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IT is pleasant when, looking at medieval sculpture, we are reminded of that of Greece; pleasant likewise, conversely, in the study of Greek work to be put on thoughts of the Middle Age. To the refined intelligence, it would seem, there is something attractive in complex expression as such. The Marbles of Aegina, then, may remind us of the Middle Age where it passes into the early Renaissance, of its most tenderly finished warrior-tombs at Westminster or in Florence. A less mature phase of medieval art is recalled to our fancy by a primitive Greek work in the Museum of Athens, Hermes, bearing a ram, a little one, upon his shoulders. He bears it thus, had borne it round the walls of Tanagra, as its citizens told, by way of purifying that place from the plague, and brings to mind, of course, later images of the “Good Shepherd.” It is not the subject of the work, however, but its style, that sets us down in thought before some gothic cathedral front. Suppose the Hermes Kriophorus lifted into one of those empty niches, and the archaeologist will inform you rightly, as at Auxerre or Wells, of Italian influence, perhaps of Italian workmen, and along with them indirect old Greek influence coming northwards; while the connoisseur assures us that all good art, at its respective stages of development, is in essential qualities everywhere alike. It is observed, as a note of imperfect skill, that in that carved block of stone the animal is insufficiently detached from the shoulders of its bearer. Again, how precisely gothic is the effect! Its very limitation as sculpture emphasises the function of the thing as an architectural ornament. And the student of the Middle Age, if it came within his range, would be right in so esteeming it. Hieratic, stiff and formal, if you will, there is a knowledge of the human body in it nevertheless, of the body, and of the purely animal soul therein, full of the promise of what is coming in that chapter of Greek art which may properly be entitled, “The Age of Athletic Prizemen.”

That rude image, a work perhaps of Calamis of shadowy fame, belongs to a phase of art still in grave-clothes or swaddling-bands, still strictly subordinate to religious or other purposes not immediately its own. It had scarcely to wait for the next generation to be superseded, and we need not wonder that but little of it remains. But that it was a widely active phase of art, with all the vigour of local varieties, is attested by another famous archaic monument, too full of a kind of sacred poetry to be passed by. The reader does not need to be reminded that the Greeks, vivid as was their consciousness of this life, cared much always for the graves of the dead; that to be cared for, to be honoured, in one’s grave, to have tymbos amphipolos,[1] a frequented tomb, as Pindar says, was a considerable motive with them, even among the young. In the study of its funeral monuments we might indeed follow closely enough the general development of art in Greece from beginning to end. The carved slab of the ancient shepherd of Orchomenus, with his dog and rustic staff, the stele of the ancient man-at-arms signed “Aristocles,” rich originally with colour and gold and fittings of bronze, are among the few still visible pictures, or portraits, it may be, of the earliest Greek life. Compare them, compare their expression, for a moment, with the deeply incised tombstones of the Brethren of St. Francis and their clients, which still roughen the pavement of Santa Croce at Florence, and recall the varnished polychrome decoration of those Greek monuments in connexion with the worn-out blazonry of the funeral brasses of England and Flanders. The Shepherd, the Hoplite, begin a series continuous to the era of full Attic mastery in its gentlest mood, with a large and varied store of memorials of the dead, which, not so strangely as it may seem at first sight, are like selected pages from daily domestic life. See, for instance, at the British Museum, Trypho,– “the son of Eutychus,” one of the very pleasantest human likenesses there, though it came from a cemetery–a son it was hard to leave in it at nineteen or twenty. With all the suppleness, the delicate muscularity, of the flower of his youth, his handsome face sweetened by a kind and simple heart, in motion, surely, he steps forth from some shadowy chamber, strigil in hand, as of old, and with his coarse towel or cloak of monumental drapery over one shoulder. But whither precisely, you may ask, and as what, is he moving there in the doorway? Well! in effect, certainly, it is the memory of the dead lad, emerging thus from his tomb,–the still active soul, or permanent thought, of him, as he most liked to be.