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On this view the difficulty of explaining the attitude of the Aphrodite of Melos arises from the fact that the motive was created for an entirely different purpose and is not altogether appropriate to the present one, whatever precisely that may be.
Cythera is said to have derived its name from the Phoenician who colonised it, and the same is also reported of Melos. Ios was, we are told, originally called Phoenice; Anaphe had borne the name of Membliarus, after one of the companions of Cadmus; Oliarus, or Antiparos, was colonised from Sidon.
He was therefore proclaimed an enemy. And thus the winter ended, and the fifteenth year of the war ended with it. Sixteenth Year of the War The Melian Conference Fate of Melos
What time and accident, its centuries of darkness under the furrows of the "little Melian farm," have done with singular felicity of touch for the Venus of Melos, fraying its surface and softening its lines, so that some spirit in the thing seems always on the point of breaking out, as though in it classical sculpture had advanced already one step into the mystical Christian age, its expression being in the whole range of ancient work most like that of Michelangelo's own: this effect Michelangelo gains by leaving nearly all his sculpture in a puzzling sort of incompleteness, which suggests rather than realises actual form.
In illustration of this position a contrast might be drawn between the policy of Athens in Melos, as set forth by Thucydides in the singular dialogue of the fifth book, and the part assigned to Justice by a writer equally impersonal, grave, and unimpassioned the author of the Politics in the recurrence throughout that work of such phrases as "The State which is founded on Justice alone can stand."
We return to the Corridor de Pan and continue past the Salle des Caryatides through halls filled with Græco-Roman work of secondary importance, to the sanctuary of the serenely beautiful Venus of Melos, the best-known and most admired of Greek statues in Europe. Much has been written by eminent critics as to the attitude of the complete statue.
When at last we were back home again, it was with the hope that we should have another ride some day with "Victory." Written by a boy in the Freshman class in college Venus of Melos In looking at this statue we think, not of wisdom, or power, or force, but just of beauty. The posture causes the figure to sway slightly to one side, describing a fine curved line.
Being now more at leisure, the Athenians resolved, in the mere wantonness of power, that Melos should only be suffered to exist as a dependency of Athens, and thirty triremes sailed from the harbour of Peiraeus to carry out the arbitrary decree. On their arrival at Melos the Athenian admirals sent envoys into the town, to summon the inhabitants to surrender.
The left hand is extended over the forehead of the Hind which runs by her side, the right arm reaches backward over the shoulder to draw an arrow from the quiver. Of the Venus of Melos, perhaps the most famous of our statues of mythology, very little is known. There are many indeed who believe that it is not a statue of Venus at all.
But it is manner, nevertheless, as is proved by the ease with which it is parodied, by the danger it is in of degenerating into mannerism whenever it forgets itself. Fancy a parody of Shakespeare, I do not mean of his words, but of his tone, for that is what distinguishes the master. You might as well try it with the Venus of Melos.
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