SCULPTURE. 
Phidias, and the Venus at Gnidos by Praxiteles, with others 
of the most distinguished works of Pagan sculpture, were 
destroyed, either by imperial orders or the ravages of bar¬ 
barians. The Iconoclastes very nearly destroyed all the 
remains of the finest Greek sculpture in the East as well 
as in western Europe. This destructive fury against the 
arts and artists, continued with some interruptions for two 
hundred years; still, however, the Christian Greek composi¬ 
tions from the Old and New Testament, from the time of 
Constantine down to the thirteenth century, were followed 
as examples of character and composition by the revivers 
of art in western Europe, down to the times of Michael 
Angelo and Raphael. 
At the sackingof Constantinople by the Venetians, Coniatus 
tells us *• the fine statue of Juno in brass, which stood in the 
forum of Constantine, was chopped to pieces and thrown into 
the forge. The head of this statue was so large, that four yoke 
of oxen could scarcely drag it. On the base of it was 
cut, in basso-relievo, the figure of Paris presenting Venus 
with the apple of discord. The noble quadrilateral pillar, 
supported by several ranges of pillars, and which by its 
height overlooked the whole city, and was both the wonder 
and delight of the curious spectator, shared the same fate. 
This lofty column was adorned with rural representations 
of all kinds of birds, folds of cattle, and of sheep bleating, 
and lambs frisking and playing, &c. There was also 
engraved upon it a view of the sea and sea-gods, some of 
whom were catching fish with their hands, others ordering 
their nets, then diving to the bottom, while some in a 
wanton manner were throwing balls at one another. This 
pillar supported a pyramid on the top of it, on which was 
placed the statue of a woman, which turned about with the 
wind, and was therefore called Anemode. This excellent 
piece was also melted down for coinage, as was also an 
equestrian statue, fixed upon a quadrilateral pedestal in the 
Tauris. This was a bold figure, of an heroic countenance, and 
surprising stature. He was said by some to be one of the spies 
who were sent by Joshua, the son of Nun. With one hand he 
pointed eastward, with the other to the west.” But this 
statue was generally reported to be Bellerophon sitting upon 
Pegasus; for the horse was without a bridle, as Pegasus is 
mostly figured, scouring the plain, despising a rider, flying 
and driving about in a headstrong manner. This horse and 
his rider were also melted down ; the barbarous soldiers ex¬ 
pressing their utmost fury against the finest statues and most 
curious pieces of workmanship in the Hippocum. Coniatus 
further says, “ the great statue of the Hesperian Hercules,which 
was fixed upon a magnificent pedestal, and clothed in a lion’s 
skin, which seemed to live and affright the spectators with his 
tremendous voice, felt the effects of military power. He 
was not armed with his quiver, his bow or his club; but 
stretching out his right leg and arm, he kneeled upon his 
left knee, and leaning upon his left elbow with his hand 
open, supported his head in a thoughtful manner, seeming 
to lament his misfortunes. This figure was broad-chested, 
the shoulders were large, the hair long, curled, and reach¬ 
ing to the waist; the arms were brawny, and as long as those 
made by Lysimachus, which was the original of this, and 
was the first and last masterpiece of his skill. In short, of 
such a stupendous size was this statue, that his wrist was as 
thick as a man’s body, and his leg equal in height to any 
ordinary person. This noble statue did not escape the 
rage of these mighty pretenders to virtue and honour. 
