F. B. Tarbell, A History of Ancient Greek Art

The Great Age of Greek Sculpture. First Period 450-400 B. C.

The Parthenon

Page 5

We possess but the broken remnants of these two pediment-groups, and the key to the interpretation of much that we do possess is lost. We cannot then fully appreciate the intention of the great artist who conceived these works. Yet even in their ruin and their isolation the pediment-figures of the Parthenon are the sublimest creations of Greek art that have escaped annihilation.

We have no ancient testimony as to the authorship of the Parthenon sculptures, beyond the statement of Plutarch, quoted above, that Phidias was the general superintendent of all artistic works undertaken during Pericles's administration. If this statement be true, it still leaves open a wide range of conjecture as to the nature and extent of his responsibility in this particular case. Appealing to the sculptures themselves for information, we find among the metopes such differences of style as exclude the notion of single authorship. With the frieze and the pediment-groups, however, the case is different. Each of these three compositions must, of course, have been designed by one master-artist and executed by or with the help of subordinate artists or workmen. Now the pediment-groups, so far as preserved, strongly suggest a single presiding genius for both, and there is no difficulty in ascribing the design of the frieze to the same artist. Was it Phidias? The question has been much agitated of late years, but the evidence at our disposal  does not admit of a decisive answer. The great argument for Phidias lies in the incomparable merit of these works; and with the probability that his genius is here in some degree revealed to us we must needs be content. After all, it is of much less consequence to be assured of the master's name than to know and enjoy the masterpieces themselves.

The great statesman under whose administration these immortal sculptures were produced was commemorated by a portrait statue or head, set up during his lifetime on the Athenian Acropolis; it was from the hand of Cresilas, of Cydonia in Crete. It is perhaps this portrait of which copies have come down to us. (...) The features are, we may believe, the authentic features of Pericles, somewhat idealized, according to the custom of portraiture in this age. The helmet characterizes the wearer as general.

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Cf. A probable representation of Parthenon as it was colored  *  Davis' Parthenon

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