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The early inhabitants of Greece were the Pelasgians, a people who had the reputation of being great builders. At Athens, around the Acropolis, and at other places, remains of huge walls, made of unsquared stones laid in mud, have been found; these are the remains of the Pelasgian walls. The oldest historians were not disposed to make any difference between the Hellenes and the Pelasgians, but see in the former a continuation merely of the old Pelasgi stock. The Dorians came from the mountains of Thessaly, and steadily gained an ascendancy over the other tribes of Greece.

The Ionians in the East gave an Oriental colouring to Hellas, both in manners, customs, and in art. There were three dialects in the language of the Greeks: the Doric, broad and soft; the Ionic, melodious and rich; and the Æolic, a mixture to which nothing of a special character is given, except that it is the nearest to the Latin.

The Greeks were a light-hearted and joyous race: they worshipped their gods in everything they did—in running, wrestling and dancing, in building, carving, and painting, in writing and reciting of poetry; their whole life was one of intense artistic devotion, and all their works of art were so many prayers to their gods. Whatever may have been the racial differences of the Hellenic peoples, they united all their physical and intellectual efforts to perfect their civilisation. They emerged from archaic barbarism step by step, to such a refinement of culture that has had no parallel in the history of nations.

It would be impossible to give an outline of Grecian or Roman art without describing at least the outlines of their religious beliefs as shadowed forth in their myths and in their plastic representations of the same. It would be advisable, therefore, to sketch, in as brief a manner as possible, some of the superior deities and their attributes, in order to understand better the art that was the glory of Greece and the grandeur of Rome.

The Theogony, or myths that relate to the origin of the Greek gods, includes that of the Romans, since the latter did not trouble themselves with the inventing of any origins for their gods, but simply borrowed them, as they did all their art, direct from the Greeks, merely substituting Latin names for their borrowed deities, instead of the original Greek ones.

Zeus (Jupiter) was the Supreme god of the Greeks, chief of the Olympian deities, the “Sky Father,” the ruler and controller of the universe, dispenser of the thunder and lightning, rain, hail, and fertilising dew. Before the birth of Zeus, the Greek poets tell us that Ge (the earth) first emerged from Chaos, and separated itself immediately from Tartarus (the abyss beneath), and that Eros, or love, then first sprang into existence. Ge (the earth) then begat Uranus (the mountains and the heavens), and Pontus (the sea).

By the union of the earth and Uranus, the twelve Titans came into existence. They represented the elementary forces of nature; there were also from this union the three Cyclops, thunder, lightning, and sheet-lightning, and the three Centimanes (hundred-handed), which are supposed to represent the stormy winds, the stormy sea, and the earthquakes.

By union with Pontus, the earth became the mother of many fabulous sea-deities. Other deities, offspring of the Titans, are Helios, the Sun; Selene, the Moon; Eos, the dawn. From Cœus and Phœbe, deities of the night, are Leto (dark night) and Asteria, (starry night). Cronus and Rhea, of the family of the Titans, had six children, the youngest of whom was the great god Zeus. He was rescued from the fate of being swallowed by his father, as his five brothers and sisters had been, and was brought up secretly in a grotto, on Mount Dicte, in Crete, was nursed by nymphs and the she-goat Amalthea, whilst the bees brought him honey to eat. Thus the youthful Zeus grew up in secrecy until he became a mighty god. The first of his exploits was to attack his father, and compel him to restore to life again his five brothers and sisters. He then found it was necessary for his supremacy to fight the Titans, who disputed his authority, which he did from his stand on Mount Olympus, in Thessaly, while the Titans fought from the opposite Mount Othrys. This fight lasted for ten years, and ended in the defeat of the Titans.

After this battle Zeus shared the ruling of the world with his two brothers, Poseidon (Neptune) and Hades (Pluto); the former he set as ruler over the sea, and the latter as king of the infernal regions. About this time the earth had produced another enemy to vex the peace of Zeus—Typhœus, a monster with a hundred fire-breathing dragons’ heads, which Zeus was obliged to fight also. After a mighty battle the thunderbolts of Zeus prevailed, and the monster was cast into Tartarus, or as Virgil and Pindar have it, into Mount Ætna, in Sicily, where he still shows his anger at times, by breathing out fire and flames against the majesty of heaven. Another battle still is recorded to the credit of Zeus before he was able to enjoy his undisputed dominion over the world, that is the battle with the Giants, when they attempted to scale the sacred Olympus by “piling Ossa on Pelion.” Zeus and his adherent gods were again victorious, and remained ever after the undisputed lords of Olympus.

The story of the battle with the Giants, the Giganto-Machia, formed a favourite subject for illustration with the Greek sculptors. The cameo of Athenion depicts Zeus in his chariot, and the Giants attacking, having snakes for their legs (Fig. 264).

Zeus was the national god of the Greeks, and was first worshipped on high places and mountain tops long before any temples were raised to his honour. He was worshipped all over Greece, and one of his earliest shrines was at Dordona, in Epirus. The greatest of all his shrines was at Olympia, on the northern banks of the Alpheus. It was here that the Olympian games were celebrated.

