Tit lard 11,ra( pl. 8, fig.. 2), in Rome, is a mil I type, ..ype, combining a freer treatment with grace and beauty, and cannot be referred to a period earlier titan the fourth century. In this beautiful head we see the human mingling with the divine in perfect harmony. The poet Schiller, speak ing of this statue, sas: " It is neither grace nor dignity which speaks to us in the magnificent head of the Juno Uudovisi: it is neither of these, because it is both. .\t the same time that the womanly divinity kindles our duvoti in the divine woman excites our love; but when we give our seht s absorbed by the heavenly beauty, the divine self-sufficiency drives its 1) wk. The whole form rests and lives in itself, a perfectly enelosid creation looking upon us, as it were, front the other side of sp where no battle rages and where there is no retreat. lIere is no force t fight with force, no weakness into which the things of time can break." Nt xt to Zeus and Hera, the Greeks, and especially the Athe nians, h id great reverence for keen, piercing character of this goddess maks:s her apps ar :)s a personification of lightning. Thus, in the account of her birth, she springs front the awe-inspiring head of the god of the storm clon i, golden, all-radiant, and shaking her javelin. She rides in a golden and it is she who cast about time head of Achilles a gulden Men cloud and kindled therefrom a blazing fire. She is the goddess of war, who appears in the front of battle, protects the war-horse, stimulates war music, and is the bearer of victory. In the higher sense she is the keen, clear intelligence presiding not merely over the handicraft of women, but also over the deliberations of men and the destinies of cities. Recent excavations at Athens have brought to light several archaic statues of this goddess. The most famous statues of Athena from the best period of Greek art were the Athena Promachos and the Athena Partlienos, both by Pheidias.
The Promachos was a bronze statue more than sixty feet high which stood on the Acropolis, between the Erectheion and the Parthenon, and could be seen from the sea. It represented the warlike guardian goddess of the city, and was made in the earlier period of the activity of Pheidias.
The Parthenos was a chryselephantine statue, the face, hands, and feet being made of thin plates of ivory and the drapery of plates of gold attached to a framework of wood. The goddess was here represented in the more peaceful aspect of her character, as the patroness of art and science who was ready to distribute the victor's crown to those who had distinguished themselves in the various lines of Attic civilization. Two statuettes, both of which were found in Athens, are of marked value for the restoration of this statue. One is called the Lenormant Athena, found by Charles Lenonnant; the other, the Varvakeion Athena, found near the Var•akcion. The Lenormant statuette, although unfinished, is the earlier of the two and preserves more of the spirit of the original.
In Figure 8 (pr. 8)—a statue of Athena found at Velletri and now in the Louvre—we have what appears to be a marble copy from a fourth century bronze which reflects, though less clearly, the great statue of Pheidias.
Apollo was the god of light, the impersonation of the sun's power. Titus he is the shining one who presides over the seasons, wars against the powers of winter and darkness, and typifies the bloom of youth. He is also the symbol of spiritual light who brings light to the soul in music, the song, and the dance, and is the savior from spiritual night. In the early representations of Apollo we see the youthful athlete of harmonious devel opment. We have already seen him in the Belvedere statue (pl. 6, fig. 5), where he appears like the sun flashing from the darkness.
In Figure 3 (pl. 8) we have a statue which has been restored as an Apollo with the kithara, or lyre, called Apollo Kitharcedos. Such a statue was made by Skopas and carried off to Rome by Augustus, and may well have been the prototype of the one before us. In the original statue we should expect to find the form of the body not so completely overpowered by the massive drapery. One of the most charming of so-called Apollos is the Sanroktonos, in which the god is represented leaning against a tree and playing with a lizard. Of this statue there are several replicas, the copy in the Vatican carrying its nearest to the spirit of Praxiteles.
Artemis, the sister of Apollo, personifies the power of the moon.
of the epithets by hidl her brother is described are applied to but she has also her distinctive characteristics. As the moon-god dt.ss she protects the huntsman at night, watches over the mariner, and the guardian of cattle. In the mural world of the Greeks she was the vir.zin goddess and the svmbol of chastity. As the huntress she appears in i inure 0 (pl. 6). Of a different character was the Asiatic lunar goddess, I' presented on Plate 7 U1•2). She is the mother-goddess who with her manv breasts nourishes the earth. Rosettes, bees, lions, horses, cattle, and human beings appear as decorations upon the mminny-like wrappings of her body.
./throdile as an Oriental goddess personifies the general productiveness of Nature. In the more purely Greek sense she is the goddess of love— the love which unites heaven and earth—as well as in the more restricted sense the goddess of human passion. These two conceptions, the heav Lnlv and the human love, lead to a varied treatment in statnary—to an ideal series on the one hand, and to a sensual series on the other. To the ideal series belongs the Aphrodite of Melos (p1. 8, fig. 5), the gem of the collection of antiquities in the Louvre. This statue was found in 1820 in a niche in the walls of the buried town of Melos, in the island of the same name. As may be inferred from the peculiar character of its pose, it to a group—or was, at least, associated with a figure of Ares, a ,/ which appears to have been followed ill the group of Hadrian and Sabina in the Louvre. The softness with which the skin is indicated and the careful treatment of the drapery lend a graceful charm to the stately dignity of the goddess.