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Her father, the Rev. When Sayers was six, her father started teaching her Latin. The church graveyard next to the elegant Regency-style rectory features the surnames of several characters from her mystery The Nine Tailors ; the nearby River Great Ouse and the Fens invite comparison with the book's vivid description of a massive flood around the village.

Essayist page crossword

Dull is the eye that will not weep to see Thy walls defaced, thy mouldering shrines removed By British hands, which it had best behov'd To guard those relics ne'er to be restored. To this day, Greece continues to press claims for restitution.

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The genius behind the Parthenon's sculptures was the architect and artist Phidias, of whom it was said that he alone among mortals had seen the gods as they truly are. At the Parthenon, he set out to render them in action. Fragments from the eastern gable of the temple depict the birth of Athena from the head of Zeus; those from the western gable show the contest between Athena and Poseidon for the patronage of the city.

As the city's name indicates, she won.

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The heroically scaled statues were meant to be seen from a distance with ease. But that was thousands of years ago. By now, so much of the sculpture is battered beyond recognition, or simply missing, that it takes an advanced degree in archaeology to tease out what many of the figures were up to.

Yes, the occasional element—a horse's head, a reclining youth—registers sharp and clear. But for the most part, the sculpture is frozen Beethoven: Though we seldom think about it, such fragments are overwhelmingly abstract, thus, quintessentially "modern.

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We like our antiquities that way. But we can guess that Phidias would be brokenhearted to see his sacred relics dragged so far from home, in such a fractured state. More to the point, the bare stone would look ravaged to him, even cadaverous.

Listen to Helen of Troy, in the Euripides play that bears her name: My life and fortunes are a monstrosity, Partly because of Hera, partly because of my beauty. If only I could shed my beauty and assume an uglier aspect The way you would wipe color off a statue.

That last point is so unexpected, one might almost miss it: To us, classical antiquity means white marble. Not so to the Greeks, who thought of their gods in living color and portrayed them that way too.

The temples that housed them were in color, also, like mighty stage sets. Time and weather have stripped most of the hues away. And for centuries people who should have known better pretended that color scarcely mattered.

White marble has been the norm ever since the Renaissance, when classical antiquities first began to emerge from the earth. Knowing no better, artists in the 16th century took the bare stone at face value. Michelangelo and others emulated what they believed to be the ancient aesthetic, leaving the stone of most of their statues its natural color.

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Thus they helped pave the way for neo-Classicism, the lily-white style that to this day remains our paradigm for Greek art. By the early 19th century, the systematic excavation of ancient Greek and Roman sites was bringing forth great numbers of statues, and there were scholars on hand to document the scattered traces of their multicolored surfaces.

Some of these traces are still visible to the naked eye even today, though much of the remaining color faded, or disappeared entirely, once the statues were again exposed to light and air.The 3/10/18 crossword was constructed by Ryan McCarty.

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