ANCIENT SACRIFICE.ANCIENT SACRIFICE. (From Wall Painting of Pompeii.)ToList
ANCIENT SACRIFICE. (From Wall Painting of Pompeii.)ToList
So Europa left Delphi with her brother, Kadmos, and when they had gone a little way, they saw a cow lying down on the grass. But when they came near, the cow got up, and began towalk in front of them, and then they knew that this was the cow which Phœbus Apollo had sent. So they followed the cow, and it went on and on, a long way, and at last it lay down to rest on a large plain, and Kadmos knew then that this was the place where he must build the city. And there he built a great many houses, and the city was called Thebes. And Kadmos became the King of Thebes, and his sister, Europa, lived there with him. He was a wise and good King, and ruled his people justly and kindly. And by and by Kadmos and Europa both fell asleep and died, and then they saw their mother, Telephassa, in the happy land to which good people go when they are dead, and were never parted from her any more.
The minstrels sang of the beauty and the great deeds of Bellerophon through all the lands of Argos. His arm was strong in the battle, his feet were swift in the chase, and his heart was pure as the pure heart of Artemis and Athene. None that were poor and weak and wretched feared the might of Bellerophon. To them the sight of his beautiful form brought only joy and gladness, but the proud and boastful, the slanderer and the robber, dreaded the glance of his keen eye. But the hand of Zeus lay heavy upon Bellerophon. He dwelt in the halls of King Prœtos, and served him even as Herakles served the mean and crafty Eurystheus. For many long years Bellerophon knew that he must obey the bidding of a man weaker than himself, but his soul failed him not, and he went forth to his long toil with a heart strong as the sun when he rises in his strength, and pure as the heart of a little child.
But Anteia, the wife of King Prœtos, saw day by day thebeauty of Bellerophon, and she would not turn away her eye from his fair face. Every day he seemed to her to be more and more like to the bright heroes who feast with the gods in the halls of high Olympos, and her heart became filled with love, and she sought to beguile Bellerophon by her enticing words. But he hearkened not to her evil prayer, and heeded not her tears and sighs; so her love was turned to wrath, and she vowed a vow that Bellerophon should suffer a sore vengeance, because he would not hear her prayer. Then, in her rage, she went to King Prœtos, and said, "Bellerophon, thy slave, hath sought to do me wrong, and to lead me astray by his crafty words. Long time he strove with me to win my love, but I would not hearken to him. Therefore, let thine hand lie more heavy upon him than in time past, for the evil that he hath done, and slay him before my face." Then was Prœtos also full of anger, but he feared to slay Bellerophon, lest he should bring on himself the wrath of Zeus, his father. So he took a tablet of wood, and on it he drew grievous signs of toil and war, of battles and death, and gave it to Bellerophon to carry to the far-off Lykian land, where the father of Anteia was King, and as he bade him farewell, he said, "Show this tablet to the King of Lykia, and he will recompense thee for all thy good deeds which thou hast done for me, and for the people of Argos."
So Bellerophon went forth on his long wandering, and dreamed not of the evil that was to befall him by the wicked craft of Anteia. On and on he journeyed towards the rising of the sun, till he came to the country of the Lykians. Then he went to the house of the King, who welcomed him with rich banquets, and feasted him for nine days, and on the tenth day he sought to know wherefore Bellerophon had come to the Lykian land. Then Bellerophon took the tablet of Prœtos and gave it to the King, who saw on it grievous signs of toil and woe, of battles and death. Presently the King spake, and said, "Thereare great things which remain for thee to do, Bellerophon, but when thy toil is over, high honor awaits thee here and in the homes of the bright heroes." So the King sent him forth to slay the terrible Chimæra, which had the face of a lion with a goat's body and a dragon's tail. Then Bellerophon journeyed yet further towards the rising of the sun, till he came to the pastures where the winged horse, Pegasos, the child of Gorgo, with the snaky hair, was feeding, and he knew that if he could tame the steed he should then be able to conquer the fierce Chimæra.
