A much greater painter than he was Polygnotus of Thasos, the contemporary of Phidias, who came to Athens about the year 463 B.C., one of the greatest geniuses of any age, and one of the most magnanimous; and had the good fortune to live in an age of exceeding intellectual activity. He was employed on the public buildings of Athens, and on the great temple of Delphi, the hall of which he painted gratuitously. He also decorated the Propylaea, which was erected under the superintendence of Phidias. His greatness lay in statuesque painting, which he brought nearly to perfection by the ideal expression, the accurate drawing, and improved coloring. He used but few colors, and softened the rigidity of his predecessors by making the mouth of beauty smile. He was the first who painted woman with brilliant drapery and variegated head-dresses. He gave great expression to the face and figure, and his pictures were models of excellence for the beauty of the eyebrows, the blush upon the cheeks, and the gracefulness of the draperies. He was a great epic painter, as Phidias was a sculptor, and Homer a poet, since he expressed not pa.s.sion and emotion only, but ideal character. He imitated the personages and the subjects of the old mythology, and treated them in an epic spirit. He strove, like Phidias, to express character in repose.

His subjects were almost invariably taken from Homer and the Epic cycle.

His pictures had nothing of that elaborate grouping, aided by the powers of perspective, so much admired in modern art. His figures were grouped in regular lines, as in the bas-reliefs upon a frieze. He painted on panels which were afterward let into the walls. He used the pencil, instead of painting in encaustic with the cestrum.

Among the works of Polygnotus, as mentioned by Pliny, [Footnote: H. N.

x.x.x. 9, s. 35.] are his paintings in the Temple at Delphi, in the Portico called Poecile at Athens, in the Propylaea of the Acropolis, in the Temple of Theseus, and in the Temple of the Dioscuri at Athens. He took his subjects from the whole range of Epic poetry, but we know nothing of them except from the praises of his contemporaries.

[Footnote: Pausanias, x. 25-31.] His great merit is said to have consisted in accurate drawing, and in giving grace and charm to his female figures. He painted in a truly religious spirit, and upon symmetrical principles, with great grandeur and freedom, resembling Michael Angelo more than any other modern artist. Like the Greeks, he painted with wax, resins, and in water colors, to which the proper consistency was given with gum and glue. The use of oil was unknown. The artists painted upon wood, clay, plaster, stone, parchment, but not upon canvas, which was not used till the time of Nero. They painted upon tablets or panels, and not upon the walls. These panels were framed and encased in the walls. The style or cestrum used in drawing, and for spreading the wax colors, was pointed on one end and flat on the other, and generally made of metal. Wax was prepared by purifying and bleaching, and then mixed with colors. When painting was practiced in water colors, glue was used with the white of an egg or with gums, but wax and resins were also worked with water, with certain preparations.

This latter was called encaustic, and was, according to Plutarch, the most durable of all methods. It was not generally adopted till the time of Alexander the Great. Wax was a most essential ingredient, since it prevented the colors from cracking. Encaustic painting was practiced both with the cestrum and the pencil, and the colors were also burnt in.

Fresco was used for coloring walls, which were divided into compartments or panels. The Fresco composition of the stucco, and the method of painting, preparing the walls for painting, is described by the ancient writers: "They first covered the walls with a layer of ordinary plaster, over which, when dry, were successively added three other layers of a finer quality, mixed with sand. Above these were placed three layers of a composition of chalk and marble-dust, the upper one being laid on before the under one was dry, by which process the different layers were so bound together that the whole ma.s.s formed one beautiful and solid slab, resembling marble, and was capable of being detached from the wall and transported in a wooden frame to any distance. The colors were applied when the composition was still wet. The fresco wall, when painted, was covered with an encaustic varnish, both to heighten the color and preserve it from the effects of the sun or the weather. But this process required so much care, and was attended with so much expense, that it was used only in the better houses and palaces." The later discoveries at Pompeii show the same correctness of design in painting as in sculpture, and also considerable perfection in coloring.

