LITERATURE AND ART AFTER THE CLOSE OF THE PELOPONNESIAN WAR.

LITERATURE.

I. THE DRAMA.

As we have seen in a former chapter, Greek tragedy attained its zenith with the three great masters--Æschylus, Sophocles, and Euripides. As MAHAFFY well says, "Its later annals are but a history of decay; and of the vast herd of latter tragedians two only, and two of the earliest--Ion of Chi'os, and Ag'athon--can be called living figures in a history of Greek literature." Even these, it seems, wrote before Sophocles and Euripides had closed their careers. But few fragments of their genius have come down to us. Longi'nus said of Ion, that he was fluent and polished, rather than bold or sublime; while Agathon has been characterized as "the creator of a new tragic style, combining the verbal elegancies and ethical niceties of the Sophists with artistic claims of a luxurious kind."

While tragedy declined, with comedy the case was different, for its changes were progressive. Most writers divide Greek comedy into the Old, the Middle, and the New; and although the boundary lines between the three orders are very indistinct, each has certain well-defined characteristics. It is asserted, as we have elsewhere noted, that the chief subjects of the first were the politics of the day and the characters and deeds of leading persons; that the chief peculiarity of the second, in which the action of the chorus was much curtailed, was the exclusion of personal and political criticism, and the adoption of parodies of the gods and ridicule of certain types of character; and that the New Comedy, in which the chorus disappeared, aimed to paint scenes and characters of domestic life. The Middle Comedy, however, still continued to be in some degree personal and political, and even in the New Comedy these features of the Old are frequently apparent.

Aristoph'anes, the leader of the Old Comedy, toward the close of his life produced The Frogs--a work that signalized the transition from the Old to the Middle Comedy. The latter school, however, took its rise in Sicily, and its most distinguished authors were Antiph'anes, probably of Athens, born in 404, and Alex'is of Thu'rii, born about 394. The New Comedy arose after Athens had fallen under Macedonian supremacy, and as many as sixty-four poets belong to this period, the later of whom composed their plays in Alexandria, in the time of Alexander's successors. The founder of this school was Phile'mon of Soli, in Cilicia, born about 360 B.C. Of his ninety plays fragments of fifty-six remain. The majority of these have been described as "elegant but not profound reflections on the 'changes and chances of this mortal life.'" A late critic chooses the following fragment as illustrative of Philemon, and at the same time favorable to his reputation:

MENANDER.

The acknowledged master and representative of this period, however, and the last of the classical poets of Greece, was Menan'der, an Athenian, son of Diopi'thes, the general whom Demosthenes defended in his speech "On the Chersonese," and a nephew of the poet Alexis. Menander was born in 342 B.C.; and although only fragments of his writings exist, he was so closely copied or imitated by the Roman comic poets that his style and character can be very clearly traced. MR. SYMONDS thus describes him: "His personal beauty, the love of refined pleasure that distinguished him in life, the serene and genial temper of his wisdom, the polish of his verse, and the harmony of parts he observed in composition, justify us in calling Menander the Sophocles of comedy. If we were to judge by the fragments transmitted to us, we should have to say that Menander's comedy was ethical philosophy in verse; so mature is its wisdom, so weighty its language, so grave its tone. The brightness of the beautiful Greek spirit is sobered down in him almost to sadness. Yet the fact that StobÆ'us found him a fruitful source of sententious quotations, and that alphabetical anthologies were made of his proverbial sayings, ought not to obscure his fame for drollery and humor. If old men appreciated his genial or pungent worldly wisdom, boys and girls read him, we are told, for his love-stories."

Menander was an intimate friend of Epicu'rus, the philosopher, and is supposed to have adopted his teachings. On this point, however, MR. SYMONDS thus remarks: "Speaking broadly, the philosophy in vogue at Athens during the period of the New Comedy was what in modern days is known as Epicureanism. Yet it would be unjust to confound the grave and genial wisdom of Menander with so trivial a philosophy as that which may be summed up in the sentence 'eat and drink, for to-morrow we die.' A fragment from an unknown play of his expresses the pathos of human existence with a depth of feeling that is inconsistent with mere pleasure-seeking:

As EUGENE LAWRENCE says: "Most modern comedies are founded on those of Menander. They revive their characters, repeat their jokes, transplant their humor; and the wit of MoliÈre, Shakspeare, or Sheridan is often the same that once awoke shouts of laughter on the Attic stage."