Long time he sought to seize on Pegasos, but the horse snorted wildly and tore up the ground in his fury, till Bellerophon sank wearied on the earth and a deep sleep weighed down his eyelids. Then, as he slept, Pallas Athene came and stood by his side, and cheered him with her brave words, and gave him a philtre which should tame the wild Pegasos. When Bellerophon awoke, the philtre was in his hand, and he knew now that he should accomplish the task which the Lykian King had given him to do. So, by the help of Athene, he mounted the winged Pegasos and smote the Chimæra, and struck off his head, and with it he went back, and told the King of all that had befallen him. But the King was filled with rage, for he thought not to see the face of Bellerophon again, and he charged him to go forth and do battle with the mighty Solymi and the fair Amazons. Then Bellerophon went forth again, for he dreamed not of guile and falsehood, and he dreaded neither man nor beast that might meet him in open battle. Long time he fought with the Solymi and the Amazons, until all his enemies shrank from the stroke of his mighty arm, and sought for mercy. Glad of heart, Bellerophon departed to carry his spoils to the home of the Lykian King, but as he drew nigh to it and was passing through a narrow dell where the thick brushwood covered the ground, fifty of the mightiest Lykians rushed upon him with fierce shoutings, and sought to slay him. At the first,Bellerophon withheld his hands, and said, "Lykian friends, I have feasted in the halls of your King, and eaten of his bread; surely ye are not come hither to slay me." But they shouted the more fiercely, and they hurled spears at Bellerophon; so he stretched forth his hand in the greatness of his strength, and did battle for his life until all the Lykians lay dead before him.
Weary in body and sad of heart, Bellerophon entered the hall where the King was feasting with his chieftains. And the King knew that Bellerophon could not have come thither unless he had first slain all the warriors whom he had sent forth to lie in wait for him. But he dissembled his wrath, and said, "Welcome, Bellerophon, bravest and mightiest of the sons of men. Thy toils are done, and the time of rest is come for thee. Thou shalt wed my daughter, and share with me my kingly power."
Then the minstrels praised the deeds of Bellerophon, and there was feasting for many days when he wedded the daughter of the King. But not yet was his doom accomplished; and once again the dark cloud gathered around him, laden with woe and suffering. Far away from his Lykian home, the wrath of Zeus drove him to the western land where the sun goes down into the sea. His heart was brave and guileless still, as in the days of his early youth, but the strength of his arm was weakened, and the light of his eye was now dim. Sometimes the might was given back to his limbs, and his face shone with its ancient beauty; and then, again, he wandered on in sadness and sorrow, as a man wanders in a strange path through the dark hours of night, when the moon is down. And so it was that when Bellerophon reached the western sea, he fell asleep and died, and the last sight which he saw before his eyes were closed was the red glare of the dying sun, as he broke through the barred clouds and plunged beneath the sea.
There was feasting in the halls of Oineus, the chieftain of Kalydon, in the Ætolian land, and all prayed for wealth and glory for the chief, and for his wife, Althaia, and for the child who had on that day been born to them. And Oineus besought the King of gods and men with rich offerings, that his son, Meleagros, might win a name greater than his own, that he might grow up stout of heart and strong of arm, and that in time to come men might say, "Meleagros wrought mighty works and did good deeds to the people of the land."
But the mighty Moirai, whose word even Zeus himself may not turn aside, had fixed the doom of Meleagros. The child lay sleeping in his mother's arms, and Althaia prayed that her son might grow up brave and gentle, and be to her a comforter in the time of age and the hour of death. Suddenly, as she yet spake, the Moirai stood before her. There was no love or pity in their cold, grey eyes, and they looked down with stern, unchanging faces on the mother and her child, and one of them said, "The brand burns on the hearth, when it is burnt wholly, thy child shall die." But love is swifter than thought, and the mother snatched the burning brand from the fire, and quenched its flame in water, and she placed it in a secret place where no hand but her own might reach it.
So the child grew, brave of heart and sturdy of limb, and ever ready to hunt the wild beasts or to go against the cities of men. Many great deeds he did in the far-off Kolchian land, when the chieftains sailed with Athamas and Ino to take away the golden fleece from King Aietes. But there were greater things for him to do when he came again to Kalydon, for his father, Oineus, had roused the wrath of the mighty Artemis. There was rich banqueting in his great hall when his harvest wasingathered, and Zeus and all the other gods feasted on the fat burnt-offerings, but no gift was set apart for the virgin child of Leto. Soon she requited the wrong to Oineus, and a savage boar was seen in the land, which tore up the fruit-trees, and destroyed the seed in the ground, and trampled on the green corn as it came up. None dared to approach it, for its mighty tusks tore everything that crossed its path. Long time the chieftains took counsel what they should do, until Meleagros said, "I will go forth; who will follow me?" Then from Kalydon and from the cities and lands round about came mighty chieftains and brave youths, even as they had hastened to the ship, Argo, when they sought to win the golden fleece from Kolchis. With them came the Kouretes, who live in Pleuron, and among them were seen Kastor and Polydeukes, the twin brethren, and Theseus, with his comrade, Peirithoos, and Iason and Admetos. But more beautiful than all was Atalante, the daughter of Schoineus, a stranger from the Arcadian land. Much the chieftains sought to keep her from the chase, for the maiden's arm was strong, and her feet swift, and her aim sure, and they liked not that she should come from a far country to share their glory or take away their name. But Meleagros loved the fair and brave maiden, and said, "If she go not to the chase, neither will I go with you." So they suffered her, and the chase began. At first the boar fled, trampling down those whom he chanced to meet, and rending them with his tusks, but at last he stood fiercely at bay, and fought furiously, and many of the hunters fell, until at length the spear of Atalante pierced his side, and then Meleagros slew him.
