n this statu e .

she i s sh ow n wi t h h er h elm e t wh ich coul d be

pulled dow n over h er face her breast plate of
mail beari ng th e dreadful h ead of M edusa ,

a nd her f ormidabl e spear T ha t pe t s nake of .

hers also looks fairl y belligere n t I n o ther .

respec ts however t he bl ue e ye d goddess

, ,
-
,

wrappe d i n h er beau tiful dra pery seem s as ,

peaceful a nd q u ie t as yo u please — a fi ne t ype

of the wa tchful h el pfu l school m istress
,
I t is -
.

no wo n der that t h e A th e nia ns love d h er de

v o te dl y sh e embodied their highest i deals .

T he voraciou s Roma ns i n th eir ea ger ness “

to
co nq uer t he wh ol e world be cam e ver y li b '

eral i n reli gio us m at ters I n fact we mi gh t .

,

cal l them o m nivorou s for th e y swallowe d no t ,

o nl y t h e natio ns of t h e earth b u t t heir gods as ,

well T here was ro om i n t he Ro ma n Pa n th

eo n for t hem all I i magi ne t ha t wi t h som e
.

of t hose q ueer E aster n dei ties th e a doptio n was

rather perfu nctory Probably Baal a nd P tah.

a n d a h ost more of t h e shadow y creati o ns of

th e Orie n t never cam e t o feel v er y mu ch a t
h om e i n t h e i m perial ci ty bu t t h e Greek gods ,

were greatly ho nore d t h ere a nd u nder new ,

nam es b ecam e th e favorites of the Roma ns .

Som e to be s ure fell to pret ty low esta te

, , ,

a n d t he gossi p tha t th e Roma n poe ts wove

abou t th em wou ld have sca ndali z ed th e earl y
piou s Greeks B ut M i nerva th o u gh no lo nger
.
,

possessi ng the perso nali ty an d si gnifi ca nce

whi c h t h e Athe nian s had attribu ted t o h er ,

c o n tin u e d to claim t he i ntellectual life a nd th e

‘

pro tectio n of th e fi ne ar ts so tha t sh e is still ,

used i n poetr y as a symbol for th ese thi ngs j ust ,

as yo u will see h er pict ured i n decora tive pai nt

i n gs a nd scul pt ur es wi th the sam e signi fica nce
,
.

A no ther of Athe na s nam es was Pallas Do ’

Minerv a G iustinia ni
.

“
y ou rem ember h ow i n T he Rave n the bird
of evil om e n perched u po n t h e b ust of Pallas
“ ”
statel y fi g ure is called th e A the na or M i nerva
,
o er m y ch amber door ' I have always
’

G iusti nia ni after th e I talia n fam il y which

,
im agi ned th e bu s t o f Pallas t he p articu lar h ead
rej oiced i n i ts possessio n for m a ny years . sh ow n i n our i l l ustra tio n and Poe s weird ,
’

H owever i t h as bee n cou n ted am o ng th e

,
verses m ade such a n i m p ressio n u po n m y
treasures of the V atica n for nearl y or q ui te a y o u thful mi nd th at I never see th e h ead a nd
ce n tury.
i ts protecti ng h elmet wi th the peek hole ey es -

E ve n th e wisest of th e cri tics a r e u ncertai n bu t I imagi ne that great black bird p erch ed
“
as to w he n the stat ue was made I t h as all
.
u p o n i t cr oaki ng N evermore a t the e nd of
th e di gni ty of th e earlier period of Gree k each verse .

[ 14 ]
 Deme tri us P o l io r c e te s a nd tha t i n the vear 30 6
B C be e ngaged in a grea t na v a l ba ttl e w ith an
'

. .

E gy pt i a n fleet Fortunately fo r us a nd for

s o l ute choice bu t we ma y gr ou p toge ther the
.

,
the schools he was victoriou s a nd s e nt th e
,
thre e Fate s of the Parthe no n the Ve nus fore i gn i nvader abo ut his busi nes s
,

of M 1 10 and the Wi nged Victory

,
D eme
M v prefer
.

.
tr i us beca me K i ng of Mace d onia and a s w
as
e nce amo ng these glorious works is the o ne a t the custom of his time and cou ntry provided
, ,

wh i ch I hap pe n to be loo ki ng Si nce we have ,

.

a vo t i ve o ff eri n g to be erected i n the sacred

the p i ct ure of the Victory before us we may , I sl and of Sa mothrace His very a p ro pria te
call i t for th e prese n t t he most beautiful o f p
.

a l l the an cie n t scul ptu res

,
cho i ce was this sple ndid sta tue of V i ctory A
c o m of his reign shows the very fi gu re u p n
.

o
As wit h the radi a n t V e nus o f Milo we do , the prow of a vessel w i th wings e x te nde d a nd
,
no t eve n know i ts maker s name And agai n‘
.
, trumpe t i n ha nd U nfortuna tel y the a r ms
l i ke V e nu s it was fo u nd upo n o ne of the
.
,

s m a l l isla nds of the ZE

,
the trum pe t a nd eve n the head are los t bu t
g e a n Sea in this case ,

, the statue is still tri um phant

t he I sland of Samot hrace j ust o ff the coas t of
.

, Yo u ca n ima gi ne the illusio n of the plu ng

Vic tory

T h race H ere it was disco vered i n 1 8 63 by a

. i ng vessel wi th this su perb creature ligh tly
Fre nchman who had i t tra nsported a t o nce to
, poised upo n i ts pro w There is rush and .

Paris . i m pe t uosi ty i n her every line The eye w a n .

I t i s now o n e of the greatest treasures of the ders w i th del ight over the swee pi ng folds of
Louvr e where i t is admirabl y placed a t the
, the fl ying drapery follo w i ng them arou nd the
,

head of a great stairway Poised th ere upo n. graceful fi gure Behi nd the gar men t is blo w n
. ,

its ori gi nal pedestal a sto ne prow of a vessel

, , ou t i nto gr eat flu tteri ng mass es of singul a r
it seem s to fl oa t i n the air Few sta tu es a p . beau ty a nd va rie ty T here is eve r ywhere th a t
.

peal so s tro ngl y to o ne s ima gi natio n i t makes

’
i ndescriba ble play of light a nd shade which
the old heroic days real o nce more I t may . scul ptors persis t i n calli ng color yet it
be of i nterest to k now tha t whe n it was fou nd is wi thou t harsh ness or mon o tony O ver the .

t he fi gure a nd wi ngs were i n o ne hu n d red boso m and w aist the dra pe r y is thi n a nd
a nd eigh tee n p ieces all of which had of , ,
pressed close to the body allowing the noble ,

course to be carefully fi tted and faste ned

,
form to show through No feeble little si s ter
.

toge ther . she sq ueezed u p tight i n a co r s et ' How she

,

Al thou gh we do n o t know who made this would pi t y ou r deformed you ng wome n with ,

glorious Ni ke we are fortunate i n bei ng able

,
their be n t ribs a nd sta rved lu n gs ' Like the
to lear n some thin g about h er We read that . Venus of Milo her beau t y is largely tha t of
,

soo n after t he death of Alexa nder there was i n e x u bera nt health of pe rfect adeq uacy
, I t is .

Macedo nia a cer ta i n powerful ge neral named a figure worth y o f a godde s s .

[ 15 ]
 now to o n e of th e m ost cel e saw th e sc ulpture s of th e Parth e no n
'
N 0 man .

works of scul pt ure i n th e e ver l iv e d w h o coul d have e nj oye d them m or e

T h e Apollo B elvedere h as tha n h e bu t h e h ad to co nte n t h imself wi th
,

bee n wri tte n abo u t a nd talked a bou t for fo ur wha t was k now n th e n — the Lao co o n gr o u p ,

h u ndr ed y ears I t was fou nd i n th e last years

. th e H ercules Torso of th e B elvedere the ,

of t he fi ftee n th ce n t ury i n I tal y o n th e estat e Apollo a nd of co ur se m a ny Ro ma n c o pie s

, , ,

of a cer tai n grea t cardi nal w h o was desti ned

, which were b ei ng d ug u p all t he time F o r tu .

to becom e th e fam o us iP o p e J uli us I I t he .

goo d fri e nd of M ich aela ngelo a n d t h e fi erce
e nem y o f alm os t e verybody el se
, na tel y t he po pes were gr ea t collec tors a nd
, ,
“
th ese fi n ds were bro ugh t u p a nd a dde d to
. t heir collectio ns
, T hi s remi n d s m e to say tha t
.

th e B elvedere was th e nam e of th e origi nal

galle r y wh ere t hese t h i n gs were kep t I u sed .

to su ppose th a t Belvedere was Apollo s famil y ’

nam e like J o nes or To m ki ns bu t have learn ed

, ,

si nce t ha t this was a m istak e .

Whe n th e beau tiful s tatu e was first di s

covered t h e ha nds were broke n o ff a n d l ost ,

so no o n e real ly k nows j us t wha t Ap ollo was

,

do i ng T h e scul ptor wh o restore d th e fi gure

.
'

gave i t very lo ng h a nds a nd p u t a bi t of a b ow

i n o ne of th em th e left to i ndi ca te th a t th e
—

god h ad j ust se n t a n arrow a t som e e nem y .

T h is ex planatio n seems to make goo d se nse .

Apoll o is adva nci n g wi t h grea t strides of hi s

ver y lo ng l e gs T he left arm is stre tche d .

strai gh t o u t as i t wo uld be i n hol di n g th e

,

bow wh ile th e ri gh t ha nd is dro ppe d a t t he

,

side i n a l ively gest ure as tho ugh i t h ad j us t ,

sp ed th e arrow o n i ts erra nd of destru ctio n .

