DOI Page / Citation link:
https://doi.org/10.11588/diglit.15097#0049
44
heads precisely adapted themselves to the figures of the Third
Metope now under consideration; and these plaster casts have been
consequently fixed to the places from whence their originals had
been removed. The history of these two heads must not be
omitted, for it elucidates one of the modes, and it is to be feared
a very extensive one, by which these sculptures have materially
suffered. When Morosini had made himself master of Athens in
1687, he was desirous of gracing his triumph by transporting to
his native country some of the magnificent sculptures which still
adorned the sacred temple of the Parthenon; and his ineffectual
effort has been already mentioned. It is probable that his officers
would partake in this feeling, and as the heads above mentioned
were, about this time, sent to the Royal Museum at Copenhagen
by a Captain Hartmand, who probably accompanied Count Koenigs-
marck to the siege, it is not unreasonable to suppose that many
of the heads which were in existence when Carrey made his
drawings were removed by the conquerors of Athens, and sent as
trophies to their respective homes; a rational hope may still there-
fore be entertained that, by a careful examination of several European
Museums, especially Venetian, some fragments might be found which,
comparatively valueless in themselves, would add materially to the
value of the original groups, if restored to their proper places.
From our inspection of Carrey's drawing, it appears that the
Centaur has just overpowered his adversary, who is falling to the
ground, stretching his right arm downward in a sudden and unpre-
meditated effort to save himself from further fall, and at the same time
raising his shield in self-defence. The Centaur ensures the advan-
tage he has gained, and is pressing his enemy to the ground by
placing one foot upon his arm and the other upon his groin, while
he is hurling, with both hands, a large amphora against the head
of his prostrate victim. In the plate of Stuart, this vase is unfor-
tunately represented as an immense stone, a means of destruction
not unusual with these chimerical warriors, but upon this occasion
heads precisely adapted themselves to the figures of the Third
Metope now under consideration; and these plaster casts have been
consequently fixed to the places from whence their originals had
been removed. The history of these two heads must not be
omitted, for it elucidates one of the modes, and it is to be feared
a very extensive one, by which these sculptures have materially
suffered. When Morosini had made himself master of Athens in
1687, he was desirous of gracing his triumph by transporting to
his native country some of the magnificent sculptures which still
adorned the sacred temple of the Parthenon; and his ineffectual
effort has been already mentioned. It is probable that his officers
would partake in this feeling, and as the heads above mentioned
were, about this time, sent to the Royal Museum at Copenhagen
by a Captain Hartmand, who probably accompanied Count Koenigs-
marck to the siege, it is not unreasonable to suppose that many
of the heads which were in existence when Carrey made his
drawings were removed by the conquerors of Athens, and sent as
trophies to their respective homes; a rational hope may still there-
fore be entertained that, by a careful examination of several European
Museums, especially Venetian, some fragments might be found which,
comparatively valueless in themselves, would add materially to the
value of the original groups, if restored to their proper places.
From our inspection of Carrey's drawing, it appears that the
Centaur has just overpowered his adversary, who is falling to the
ground, stretching his right arm downward in a sudden and unpre-
meditated effort to save himself from further fall, and at the same time
raising his shield in self-defence. The Centaur ensures the advan-
tage he has gained, and is pressing his enemy to the ground by
placing one foot upon his arm and the other upon his groin, while
he is hurling, with both hands, a large amphora against the head
of his prostrate victim. In the plate of Stuart, this vase is unfor-
tunately represented as an immense stone, a means of destruction
not unusual with these chimerical warriors, but upon this occasion