Then was there great gladness as they dragged the body of the boar to Kalydon, and made ready to divide the spoil. But the anger of Artemis was not yet soothed, and she roused a strife between the men of Pleuron and the men of Kalydon. For Meleagros sought to have the head, and the Kouretes ofPleuron cared not to take the hide only for their portion. So the strife grew hot between them, until Meleagros slew the chieftain of the Kouretes, who was the brother of Althaia, his mother. Then he seized the head of the boar, and bare it to Atalante, and said, "Take, maiden, the spoils are rightly thine. From thy spear came the first wound which smote down the boar; and well hast thou earned the prize for the fleetness of thy foot and the sureness of thy aim."
So Atalante took the spoils and carried them to her home in the Arcadian land, but the men of Pleuron were full of wrath, and they made war on the men of Kalydon. Many times they fought, but in every battle the strong arm of Meleagros and his stout heart won the victory for the men of his own city, and the Kouretes began to grow faint in spirit, so that they quailed before the spear and sword of Meleagros. But presently Meleagros was seen no more with his people, and his voice was no longer heard cheering them on to the battle. No more would he take lance in hand or lift up his shield for the strife, but he tarried in his own house by the side of the beautiful Kleopatra, whom Idas, her father, gave to him to be his wife.
For the heart of his mother was filled with grief and rage when she heard the story of the deadly strife, and that Meleagros, her child, had slain her brother. In heavy wrath and sorrow she sat down upon the earth, and she cast the dust from the ground into the air, and with wild words called on Hades, the unseen King, and Persephone, who shares his dark throne: "Lord of the lands beneath the earth, stretch forth thy hand against Meleagros, my child. He has quenched the love of a mother in my brother's blood, and I will that he should die." And even as she prayed, the awful Erinys, who wanders through the air, heard her words and swore to accomplish the doom. But Meleagros was yet more wrathful when he knew that his mother had laid her curse upon him, and therefore hewould not go forth out of his chamber to the aid of his people in the war.
MELPOMENE.MELPOMENE. (Muse of Tragedy.)ToList
MELPOMENE. (Muse of Tragedy.)ToList
So the Kouretes grew more and more mighty, and their warriors came up against the City of Kalydon, and would no longer suffer the people to come without the walls. And everywhere there was faintness of heart and grief of spirit, for the enemy had wasted their fields and slain the bravest of the men, and little store remained to them of food. Day by day Oineus besought his son, and the great men of the city fell at the knees of Meleagros and prayed him to come out to their help, but he would not hearken. Still he tarried in his chamber with his wife, Kleopatra, by his side, and heeded not the hunger and the wailings of the people. Fiercer and fiercer waxed the roar of war; the loosened stones rolled from the tottering wall, and the battered gates were scarce able to keep out the enemy. Then Kleopatra fell at her husband's knee, and she took him by the hand, and called him gently by his name, and said, "O Meleagros, if thou wilt think of thy wrath, think also of the evils which war brings with it—how when a city is taken, the men are slain, and the mother with her child, the old and the young are borne away into slavery. If the men of Pleuron win the day, thy mother may repent her of the curse which she has laid upon thee; but thou wilt see thy children slain and me a slave."
Then Meleagros started from his couch and seized his spear and shield. He spake no word, but hastened to the walls, and soon the Kouretes fell back before the spear which never missed its mark. Then he gathered the warriors of his city, and badethem open the gates, and went forth against the enemy. Long and dreadful was the battle, but at length the Kouretes turned and fled, and the danger passed away from the men of Kalydon.