H e h olds h is h ead ver y high a nd som e th i nk ,

t h ey ca n detect th e sneer i n tha t ha u gh ty

Ap ll Belv ed r
o o e e l ook I t cer tai nly is ra ther disdai nful b u t i t
.
,

has a righ t to be for th e su n go d was in v in c i ,

ble .A n d what a beau tiful h ead th is i s wi th ,

S om e Germ a n artist o nce p ai nted a roma n i ts clea n cu t fea tures i ts far seei ng eyes a nd
-
,
-

t ic pict ur e o f the first ex h ibiti o n of this sta tu e . i ts w e a l th o f curl y lo cks ~

T he pro ud fi gure s to od com plet e i n al l i ts Perh a p s th ey are a tri fl e to o curli n g t h ose ,

beau t y u po n a pedes tal wh ile gro upe d aro u nd

,
ri n gle ts T hey do l oo k a bi t snak y i n places
.
,

i t were the whi te bearded p o pe an d h is cour

-
b u t t his a nd th e shar p ness of th e drapery a nd
tiers cardi nals a nd priests
, ,
H andsome boy
.
,
o verpolish o n parts of th e body were do ubtl ess
i sh Ra p h ael wa s sh ow n a t o n e side with h is th e m istakes of the z ealou s marbl e cu tter w h o ,

trai n of p u pil s a nd somewhat al o of o n th e

,
carved this fi gure fr o m a still m ore bea utiful
o ther side was M ichaela n gelo l ooki n g very bro n z e T h e ori gi nal m u s t have bee n a gl ori
.

cr oss a nd j eal ous Possibl y hi s dear frie nd

.
,
o us work bu t we sho uld be tha nkful
,
as
Vi ttoria Col o n na was near him — in whi ch
,
M ichaela n gel o was to have eve n a co py whe n
case i t may b e tha t h e was no t l ooki n g s o i t is as fi ne as this I t will pay yo u to loo k i t .

u gl y afte r all. u p nex t ti me y ou visi t a n art i nsti tu te Se e if .

I t i s a great pi t y th a t M ichaela ngelo n ever yo u ca n recognize i t from this picture .

[ 16 ]
 LO
wil l remem be r was asso
, y ou , There are some fragme nts of this tre me a
c ia te d with the S un a nd was believed , do us work i n art i nstitu te collec tions while ,

to be so radia nt tha t no mortal could the w hole thing is set u p i n the muse u m of
l oo k o n him H e had a twi n sister Artemis
.
, , Berli n. I t is believed that it is of thi s v e r v
wh o m the Romans ca lled Diana She was . structure that St J oh n wrote i n Revelatio n
.

sur pa ssi ngl y beau tiful a lso thou gh i n a ge ntler , the message to the church a t Pergamos “
1 ,

way a nd was symboli z ed by the moo n

, Bu t . know where thou dwellest even where Sata n s ,
'

whereas the moo n leads a ver y sere ne a nd thro ne is .

'

somewhat ch illy existe nce Artemis was a , Amo ng the stre nuous god s who decorated
fi ne acti ve gi rl whose greatest pleasure was
, , the great frieze of Sata n s seat i t is inter ’

i n a ll ki nds of athletics I n moder n times she .

esting to fi nd a n A pollo almost exactl y like the
w o uld probably have devo ted her e ner g ies to
bas ke t ball and golf bu t as she did no t k now
-
, ,

abou t such thi n gs sh e i ndul ged often i n the ,

vi gorous j oys of hu nting T h e old po etic .

l e ge nds ge nerall y picture her as the q uee n of

the chase T hey t ell us too that she was no t
.
, ,

a t a ll se nt ime n tal i n deed she rather avoided ,

”
the boys N ever wa s sh e so happy as whe n
.

foll o wi ng her eager hou nds or bathi ng i n

woodl a nd pool s wi t h her attenda nt n y mphs .

T he fi gu re shown i n the illustratio n is k nown

as the Dia na of Vers ail les si nce i t was at o ne ,

tim e a h ighl y prized orname n t of the palace

of V ersa illes I t has bee n i n the Louvre i n
.

Paris si nce 1 79 8 O n a no ther page we show .

th e ge n tl e D ia na at T oile t here she i s

evi de ntl y Dia na t he H u ntress ”
The tam e .

deer which bo u n ds a t her side does no t seem

very well modeled a nd this and som e o ther ,

featur es make us believe that the statue is a

co py though a ver y good o ne of earlier work
, , .

I t is thou gh t tha t i t dates from the same period

as the Apollo Belvedere so that the fi gu res ,

as well as the my thologi cal subj ects are twi ns .

T his period we call th e age of H elle nistic

art whi ch m ig h t be tra nslated Greek ish art
,
-
,

or art produ ced u nder Greek i n fl uence Yo u .

see Greece became sudde nl y u nder Ale x

, ,
“
a nder a world power
, a nd the co nq ueror ,

f o unded ci ties a nd e ndowed i nsti tutio ns of

learni n g wherever h e we nt All these vario us .

Ale x a a drias and o ther capital s becam e ce nters

of H elle nic cul t ure a nd several of them de ,

v e l o p e d a notable ar t largely fou nded u po n ,

t hat of Greece The em pire lasted to be sure .

, ,

o nl y a few years b ut the i nfl ue nce remai ned ,

T hou gh the heri tage was to the stro ngest ,

as Alexa nder predicted and there were ma ny ,

claimants an d e ndless stru ggle fo l lowed there

, ,
D ia na o f V ersa i l les
were neverthel ess me n of peace who se ttled i n
As ia Mi nor and E g yp t and th e islands of the Apoll o Belvedere a nd a Diana so similar to the
M e di terranea n and th ese w rou gh t o ut forms ,
Diana illustra ted a bove that we k no w they
of beauty characteri stic of th is mellow au tum n were ei ther take n the o ne from the other or ,

pe riod of Greek scul pt ure . both from some c o mmo n origi nal .

Some o f thi s work was overdr amatic a nd O ur Dia na is ver y pro ud and elega nt like .

so restless that it seem s u nworth y of the fair her bro ther l o ng of lim b a nd w i th a ver y
,

white m arble i n which i t i s c a rved ye t i t ,

small head H er skirt is gathered up high
.

shows wo nderful skill and audaci ty of co n for ra pid motion a nd her fa ce i s al ert a s
c e p ti o n Th ere was a n imme nse altar for
.
,
though she were on the l o okout for a fl eeing
i ns ta nce i n Pergamos i n Asia M i nor a n altar
, , ,
s ta g or boar Alt ogether she makes a be auti
.

as bi g as a ch urch whi ch was erected prob ,

ful decoratio n for a schoolroom for she is one .

ably abo ut 1 75 B C and covered w i th im . .

,
of the most pe rfect wor k s prese rve d for o ur
me nse reli efs sho wi n g the struggle be twee n enj oyme nt from the age which prod uced the
the gods and the earth gi a nts a nd mo ns ters . Wi nged V ictor y and the V e nus of Milo .

[ 17 ]
 th e grea t pleasures of rea di n g san g h is glorio us s o ngs away back i n the
gr ea t au thors is t h e co nsta n t r e c o g n i
eigh t h or n i nt h ce ntury before Christ a nd t h e ,

tio n of well k nown ofte n q uo ted pas

-
,
- Gree ks were no t m aki ng such bu sts i n those
sages We have all heard of th e m a n wh o
.
days N o t a t hi n g remai ns to u s with certai n ty
.

th o ugh t Shakes p ear e ha d a pret ty easy ti me of tha t perio d T he scul pture of eve n t hree
.

of i t after al l si nce his pl ays are m ore tha n

,
hu ndr e d years l ater was as fu n n y as som e of
half q uo tatio ns ”
H e k new e nou gh to recog
.
th e h eads tha t th e chil dre n m odel nowadays .

niz e t he m a t a ny ra te a n d t ha t i s a s a tis fa c
, ,
I t is believe d tha t t hi s bu st dat es from th e
”
tio n i n i tself O ne e nj oy s a sim ilar pleasure
.
H ell e nisti c perio d of whic h w e have a l
i n wa n deri n g throu gh the ch urch es a nd m use ready tol d co mi ng wi thi n two or t hree ce n
,

u m s of E uro pe E very li ttle while you com e

.
tur ie s o f the Christia n era S o i t r eprese n ts .
,

u po n som e beau tiful t hi n g — a pai n ti ng o r no t th e real H o mer b ut the later Greek ideal ,

stat u e
‘

whi ch y o u h ave k now n for y ears by

— of H omer I t sh ows j u st how t he y tho u gh t
.

means of ph oto gr a ph s or casts a nd i t is su ch ,

h e sh oul d have looked a nd we are al l p l eased ,

a pl easa nt surprise to fi nd th e ori gi nal before to a cce pt th e ideal as perfectl y satisfactory .

S cul ptors are ofte n calle d u po n no wadays t o

y o ur .
ev es .

make ideal portrai ts a nd i t is a goo d test of ,

a n artist s ima gi na tio n a nd skill

’
If h e is .

able to co nceive a head that seem s adeq ua te ,

to satisfy all of o ur ideals i t is a gr eat ach i eve ,

m e nt T his i s wh a t Mr S t Gau de ns has do ne

. . .

” “
i n h is Deaco n Cha pi n Fre nch i n hi s J o h n ,
”
H ar vard a nd M a c M o n n ie s i n h is
,
N atha n
”
H ale .

H o w perfectl y the u nk now n scul ptor h as

cau gh t the si gh tless look ' E ve n fro m a dis
ta nce o ne reco gni z es th e ex pressio n al th ou gh ,

th e e yes are no t cl osed T h e face is calm a n d .

sere ne bu t the e yebrows are lifted as is so

, ,

ofte n th e case wit h th e bli nd ; th ey seem to be

always tryi ng t o o pe n their eyes H ow li ke .

the rest of us t he y are ' We are all tryi n g so

hard to know a n d to u ndersta nd l o n g in g to ,

becom e bet ter acq uai nte d o ne wi th a n o ther ,

to peer i nto th e m ys tery of life ye t ever wi th ,

”
eyes that are holde n B u t this is no wa y .

Ho me r to talk to sch ool c hildr e n T heir u ndimmed .

e yes see c learl y a nd co nfi de n tl y T he y m ust .

