.

FOOTNOTES:

[35] See Bibliography at end for Professor Murray's examination.

[36] Mr. Edward Bullough, _The British Journal of Psychology_ (1912), p.
88.

[37] II, 15.

[38] See my _Themis_, p. 289, and _Prolegomena_, p. 35.

[39] _De Cupid. div._ 8.

[40] V, 66.

[41] _Athen._, VIII, ii, 334 f. See my _Prolegomena_, p. 54.

[42] Thanks to Mr. H.M. Chadwick's _Heroic Age_ (1912).

CHAPTER VI

GREEK SCULPTURE: THE PANATHENAIC FRIEZE AND THE APOLLO BELVEDERE

In passing from the drama to Sculpture we make a great leap. We pass
from the living thing, the dance or the play acted by real people, the
thing _done_, whether as ritual or art, whether _dromenon_ or _drama_,
to the thing _made_, cast in outside material rigid form, a thing that
can be looked at again and again, but the making of which can never
actually be re-lived whether by artist or spectator.

Moreover, we come to a clear threefold distinction and division hitherto
neglected. We must at last sharply differentiate the artist, the work of
art, and the spectator. The artist may, and usually indeed does, become
the spectator of his own work, but the spectator is not the artist. The
work of art is, once executed, forever distinct both from artist and
spectator. In the primitive choral dance all three--artist, work of art,
spectator--were fused, or rather not yet differentiated. Handbooks on
art are apt to begin with the discussion of rude decorative patterns,
and after leading up through sculpture and painting, something vague is
said at the end about the primitiveness of the ritual dance. But
historically and also genetically or logically the dance in its
inchoateness, its undifferentiatedness, comes first. It has in it a
larger element of emotion, and less of presentation. It is this
inchoateness, this undifferentiatedness, that, apart from historical
fact, makes us feel sure that logically the dance is primitive.

* * * * *

To illustrate the meaning of Greek sculpture and show its close affinity
with ritual, we shall take two instances, perhaps the best-known of
those that survive, one of them in relief, the other in the round, the
Panathenaic frieze of the Parthenon at Athens and the Apollo Belvedere,
and we shall take them in chronological order. As the actual frieze and
the statue cannot be before us, we shall discuss no technical questions
of style or treatment, but simply ask how they came to