DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5065#0041
VII.
FURTHER PROOFS OF THE REAL TYPE OF AJAX TELAMONIOS.
Though we must be fully convinced, by the simple recital, (in additional note XIII.), of
that part of the Iliad, which has inspired the composition of the abovementioned marble
groups, that Ajax son of Telamon was indeed the principal personage in the defence of the
body of Patroclos, we may still refer to some other circumstances which tend to confirm the
persuasion of his identity with the upright figure in those monuments.
1. The figure which embraces the lifeless, and still very young body,4 is in all these
groups not only a hero of ripe age, but also, by comparison with the dead body, a man
of lofty stature, and of very strong make. The fine head which belongs to the fragments
preserved in the Vatican5 is decidedly in the same style and character. It is, also, of the
same proportions as the powerful body of the group of Pasquino, and these two fragments
might readily be united, since the head of the Pasquino is unfortunately too much muti-
lated for any one to speak with certainty of the character it expressed. The head in the
Vatican has an expression extremely vigorous, and, if closely examined, its details may be
thought somewhat exaggerated. Visconti, whose eye was keen and true, had also remarked
this circumstance ; and in his Museo P. CI. (1. 1. p. 31) he speaks " di qualche exagge-
razione che sembra adoperata nelle fatezze di Menelao." But the fact is that the elevated
height of the erect figure in these groups, and the marked traits of the head in the Vatican,
its forehead strongly wrinkled, as well as its brows knit with sorrow and indignation, &c.—
represent wonderfully w7ell the Ajax Telamonios of Homer, in a situation as difficult as it
was decisive. We have before spoken sufficiently of his height, of the sombre look (tov
(SXoavpov), which Horner gives him in the combats, and I would here merely add, that pre-
cisely the passage of Homer, which I consider as having furnished the subject of this group,
(11. XVII. 132-137) contains, in the comparison of the lion, traits which are almost literally
applicable to the head in. the Vatican.6 Now the traits of a lofty stature, and vigorous
4 The great youth of the dead hero (in conformity with what Homer says of the age of Patroclos) cannot escape
observation in the group called Pasquino at Rome, and in the two which are at Florence. This youthfulness is
likewise expressed with a master's hand, by the gentle forms, by the smoothness and relaxation of the muscles, in
the fine fragments of the legs preserved in the Vatican. Visconti justly says on this subject (Mus. P. CI. 1. 1.
p. 31) " vi son delle altre parti, dove la verita e maravigliosamente imitata. Tali sono le gambe distese e rigide
del cadavere, i lineamenti delle quali, come quelli delle spalle ferite, sono eleganti e gentili, ma pur toccati con tal
franchezza, e condotti con si raro intendimento, da paragonarsi co' capi d' opera di quest' arte ;" his observation, ib.
p. 28, is also very true, when he states that the youth of the dead figure, and the maturity of the age of the
other which is standing up, are sufficient to refute the opinion of Cinelli (Bocchi ampliato, by Cinelli in his Bellezze
di Firenze, p. 114) that this group represents Teucer holding in his arms his brother Ajax who has killed himself.
Indeed the youthfulness of the dead body corresponds no more to the age of Ajax at the time of his fatal end, than
the ripe age of the erect figure displays the character of Teucer, younger brother of this hero. Nevertheless P. A. Maffei,
who in his Raccolta di Statue, &c. (Roma, 1704, in fol.) has given an engraving of this group on the Ponte Vecchio at
Florence, has approved the opinion uttered by Cinelli. I perceive in Maffei (text, p. 43) that this group of the Ponte
Vecchio at Florence has been restored by the sculptor Lud. Salvetti. The engraving in Maffei (by G. G. Frezza) is
executed with spirit, but the artist has not taken sufficient care to render all the play of the muscles of the figures
in question.
5 The Roman sculptor Giov. 1'ierantoni has superintended the restoration, upon the whole not unsuccessful, of
the injured parts of the beautiful head.
6 This passage is thus translated by Pope :
Meanwhile great Ajax, his broad shield displayed,
Guards the dead hero with the dreadful shade ;
FURTHER PROOFS OF THE REAL TYPE OF AJAX TELAMONIOS.