Whe n i n th e m use um of N a ples two sum lead us .

mers ago th e writer was startled to fi n d him

, Loo k a gai n a nd see wha t a gra nd ol d face
self face t o face wi th th e ex traordi nar y bu st t his is H o w stro n g a nd picturesqu e a n d
.

which we pi ct ure above th e fam ous h ead of m ela nchol y For m y part I like i t m u ch be t
H o mer N ever m i nd if th e y do say that there
. ter tha n the Apollo i t seems to have so m uch
ne ver was a H om er th a t i s a si ngl e H om er ,
more character I t is seldom tha t a subj ec t
.

wh e n we l ook u p o n thi s noble cou n te na nce permi ts of a trea tme n t so ru gged a nd a t th e

we feel tha t i t re prese n ts a very real ma n ; same tim e so re fi ned T he carvi n g of the h air .

we are co n vi nce d t ha t h ere is a poe t wh o a nd beard of th e wr i nkled brow a nd parted

,

m i gh t have wri tte n th e Iliad a nd Odys li ps is masterl y as ca n be

,
T h e ol d ti me .
-

se y. T h is is o n e of the saddes t gra ndest ,

scul ptor by th i nki ng h is bes t a nd doi ng hi s
faces of all a nt iq ui ty . bes t has co nferre d a favor u po n u s all He .

A li ttle re fl ectio n will co nvi nce us h owever , ,

has ha d the same privi le ge as H o mer h imself
th at th e h ead is after all bu t a n i deal por
, ,
that of talkin g to e ndl ess ge nera tio ns of
-

trai t T he grea t bli n d m i nstrel j ourne yed a nd

. men .

[ 18 ]
 ung fellow whose por ever y body k no w s the You ng Aug us tus of
r e has a very di ffere n t the Va tica n There are two others s tat ues
.
, .
.

that of pathetic old wh i ch are magni fice nt thi n gs O ne is A u .

H omer I t wo uld be hard to change h im i n to

. gustus as commander of the troo ps i n full ,

a H omer eve n i n a h u ndr ed years

, H e was . armor . H e sta nds wi th an arm o utstretc he d ,

desti ned to wi n fame i n ano ther fashio n bu t , as i f gi vin g an order ; no t shou ti ng but s peak ,

he wo n i t and h is nam e will always be r e

, i ng q uietl y like a ma n who e x pects to be
“
membered Yo u ng Augustus . was the o be y ed .

nephew yo u will remember of the grea t

, T he other fi gu re seems to me eve n more
J ulius C aesar a nd althou gh h i s u ncle refused
, ,
beautiful I t is a ca st of the famo us one i n
.

the crow n the ne p hew had n o such scru ples

, ,
the Lo u v re in Paris ; the em peror as a se n a tor ,

a nd became the first em peror of th e Roma ns . perhaps w rapped i n his to ga and pre p ared to
,

Bor n i n 63 B c he died as some time or. .

,
—
make a speech I t has a noble dignit y which
. .
,

o ther eve n em perors must — in 1 4 A D which . .

,
i s abo u t the fi nest thi ng po s si ble in scul p ture .

mea ns of co urse that he was on the throne

, ,

whe n Christ was born i n tha t li ttle town of

o ne of Rome s faraway E astern provi nces ’
.

Of co urse th e mighty emperor never knew of

,

this greatest eve n t of his reign .

I t was a glorious period i n Roman l ife .

Au gustus u sed to boast th a t he found Rome a

ci ty of bri cks and left i t a city of marble and ,

th is was hardl y a n exaggeratio n H is reign .

was i ndeed th e most artistic if no t the most

, , ,

luxurio us o ne i n all the l o ng a nnal s of the

,

E ternal Ci ty Th e Roma ns did no t care much

.

at fi rst for the fi ne arts ; th ey sai d that i t was

their bu siness to co nq uer natio ns and to rule
the w o rld no t to pai nt pi ctures a nd to whi ttle
,

stat ues But after a wh ile they had a taste of

.

the beauties of Greek art and soo n the y co uld ,

not ge t e nou gh of it .

E very returnin g ge neral wo uld bri ng back

a shi pload of sta tues to grace his trium ph .

I ma gi n e how impressive those beau t iful fi g Yo ung Augustus

ures of m arble a nd bro nz e m ust have bee n i n
the processio n each ridi n g i n his chariot like ,

nobl e sile nt pris o ners tor n from their beloved

,
O ne does not a ppreciate it all at once but if .

h omela nd Later the Roma ns im ported Greek

.
y ou will sit down before this fi gure for five
scul ptors an d artisan s to make more statues ,
mi nu tes and le t i t talk to you you will never ,

u ntil fi nally th e po pulatio n of bro nze a nd stone forge t it It m a y talk Latin but you will
. ,

men i n the capital was greater than the num u nderstand .

ber of livi ng ci ti z ens .

Although these s tat ues show the em peror
E speciall y did th ey like portrai ts Busts of .
i n the prime of life there is no difli c ul ty i n
.

grandpa a nd gra ndma were as e s reco gni z in g the face as the same which w a s
“
s e n tia l to ligh t h ousekee p ing as a ra nge and once that of the Young Augustus T he .

an i ce box i n a modern flat What a j o b it .

head is in tell ectual the feat ures cle a n cut a nd
,
-

must have bee n o n m ovi ng da y if one had aristocratic bu t n o t haugh ty Augustus w a s

,
.

a h u n dr ed or more sto ne a ncestors to car t evi de ntl y of the nobility — pas t o r future
abou t ' and no scul ptor ever had a fi ner subj e c t T he .

Au gu st us who did so m uch to e nco urage

,
earnest tho ughtful face is that of a dili g e n t
.

th e arts was rewarded b y bei ng able to leave

,
stude nt a nd we know that he pre a red him
,

beh i nd him som e of the fi n e s t p o r tr a its that self thoroughly for his great tas k 0 r uli n g the
were ever beq ueathed to the world T his . w orld .
The You ng Au gust us is qu ite a t
bust i s on e of them and e nj o y s grea t fam e : ,
home in a bus y sc hoolroom .

[ 19 l
 N almost every ar t i nsti tu te are two fi gure s th e wh ole e x press io n of face a n d form alike is
to which I i nvi te yo ur a tte ntio n O ne is
. tha t of perfect sere ni ty .

t he m use Pol yh ym nia ; the o ther h er sis ,

T halia th e blit hesom e m u se of comedy i s
, ,

ter T halia
, T he ori gi nal s are i n the Vatica n
. eve n more at tractive to ma n y tastes F or a .

“ ”
i n Ro me a nd bo th are m uch admired b y those
,
Greek statue she is unusu all y perso nal ,

wh o k no w abo ut su ch thi ngs T heir grace

. l ooki ng mu c h like som e nice h igh sch ool girl -

of mo der n tim es Wha t a pre t ty tabl ea u co ul d

.

be m ade i n thi s co stum e a nd pose H er fi g

ure i s yo u thful a nd sle nder th e expressio n of ,

h er face very swee t Al t hou gh T halia was

.

t h e pa tro ness of ba nq ue t so n g a nd mir th the -

,

i nspirer of gaye t y there is no l ook of th e

,

comedia n o n tha t fi ne cou n te n a nce

.
The .

scul p tor fel t tha t a fl ee ti n g smile was n o t

worth y th e e ter nal perm a ne nce of th e m arble .

H e pl aces beside h er t h e co mic m ask co n

to r te d wi th gro tesq u e lau gh ter T he symbol .

will su ffi ce ; her ow n beau tiful fea ture s m ay

remai n placi d .

T h e fac t that t he a ncie n t Greek s ap po i n te

so m a n y divi ni ties to th e care a nd pro tectio n
of th e vario u s forms of poe tr y gives o ne a no
tio n of th e i m por ta nce wh ich th e fi n e ar ts
h eld i n their esteem A pollo himself was
.

“ ”
head professor or chairma n of th e com
,

m itte e ; th e n followe d these z eal ou s assist

a n ts ea ch wit h her s peci al de par tme n t a nd
,

du ties . T halia will m ost ap peal to our m o d

er n sym pa thies for lo n g b efore t he R om a ns
,

associ ated h er so e xclusivel y wi th come d y sh e

was i de n tifi e d wi th th e l ove of na ture a n d
“ ”
th e sim ple life S h e i t was wh o favored
.

rural sports a nd pleasures a n d w ho b estowe d

th e bloo m of life H e nce sh e bears n ot o nl y
.

th e m ask of Comu s b u t a she p h erd s crook

,
’
,

an d wear s a wrea th of ivy .

Gracious T halia is a ttired i n th e e xq uisi te

costum e of those i deal days T h e artist has .

arra nged e v e r y l in e wit h l o vi ng care ye t has ,

so well co ncealed his ar t tha t o ne hardl y sus

peet s i t to b e a m at ter of ar t a t all Wh a t .

Thal ia delicacy of ima gi natio n i t m us t req u ire to

an d m odest digni t y woul d a pp eal however ,
co nceive a fi gure a s fi ne as this wha t skill to
pro duce i t ' I f the scul ptor had made i t a ny
,
more realistic i nsis tin g u po n de tails we m igh t
, ,

to a ny o ne wh e th er h e were acqu ai n ted wi th

, have admired th e folds of drapery the l ocks ,

scul p ture o r n o t . of hair th e fi n g e r nails and s uch mi n o r thi ngs

,
-
, ,

Pol yh ym nia the muse of th e divin e h ym n

, ,
a nd overl oo ked th e i nte ntio n of the whol e .

sta nds lea ni n g u po n a n irregular pier of s to ne . As i t is th e m aide nl y beau ty of the y o u n g

,

Close wra p ped i n h er ma ntl e sh e seem s l ost

, priestess of ar t i s like a n aroma too delicate ,

i n thou gh t H er a t ti tude i s very restful a nd

. t o de fi ne I t is l i terally poe try p erso nifi ed
. .