But the Moirai still remembered the doom of the burning brand, and the unpitying Erinys had not forgotten the curse of Althaia, and they moved the men of Kalydon to withhold the prize of his good deeds from the chieftain, Meleagros. "He came not forth," they said, "save at the prayer of his wife. He hearkened not when we besought him, he heeded not our misery and tears; why should we give him that which he did not win from any love for us?" So his people were angry with Meleagros, and his spirit grew yet more bitter within him. Once again he lay within his chamber, and his spear and shield hung idle on the wall, and it pleased him more to listen the whole day long to the soft words of Kleopatra than to be doing brave and good deeds for the people of his land.
Then the heart of his mother, Althaia, was more and more turned away from him, so that she said in bitterness of spirit, "What good shall his life now do to me?" and she brought forth the half-burnt brand from its secret place, and cast it on the hearth. Suddenly it burst into a flame, and suddenly the strength of Meleagros began to fail as he lay in the arms of Kleopatra. "My life is wasting within me," he said; "clasp me closer in thine arms; let others lay a curse upon me, so only I die rejoicing in thy love." Weaker and weaker grew his failing breath, but still he looked with loving eyes on the face of Kleopatra, and his spirit went forth with a sigh of gladness, as the last spark of the brand flickered out upon the hearth.
Then was there grief and sorrow in the house of Oineus and through all the City of Kalydon, but they wept and mourned in vain. They thought now of his good deeds, his wise counsels, and his mighty arm, but in vain they bewailed the death of their chieftain in the glory of his age. Yet deeper and morebitter was the sorrow of Althaia, for the love of a mother came back to her heart when the Moirai had accomplished the doom of her child. And yet more bitterly sorrowed his wife, Kleopatra, and yearned for the love which had been torn away from her. There was no more joy within the halls of Oineus, for the Erinys had done their task well. Soon Althaia followed her child to the unknown land, and Kleopatra went forth with joy to meet Meleagros in the dark kingdom of Hades and Persephone.
On the banks of Alpheios, Evadne watched over her new-born babe, till she fled away because she feared the wrath of Aipytos, who ruled in Phaisana. The tears streamed down her cheeks as she prayed to Phœbus Apollo, who dwells at Delphi, and said, "Lord of the bright day, look on thy child, and guard him when he lies forsaken, for I may no longer tarry near him."
CLIO.CLIO (Muse of History).ToList
CLIO (Muse of History).ToList
So Evadne fled away, and Phœbus sent two serpents, who fed the babe with honey as he lay amid the flowers which clustered round him. And ever more and more through all the land went forth the saying of Phœbus, that the child of Evadne should grow up mighty in wisdom and in the power of telling the things that should happen in the time to come. Then Aipytos asked of all who dwelt in his house to tell him where he might find the son of Evadne. But they knew not where the child lay, for the serpents had hidden him far away in the thicket, where the wild flowers sheltered him from wind and heat. Long time they searched amid the tall reeds which clothe the banks of Alpheios, until at last they found the babe lying in a bed of violets. So Aipytos took the child and called his name Iamos, and he grew up brave and wise of heart,pondering well the signs of coming grief and joy, and the tokens of hidden things which he saw in the heaven above him or the wide earth beneath. He spake but little to the youths and maidens who dwelt in the house of Aipytos, but he wandered on the bare hills or by the stream side, musing on many things. And so it came to pass that one night, when the stars glimmered softly in the sky, Iamos plunged beneath the waters of Alpheios, and prayed to Phœbus who dwells at Delphi, and to Poseidon, the lord of the broad sea; and he besought them to open his eyes, that he might reveal to the sons of men the things which of themselves they could not see. Then they led him away to the high rocks which look down on the plain of Pisa, and they said, "Look yonder, child of Evadne, where the white stream of Alpheios winds its way gently to the sea. Here, in the days which are to come, Herakles, the son of the mighty Zeus, shall gather together the sons of Helen, and give them in the solemn games the mightiest of all bonds; hither shall they come to know the will of Zeus, and here shall it be thy work and the work of thy children to read to them the signs which of themselves they can not understand." Then Phœbus Apollo touched his ears, and straightway the voices of the birds spake to him clearly of the things which were to come and he heard their words as a man listens to the speech of his friend. So Iamos prospered exceedingly, for the men of all the Argive land sought aid from his wisdom, and laid rich gifts at his feet. And he taught his children after him to speak the truth and to deal justly, so that none envied their great wealth, and all men spake well of the wise children of Iamos.
