DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.3483#0072
2$
APOLLO AND MARSYAS.
This gem is not only remarkable for the grace and spirit displayed in it&
execution, but for other particulars illustrating the fable.
The original is deposited in the Farnese cabinet, at Naples, and is a red
jasper*, a circumstance not to be considered as accidental; its sanguinary hue
is descriptive of the horrid subject. The ancient artists frequently selected
stones whose colours were analogous to their subjects, or to the divinity they
represented. Hence we find Neptunes and Leanders engraven on beryls,
which, from their sea-green hue, are preferred to gems of any other colour.
Bacchus's and Silenus's are found on the purple amethyst; Apollo, or the
Sun, on the golden topaz; and Proserpines on black stones.
The subject is Marsyas bound to a tree in order to be flayed alive; a pu-
nishment inflicted on the presumptuous musician for his temerity in attempt-
ing to contend in musical skill with Apollo himself. The god is represented
in a noble attitude, holding his lyre, and looking contemptuously on his un-
fortunate rival, whose hands are bound behind him to a tree. The young
Scythian, who is to flay him, kneels at the feet of the god, and appears to sup-
plicate for mercy; it has been conjectured that he is Olympus, the disciple of
Marsyas. The double pipe of Marsyas is suspended on a leafless tree.
This gem is wrought in the purest style of engraving; an air of dignity and
triumph marks the character of Apollo, to which is added beauty of form,
perhaps too nearly approaching to feminine. The figure of Marsyas is
* Green jasper, when it has red spots, is called haematites, and vulgarly we call these
stones, blood stones. It is curious to observe, that they were employed in the middle ages, and
more recently by christian artists, to represent the figure of Christ after the flagellation, and
figures of the Virgin, and of the Martyrs.
APOLLO AND MARSYAS.
This gem is not only remarkable for the grace and spirit displayed in it&
execution, but for other particulars illustrating the fable.
The original is deposited in the Farnese cabinet, at Naples, and is a red
jasper*, a circumstance not to be considered as accidental; its sanguinary hue
is descriptive of the horrid subject. The ancient artists frequently selected
stones whose colours were analogous to their subjects, or to the divinity they
represented. Hence we find Neptunes and Leanders engraven on beryls,
which, from their sea-green hue, are preferred to gems of any other colour.
Bacchus's and Silenus's are found on the purple amethyst; Apollo, or the
Sun, on the golden topaz; and Proserpines on black stones.
The subject is Marsyas bound to a tree in order to be flayed alive; a pu-
nishment inflicted on the presumptuous musician for his temerity in attempt-
ing to contend in musical skill with Apollo himself. The god is represented
in a noble attitude, holding his lyre, and looking contemptuously on his un-
fortunate rival, whose hands are bound behind him to a tree. The young
Scythian, who is to flay him, kneels at the feet of the god, and appears to sup-
plicate for mercy; it has been conjectured that he is Olympus, the disciple of
Marsyas. The double pipe of Marsyas is suspended on a leafless tree.
This gem is wrought in the purest style of engraving; an air of dignity and
triumph marks the character of Apollo, to which is added beauty of form,
perhaps too nearly approaching to feminine. The figure of Marsyas is
* Green jasper, when it has red spots, is called haematites, and vulgarly we call these
stones, blood stones. It is curious to observe, that they were employed in the middle ages, and
more recently by christian artists, to represent the figure of Christ after the flagellation, and
figures of the Virgin, and of the Martyrs.