inal
articles were no longer to be found in garrets and out-of-the-way
places, then manufacturers began to imitate the old in the new, and one
can now buy all sorts of ancient-looking furniture that is only just
from the workmen's hands.

But among the Greeks there was a second motive for reproducing the works
of the earlier artists, which was the fact that the images of the gods
and such articles as belonged to religious services were sacred in their
earliest forms, and were venerated by the people. Thus it followed that
the advance and change in the taste of the people and the skill of the
artists was more suited to other subjects, while the religious images
were made as nearly as possible like the older ones. If it happened that
a rude ancient image of a god was placed side by side with a modern and
more beautiful statue of the same deity, the pious Greek would prefer
the ugly one, while he could well admire the most lovely. You should
remember that these temple images were really objects of actual worship.

Many of these archaistic works are in various museums of art.

[Illustration: FIG. 21.--ARCHAISTIC ARTEMIS AT NAPLES.]

This is a very beautiful temple image, and was discovered at Pompeii in
1760. It was found in a small temple or chapel, of which it must have
been the principal deity. It is in excellent preservation; the only
parts which are wanting are the fingers of the right hand and the object
which it held. Like many of these statues, it is less than
life-size--four feet and two inches in height. When it was first
discovered there were many traces of color about it. The hair was gilded
to represent the blonde hair which the poets ascribed to Artemis
(Diana). There was considerable red about the garments, and some flowers
were upon the border of the drapery. There is an archaic stiffness
about this statue, but the flowing hair, the form of the eyes, and the
free style of the nude parts all show that it belongs to the archaistic
period (Fig. 21).

It would be pleasant and satisfying if we could trace step by step the
progress of Greek sculpture from the rude archaic manner to that of the
Periclean age, or from such art as is seen in the sculpture of AEgina to
the perfections of the reliefs of the Parthenon. This we cannot do; but
we know some of the causes that led to this progress, and can give
accounts of a few sculptors who, while they did not equal the great
Phidias, were at least the forerunners of