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The artistic instinct is one of the earliest developed in man; the love of representation is evolved at the earliest period; we see it in the child, we see it in the savage, we find traces of it among primitive men. The child in his earliest years loves to trace the forms of objects familiar to his eyes. The savage takes a pleasure in depicting and rudely giving shape to objects which constantly meet his view. The artistic instinct is of all ages and of all climes; it springs up naturally in all countries, and takes its origin alike everywhere in the imitative faculty of man. Evidences of this instinct at the earliest period have been discovered among the relics of primitive men; rough sketches on slate and on stone of the mammoth, the deer, and of man, have been found in the caves of France; the American savage traces rude hunting scenes, or the forms of animals on the covering of his tents, and on his buffalo robes; the savage Australian covers the side of caverns, and the faces of rocks with coarse drawings of animals. We thus find an independent evolution of the art of design, and distinct and separate cycles of its development through the stages of rise, progress, maturity, decline and decay, in many countries the most remote and unconnected with one another. The earliest mode of representing men, animals and objects was in outline and in profile. It is evidently the most primitive style, and characteristic of the commencement of the art, as the first attempts made by children and uncivilized peopleare solely confined to it; the most inexperienced perceive the object intended to be represented, and no effort is required to comprehend it. Outline figures were thus in all countries the earliest style of painting, and we find this mode practiced at a remote period in Egypt and in Greece. In Egypt we meet paintings in this earliest stage of the art of design in the tombs of Beni Hassan, dating from over 2000 B.C. They are illustrative of the manners and customs of that age. Tradition tells us that the origin of the art of design in Greece was in tracing in outline and in profile the shadow of a human head on the wall and afterwards filling it in so as to present the appearance of a kind of silhouette. The Greek painted vases of the earliest epoch exhibit examples of this style. From this humble beginning the art of design in Greece rose in gradually successive stages, until it reached its highest degree of perfection under the hands of Zeuxis and Apelles.
The interest that attaches to Egyptian art is from its great antiquity. We see it in the first attempts to represent what in after times, and in some other countries, gradually arrived, under better auspices, at the greatest perfection; and we even trace in it the germ of much that was improved upon by those who had a higher appreciation of, and feeling for, the beautiful. For, both in ornamental art, as well as in architecture, Egypt exercised in early times considerable influence over other people less advanced than itself, or only just emerging from barbarism; and the various conventional devices, the lotus flowers, the sphinxes, and other fabulous animals, as well as the early Medusa's head, with a protruding tongue, of the oldest Greek pottery and sculptures, and the ibex, leopard, and above all the (Nile) "goose and sun," on the vases, show them to be connected with, and frequently directly borrowed from, Egyptian fancy. It was, as it still is, the custom of people to borrow from those who have attained to a greater degree of refinement and civilization than themselves; the nation most advanced in art led the taste, and though some had sufficient invention to alter what they adopted, and to render it their own, the original idea may still be traced whenever it has been derived from a foreign source. Egypt was long the dominant nation, and the intercourse established at a very remote period with other countries, through commerce of war, carried abroad the taste of this the most advanced people of the time; and so general seems to have been the fashion of their ornaments, that even the Nineveh marbles present the winged globe, and other well-known Egyptian emblems, as established elements of Assyrian decorative art.
ANCIENT ART AND LITERATURE.ANCIENT ART AND LITERATURE.ToList
ANCIENT ART AND LITERATURE.ToList
While Greece was still in its infancy, Egypt had long been the leading nation of the world; she was noted for her magnificence, her wealth, and power, and all acknowledged her pre-eminence in wisdom and civilization. It is not, therefore, surprising that the Greeks should have admitted into their early art some of the forms then most in vogue, and though the wonderful taste of that gifted people speedily raised them to a point of excellence never attained by the Egyptians or any others, the rise and first germs of art and architecture must be sought in the Valley of the Nile. In the oldest monuments of Greece, the sloping or pyramidal line constantly predominates; the columns in the oldest Greek order are almost purely Egyptian, in the proportions of the shaft, and in the form of its shallow flutes without fillets; and it is a remarkable fact that the oldest Egyptian columns are those which bear the closest resemblance to the Greek Doric.
