A History of Greek Art, F. B. Tarbell [great novels to read .TXT] 📗

Egypt, and the eyes appear as in front view. Both king and attendant are enveloped in long robes, in which there is no indication of folds, though fringes and tassels are elaborately rendered. The faces are of a strongly marked Semitic cast, but without any attempt at portraiture. The hair of the head ends in several rows of snail-shell curls, and the king’s beard has rows of these curls alternating with more natural-looking portions.

Little is displayed of the body except the fore-arms, whose anatomy, though intelligible, is coarse and false. As for minor matters, such as the too high position of the ears, and the unnatural shape of the king’s right hand, it is needless to dwell upon them. A cuneiform inscription runs right across the relief, interrupted only by the fringes of the robes.

 

Fig. 18 shows more distinctly the characteristic Assyrian method of representing the human head. Here are the same Semitic features, the eye in front view, and the strangely curled hair and beard. The only novelty is the incised line which marks the iris of the eye. This peculiarity is first observed in work of Sargon’s time (722-705 B. C.).

 

A constant and striking feature of the Assyrian palaces was afforded by the great, winged, human-headed bulls, which flanked the principal doorways. The one herewith given (Fig. 19) is from Sargon’s palace at Khorsabad. The peculiar methods of Assyrian sculpture are not ill suited to this fantastic creature, an embodiment of force and intelligence. One special peculiarity will not escape the attentive observer. Like all his kind, except in Sennacherib’s palace, this bull has five legs. He was designed to be looked at from directly in front or from the side, not from an intermediate point of view.

 

Assyrian art was not wholly without capacity for improvement.

Under Asshur-bam-pal (668-626), the Sardanapalus of the Greeks, it reached a distinctly higher level than ever before. It is from his palace at Nineveh that the slab partially shown in Fig. 20 was obtained. Two demons, with human bodies, arms, and legs, but with lions’ heads, asses’ ears, and eagles’ talons, confront one another angrily, brandishing daggers in their right hands.

Mesopotamian art was fond of such creatures, but we do not know precisely what meaning was attached to the present scene. We need therefore consider only stylistic qualities. As the two demons wear only short skirts reaching from the waist to the knees, their bodies are more exposed than those of men usually are. We note the inaccurate anatomy of breast, abdomen, and back, in dealing with which the sculptor had little experience to guide him. A marked difference is made between the outer and the inner view of the leg, the former being treated in the same style as the arms in Fig. 17. The arms are here better, because less exaggerated. The junction of human shoulders and animal necks is managed with no sort of verisimilitude. But the heads, conventionalized though they are, are full of vigor. One can almost hear the angry snarl and see the lightning flash from the eyes.

 

It is, in fact, in the rendering of animals that Assyrian art attains to its highest level. In Asshur-bam-pal’s palace extensive hunting scenes give occasion for introducing horses, dogs, wild asses, lions, and lionesses, and these are portrayed with a keen eye for characteristic forms and movements. One of the most famous of these animal figures is the lioness shown in Fig. 21. The creature has been shot through with three great arrows. Blood gushes from her wounds. Her hind legs are paralyzed and drag helplessly behind her. Yet she still moves forward on her fore-feet and howls with rage and agony. Praise of this admirable figure can hardly be too strong. This and others, of equal merit redeem Assyrian art.

 

As has been already intimated, these bas-reliefs were always colored, though, it would seem, only partially, whereas Egyptian bas-reliefs were completely covered with color.

 

Of Assyrian stone sculpture in the round nothing has yet been said. A few pieces exist, but their style is so essentially like that of the bas-reliefs that they call for no separate discussion.

More interesting is the Assyrian work in bronze. The most important specimens of this are some hammered reliefs, now in the British Museum, which originally adorned a pair of wooden doors in the palace of Shalmaneser III. at Balawat. The art of casting statuettes and statues in bronze was also known and practiced, as it had been much earlier in Babylonia, but the examples preserved to us are few. For the decorative use which the Assyrians made of color, our principal witnesses are then enameled bricks. These are ornamented with various designs—men, genii, animals, and floral patterns—in a few rich colors, chiefly blue and yellow. Of painting, except in the sense of mural decoration, there is no trace.

 

Egypt and Mesopotamia are, of all the countries around the Mediterranean the only seats of an important, indigenous art, antedating that of Greece. Other countries of Western Asia—Syria, Phrygia, Phenicia, Persia, and so on—seem to have been rather recipients and transmitters than originators of artistic influences. For Egypt, Assyria, and the regions just named did not remain isolated from one another. On the contrary, intercourse both friendly and hostile was active, and artistic products, at least of the small and portable kind, were exchanged. The paths of communication were many, but there is reason for thinking that the Phenicians, the great trading nation of early times, were especially instrumental in disseminating artistic ideas. To these influences Greece was exposed before she had any great art of her own. Among the remains of prehistoric Greece we find, besides some objects of foreign manufacture, others, which, though presumably of native origin, are yet more or less directly inspired by Egyptian or oriental models. But when the true history of Greek art begins, say about 600 B. C., the influences from Egypt and Asia sink into insignificance. It may be that the impulse to represent gods and men in wood or stone was awakened in Greece by the example of older communities. It may be that one or two types of figures were suggested by foreign models. It may be that a hint was taken from Egypt for the form of the Doric column and that the Ionic capital derives from an Assyrian prototype. It is almost certain that the art of casting hollow bronze statues was borrowed from Egypt. And it is indisputable that some ornamental patterns used in architecture and on pottery were rather appropriated than invented by Greece. There is no occasion for disguising or underrating this indebtedness of Greece to her elder neighbors.

