INFLUENCE OF GREEK SPIRIT ON ART

Dominion, Volume 30, Issue 249, 17 July 1937, Page 2 (Supplement)

INFLUENCE OF GREEK SPIRIT ON ART

W.E.A. Lecture by Dr. J Nicol Greek sculpture was discussed at the opening lecture of a short W.E.A. course on classical art and architecture, given by Dr. J. Nicol in the Trades Hall, 'Wellington, on Tuesday night. The ancient Greeks, he said, belonged to the world’s youth, and their culture bad a-simplicity, vigour and freshness which our complex, jaded, modern civilisation lacked. In some branches of art and science they were pioneers and teachers who inspired subsequent generations to greater achievements; in others, they went further and made contributions which have a substantive value and are important in themselves. Thus in mathematics, the substance of elementary geometry as now taught in schools was mainly Greek and the geometry of the conic sections was a Greek study. In the history of sculpture especially, the Greek period bulked large. The Greek spirit, by virtue of its qualities of dignity, nobleness and restraint, exercised a corrective and purifying influence which was powerfully felt in

nmny spheres of life. It had profound effect on English poets of recent times, Shelley, Keats, Byron, the Brownings 51. Arnold, Swinburne, Flecker Bridges and others. ' ”

Greek sculpture was closely associated with architecture, especially temple architecture, as the shrines contained manv dedicatory statues and the metopes and pediments were adorned with reliefs. The materials used were varied and included wood, marble, bronze and terra-cotta. Some of the great statues of the Phidiaii age were of gold and ivory over a wooden framework.

The history of the art fell conveniently into four divisions .* The Archftic period (down to 480 8.C.) ; the fifth century (480-400), when the artists rapidly advanced to complete mastery over their material and sculpture was characterised more than at any other time bv conceptions which, though simple, were yet lofty and dignified: the fourth century (400-320), when sentiment and emotion introduced a new softness and attractiveness and threw emphasis on human rather than on divine eharacterist’cs: and the Hellenistic age (after 320 8.C.) which was the beginning of the decadence, although it produced some magnificent figures, such as the Victory of Snmothrace and the figure of the dying Gaul from Pergamum. Each of these periods was fully illustrated by lantern slides lent by Professor Rankine Brown.