The great artists of Greece were both sculptors and painters, like Michael Angelo. Phidias and Euphranor, Zeuxis and Protogenes, Polygnotus and Lysippus, were both. And the ancient writers praise the paintings of these great artists as much as their sculpture. The Aldobrandini Marriage, found on the Esquiline Mount, during the pontificate of Clement VIII., and placed in the Vatican by Pius VII., is admired both for drawing and color. Polygnotus was praised by Aristotle for his designs and by Lucian for his color. [Footnote: _Poetica of Aristotle_, c. 286. _Imagines of Lucian_, c. 7.]

[Sidenote: Contemporaries of Polygnotus.]

Dionysius and Micon were the great contemporaries of Polygnotus, the former of whom was celebrated for his portraits. His pictures were deficient in the ideal, but were remarkable for expression and elegant drawing. [Footnote: Plutarch, _Timol._ 36.] Micon was particularly skilled in painting horses, and was the first who used for a color the light Attic ochre, and the black made from burnt vine twigs. He painted three of the walls of the Temple of Theseus, and also the walls of the Temple of the Dioscuri.

[Sidenote: The school of Apollodorus.]

With Apollodorus, of Athens, a new development was made in the art of painting. Through his labors, about 408 B.C., dramatic effect was added to the style of Polygnotus, without departing from his pictures as models. "The acuteness of his taste," says Fuseli, "led him to discover that, as all men were connected by one general form, so they were separated each by some predominant power, which fixed character and bound them to a cla.s.s. Thence he drew his line of imitation and personified the central form of the cla.s.s to which his object belonged, and to which the rest of its qualities administered, without being absorbed; agility was not suffered to destroy firmness, solidity, or weight; nor strength and weight agility; elegance did not degenerate to effeminacy, nor grandeur swell to hugeness." [Footnote: Fuseli, Lect.

I.] His aim was to deceive the eye of the spectator by the semblance of reality. He painted men and things as they really appeared. He also made a great advance in coloring. He invented chiaro-oscuro. Other painters had given attention to the proper gradation of light and shade; he heightened this effect by the gradation of tints, and thus obtained what the moderns call _tone_. He was the first who conferred due honor on the pencil--"primusque gloriam penicillo jure contulit." [Footnote: Pliny, H. N. x.x.xv. 11.]

[Sidenote: Peculiarities of Zeuxis as a painter.]

This great painter prepared the way for Zeuxis, [Footnote: Born 455 B.C.] who belonged to his school, but who surpa.s.sed him in the power to give ideal form to rich effects. He began his great career four hundred and twenty-four years before Christ, and was most remarkable for his female figures. His "Helen," painted from five of the most beautiful women of Croton, was one of the most renowned productions of antiquity, to see which the painter demanded money. He gave away his pictures, because, with an artist's pride, he maintained that their price could not be estimated. There is a tradition that Zeuxis laughed himself to death over an old woman painted by him. He arrived at illusion of the senses, regarded as a high attainment in art, as in the instance recorded of his grapes. He belonged to the Asiatic school, whose head- quarters were at Ephesus, the peculiarities of which were accuracy of imitation, the exhibition of sensual charms, and the gratification of sensual tastes. He went to Athens about the time that the sculpture of Phidias was completed, which modified his style. His marvelous powers were displayed in the contrast of light and shade which he learned from Apollodorus. He gave ideal beauty to his figures, but it was in form rather than in expression. He taught the true method of grouping, by making each figure the perfect representation of the cla.s.s to which it belonged. His works were deficient in those qualities which elevate the feelings and the character. He was the Euripides rather than the Homer of his art. He exactly imitated natural objects, which are incapable of ideal representation. His works were not so numerous as they were perfect in their way, in some of which, as in the Infant Hercules strangling the Serpent, he displayed great dramatic power. [Footnote: Lucian _on Zeuxis_.] Lucian highly praises his Female Centaur as one of the most remarkable paintings of the world, in which he showed great ingenuity in his contrasts. His Jupiter Enthroned is also extolled by Pliny, as one of his finest works. He acquired a great fortune, and lived ostentatiously.

[Sidenote: Parrhasius of Ephesus.]