II. ORATORY.

Eloquence, or oratory, which Cicero calls "the friend of peace and the companion of tranquillity, requiring for her cradle a commonwealth already well-established and flourishing," was fostered and developed in Greece by the democratic character of her institutions. It was scarcely known there until the time of Themistocles, the first orator of note; and in the time of Pericles it suddenly rose, in Athens, to a great height of perfection. Pericles himself, whose great aim was to sway the assemblies of the people to his will, cultivated oratory with such application and success, that the poets of his day said of him that on some occasions the goddess of persuasion, with all her charms, seemed to dwell on his lips; and that, at other times, his discourse had all the vehemence of thunder to move the souls of his hearers. The golden age of Grecian eloquence is embraced in a period of one hundred and thirty years from the time of Pericles, and during this period Athens bore the palm alone.

Of the many Athenian orators the most distinguished were Lys'ias, Isoc'rates, Æschines, and Demosthenes. The first was born about 435 B.C., and was admired for the perspicuity, purity, sweetness, and delicacy of his style. Having become a resident of Thurii in early life, on his return to Athens he was not allowed to speak in the assemblies, or courts of justice, and therefore wrote orations for others to deliver. Many of these are characterized by great energy and power. Dionysius, the Roman historian and critic, praises Lysias for his grace; Cicero commends him for his subtlety; and Quintilian esteems him for his truthfulness. Isocrates was born at Athens in 436. Having received the instructions of some of the most celebrated Sophists of his time, he opened a school of rhetoric, and was equally esteemed for the excellence of his compositions--mostly political orations--and for his success in teaching. His style was more philosophic, smooth, and elegant than that of Lysias. "Cicero," says a modern critic, "whose style is exceedingly like that of Isocrates, appears to have especially used him as a model--as indeed did Demosthenes; and through these two orators he has moulded all the prose of modern Europe." Isocrates lived to the advanced age of ninety-eight, and then died, it is said, by voluntary starvation, in grief for the fatal battle of ChÆronea.

ÆSCHINES AND DEMOSTHENES.

The orator Æschines was born in 398 B.C. He is regarded as the father of extemporaneous speaking among the Greeks, but is chiefly distinguished as the rival of Demosthenes, rather than for his few orations (but three in number) that have come down to us, although he was endowed by nature with extraordinary rhetorical powers, and his orations are characterized by ease, order, clearness, and precision. "The eloquence of Æschines," says an American scholar and statesman, [Footnote: Hugh S. LegarÉ, of Charleston, South Carolina, in an article on "Demosthenes" in the New York Review.] "is of a brilliant and showy character, running occasionally, though very rarely, into a Ciceronean declamation. In general his taste is unexceptionable; he is clear in statement, close and cogent in argument, lucid in arrangement, remarkably graphic and animated in style, and full of spirit and pleasantry, without the least appearance of emphasis or effort. He is particularly successful in description and the portraiture of character. That his powers were appreciated by his great rival is evident from the latter's frequent admonitions to the assembly to remember that their debates are no theatrical exhibitions of voice and oratory, but deliberations involving the safety of their country."

On leaving Athens, after his defeat in the celebrated contest with Demosthenes, Æschines went to Rhodes, where he established a school of rhetoric. It is stated that on one occasion he began his instruction by reading the two orations that had been the cause of his banishment. His hearers loudly applauded his own speech, but when he read that of Demosthenes they were wild with delight. "If you thus praise it from my reading it," exclaimed Æschines, "what would you have said if you had heard Demosthenes himself deliver it?"

By the common consent of ancient and modern times, Demosthenes stands pre-eminent for his eloquence, his patriotism, and his influence over the Athenian people. He was born about 383 B.C. On attaining his majority, his first speech was directed against a cousin to whom his inheritance had been intrusted, and who refused to surrender to him what was left of it. Demosthenes won his case, and his victory brought him into such prominent notice that he was soon engaged to write pleadings for litigants in the courts. He devoted himself to incessant study and practice in oratory, and, overcoming by various means a weakly body and an impediment in his speech, he became the chief of orators. Of his public life we have already seen something in the history of Athens. With all his moral and intellectual force, the closing years of his life were shaded with misery and disgrace. Fifty years after his death the Athenians erected a bronze statue to his memory, and upon the pedestal placed this inscription:

With regard to the character of the orations of Demosthenes, it must be confessed that somewhat conflicting views have been entertained by the moderns. LORD BROUGHAM, while admitting that Demosthenes "never wanders from the subject, that each remark tells upon the matter in hand, that all his illustrations are brought to bear upon the point, and that he is never found making a step in any direction which does not advance his main object, and lead toward the conclusion to which he is striving to bring his hearers," still denies that he is distinguished for those "chains of reasoning," and that "fine argumentation" which are the chief merit of our greatest modern orators. While he admits that Demosthenes abounds in the most "appropriate topics, and such happy hits--to use a homely but expressive phrase--as have a magical effect upon a popular assembly, and that he clothes them in the choicest language, arranges them in the most perfect order, and captivates the ear with a music that is fitted, at his will, to provoke or to soothe, and even to charm the sense," he regards all this as better suited to great popular assemblies than to a more refined, and a more select audience--such as one composed of learned senators and judges. But this is admitting that he adapted himself, with admirable tact and judgment, to the subject and the occasion. But while the character thus attributed to the orations of the great Athenian orator may be the true one, as regards the Philippics, the speech against Æschines, and the one on the Crown, it is not thought to be applicable to the many pleas which he made on occasions more strictly judicial.

