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She is full of homely wisdom; a hundred little economies she practises with forethought and unwearying assiduity tend to make her husband and children love her and regard her as a paragon of domestic policy. Her husband's affection and her children's affection are all the world to her; music and painting and poetry, Mr. Ruskin, Phidias, Praxiteles, Holman Hunt, and Mr.
On the Philosophy of Character in Art. Of Phidias. Of Apelles. Of the Progress of the Arts among the Moderns. Of Leonardo da Vinci. Of Michael Angelo, Raphael, and Bartolomeo. Of Titian. Of the Effects of Patronage. It is not my intention to give all the discourses which Mr.
But it was Phidias who wrought the goddess's image in gold, and he has his name inscribed on the pedestal as the workman of it; and indeed the whole work in a manner was under his charge, and he had, as we have said already, the oversight over all the artists and workmen, through Pericles's friendship for him; and this, indeed, made him much envied, and his patron shamefully slandered with stories, as if Phidias were in the habit of receiving, for Pericles's use, freeborn women that came to see the works.
It was carried off on the backs of camels, and we are told that nine hundred of these animals were required for the work. Thus vanished one of the much talked of wonders of the ancient world. To these is often added the Parthenon at Athens, which, as you have seen, was decorated by the carvings of Phidias.
The very same, noble Titianus, of whom I just now speaking to you." "You know him?" asked the prefect's wife. "No, but I have just left the work-shop of Periander, the gem-cutter, and there I saw the model of a statue of Antinous that is unique, marvellous, incomparable! The Bithynian as Dionysus! The work would do no discredit to a Phidias, to a Lysippus.
Her figure, clad in a straight garment of rough white homespun, was the model of perfect womanhood. She stood a little above the medium height, her fair head poised proudly on regal shoulders, while the curve of the full bosom would have baffled the sculptural genius of a Phidias.
These eighty years were the great period of Athenian literature and art: of the Parthenon and Phidias; of Æschylus, the soldier of Marathon; then Sophocles and Euripides and Aristophanes; finally, of Socrates, not himself an author, but the inspirer of Plato, and the founder of ethical science; according to popular ideas, the typical Sophist, but in fact differing from the Sophists fundamentally.
A woman poses before him like a statue or rather like a Georgian in a slave-market, and from the manner in which he analyzes and dissects her, you would say that he wanted either to sell or buy her. I allude now to his speech only, which is lively, animated but rather French its picturesque crudity. As a poet he sculptures like Phidias, and his verse has all the dazzling purity of marble.
All antiquity was unanimous in its praise of this statue, and the exactness and finish of its details were as remarkable as the grandeur and majesty of its proportions. Another of the famous works of Phidias was the bronze statue of Minerva, which was the glory of the Acropolis, This was sixty feet in height.
Nature had given her just a little more chin than a Greek sculptor would have allowed her; but, by way of make-weight, the same careless Nature had bestowed upon her a throat which Phidias himself might have sought in vain to improve upon.
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