Part 6 (1/2)

[27] Waldstein, in _Essays on the Art of Pheidias_, page 49.

[Ill.u.s.tration: John Andrew & Son, Sc.

THE DISCOBOLUS (THE DISK-THROWER)

_Lancelotti Palace, Rome_]

Our statue shows the disk-thrower at the moment immediately preceding the throw. As described by the ancient writer Lucian, ”he is bent down into the position for the throw, turning towards the hand that holds the disk, and all but bending on one knee, he seems as if he would straighten himself up at the throw.”

The modern critic whom we have already quoted shows that when we view the statue from the front, ”all the lines of the modelling indicate the tension of the sinews towards the contracted centre of the body, and the legs, neck, and shoulders tend towards the same point.” When we walk around the statue, all the lines in the back and sides ”seem to lead towards that central point like the spiral contraction of a spring.” It is by thus suggesting the concentration of energy on the part of the Discobolus that the figure appears so full of life and action.

By the choice of this posture the artist was enabled to model his figure on magnificent sculpturesque lines. One long fine curve sweeps along the right arm, is continued down the left arm, and is carried to completion in the left leg and foot. The counter curve starts under the right shoulder, and sweeps down the right side and leg.

The original statue of the Discobolus was executed in bronze, and our reproduction is from one of several ancient copies in marble. In some of these the original head of the statue has been replaced by another, but the copy we see here has a fine, vigorous head. The English critic, Walter Pater,[28] describes the face ”as smooth but spare, and tightly drawn over muscle and bone.” He shows too how sympathetic the face is with the whole intention of the statue, ”as the source of will.”[29]

[28] In the chapter on Athletic Prizemen, in _Greek Studies_.

[29] This opinion is the more interesting because the face of the Discobolus is commonly criticised for ”absence of emotional expression.”

See Furtw.a.n.gler's _Masterpieces of Greek Sculpture_, p. 173.

The sculptor of the Discobolus was Myron, who lived in the period between the Persian War and the middle of the fifth century. His work shows his fondness for movement, though many of his subjects did not permit him to indulge his taste. He made a specialty of figures of athletes, both commemorative portrait statues and typical figures. We do not know whether this statue represents an actual Olympic victor, or is a typical figure, like the Apoxyomenos. In any case it gives an excellent idea of the great influence exercised upon Greek life by the athletic games.

XIII

THE APHRODITE OF MELOS (VENUS OF MILO)

By Greek tradition the fairest of the G.o.ddesses was Aphrodite, the G.o.ddess of love and beauty. To her every lover paid his vows and every maiden prayed for charms. An old legend relates that she was born from the foam of the sea, hence the name Aphrodite, which means ”foam-born.”

Among the Romans she was called Venus. At her birth the island of Cyprus received her.

”Where the force Of gentle-breathing Zephyr steer'd her course Along the waves of the resounding sea, While yet unborn in that soft foam she lay That brought her forth.”

Here she emerged ”a G.o.ddess in the charms of awful beauty.” The Hours welcomed her eagerly, taking her in their arms and putting a crown of gold upon her head. As she went on her way, flowers grew in her path,--

”Where her delicate feet Had pressed the sands, green herbage flowering sprang.”[30]

[30] An account of the birth of Aphrodite is given in Hesiod's _Theogony_ and in the Homeric _Hymn to Venus_, and the quotations here are drawn from both sources.

As we have already seen, there were among the Greek divinities two other G.o.ddesses besides Aphrodite specially famed for their beauty,--Athena and Hera. Tradition tells how the beauty of the three was tested. An apple was thrown into their midst inscribed ”For the fairest,” and a contention at once arose as to the rightful owner. Paris, the prince of Troy, being chosen arbiter, decided in favor of Aphrodite, who promised him for a wife the fairest woman in Greece, that is, Helen.[31] This was the real cause of the Trojan War, in which the Greeks sought to recover their stolen princess. Aphrodite being at the bottom of the trouble remained through the war on the Trojan side.

[31] See Tennyson's poem, _Oenone_.

Oddly enough the beautiful G.o.ddess was mated to the ugliest of the G.o.ds, the lame blacksmith Hephaestus (or Vulcan). At his forge were made those fateful arrows of the little G.o.d Eros (or Cupid), the mother standing by to tip their points with honey.

The power of love in human life made the ideal of Aphrodite very dear to the hearts of the Greeks. All that is most tender and sacred in this human relation was personified in her. As love enn.o.bles the life and makes it unselfish, so, they reasoned, must Aphrodite be a grand and n.o.ble being. Again, as love glorifies the life, and brings joy into its commonest details, she must also be beautiful and laughter-loving. In short, one cannot think of any quality of love which was not reflected in the person of the glorious G.o.ddess. Temples were built in her honor, and she was wors.h.i.+ped in festivals and sacrificial rites. Statues of her were set up in many places, and one of the most famous which has come down to us is reproduced in our ill.u.s.tration.

[Ill.u.s.tration: Neurdein Freres, Photo. John Andrew & Son, Sc.