In Greece, as in other countries, the earliest attempts at imitative art were extremely rude. I'ausanias, who travelled in Greece about a.n. 170, mentions that at Phar,e in Achzea thirty quadrangular blocks of atone were worshipped, or at least honoured, as the symbols or representations of certain divinities. At 'lle.spite Hera was thus recognised, and at Sicyon Artemis Patron was represented by a column, and Zeus Milichins by a pyramid. (Pans., vii. 22; ii. 0.) The ancient statue, if it can be so called, of Aphrodite of Paphos, with others that might be referred to, were mere columns or stones set upright. The next step in art was in the attempt to characterise these shapeless symbols by giving them a human form. The upper part was shaped into the likeness of a head, and, by degrees, arms and legs were marked out ; but in these early imitations of the human figure the arms were doubtless represented closely httached to the sides, and the legs, though to a certain extent defined, were still connected or united in a common pillar, as in the statues of the Egyptian school.
The history of Greek sculpture may be divided, generally, into four periods, each of which is illustrated by existing works bearing unequivocal marks of the progressive changes which attended the practice of the art from Its rise to its decline. These greater divisions or periods might perhaps easily be subdivided into smaller parts; but, VI the present object is to give only a general and comprehensive view of the history of Greek sculpture, it seems bettor to confine ourselves to a few great divisions. The student who desires a more extensive acquaintance with the subject will find ample information in the numerous valuable works that have appeared of late years, as well as in the opportunities that now exist of examining the remains of Greek art of all ages which are preserved in the museums of this and other countries. The four principal sections into which ancient Greek sculpture may be divided are—the Archaic, or most ancient period; the Phidian ; the Pmxitelian, which includes the period of Lysippus; and fourthly, the age of its decline.
The First period embraces all the uncertain ago, of which little its known but what can be gleaned from the traditions preserved in ancient writers. It may be considered to extend to the commence. ment of that great change in the style of art which had its consumma tion in the school of which Phidias was the bead. The Second division includes the period during which sculpture was practised in the grand or sublime style, and during which the scholars of Phidias executed their works on the principles which he taught and illustrated. The Third period is characterised by a more rich and flowing style of execution, as well as by the choice of softer and mere delicate (subjects than had usually been selected for representation. In this the beau tiful was sought after, rather than the sublime. Praxiteles may be considered the first sculptor who introduced this more sensual, if it may be so called, style of art ; and Lysippns contributed to advance it by the peculiar fulness, roundnesa, and harmonious general effect, by which it appears that his works were characterised. The Fourth and last period in this classification is that of the decline of sculpture ; when, although the excellence of preceding schools was still reimitted and often maintained, not only no advance was made, but artists were frequently led away by the love of novelty of design, or the desire to discover some new road to fame or profit, and neglected the means which ages of progressive improvement had shown to be the best and safest rules of practice. When this was the case, grandeur of style will be found to have given place to littleness, and the beauty and simplicity of general form and character were lost in individpality and minute detail.
The remains of Greek sculpture of the Archaic period are interesting to the antiquary, but they offer few attractions to the lover of the beautiful. Rigid and stiff in action, and rude and inelegant iu form,
the statues and rilievi of the infancy of Greek sculpture have very little to distinguish them, in these respects, from the earlier attempts of other nations. The first step towards a change was hi the attempt to give action ; and thil was soon attended by fresh peculiarities of shape or figure in the parts. In this stage it will be observed that there is great energy or violence in the general design, with a lumpy or knotty character of form. The general proportions of the figures are thick in comparison with the length of parts. The breasts and shoulders are wide and broad, while the hips are narrow. The thighs and calves of the legs are large and heavy for the knees and ankles, and the feet are long and clumsily shaped. Tho treatment of the head is peculiar in the sculpture of this early period. The eye is usually long and narrow ; and is slightly raised at the outer extremity. The mouth is open, and, Owing to a slight curve or elevation at the extremities, has the expres sion of smiling. On the most ancient coins the hair is wiry, the lines being parallel and close together, in the apparent endeavour to give the effect of the whole by imitating every hair. This was more sue. cessfully attempted by executing the hair in masses; some very ancient works exhibit examples of this, where the effect is partially produced by small knobs or lumps. At a more advanced period the hair is executed in a more minute and careful manner, and with a more pre cise arrangement, combining as it were the particular character of the earliest treatment with the more general effect attuiepted in the next stage of art. In this the hair is brought in nearly straight lines over the head, but it terminates in small round curls which are arranged with great regularity, and sometimes in two or three rows over the forehead, extending on each side to the temples and ears. Specimens of these modes of treatment occur in the early tetradrachms of Athens; in the heads of the figures in the statues found in the islaud of .Egina; and in the sculptures found at Selinunte in Sicily, as well as in other remains of small bronzes and early coins; and there are many examples of it preserved in the collection of antiquities in the British Museum. In male figures the beard, wherever it occurs, is wiry, and exhibits elaborate execution. There is a curious specimen of this in the head of a warrior in a group in the Seliniuitine marbles above mentioned (and of which there are casts in the British Museum), as well as in the iEginetan marbles. The draperies in the sculpture of this early time are extremely thin, lying close to the figure (or to the ground, if in reliefs), excepting at the edges of the folds, which are sharp and angular ; these are arranged with the greatest precision, opposite folds corresponding as nearly as possible with each other, with the edges shown, and terminating in a sort of regular zigzag series of lines. All these peculiarities are characteristic of the most ancient, or, as we have called it, Archaic art : and whenever imitations of it have been made in later times, these features of action, form, and treatment of drapery have been observed. Sometimes portions only of the peculiarities above pointed out will be remarked in genuine ancient works, but of a later age than that under consideration. The sculptures alluded to as .Eginetan offer examples of this ; the treatment of the heads being characteristic of an earlier age of the art than the rest of the figures. This is doubtless to be attributed to a feeling of veneration for the older forms and received traditions of certain personages, such as divinities and heroes ; and in this respect obedience to prescription marks the Greek as it did the Egyptian and other schools : with the former however it lasted for a limited period only; with the latter it extended throughout their whole existence.