DOI Page / Citation link:
https://doi.org/10.11588/diglit.5596#0094
70
ANCIENT ART.
in Jupiter, Neptune, and the Indian Bacchus, the
beard and arrangement of hair are the sole evidences
of age; neither wrinkles, nor hollow temples are
seen; the cheeks are less full than in some youthful
figures, but the cheek-bones are not projecting.
The deformity of Vulcan's lameness was concealed
by Alcamenes, in the statue of this divinity at
Athens, by the more than ordinary beauty which
he succeeded in imparting to his countenance.
Although the figure was standing, he so managed
the drapery as to express lameness without exhibit-
ing deformity. Agoracritus, for the same reason,
chose a sitting posture, in order that he might
the better avoid the offensiveness of deformity.
The figure Avas draped ; and yet he so skilfully
attended to the anatomy, as to convey to the
mind of the spectator the idea of that which he
thought proper to conceal. In each case the artist
chose rather to depart from the custom of repre-
senting the gods as naked, than by adhering to it to
exhibit a defect. The artist seemed ever to bear in
mind the serene life which the gods enjoyed, that
state, in which a happy and passionless existence, a
cheerful serenity, a celestial joy, and godlike calm,
for ever reigned.
ANCIENT ART.
in Jupiter, Neptune, and the Indian Bacchus, the
beard and arrangement of hair are the sole evidences
of age; neither wrinkles, nor hollow temples are
seen; the cheeks are less full than in some youthful
figures, but the cheek-bones are not projecting.
The deformity of Vulcan's lameness was concealed
by Alcamenes, in the statue of this divinity at
Athens, by the more than ordinary beauty which
he succeeded in imparting to his countenance.
Although the figure was standing, he so managed
the drapery as to express lameness without exhibit-
ing deformity. Agoracritus, for the same reason,
chose a sitting posture, in order that he might
the better avoid the offensiveness of deformity.
The figure Avas draped ; and yet he so skilfully
attended to the anatomy, as to convey to the
mind of the spectator the idea of that which he
thought proper to conceal. In each case the artist
chose rather to depart from the custom of repre-
senting the gods as naked, than by adhering to it to
exhibit a defect. The artist seemed ever to bear in
mind the serene life which the gods enjoyed, that
state, in which a happy and passionless existence, a
cheerful serenity, a celestial joy, and godlike calm,
for ever reigned.