[ 20 ]
 XVI I .

moveme nt only a sligh t turn of the head a nd

.
,

e yes t ha t pe er i nto the dista nce T he ve r y .

still ne s s of the fi gure makes it se em al ive If .

ye a rs were called by the Fates to rule the i t had be e n shown making a g reat eff ort a s ,
E m pire of Rome Some of them persecuted .
st ridi ng or brandishing a sword we s ho uld ,

t he Christians a nd some pa tro ni z ed the arts , feel a t o nce tha t it w a s all make be lieve or -

while a few had tas tes i n bo th directio ns Bu t . tha t he had bee n paralyzed i n tha t p ositio n .

the gl o ri ou s Au gusta n age was no t to be r e bu t now all is so im pressively q uie t a nd te ns e

pe a te d Cul ture decli ned ra pidl y a nd the n
.
, tha t o ne half ex pects to see him move It is .

followed a n imme nse stre tch of time a pe riod , said tha t Michela ngelo was so struck w i th this
of n e a r l y a tho usa nd years duri ng which no th , look o f li fe tha t whe n he first saw the fi gure
“
i ng of beaut y and li ttle of i nt er est was pro he cried o u t to it March , .

d uc e d Toward the e nd of the t hirtee nth

.
I n a no ther way al so d id Do natell o show h is
centu ry there were signs of a n awake ni ng in good taste Although he w a s the m o st skilful
.

I taly a nd duri ng the ne x t ce nt ur y m uch

,

progress was made especiall y i n church deco ,

r a tio n I n t he year 1 3 8 6 was born i n Flore nce

.

a fut ure scul ptor whose i n fl u e nce was to be

very grea t a nd whose skill we admire to d a v -

as m uch as i t was praised i n his own time ,

H e had a lon g name but like his ow n frie nds , , .

“
we call him Do natello for short .

T al e nt seem s to be no respecter of families ,

a nd we need no t be surprised to fi nd the great

est artist of his ce ntur y born u nder the humble
roof o f a w o o l c o m be r Such was the ho me of .

Do natell o We k now li t tle of his childho od

.
,

bu t o ne da te is well recorded ; i n 1 4 0 2 whe n ,

li ttle Do natello had gr own to be a bo y of si x

tee n there was held in Flore nce a com peti tio n
,

to decide which scul ptor should h ave the

ho nor of maki ng the great bro n z e door of the
bapt istery This was the time whe n G hiberti
.

wo n the da y a nd bega n that magnificen t work

of a l ifetime which was to make his nam e im
mortal Donatello had a frie nd you ng Bru
.
,

n e ll e s c o who took part i n this com peti tio n

,

and was beate n H e was much disap poi nted

.
,

of co urse and turned to archi tecture i n

, , ,

which he was desti ned to earn a gr eat re puta

tio n . Togeth er the two y oung me n too k a
lo n g j our ney t o Rome where the wonders of ,

th e pas t made a dee p im pressio n u po n them .

We do no t k now h ow lo ng they sta y ed there ,

but t here is record tha t a t the age of twe n ty

D o na tello received pa y me nt for vari ous sta t
ues of sai nts for the decoratio n of the ca the
dral i n his native ci t y H e was thirty y ears .

old whe n h e made the remarkabl e fi gure which

we ill ustrate here his famo us St George , . .

I t was no t i nte nded for the cathedral but for ,

a niche o n the outside of a small church called

O r Sa n Michele St George w a s the pa tro n . .
S t G eo rge
.

sa i nt of the armorers a nd i t was th e arm or ,

ers guil d or u nio n which ordered the sta tue

’
, , scul ptor of his time a nd famed for maki ng the
a nd se t i t u p there for the glorifica tio n of their dai ntiest reliefs ima g i nable we notice that he ,

goo d sa i nt a nd the decora tio n of t heir beloved did no t overdo the fi nish o n this sta t ue See .

cit y . I n th ose days ever y ma n of Florence how sim ply i t is all ha ndled I t does not su g .

fel t a pride i n her fame and beaut y ; each a c gest a wax fi gure wi th real hair a nd real
,

cordi ng to his m eans co n tri buted toward her clothes .Do natello has n o t tried to deceive
further embellishmen t Our touris ts go there . us i nto thi nki ng that S t George is a real live . .

b y th ousands every year to s e e the ch urches ma n .I t is evide ntl y the fi gure of a ma n cu t

a nd mo num e nts erected du ri ng tha t sple ndid ou t of sto ne a nd the s c ul p tor has ke pt thi s in
,

period of public e nthusiasm the wo nde rful , mi nd all of the time The great artis ts have
.

days of the O pe ni ng renai ssa nce . always worked i n this wa y res pe c ti ng their
,

D o n a te ll o s co nce ptio n of S t George w a s ma te rial a s we s a y trea ting mar ble as mar

’ '
. , .

a very nobl e o ne a nd the fi gure w a s recog ,

ble and woo d as w ood and making bro nze ,

n iz e d at once as a masterpiece The s o ldier . fi gures i n still a di ffere nt fa s h io n They do .

sa i n t is shown i n armo r sta ndi ng fi rml y o n , n o t try to cu t dra pery as thi n as real c lo th
both fee t which are well a part and resti ng
, ,
nor make their fi gu res loo k like stu ff e d
h is ha nds u p o n h is g rea t sh ield T he pose . me n a nd wome n N o sc ul ptor u nders too d
.

was new for a s ta t ue a nd proves the o r i gi th is be tter tha n Donatell o and no s ta tue il ,

n a l ity of the a rtist ; there is no ges ture no ,

lustrates i t be tter tha n his bra ve S t Ge orge . .
 I i v ll l
x l ’
.

as m uch adva n tage they take of th eir freedom A cross

seem to th e l o n g space th ey po ur as if j u s t le t o u t of ,

subj ects sch ool ki cki ng u p their h eels a n d al most t ur n

,

practice ,
i n g ha ndspri n gs .

t he y did n o t do th em very well E ve n th e . T his beau tiful friez e i s o ne of th e l ive l iest

baby whi ch Praxi tel es se t u po n th e arm of h is t h i ngs i n scul p ture as i t i s al so o ne of the ,

H ermes was no t satisfactory T he Greek . m ost decorative Whil e th e childre n are .

i dea of sculp ture was som eth i ng no ble a nd bu nched i n several places as the y are sure to ,

di gni fi ed ; t hey did no t a ttem p t to m ake i t be i n pl ay o ne sees h ere a nd there o ne of

,
“ ”
lo o k cu nni n g Wi th th e Rom a ns there
. t he m ver y disti nctl y o u tl i ne d i n som e stri ki n g
“ ” “
was m ore call for this sort of thi n g T h eir . p osi tio n T his gives a . design or pa t ,
”
pai nters and sculp tors i n troduced ch ildre n i n ter n to th e co m posi ti o n e ve n whe n see n
, ,

grea t nu mbers for p urel y decorative purposes fro m q ui te a dista nce which i s a n im porta n t ,

—
lo n g festoo n s of Cu pids whol e friez es of ,
m at ter i n a ny thi n g i nte nde d for de cora ti o n .

fat l it tl e cher ubs B ut t here never was su ch

. Whe n t he galler y was i n place t h ere were
a tim e for babi es i n ar t as i n those earl y day s littl e or nam e nted p illars se t i n fro n t of i t a t
of the re naissa nce a nd there never was a
,
i nterval s wh ich seem ed t o divide i t i n to
,

scul ptor perhaps wh o u nderstoo d th em q ui te

, ,
pa nels bu t th e yo u ngsters pra nced a nd raced
,

as well as did Do natello . freel y behi nd this decorative fe nce a nd ar o u n d

Cherubs D a nc ing a nd Pla ying o n instrume nts

By D on t ll a e o

O th er scul ptors have made pre ttier chil dre n ,

o n th e e nds of th e balco ny The ir a ntics are .

bu t thi s great m a n caugh t the z est a n d S piri t irresistible no o ne ca n l oo k a t them wi th o u t

of the ir play a nd has give n u s s o m e of th e
,
lau ghi n g .

m ost j o y o us glim pses of you ng life th a t the T his was no t th e reaso n however wh y the y , ,

worl d has ever see n . were ba nish ed from th e ch urch I t seems .

I n 1 44 1 D o natello was fi f ty fi v e years ol d bu t -

,
th at som e tim e i n th e seve ntee n th ce nt ury
h e was no t too a ged to e nj o y th e sports of there was to be a ro yal weddi ng th ere a nd ,

yo u th. I do n o t m ea n that he playe d tag th ese ra th er smal l galleries were no t su ffi cie nt

and ri ng aro u nd th e rosy h im self bu t he ,
to hold all of th e musicians so dow n th ey ,

e nj oyed seei ng th e li ttle peopl e i n these im came i n or der t o b e replace d by large tem po
m ortal ga m e s .I t was i n th at y ear tha t h e rary structures A nd t he n they j ust never .

fi nish ed his beau tiful choir galler y i n th e ha p pe ned to be p u t back Yo u mi gh t ex pect

great ca thedral of Flore nce Th ere were . tha t p eo pl e wh o would do a thi ng lik e this
two of th ese sto ne bal co nies o n O p posite sides woul d negl ec t also to take care of th e exiled
of th e church choir T he o n e was decorate d
. sculptures b u t fortu natel y some o ne di d take
, , ,

by Luca della Robbia a deli gh tful ar ti st of ,

care of them a nd t he y m ay be see n to day i n
,
-

whom we shall h a v e som e thin g to say i n a n th e m useu m of th e ch urch acro ss th e street .

o th er ar ticl e th e o ther by Do na tell o Dell a . T here the li t tle waifs still kee p u p their m err y
Robbi a divided th e fro n t of h is gal lery rou nd j u st as m isch ievo us a n d j ust as gay as
,

i nto pa nels a nd fi lled th em wi th grou ps of

, whe n the scul ptor carved them T h e real .

l i t tl e m usici ans som e sin gi n g for all th ey re

,
’
childre n wh om Do natello watch ed a t their
,
”
worth ,
a nd o thers playi n g m usical in s tr u sport gr ew ol d a n d died a nd o thers cam e
, ,

m e n ts wi th no less vi gor Do natello t hou gh t

. a nd we n t their way ge neratio n after ge nera
t hat h e wo ul d try a di ff ere n t sch em e He . tio n all turne d t o dust bu t these marbl e ,

sim pl y t urned the childre n loose o n h is gall ery babies are th e true i mm ortal s T h e y do n o t .

