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It is clear that they must have had not merely similar tools and similar mechanical processes, but the same purposes and ideals. They must have had what we should call a collective personality. It is more than probable that among the workers on the Parthenon were Alcamenes and Agoracritus, two sculptors who rose to great fame.
This is said to have belonged originally to the Parthenon. And here the visitor will close his inspection of the Elgin Saloon. That he will return to these fine relics of the old Greeks, if he have the opportunity, is certain.
He must have been outside, so quickly did he answer the call. He was two-thirds the size of William, one-half the length of Luigi, and one-third the age of Bob. "What is your name?" "Vlassopoulos." "Anything else?" "Yes Panis." "Then we'll drop the last half. Put those traps in the carriage and take me to the Parthenon."
What can an Eskimo, whose highest conception of summer is a stunted bush, know of tropical orchards, of luscious peach, pear and plum? If the student has seen only the broken fragments of Phidias, what can he know of the Parthenon as it once stood in the zenith of its perfection, in the splendor of its beauty?
Observe that on both these monuments there is no attempt at realistic portraiture and that on both we may trace the influence of the style of the Parthenon frieze. This is known to us in three copies, unless indeed the Naples example be the original. The story here set forth is one of the most touching in Greek mythology.
Pheidias was more essentially ideal than either of these, as we shall presently see, but he also most diligently preserved in the Parthenon and other works a spirit of measure and reasonableness. Measure and balance in art differ widely from mere convention.
Clarkson, of the Education Office, was coming back from a Garden Suburb, where the conversation had turned upon Eugenics. Photographs of the most beautiful Greek statues had stood displayed along the overmantel; Walter Pater's praise of the Parthenon frieze had been read; and a discussion had arisen upon the comparative merits of masculine and feminine beauty, during which Mr.
He sends armies fighting into the extremities of the past. He assigns the Parthenon to a hill of ages, and the temples of Upper Egypt to sidereal time. If there were no child, there would be nothing old. He, having conceived old time, communicates a remembrance at least of the mystery to the mind of the man.
But am I to be told that the "nature" of Attica would be more poetical without the "art" of the Acropolis? of the temple of Theseus? and of the still all Greek and glorious monuments of her exquisitely artificial genius? Ask the traveler what strikes him as most poetical the Parthenon, or the rock on which it stands? The columns of Cape Colonna, or the cape itself?
The line on an urn reveals the spirit of the unknown sculptor who cut it in the enduring stone. It has often been said that if every memorial of the Greek race save the Parthenon had perished, it would be possible to gain a clear and true impression of the spiritual condition and quality of that race.
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