Though great variety was permitted in objects of luxury, as furniture, vases, and other things depending on caprice, the Egyptians were forbidden to introduce any material innovations into the human figure, such as would alter its general character, and all subjects connected with religion retained to the last the same conventional type. A god in the latest temple was of thesame form as when represented on monuments of the earliest date; and King Menes would have recognized Amun, or Osiris, in a Ptolemaic or a Roman sanctuary. In sacred subjects the law was inflexible, and religion, which has frequently done so much for the development and direction of taste in sculpture, had the effect of fettering the genius of Egyptian artists. No improvements, resulting from experience and observation, were admitted in the mode of drawing the human figure; to copy nature was not allowed; it was therefore useless to study it, and no attempt was made to give the proper action to the limbs. Certain rules, certain models, had been established by the priesthood, and the faulty conceptions of ignorant times were copied and perpetuated by every successive artist. For, as Plato and Synesius say, the Egyptian sculptors were not suffered to attempt anything contrary to the regulations laid down regarding the figures of the gods; they were forbidden to introduce any change, or to invent new subjects and habits, and thus the art, and the rules which bound it, always remained the same.
Egyptian bas-relief appears to have been, in its origin, a mere copy of painting, its predecessor. The first attempt to represent the figures of gods, sacred emblems, and other subjects, consisted in drawing or painting simple outlines of them on a flat surface, the details being afterwards put in with color; but in process of time these forms were traced on stone with a tool, and the intermediate space between the various figures being afterwards cut away, the once level surface assumed the appearance of a bas-relief. It was, in fact, a pictorial representation on stone, which is evidently the character of all the bas-reliefs on Egyptian monuments, and which readily accounts for the imperfect arrangement of their figures.
Deficient in conception, and above all in a proper knowledge of grouping, they were unable to form those combinations which give true expression; every picture was made up of isolatedparts, put together according to some general notions, but without harmony, or preconceived effect. The human face, the whole body, and everything they introduced, were composed in the same manner, of separate members placed together one by one according to their relative situations: the eye, the nose, and other features composed a face, but the expression of feelings and passions was entirely wanting; and the countenance of the King, whether charging an enemy's phalanx in the heat of battle, or peaceably offering incense in a sombre temple, presented the same outline and the same inanimate look. The peculiarity of the front view of an eye, introduced in a profile, is thus accounted for: it was the ordinary representation of that feature added to a profile, and no allowance was made for any change in the position of the head.
It was the same with drapery: the figure was first drawn, and the drapery then added, not as part of the whole, but as an accessory; they had no general conception, no previous idea of the effect required to distinguish the warrior or the priest, beyond the impressions received from costume, or from the subject of which they formed a part, and the same figure was dressed according to the character it was intended to perform. Every portion of a picture was conceived by itself, and inserted as it was wanted to complete the scene; and when the walls of the building, where a subject was to be drawn, had been accurately ruled with squares, the figures were introduced, and fitted to this mechanical arrangement. The members were appended to the body, and these squares regulated their form and distribution, in whatever posture they might be placed.
As long as this conventional system continued, no great change could take place, beyond a slight variation in the proportions, which at one period became more elongated, particularly in the reign of the second Remeses; but still the general form and character of the figures continued the same, which led to theremark of Plato, "that the pictures and statues made ten thousand years ago, are in no one particular better or worse than what they now make." And taken in this limited sense—that no nearer approach to the beau ideal of the human figure, or its real character, was made at one period than another—his remark is true, since they were always bound by the same regulations, which prohibited any change in these matters, even to the latest times, as is evident from the sculptures of the monuments erected after Egypt had long been a Roman province. All was still Egyptian, though of bad style; and if they then attempted to finish the details with more precision, it was only substituting ornament for simplicity; and the endeavor to bring the proportions of the human figure nearer to nature, with the retention of its conventional type, only made its deformity greater, and showed how incompatible the Egyptian was with any other style.
In the composition of modern paintings three objects are required: one main action, one point of view, and one instant of time, and the proportions and harmony of the parts are regulated by perspective, but in Egyptian sculpture these essentials were disregarded; every thing was sacrificed to the principal figure; its colossal dimensions pointed it out as a center to which all the rest was a mere accessory, and, if any other was made equally conspicuous, or of equal size, it was still in a subordinate station, and only intended to illustrate the scene connected with the hero of the piece.
In the paintings of the tombs greater license was allowed in the representation of subjects relating to private life, the trades, or the manners and occupations of the people, and some indication of perspective in the position of the figures may occasionally be observed; but the attempt was imperfect, and, probably, to an Egyptian eye, unpleasing, for such is the force of habit, that even where nature is copied, a conventional style is sometimes preferred to a more accurate representation.