Contemporaneous with him, and equal in fame, was Parrhasius, a native of Ephesus, whose skill lay in accuracy of drawing, and power of expression. He gave to painting true proportion, and attended to minute details of the countenance and the hair. In his G.o.ds and heroes, he did for painting what Phidias did in sculpture. His outlines were so perfect as to indicate those parts of the figure which they did not express. He established a rule of proportion which was followed by all succeeding artists. While many of his pieces were of a lofty character, some were demoralizing. Zeuxis yielded the palm to him, since he painted a curtain which deceived his rival, whereas Zeuxis painted grapes which deceived only birds. He was exceedingly arrogant and luxurious, and boasted of having reached the utmost limits of his art. He combined the magic tone of Apollodorus with the exquisite design of Zeuxis, and the cla.s.sic expression of Polygnotus.

[Sidenote: Contemporaries of Zeuxis.]

Many were the eminent painters that adorned the fifth century before Christ, not only in Athens, but the Ionian cities of Asia. Timanthes of Sicyon was distinguished for invention, and Eupompus of the same city founded a school. His advice to Lysippus is memorable--"Let Nature, not an artist, be your model." Protogenes was celebrated for his high finish. His Talissus took him seven years to complete. Pamphilus was celebrated for composition, Antiphilus for facility, Theon of Samos for prolific fancy, Apelles for grace, Pausias for his chiaro-oscuro, Nicomachus for his bold and rapid pencil, Aristides for depth of expression.

[Sidenote: Art culminates in Apelles.]

[Sidenote: The Venus of Apelles.]

The art probably culminated in Apelles, the t.i.tian of his age, who united the rich coloring and sensual charms of the Ionian with the scientific severity of the Sicyonian school. He was contemporaneous with Alexander, and was alone allowed to paint the picture of the great conqueror. He was a native of Ephesus, studied under Pamphilus of Amphipolis, and when he had gained reputation he went to Sicyon and took lessons from Melanthius. He spent the best part of his life at the court of Philip and Alexander, and painted many portraits of these great men and of their generals. He excelled in portraits, and labored so a.s.siduously to perfect himself in drawing that he never spent a day without practicing. [Footnote: Pliny, x.x.xv. 12.] He made great improvement in the mechanical part of his art, and also was the first who covered his picture with a thin varnish, both to preserve it and bring out the colors. He invented ivory black. His distinguishing excellence was grace, "that artless balance of motion and repose, springing from character, founded on propriety, which neither falls short of the demands nor overleaps the modesty of Nature." [Footnote: Fuseli, Lect. I.] His great contemporaries may have equaled him in perspective, accuracy, and finish; but he added a grace of conception and refinement of taste which placed him, by the general consent of ancient authors, at the head of all the painters of the world. His greatest work was his Venus Anadyomene, or Venus rising out of the sea, in which female grace was personified. The falling drops of water from her hair form a transparent silver veil over her form. It cost one hundred talents, [Footnote: 243 pounds x 100 = 24300 pounds x 5 = $121,500.] and was painted for the Temple of Aesculapius at Cos, and afterwards placed by Augustus in the temple which he dedicated to Julius Caesar. The lower part of it becoming injured, no one could be found to repair it. Nor was there an artist who could complete an unfinished picture which he left. He was a man who courted criticism, and who was unenvious of the fame of rivals. He was a great admirer and friend of Protogenes of Rhodes, who was his equal in finish, but who never knew, as Apelles did, when to cease correcting. [Footnote: Cicero, _Brut._ 18; _De Orat._ iii. 7. Martial, x.x.x. 9. Ovid, _Art. Anc._ iii. 403. Pliny, x.x.xv.

37.]

[Sidenote: Introduction of pictures into Rome.]

After Apelles, the art of painting declined, although great painters occasionally appeared, especially from the school of Sicyon, which was renowned for nearly two hundred years. The destruction of Corinth by Mummius, B.C. 146, gave a severe blow to Grecian art. He carried to Rome more works, or destroyed them, than all his predecessors combined.

