Classics. Introductory Studies in Greek Art

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2 C a m b r i d g e L i b r a r y C o L L e C t i o n Books of enduring scholarly value Classics From the Renaissance to the nineteenth century, Latin and Greek were compulsory subjects in almost all European universities, and most early modern scholars published their research and conducted international correspondence in Latin. Latin had continued in use in Western Europe long after the fall of the Roman empire as the lingua franca of the educated classes and of law, diplomacy, religion and university teaching. The flight of Greek scholars to the West after the fall of Constantinople in 1453 gave impetus to the study of ancient Greek literature and the Greek New Testament. Eventually, just as nineteenth-century reforms of university curricula were beginning to erode this ascendancy, developments in textual criticism and linguistic analysis, and new ways of studying ancient societies, especially archaeology, led to renewed enthusiasm for the Classics. This collection offers works of criticism, interpretation and synthesis by the outstanding scholars of the nineteenth century. Introductory Studies in Greek Art Jane Ellen Harrison ( ) was a prominent classical scholar who is remembered chiefly for her influential studies of Greek religion, archaeology, literature and art. Introductory Studies in Greek Art (1885) was Harrison s second book, published after a period spent studying archaeology at the British Museum under Sir Charles Newton and writing and lecturing on the subject of Greek vase painting. In her preface to the book Harrison claims that Greek art is distinguished by what she calls ideality, a term she defines as a peculiar quality... which adapts itself to the consciousness of successive ages... a certain largeness and universality which outlives the individual race and persists for all time. The book covers topics including Chaldaeo- Assyria, Phoenicia, Pheidias and the Parthenon, and the altar of Eumenes at Pergamos.

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4 Introductory Studies in Greek Art Jane E llen Harrison

5 CAMBRIDGE UNIvERSITy PRESS Cambridge, New york, Melbourne, Madrid, Cape Town, Singapore, São Paolo, Delhi, Dubai, Tokyo Published in the United States of America by Cambridge University Press, New york Information on this title: in this compilation Cambridge University Press 2009 This edition first published 1885 This digitally printed version 2009 ISBN Paperback This book reproduces the text of the original edition. The content and language reflect the beliefs, practices and terminology of their time, and have not been updated. Cambridge University Press wishes to make clear that the book, unless originally published by Cambridge, is not being republished by, in association or collaboration with, or with the endorsement or approval of, the original publisher or its successors in title.

6 Froniisptecc. SLAB FROM THE PAKTHENOII FRIEZE. ATHENS.

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8 INTRODUCTORY STUDIES GREEK ART JANE E. HARRISON AUTHOR OF " MYTHS OF THE ODYSSEY IN ART AND LITERATURE ' WITH MAP AND ILLUSTRATIONS SLon&on T FISHER UNWIN 26 PATERNOSTER SQUARE

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10 C. T. NEWTON -TO TO. XiOuva T«dp^ala e? ( w? T dvayayovtl Kal %a>oi<; '/aa diroseb^avti, 'xy-pw 6(f> i\ov<ta TaS' owoiabijtrot cnrorlvet J. E. H.

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12 PREFACE. IN the following pages I have made no attempt to furnish an elementary handbook not even to write an outline of the history of Greek Art. I have only tried to develope one thought, the consideration of which it seemed to me might rightly precede such an outline. We feel for Greek art something more than a historical interest; our desire to know of it is a want more imperative than any antiquarian curiosity. We naturally ask, Why? what is it that impels us to learn? why, when Egypt and Assyria and Phoenicia are dead, is Greece alone untouched by time, vital for ever? why from the contemplation of Greek art do we derive not merely an impression of the senses, but also a satisfaction that

13 PREFACE. abides and an impulse to growth, moral and intellectual? The answer is, I believe, found in a certain peculiar quality of Greek art which adapts itself to the consciousness of successive ages, which has within it no seed of possible death, a certain largeness and universality which outlives the individual race and persists for all time. The meaning of this quality, which we call Ideality, it is the sole object of this little book to develope. The chapter on Pheidias and the ideality of the Parthenon marbles was written first, and contains the gist of what I desire to say, and of what during five years of archaeological teaching at the British Museum I have constantly tried to enforce. The chapters that precede and follow are only the necessary prelude and sequel. The meaning of the term Ideality I have sought to explain by reference to the teaching of Plato. Greek literature is the best and only sound comment on Greek art: what is expressed but undefined in Pheidias becomes clearly articulate in Plato. The language of words is an utterance more distinct than the language of art. Both are needed to express the full thought of the spirit of man in any age ; but to the