But, on the other hand, it is important not to exaggerate the debt. Greek art is essentially self-originated, the product of a unique, incommunicable genius. As well might one say that Greek literature is of Asiatic origin, because, forsooth, the Greek alphabet came from Phenicia, as call Greek art the offspring of Egyptian or oriental art because of the impulses received in the days of its beginning. [Footnote: This comparison is perhaps not original with the present writer.]

 

CHAPTER II.

 

PREHISTORIC ART IN GREECE.

 

Thirty years ago it would have been impossible to write with any considerable knowledge of prehistoric art in Greece. The Iliad and Odyssey, to be sure, tell of numerous artistic objects, but no definite pictures of these were called up by the poet’s words. Of actual remains only a few were known. Some implements of stone, the mighty walls of Tiryns, Mycenae, and many another ancient citadel, four “treasuries,” as they were often called, at Mycenae and one at the Boeotian Orchomenus—these made up pretty nearly the total of the visible relics of that early time. To-day the case is far different. Thanks to the faith, the liberality, and the energy of Heinrich Schliemann, an immense impetus has been given to the study of prehistoric Greek archaeology. His excavations at Troy, Mycenae, Tiryns, and elsewhere aroused the world. He labored, and other men, better trained than he, have entered into his labors. The material for study is constantly accumulating, and constant progress is being made in classifying and interpreting this material. A civilization antedating the Homeric poems stands now dimly revealed to us. Mycenae, the city “rich in gold,” the residence of Agamemnon, whence he ruled over “many islands and all Argos,” [Footnote: Iliad II, 108] is seen to have had no merely legendary preeminence. So conspicuous, in fact, does Mycenae appear in the light as well of archaeology as of epic, that it has become common, somewhat misleading though it is, to call a whole epoch and a whole civilization “Mycenaean.” This “Mycenaean” civilization was widely extended over the Greek islands and the eastern portions of continental Greece in the second millennium before our era. Exact dates are very risky, but it is reasonably safe to say that this civilization was in full development as early as the fifteenth century B.C., and that it was not wholly superseded till considerably later than 1000 B.C.

 

It is our present business to gain some acquaintance with this epoch on its artistic side. It will be readily understood that our knowledge of the long period in question is still very fragmentary, and that, in the absence of written records, our interpretation of the facts is hardly better than a groping in the dark. Fortunately we can afford, so far as the purposes of this book are concerned, to be content with a slight review. For it seems clear that the “Mycenaean” civilization developed little which can be called artistic in the highest sense of that term.

The real history of Greek art—that is to say, of Greek architecture, sculpture, and painting—begins much later.

Nevertheless it will repay us to get some notion, however slight, of such prehistoric Greek remains as can be included under the broadest acceptation of the word “art.”

 

In such a survey it is usual to give a place to early walls of fortification, although these, to be sure, were almost purely utilitarian in their character. The classic example of these constructions is the citadel wall of Tiryns in Argolis. Fig. 22

shows a portion of this fortification on the east side, with the principal approach. Huge blocks of roughly dressed limestone—some of those in the lower courses estimated to weigh thirteen or fourteen tons apiece—are piled one upon another, the interstices having been filled with clay and smaller stones. This wall is of varying thickness, averaging at the bottom about twenty-five feet.

At two places, viz., at the south end and on the east side near the southeast corner, the thickness is increased, in order to give room in the wall for a row of store chambers with communicating gallery. Fig. 23 shows one of these galleries in its present condition. It will be seen that the roof has been formed by pushing the successive courses of stones further and further inward from both sides until they meet. The result is in form a vault, but the principle of the arch is not there, inasmuch as the stones are not jointed radially, but lie on approximately horizontal beds. Such a construction is sometimes called a “corbelled” arch or vault.

 

Similar walls to those of Tiryns are found in many places, though nowhere else are the blocks of such gigantic size. The Greeks of the historical period Viewed these imposing structures with as much astonishment as do we, and attributed them (of at least those in Argohs) to the Cyclopes, a mythical folk, conceived in this connection as masons of superhuman strength. Hence the adjective Cyclopian or Cyclopean, whose meaning varies unfortunately in modern usage, but which is best restricted to walls of the Tirynthian type; that is to say, walls built of large blocks not accurately fitted together, the interstices being filled with