“ ”
fro n t an d le t th em perform A nd wha t . e v e n grow old .

[ 22 ]
 same — no black holes but floati n g shad ows ,

everyw here like a form s ee n i n th e mist

, .

T hey tal k abo u t atmos p here in pai nti ng ;

this is atmos phere i n s cul p ture There is .

was called to m ake a lo ng j ourney I t was . nothi ng that descri bes i t so well a s low har ,

n igh t whe n the p arti ng came a nd it chanced , m o n io us m usic What a n a ppro priate us e o f
.

that his shadow was thrown o n the wall . i t we have here the n where th e s cul ptor is
, ,

E ve n the shadow was dear to the maide n and ,

re prese nti ng his ideal of the s weet p atro ne ss
wi th a bit of charcoal sh e drew i ts contour of m usic The gen tle sain t is sho w n w ith he r
.

where the friendl y candle had ou tli ned i t . head bowed as if she were seated before her
Later she filled i n the silho ue tte wi th cla y , favorite i nst r u me nt her fi ngers bringi ng forth
,

a nd th us had a perfect like ness of the beloved celestial strains There is a loo k of ins pira
.

tio n i n the face a breath of ecs tasy i n the

,

p arted sad smili ng li ps I t is a wo nderful

,
-
.

thi ng to e x press so much i n a face to c reate

such a precious ty pe ; somethi ng to be treas
ur e d throu gh co untless ages Don t y o u t hi nk '
.

i t worth while '

Do natello and his colleagues had certai n
great adva ntages i n their da y T here was an .

e normous dema nd for their work from all of

th e chu rches And whe n their sta tue s and
.

reliefs were se t i n place there w a s a great

a nd sympa thetic pu blic to apprecia te them .

No thi ng develo ps taste so ra pidl y as com pari

so n You ca n see that if there was a picture
.

or statue of St J oh n for instance i n every

.
, .

church and if churches w ere as numerous

St C ecilia
.
,

a nd as o pe n as salo ons are i n some ci ties how ,

soo n o ne wo uld learn which was the most

face . No doubt this fi rst of all medall io ns beau tiful work The n the nex t painter or
.

wa s a gr eat comfor t to the yo ung woman , scul ptor would certai nl y no t co p y the ugly
S i nce th ere were no pho togr aphs in th ose o ne bu t would seek his i nspiratio n from the
,

days .
favori te or else would try to sur pa s s i t
,
Thu s .

I t sou nds easy bu t if yo u try it yo u will dis

, there was a co nti nual frie ndl y rivalr y amo ng
cover tha t the shadow has more resemblance the ar tists and a pious emulatio n i n the
,

tha n t he clay rel ief i s likel y to o ff er Low . churches as well Do natello w a s called u p on
.

relief is o ne of th e most di ffi cul t forms of to carve man y sai nts Po s sibl y y ou would like
.

scul pture M any imagi ne tha t a relief is a

. h is ideal of J oh n the Ba ptist He th ought of .

h ead or bod y spl it i n two and pasted agai nst a

backgr ou nd or else merel y fl attene d ou t as
,

i f i t were r u n thr o ugh a clo thes wrin ger -

.

N either of these me thods w o uld produce a

g ood l ow relief -
.

Th e Greeks attai ned to grea t perfectio n i n

this be autif ul work T h e E g y ptian s a nd As .

syria ns used i t much also b ut never ou t grew ,

certai n mistakes which are natural to all be

gi nners C hildre n whe n dr awi ng side views
.

of me n and wome n almost always show the

eye i n fro n t vi ew looki ng sq uarel y out of th e ,

side of the h ead exactly as the E gy ptians —

used to make them I n the da y s of the re nais .

sa nce the new birth of art a nd literat ure

—

—
this fasci nati ng fo rm of scul pture was r e
v iv e d and carri ed to a pe r fectio n of delicacy
that eve n the Greeks a nd Romans had no t
St .
'
ohn

an tici pated O ne of the greate st m a sters of

.

l ow reli ef was Do natell o and tw o of the fi nest

-
,
h im always as the wild ma n of the des e rt .

his works are the heads whic h we illustrate almost cr azed wi th h is awful re s p onsibility
f
iere
.

.
He shows him shaggy and haggard i n look .

I t m ay a s wel l be ack nowledged however , ,

wi th o pen mou th that cries ever R e pe a t ,

”
to be gi n wi th tha t we are no t q uite sure that ye re pe nt ye Bu t when he dreams of the
.

beloved disci p le how te nder is h is touch '

,

the fair St Cecilia is reall y the product of

.
,

D o n a te ll o s skill I t is not si gned a nd our

’
. ,
The seco nd relief which is now in the -

Lou v re i n Paris — is o ne of D o na te l l o s r e p
’

c h ief reas o n for thi nki ng that h e made this

re s e nt ti of the young St j oh n O ne
head is the fact tha t it is so p erfect — w e do a o n s . .

no t know an y o ne else of tha t time who could feels that th e scul ptor enj oyed doing this
have m ade i t T he ill ustratio n gi ves li ttl e
.
head .
I t has m uch i ndi viduality i n it : h e
idea of th e charm of this work T o th e e y e i t .
knew j ust what he wished to do a nd j ust how ,

is of co urse o nl y ligh t and shade bu t wha t

, ,
to do i t I t is abs olutel y w i thout w ea kn es s
.
,

and ye t there is delicacy i n ever y touch

,

exq uisi tely refi ned ligh ts and shades th ey a r e The .

E ven i n the cut ti ng sunl igh t i t w ould be th e schoolroom which h a s i t po sses ses a li ttle gem .
 was a lit tle boy face d mado n nas darli ng babies a nd spl e ndid
,

de termi ned to a ngels T h ese m odel s he glazed a nd baked

.

H e had st udied u n til they were as hard as cro cker y a nd as

i n school u n til h e coul d read a nd write a nd do lasti ng as bro nz e T he galleries of E ur ope
.

”
easy sum s a n d the n h e was ap pre nticed to
,
are full of tre asure d s pecime ns of D ella
”
a goldsmi th While i n t hi s em plo y h e l earned
. Robbia ware a nd o ne sees i ts blue a nd whi te
,

t o model a nd to dr aw an d th is ex perie nce l e d

,
i n ma n y of the ch urche s of I taly I ts beau ty .

him to cho ose scul p tur e as his professi o n H e . a nd perfectio n make i t as m uch so u gh t after
was so ambi tiou s a n d so i n lo ve wi th th e art as marble sc ulpt ure I t seems a n e ve n m ore
.

t hat h e di d n othi ng bu t work wi th his chisel wo nderful thi ng t o take m ere earth a n d co n
all day a nd b y ni gh t h e practi ced him self i n
, ver t i t by th e m a gi c of ge nius i n to some th i n g
drawi ng . Som e boy s like to draw a nd som e
'
,
so rare a nd val uable .

Lu ca worked however i n o th er material s

, ,

as well H e was a n e xpert carver i n marbl e

.
,

a nd made a t least o n e pair of bro n z e do ors I .

spok e th e o th er da y of a seco n d si ngi ng gal

”
l er y wh i ch face d th a t o ne o f D o natello i n
th e gra nd old ca thedr al of Flore nce T his .

was th e work of L uca della Robbia a nd ple n t y ,

of tim e h e p u t u po n i t ; a t least i t was be gu n

i n 1 43 1 a nd no t ere c ted u n til 1 440 I t is th e .

very earliest of his scul pture wi th which we

are acq u ai nted a nd we ca n ima gi ne h ow
,

ea gerl y h e toiled u po n i t a nd h ow im pa tie n tl y

h e wai te d th e n for D o na tello to ge t his gal
l er y fi nish e d so t ha t th e y m i gh t be see n to
gether N o do ub t each h ad h is warm frie nds
.

a nd each ga l ler y i ts e n th usiastic par tisans ,

a n d discu ssio ns m us t have ru n hi gh as to

which was th e fi ner work bu t we n eed no t ,

ch oo se be twee n the m B o t h ar e ver y beauti.

ful a nd i t is most i nteres ti ng to see h ow di ffer

,

e n tl y two grea t m asters trea t the ver y sam e

problem
C hildre n Pla yi ng o n Cymba l s
.

Y o u will remember that Do natell o covere d

by Luc a D e lla R o bbia hi s gallery fro n t with a thro n g of m err y da nc
i ng chil d re n D ella Robbia cu t his space u p
.

wo uld ra th er be wh ipped E vi den tl y h e pre

. i nto pa nels ; fo ur i n fro n t o ne at each e nd , ,

ferre d th e form er as th e q u ai n t old bio grap her

,
a n d the n a no ther row of four more o n the
co n ti nu es : T h is h e did wi th so m u ch zeal wall u nderneat h a n d th ese h e filled al so wi th
,

tha t wh e n hi s fee t were fro z en wi th col d h e chil dre n e xq ui sitivel y carved i n m arble
,
But .

ke pt the m i n a baske t of shavi ngs to warm h e h ad the ha p py t h ou gh t to m ake them ill us

th e m so th a t h e mi gh t no t be com pelled to tra te th e fi ne o ld psalm abo u t praisi n g th e
” “
disco n ti nu e h is dr awi ngs . Lord Prai se H im o n th e psal ter y a n d t he
”
A l l of thi s was a l o ng tim e ago som e fi ve h ar p ,
e tc So i n each pa nel he sh o w e d a
.

hu ndr e d y ears i ndeed for Lu ca della Robbia

,
l i ttl e grou p playi ng u po n so m e special in s tr u
was born i n M OO— a nd I scarcel y n eed a dd m e n t A few are da nci ng a nd there are two
.
,

th a t hi s h om e was i n th a t rare wo nder ci t y of -

or three grou ps which are si ngi ng — th e m os t
Fl ore nce T h e b oy w ho sa t dr awi n g wi th
.
,
w o nderfu l si ngers y ou ca n i magine yo u ca n
h is cold fee t i n a baske t of shavi ngs was ,
alm ost hear them T hese l it tle mu sicia ns are
.

desti n ed to do som e beau tiful work which ,

am o n g the m ost po pular t hi ngs ever made by
i s k now n a nd pri z ed everywh ere to day -
. a scul ptor You will fi nd cas ts of t hem i n
.