In the battle scenes on the temples of Thebes, some of the figures representing the monarch pursuing the flying enemy, despatching a hostile chief with his sword, and drawing his bow, as his horses carry his car over the prostrate bodies of the slain, are drawn with much spirit, and the position of the arms gives a perfect idea of the action which the artist intended to portray; still, the same imperfections of style, and want of truth, are observed; there is action, but no sentiment, expression of the passions, nor life in the features; it is a figure ready formed, and mechanicallyvariedinto movement, and whatever position it is made to assume, the point of view is the same: the identical profile of the human body with the anomaly of the shoulders seen in front. It is a description rather than a representation.
But in their mode of portraying a large crowd of persons they often show great cleverness, and, as their habit was to avoid uniformity, the varied positions of the heads give a truth to the subject without fatiguing the eye. Nor have they any symmetrical arrangement of figures, on opposite sides of a picture, such as we find in some of the very early paintings in Europe.
As their skill increased, the mere figurative representation was extended to that of a descriptive kind, and some resemblance of the hero's person was attempted; his car, the army he commanded, and the flying enemies, were introduced, and what was at first scarcely more than a symbol, aspired to the more exalted form and character of a picture. Of a similar nature were all their historical records, and these pictorial illustrations were a substitute for written documents. Rude drawing and sculpture, indeed, long preceded letters, and we find that even in Greece, to describe, draw, engrave, and write, were expressed by the same word.
Of the quality of the pencils used by the Egyptians for drawing and painting, it is difficult to form any opinion. Those generally employed for writing were a reed or rush, many ofwhich have been found with the tablets or inkstands belonging to the scribes; and with these, too, they probably sketched the figures in red and black upon the stone or stucco of the walls. To put in the color, we may suppose that brushes of some kind were used, but the minute scale on which the painters are represented in the sculptures prevents our deciding the question.
Habits among men of similar occupations are frequently alike, even in the most distant countries, and we find it was not unusual for an Egyptian artist, or scribe, to put his reed pencil behind his ear, when engaged in examining the effect of his painting, or listening to a person on business, like a clerk in the counting-house.
The Etruscans, it is said, cultivated painting before the Greeks, and Pliny attributes to the former a certain degree of perfection before the Greeks had emerged from the infancy of the art. Ancient paintings at Ardea, in Etruria, and at Lanuvium still retained, in the time of Pliny, all their primitive freshness. According to Pliny, paintings of a still earlier date were to be seen at Cære, another Etruscan city. Those paintings mentioned by Pliny were commonly believed to be earlier than the foundation of Rome. At the present day the tombs of Etruria afford examples of Etruscan painting in every stage of its development, from the rudeness and conventionality of early art in the tomb of Veii to the correctness and ease of design, and the more perfect development of the art exhibited in the painted scenes in the tombs of Tarquinii. In one of these tombs the pilasters are profusely adorned with arabesques, and a frieze which runs round the side of the tomb is composed of painted figures draped, winged, armed, fighting, or borne in chariots. The subjects of these paintings are various; in them we find the ideas of the Etruscans on the state of the soul after death, combats of warriors, banquets, funeral scenes. The Etruscans painted also bas-reliefs and statues.
