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Mahaffy, it is true, tells us that Pericles used to present peacocks to the great ladies of Athenian society in order to induce them to sit to his friend Phidias, and we know that Polygnotus introduced into his picture of the Trojan women the face of Elpinice, the celebrated sister of the great Conservative leader of the day, but these GRANDES DAMES clearly do not come under our category.
They accused him, in his younger years, of cohabiting with his own sister Elpinice, who, indeed, otherwise had no very clear reputation, but was reported to have been over intimate with Polygnotus, the painter; and hence, when he painted the Trojan women in the porch, then called the Plesianactium, and now the Poecile, he made Laodice a portrait of her.
A much greater painter than he was Polygnotus of Thasos, the contemporary of Phidias, who came to Athens about the year 463 B.C., one of the greatest geniuses of any age, and one of the most magnanimous; and had the good fortune to live in an age of exceeding intellectual activity.
The great wonders of the schools of Ephesus, Athens, and Sicyon have perished, and we cannot judge of their merits as we can of the statues which have fortunately been preserved. Whether Polygnotus was equal to Michael Angelo, Zeuxis to Raphael, and Apelles to Titian, we have no means of settling.
Aylwin, it renders in Art the inevitable attitude of its own time and country towards the unseen world, and renders it as completely as did the masterpiece of Polygnotus in the Lesche of the Cnidians at Delphi as completely as did the wonderful frescoes of Andrea Orcagna on the walls of the Campo Santo at Pisa.
In his comparative presentation, in which the character of the art is each time associated with that of the age, he is compelled, without knowing or wishing it, to present a history of art. They say that the first celebrated painters whose works are visited not by reason of their antiquity alone, were Polygnotus and Aglaophon.
Since they were capable of producing great art it seems silly to pretend that they were incapable of appreciating it. We need not be dismayed by the stories of Apelles and Polygnotus with their plums and sparrows. These are merely the instruments of criticism: by such crude means did ancient critics excite the public and try to express their own subtle feelings.
Well, how shall we manage? Call in the painters, perhaps, selecting those who were noted for their skill in mixing and laying on their colours? Be it so: we will have Polygnotus, Euphranor of course, Apelles and Aetion; they can divide the work between them.
The pictures of Polygnotus had nothing of that elaborate grouping, aided by the powers of perspective, so much admired in modern art. His greatness lay in statuesque painting, which he brought nearly to perfection by ideal expression, accurate drawing, and improved coloring. He used but few colors, and softened the rigidity of his predecessors by making the mouth of beauty smile.
On the contrary, Polygnotus was preeminently skilled in expressing character, and it is recorded that he drew the face with a freedom which archaic art had not attained.
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