"That which distinguishes the eloquence of Demosthenes above all others, ancient or modern," says the American writer already quoted, "is earnestness, conviction, and the power to persuade that belongs to a strong and deep persuasion felt by the speaker. It is what Milton defines true eloquence to be, 'none but the serious and hearty love of truth'--or, more properly, what the speaker believes to be truth. This advantage Demosthenes had over Æschines. He had faith in his country, faith in her people (if they could be roused up), faith in her institutions. He is mad at the bare thought that a man of Macedon, a barbarian, should be beating Athenians in the field, and giving laws to Greece. The Roman historian and critic, Dionysius, said of his oratory, that its highest attribute was the spirit of life that pervades it. Other remarkable features were its amazing flexibility and variety, its condensation and perfect logical unity, its elaborate and exquisite finish of details, to which must be added that polished harmony and rhythm which cannot be attained, to a like degree, in any modern language. Moreover, however elaborately composed these speeches were, they were still speeches, and had the appearance of being the spontaneous effusions of the moment. No extemporaneous harangues were ever more free and natural."

The historian HUME says of the style of Demosthenes: "It was rapid harmony adjusted to the sense; vehement reasoning without any appearance of art; disdain, anger, boldness, and freedom, involved in a continued strain of argument." Another writer says: "It was his undeviating firmness, his disdain of all compromise, that made him the first of statesmen and orators; in this lay the substance of his power, the primary foundation of his superiority; the rest was merely secondary. The mystery of his mighty influence, then, lay in his honesty; and it is this that gave warmth and tone to his feelings, an energy to his language, and an impression to his manner before which every imputation of insincerity must have immediately vanished."

III. PHILOSOPHY.

PLATO.

While oratory was thus attaining perfection in Greece, philosophy was making equal progress in the direction marked out by Socrates. Among the philosophers of the brighter period of Grecian history are the names of Plato and Aristotle, names that will ever be cherished and venerated while genius and worth continue to be held in admiration. Of the pupils of Socrates, Plato, born in Athens in 429 B.C., was by far the most distinguished, and the only one who fully appreciated the intellectual greatness and seized the profound conceptions of his master. In fact, he came to surpass Socrates in the profoundness of his views, and in the correctness and eloquence with which he expressed them. On the death of his teacher, Plato left Athens and passed twelve years in visiting different countries, engaged in philosophic investigation. Returning to Athens, he founded his school of philosophy in the Acade'mia, a beautiful spot in the suburbs of the city, adorned with groves, walks, and fountains, and which his name has immortalized.

To Plato, as the poet intimates in his closing lines, we owe the first formal development of the Socratic doctrine of the spirituality of the soul, and the first attempt toward demonstrating its immortality. As a late writer has well said, "It is the genius of Socrates that fills all Plato's philosophy, and their two minds have flowed out over the world together." Of his doctrine on this subject, as expressed in the Phoe'do, LORD BROUGHAM thus wrote: "The whole tenor of it refers to a renewal or continuation of the soul as a separate and individual existence after the dissolution of the body, and with a complete consciousness of personal identity: in short, to a continuance of the same rational being's existence after death. The liberation from the body is treated as the beginning of a new and more perfect life." Plato's only work on physical science is the Timoe'us. His works are all called "Dialogues," which the critics divide into two classes--those of search, and those of exposition. Among the latter, the Republic and the Laws give us the author's political views; and, on the former, More's Uto'pia and other works of like character in modern times are founded.

