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Then he wished to know whether any of Phidias's kin were alive, why there had been no Diasia at Athens all these years, whether his Olympieum was ever going to be completed, and had the robbers of his temple at Dodona been caught?
For as in landscape gardening, a spire, cupola, monument, or tower of some sort, is deemed almost indispensable to the completion of the scene; so no face can be physiognomically in keeping without the elevated open-work belfry of the nose. Dash the nose from Phidias's marble Jove, and what a sorry remainder!
Statue and temple-front were criticised, not sculptor and architect surely not sculpture and architecture in the abstract. Not sculptors and architects, that is, when the question was of their works. The men came in for their share of criticism, but on a different count. Theseus and Athene were judged as works of art, not as lame though interesting revelations of Phidias's soul.
And finding that in Phidias's case he had miscarried with the people, being afraid of impeachment, he kindled the war, which hitherto had lingered and smothered, and blew it up into a flame; hoping, by that means, to disperse and scatter these complaints and charges, and to allay their jealousy; the city usually throwing herself upon him alone, and trusting to his sole conduct, upon the urgency of great affairs and public dangers, by reason of his authority and the sway he bore.
You have seen the Cnidian Aphrodite, anyhow; now I want to know whether you have also seen our own Aphrodite of the Gardens, the Alcamenes. Poly. I must be a dullard of dullards, if that most exquisite of Alcamenes's works had escaped my notice. Ly. Poly. Frequently. Ly. That is really enough for my purpose. But I should just like to know what you consider to be Phidias's best work. Poly.
But the genius of Q. Hortensius, even in his early youth, like one of Phidias's statues, was no sooner beheld than it was universally admired!
He goes to the carnival, and his penetrating glance proves it to be a sham entertainment. But in due course he emerges from this mood; he rejoices in the atmospheric immensity of St. He makes a great discovery, or rediscovery, that Phidias's colossal statues of Castor and Pollux on the Monte Cavallo are the finest figures in Rome.
For as in landscape gardening, a spire, cupola, monument, or tower of some sort, is deemed almost indispensable to the completion of the scene; so no face can be physiognomically in keeping without the elevated open-work belfry of the nose. Dash the nose from Phidias's marble Jove, and what a sorry remainder!
She creates destroying, and she cares not whether she creates or she destroys so long as life be not exterminated, so long as death fall not short of his dues.... And so just as serenely she hides in mould the god-like shape of Phidias's Zeus as the simplest pebble, and gives the vile worm for food the priceless verse of Sophokles.
The face of Athena is the most disappointing part of it all, but it is just there that the copyist must have failed most completely. Only the eye of faith, or better, the eye trained by much study of allied works, can divine in this poor little figure the majesty which awed the beholder of Phidias's work.
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