H e too k th e ch ea p est and hu mblest of all e very civil i z ed co u ntr y i n th e worl d Li ttle .

m aterial s ordi nary clay su ch as th ey fi nd

, , e no ugh di d good U ncle Luca th i nk of Am er
a nywhere i n di ggi n g wells or cellars a nd ,
i ca whe n h e was carvi n g th eir pre t ty faces a nd
conver ted i t i n to exq u i site scul pture — swee t gr acefu l limbs

[ 24 ]
 never ma r ri ed ,
cl oth es were from the ha nds of Andrea w h o ,

life through to was now thirty four years old -

.

A baby is called a ba m bz no i n I talia n a nd

’

ved i t so m uch
tha t i t is no wo nder he succeeded until fi nally ,
if there are tw o of them they are ca lled ba m
bim bu t we make our pl urals in our own
’

p riests a nd m o nks and powe r ful no bles bega n ,

to come lon g di sta nces to get him to do work i nde pe nde nt America n way and call these ,

for them Th e dema nd became so great that

. charmi n g creatures Della Robbia ba m bino s .

he em ployed o ther sc ul pto r s to model grou ps Anybody who has bee n abroad will know w ha t
for him after his desi gns, Bu t he kept hi s .
that mea ns ; a nd few ca n hear the word wi th
gr ea t secre t of the mysterious gla z e to himself .
out smiling for there is no thing p ret tier i n
,

H e had a you ng nephew named Andrea whom ,

all E uro pe tha n that array of shin y babies
he loved very m uch Bab y A ndrea was always
'
.
hu ng up o n the fro nt of the S ped a l e deg /i
welcome i n the great shop where Luca a nd hi s I n n oce n ti as they call the as y lum i n their
,

assistan ts were very bus y modeli ng a ngels and m usical lan guage I t is a lo ng p orch or
.
,

sai nts a nd h oly vir gi ns N ow and the n I .

,
arcade and over each post be twee n the
, ,

fancy th e li ttle fellow was i nvi ted to si t very

,
arches is o ne of th ese m edallio ns
, E ach .

still while they ske tch ed his smili ng face and

ro u nd baby limbs i n the plastic clay Prob .

abl y not a few of U ncle Luca s pre tty babies ’

w ere portrai ts of the st urdy littl e ne phew It .

must have am used him whe n he was older to

be told tha t this Christ child and tha t y o ung -

S t J o h n were portrai ts of his own bab y

.

face .

B ut there was somethi ng that h e liked to do

m uch bet ter tha n posi ng — oh ever so m uch ,

be tter ' a nd tha t was to take a handful of

—

soft cla y and try to m odel thi ngs for him self .

A t first the results were ra ther fun ny ; the

o nl y thi ng that he could d o very well was a
li ttl e cla y nest w ith a lo t of ro und eggs i n i t .

H e ke pt o n tryi ng h owever and o ne da y , ,

asto ni sh ed the whole sho pful of scul ptors a nd

a ppre ntices by the beauty of a h ead which he
had made The n hi s u ncle was deligh ted in
.
,

deed a nd sai d tha t he should be his h eir a nd

,

succe ssor and that whe n he was old e nough

, li ttle fellow is more charmi ng tha n the la s t :
he wo uld tell him th e secre t of th e blue a nd o ne ru ns back and forth tr y i ng to make u p
whi te glaze . his mi nd as to which is his fi nal favo ri te j ust
Andrea worked on dilige ntly and learned to as if he were selecti ng a real baby from the
make groups and reliefs so p e rfect i n propor large h ousehold of cheru bs w i thi n I t is .

tio n a nd desi gn so charm i ng i n ex pressio n , ,

eq uall y ho peless i n either case I ta lia n babies
that they coul d no t be told from his u ncle s ’
are so beautiful tha t o ne never could decide .

be st . The n the gr eat secre t was confided to V er y likel y these dear bright faced i nfants
,
-
,

h im and h e be cam e full partner i n th e now

,
which have reached out their li ttle hands to
fam ou s studio . the pa s sers by a nd have smiled steadil y for so
-

m a n y c e n turie s were portrai ts of Andrea s

' ’
E ver si nce 1 4 2 1 the guild of silk workers of , ,

Flore nce had be e n buildi ng a n asylum for the ch ildr e n I t was their turn now
. I ca n .

fou ndl i ngs of the ci ty I t was j ust fifty years . imagi ne the whole family there — Giovan ni ,

later whe n th e Della R o bbia s gave the last Girolamo Luca a nd Am brosio — all hel pi ng
, , ,

to uch to i ts decoratio ns Luca was bo r n you .

,
and all of them desti ned to be come scul pto r s .

wil l remem ber — most co nve nie ntl y for o ur So for ma ny years the y ca rri ed o n famil y tra
me m o ries — in 1 400 ; he was therefore j ust , ,
ditio n s accordi ng to their tale nt a nd as the
seve nty o ne years old at the ti me
-
H e may . eve n tful times pe rmit ted Bu t n e v e r did the y
. ,

have su pe ri n te nded the work but we know that ,

make any thi ng more a p peali ng more deligh t ,

these ad o rabl e babies a ll do ne u p i n swaddli ng ful than the ba m bin i of the fou ndli ngs home ’
.

[ 25 ]
 XX l l .

ures of th e rich th ere were some time s those who care d l east
ose pre t ty m u si —
who a t tai ne d th e goal I t seem s as tho ugh .

li ttle gro up of this ofte n cam e abo u t m erel y by reaso n of

em i n e nt I talia n scul ptors all bor n be twee n ,
thei r l ove of th e work I t is no t l ikel y tha t .

1 42 7 an d 1 4 3 1 : A n to nio R o s s e l in o Desiderio ,
these little m asters of th e re naissance
da Setti gna no An to nio Pollaj uolo M i no da
, ,
were th i nki ng grea tly of p osteri ty th ey were
F iesole A n drea V e r r o c h io a n d M a t teo Civi
, ,
j ust e nj o yi ng their art dr eami ng of ge ntle ,

tali. T he n t here was B e nede tto da M aj a no M ado n nas a nd ch armi ng ch ubby bambi nos ; ,

( pro no u nce d M a y a n o ) Agosti no D uccio A n , ,

ofte n i ndeed th ey were th i nki ng e speciall y
, ,

to nio Am adeo a nd ever so m a ny more . of maki n g a livi ng .

Doesn t i t so u nd j ust like gra nd o pera ' Y o u

’
O ne of the most del igh tful of th e number
feel as if such nam es were m ade to be su ng . had o ne of th e pre ttiest nam es ; his pare n ts
B u t the y belo n ged to real m e n wh o were a t calle d h im D esiderio th e desire d o ne
o ne tim e boys a nd playe d a nd some tim es a nd as th e y l ive d i n the village of S e ttigna no
, ,

q uarreled wh o had chappe d h ands a nd dir ty

,
a few m iles o u t of Flore nce h e was k now n all ,

faces wh o su ff ere d from m um ps a nd m easles

,
h is life lo ng as Desiderio of S e t tigna no .

a n d h ard l esso ns a nd rej oice d over h olidays

,
H e studied wi t h D o natell o a nd had no t ,

a nd goo d th i ngs to ea t q ui te as h e artil y as a n y o nl y m uch tal e nt bu t a disti nct style of h is

small J oh n n y J o nes or Patsy F la n ni ga n or ow n Wh e n h e co pied th e work of h is fam ous
.

H ans Die trich stei n of to day -

. master h e gave i t cer ta in l it tle p e culiari ties of
M ost of th em were co u ntry bo ys who grew trea tm e n t wh ich are easil y re cogni z ed We .

u p i n th e lovel y vi ll ages tha t nestle am o n g k now hi s busts a n d reliefs to this day b y

”
m ea ns of these earmarks .

T h e M ado n na a nd Christ child was a f a -

v o r ite them e a t this tim e a nd th e number ,

of beau tiful variatio ns of this subj ect which

were produced is asto nish i ng T here are .

wistful M ado n nas a nd hap py M ado n nas som e

tha t are so spiri tual th a t th e y seem already
tra nslated a nd o th ers so fra n kl y h um a n tha t
,

yo u k now th ey m us t be l ike nesses of real ,

hap py earthl y m o th ers,

T he Christ chil d .
-

varies l ikewise all th e way fro m a pe nsive , ,

sad e ye d i nfa n t to a rollicki ng l i ttle P uck all

-
,

dim ples a n d smiles N o do ub t p eo ple d iff ere d .

as m uch i n tastes the n as now a nd so there ,

was a new M ado n na for every devo u t pur

chaser .

D e s id e r io s greatest wor k was a wo nderful

’

tom b i n the ol d church of th e H ol y Cross i n ,

Bo y by D esiderio da S ettigna n o
Flore nce a tomb m ost el aboratel y wrou gh t
,

wi th reliefs a nd a n gel fi gures a nd fi nall y the ,

the h ill s surrou ndi n g Flore nce T here th e y . sol em n dead form of th e m a n wh o was burie d
saw l ittle of art bu t perhaps a visi t to th e
, th ere — a statel y i ndivi dual wi th a name to o
grea t city a gl im pse of some wo nderful sta tue
, l o n g for t he l imi ts of th is ar ticle H is face .

or pai nti ng had se t th eir yo u n g m i nds o n fi re

, . was wo nde rfull y carved a nd so were all of ,

Retur ni n g to th e q uie t village stree ts a nd th e portrai ts wh ich this ge n tle ar tist produce d .

wa nderi n g be nea th the gray ol ive trees th e y ,

T here i s o ne of M arie t ta S tro z zi th e da ugh ter ,

were h au nted by th e gr ea t visio n u ntil their of a famou s h o use wh ich i s so m u ch like h er ,

l i ttle poe t soul s declare d th em selves ; th e y ,

tha t yo u wo ul d reco gni z e her if yo u were to
too would be artists a nd crea te works of
, m ee t her o n th e stree t I t is a swee t amiable .
,

beau ty wh ich m e n sh oul d tal k abo u t a nd face wi th a n ex pressio n wh ich m akes o ne feel
,

revere eve n as th e y h ad gazed u po n D ona

, tha t sh e is abo u t to speak bu t i t wo uld be i n ,
’
tello s m i gh t y S t G eorge an d O r c a g n a s
.
’
old tim e I talia n if sh e did so tha t i s al l th e
-
,

sple ndid sh ri ne T h e y did no t al ways suc

. go o d i t wo uld do u s .

