DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68796#0083
chap, ii Characterisation of the Types 63
accidents. In the childish period of the beginnings of
sculpture noticed above (§ 32), the different gods and
heroes were characterised by their familiar attributes, or
their names were written beside them on the ground of
the relief. In the maturity of the art the use of attributes
in characterisation was controlled by sound artistic tact.
Attributes are of course of value in giving richness of detail
in a composition, and no sculptor could afford entirely
to abandon their use. A distinction was however made
between accidental attributes—often connected with the
particular personage for no intelligible reason—and essen-
tial attributes where the connection is at once apparent.
For example the eagle, lordly of aspect, with its home in
the upper air, at once takes its place as a fitting companion
for the king of gods and men. Nike naturally attends on
the victorious Athene. The goddess of love and beauty
holds delicately a flower in her finger-tips. Apollo carries
the bow or lyre according to the particular side of his
character that is to be emphasised. Such attributes are
always in place, but the Greek sculptor never placed too
much reliance on them. The winsome grace of Aphrodite,
the splendour and swiftness of Apollo, were displayed in
the whole pose and action of the forms. The softly
effeminate lineaments of Dionysus needed no crown of
vine-leaves for their identification. The Zeus of Pheidias
at Olympia was not known by sceptre and olive crown, but
by the majesty that sat upon his brow, and revealed to the
awe-struck worshipper ‘the guardian deity of a united
Hellas . . . the giver of life and breath and all good
things, the common father and saviour and protector of
men.’1
1 Dio Chrysost. Orat. 74, p. 412.
accidents. In the childish period of the beginnings of
sculpture noticed above (§ 32), the different gods and
heroes were characterised by their familiar attributes, or
their names were written beside them on the ground of
the relief. In the maturity of the art the use of attributes
in characterisation was controlled by sound artistic tact.
Attributes are of course of value in giving richness of detail
in a composition, and no sculptor could afford entirely
to abandon their use. A distinction was however made
between accidental attributes—often connected with the
particular personage for no intelligible reason—and essen-
tial attributes where the connection is at once apparent.
For example the eagle, lordly of aspect, with its home in
the upper air, at once takes its place as a fitting companion
for the king of gods and men. Nike naturally attends on
the victorious Athene. The goddess of love and beauty
holds delicately a flower in her finger-tips. Apollo carries
the bow or lyre according to the particular side of his
character that is to be emphasised. Such attributes are
always in place, but the Greek sculptor never placed too
much reliance on them. The winsome grace of Aphrodite,
the splendour and swiftness of Apollo, were displayed in
the whole pose and action of the forms. The softly
effeminate lineaments of Dionysus needed no crown of
vine-leaves for their identification. The Zeus of Pheidias
at Olympia was not known by sceptre and olive crown, but
by the majesty that sat upon his brow, and revealed to the
awe-struck worshipper ‘the guardian deity of a united
Hellas . . . the giver of life and breath and all good
things, the common father and saviour and protector of
men.’1
1 Dio Chrysost. Orat. 74, p. 412.