42 THE FINE ARTS. 
Besides the heroes, there appear also in Asia effeminate figures of mytho- 
logical importance : é. g. the boy-favorites of Zeus (Ganymede) and of Heracles 
(Hylas) ; and also the Amazons, who have the character of Asiatics both in 
costume and accoutrements, and are distinguished by a certain softness of 
form ; although the statues, as ¢. g. the Capitoline Amazon (pl. 3, fig. 7), and 
the reliefs mostly adhere to the simple, light drapery,and the strongly round- 
ed forms of the limbs, which were given to them in the period of Polycletes. 
B. Subjects from Human Life. 
1. Or an Invivipvat Kinp. a. Historical Representations. Tn the 
domain of ancient art historical representations are much less frequent as 
pictures of individual events than as a conception of the subject in its 
general features. In Greece, moreover, painting was oftener than sculpture 
directed to the celebration of historical occurrences, victorious battles, or 
the lives of sages and poets. Yet there are a great number of wonderful 
and surprising stories of great filial devotion, love, and the like, as that of 
the Catanzean brothers, of Hero and Leander, and some others, which have 
acquired the prerogatives of myths in the formative art almost as completely 
as in poetry. Among the Romans these historical representations were 
more frequent, the events being not merely mythically alluded to but 
plainly depicted on triumphal arches and columns. The apotheoses belong 
rather to the department of allegory than to that of historical representation. 
Ancient art manifests great skill in portraying and discriminating between 
the different races of mankind; and on the reliefs it is easy to distinguish 
the Dacians, Sarmatians, and Germans from the Romans. 
b. Portrait-Statues. Portrait-statues, medals, &c., originated in the desire 
to honor the victors in the sacred games; but as republican spirit decayed 
their number was multiplied by political ambition to an enormous extent. 
They were mostly of brass, rarely of marble, and often only busts or 
medallions. It was not till after the busts that portrait-statues came into 
vogue. At first portrait-images were formed of distinguished individuals 
of earlier times in the same manner as of heroes in accordance with their 
known character, their writings, &c., as e.g. the head of Homer (pil. 8, 
jig. 12). At the time when learning was cultivated, the portraits of 
authors, and particularly of philosophers, formed a special branch of art, 
as they formed the ornaments of museums and libraries. The artists dis- 
played astonishing talent in portraying the peculiar branch of study and 
the literary character of these personages. Of the philosophers we can 
identify with certainty the busts of Heraclitus and Anaxagoras, Pythagoras, 
Thales (jig. 15), Periander (jig. 13), Socrates, Plato, Carneades, Theon of 
Smyrna, Aristotle, Theophrastus (jig. 14), Antisthenes, Diogenes, Zeno, 
Chrysippus, Posidonius, Epicurus, Methrodorus, and Hermarchus. Of 
the poets we have Alczus, Sappho, Anacreon, Stesichorus, &c.; of 
orators, Isocrates, Lysias, Demosthenes, Aschines (jig. 16), Leodamas, and 
many others. Of physicians we possess Hippocrates, Asclepiades, and 
others. Many authentic busts too of Athenian statesmen have been pre 
served, of princes perhaps only Alexander. 
426 