“
c eed ; ma ny are called bu t few are ,
T he n th ere i s l ittle Pe ter as I call h im , ,

ch ose n S o m e h ad se n sible m atter o f fac t

.
,
- -
because I do no t k now h is real nam e He is .

fa th ers wh o whi pped them a nd se n t th em to the cu n ni ngest l i ttl e fellow wi th a sau cy ,

bed or seated th em fi rml y u po n a cobbler s ’

ro u n d face H e h as a s n ub nose an d poi nte d
.

be nch a nd bade th em ear n a n h o nes t l ivi ng . u pper li p a nd ears th at sta nd o ut fro m h is

,

O thers travel ed a li t tl e way u po n th e road to head I n short h e is a perfec t m o th er s dar

.
,
’

fam e a nd th e n failed passi ng away l ike M oses , , l i ng wh o m akes yo u smile ever y t ime y o u
,

wi th eyes ever fi xed u po n th e promised lan d l oo k a t h im B u t I sh all n ever k now wh ose

.

“
wh ich th e y were not to e n ter A nd a few . l i ttle bo y Pe ter was .
 XXI II .

have bee n a n awe H o w did this ma n be c o me s o gre a t ' Wh o

rece ntl y espe ciall y , shall sa y ' H is p a re n ts were not e v e n ia
fi nd the mou n tain s '
te re s te d i n art h is father bei ng bit t e rly o p
,

si ni ster work a t Pom pei i eve n more im pres po se d to his choice of profes s io n Bu t the bo y .

sive . To ma ny the Coliseum is the greates t coul d no t do otherw ise the v oc a tio n w a s laid
S pectacle i n I taly ; o thers remem ber o nl y S t . u po n him ; a s ul p tor he w as to be H is
c
.

Pe ter s while ye t o thers fi nd no thi ng to c o m

’
, teachers were medi o cre me n I t mat tered .

pare wi th the grande ur o f M ila n Cathedral . no t ; they gave h im wha t he req uired — the
N o t a few h owever w ill a gree wi th the
, ,
use of tools H e su p plied the re s t
. S ome '

wri ter that the y fel t more p rofou nd se nsation s have to learn pa inf ul l ste p by ste p H is , .

i n th e Sisti ne Cha pel at Rome and i n th e was a mi nd which leaped or rather flew a nd , .

M edi ci Cha pel a t Flore nce th an a nywhere else recognized a t o nce the be st A l l tha t oth ers .

in all that w o nde r ful beaut iful la nd , . had do ne served as his less ons ; their e x pe r i
T he y are bo th the work of M ichelan gel o ,
m e n ts were his a nd h e needed not to do them
th e gr eatest artist of the re naissa nce perhaps ,
over agai n T heir fail ures and faul ts he
.

th e gr eatest of a l l time T o what other ma n . avoided their best poi n ts — the po s es of

,

has it bee n give n to create two such s a n c tu Do natello the massi ng of Della 'uercia
,

aries as th ese ' I n the Sisti ne Cha p el o ne h e ado p ted a nd made his own H e began his .

sees t he mas ter s treme ndo us thou gh ts e x

’
p rofe ssio nal career wi th the skill and knowl
pressed i n pai nti ng T he lofty vaul t is c o v
.

ered wi th hi s su blime p ictures of scri ptural

sce nes a nd characters while the e nd of the ,

hall i s like a wi ndow O pe ni ng i nto a vast pano

“ ”
rama o f th e Last J udgme nt a terrible ,

vi sio n ske tched by a n i ne xorable hand .

I n tha t o ther chapel i n Flore nce we fi n d , ,

th e trium phan t work of Michela ngelo i n the

fi eld which was his own by d i vi ne righ t
. .

H ere his scepter is th e chisel a nd h is sway ,

is u ndisputed Th e maj esty of these gi ant

.

creatio ns is almost overpoweri ng T heir .

magnifi ce n t bodies are i ndeed adequate bu t ,

u po n us th e b urde n of their world weary -

souls rests h eavil y we are no gi ants .

Wha t a power was h is to co nceive to feel ' ,

Wha t a gift to convey this feeli ng to o thers '

N o on e ca n e nter tha t marble hall a nd ga z e
withou t a thrill of emotio n u po n t he m assive
“ ” “ ”
form s of Day a nd Nigh t of M orn ,
” ”
i ng a nd E ve ni ng And al though we
.

k now tha t th e scul ptor had n o though t of

portrayi ng i n th e faces of t hose two seated
warriors th e featur es of th e u nworthy dukes
whose m emor y th ese mo nume nts so disdai n
fu ll y ye t so glori ousl y c elebrate i t i s im
, , ,

possibl e no t to feel i n them li v i ng p resences .

“ ”
The Lore nz o partic ul arly which we il , L orenzo dc Medici , by
lustr ate h ere i s a m asterpiece of su ggestion .
Mic hela ngel o
I t is call ed Th e T hi nker a nd i t i s almos t ,
'

irn po ss ibl e to dives t o ne s self o f the fee l i n g

’

tha t behi nd tha t gloom y face a rou nd of slow edge of ex perienced age cou p led w it h the
revol vi ng th ou gh ts is marki ng the fl igh t of e nergy of y outh .

th e ages I t w a s of this head that our ow n

.
At twe nt y fi v e M ichelangel o had co m pleted
-

H awthor ne w rote i n el oq uent words how the his Pie ta ”

o ne of h is most perfect works :
.

master s m a gi c chisel had l eft the bl ock a n d

’
a t th irty his Davi d wo n for him the grate
,

fairl y carved i n air th e shado w y featu res ,

ful homage of h is na tive ci ty a nd made his
se emingly dependen t n o l onger u po n material .
name famou s thr o ughou t all I ta ly T o rn fr o m .

T he grea t Fre n ch scul ptor Rodi n o nce , ,

h is favorite art a nd the col oss a l proj ec t of the
said tha t hi s idea of a statue was the s ame as tom b for S t Peter s a nd force d by the whi m
.
'

M ichelan gelo s — a fi gure tha t could be rolled

’
o f a n e r ratic po pe to pai n t the ceiling of the
do w n hil l wi thou t breaki ng a nythi ng o fl
'

Sisti ne Cha pel he p r od uced i n this unfam i l i ar

,

See how well th e li nes of T h e T hi nker fiel d t he gra ndes t decora tion i n th e w orld ,

il l us trate such an idea o f com pactness As .

doi ng the e n tire work with his own ha nds .

the mas ter foresaw th e fi gure wi thi n the Agai n a nd a gai n h e re turned to tha t ma j es t i c
block so we i n t ur n feel tha t th ere s till r e
,
vision of the tomb of J uliu s I I o nl y to be
mai ns i n th e statue somewha t of the ma s s and thwar ted The struggle of th o s e sombe r
.

immobility of th e ston e 'uie t a nd self .

years h a s bee n called T he Tr agedy of the
ce ntered i t is ye t fu l l of po ten t e nergy
,
.
T omb .
'
La ter came the s e o ther tombs ,

Mich elangel o never wi shed to gi ve his statues desti ned like most of his works to remai n u n
m oti on bu t he always charged them wi th life
,
fi nished Bu t what splendid fragm en ts the y
.

so that th e y seem t o need bu t th e word i n are ' I t is a liberal edu ca tio n to k now thes e
o rder to arise a nd use the ir stre ngth .
scul ptu r es a nd their story .
 X XI V .

'

m aj esty of Gree k art th e ch arm of ,

th e hi story of Fra nce a t least a small portio n—

early re naissa nce a n d th e sublim i t y of i t .

M ichela ngel o take h ol d of u s so T h e pa nel wh ich we sh ow bel ow re prese nts

stro ngl y tha t we are i n da n ger of forge t ti ng th e fam o us m ee ti ng of Fra nci s I a n d H e nr y .

“
th a t o th er m e n i n o th er tim es love d beau ty a s V I I I of E n gla n d o n T he Fiel d of th e Cl o th
.

”
arde ntl y as did th e Gree ks a nd t heir desce nd of G old E ve n th e carvi ng gives som e h i n t
.

a n ts
. O ther natio ns have gl orifi ed th eir G o d . of th e gorgeous ne ss of the sce ne I t i s i nter .

wi th a n art as sum p tuo us a nd i n i ts wa y as , ,

esti ng to no te how di ff ere n tl y h orses a nd
e xq u isi te
. Lo n g before the re nai ssa nce h ad riders are treated here fro m th ose wh ich we
awake ned classic scul pt ure from i ts l o n g slee p saw i n th e Par the n o n frie z e T h is relief seem s .

th e fi erce N o r th m e n h ad perfected the s t yl e of m ore like som e of tho se ol d Assyria n scul p

”
arc hi tect ur e wh ich we call G o thi c I t di d . tures all full of u ph ol st er y
,
.

no t come all a t o nce bu t was th e resul t of

,
T h e o ccasio n whi ch bro u gh t these dis ti n
ce nturies of experim e n t I n th e thirtee n th
.
g uis h e d ro yal ge ntlem e n to ge ther was th e
ce nt ury i t burst i n to full bloom a n d n orth er n ,
m aki n g of a trea t y bu t the y di d no t take thi s
,

Fra nce a nd E n gla nd were covere d wi th th e to o serio u sly an d th ere were various diver
,

sple ndor of i t T his is n o t th e place to de

.
,
si o ns to m ake th e time pass pleasa n tly F or .