Sylla, when he spoiled Athens, inflicted a still greater injury, and, from that time, artists resorted to Rome and Alexandria and other flourishing cities for patronage and remuneration. The masterpieces of famous artists brought enormous prices, and Greece and Asia were ransacked for old pictures. The paintings which Aemilius Paulus brought from Greece required two hundred and fifty wagons to carry them in the triumphal procession. With the spoliation of Greece, the migration of artists commenced, and this spoliation of Greece and Asia and Sicily continued for two centuries; and such was the wealth of Rhodes in works of art that three thousand statues were found for the conquerors. Nor could there have been less at Athens, Olympia, or Delphi. Scaurus had all the public pictures of Sicyon transported to Rome. Verres plundered every temple and public building in Sicily.

[Sidenote: High value placed by them on painting.]

Thus Rome was possessed of the finest paintings of the world, without the slightest claim to the advancement of the art. And if the opinion of Sir Joshua Reynolds is correct, art could soar no higher in the realm of painting, as well as of statuary. Yet the Romans learned to place as high value on the works of Grecian genius as the English do on the paintings of the old masters of Italy and Flanders. And if they did not add to the art, they gave such encouragement that, under the emperors, it may be said to have been flourishing. Varro had a gallery of seven hundred portraits of eminent men. [Footnote: Pliny, H. N. x.x.x. 2.] The portraits as well as the statues of the great were placed in the temples, libraries, and public buildings. The baths especially were filled with paintings.

[Sidenote: Subjects among the Greeks.]

The great masterpieces of the Greeks were either historical or mythological. Paintings of G.o.ds and heroes, groups of men and women, in which character and pa.s.sion could be delineated, were the most highly prized. It was in the expression given to the human figure--in beauty of form and countenance, in which all the emotions of the soul as well as the graces of the body were portrayed--that the Greek artists sought to reach the ideal, and to gain immortality. And they painted for people who naturally had taste and sensibility.

[Sidenote: Landscape Painting.]

Among the Romans, portrait, decorative, and scene painting engrossed the art, much to the regret of such critics as Pliny and Vitruvius. Nothing could be in more execrable taste than a colossal painting of Nero, one hundred and twenty feet high. From the time of Augustus, landscape decorations were common, and were carried out with every species of license. Among the Greeks we do not read of landscape painting. This has been reserved for our age, and is much admired, as it was at Rome in its latter days. Mosaic gradually superseded painting in Rome. It was first used for floors, but finally walls and ceilings were ornamented with it, like St. Peter's at Rome. Many ancient mosaics have been preserved which attest beauty of design of the highest character, like the Battle of Issus, lately discovered at Pompeii.

In fact, neither statuary nor painting was advanced by the Romans. They had no sensibility, or conception of ideal beauty. The divine spark of genius animated the Greeks alone. Still the wonders of Grecian art were possessed by the Romans, and were made to adorn those grand architectural monuments for which they had a taste. Greek productions were not merely matters of property, they were copied and reproduced in all the cities of the Mediterranean; and though no artist of original genius arose from Augustus to Constantine, galleries of art existed everywhere in which the masterpieces of Polygnotus, Pausias, Aristides, Timanthes, Zeuxis, Parrhasius, Pamphilus, Euphranor, Protogenes, Apelles, Timomachus, and of other ill.u.s.trious men, were objects of as much praise as the galleries of Dresden and Florence.

[Sidenote: Probable perfection of the ancients in painting.]

"The glorious art of these masters, as far as regards tone, light, and local color," says Muller, "is lost to us, and we know nothing of it except from obscure notices and later imitations; on the contrary, the pictures on vases give us the most exalted idea of the progress and achievements of the arts of design." [Footnote: Muller, Ancient Art, 143.] It is surprising that, with four colors, the Greeks should have achieved such miracles of beauty and finish as are represented by the greatest cities of antiquity. The great wonders of the schools of Ephesus, Athens, and Sicyon have perished, and we cannot judge of their merits as we can of the statues which have fortunately been preserved.

