DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68516#0231
THE GOLDEN AGE
same curious want of composition, of balance, of direction. Even if we
complete the movement it is strange to note how no attempt has been
made to unite the rigid perpendicular of the goddess with the diagonal
system; her extended arm even increases the difficulty. It would have
been well within the resources of this sculptor to establish some diagonals
in the figure of Athena, and one notes once more how little it occurred
to the Greek mind to consider a more extended whole than the single
figure. This is the more remarkable in view of the thorough exploration
of appearance of the single figure which they had already undertaken.
The movement of the Heracles is admirably observed and perfectly
consistent, only again the sense of tension of the spirit is strangely
absent. In this relief, however (311), where the artist has been able to
envisage the scene as that of a single sculptural group, we get a real
composition—in some ways the most satisfactory of any such metope
compositions that I know. For here the crossing diagonals of the man
and bull and the double reverted heads produce an admirably balanced
system. Notice again the extraordinarily even, bland, unaccented
roundness of the modelling with no sense of the division of planes.
The sculptures of this temple are devoted to scenes of violent strife
in the fight of the Centaurs and Lapiths. On one of the pediments the
combatants bite and tear each other, and yet nowhere does the slow
tempo of the movements change, no ripple disturbs the bland equani-
mity of the modelling, its denial of all inner tension either of mind or
muscle. It is undeniable that this has a peculiar effect on the imagina-
tion. What we describe as an Olympian calm certainly emanates from
these figures on whom the violence of strife leaves no mark. Indeed, they
might be supposed to exemplify in an extreme degree Winckelmann’s
idea that sculpture is essentially a static art. But if the Greeks had
really thought thus would they not instinctively have avoided scenes
like that where a Centaur is vigorously chewing the arm of a Lapith
(312)? Why set up this vehement contrast between the theme and its
treatment? It certainly seems strange that the men who listened to
2Eschyhis’s tremendous dramas should have treated even more violent
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same curious want of composition, of balance, of direction. Even if we
complete the movement it is strange to note how no attempt has been
made to unite the rigid perpendicular of the goddess with the diagonal
system; her extended arm even increases the difficulty. It would have
been well within the resources of this sculptor to establish some diagonals
in the figure of Athena, and one notes once more how little it occurred
to the Greek mind to consider a more extended whole than the single
figure. This is the more remarkable in view of the thorough exploration
of appearance of the single figure which they had already undertaken.
The movement of the Heracles is admirably observed and perfectly
consistent, only again the sense of tension of the spirit is strangely
absent. In this relief, however (311), where the artist has been able to
envisage the scene as that of a single sculptural group, we get a real
composition—in some ways the most satisfactory of any such metope
compositions that I know. For here the crossing diagonals of the man
and bull and the double reverted heads produce an admirably balanced
system. Notice again the extraordinarily even, bland, unaccented
roundness of the modelling with no sense of the division of planes.
The sculptures of this temple are devoted to scenes of violent strife
in the fight of the Centaurs and Lapiths. On one of the pediments the
combatants bite and tear each other, and yet nowhere does the slow
tempo of the movements change, no ripple disturbs the bland equani-
mity of the modelling, its denial of all inner tension either of mind or
muscle. It is undeniable that this has a peculiar effect on the imagina-
tion. What we describe as an Olympian calm certainly emanates from
these figures on whom the violence of strife leaves no mark. Indeed, they
might be supposed to exemplify in an extreme degree Winckelmann’s
idea that sculpture is essentially a static art. But if the Greeks had
really thought thus would they not instinctively have avoided scenes
like that where a Centaur is vigorously chewing the arm of a Lapith
(312)? Why set up this vehement contrast between the theme and its
treatment? It certainly seems strange that the men who listened to
2Eschyhis’s tremendous dramas should have treated even more violent
< 195 >
13-2