Fig. 264.—Cameo of Athenion.

It was also here that the great statue of Zeus was set up, which was the work of the renowned Greek sculptor Phidias (B.C. 500-432). This famous statue of the supreme god of the Greeks was a seated figure on a lofty throne, and was more than 40 feet high. It was made of, or probably covered over with, plates of ivory and gold (chryselephantine); the ivory plates covered the exposed parts of the flesh. In his right hand he held a figure of Victory, also made of ivory and gold. The sculptor sought to give his statue a look of sublime majesty, as the ruler of gods and men, and, at the same time, a kindly expression of benevolence, as the gracious father and dispenser of good gifts to mankind. Thousands are said to have come from great distances in order to gaze on this masterpiece of the greatest sculptor of Greece. It remained in its place for more than eight hundred years, and was supposed to have been destroyed by fire in the time of Theodosius III. The coins of Elis have a seated figure, and the head of Zeus on them (Fig. 265).

Fig. 265.—Coins of Elis with the Phidian Zeus (after Overbeck).

A supposed copy of the head of the god is in the Vatican Museum. It was found at Otricoli in the last century (Fig. 266).

The worship of Jupiter was also universal in Italy; many temples have been erected to his honour. The most famous of these was the one erected by Tarquin on the Capitol at Rome. It had a statue of Jupiter, the work of the Greek artist Apollonius, made of ivory and gold, and said to be a copy of the Phidian Zeus.

Fig. 266.—Zeus of Otricoli, Vatican Museum.

Zeus is credited with a numerous family. He produced Pallas Athene from his own head; the birth of Athene is supposed to have formed part of the subject of the sculptures on the pediment of the Parthenon (Temple of Athene at Athens) the remains of which are in the British Museum, but unfortunately the central figures of the pediment are wanting which depicted the event.

One of his goddess-wives was Themis, of the Titan family, whose children are the Fates. Dione was his Dodonian wife, by whom he had as daughter Aphrodite (Venus). The Arcadian Zeus had for his wife Maia, who was the mother of Hermes (Mercury). By Demeter (Ceres) he had a daughter Persephone (Proserpina), the flower goddess. By Eurynome, the Graces, and by Leto (Latona) Apollo and Artemis (Diana).

Later mythology recognises Hera (Juno), his sister, to be his only legitimate wife (Fig. 267), and by her he had his children Ares (Mars), Hephæstus (Vulcan), and Hebe.

Fig. 267.—Head of Hera, perhaps after Polycletus.

His earthly mistresses were Semele, daughter of Cadmus, King of the Greek Thebes, and mother of Dionysus (Bacchus) and others; Leda, Danaë, Alcmene, Europa, and Io.

The Roman Jupiter had at first no family, nor wives, but later, when the Greek influences were more strongly developed in Roman mythology, he was made to be the son of Saturn, and had Juno for his wife, and Minerva (Athene) for his daughter.

Hera (Juno) is the feminine counterpart of Zeus (Jupiter). She represents air or atmosphere, is the queen of heaven, and is the guardian goddess of marriage ties with both Greeks and Romans. The peacock, goose, and the cuckoo as the herald of spring, are sacred to her. The beautiful head (Fig. 267) of Hera is supposed to be the work of Polycletus, a celebrated Greek sculptor.

Pallas Athene (Minerva) is the great virgin goddess of wisdom, of the dawn, and of war. According to some Greek accounts she sprang forth to life from her father’s head (Zeus) fully armed with helmet and spear, chanting a war song, at which event the whole earth and sea trembled with commotion. She is represented in sculpture as the war goddess, in flowing robes with helmet and spear, and wearing the dreadful ægis, the breastplate of mail, with the snakes and head of Medusa, that “turned all men to stone who gazed on it” (Fig. 268). The serpent, the owl, and the cock are sacred to her.

Apollo was the favourite son of Zeus, and was a great god with both Greeks and Romans. He is the god of light, of music, and of healing. He is sometimes the god of death, sending out his arrows of sunshine that often breeds pestilence, as well as giving health. His favourite instrument is the lyre, which he plays at the feasts of the gods. His sons were Orpheus, the god of music, and Asclepius (Æsculapius), god of healing. Delphi was the chief seat of his worship, where a gorgeous temple was erected to him.

There the priestess Pythia uttered the oracles that were supposed to come to her ears alone, from out of a cleft in the rock under the sacred tripod, from which also issued gaseous vapours. These oracles were sacred words of advice or warning for those who came to consult them. Other oracles of Apollo were at Didyma near Miletus, at Clarus, and at Thebes.

Fig. 268.—Athene Polias (Villa Albani).