14 PREFACE. ear of a succeeding age the articulate voice of the language of words is much needed to interpret the vaguer utterance of the language of art. In trying to express this secret of the beauty and the permanent vitality of Greek work I have borne in mind two possible classes of readers. There may be some whose time and circumstances will permit them to learn but little by their own private effort. For these who take so much on trust from teacher or writer it seemed to me specially needful that that little should be so set forth as to be clear, uncomplicated by detail as to be, if possible, impressive, and so distinctly thought out as to rest so far as possible on a reasoned basis. I have desired to give such readers certain criteria by which to discern between good and bad, a sure anchor for their taste amid the fluctuations of modern fashion. I shall be satisfied if, by the help of the wisdom of Plato, I can show any of the citizens of our state why, eschewing the dry bones of symbolism and still more warily shunning the rank, unwholesome pastures of modern realism, they may nurture their souls on the fair sights and pure visions of Ideal art. There may be others, never more than a few, who are preparing to offer to the subject a life-long devotion.

15 PREFACE. To such will assuredly come laborious days, days heavy with the accumulation of detail, perplexed with the conflict of opinion, bitter with the disappointment of fruitless theory. To such, when the way seems long, when, it may be, the steeds of the soul's chariot are restive, I desire only to recall again the reminiscence of the unseen, the vision of that " sea of beauty " to which by their strenuous toil they draw daily nearer. J. E. H.

16 CONTENTS. CHAPTER I. IAGE PREDECESSORS OF GREEK ART I CHAPTER II. CHALD^EO-ASSYRIA 40 CHAPTER III. PHOENICIA 71 CHAPTER IV. THE METOPES OF SELINUS 149 CHAPTER V. PHEIDIAS AND THE PARTHENON CHAPTER VI. THE HERMES OF PRAXITELES 250 CHAPTER VII. THE ALTAR OF EUMENES AT PERGAMOS

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18 ILLUSTRATIONS. SLAB FROM THE PARTHENON FRIEZE, ATHENS MAP PAGE Frontispiece I FIG. I. NEFERT, BOULAQ MUSEUM 5 FIG. 2. SETI BETWEEN AMUN AND KNUM, TEMPLE AT ABYDOS 15 FIG. 3. DECORATIONS ENGRAVED ON AN ASSYRIAN KING'S ROBE, BRITISH MUSEUM 49 FIG. 4. PHOENICIAN BOWL, METROPOLITAN MUSEUM, NEW YORK 72 FIG. 5. LION GATE, MYCENAE 131 FIG. 6. METOPE OF SELINUS TEMPLE, PALERMO MUSEUM FIG. 7. METOPE OF SELINUS TEMPLE, PALERMO MUSEUM 170 FIG. 8. HERMES OF PRAXITELES, OLYMPIA 250 FIG. 9. ATHENE IN THE GIGANTOMACHIA, BERLIN MUSEUM 283

19 LONDON: T. FISHER UNWIN.

20 CHAPTER I. PREDECESSORS OF GREEK ART, TWO out of six of the following chapters deal with the art of Egypt, Assyria, and Phoenicia. This for a double reason, which in a few words I wish to make clear. In bygone days of art-criticism originality was claimed for the Greeks as their especial, distinguishing gift. Original they were, but not in the narrow sense of borrowing nothing from their predecessors. The historic instinct is wide awake among us now. We seek with a new-won earnestness to know the genesis, the origiues of whatever we study, the ancestors of the individual artist, the predecessors of a nation. If critics in the past approached archaeology from the artistic and purely contemplative standpoint, critics of to-day incline to its historical, scientific aspect. Hence our first duty in speaking of Greek art is to show by the light of recent discoveries its relation to the art of Egypt, Assyria, and Phoenicia which preceded it. There is another reason. We can only see what was really original in Greek art 2