Though we must be fully convinced, by the simple recital, (in additional note XIII.), of
that part of the Iliad, which has inspired the composition of the abovementioned marble
groups, that Ajax son of Telamon was indeed the principal personage in the defence of the
body of Patroclos, we may still refer to some other circumstances which tend to confirm the
persuasion of his identity with the upright figure in those monuments.
1. The figure which embraces the lifeless, and still very young body,4 is in all these
groups not only a hero of ripe age, but also, by comparison with the dead body, a man
of lofty stature, and of very strong make. The fine head which belongs to the fragments
preserved in the Vatican5 is decidedly in the same style and character. It is, also, of the
same proportions as the powerful body of the group of Pasquino, and these two fragments
might readily be united, since the head of the Pasquino is unfortunately too much muti-
lated for any one to speak with certainty of the character it expressed. The head in the
Vatican has an expression extremely vigorous, and, if closely examined, its details may be
thought somewhat exaggerated. Visconti, whose eye was keen and true, had also remarked
this circumstance ; and in his Museo P. CI. (1. 1. p. 31) he speaks " di qualche exagge-
razione che sembra adoperata nelle fatezze di Menelao." But the fact is that the elevated
height of the erect figure in these groups, and the marked traits of the head in the Vatican,
its forehead strongly wrinkled, as well as its brows knit with sorrow and indignation, &c.—
represent wonderfully w7ell the Ajax Telamonios of Homer, in a situation as difficult as it
was decisive. We have before spoken sufficiently of his height, of the sombre look (tov
(SXoavpov), which Horner gives him in the combats, and I would here merely add, that pre-
cisely the passage of Homer, which I consider as having furnished the subject of this group,
(11. XVII. 132-137) contains, in the comparison of the lion, traits which are almost literally
applicable to the head in. the Vatican.6 Now the traits of a lofty stature, and vigorous
4 The great youth of the dead hero (in conformity with what Homer says of the age of Patroclos) cannot escape
observation in the group called Pasquino at Rome, and in the two which are at Florence. This youthfulness is
likewise expressed with a master's hand, by the gentle forms, by the smoothness and relaxation of the muscles, in
the fine fragments of the legs preserved in the Vatican. Visconti justly says on this subject (Mus. P. CI. 1. 1.
p. 31) " vi son delle altre parti, dove la verita e maravigliosamente imitata. Tali sono le gambe distese e rigide
del cadavere, i lineamenti delle quali, come quelli delle spalle ferite, sono eleganti e gentili, ma pur toccati con tal
franchezza, e condotti con si raro intendimento, da paragonarsi co' capi d' opera di quest' arte ;" his observation, ib.
p. 28, is also very true, when he states that the youth of the dead figure, and the maturity of the age of the
other which is standing up, are sufficient to refute the opinion of Cinelli (Bocchi ampliato, by Cinelli in his Bellezze
di Firenze, p. 114) that this group represents Teucer holding in his arms his brother Ajax who has killed himself.
Indeed the youthfulness of the dead body corresponds no more to the age of Ajax at the time of his fatal end, than
the ripe age of the erect figure displays the character of Teucer, younger brother of this hero. Nevertheless P. A. Maffei,
who in his Raccolta di Statue, &c. (Roma, 1704, in fol.) has given an engraving of this group on the Ponte Vecchio at
Florence, has approved the opinion uttered by Cinelli. I perceive in Maffei (text, p. 43) that this group of the Ponte
Vecchio at Florence has been restored by the sculptor Lud. Salvetti. The engraving in Maffei (by G. G. Frezza) is
executed with spirit, but the artist has not taken sufficient care to render all the play of the muscles of the figures
in question.
5 The Roman sculptor Giov. 1'ierantoni has superintended the restoration, upon the whole not unsuccessful, of
the injured parts of the beautiful head.
6 This passage is thus translated by Pope :
Meanwhile great Ajax, his broad shield displayed,
Guards the dead hero with the dreadful shade ;