Whether Polygnotus was equal to Michael Angelo, Zeuxis to Raphael, and Apelles to t.i.tian, we have no means of settling. But it is scarcely to be questioned that critics like the Greeks, whose opinions respecting architecture and sculpture coincide with our own, could have erred in their verdicts respecting those great paintings which extorted the admiration of the world, and were held, even in the decline of art, in such high value, not merely in the cities where they were painted, but in those to which they were transferred. What _has_ descended to our times, like the mural decorations of Pompeii and the designs on vases, go to prove the perfection which was attained in painting, as well as sculpture and architecture.

[Sidenote: Perfection of art among the ancients.]

And thus, in all those arts of which modern civilization is proudest, and in which the genius of man has soared to the loftiest heights, the ancients were not merely our equals: they were our superiors. It is greater to originate than to copy. In architecture, in sculpture, and in painting the Greeks attained absolute perfection. Any architect of our time, who should build an edifice in different proportions than those which were recognized in the great cities of antiquity, would make a mistake. Who can improve upon the Doric columns of the Parthenon, or the Corinthian capitals of the Temple of Jupiter? Indeed, it is in proportion as we accurately copy the faultless models of the age of Pericles that excellence with us is attained. When we differ from them we furnish grounds of just criticism. So, in sculpture, the Greek Slave is a reproduction of an ancient Venus, and the Moses of Michael Angelo is a Jupiter in repose. It is only when the artist seeks to bring out the purest and loftiest sentiments of the soul, and such as only Christianity can inspire, that he may hope to surpa.s.s the sculpture of antiquity in one department of the art alone--in expression, rather than beauty of form, on which no improvement can be made. And if we possessed the Venus of Apelles, as we can boast of having the sculptured Venus of Cleomenes, we should probably discover greater richness of coloring, as well as grace of figure, than in that famous t.i.tian which is one of the proudest ornaments of the galleries of Florence, and one of the greatest marvels of Italian art.

REFERENCES.--Winckelmann's History of Ancient Art; Muller's Remains of Ancient Art; A. J. Guattani, Antiq. de la Grande Grece; Mazois, Antiq.

de Pomp.; Sir W. Gill, Pompeiana; Donaldson's Antiquities of Athens; Vitruvius, Stuart, Chandler, Clarke, Dodwell, Cleghorn, De Quincey.

These are some of the innumerable authorities on Architecture among the ancients.

In Sculpture, Pliny and Cicero are the most noted critics. There is a fine article in the Encyclopedia Britannica on this subject. In Smith's Dictionary are the lives and works of the most noted masters. Muller's Ancient Art alludes to the leading masterpieces. Montfaucon's Antiquite expliquee en Figures; Specimens of Ancient Sculpture, by the Society of Diettanti, London, 1809; Ancient Marbles of the British Museum, by Taylor Combe; Millin, Introduction a l'etude des Monumens Antiques; Monumens Inedits d'Antiquite figuree, recuellis et publies par Raoul- Rochette; Gerhard's Archaol. Zeit.; David's Essai sur le Cla.s.s.e.m.e.nt Chronol. des Sculpteurs Grecs les plus celebres.

In Painting, see Caylus, Memoires de l'ac des Inscr. Levesque, sur les Progres successifs de la Peinture chez les Grecs; I. I. Grund, Mahlerei der Griechen; Meyer's Kunstgischichte; Muller, Hist, of Ancient Art; Article on Painting, Ency. Brit., Article "Pictura," Smith's Dict.; Fuseli's Lectures; Sir Joshua Reynolds' Lectures. Lanzi's History of Painting refers to the revival of the art. Vitruvius speaks at some length on ancient wall paintings. The finest specimens of ancient painting are found in catacombs, the baths, and the ruins of Pompeii. On this subject, Winckelmann is the great authority.

CHAPTER V.

THE ROMAN CONSt.i.tUTION.

[Sidenote: The Roman creators of civilization.]

[Sidenote: The Romans sought to govern.]

[Sidenote: The Romans sought to govern through laws.]

[Sidenote: Roman sense of justice.]

