84 XENOPHON ON HORSEMANSHIP. 



Greek art as he is in nature. Even on the 

 Parthenon frieze, where there are finer horses 

 than in any other works of Greek art, some 

 animals have faults which are apparent to the 

 veriest tiro. In fact, if we should judge 

 altogether by what has survived to us, it 

 must be admitted that in representing the 

 horse in all the different forms of art the 

 ancients have been surpassed by modern 

 artists. By Phidias we have only the heads 

 that were in the pediments ; for the figures 

 on the frieze, although designed by him, 

 were certainly not carved by his own hand. 

 But Phidias stood alone, and far above con- 

 temporaries and successors. Still, in spite of 

 the fact that many ancient representations of 

 the horse have no claim to beauty or to cor- 

 rectness in composition, there are others 

 which will better bear criticism, some de- 

 serve high praise, and we read of artists 

 who won great fame in antiquity for the 

 realism with which they depicted the animal. 

 Apelles, to whom Philip and Alexander often 

 sat for their likenesses, is said to have painted 

 a horse ^3 with such truth to nature that a 

 live horse neighed at the picture ! Pauson 