"Plato, of all authors," says DR. A. C. KENDRICK, [Footnote: Article "Plato," in Appleton's American Cyclipoedia.] "is the one to whom the least justice can be done by any formal analysis. In the spirit which pervades his writings, in their untiring freshness, in their purity, love of truth and of virtue, their perpetual aspiring to the loftiest height of knowledge and of excellence, much more than in their positive doctrines, lies the secret of their charm and of their unfailing power. Plato is often styled an idealist. But this is true of the spirit rather than of the form of his doctrine; for strictly he is an intense realist, and differs from his great pupil, Aristotle, far less in his mere philosophical method than in his lofty moral and religious aspirations, which were perpetually winging his spirit toward the beautiful and the good. His formal errors are abundant; but even in his errors the truth is often deeper than the error; and when that has been discredited, the language adjusts itself to the deeper truth of which it was rather an inadequate expression than a direct contradiction." Concerning the style of Plato's writings, a distinguished English scholar and translator observes as follows: "Nor is the language in which his thoughts are conveyed less remarkable than the thoughts themselves. In his more elevated passages he rises, like his own Prometheus, to heaven, and brings down from thence the noblest of all thefts, [Footnote: See the story of Prometheus.] Wisdom with Fire; but, in general, calm, pure, and unaffected, his style flows like a stream which gurgles its own music as it runs; and his works rise, like the great fabric of Grecian literature, of which they are the best model, in calm and noiseless majesty." [Footnote: Thomas Mitchell.]

Plato died at the advanced age of eighty-one, his mental powers unimpaired, and he was buried in the Academe. On his tomb was placed the following inscription:

ARISTOTLE.

Aristotle was born in 384 B.C., at Stagi'ra, in Macedonia. Hence he is frequently called the "Stag'i-rite;" as POPE calls him in the following tribute found in his Temple of Fame:

He repaired to Athens at the age of seventeen, and soon after became a pupil of Plato. His uncommon acuteness of apprehension, and his indefatigable industry, early won the notice and applause of his master, who called him the "mind" of the school, and said, when he was absent, "Intellect is not here." On the death of Plato, Aristotle left Athens, and in 343 he repaired to Macedonia, on the invitation of Philip, and became the instructor of the young prince Alexander. In after years Alexander aided him in his scientific pursuits by sending to him many objects of natural history, and giving him large sums of money, estimated in all at two millions of dollars.

In the year 335 Aristotle returned to Athens, and opened his school in the Lyce'um. He walked with his scholars up and down the shady avenues, conversing on philosophy, and hence his school was called the peripatetic. Aristotle nowhere exhibits the merits of Plato in the service of metaphysics, yet he was the most learned and most productive of the writers of Greece. He had neither the poetical imagination nor the genius of his teacher, but he mastered the whole philosophical and historical science of his age, and, more than Plato, his intellect has influenced the course of modern civilization. He was eminently a practical philosopher--a cold inquirer, whose mind did not reach the high and lofty teaching of Plato, concerning Deity and the destiny of mankind. We find the following just estimate of him in BROWNE'S Greek Classical Literature: "One cannot set too high a value on the practical nature of Aristotle's mind. He never forgot the bearing of all philosophy upon the happiness of man, and he never lost sight of man's wants and requirements. He saw the inadequacy of all knowledge, unless he could trace in it a visible practical tendency. But, beyond this one single point, he falls grievously short of his great master, Plato. All his ideas of man's good are limited to the consideration of this life alone. It is impossible to trace in his writings any belief in a future state or immortality."

For many centuries succeeding the Middle Ages, especially from the eleventh to the fifteenth, the metaphysical teachings of Aristotle held a tyrannic sway over the public mind; but they have been gradually yielding to the more lofty and sublime teachings of Plato. His investigations in natural science, however, and his work as a logician and political philosopher, constitute his greatness, and create the enormous influence that he has wielded in the world. "Science owes to him its earliest impulse," says MR. LAWRENCE. "He perfected and brought into form," says DR. WILLIAM SMITH, "those elements of the dialectic art which had been struck out by Socrates and Plato, and wrought them by his additions into so complete a system that he may be regarded as at once the founder and perfecter of logic as an art." Says MAHAFFY, "He has built his politics upon so sound a philosophic basis, and upon the evidence of so large and varied a political experience, that his lessons on the rise and fall of governments will never grow old, and will be perpetually receiving fresh corroborations, so long as human nature remains the same." Aristotle was a friend of the Macedonians, and, on the death of Alexander, he fled, from Athens to Chal'cis, in Euboea, to escape a trial for impiety. There he died in 322 B.C. In the lives of the three great philosophers of Greece--Socrates, Plato, and Aristotle--is embraced what is commonly called "The Philosophical Era of Athens." To this era MILTON has beautifully alluded in his well-known description of the famous city; and for the Academe, or Academia, the beautiful garden that was the resort of the philosophers, EDWIN ARNOLD expresses these sentiments of veneration:

EPICU'RUS AND ZE'NO.

