Which only the wicked seek to disobey,

Poor fools! who long for happiness,

But will not see nor hear the divine commands.

But do thou, O Zeus, all-bestower, cloud-compeller!

Ruler of thunder! guard men from sad error.

Father! dispel the clouds of the soul, and let us follow

The laws of thy great and just reign!

That we may be honored, let us honor thee again,

Chanting thy great deeds, as is proper for mortals.

For nothing can be better for gods or men

Than to adore with perpetual hymns the law common to all.

The result of our investigation thus far is, that beside all the polytheistic and anthropomorphic tendencies of the old religion, there yet lingered a faith in one supreme God, ruler of all things. This is the general opinion of the best writers. For example, Welcker thus speaks of the original substance of Greek religion : *—

"In the remotest period of Greek antiquity, we meet the words θεός and δαίμων, and the names Ζεός and Κρονίων; anything older than which is not to be found in this religion. Accordingly, the gods of these tribes were from the first generally, if not universally, heavenly and spiritual beings. Zeus was the immortal king of heaven, in opposition to everything visible and temporal. This affords us a permanent background of universal ideas, behind all special conceptions or local appellations. We recognize as present in the beginnings. of Greek history the highest mental aspirations belonging to man. We can thus avoid the mistaken doubts concerning this religion, which came from the influence of the subsequent manifestations, going back to the deep root from which they have sprung. The Divine Spirit has always been manifested in the feelings even of the most uncultivated peoples. Afterwards, in trying to bring this feeling into distinct consciousness, the various childish conceptions and imperfect views of religious things arise."

§ 5. The Gods of the Artists.

The artists, following the poets, developed still further the divinely human character of the gods. The architects of the temples gave, in their pure and harmonious forms, the conception of religious beauty and majesty. Standing

* Welcker, Grieschische Götterlehre, § 25.

in some open elevated position, their snowy surface bathed in sunshine, they stood in serene strength, the types of a bright and joyful religion. A superstitious worship seeks caves and darkness; the noble majesty of the Greek temples said plainly that they belonged to a religion of light and peace.

The sculptor worked originally in company with the architect. The statues were meant to adorn the temples, the temples were made as frames and pedestals for the statues. The marble forms stood and walked on the pediments and gave life to the frieze. They animated the exterior, or sat, calm and strong, in the central shrine.

The poets, in giving a moral and human character to the gods, never quite forgot their origin as powers of nature. Jupiter Olympus is still the god of the sky, the thunderer. Neptune is the ruler of the ocean, the earthshaker. Phoebus-Apollo is the sun-god. Artemis is the moonlight, pure, chaste, and cold. But the sculptors finally leave behind these reminiscences, and in their hands the deities become purely moral beings. On the brow of Jupiter sits a majestic calm; he is no angry wielder of the thunderbolt, but the gracious and powerful ruler of the three worlds. This conception grew up gradually, until it was fully realized by Phidias in his statues at Olympia and Elis. Tranquil power and victorious repose appear even in the standing Jupiters, in which last the god appears as more youthful and active.

The conception of Jupiter by Phidias was a great advance on that of Homer. He, to be sure, professed to take his idea from the famous passage of the Iliad where Jove shakes his ambrosial curls and bends his awful brows; and, nodding, shakes heaven and earth. That might be his text, but the sermon which he preached was far higher than it. This was the great statue of Jupiter, his masterpiece, made of ivory and gold for the temple at Olympia, where the games were celebrated by the united Hellenic race. These famous games, which occurred every fifth year, lasting five days, calling together all Greece, were to this race what the Passover was to the Jewish nation, sacred, venerable, blending divine worship and

human joy. These games were a chronology, a constitution, and a church to the Pan-Hellenic race. All epochs were reckoned from them; as events occurring in such or such an Olympiad. The first Olympiad was seven hundred and seventy-six years before Christ; and a large part of our present knowledge of ancient chronology depends on these festivals. They bound Greece together as by a constitution; no persons unless of genuine Hellenic blood being allowed to contend at them, and a truce being proclaimed for all Greece while they lasted.

Here at Olympia, while the games continued, all Greece came together; the poets and historians declaimed their compositions to the grand audience; opinions were interchanged, knowledge communicated, and the national life received both stimulus and unity.

