tag="{http://www.w3.org/1999/xhtml}a">Picture from Photograph by D. Anderson

VII. Demeter (Ceres) 37       Picture from Photograph by D. Anderson VIII. The Faun of Praxiteles 43       Picture from Photograph by Fratelli Alinari IX. Sophocles 49       Picture from Photograph by D. Anderson X. Ares Seated 55       Picture from Photograph by D. Anderson XI. Head of the Olympian Hermes 61       Picture from Photograph by the English Photographic Co., Athens XII. The Discobolus (The Disk-thrower) 67       Picture from Photograph loaned by Edward Robinson, from the only negative known to exist XIII. The Aphrodite of Melos (Venus of Milo) 73       Picture from Photograph by Neurdein Frères XIV. Orpheus and Eurydice 79       Picture from Photograph by D. Anderson XV. Nike (The Winged Victory) 85       Picture from Photograph by Neurdein Frères XVI. Pericles 91       (See Frontispiece) Pronouncing Vocabulary of Proper Names 95

Nine of the above illustrations are from
photographs in the collection of the William Hayes Fogg
Art Museum of Harvard University

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INTRODUCTION

I. ON SOME CHARACTERISTICS OF GREEK SCULPTURE.

The history of Greek sculpture covers a period of some eight or nine hundred years, and falls into five divisions. [1] The first is the period of development, extending from 600 to 480 B. C. The second is the period of greatest achievement, under Phidias and his followers, in the Age of Pericles, 480-430 B. C. The third is the period of Praxiteles and Scopas, in the fourth century. The fourth is the period of decline, characterized as the Hellenistic Age, and included between the years 320 and 100 B. C. The fifth is the Græco-Roman period, which includes the work produced to meet the demand of the Roman market for Greek sculpture, and which extends to 300 A. D.

Modern criticism differentiates sharply the characteristics of the several periods and even of the individual artists, but such subtleties are beyond the grasp of the unlearned. The majority of people continue to regard Greek sculpture in its entirety, as if it were the homogeneous product of a single age. To the popular imagination it is as if some gigantic machine turned out the Apollo Belvedere, the Venus of Milo, the Elgin Marbles, and all the rest, in a single day. Nor is it long ago since even eminent