face than is usually to be found in the work of that early period. Some important remains of the Mausoleum were discovered by Mr. Newton, in 1856-7, and are now in the British Museum; these include a great part of the frieze, portions of all parts of the structure, and the figures of Mausolus and Artemisia from the surmounting car which have been reconstructed from innumerable fragments and exemplify the change in the direction of realism which took place when Greek art passed over into Asia.

The grandeur of the temple of Artemis, at Ephesus, is known to us by description, and the recent excavations, which have excited such general interest, have confirmed the report. In size far exceeding other Greek temples, the richness of its sculptured columns, a few drums of which have been brought to England, must have given an effect of wonderful luxuriant beauty. Eratostratus burned it to immortalize his name, and the Greeks of Asia made it a point of honor to restore it in all its original splendor.

Ephesus was the home of the painter Parrhasius, and the adopted home of Zeuxis. To describe the paintings of these artists and of the rival Sikyonic school, as we have only the descriptions of ancient writers and such illustration as we can get from the remains of Roman wall-painting at Pompeii. The pictures of Parrhasius, unlike those of Polygnotus; were chiefly on panel, not on fresco. Of his Helen, we are told that the most beautiful maidens of Crotona stood as models to him. But his aim seems not to have been so lofty as that of Polygnotus; he sought beauty of detail and excellence of composition rather than grand representations of character. Aristotle says that his works were wanting in ethic significance. He made great technical advances in chiaroscuro and illusive effects, and we are told that the grapes he painted were pecked at by the birds. Zeuxis, notwithstanding his vanity which was as great as his skill, had to acknowledge a superior in Parrhasius, who also painted both historical and genre pictures. The latter showed great skill of facial expression, as in the picture of the Demos, in which he represented all the passions and characteristics of the populace; his drawing was more correct than that of Zeuxis, and he succeeded in giving the appearance of motion to his figures and in separating them from the background. Parrhasius was himself vanquished in a competition by Timanthes, who in later life took up his residence at Sikyon. With equal skill he showed a deeper motive and greater moderation, if we may judge by the description of his Sacrifice of Iphigenia, wherein the spectators show every variety of expression of grief; but the father's sor

row is too deep for representation, and he is shown hiding his face. Of the Sikyonic school were also Aristides, who excelled in the representation of pathetic scenes, tender as well as painful; Euphranor, who dealt with the same heroic subjects as Parrhasius, but with a stronger and more masculine touch; and Ætion, whose celcbrated picture of the marriage of Alexander and Roxana is possibly faintly represented by the Aldobrandini marriage at Rome. This picture is composed of a row of figures reminding us of a frieze. The groups are naturally divided into three. On a couch in the center is seated the bride veiled, with her head modestly bent down. A woman half draped and crowned with a garland is seated in attendance on her, a third holds the necessaries of the toilette. The bridegroom, also garlanded, with the upper part of his body bare, waits seated at the door of the nuptial chamber. On the left women are preparing the bath, and on the right three more are performing a sacrifice with music and song. The picture exhibits several individual motives with much beauty, soft and harmonious coloring, and is instinct with that placid and serious charm that belongs only to the antique. In actual painting, however, it does not rise above the ordinary technique of the Roman house decorator.

According to the unanimous judgment of his contemporaries, Greek painting must have reached its highest perfection in Apelles. The most celebrated of all his pictures was the Venus Anadyomene, wherein the goddess of love was represented as rising from the sea and wringing the water from her dripping hair. The goddess in this picture was not an ideal figure, but was a portrait of the celebrated beauty Phryne. It was therefore absolutely free from any devotional feeling. Allegorical figures and portraits were also produced by Apelles with equal success. His Alexander was said to be a creation rather than a mere portrait. Greek painting appears to have been executed in tempera.

Innumerable designs upon coins, vases, and stone, are preserved, and show how the whole life of the Greeks was instinct with the feeling of beauty.

In the third century we find that the love of splendor has gained the upper hand thruout Hellas, and still more at Alexandria. The great conqueror Alexander wished to raise in that city an eternal monument of his victories and of the union of Europe and Asia. A new art was called for to achieve this work. But the Greek spirit had fallen, alas! from its height, and subordinated the simple, noble beauty of earlier times to the Asiatic preference for the colossal and ornate, especially in architecture and sculpture.

Floating palaces now sailed on the sea. The Colossus of Rhodes, like a bronze sun-god, lighted the sailor's path in storm. and darkness. One hundred and twenty feet high it stood; its thumb was the size of a man. After fifty years an earthquake destroyed the giant. The oracle, in harmony with the genius of Greece, forbade its restoration.

A famous work of sculpture of the Rhodian school is the Laocoon group. We see the priest, who warned the infatuated Tro

jans against the wooden horse, at the moment of his dire punishment. The serpents have enveloped him and his two sons in their folds; Laocoon is striving to concentrate all the strength of his soul to endure his terrible suffering. With swelling muscles and nerves strained by torture, his resolute mind is shown in the swollen veins of his forehead, his chest distended by the obstructed breath and suppressed outburst of feeling, in order that he may endure and keep within himself the pain which tortures him. The work is a tour de force, a subject chosen on account of the almost insur

mountable difficulties it presented, and is too exclusively worked out with a view to pathetic effect. There is no suggestion of the cause of suffering, nothing that is to give it an ethic value; it falls short of tragedy.

The so-called Farnese Bull, at Naples, is another famous work of the same period; like the Laocoon, it shows a marvellous mastery over technical difficulties and great excellence of composition. The

moment chosen is when Zephos and Amphion, being on the point of executing the cruel command of Dirke to bind Antiope to the maddened bull, recognize the latter as their mother, and avenge her wrongs by inflicting on Dirke the punishment she had intended for her victim. The bull rears and struggles, and it requires all the strength of the brothers to hold it. Dirke has fallen almost beneath the feet of the animal, and is clasping the knees of one brother while the other is about to fling the noose around her neck. At the side stands Antiope, taking no part in the action. The effect is enhanced by the elaborate accessories showing the nature of the ground and other circumstances.

The beautiful figure known as the Dying Gladiator, which no doubt represents a barbarian herald, is probably a copy, if not an original figure, from the monument raised by Attilos of Pergamon to commemorate his victory over the Gauls in 229 B. C.

The wounded man lies on an oblong shield, on which is thrown a broken horn. About his neck is a cord with a knot beneath his chin. Exhausted with pain, and faint with loss of blood, he wearily supports his body, with one hand on the ground and the other on his knee, and with bowed head awaits his fate.

The still more profoundly pathetic group of a Gaul killing his wife to save her from captivity and dishonor, may have been another part of the same monument. The principal character in the Ludovisi group retains, even in this impressive moment, a certain triumphant, even theatrical air; while with one hand he supports his wife, who is sinking under the blow he has dealt her, with the other he raises the sword against his own bosom.

Plutarch tells us that Greek art came to an end between 300 and 150 B. C., and the activity of these schools of Rhodes and Pergamon seems like a continuance of the art of sculpture after it was already dead in its own home.

Once more we return to Athens to find the city turned into a Roman province after the last victory of Sulla. As many as three thousand works of art are said to have been carried off to Rome. A very charming ornate building has arisen in the third century to re