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Show 16G THE ART OF TilE GREEKS. and of all the countries of Asia Minor, differ little from the monuments of Grecco proper. 'l'he ty1 o of the icilians and of tho Italiots is somewhat more diverse; principally characterized by the full and round chin of the Fig. 48. Fig. 49. LYOlAN CnlLD. LYOAONIAN SOLDII!Ilt. females, .as see~ i.n. the fol~owing wood-cut [50] of Proserpina, taken from an mtagho 1n cornehan, which belongs to my collection. We Fig. 60. sometimes find the same peculiar chin even now among the females of Calabria and Sicily, but especially on the island of Ischia whore, according to a tradition, tho Greek blood ~f it~ inhabitants was scarcely mixed by fore1gn mtermarriages. . o.ne ~eature, sufficiently explained by the mst1tut10ns of Greece, is common to all these monuments of llellenic art, viz: the absence . of portraits, -individuality being merged mto the glorification of the human PROUlRl'lNA. fi b (Puuzky Ooll.) . orm Y a purely ideal treatment. Just as · m. life tho idea of the State absorbed the ~ntcresdts. and 1 even the rights of the individual, so individuality was Jgn ore m t e art of Greece· · all the time of Greek . ' we ne~er meet Wlth portraits during m t to b mdependence' for even the representations A~:n d . e P~~traits were ideal. ALcmrADEs, according to Clemens xan rmus became a Mere d I) A rock-relief '0 . ~ry, an J!JlUCLES looked a demigod. 11 a tomb m LyCla, at Cadyanda, tho cast of which is m Admonit. adver6u6 gmtel, p. 86• TIIE ART OF TIIE GREEKS. 167 now in the British Museum, 178 inscribed with the historical names of Hecatomnos, Mesos, Seslcos, ftc., contains no portrait, but only ideal figures. 'l'ho C1t<ESUS of the m~gnificcnt vase of the Louvre might be taken for a Jupiter, were it not designated by the name. It was not before the time of Alexander the Macedonian that real portraits began to be made. Lysistratus, brother of the great sculptorLysippus, was in Greece the :first who made a plaster-cast of the face of living persons, and who, according to Pliny, 179 made real likenesses, whilst his predecessors had tried to make them rather beautiful than faithful. Pliny's testimony is fully borne out by the remaining monuments of art belonging to the period of Alexander: they show during the life of the great king some marked attempts at individuality, thouO'h idealism. is not yet excluded fi·om the portrait. 'l'hc bead of the conqueror of Persia, on his own coins, is scarcely distinguishable from the type of his mythic ancestor IIerculcs. Under his successor, Lysimachus, th(} portrait of Alexander on the Macedon ian coins is by far more individual. 'l'he beautiful bust ofDcmosthcncs 180 [51] in the Vatican, though it be the work of a later age, is c rtainly a copy of a bust contemporaneous with the last great citizen of Grr.cce. It exl1ibits the peculiar fcatnrcs and lisping mouth of the eloquent unfortunate patriot; sti ll, the upper part of the head is undoubtedly ideal. A classical cornclian in my collection, with the intaglio head of Demetrius Poliorcctes [52], shows the eflorts of some artists of the Fig. 61. Fig. 62. DI!IMOSTUENES. DEMETRIUS POLIOltOETES, (Pul1zky colt.) Macedonian period to blend idealism with individualism. This king's heroic bcn.uty made the task easier; but as, in those times, a portrait always implied a kind of apotheosis, a bull's born was i1s Synopsis of the Dritiah Museum, Lycian ltoom, Nos. 160-162. 17U XXXV, 44. 180 VlBOONl'l, Iconographie grecque, Pl. 2!), fig. 2. |