Rambles and Studies in GreeceMahaffy, J. P. (John Pentland)
History
Rambles and Studies in Greece
Mahaffy, J. P. (John Pentland)
Art, Greek; Greece -- Description and travel
The mound where we found the lion was much humbler and smaller; in fact,
hardly a mound at all, but a rising knoll, with its centre hollowed out,
and in the hollow the broken pieces of the famous lion. It had sunk, we
are told, into its mound of earth, originally intended to raise it above
the road beside, and lay there in perfect safety till the present century,
when four English travellers claim to have discovered it (June 3, 1818).
They tried to get it removed, and, failing in their efforts, covered up
the pieces carefully.(107) Since that time they seem to have lain
undisturbed, and are still in such a state that a few days’ labor, and a
few pounds of expense, would restore the work. It is of bluish-gray
stone—they call it Bœotian marble or limestone—and is a work of the
highest and purest merit. The lion is of that Asiatic type which has
little or no mane, and seemed to us couchant or sitting in attitude, with
the head not lowered to the forepaws, but thrown up.(108) The expression
of the face is ideally perfect—rage, grief, and shame are expressed in it,
together with that noble calmness and moderation which characterize all
good Greek art. The object of the monument is quite plain, without reading
the affecting, though simple, notice of Pausanias: “On the approach to the
city,” says he, “is the tomb of the Bœotians who fell in the battle with
Philip. It has no inscription; but the image of a lion is placed upon it
as an emblem of the spirit of these men. The inscription has been
omitted—I suppose, because the gods had willed that their fortune should
not be equal to their valor.” So, then, we have here, in what may fairly
be called a _dated_ record, one of the finest specimens of the sepulchral
monuments of the best age of Greece. It is very much to be regretted that
this splendid figure is not put together and photographed. Nothing would
be more instructive than a comparison with the finest of modern
monuments—Thorwaldsen’s Lion at Lucerne—the work, too, of the only modern
sculptor who can for one moment be ranked beside the ancient Greeks. But
the lion of Chæronea now owes its existence to the accident that no
neighboring peasant has in old times lacked stones for a wall, or for a
ditch; and when Greece awoke to a sense of the preciousness of these
things, it might have been gone, or dashed into useless fragments.
Public-domain text, read in full here on John Shaqi.
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