M eeti ng o f H nry VI I I
e . an d F ra nc is I . h F ield o f the Clo th o f C old
att e

scribe th ose glorio us cath edr als whi ch all a t te n days the two soverei gns fo ugh t fi ve com
o nce bega n to cl imb heave nward from a h u n ba ts every day a n d always bea t th eir poli te
”
,

dred ci ties a nd whi ch s till vie wi th o ne a n

, a n tago nists says D icke ns i n his ch at ty h is
,

o th er in their di zz y h eigh ts a n d i n their .

tory . N o do ub t everybody was hap py a nd
m agnifi ce nce T he y were j ewele d over wi th
. well re pai d for those were day s wh e n p eople
,

rich scul p ture th e pious workm e n seeme d to l oved such spec tacular doi n gs We are tol d .

“
fairl y brea th e their p rayers i nto the sto ne . tha t m a ny of th e k ni gh ts a n d ge n tlem e n
Whe n th e cathedr als were do n e th e scul p , were so su perbl y dresse d th a t i t i s sai d
tors t ur ned to th e decora tio n of priva te buil d they carrie d their wh ole estates u p o n th eir
”
i ngs a nd m a ny a palati al struct ure was so
, . sho ulders S om e peo pl e have bee n k now n
.

richl y decora ted b y the skilful Fre n ch carvers to do tha t sam e thi ng i n la ter tim es bu t th eir ,

of th e fiftee n th a nd six tee n th ce n turies tha t pro digal sple ndors have no t bee n recorde d
i ts surface ca n be com pared to no thi n g bu t u po n table ts of sto ne for all th e world to
em broidery N 0 ci ty has preserved so m uch
. see '
of the q uai n t old time fl avor as Roue n wh ere
,
-
, ,
Too bad i t was th a t th e trea ty which cost so
i n treadi ng t he narrow streets o ne ca n alm ost ,
m uch was p ro m ptl y bro ke n b u t th e n it m a tters ,

i magi ne h imself i n a m e di a av a l ci ty Am o n g . l i ttle to day si nce all wh o care d are go ne an d

-
, ,

th e i n tere sti ng buildi ngs there is the ve ner all wh o shared i n th a t brillia n t tour name n t
”
able H o tel B o urgtheroul de which a l , ,
h ave bee n aslee p these h u ndreds of years .

tho ugh buil t abou t four h u ndred years ago is ,

T he y are dust alo n g wi th the sil k te n ts a n d
still used as a ban ki ng h o use O ne wanders th e gol d foil a nd lace alo ng wi t h t he carpe ts
'
-
.
,
”
i n to th e cour tyard a n d i s l os t i n am azem e n t a nd th e gil t lio ns Nau gh t remai ns of the
.

”
a t th e reliefs wh ich cover th e e n tire wall s . gl o ri es of th e Fiel d of th e Clo th of G old ,

Som e are scri ptural i n subj ec t ; som e ill ustra te save th e relief o n th e ol d gra y wall i n Roue n .
 XDCV .

danger of mi staki ng tha t sim ple fell i n love wi th a ncie nt scul p ture a nd
ue n for a slab of the Par imita ted i t as well as he knew how .

bu t most of m y yo ung H is work soon became very po p ular a nd he

reade rs w ill feel sure tha t w e have go ne back made sta tues a nd gr ou ps for ma ny nobleme n
to classic art now a nd ma ny older peo ple , of vario us cou nt r ies O ne of his most cele .

ca n not disti n gu ish be twee n the ori gi nals a nd bra te d works is the great Lion of Lucern e '
,

these clever imi ta ti o ns by a modern ma n
Bertel T horwaldse n who made the frieze
”
The Trium ph of Ale x a nder came nearer
. a gi gantic lio n c arved i n a rocky hills ide i n
, , Lucerne Swi tzerland to commemorate the
, ,
,
brave Swiss guard of the Fre nch revol ution .

to the cla s sic spiri t tha n did a ny of his co ntem At o ne time ( 1 8 1 2 ) Na poleo n was e x pected
p o r a r ie s bu t still h e missed i t by a good deal
,
i n Rome a nd grea t pre paratio ns were made
,

j ust as ever y co n scious imita tor must miss to w elcome the awesom e guest Amo ng other .

the real spiri t of thi ngs H e was a g e n uis all . decorations T horwaldse n bethough t him of a
the same if ever there was o ne for this illi t
, ,
grea t frie z e i n the style of the Parthe no n to ,

e r a te so n of a poor wood carver became the embellish o ne of the halls of the royal palace .

m o s t r e n o w n e d scul ptor of his time

°
. The enormo us work — over o ne h u ndred and
Thor waldse n was born i n Co pe nhage n i n fi fteen fee t i n l e ngth and four fee t hi gh — was
1 770. H is father s work was the carving of
’
do ne i n grea t haste but was so success ful tha t ,

woo de n fi g ur e h e a d s for m ercha n t vessels . i t has bee n reproduced several times i n marble .

The boy may have i nherited his tale nt or , ,

T he subj ect chose n by the scul ptor was appro

S tiec on o f T riumph o f A lexa nder

By Tho rw a ldsen

rather his i ncli na tio n toward scul pture from

, , p r ia te The T r i um phant E ntr y of Ale x ander
the family tradi tio n of the shop T hey say he .
I nto Bab y lo n .

was a pret ty chil d wi th blue e y es a nd ligh t ,

The slab which we show re prese nts the
hair a nd that he was of ge ntle a nd timid dis
,
chario t of Alexa nder wi th i ts dashi ng steeds ,

posi tio n H e was not a brillia nt stude nt

.
co nducted b y a wi nged V ictory The hero . ,

except i n drawi ng and modeli ng I n these .

with S pear i n hand turns back to glance a t ,

de partme nts he be ga n taking m edals wh ile a the adva nci ng col um n of soldie rs These fol .

mere bo y a nd he kept o n ta k i ng them u ntil

,
low ia grea t numbers a nd are very i ngeniousl y
h e fi nall y wo n the highest reward o ffered by grou ped horseme n a nd foo t soldiers a nd eve n
the Da n ish sch ools — the grand priz e of a n ele p ha nt The n from the o ther side adva nce
.

sculpt ure ”
and a pensio n for fur th er stud y i n
,
the hosts of the va nq uished wi th gi fts T he y .

I tal y H e had become somethi ng of a dreamer

. ,
are led by the Goddess of Peace be ari ng a n ,

bu t h is visi t to the la nd of art started him olive bra nch The whole thi ng is a bea utiful
.

anew H is arrival i n Rome was to him the

.
co nce ptio n harmonio us and im pre s sive
,
I t is .

“ no t modern in either subj ect or trea tment bu t

O pe ni ng of a new life I was born o n the ,
.

8 th of March ; he used to sa y Before .

i t is good scul pture .

that I did not e xis t Th e a ncie nt sta tues a p

'

.
After Tho r waldse n s death a museum of all '

pealed to h im with a n i ndescri bable fas ci natio n .

his works w a s esta blished i n his na tive ci t y
Th e cel ebra ted I talia n scul ptor Ca nova , ,
I t is a n i nteresti ng collectio n a nd gives one
was livi ng at tha t time a n d he gave the ,
an idea of th e scul ptor s ha ppy industry In ’
.

ho nest young ma n a cordial welcome He .

the ce nter of this building is a l it tle o pe n
probabl y did no t sus pect that his modest co urt w here u nder the gree n tu r f the ge ntle
,

visitor was desti ned to overshadow eve n his a r tist is buried I t is a peaceful s po t a sacred
. ,

great fame Canova s art was i ncli ned to the

.
’
shri ne ; o ne likes to thi nk of him slum be ri ng
theatrical bu t T hor waldse n w a s no t co ntami
,
there su rro unded bv all of his beautiful w hi te
,
,

n a te d by th e tradi tions of modern I tal y ; he dream childre n - .

[ 29 ]
 S ix Vie w s o f S c hoo lro o ms S ho w ing D ec ora tio ns
,

Sta ge of Asse mbly Ha ll E a st

, B o sto n High S c hoo l E a st
, B osto n Ma ss
, .

Gree k R oo m , N ewton High S c ho ol N wto nville Ma ss

, e . .

T his room h a s p a rt of the P arthenon frie ze pl a ced a bove the bl a c kboa rds between
, ,

the doors a nd windows

 G reek R oo m , Phillips Exeter Aca demy . E xeter , N . H .

T he st a tue of A poll o in this room is of the origina l siz e , 7 fee t 6 inche s in height ,

sta nding on a pedesta l 2 feet high

Englis h R o om.
P hillips Exeter Aca demy . En ter. N . H .

T he sta tue of the

Fa un (H a wthorn e ) is of the ori g i na l s iz e 6 fe e t 3,i nc h e s in h e i gh t ,

sta nding on a pe desta l a bout 2 fe et high T h e busts of E nglis h a utho rs

.

on bra cke ts a bove th e bla c kboa rd a r e life s iz e

 A sse mbly Ha ll , Bigelow Gra mm a rS c ho o l , N wt n M
e o , a ss .

T he friez e shown in this illustra tion is h a lf of the C a ntori a frie z e by L uca dell a R obbi a ,

set in a wooden fra me T he rema ining h a t is on the opposite side of the room
.
.

A sse mbly H a ll , Pierc e G ra mma r S c hool , B ro o kline , Ma ss .

T his h a l l h a s thre e l a rge st a tues full si ze

,
— N iobe a nd D a ughter
in the ce nter of the st a ge ,

M inerva a n d D i a n a a t e a ch si d e of the st a ge T he rea r of the h a ll h a s a bust on

.

bra cke t betwee n e a c h window a n d a frie z e of the P a rth e non is a t

ea c h sid e of the h a ll extending the e ntire length
,
.