And here, over all, presided the great Jupiter of Phidias, within a Doric temple, sixty-eight feet high, ninety-five wide, and two hundred and thirty long, covered with sculptures of Pentelic marble. The god was seated on his throne, made of gold, ebony, and ivory, studded with precious stones. He was so colossal that, though seated, his head nearly reached the roof, and it seemed as if he would bear it away if he rose. There sat the monarch, his head, neck, breast, and arms in massive proportions; the lower part of the body veiled in a flowing mantle; bearing in his right hand a statue of Victory, in his left a sceptre with his eagle on the top; the Hours, the Seasons, and the Graces around him; his feet on the mysterious Sphinx; and on his face that marvellous expression of blended majesty and sweetness, which we know not only by the accounts of eyewitnesses, but by the numerous imitations and copies in marble which have come down to us. cannot fail to see, even in these copies, a wonderful expression of power, wisdom, and goodness. The head, with leonine locks of hair and thickly rolling beard, expresses power; the broad brow and fixed gaze of the eyes, wisdom; while the sweet smile of the lips indicates goodness. The throne was of cedar, ornamented with gold, ivory, ebony, and precious stones. The sceptre was

One

composed of every kind of metal. The statue was forty feet high, on a pedestal of twelve feet. To die without having seen this statue was regarded by the Greeks as almost as great a calamity as not to have been initiated into the mysteries.

*

In like manner the poetic conception of Apollo was inferior to that of the sculptor. In the mind of the latter Phoebus is not merely an archer, not merely a prophet and a singer, but the entire manifestation of genius. He is inspiration; he radiates poetry, music, eloquence from his sublime figure. The Phidian Jupiter is lost to us, except in copies, but in the Belvedere Apollo we see how the sculptor could interpret the highest thought of the Hellenic mind. He who visits this statue by night in the Vatican Palace at Rome, seeing it by torchlight, has, perhaps, the most wonderful impression left on his imagination which art can give. After passing through the long galleries of the Vatican, where, as the torches advance, armies of statues emerge from the darkness before you, gaze on you with marble countenance, and sink back into the darkness behind, you reach at last the small circular hall which contains the Apollo. The effect of torchlight is to make the statue seem more alive. One limb, one feature, one expression after another, is brought out as the torches move; and the wonderful form becomes at last instinct with life. Milman has described the statue in a few glowing but unexaggerated lines:

"For mild he seemed, as in Elysian bowers,
Wasting, in careless ease, the joyous hours;
Haughty, as bards have sung, with princely sway
Curbing the fierce flame-breathing steeds of day;
Beauteous, as vision seen in dreamy sleep
By holy maid, on Delphi's haunted steep."

All, all divine; no struggling muscle glows,

Through heaving vein no mantling life-blood flows,
But, animate with Deity alone,

In deathless glory lives the breathing stone." +

In such a statue we see the human creative genius idealized. It is a magnificent representation of the mind

* Ottfried Müller, History of Greek Art, §§ 115, 347.

+ Oxford Prize Poems, Poem for 1812.

of Greece, that fountain of original thought from which came the Songs of Homer and the Dialogues of Plato, that unfailing source of history, tragedy, lyric poetry, scientific investigation. In the Belvedere Apollo we see expressed at once the genius of Homer, Aristotle, Herodotus, Eschylus, Pindar, Thales, and Plato.

With Apollo is associated his sister Artemis, or Diana, another exquisite conception of Greek thought. Not the cold and cruel Diana of the poets; not she who, in her prudish anger, turned Actæon into a stag, who slew Orion, who slew the children of Niobe, and demanded the death of Iphigenia. Very different is the beautiful Diana of the sculptors, the Artemis, or untouched one, chaste as moonlight, a wild girl, pure, free, noble; the ideal of youthful womanhood, who can share with man manly exercises and open-air sports, and add to manly strength a womanly grace. So she seems in the statue; in swift motion, the air lifting her tunic from her noble limbs, while she draws a shaft from the quiver to kill a hind. No Greek could look at such a statue, and not learn to reverence the purity and nobleness of womanhood.

Pallas-Athênê was the goddess of all the liberal arts and sciences. In battle she proves too strong for Arês or Mars, as scientific war is always too strong for that wild, furious war which Mars represented. She was the civilizer of mankind. Her name Pallas means "virgin," and her name Athênê was supposed to be the same as the Egyptian Neith, reversed; though modern scholars deny this etymology.

The Parthenon, standing on the summit of Athens, built of white marble, was surrounded by columns 34 feet high. It was 230 feet long, 102 feet wide, and 68 high, and was perhaps the most perfect building ever raised by man. Every part of its exterior was adorned with Phidian sculpture; and within stood the statue of Athênê herself, in ivory and gold, by the same master hand. Another colossal statue of the great goddess stood on the summit of the Acropolis, and her polished brazen helmet and shield, flashing in the sun, could be seen far out at sea by vessels approaching Athens.