What is known as the Epicure'an school of philosophy was founded by Epicurus, a native of Samos, born in 342, who went to Athens in early youth, and, at the age of thirty, established himself as a philosophical teacher. He met with great success. He did not believe in the soul's immortality, and taught the pursuit of mental pleasure and happiness as the highest good. While his learning was not great, he was a man of unsullied morality, respected and loved by his followers to a wonderful degree. Although he wrote books in advocacy of piety, and the reverence due to the gods on account of the excellence of their nature, he maintained that they had no concern in human affairs. Hence the Roman poet LUCRETIUS, who lived when the old belief in the gods and goddesses of the heathen world had nearly faded away, attributes to the teachings of Epicurus the triumph of philosophy over superstition.

The school of the Stoics was founded by Zeno, a native of Cyprus, who went to Athens about 299 B.C., and opened a school in the Poi'ki-le Sto'a, or painted porch, whence the name of his sect arose. As is well known, the chief tenets of the Stoics were temperance and self-denial, which Zeno himself practiced by living on uncooked food, wearing very thin garments in winter, and refusing the comforts of life generally. To the Stoics pleasure was irrational, and pain a visitation to be borne with ease. Both Stoicism and Epicureanism flourished among the Romans. The teachings of Epictetus, the Roman Stoic philosopher, are summed up in the formula, "Bear and forbear;" and he is said to have observed that "Man is but a pilot; observe the star, hold the rudder, and be not distracted on thy way." Both these schools of philosophy, however, passed into skepticism. Epicureanism became a material fatalism and a search for pleasure; while Stoicism ended in spiritual fatalism. But when the Gospel awakened the human heart to life, it was the Greek mind which gave mankind a Christian theology.

IV. HISTORY

XENOPHON.

The most distinguished Greek historian of this period was Xenophon, of whom we have already seen something as the leader of the famous "Retreat of the Ten Thousand," and as the author of a delightful and instructive account of that achievement. He was born in Athens about 443 B.C., and at an early age became the pupil of Socrates, to whose principles he strictly adhered through life, in practice as well as in theory. Seemingly on account of his philosophical views he was banished by the Athenians, before his return from the expedition into Asia; but the Spartans, with whom he fought against Athens at Coronea, gave him an estate at Scil'lus, in Elis, and here he lived, engaging in literary pursuits, that were diversified by domestic enjoyments and active field-sports. He died either at Scillus or at Corinth--to which latter place some authorities think he removed in the later years of his life--in the ninetieth year of his age.

Among the works of Xenophon is the Anab'asis, considered his best, descriptive of the advance into Persia and the masterly retreat; the Hellen'ica, a history of Greece, in seven books, from the time of Thucydides to the battle of Mantine'a, in 362 B.C.; the Cyropoedi'a, a political romance, based on the history of Cyrus the Great; a treatise on the horse, and the duties of a cavalry commander; a treatise on hunting; a picture of an Athenian banquet, and of the amusement and conversation with which it was diversified; and, the most pleasing of all, the Memorabil'ia, devoted to the defence of the life and principles of Socrates. Concerning the remarkable miscellany of Xenophon, MR. MITCHELL says: "The writer who has thrown equal interest into an account of a retreating army and the description of a scene of coursing; who has described with the same fidelity a common groom and a perfect pattern of conjugal faithfulness--such a man had seen life under aspects which taught him to know that there were things of infinitely more importance than the turn of a phrase, the music of a cadence, and the other niceties which are wanted by a luxurious and opulent metropolis. The virtuous feelings that were necessary in a mind constituted as his was, took into their comprehensive bosom the welfare of the world."

Although the genius of Xenophon was not of the highest order, his writings have afforded, to all succeeding ages, one of the best models of purity, simplicity, and harmony of language: By some of his contemporaries he has been styled "The Attic Muse;" by others, "The Athenian Bee;" while his manners and personal appearance have been described by Diog'enes Laer'tius, in his Lives of the Philosophers, in the following brief but comprehensive sentence: "Modest in deportment, and beautiful in person to a remarkable degree."

POLYB'IUS.

Of the prominent Greek historians, Polybius was the last. Born about 204 B.C., he lived and wrote in the closing period of Grecian history. Having been carried a prisoner to Rome with the one thousand prominent citizens of Achaia, his accomplishments secured for him the friendship of Scip'io Africa'nus Mi'nor, and of his father, Æmil'ius Pau'lus, at whose house he resided. He spent his time in collecting materials for his works, and in giving instruction to Scipio. In the year 150 B.C. he returned to his native country with the surviving exiles, and actively exerted himself to induce the Greeks to keep peace with the Romans, but, as we know, without success. After the Roman conquest the Greeks seem to have awakened to the wisdom of his advice, for on a statue erected to his memory was the inscription, "Hellas would have been saved had the advice of Polybius been followed." Polybius wrote a history in forty books, embracing the time between the commencement of the Second Punic War, in 218 B.C., and the destruction of Carthage and Corinth by the Romans, in 146 B.C. It is the most trustworthy history we possess of this period, and has been closely copied by subsequent writers. A correct estimate of its character and worth will be found in the following summary:

"The greater part of the valuable and laborious work of Polybius has perished. We have only the first five books entire, and fragments and extracts of the rest. As it is, however, it is one of the most valuable historical works that has come down to us. His style, indeed, will not bear a comparison with the great masters of Greek literature: he is not eloquent, like Thucydides; nor practical, like Herodotus; nor perspicuous and elegant, like Xenophon. He lived at a time when the Greek language had lost much of its purity by an intermixture of foreign elements, and he did not attempt to imitate the language of the Attic writers. He wrote as he spoke: he gives us the first rough draft of his thoughts, and seldom imposes on himself the trouble to arrange or methodize them; hence, they are often meager and desultory, and not infrequently deviate entirely from the subject.

"But in the highest quality of an historian--the love of truth--Polybius has no superior. This always predominates in his writings. He has judgment to trace effects to their causes, a full knowledge of his subjects, and an impartiality that forbids him to conceal it to favor any party or cause. In his geographical descriptions he is not always clear, but his descriptions of battles have never been surpassed. 'His writings have been admired by the warrior, copied by the politician, and imitated by the historian. Brutus had him ever in his hands, Tully transcribed him, and many of the finest passages of Livy are the property of the Greek historian.'"

ART.

I. ARCHITECTURE AND SCULPTURE.

After the close of the Peloponnesian war the perfection and application of the several orders of Grecian architecture were displayed in the laying out of cities on a grander scale, and by an increase of splendor in private residences, rather than by any marked change in the style of public buildings and temples. Alexandria in Egypt, and Antioch in Syria, were the finest examples of Grecian genius in this direction, both in the regularity and size of their public and private buildings, and in their external and internal adornment. This period was also distinguished for its splendid sepulchral and other monuments. Of these, probably the most exquisite gem of architectural taste is the circular building at Athens, the Cho-rag'ic Monument, or "Lantern of Demosthenes," erected in honor of a victory gained by the chorus of Lysic'rates in 334 B.C. "It is the purest specimen of the Corinthian order," says a writer on architecture, "that has reached our time, whose minuteness and unobtrusive beauty have preserved it almost entire among the ruins of the mightiest piles of Athenian art." Other celebrated monuments of this period were the one erected at Halicarnas'sus by the Ca'rian queen Artemi'sia to the memory of her husband Mauso'lus, adorned with sculptural decorations by Sco'pas and others, and considered one of the seven wonders of the world; and the octagonal edifice, the Horolo'gium of Androni'cus Cyrrhes'tes, at Athens.

In sculpture, Athens still asserted its pre-eminence, but the style and character of its later school were materially different from those of the preceding one of Phid'ias. "Toward the close of the Peloponnesian war," says a recent writer, "a change took place in the habits and feelings of the Athenian people, under the influence of which a new school of statuary was developed. The people, spoiled by luxury, and craving the pleasures and excitements which the prosperity of the age of Pericles had opened to them, regarded the severe forms of the older masters with even less patience than the austere virtues of the generation which had driven the Persians out of Greece. The sculptors, giving a reflex of the times in their productions, instead of the grand and sublime cultivated the soft, the graceful, and the flowing, and aimed at an expression of stronger passion and more dramatic action. Jupiter, Juno, and Minerva, the favorite subjects of the Phidian era, gave place to such deities as Venus, Bacchus, and Amor; and with the departure of the older gods departed also the serene and composed majesty which had marked the representations of them." [Footnote: C. S. Weyman.]

The first great artist of this school was Scopas, born at Paros, and who flourished in the first half of the fourth century B.C. Although famous in architectural sculpture, he excelled in single figures and groups, "combining strength of expression with grace." The celebrated group of Ni'o-be and her children slain by Ar'temis and Apollo, a copy of which is preserved in the museum of Florence, and the statue of the victorious Venus in the Louvre at Paris, are attributed to Scopas. The most esteemed of his works, according to Pliny, was a group representing Achilles conducted to the Island of Leu'ce by sea deities. The only other artist of this school that we will refer to is Praxit'eles, a contemporary of Scopas. He excelled in representing the female figure, his masterpiece being the Cnid'ian Aphrodi'te, a naked statue, in Parian marble, modeled from life, representing Venus just leaving the bath. This statue was afterward taken to Constantinople, where it was burned during the reign of Justinian.

