DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14134#0016
the central part of the composition now wanting, and
that in either wing were figures who had a direct con-
nection with Attika, hut who were not of sufficient rank
to entitle them to he present in Olympos. This latter
view has been advanced by several recent archaeologists,
and has led to attributions irreconcileable with the earlier
method of interpretation. If we assume that the entire
pedimental space between the angles represents Olympos,
then we must regard all the extant figures as personages
who would have been present at the Birth. In accordance
with this view, Visconti and many archaeologists after
him called the three figures (K, L, M) next to the chariot
of Night the three Fates. The two seated female figures
(E, F) in the opposite wing were called by the same
authorities Demeter and Persephone, and the reclining
male figure (D) Herakles, Dionysos, or more commonly
Theseus. On the other hand it has been contended that
the female figure in the left wing of the pediment (G),
who is generally accepted as Iris, marks the limit of the
Olympic central grouj), and that she is hastening to
announce the Birth to the world outside Olympos. The
three figures (D, E, F) between Iris and Helios may
either be regarded as a connected triad, or we may consider
the male reclining figure (D) as connected with the group
of Helios, towards whom he turns.
[D.]—This figure, who is commonly known as Theseus,
reclines on a rock and faces the upspringing horses' heads
of Helios. He leans on his left arm in an easy attitude.
The right arm is bent, but as the hand is wanting, we can
only form conjectures as to the action of this hand. It
probably held a spear, or some other long object, the end
of which may have been attached to the left ankle at the
place where a dowel hole is still visible. The legs are
bent, the left drawn back under the other leg. The body
is entirely nude : over the rock on which the figure rests
that in either wing were figures who had a direct con-
nection with Attika, hut who were not of sufficient rank
to entitle them to he present in Olympos. This latter
view has been advanced by several recent archaeologists,
and has led to attributions irreconcileable with the earlier
method of interpretation. If we assume that the entire
pedimental space between the angles represents Olympos,
then we must regard all the extant figures as personages
who would have been present at the Birth. In accordance
with this view, Visconti and many archaeologists after
him called the three figures (K, L, M) next to the chariot
of Night the three Fates. The two seated female figures
(E, F) in the opposite wing were called by the same
authorities Demeter and Persephone, and the reclining
male figure (D) Herakles, Dionysos, or more commonly
Theseus. On the other hand it has been contended that
the female figure in the left wing of the pediment (G),
who is generally accepted as Iris, marks the limit of the
Olympic central grouj), and that she is hastening to
announce the Birth to the world outside Olympos. The
three figures (D, E, F) between Iris and Helios may
either be regarded as a connected triad, or we may consider
the male reclining figure (D) as connected with the group
of Helios, towards whom he turns.
[D.]—This figure, who is commonly known as Theseus,
reclines on a rock and faces the upspringing horses' heads
of Helios. He leans on his left arm in an easy attitude.
The right arm is bent, but as the hand is wanting, we can
only form conjectures as to the action of this hand. It
probably held a spear, or some other long object, the end
of which may have been attached to the left ankle at the
place where a dowel hole is still visible. The legs are
bent, the left drawn back under the other leg. The body
is entirely nude : over the rock on which the figure rests