[27] Waldstein, in _Essays on the Art of Pheidias_, page 49.

[Ill.u.s.tration: John Andrew & Son, Sc.

THE DISCOBOLUS (THE DISK-THROWER)

_Lancelotti Palace, Rome_]

Our statue shows the disk-thrower at the moment immediately preceding the throw. As described by the ancient writer Lucian, "he is bent down into the position for the throw, turning towards the hand that holds the disk, and all but bending on one knee, he seems as if he would straighten himself up at the throw."

The modern critic whom we have already quoted shows that when we view the statue from the front, "all the lines of the modelling indicate the tension of the sinews towards the contracted centre of the body, and the legs, neck, and shoulders tend towards the same point." When we walk around the statue, all the lines in the back and sides "seem to lead towards that central point like the spiral contraction of a spring." It is by thus suggesting the concentration of energy on the part of the Discobolus that the figure appears so full of life and action.

By the choice of this posture the artist was enabled to model his figure on magnificent sculpturesque lines. One long fine curve sweeps along the right arm, is continued down the left arm, and is carried to completion in the left leg and foot. The counter curve starts under the right shoulder, and sweeps down the right side and leg.

The original statue of the Discobolus was executed in bronze, and our reproduction is from one of several ancient copies in marble. In some of these the original head of the statue has been replaced by another, but the copy we see here has a fine, vigorous head. The English critic, Walter Pater,[28] describes the face "as smooth but spare, and tightly drawn over muscle and bone." He shows too how sympathetic the face is with the whole intention of the statue, "as the source of will."[29]

[28] In the chapter on Athletic Prizemen, in _Greek Studies_.

[29] This opinion is the more interesting because the face of the Discobolus is commonly criticised for "absence of emotional expression."

See Furtw.a.n.gler's _Masterpieces of Greek Sculpture_, p. 173.

The sculptor of the Discobolus was Myron, who lived in the period between the Persian War and the middle of the fifth century. His work shows his fondness for movement, though many of his subjects did not permit him to indulge his taste. He made a specialty of figures of athletes, both commemorative portrait statues and typical figures. We do not know whether this statue represents an actual Olympic victor, or is a typical figure, like the Apoxyomenos. In any case it gives an excellent idea of the great influence exercised upon Greek life by the athletic games.

XIII

THE APHRODITE OF MELOS (VENUS OF MILO)

By Greek tradition the fairest of the G.o.ddesses was Aphrodite, the G.o.ddess of love and beauty. To her every lover paid his vows and every maiden prayed for charms. An old legend relates that she was born from the foam of the sea, hence the name Aphrodite, which means "foam-born."

Among the Romans she was called Venus. At her birth the island of Cyprus received her.

"Where the force Of gentle-breathing Zephyr steer'd her course Along the waves of the resounding sea, While yet unborn in that soft foam she lay That brought her forth."

Here she emerged "a G.o.ddess in the charms of awful beauty." The Hours welcomed her eagerly, taking her in their arms and putting a crown of gold upon her head. As she went on her way, flowers grew in her path,--

"Where her delicate feet Had pressed the sands, green herbage flowering sprang."[30]

[30] An account of the birth of Aphrodite is given in Hesiod's _Theogony_ and in the Homeric _Hymn to Venus_, and the quotations here are drawn from both sources.

As we have already seen, there were among the Greek divinities two other G.o.ddesses besides Aphrodite specially famed for their beauty,--Athena and Hera. Tradition tells how the beauty of the three was tested. An apple was thrown into their midst inscribed "For the fairest," and a contention at once arose as to the rightful owner. Paris, the prince of Troy, being chosen arbiter, decided in favor of Aphrodite, who promised him for a wife the fairest woman in Greece, that is, Helen.[31] This was the real cause of the Trojan War, in which the Greeks sought to recover their stolen princess. Aphrodite being at the bottom of the trouble remained through the war on the Trojan side.

[31] See Tennyson's poem, _Oenone_.

Oddly enough the beautiful G.o.ddess was mated to the ugliest of the G.o.ds, the lame blacksmith Hephaestus (or Vulcan). At his forge were made those fateful arrows of the little G.o.d Eros (or Cupid), the mother standing by to tip their points with honey.

The power of love in human life made the ideal of Aphrodite very dear to the hearts of the Greeks. All that is most tender and sacred in this human relation was personified in her. As love enn.o.bles the life and makes it unselfish, so, they reasoned, must Aphrodite be a grand and n.o.ble being. Again, as love glorifies the life, and brings joy into its commonest details, she must also be beautiful and laughter-loving. In short, one cannot think of any quality of love which was not reflected in the person of the glorious G.o.ddess. Temples were built in her honor, and she was worshiped in festivals and sacrificial rites. Statues of her were set up in many places, and one of the most famous which has come down to us is reproduced in our ill.u.s.tration.

