DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5065#0045
FURTHER PROOFS OF THE TYPE OF AJAX. 35
form and the profile, but also in all the essential traits and characteristics ; for example, the
shape of the forehead, the eyes, the lips, and even the minor accessories, as the shape of the
beard, and the form of the casque. There is no difference, but in the movement of the two
heads, which arises from the different motive of the two groups. The Ajax of the marble group
is a little bent forward, because he holds between his arms the cherished body of Patroclos,
whilst he looks around him to observe the enemies' advance. On the contrary the Ajax of
the bronze group looks down upon the vanquished Amazon. In a production of so small
a size, there would be no room for ornaments upon the casque.
VIII.
AGE AND SCHOOL OF ART TO WHICH THE BRONZES OF SIRIS BELONG.
If we have succeeded in ascertaining the subject of the Bronzes of Siris, and in showing,
according to definite types of art, their affinity with other antique groups, it only remains
for us to enter upon some ulterior researches, first as to the age and school to which they
belong ; and secondly upon the events which may possibly have led to their being found on
the banks of the river known by this name.
1. With reference to the first question,—viz. to what age and to what school this pro-
duction can appertain, a fine and fruitful subject for investigation, regard ought principally
to be paid to the following considerations :
Notwithstanding the perishable state of every thing human, and our poverty in original
works of art produced in the flourishing times of free and independent Greece, which in
many ways obscures our knowledge of antiquity, we can no longer doubt about, or mistake
the principal qualities of the antique or archaic style, strictly so called, nor the criterions of
that which succeeded it, and which Winckelmann justly terms the elevated, or lofty style.
Whoever may wish to describe the character of the schools anterior to that of Phidias, will
derive inestimable advantage from the statues of the frontons of the temple of /Egina, how-
ever lately they have been introduced into the circle of archaeological knowledge. Clearer
notions may likewise with justice now be expected, on the essence and the tendency of art
in the time of Phidias, and of the schools which had the ascendance immediately after him ;
since the works of Athenian sculpture from the temples of the Acropolis, have become
more generally known. For this we are indebted first to the work of Stuart and his
associates ; next to the enterprizing spirit of the Earl of Elgin, which first made the west
of Europe acquainted with the remains of the noblest monuments of Athens ; and finally to
more recent researches. The characteristic of the earlier schools of Greek art, that is the
form and the profile, but also in all the essential traits and characteristics ; for example, the
shape of the forehead, the eyes, the lips, and even the minor accessories, as the shape of the
beard, and the form of the casque. There is no difference, but in the movement of the two
heads, which arises from the different motive of the two groups. The Ajax of the marble group
is a little bent forward, because he holds between his arms the cherished body of Patroclos,
whilst he looks around him to observe the enemies' advance. On the contrary the Ajax of
the bronze group looks down upon the vanquished Amazon. In a production of so small
a size, there would be no room for ornaments upon the casque.
VIII.
AGE AND SCHOOL OF ART TO WHICH THE BRONZES OF SIRIS BELONG.
If we have succeeded in ascertaining the subject of the Bronzes of Siris, and in showing,
according to definite types of art, their affinity with other antique groups, it only remains
for us to enter upon some ulterior researches, first as to the age and school to which they
belong ; and secondly upon the events which may possibly have led to their being found on
the banks of the river known by this name.
1. With reference to the first question,—viz. to what age and to what school this pro-
duction can appertain, a fine and fruitful subject for investigation, regard ought principally
to be paid to the following considerations :
Notwithstanding the perishable state of every thing human, and our poverty in original
works of art produced in the flourishing times of free and independent Greece, which in
many ways obscures our knowledge of antiquity, we can no longer doubt about, or mistake
the principal qualities of the antique or archaic style, strictly so called, nor the criterions of
that which succeeded it, and which Winckelmann justly terms the elevated, or lofty style.
Whoever may wish to describe the character of the schools anterior to that of Phidias, will
derive inestimable advantage from the statues of the frontons of the temple of /Egina, how-
ever lately they have been introduced into the circle of archaeological knowledge. Clearer
notions may likewise with justice now be expected, on the essence and the tendency of art
in the time of Phidias, and of the schools which had the ascendance immediately after him ;
since the works of Athenian sculpture from the temples of the Acropolis, have become
more generally known. For this we are indebted first to the work of Stuart and his
associates ; next to the enterprizing spirit of the Earl of Elgin, which first made the west
of Europe acquainted with the remains of the noblest monuments of Athens ; and finally to
more recent researches. The characteristic of the earlier schools of Greek art, that is the