Besides this they also carried away the image of the ass and 
his driver, which figures were set up originally by Augustus 
Caesar at Actium, of whom the story reports, that when he 
went out privately in the night time, to take a view of An¬ 
tony’s camp, he met a man driving an ass, and asking him 
who he was and where he was going ? The man answered, 
“ my name is Nicon and my ass’s name Nicander, and I am 
going to Caesar’s army” The statues of the hyaena, and of 
the wolf which suckled Romulus and Remus, underwent 
the same fate, and were coined into little brazen staters.” The 
several statues also—of a man fighting with a lion; of the 
horse Neilous covered with scales behind; of an elephant 
875 
with a moving proboscis; the statue of a wild horse, prick¬ 
ing up his ears, curvetting and prancing; and old Scylla, 
were served in the same manner. The last was figured like 
a woman to the waist, with a grim frightful look, just as 
she appeared when she sent her dogs to destroy Ulysses.- 
“ There was also placed in the Hippocum a brazen eagle, 
which was the invention of Apollonius Tyaneus. It was 
a pleasant sight enough, and deserved to be more narrowly 
inspected, for it made an agreeable harmony, and less dan¬ 
gerous than the Syrens. Its wings were stretched out as 
ready for flight, and it was trampling upon a serpent, which 
wreathed itself about the eagle. The serpent seemed to 
make the utmost effort to bite the eagle; the eagle looked 
brisk and lively, and seemed to have obtained the victory, 
and to be ready to bear him through the air in triumph. 
There was also a fine statue of Helen, whose charms laid 
Troy in ruins; her fine proportions, in breathing brass, 
captivated all beholders; her habit sat loose upon her person, 
which discovered too great an inclination to gallantry; her 
long and delicate hair seemed to wave in the wind ; it was 
braided with gold and jewels; her robe was girt about her 
and falling down to the knee; her lips seemed like opening 
roses, you would fancy they moved ; and such an agreeable 
smile brightened her countenance, as entertained the specta¬ 
tor’s eye with pleasure. There was also placed upon a 
pillar a more modern statue of a woman. Her hair hung 
down behind, combed close down from the forehead back¬ 
wards, not braided up but bending, as if to the hand of the 
spectator. Upon the right hand of this statue stood the 
equestrian statue of a man; the horse stood upon one leg, 
the other bore a cup with liquor. The rider was of a large 
size; his body completely armed; his legs and feet covered 
with greaves; his air was manly, rough and warlike. His 
horse was mettlesome and high couraged, pricking up his 
ears as if he heard the trumpet; his neck was high, his look 
fierce, as eager for the battle, rearing up his fore-feet and 
prancing as a war horse. Near this statue, hard by the 
eastern goal called Rusius, were a range of statues of cha¬ 
rioteers, dexterous in driving the chariot and turning the 
goal. They were very busy in managing their bridles 
and smacking their whips, and directing their horses, 
with their eyes fixed steadily upon the goal. There seemed 
to be described in these figures all the tumult and fury of a 
chariot race, with the most vigorous struggle for victory. 
Italian Sculpture .—In 1016, the Pisans founded their 
great church, called the Dome of Pisa. The commerce they 
had by sea, and particularly into Greece, was a favourable 
means for the re-establishment of architecture and sculpture. 
They brought from thence several columns and fragments 
of ancient architecture, of marble, which they made use 
of in this church. 
They brought together also several Grecian sculptors 
into Italy, and Grecian painters, who worked after their 
own old methods, i. e. using in their painting only simple 
lines, which they coloured all over equally, without any 
shadowing, so that their works were not very artificial: not¬ 
withstanding these remainders of art taught the Italians 
the practice of painting in water colours, or fresco and 
mosaic. 
But above all the artists of that time was Buschetto, a 
Grecian of Dulichium. The cathedral of Pisa was built 
under his direction; .for besides tire magnificence and fine 
plan exhibited in this church, he used with great dexterity 
those ancient pieces of Grecian architecture, to compound 
together with his ; these were fragments brought from 
Greece. 
This great building excited in all Italy, and particularly in 
Tuscany, those who had any genius for designing. At 
Ravenna, in the year 1152,11 Buono, a sculptor and archi¬ 
tect, built a great many palaces and churches. 
In the year 1063, the spoils which the Pisans brought from , 
Sicily enabled them to add to the magnificence of their cathe¬ 
dral. The capitals and fragments of pillars they had brought 
from Greece and Sicily, were employed in the cathedral 
church and in the Bell Tower; in which latter building 
every 
