The Glory That Was Greece

of the tortoise-lyre, the weaver of guile, the bringer of luck, and the kindly escort of souls on their last ferrying. He is playing in careless indulgence with a baby boy, the infant god of wine, but his eyes and his gentle smile are for some one farther off—not the human spectator. It may be noted, as proving that the technical triumphs of Greek art were gained, not by inspiration, but by hard work at established types, that the child is not very successfully rendered. Greek sculptors could not even yet sufficiently detach themselves from convention to copy the round contours of a baby’s face. Critics are divided in their attempts to reconstruct the motive of the raised right shoulder. Evidently the right hand held some object charming to the infant Dionysus, a bunch of grapes, perhaps, or the serpent-wreathed wand proper to Hermes. As it stands in the photograph we can recognise the loveliest statue in existence, but we cannot see the craft with which the surfaces and

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