heir predecessors in rendering the character of the
gods according to the form consecrated by tradition. Even in the
expression of the face the same process is to be traced. In early works
we find sometimes no expression at all, or an apparent stolidity which
is really the absence of expression; in the archaic smile we see an
attempt to enliven the face, and possibly also, as we have noticed, to
express and even to induce the benignity of the deity. But this attempt,
made with inadequate artistic resources, tends to result in a mere
grimace; and as we approach the transitional age before the greatest
period of sculpture, we often find a reaction against any such
exaggeration of expression in a severity and dignity that may have a
certain grace of their own, but that are in some sense a retrograde
movement so far as the expression of character is concerned.

It follows that the statues of the gods dating from this early period,
however interesting they might be for the history of sculpture, would
not, even if we possessed many more of them than we do possess, throw
very much light upon the development of the ideas of the Greeks
concerning their deities. They would probably conform to a limited
number of clearly defined types. The most familiar of all, the standing
nude male figure, would, if beardless, usually represent Apollo, with a
bow or a branch of bay, or sometimes other attributes. A similar type,
bearded, would stand for Zeus or Posidon or Hermes, if provided with
thunderbolt or eagle, with trident or fish, or with a caduceus. Similar
figures might also be draped, and still represent gods; or, if female,
would serve for Hera, Artemis, Aphrodite, and sometimes for Athena, if
she was represented without her arms and aegis. Then, too, there was the
seated type, usually enveloped in full drapery, which might readily be
adapted to a statue of any of the chief gods. In all of these there is
no question of distinguishing the gods from one another in character and
individuality; apart from attributes, there is hardly any attempt to
distinguish gods from men.

Perhaps the earliest class of statues in which we find any attempt to
give artistic expression to superhuman power is that in which we see the
god in vigorous action, often striking with his characteristic weapon:
Zeus with his thunderbolt in his raised right hand, Posidon with his
trident, or Athena advancing rapidly with brandished spear and shield
advanced. But