Word: arts
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Dates: during 1880-1889
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Every seat and every available inch of the aisles in the large lecture-room in Boylston Hall was filled with eager listeners yesterday evenings, when Dr. Waldstein delivered his second lecture on Greek art...
...causes that wrought this change was the introduction in the fourth century of the nobler material marble, to supersede the wooden, chryselephantine, and bronze images of earlier ages. Marble, with its new qualities, made a distinct impression on the development of the artistic composition of sculpture. Improvements in the art of modelling with clay, the introduction from Samos of bronze castings, whereby the metal got the direct impress of the modeller's hand, the inevitable influence of painting and architecture on sculptural work are to be counted as primary causes of the new era of development...
With much sagacity, Dr. Waldstein pointed out that the broadening and nationalization of the Greek religion, which men like Peisistratos brought about, the increased prominence of national politics, and the reaction in the mother country of the more unconventional lines of art pursued in the colonies, did much toward freeing Greek sculpture from the bonds of crude conventionalism and orthodox archaism...
...next lecture the influences of the growth of the athletic games on Greek art will be discussed at greater length...
...much inspiration from that same overthrow - after saying all this, proceeds to evolve Victor Hugo and Theophile Gautier from the paltry revolution of 1830, and from these all the other French writers from Zola to Daudet, the American realist and Tolstoi, which latter, after a pun on the word art, he proceeds to magnify at the expense of Daudet and Zola and Miss Austen. Because much of the experience of Zola and his contemporaries is of the gutter, much of their writing smacks of the slum, but is it the less true on that account? Because Miss Austen follows...