[Ill.u.s.tration: Neurdein Freres, Photo. John Andrew & Son, Sc.

THE APHRODITE OF MELOS (THE VENUS OF MILO)

_The Louvre, Paris_]

We have now learned by repeated instances that the Greeks had such definite ideas of their deities that their statues were as readily recognized as if they represented actual persons. The sculptors followed types accepted by tradition as the best embodiment of the characters they stood for. So especially with Zeus, Athena, and Hera, and so again with Aphrodite. She must be supremely fair, with a beauty less austere than that of the maiden Athena, less regal than that of Hera, and more fascinating than either.

We see then at once that the beautiful figure of our ill.u.s.tration must be Aphrodite, or Venus. In looking at her we think, not of wisdom, or force, or power, but just of beauty. She stands resting the weight of her body on one foot, and advancing the other with knee bent. The posture causes the figure to sway slightly to one side, describing a fine curved line. The lower limbs are draped, but the upper part of the body is uncovered, and in some mysterious way the sculptor has imparted to the marble a seeming softness as of real flesh. The head is as exquisitely set as a flower on its stalk. The parted hair is drawn back in rippling waves over the low forehead.

The eyes are not very wide open, having something of a dreamy languor.

"Melting eyes" are indeed characteristic of Venus, and an a.n.a.lytical critic has explained that this effect is produced in sculpture by a "slight elevation of the inner corner of the lower eyelid." The nose is perfectly cut, the mouth and chin are moulded in adorable curves. Yet to say that every feature is of faultless perfection is but cold praise. No a.n.a.lysis can convey the sense of her peerless beauty.

The statue originally stood on the Greek island of Melos, where it was discovered in 1820 in this broken state. Many wise heads have been puzzled to know the position of the missing arms. Some have thought that the G.o.ddess carried a shield, and others have fancied her holding the traditional apple. There have also been many discussions as to the date of the work. Now if the statue had been made in the fifth century B. C., the G.o.ddess would have been fully draped; if in the fourth century, entirely without drapery. Our sculptor then belonged to neither of these periods, and combined the characteristics of both. It is a fault on his part to have placed the drapery in an impossible position, whence in actual life it would immediately fall of its own weight. Yet we do not think of such criticisms when we see it. The beautiful body rising above the drapery reminds us of the myth of Aphrodite emerging from the sea foam. Her beauty is a union of strength and sweetness, a perfect embodiment of a nature at harmony with itself and its surroundings.

XIV

ORPHEUS AND EURYDICE

There was once a man named Orpheus, who lived in the land of Thrace. It was said that his father was Apollo, and his mother the muse Calliope; so it is not strange that he was both poet and musician. So enchanting was the music of his lyre that wild animals came forth from their haunts to hear him. Even trees and rocks seemed to feel the magic influence of the strain.

He had a beautiful wife named Eurydice, whom he loved dearly, and they were happy together till a sad accident separated them. She was bitten one day by a poisonous serpent, and died from the effects of the wound.

There was no more happiness on earth for Orpheus, and he determined to seek Eurydice in the underworld of the dead.

Now the gates of the lower regions were guarded by a three-headed dog named Cerberus, but even this fierce beast was subdued by the entrancing music of Orpheus, who

"Through the unsubstantial realm Populous with phantom ghosts of buried men, Undaunted pa.s.sed to where Persephone Sits by the monarch of that cheerless folk Of shadows throned--and struck his lyre, and sang."

Pouring forth the mournful tale of his lost love, he appealed to the G.o.ds to give him back Eurydice. So eloquent was his plea that all who listened were "moved to weeping." Then for the first time the iron cheeks of the Furies were wet with tears, and

"Of the nether realm Nor King nor Queen had heart to say him nay."

Eurydice was brought forth and restored to her husband, but a single condition was laid upon Orpheus in leading her out. Until they had regained the earth he was not to look backward, or the boon would be forfeited. The Latin poet Ovid tells how the two fared forth together from the underworld, and how Orpheus failed in the conditions of the agreement.

"Through the silent realm Upward against the steep and fronting hill Dark with obscurest gloom, the way he led: And now the upper air was all but won, When fearful lest the toil o'ertask her strength And yearning to behold the form he loved, An instant back he looked,--and back the shade That instant fled....

...One last And sad 'Farewell,' scarce audible, she sighed, And vanished to the ghosts that late she left."[32]

[32] From the Metamorphoses, Book x, in Henry King's translation, from which also the other quotations are drawn.

[Ill.u.s.tration: D. Anderson, Photo. John Andrew & Son, Sc.

ORPHEUS AND EURYDICE

_Albani Villa, Rome_]

Our bas-relief represents a scene of parting between Orpheus and Eurydice, and we may take it, as we please, to refer to their first or to their last farewell. It seems, however, to apply more appropriately to the first departure of Eurydice to the unknown land. She lays her hand fondly upon her husband's shoulder, and he touches it gently as if to detain her.