278 PROF. T. MCKENNY HUGHES, F.IJ.S., c^' 



Ill's own liair there it Avould have been dark, Tlie liair Avas 

 as distinctive of her brotlier and of iier as tlic high instep 

 which they remarked in the footprint. 



If now we tin-n to the arcliaic statues of Athens we find 

 tlieso historical descriptions confirmed li}' contemporary 

 portraits. From tlio cnstoin of tinting tlie statuary and some- 

 times introducing gems or otiier material to represent the 

 '.^yes we can recall not only their physiognomy but even the 

 colour of their hair, eyes, and complexion. 



We see a type common to all running through them. 

 They were bright, intelligent people, with a pretty, piqnante 

 expression ; a delicate face, oval or tapering sliglitly to the 

 chin ; a broad intellectual forehead, not smoothly rounded, 

 but gently and symmetrically undulating; a straight or 

 slightly curved mouth, breaking into a smile in which the 

 downward curvature of the middle of the lips was increased 

 and th(; dimples played on the upturned points of the bow. 

 'i'he traces of colour recall blue or grey eyes set well apart 

 and lof)kiiig you straight in the face; golden or auburn or 

 reddish-brown hair Avorn low on the forehead or neatly 

 braided back. 



These characters run more or less through all the statuary 

 of what is called the archaic age of Greek art. The figures 

 have the stiff posture which exaggerates the heigJit and 

 squareness of the shoulders, and taper from them to the 

 feet, wliilo the arms generally hang straight down by the 

 sides. This is the conventional Egyptian treatment ; but in 

 most of them the features show no relation to the Egyptian 

 race. In some early Greek sculpture we observe in the 

 firm mouth and prominent, though, as seen in section, pointed 

 rather than full lower lip, features Avith Avliich we are familiar 

 on the monuments of Assyria or Egypt: Ijut in the series of 

 archaic statues exhibited in the museum on the Acropolis 

 of Athens, for instance, which we may take as a. good 

 example of the type of which we are speaking, Ave do not 

 see Egyptian features. 



The later sculpture of Greece has based its ideal of 

 beauty on a more hixurions type ; a more strictly oval face ; 

 a smooth forehead and a generally A'ohqituous month, in 

 Avhich, hoAvever, there is often more soul than passion. As 

 far as can be inferred these Avere dark i)eople. The archaic 

 statues Avere alive, and the higher art of later times put this 

 life in motion ; bnt. eA'en Avhere tliis Avas not the object, the 

 ncAv race look as if they Avere used to, and needed, easier 



