Thus we get a date for the
statue, and, what is more, clear evidence as to how it should be
restored. The goddess held a trumpet to her lips with her right
hand and in her left carried a support such as was used for the
erection of a trophy. The ship upon which she has just alighted is
conceived as under way, and the fresh breeze blows her garments
backward in tumultuous folds. Compared with the Victory of
Paeonius (Figs. 143, 144) this figure seems more impetuous and
imposing. That leaves us calm; this elates us with the sense of
onward motion against the salt sea air. Yet there is nothing
unduly sensational about this work. It exhibits a magnificent
idea, magnificently rendered.
From this point on no attempt will be made to preserve a
chronological order, but the principal classes of sculpture
belonging to the Hellenistic period will be illustrated, each by
two or three examples. Religious sculpture may be put first. Here
the chief place belongs to the Aphrodite of Melos, called the
Venus of Milo (Fig.
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