The Greeks carried painting to the highest degree of perfection; their first attempts were long posterior to those of the Egyptians; they do not even date as far back as the epoch of the siege of Troy; and Pliny remarks that Homer does not mention painting. The Greeks always cultivated sculpture in preference. Pausanias enumerates only eighty-eight paintings, and forty-three portraits; he describes, on the other hand, 2,827 statues. These were, in fact, more suitable ornaments to public places, and the gods were always represented in the temple by sculpture. In Greece painting followed the invariable law of development. Its cycle was run through. Painting passed through the successive stages of rise, progress, maturity, decline, and decay. The art of design in Greece is said to have had its origin in Corinth. The legend is: the daughter of Dibutades, a potter of Corinth, struck by the shadow of her lover's head cast by the lamp on the wall, drew its outline, filling it in with a dark shadow. Hence, the earliest mode of representing the human figure was a silhouette. The simplest form of design or drawing was mere outline, or monogrammon, and was invented by Cleanthes, of Corinth. After this the outlines were filled in, and light and shade introduced of one color, and hence were styled mono-chromes. Telephanes, of Sicyon, further improved the art by indicating the principal details of anatomy; Euphantes, of Corinth, or Craton, of Sicyon, by the introduction of color. Cimon, of Cleonæ, is the first who is mentioned as having advanced the art of painting in Greece, and as having emancipated it from its archaic rigidity, by exchanging the conventional manner of rendering the human form for an approach to truthfulness to nature. He also first made muscular articulations, indicated the veins, and gave natural folds to draperies. He is also supposed to have been the first who used a variety of colors, and to have introduced foreshortening. The first painter of great renown was Polygnotus. Accurate drawing, and a noble and distinctmanner of characterizing the most different mythological forms was his great merit; his female figures also possessed charms and grace. His large tabular pictures were conceived with great knowledge of legends, and in an earnest religious spirit. At Athens he painted, according to Pausanias, a series of paintings of mythological subjects in the Pinakotheke in the Propylæa on the Acropolis, and pictorial decorations for the temple of Theseus, and the Pœcile. He executed a series of paintings at Delphi on the long walls of the Lesche. The wall to the right on entering the Lesche bore scenes illustrative of the epic myth of the taking of Troy; the left, the visit of Ulysses to the lower world, as described in the Odyssey. Pliny remarks that in place of the old severity and rigidity of the features he introduced a great variety of expression, and was the first to paint figures with the lips open. Lucian attributes to him great improvements in the rendering of drapery so as to show the forms underneath. Apollodorus, of Athens, was the first great master of light and shade. According to Pliny he was the first to paint men and things as they really appear. A more advanced stage of improved painting began with Zeuxis, in which art aimed at illusion of the senses and the rendering of external charms. He appears to have been equally distinguished in the representation of female charms, and of the sublime majesty of Zeus on his throne. His masterpiece was his picture of Helen, in painting which he had as his models the five most beautiful virgins of Croton.
Neither the place nor date of the birth of Zeuxis can be accurately ascertained, though he was probably born about 455 B.C., since thirty years after that date we find him practicing his art with great success at Athens. He was patronized by Archelaus, King of Macedonia, and spent some time at his court. He must also have visited Magna Græcia, as he painted his celebrated picture of Helen for the City of Croton. He acquiredgreat wealth by his pencil, and was very ostentatious in displaying it. He appeared at Olympia in a magnificent robe, having his name embroidered in letters of gold, and the same vanity is also displayed in the anecdote that, after he had reached the summit of his fame, he no longer sold, but gave away, his pictures, as being above all price. With regard to his style of art, single figures were his favorite subjects. He could depict gods or heroes with sufficient majesty, but he particularly excelled in painting the softer graces of female beauty. In one important respect he appears to have degenerated from the style of Polygnotus, his idealism being rather that offormthan ofcharacterandexpression. Thus his style is analogous to that of Euripides in tragedy. He was a great master of color, and his paintings were sometimes so accurate and life-like as to amount to illusion. This is exemplified in the story told of him and Parrhasius. As a trial of skill, these artists painted two pictures. That of Zeuxis represented a bunch of grapes, and was so naturally executed that the birds came and pecked at it. After this proof, Zeuxis, confident of success, called upon his rival to draw aside the curtain which concealed his picture. But the painting of Parrhasius was the curtain itself, and Zeuxis was now obliged to acknowledge himself vanquished, for, though he had deceived birds, Parrhasius had deceived the author of the deception. But many of the pictures of Zeuxis also displayed great dramatic power. He worked very slowly and carefully, and he is said to have replied to somebody who blamed him for his slowness, "It is true I take a long time to paint, but then I paint works to last a long time." His master-piece was the picture of Helen, already mentioned.
Parrhasius was a native of Ephesus, but his art was chiefly exercised at Athens, where he was presented with the right of citizenship. His date can not be accurately ascertained, but he was probably rather younger than his contemporary, Zeuxis, andit is certain that he enjoyed a high reputation before the death of Socrates. The style and degree of excellence attained by Parrhasius appear to have been much the same as those of Zeuxis. He was particularly celebrated for the accuracy of his drawing, and the excellent proportions of his figures. For these he established a canon, as Phidias had done in sculpture for gods, and Polycletus for the human figure, whence Quintilian calls him the legislator of his art. His vanity seems to have been as remarkable as that of Zeuxis. Among the most celebrated of his works was a portrait of the personified AthenianDemos,which is said to have miraculously expressed even the most contradictory qualities of that many-headed personage.