158 POPULAR SCIENCE MONTHLY 



the main approach and determine for himself how far it departs from 

 a horizontal line. Our eyes will soon come to demand such curved lines. 

 Straight lines will soon seem hollow to us as they did to the Greeks. 

 But, note the difference. We have come to our comprehension of such 

 forms by literary, by archeological, by mensurational, steps, while it 

 was a matter of feeling to the Greeks, or to their predecessors. Certain 

 insights and sympathies of theirs have been atrophied in our ancestors. 

 Can we say, then, that the appreciation of beauty is as keen with us as 

 it once was to other peoples less c progressive,' less ' advanced ' ? 



Instantaneous photography has familiarized us with the various 

 motions of the horse. The horses on the frieze of the Parthenon and 

 in the paintings of the Eenaissance are depicted in attitudes which are 

 impossible. Because the horses of Mr. Frederick Eemington's pictures 

 are recognized by us to be true to life, does this show a greater sense of 

 the beautiful? We have gained our new knowledge by photographic 

 and scientific methods, but can we say that our aesthetic sense in this 

 regard has become more refined ? Is our analysis more subtle than the 

 Greek synthesis? 



We are all so used to the admission of the high sense of beauty 

 of the Greeks that we consciously form our standards by what we sup- 

 pose to have been theirs. We praise the classic purity of the Parthenon, 

 not only the purity of its lines, but of its unbroken color — the native 

 color of its marble. But in doing this we forget that the Greeks 

 covered almost the entire surface of this pure marble with thick coats 

 of color — parts with vivid blues and reds. A model of the Parthenon 

 painted in its ancient colors seems crude to modern eyes. But are we 

 to conclude that our sense of beauty of color is more keen and refined 

 than that of the Greeks, our acknowledged masters? Is it true that 

 the rains of centuries were needed to wash off colors carefully laid on 

 by the builders so that it is only now, and to us, that the Parthenon 

 finally emerges the one perfect building of the world? 



As with Greek buildings so Avith Greek statuary. We are used to 

 praise the classic purity of their white marble gods and goddesses, for- 

 getting that the most famous statues were made of gold and ivory, 

 enameled with images of animals and flowers, with metal bracelets 

 and ornaments fixed to marble, or again painted in parts like the 

 Hermes of Praxiteles or the Athene at Elis. The ears of the grave, 

 serene and august Venus of Melos are pierced for metal ear-rings. 

 To us she seems all-sufficing and stands alone. It is more than likely 

 that the original statue formed a part of a group — Venus placating the 

 wrath of Mars. Do we, in fact, at all comprehend what the Greeks 

 meant to depict by their images of divinities ? Would a Greek, return- 

 ing to earth, in the least understand the interpretations of the. gesthe- 

 ticians? Have we then progressed beyond the comprehension of the 

 men who made these marvels ? Is it permissible to take refuge in that 



