DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5065#0012
CHARACTER, AS WORKS OF ART. 5
motive or purpose ; one object balances the other; the fierce beauty of the male figures, which,
as victorious, are the most commanding, presents a striking contrast with the female forms,
which are more rounded and delicate, though not without a certain degree of martial energy. It
is the same with the accessories in each composition ; the bucklers, and the light draperies,
by their lines of connection, contribute much to the harmony of the groups. The great
symmetry which the artist was bound to observe, allowed but little variety in the leading lines.
That which in No. I. runs from the left shoulder of the warrior to his left foot, corresponds
exactly with the analogous contour of the right side in the hero of No. II. In the same
manner, the second dominant line of the contour, that of the Amazon's left side in No. I.,
from the shoulder as far as the foot, is very similar to that of the female figure in No. II.
The same may be said of the right side of the Amazon of No. I., compared with the left of
that of No. II. ; the right arm of the warrior No. I., and again his right side as far as the
knee, correspond precisely with the same parts of the left side, in the analogous figure of No. II.
The movement of the heads of the warriors is also the same in both plates. This symmetry
in the arrangement is owing to the nature of the subject, and to the destination of the two
groups as symmetrical ornaments of one and the same armour. But how skilfully has the
artist varied all the subordinate details ! The round shield of the hero No. II. is well
suited to the composition of that plate ; it is, notwithstanding, by its form and place in the
group, altogether different from the large, and rather oval buckler, of the hero in No. I. It
is the same with the fine fall of the drapery of No. II., which singularly relieves the animated
movement of the group, but which would not be adapted to the grouping of the figures in
No. I. : since in this last the oval shield of the warrior, and the uplifted shield of the
Amazon, fill up the places which in No. II. are occupied by the drapery floating behind the
back of the hero, and by a part of his circular shield ; it was, therefore, necessary to place the
drapery of the warrior No. I. lower down, to avoid deranging the harmony of that composi-
tion, and not to destroy the dignified deportment which it was to express/
The same sagacity is observable in all the other details. Thus, for instance, in No. I. the
right foot of the warrior is seen, whilst the left of that of No. II. is concealed by the vesture
of the Amazon ; in No. I. is perceived the left hand of the female, who elevates her buckler
behind the right arm of the hero, whilst in No. II. the Amazon seizes with her right hand
the left arm of the warrior, seeking to disengage herself; so in No. I. the left arm of the
hero remains and appears foreshortened, and he closes the hand with which he holds his
buckler; whilst in No. II. the right arm (the hand of which apparently was also closed),
is stretched out to strike the hostile figure, which is nearly thrown down. He who
attentively considers these, and other evident distinctions, in the detail, and in the cast of the
drapery, will experience a similar sensation to him who is moved by very fine variations in music
on the same theme. The design and modelling of the figures are altogether so perfect, that
the most refined taste can desire nothing more.
If, by means of any optical process, these groups could be so magnified as to appear of
the size of the colossal figures of the Quirinal at Rome, a practised eye would still be
unable to discover faults in any part of them. The great superiority in the art of modelling
appears most particularly in the body of the hero in No. I., which is wonderfully well pre-
served, and in a part of that of the Amazon of the same group. In the movement of this
figure, which does not exhibit an adolescent, but a man at an age when the body is fully
developed, there is a play in all the muscles, which, though not exaggerated, is very striking,
particularly in reference to the small scale of the figures. The feminine forms are conceived
with an equal degree of truth and judgment ; and their peculiar grace is as easy to feel, as it is
difficult to explain.
The draperies are designed and executed by the same master-hand. They present nothing-
conventional, but their flow is in perfect accordance with the movements ; and in this view
7 See what is said further, in chapter V., relative to the signification and the ancient type of the hero in No. I.
c
motive or purpose ; one object balances the other; the fierce beauty of the male figures, which,
as victorious, are the most commanding, presents a striking contrast with the female forms,
which are more rounded and delicate, though not without a certain degree of martial energy. It
is the same with the accessories in each composition ; the bucklers, and the light draperies,
by their lines of connection, contribute much to the harmony of the groups. The great
symmetry which the artist was bound to observe, allowed but little variety in the leading lines.
That which in No. I. runs from the left shoulder of the warrior to his left foot, corresponds
exactly with the analogous contour of the right side in the hero of No. II. In the same
manner, the second dominant line of the contour, that of the Amazon's left side in No. I.,
from the shoulder as far as the foot, is very similar to that of the female figure in No. II.
The same may be said of the right side of the Amazon of No. I., compared with the left of
that of No. II. ; the right arm of the warrior No. I., and again his right side as far as the
knee, correspond precisely with the same parts of the left side, in the analogous figure of No. II.
The movement of the heads of the warriors is also the same in both plates. This symmetry
in the arrangement is owing to the nature of the subject, and to the destination of the two
groups as symmetrical ornaments of one and the same armour. But how skilfully has the
artist varied all the subordinate details ! The round shield of the hero No. II. is well
suited to the composition of that plate ; it is, notwithstanding, by its form and place in the
group, altogether different from the large, and rather oval buckler, of the hero in No. I. It
is the same with the fine fall of the drapery of No. II., which singularly relieves the animated
movement of the group, but which would not be adapted to the grouping of the figures in
No. I. : since in this last the oval shield of the warrior, and the uplifted shield of the
Amazon, fill up the places which in No. II. are occupied by the drapery floating behind the
back of the hero, and by a part of his circular shield ; it was, therefore, necessary to place the
drapery of the warrior No. I. lower down, to avoid deranging the harmony of that composi-
tion, and not to destroy the dignified deportment which it was to express/
The same sagacity is observable in all the other details. Thus, for instance, in No. I. the
right foot of the warrior is seen, whilst the left of that of No. II. is concealed by the vesture
of the Amazon ; in No. I. is perceived the left hand of the female, who elevates her buckler
behind the right arm of the hero, whilst in No. II. the Amazon seizes with her right hand
the left arm of the warrior, seeking to disengage herself; so in No. I. the left arm of the
hero remains and appears foreshortened, and he closes the hand with which he holds his
buckler; whilst in No. II. the right arm (the hand of which apparently was also closed),
is stretched out to strike the hostile figure, which is nearly thrown down. He who
attentively considers these, and other evident distinctions, in the detail, and in the cast of the
drapery, will experience a similar sensation to him who is moved by very fine variations in music
on the same theme. The design and modelling of the figures are altogether so perfect, that
the most refined taste can desire nothing more.
If, by means of any optical process, these groups could be so magnified as to appear of
the size of the colossal figures of the Quirinal at Rome, a practised eye would still be
unable to discover faults in any part of them. The great superiority in the art of modelling
appears most particularly in the body of the hero in No. I., which is wonderfully well pre-
served, and in a part of that of the Amazon of the same group. In the movement of this
figure, which does not exhibit an adolescent, but a man at an age when the body is fully
developed, there is a play in all the muscles, which, though not exaggerated, is very striking,
particularly in reference to the small scale of the figures. The feminine forms are conceived
with an equal degree of truth and judgment ; and their peculiar grace is as easy to feel, as it is
difficult to explain.
The draperies are designed and executed by the same master-hand. They present nothing-
conventional, but their flow is in perfect accordance with the movements ; and in this view
7 See what is said further, in chapter V., relative to the signification and the ancient type of the hero in No. I.
c