32 THE FINE ARTS. 
makes him a skilful smith, but misshapen, limping, ridiculous, and a cuck- 
old in his own house. The formative art represents him in the earlier times 
as a dwarf; afterwards as an active, laborious man, youthful (pl. 3, fig. 10, 
first figure), and robust; while the later schools gave him the appearance 
ofa mature and bearded man, with a slight indication of lameness, which 
however does not deform his powerful figure, but rather makes it more 
interesting. He is recognised by his smith’s implements and sometimes 
by asemi-oval Lemnian cap. 
h. Pallas Athene. A pure and exalted being closely related to the god 
of heaven, appears Pallas Athene, the Minerva of the Romans, under the 
form of an Athenian maiden, who in the world sometimes diffuses light and 
warmth and wholesome life, and at other times destroys hostile beings. 
She is the goddess of energetic industry, of clear intellect, and the pro- 
tectress of every profession and every person that undertakes and executes 
with discretion things of utility. Art, with which in the earlier times Pallas 
was an especial favorite, represented her in the ancient palladia with raised 
shield and brandished spear; although there were also statues in a tranquil and 
even in asitting posture, with distaff and spindle. In the more advanced state 
of early Greek art, Athene appears constantly in a posture ready for combat, 
more or less advancing, and wearing over the chiton a stiffly folded peplos 
(richly woven robe) and a large egis (coat of mail), which sometimes also lay 
over the left arm serving as ashield. The outlines of her body show but little 
feminine fulness in the hips and breast, and the legs, arms, and back are 
almost those of aman. The countenance has a peculiar cast, but the features 
are very harsh and ungraceful. Since the ideal of an Athene was perfected 
by Phidias (pl. 4, fig. 1) we discern in her a tranquil seriousness, self-conscious 
power, and clearness of intellect ; her virginity denotes simply her elevation 
above all feminine weakness ; she is too masculine to be capable of surrender- 
ing herself toman. ‘The clear forehead, the long and finely shaped nose, the 
somewhat stern cast of the mouth, the large and almost angular chin, the 
not fully opened and rather downcast eye, the hair pushed back from the 
forehead and carelessly flowing down the neck, all agree with the character 
_of this wonderful ideal creation, Later attempts to resolve this seriousness 
into grace, as in the Pallas of the Villa Albani (pl. 3, jig. 4), would only 
end in rendering her characterless. The modifications of the figures are 
closely connected with the dress. Pallas, in many statues of the perfected 
style, has a himation (toga) thrown about her, either so that falling over in 
front it covers merely the lower parts of the body and thus heightens the 
majestic impression of the figure, or so as to conceal both the left arm 
and a part of the sgis, and then the shield either rests on the ground or is 
wanting altogether ; sometimes in this case the serpent is seen. The first men- 
tioned style of drapery is displayed in the Pallas (p/. 5, jig. 6) found at Velletri 
in the year 1747, a grand statue 94 feet high, now in the Louvre. The 
himation covering the arm and the egis is found in the Pallas with the 
Serpent (pl. 3, fig. 5) which now stands in the new wing of the Vatican. 
Pallas the champion has an uplifted shield, no himation, and the whole 
figure exhibits a combative action and athletic form. Sometimes Athene 
416 