It is not from a survey of the material grandeur, or the arts, or the military prowess of Rome that we get the highest idea of her civilization. These indicate strength and even genius; but the checks and balances which were gradually introduced into the government of the city and empire, by which society was kept together, and a great prosperity secured for centuries, also show great foresight and practical wisdom. A State which favored individual development while it promoted law and order; which secured liberty, while it made the government stable and respectable; which guaranteed rights to the poorer citizens, while it placed power in the hands of those who were most capable of wielding it for the general good, is well worth our contemplation. The idea of aggrandizement was, it must be confessed, the most powerful which entered into the Roman mind; but the principles of national unity, the welfare of citizens, the reign of law, the security of property, the network of trades and professions, also received attention there. The aspirations for liberty and national prosperity never left the Roman mind. The Romans were great creators of civilization, though in a different sense from the Greeks. What the principles of art were to the Greeks, those of government were to the Romans. If the Greeks made statues, the Romans made laws. If the former speculated on the beautiful, or the good, or the true, the latter realized the boast of Diogenes--the power to govern men. The pa.s.sion for government was the most powerful which a Roman citizen felt, next to the pa.s.sion for war. For five hundred years after the expulsion of the kings, there was the most perfect system of checks and balances in the government of the state known in the ancient world, and which is scarcely rivaled in the modern. Power was so wisely distributed that not even a successful general was able to gain a dangerous preeminence.

Every citizen was a politician, and every Senator a statesman. For five hundred years there was neither anarchy nor military despotism. If every citizen knew how to fight, every citizen also knew how to govern, to submit. No consul dared to exceed his trust; no general, till Caesar, ventured to cross the Rubicon. The Roman Senate never lost its dignity-- a supreme body which controlled all public interests. The Romans were sufficiently wise to bend to circ.u.mstances. Though proud, the patricians made concessions to plebeians whenever it was necessary. The right of citizenship was gradually extended throughout the Empire. Paul lived in a remote city of Asia Minor, but, by virtue of his citizenship, could appeal to a higher court than that of the governor. The Romans succeeded, by their wisdom, in extending their inst.i.tutions over the countries they had conquered; and every part of the Empire was well governed even when military despotism had overturned the ancient const.i.tution. There were, of course, cases of extortion and injustice, and most governors made large fortunes; yet the provinces were better administered, and the rule was more in accordance with justice than under the native princes. Throughout the vast limits of the Empire, life and property were safe, and the roads were free of robbers; nor were there riots in the cities, except on very rare occasions, in which they were put down with merciless severity. Yet a few hundred men were enough to preserve order in the largest cities, and a few thousand in the most extensive provinces. Even under the most tyrannical emperors, justice and order were enforced. The government was never better administered than by Tiberius, and further, was never better administered than when he was abandoned to pleasure in his guarded villa at Capri. There was the pa.s.sion to govern the world, but in accordance with laws. The rule of the Romans was not that of brute force, even when the army was at the control of the Emperors. The citizens, to the last, enjoyed great social and political rights. They had great immunities, in reference to marriage, and the making of wills, and the possession of property. Their persons were secured from the disgrace of corporal punishment; they could appeal from the decision of magistrates; they were eligible to public offices; they were exempted from many oppressive taxes which still grind down the people in the most civilized states of Europe. The government of Octavius was the mildest despotism ever known to the ancient world. That Ulysses of state craft exercised the most extensive powers under the ancient forms, and all the early emperors disguised rather than paraded their powers. Contented with real power, the Roman was careless of its display. He had the tact to rule without seeming to rule; but rule he must, though not until he had first learned to obey-- obedience to laws and domination were inseparably connected. This made the Roman yoke endurable, because it was not offensive or unjust. The Romans were masters of the world by conquest, yet ruled the world they had subdued by arms in accordance with laws based on the principles of equity. This sense of justice, in the enjoyment of unbounded domination, undoubtedly gave permanence to their government. The centurion was ever present to enforce a decree, but the decree was in accordance with justice. This was the idea, the recognized principle of government, although often abused. Paul appealed to Caesar. He might have been released by the governor, had he not appealed. Here was justice to Paul in allowing the appeal; and still greater justice in keeping him in bonds until acquitted by Caesar himself. [Sidenote: Degeneracy under emperors.]

[Sidenote: Skill of the Romans for government.]

[Sidenote: On what the prosperity was based.]