The Roman Emperor Augustus erected a great temple to Apollo on the Palatine Hill, in which was placed the celebrated statue of Apollo Citharædus (Apollo with the lyre), a work by the famous Greek sculptor Scopas. The statues of Apollo are of two kinds: one represents him as a conquering deity, strong and handsome, of youthful beauty both in face and body (Fig. 270); the other is in the more benign character of the Pythian lute player, with long flowing garments of a feminine nature, and with a pleasing expression. Scopas and Praxiteles made many statues of Apollo; copies of some of these are still in existence. These sculptors flourished about B.C. 400. The celebrated statue of the youthful Apollo known as the Apollo Sauroctonus (the lizard slayer) is a work of Praxiteles.

Fig. 269.—Pallas Athene, Naples.

Fig. 270.—Apollo Belvedere, Vatican.

Aphrodite (Venus) was “born of the sea foam,” as some say near to the island of Cyprus, where she was first supposed to touch the land; many temples were built to her worship in this island. She was the goddess of love and beauty, and of the generative and creative forces in nature; the goddess of spring, and all kinds of fertility, both in celestial and terrestrial regions. She was the favourite deity of the Grecian mariners, and was worshipped in Cyprus and the isles of Greece more than any other divinity. Iris in the Tempest, in referring to Venus, says—

“I met her deity

Cutting the clouds towards Paphos, and her son

Dove-drawn with her.”

The story of her love for Adonis, and of his death and coming to life again, is but the decay of nature in autumn, and its resuscitation in the spring. The Seasons and the Graces are her attendants, who dress and adorn her. She is accompanied by Eros and Hymen, the gods of love and marriage. Venus of the Romans is the goddess of spring, and the month of April was held sacred to her by the early Italians. She was also, with them, the goddess of love and marriage.

The best artists of Greece put forth all their powers in painting and sculpture in their representations of the seaborn Aphrodite, and if we except Zeus himself, there is no other divinity of the Greek mythology that has served so much as a model for the loveliest creations of the plastic genius of the Greeks. The grandest conception of the goddess as a work of art is the Venus of Milo, found in 1820 in the island of Melos (Milo) (Fig. 271), and now in the Louvre. The grandeur and majesty of this famous piece of sculpture is beyond praise. It ought to be seen in the Louvre, to be appreciated at its worth, as drawings and casts do not give an adequate idea of its beauty. The Medicean Venus is a work of the Athenian artist Cleomenes, of the later Attic school, in the second century B.C. A statue of Venus Anadyomene (rising from the sea), of “Venus crouching in the Bath” (Vatican collection), and of “Venus loosing her Sandal,” are all of this later and declining period of Greek sculpture, where the goddess is represented undraped and more realistic in conception. Venus had many attributes. The dove, sparrow, and the dolphin, and in plants the myrtle, rose, apple, poppy, and lime-tree, were sacred to her, but varied according to the locality and times.

Fig. 271.—Venus of Milo.

Fig. 272.—Statue of Hermes, Capitol.

Hermes (Mercury) is the god of shepherds and of pastures, and also of commerce and trade. When a child he invented the lyre from a tortoise-shell which he was forced to give up to Apollo. He is represented with wings on his cap and feet, and a herald’s staff as the messenger of the gods, and with a well-filled purse as an emblem of trade (Fig. 272).

Fig. 273.—Diana of Versailles.

Artemis (Diana) was the twin-sister of Apollo, and was at first the goddess of the moon. Her favourite amusement is the chase, but in the statue (Fig. 273) from the Villa Hadrian, now in the Louvre, she is represented as the protectress of wild animals.

Fig. 274.—Melpomene, Vatican.

Mnemosyne (Memory) is the mother of the Muses. The nine Muses are—Clio (history), Melpomene (tragedy) (Fig. 274), Terpsichore (dancing), Polyhymnia (religious service), Thalia (comedy), Urania (astronomy), Euterpe (lyric poetry), Erato (erotic poetry and geometry), and Calliope (epic poetry and science generally).

Fig. 275.—Dionysus and the Lion, from the Monument of Lysikrates.

Dionysus or Bacchus is, with both Greeks and Romans, the god of wine, of vineyards, and of autumn blessings. Naxos was the chief seat of his worship. It was on this island that he met and married Ariadne, the daughter of Minos, King of Crete, who had been deserted here by Theseus, her former lover. The story of Dionysus punishing the Tyrrhenian pirates who took him prisoner, intending to sell him as a slave, and of his changing himself to a lion and so terrifying the sailors, who jumped overboard and were changed into dolphins, is the subject of the fine relief on the frieze of the Lysikrates monument (Fig. 275 and rontispiece).

The lion, tiger, bull, and ram are his favourite animal attributes. Among plants, the vine, the ivy, and the laurel were sacred to him.

Bacchanalian subjects and festivals of Dionysus occupy a large and important place in the art of Greece, Rome, and Pompeii.

Fig. 276.—Victory, Munich Collection.

Nice, Victoria, or Victory is always represented with wings, a palm branch, and holding a laurel wreath, and, as would be expected, was more extensively venerated at Rome than in Greece. In the latter country her statues are generally of a small size, and she is an accompanying goddess to Athene and Zeus (Fig. 276).