134 THE AGE OF PERICLES. 



The most distinguished sculptors who adorned this age were Phi- 

 dias, Polycletiis, Scopas, Acamenes and Myron, and their cotempoiary 

 painters equally distinguished were Pansenus, Zeuxis and Parrhasius. 

 Specimens of the genius and skill of the latter have not come down to 

 modern 'times. Their paintings were generally made on wood and other 

 perishable materials. But we can learn from cotemporary writers that 

 ihey attained the perfection of the art, conveying in the posture and 

 face, and in general in the expression of the whole figure, not only pain 

 and sorrow and the fierce and turbulent passions of the soul, but what 

 may be said to be the triumph of the art, representing and recommend- 

 ing tlie social affections. Xenophon tells us, that in the days of Socra- 

 tes, they represented by the outward air, attitude and features, whatever 

 is most engaging, affectionate, sweet and amiable of the inward senti- 

 ments and character. So that as early as Socrates the art of painting 

 %vas carried to a considerable degree of perfection. 



In statuary the merit of Phidias was acknowledged by all. He was 

 employed by Pericles to superintend all the embellishments of the city, 

 so that his own hands added to them their last and most valuable orna- 

 ments. The most wonderful production of this artist is tlie statue of 

 Jupiter Olympus, in Elis. " It was sixty feet high, sitting on a throne, 

 and touching the roof with its head. This vast colossus was composed of 

 gold taken in the sack of Pisa and of ivory, then almost as precious as 

 gold, which was brought from the East by Athenian merchantmen. The 

 god had an enameled crown of olive on his head, an image of victory 

 in his right liand, and a burnished sceptre in his left. His robes and 

 sandals were variegated with golden flowers and animals. The throne 

 was made of ivory and ebony inlaid with precious stones. The feet, 

 ■which supported it, as well as the fillets which joined them, were adorn- 

 ed with innumerable figures. Among which you perceived the Theban 

 children torn by Sphynxes, together with Apollo and Diana shooting 

 the beautiful and once flourishing family of Niobe. Besides these, there 

 were statues representing the various gymnastic exercises and paintings, 

 on the pillars supporting the throne, by PanaBuus the brother of Phidias, 

 representing the Hesperides guarding the golden apples, Atlas painfully 

 sustaining the heavens with Hercules ready to assist him, Salamine with 

 naval ornaments in her hands, Achilles supporting the beautiful, expiring 

 Penthcsilea." 



The services of Phidias, and under him the most distinguished artists 

 of Greece, were employed during the period ol' fifteen years in the em- 

 bellishing of his native city. During this short period he completed 

 the Odeum or theatre for music, the Parthenon or temple of Minerva, 



