the Parthenon, transferred by Lord Elgin to the British Museum in 1816. Both artists and connoisseurs, after a short pause of hesitation, agreed in asserting that the bas-reliefs of the frieze and the sculptures of the two pediments excelled anything which had previously entered into any European museum. Artists declared that they experienced a sense of beauty never felt before; they were face to face for the first time with the ideal of the Greeks, as it had been conceived and realised at that happy period of perfection which followed the disappearance of the last traces of archaic hardness. That period was but too short. It was comprised in a single generation, which was followed by one which made the first steps down the slope of the decadence. During a single lifetime a crowd of works were produced which, in spite of differences in material and subject, were all stamped with the same character of easy and frank nobility, of sincerity and elegant severity, of simplicity combined with grandeur. The death, or even the old age of the great men who had produced these works, was sufficient to lower the standard. Emphasis and a striving for effect took the place of nobility; under a pretence of sincerity, artists took to a servile imitation of nature, and mannerism, with all its weaknesses, began to disfigure their works. Art remained at a high level in Greece, however, longer than elsewhere. The word decadence can hardly be pronounced in connection with the admirable works produced in the fourth century before Christ, and yet it cannot be denied that, so long as we were without original examples from the great epoch of Pericles, we were without that most necessary material for a history of Greek art, a knowledge of the most masterly, the most pure, and the most elevated of her creations. The literary historian might as well have attempted to trace the course of her poetry without having read Sophocles, without having heard of the Electra or the Œdipus Rex.
Attention being once turned in this direction, discoveries followed each other in rapid succession. The statues from the pediments at Ægina, so ably restored by Thorwaldsen, were bought to form the nucleus of the collection at Munich.[1] The
- ↑ They were discovered in 1811 amid the ruins of one of the temples at Ægina, by a company of excavators presided over by Mr. Cockerell. They were bought by Prince Louis of Bavaria in 1812, and Thorwaldsen was occupied during several years in putting together and restoring them. They were first exhibited in the Glyptothek of Munich in 1820.
