A Manual of the Historical Development of Art: Pre-Historic—Ancient—Classic—Early Christian; with Special Reference to Architecture, Sculpture, Painting, and OrnamentationZerffi, G. G. (Gustavus George)
History
A Manual of the Historical Development of Art: Pre-Historic—Ancient—Classic—Early Christian; with Special Reference to Architecture, Sculpture, Painting, and Ornamentation
Zerffi, G. G. (Gustavus George)
Art -- History
Struggle into existence, growth and development, acme and decline,
follow in rapid succession. Wood-carvers and potters begin; then we
have a transition to bronze-works under _Glaukos_, who was the first to
solder the separate parts of the statues, which prior to him had been
always beaten into union. Following up this improvement, the artists
of Samos succeeded in making a clay-model, and then in covering it
with the fluid metal. As if by a supernatural charm the bright metal
statue grew out of the gloomy clay, and formed an everlasting monument
to adorn temples, squares, and streets. _Rhœkos_ and _Theodorus_ of
Samos, with _Smilis_, built the Labyrinth at Lemnos, which they adorned
with 150 columns, which were turned out by an ingenious mechanism, an
improvement on the art of casting in bronze. Pliny describes a bronze
figure by _Theodorus_, which held in its right hand a file, and in its
left a quadriga with a charioteer, which was so small that the car,
with the four horses and the driver, could be covered by the wing of
a fly. The celebrated ring of Polykrates, admirably wrought gold and
silver sacrificial vessels, and a vine with golden leaves and grapes
of precious stones, were also attributed to this artist. At Chios, the
birth-place of Glaukos, the family of _Mêlas_ worked for the first
time in Parian marble; whilst _Byzes_ of Naxos cut marble into thin
slabs for architectural purposes, giving a more exquisite finish to the
houses of the gods. On every side a marked improvement took place. The
head-dress of Apollo was still that of the Egyptian sphinx. The faces
of the statues were placid, mask-like, as if modelled separately and
then fixed on; the eyes looked as if first cut out, and then placed
into their sockets; but the anatomy of the body was treated with
greater care and a more refined feeling. The legs were close together
and the arms hung down perpendicularly, with a prescribed stiffness,
but there were details in the treatment of the stone surface, which
promised well for the future of Greek art, and the promise was most
faithfully kept.
Public-domain text, read in full here on John Shaqi.
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