DOI article:
Waldstein, Charles: The Mantineian Reliefs
DOI Page / Citation link:https://doi.org/10.11588/diglit.8678#0310
292
THE MANTINEIAN RELIEFS.
ment obtains. If it had been the intention of the artist to give similar
importance to both of the two seated figures grouped on either side of
the centre, he would have placed them either face to face or back to
back. In the frieze of the Parthenon, Zeus heads the one side of the
Assembly of Gods, turned from the centre, and Athena the other, fac-
ing in the opposite direction,—an arrangement, too, which is highly
conducive to symmetry. In our case, however, the seated Muse is not
turned toward the other Muses as if she were heading that side of the
comjuosition, but is turned toward Apollo, and, by this attitude, throws
the symmetry somewhat out, leaving the preponderance of interest and
line toward the other side where what there is of drama is enacted.
This is the only element of asymmetry in what is otherwise composed
in almost extreme severity of balance. To realize how far this balance
goes, I merely point to the fact that, while we have two seated figures
in the centre, each with a stringed instrument, we have beside these
respectively the only two figures that are approximately in full face.
The lines of the arms of these two figures are what might be called
rhythmically symmetrical: the arms of the Muse and of the Scy-
thian that are toward the centre are both extended downward in a
flattish curve, diverging from the centre; the arms away from the
centre are drawn upward in a sharp curve toward the centre. The
figures outside of these again, Marsyas and the slim Muse at the end of
the slab, both have pipes which they hold toward the centre. I will
not confuse the reader by pointing out further the system of balance
and symmetry in the grouping of every single slab. I am most con-
cerned with the demonstration of the continuity and completeness of
this grouping, consisting of four slabs placed side by side.
The figure at the extreme left end, then, being turned squarely
toward the centre, shows the general direction of line, and the seated
Muse nearest the centre, being turned toward Apollo, again draws the
eye away from the physical centre toward the adjoining slab, where
Apollo and Marsyas form the chief group. Thus, in the difficult
task of filling one slab with three figures enacting the scene, and of
placing six Muses on the one side of Apollo and only three Muses on
the other side of Marsyas, while yet maintaining a symmetrical ar-
rangement with regard to the centre on the base, the artist has suc-
ceeded well in conciliating the opposed conditions of his problem.
It is most interesting to note, furthermore, how the sculptor has used
the constructive suggestions of his work of decoration to emphasize
THE MANTINEIAN RELIEFS.
ment obtains. If it had been the intention of the artist to give similar
importance to both of the two seated figures grouped on either side of
the centre, he would have placed them either face to face or back to
back. In the frieze of the Parthenon, Zeus heads the one side of the
Assembly of Gods, turned from the centre, and Athena the other, fac-
ing in the opposite direction,—an arrangement, too, which is highly
conducive to symmetry. In our case, however, the seated Muse is not
turned toward the other Muses as if she were heading that side of the
comjuosition, but is turned toward Apollo, and, by this attitude, throws
the symmetry somewhat out, leaving the preponderance of interest and
line toward the other side where what there is of drama is enacted.
This is the only element of asymmetry in what is otherwise composed
in almost extreme severity of balance. To realize how far this balance
goes, I merely point to the fact that, while we have two seated figures
in the centre, each with a stringed instrument, we have beside these
respectively the only two figures that are approximately in full face.
The lines of the arms of these two figures are what might be called
rhythmically symmetrical: the arms of the Muse and of the Scy-
thian that are toward the centre are both extended downward in a
flattish curve, diverging from the centre; the arms away from the
centre are drawn upward in a sharp curve toward the centre. The
figures outside of these again, Marsyas and the slim Muse at the end of
the slab, both have pipes which they hold toward the centre. I will
not confuse the reader by pointing out further the system of balance
and symmetry in the grouping of every single slab. I am most con-
cerned with the demonstration of the continuity and completeness of
this grouping, consisting of four slabs placed side by side.
The figure at the extreme left end, then, being turned squarely
toward the centre, shows the general direction of line, and the seated
Muse nearest the centre, being turned toward Apollo, again draws the
eye away from the physical centre toward the adjoining slab, where
Apollo and Marsyas form the chief group. Thus, in the difficult
task of filling one slab with three figures enacting the scene, and of
placing six Muses on the one side of Apollo and only three Muses on
the other side of Marsyas, while yet maintaining a symmetrical ar-
rangement with regard to the centre on the base, the artist has suc-
ceeded well in conciliating the opposed conditions of his problem.
It is most interesting to note, furthermore, how the sculptor has used
the constructive suggestions of his work of decoration to emphasize