This Athenian school of sculpture was followed, in the time of Alexander the Great, by what was called the Si-Çy-o'ni-an school, of which Euphra'nor, of Corinth, and Lysip'pus, of Si'Çy-on, were the leading representatives. The former was a painter as well as sculptor. His statues were executed in bronze and marble, and were admired for their dignity. Lysippus worked only in bronze, and was the only sculptor that Alexander the Great permitted to represent him in statues. His works were very numerous, including the colossal statue of Jupiter at Tarentum, sixty feet high, several of Hercules, and many others. The succeeding and later Greek sculptors made no attempt to open a new path of design, but they steadily maintained the reputation of the art. Many works of great excellence were produced in Rhodes, Alexandria, Ephesus, and elsewhere in the East. Among these was the famous Colossus, a statue of the sun, designed and executed by Cha'res of Rhodes, that reared its huge form one hundred and five feet in height at the entrance to Rhodes harbor; the Farnese Bull, at Naples, found in the Baths of Caracalla at Rome, also the work of a Rhodian artist; and the Apollo Belvedere, in the Vatican.

Two works of this late age deserve special mention. One is the statue of the Dying Gladiator, in the Capitoline Museum at Rome, supposed to have come from Pergamus. Says LÜBKE, "It undoubtedly represents a Gaul who, in battle, seeing the foe approach in overwhelming force, has fallen upon his own sword to escape a shameful slavery. Overcome by the faintness of approaching death, he has fallen upon his shield; his right arm with difficulty prevents his sinking to the ground; his life ebbs rapidly away with the blood streaming from the deep wound beneath his breast; his broad head droops heavily forward; the mists of death already cloud his eyes; his brows are knit with pain; and his lips are parted in a last sigh. There is, perhaps, no other statue in which the bitter necessity of death is expressed with such terrible truth--all the more terrible because the hardy body is so full of strength."

The other statue is that masterpiece of art, the group of the La-oc'o-on, now in the Vatican at Rome, the work of the three Rhodian sculptors, Agesan'dros, Polydo'rus, and Athenodo'rus. It represents a scene, in connection with the fall of Troy, that Virgil describes in the Second Book of the Æneid. A Trojan priest, named Laocoon, endeavored to propitiate Neptune by sacrifice, and to dissuade the Trojans from admitting within the walls the fatal wooden horse, whereupon the goddess Minerva, ever favorable to the Greeks, punished him by sending two enormous serpents from the sea to destroy him and his two sons. The poet THOMSON well describes the agony and despair that the statue portrays:

An American writer thus apostrophizes this grand representation:

II. PAINTING.

In painting, the Asiatic school of Zeuxis and Parrhasius was also followed by a "Si-Çy-o'ni-an school"--the third and last phase of Greek painting, founded by Eupom'pus, of Si'Çy-on. The characteristics of this school were great ease, accuracy, and refinement. Among its chief masters were Pam'philus, Apel'les, Protog'enes, Ni'cias, and Aristides. Of these the most famous was Apelles, a native of Col'ophon, in Ionia, who flourished in the time of Alexander the Great, with whom he was a great favorite. Of his many fine productions the finest was his painting of Venus rising from the Sea, and concerning which ANTIPATER, the poet of Sidon, wrote the following epigram:

APELLES AND PROTOGENES.

A very pleasing story is told, by Pliny, of Apelles and his brother-artist, Protogenes, which DR. ANTHON relates as follows:

"Apelles, having come to Rhodes, where Protogenes was then residing, paid a visit to the artist, but, not finding him at home, obtained permission from a domestic in waiting to enter his studio. Finding here a piece of canvas ready on the frame for the artist's pencil, Apelles drew upon it a line (according to some, a figure in outline) with wonderful precision, and then retired without disclosing his name. Protogenes, on returning home, and discovering what had been done, exclaimed that Apelles alone could have executed such a sketch. However, he drew another himself--a line more nearly perfect than that of Apelles--and left directions with his domestic that, when the stranger should call again, he should be shown what had been done by him. Apelles came, accordingly, and, perceiving that his line had been excelled by Protogenes, drew a third one, much better than the other two, and cutting both. Protogenes now confessed himself vanquished; he ran to the harbor, sought for Apelles, and the two artists became the warmest friends. The canvas containing this famous trial of skill became highly prized, and at a later day was placed in the palace of the CÆsars at Rome. Here it was burned in a conflagration that destroyed the palace itself."

