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Updated: June 13, 2025
Praxiteles the commentator brought this fable for a reason; it is said that the body of Melicertes was found fixed to a pine-tree by the sea; and not far from Megara, there is a place called the Race of a Fair Lady, through which the Megarians say that Ino, with her son Melicertes in her arms, ran to the sea.
Passing through the Apollo Hall, we enter the large Hall of Bacchus, in which the progress of the art is distinctly apparent. A satyr lying asleep on a goatskin which he has thrown over a rock is believed to be the work of Praxiteles. The relaxation of the figure and perfect repose of every limb is wonderful.
Scopas was the contemporary of Praxiteles, and was the author of the celebrated group of Niobe, which is one of the chief ornaments of the gallery of sculpture at Florence. He flourished about three hundred and fifty years before Christ, and wrought chiefly in marble. He was employed in decorating the Mausoleum which Artemisia erected to her husband, one of the wonders of the world.
They tell of the glory of the cardinals, in litters, on horseback, in glittering carriages, blazing with jewels and shaded with gorgeous canopies; of marble palaces, grand walks, alabaster columns, gigantic obelisks, villas, gardens, grottoes, flowers, fountains, cascades; of churches adorned with polished pillars, gilded soffits, mosaic floors, altars sparkling with diamonds, and gorgeous pictures from master-hands looking down from every wall; of monuments, statues, images, and holy relics; and they blame Luther that he could gaze upon it all without a stir of admiration that he could look upon the sculpture and statuary and see nothing but pagan devices, the gods Demosthenes and Praxiteles, the feasts and pomps of Delos, and the idle scenes of the heathen Forum that no gleam from the crown of Perugino or Michael Angelo dazzled his eyes, and no strain of Virgil or of Dante, which the people sung in the streets, attracted his ear that he was only cold and dumb before all the treasures and glories of art and all the grandeur of the high dignitaries of the Church, seeing nothing, feeling nothing, exclaiming over nothing but the licentious impurities of the priests, the pagan pomps of the pontiff, the profane jests of the ministers of religion, the bare shoulders of the Roman ladies.
That joyous master and genius might have put two weeks' work, three weeks' work, a month's work, upon it, and there you were. What was the labour of a lifetime to the other man was to Praxiteles just an easy bit of routine. If art is a man's soul and hopes and brain and sweat and blood put into concrete form, who produced the truer work of art, Praxiteles or the unknown sculptor of Hoboken?
In Italy, there is a class of men whose merely mechanical skill is perhaps more exquisite than was possessed by the ancient artificers, who wrought out the designs of Praxiteles; or, very possibly, by Praxiteles himself. Whatever of illusive representation can be effected in marble, they are capable of achieving, if the object be before their eyes.
But the northern races who excel in the art of the musician seem to be inferior to the southern in the arts of the painter and of the sculptor, more particularly in the latter. The supreme sculptors are apparently two or three: Phidias and Michelangelo, beyond all question, and with them probably we ought also to place Donatello. Of Praxiteles we know too little.
Kindness and gaiety sparkled in her eyes; while her plump white hands, her rounded finger-tips, her pink nails, her breast, which the corset seemed scarcely able to restrain, her dainty feet, and her prominent hips, made her worthy of the chisel of Praxiteles. She was just on her eighteenth year, and so far had escaped the connoisseurs.
Two large chests of drawers, with rounded bellies, and a very beautiful washing-stand also occupied places round the room, and against the inner wall rose a single, fourposter bed of Spanish chestnut, also carved. A grey, self-colored carpet covered the floor, and on one of the chests stood a miniature bronze copy of the Faun of Praxiteles. The apartment was bright and cheerful of aspect.
There is a pure, virgin grace in the classic outlines of the figure that keeps the eye long upon it. The face is full of cold, majestic dignity, but it is the ideal of a being to be worshipped, rather than loved. The Faun of Praxiteles, in the same room, is a glorious work; it is the perfect embodiment of that wild, merry race the Grecian poets dreamed of.
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