DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.32867#0449
SCULPTURE
4i7
heavy curving locks already seen in the lion figures at Si‘; but the stumps of the front
legs show an attempt to treat the muscular system in a more naturalistic manner.
The head of the lion and that of the gazelle are entirely without force or expression;
the one suggests ferocity no more than the other suggests fear or suffering. The
lion’s mouth is open, showing the tongue, but the mouth in no way resembles the
mouth of a lion and gives no indication of the formation of the jaws. The eyes are
equally unleonine, and, with the rest of the head, are again strikingly suggestive of the
lion figures in the medieval churches of Italy.
Si‘. nike. The sculpture of the classic period in the Hauran is perhaps best
represented by a torso found near one of the great outer portals of the forecourts of
the temple at Si‘. The torso is that of a winged victory, and, from the neck to the
knees, measures fifty centimeters. Its style is in keeping with that of the classic archi-
tectural remains among which it lay and of which it probably once formed a part.
The pose is free and full of ease and grace. The head was thrown well backward.
One armwas raised; the other, which is preserved down to the elbow, falls just free
from the body. The left knee is slightly advanced; the right leg seems to have
extended out behind, as the
principal support of the
body; the wings, only frag-
ments of which are pre-
served at the back, were
spread out in the act of
flight. A light drapery is
caught upon the left shoul-
der by a clasp, and falls
below the knees, covering
the left breast and display-
ing the right; it was caught
at the waist by a girdle
loosely tied. The treat-
ment of the whole subject
is at once bold and grace-
ful, particularly when the
basalt of which it is made is taken into consideration. The flesh parts are soft and
well modeled; the drapery is light and clinging, while the finish, which is not very
careful, is sufficient for a statue that was to be exposed to the weather and probably
occupied a lofty place, such as the keystone of the great central arch of the gateway,
as a piece of architectural adornment intended to be seen only from a distance. There
are fragments, within the court, of a second figure quite similar to this one.
Two views of the figure of Nike at Si‘.
4i7
heavy curving locks already seen in the lion figures at Si‘; but the stumps of the front
legs show an attempt to treat the muscular system in a more naturalistic manner.
The head of the lion and that of the gazelle are entirely without force or expression;
the one suggests ferocity no more than the other suggests fear or suffering. The
lion’s mouth is open, showing the tongue, but the mouth in no way resembles the
mouth of a lion and gives no indication of the formation of the jaws. The eyes are
equally unleonine, and, with the rest of the head, are again strikingly suggestive of the
lion figures in the medieval churches of Italy.
Si‘. nike. The sculpture of the classic period in the Hauran is perhaps best
represented by a torso found near one of the great outer portals of the forecourts of
the temple at Si‘. The torso is that of a winged victory, and, from the neck to the
knees, measures fifty centimeters. Its style is in keeping with that of the classic archi-
tectural remains among which it lay and of which it probably once formed a part.
The pose is free and full of ease and grace. The head was thrown well backward.
One armwas raised; the other, which is preserved down to the elbow, falls just free
from the body. The left knee is slightly advanced; the right leg seems to have
extended out behind, as the
principal support of the
body; the wings, only frag-
ments of which are pre-
served at the back, were
spread out in the act of
flight. A light drapery is
caught upon the left shoul-
der by a clasp, and falls
below the knees, covering
the left breast and display-
ing the right; it was caught
at the waist by a girdle
loosely tied. The treat-
ment of the whole subject
is at once bold and grace-
ful, particularly when the
basalt of which it is made is taken into consideration. The flesh parts are soft and
well modeled; the drapery is light and clinging, while the finish, which is not very
careful, is sufficient for a statue that was to be exposed to the weather and probably
occupied a lofty place, such as the keystone of the great central arch of the gateway,
as a piece of architectural adornment intended to be seen only from a distance. There
are fragments, within the court, of a second figure quite similar to this one.
Two views of the figure of Nike at Si‘.