Protogenes was noted for his minute and scrupulous care in the preparation of his works. He carried this peculiarity to such excess that Apelles was moved to make the following comparison: "Protogenes equals or surpasses me in all things but one--the knowing when to remove his hand from a painting." Protogenes survived Apelles, and became a very eminent painter. It is stated that when Demetrius besieged Rhodes, and could have reduced it by setting fire to a quarter of the city that contained one of the finest productions of Protogenes, he refused to do so lest he should destroy the masterpiece of art. It is to this incident that the poet THOMSON undoubtedly refers when he says,

From the time of Alexander the art of painting rapidly deteriorated, and at the period of the Roman conquest it had scarcely an existence. Grecian art, like Grecian liberty, had lost its spirit and vitality, and the spoliation of public buildings and galleries, to adorn the porticos and temples of Rome, hastened its extinction. We have now reached the close of the history of ancient Greece. But Hellas still lives in her thousand hallowed associations of historic interest, and in the numerous ruins of ancient art and splendor which cover her soil--recalling a glorious Past, upon which we love to dwell as upon the memory of departed friends or the scenes of a happy childhood--"sweet, but mournful to the soul." And although the ashes of her generals, her poets, her scholars, and her artists are scattered from their urns, and her statuary and her temples are mutilated and discolored ruins, ancient Greece lives also in the song, the art, and the research of modern times. In contemplating the influence of her genius, the mind is naturally fixed upon the chief repository of her taste and talent--Athens, "the eye of Greece"--from which have sprung "all the strength, the wisdom, the freedom, and the glory of the western world."

Of the splendid literature of Athens LORD MACAULAY says, "It is a subject in which I love to forget the accuracy of a judge in the veneration of a worshipper and the gratitude of a child." To Hellenic thought, as embodied and exemplified in the great works of Athenian genius, he rightly ascribes the establishment of an intellectual empire that is imperishable; and from one of his valuable historical "Essays" we quote the following graphic delineation of what may be termed

The Immortal Influence of Athens.

"If we consider merely the subtlety of disquisition, the force of imagination, the perfect energy and elegance of expression, which characterize the great works of Athenian genius, we must pronounce them intrinsically most valuable; but what shall we say when we reflect that from hence have sprung, directly or indirectly, all the noblest creations of the human intellect? That from hence were the vast accomplishments and the brilliant fancy of Cicero, the withering fire of Juvenal, the plastic imagination of Dante, the humor of Cervantes, the comprehension of Bacon, the wit of Butler, the supreme and universal excellence of Shakspeare? All the triumphs of truth and genius over prejudice and power, in every country and in every age, have been the triumphs of Athens. Whatever a few great minds have made a stand against violence and fraud, in the cause of liberty and reason, there has been her spirit in the midst of them, inspiring, encouraging, consoling--the lonely lamp of Erasmus; by the restless bed of Pascal; in the tribune of Mirabeau; in the cell of Galileo, and on the scaffold of Sidney. But who shall estimate her influence on private happiness? Who shall say how many thousands have been made wiser, happier, and better, by those pursuits in which she has taught mankind to engage? to how many the studies which took their rise from her have been wealth in poverty, liberty in bondage, health in sickness, society in solitude? Her power is indeed manifested at the bar, in the senate, on the field of battle, in the schools of philosophy. But these are not her glory. Wherever literature consoles sorrow or assuages pain--wherever it brings gladness to eyes which fail with wakefulness and tears, and ache for the dark house and the long sleep--there is exhibited, in its noblest form, the immortal influence of Athens.

"The dervis, in the Arabian tale, did not hesitate to abandon to his comrade the camels with their load of jewels and gold, while he retained the casket of that mysterious juice which enabled him to behold at one glance all the hidden riches of the universe. Surely it is no exaggeration to say that no external advantage is to be compared with that purification of the intellectual eye which gives us to contemplate the infinite wealth of the mental world; all the hoarded treasures of the primeval dynasties, and all the shapeless ore of its yet unexplored mines. This is the gift of Athens to man. Her freedom and her power have been annihilated for more than twenty centuries; her people have degenerated into timid slaves; [Footnote: But this is not the character of the Athenians of the present day.] her language into a barbarous jargon; her temples have been given up to the successive depredations of Romans, Turks, and Scotchmen; but her intellectual empire is imperishable. And, when those who have rivaled her greatness shall have shared her fate; when civilization and knowledge shall have fixed their abode in distant continents; when the sceptre shall have passed away from England; when, perhaps, travelers from distant regions shall in vain labor to decipher on some mouldering pedestal the name of our proudest chief--shall hear savage hymns chanted to some misshapen idol over the ruined dome of our proudest temple, and shall see a single naked fisherman wash his nets in the river of the ten thousand masts--the influence and glory of Athens will still survive, fresh in eternal youth, exempt from mutability and decay, immortal as the intellectual principle from which they derived their origin, and over which they exercise their control."