DOI Page / Citation link:
https://doi.org/10.11588/diglit.37251#0099
SALA DELL'ERCOLE i—SALA DELLA CAPPELLA i 67
no. 14461), and a less complete one in the Villa Giulia Museum (GW<2<3.
11453, P- 316)- in style, however, they differ from each other and from this
group, though none are earlier than the late fourth century or Hellenistic
period. In the Stroganoff terra-cotta the runner's head is turned to her
1. and the rider's to front, which seems to be the reverse of the present;
nor do the eyes of the runner appear to have been covered. The subject
in all cases is usually held to be one of showing girls playing the
game of'E^eSproyHs (Pauly-Wissowa, v, p. 2747); but in holding, as do
most archaeologists, that it represents a children's game, we cannot over-
look the fact that the figures have the strongly developed forms of grown
women, and the size and excellence of the present group may point to
something more important than
The twist of the body above the waist (claimed by Dickins,
&W2^Azr<?, p. 47, to be characteristic of the Lysippic school, and especially
of its Rhodian branch), the high girding, the prominent breasts with
nipples set above the centre, the skilful treatment of the almost trans-
parent drapery and the effect of the air on it and on the heavier material,
are marks of the end of the fourth or the first half of the third century B. c.,
and connect the work more particularly with the Nike of Samothrace ;
while the transparency of the drapery, and the way in which it loses itself
on close contact with certain points, for instance in the runner's r. leg,
show the influence of the Epidaurus sculptures and the school of
Timotheus.
That the artist cared more for the effectiveness of the composition
and execution than for truth to nature in detail is apparent from the
runner's long draperies, which, suitable enough for a winged figure just
alighting, are impossible in a runner; while her hands, which in reality
would have to support almost all the weight of the rider, barely touch
each other. Whether this group (the largest surviving and the only one
in marble) is a late fourth century original or a copy, remains undecided.
The execution is good.
Found (April ig, 1907) in Piazza Dante.
Brought from the Antiquario Comunale in 1921.
Mariani in AW/. (Y7/2. xxxv (1907), pp. 34 ff., pi. vi, and hV&A?, viii
(1921), p. 323; HelbigS, 1041. Lippold, 717^2472 2272a? ^772^27^2272^72, p. 134.
SALA DELLA CAPPELLA
1. BUST OF YOUNG ROMAN LADY (pi. 20).
H. (with pedestal) -63 m. Marble, Restored: tip oi nose, patches
on both lips, neck mended in plaster ; bust (copied from no. 2).
Head of young woman turned slightly to right; iris and pupil faintly
indicated. Hair parted in the middle and arranged in undulating waves;
ending behind in a plaited coil. Smooth features without much expression.
There can be no doubt that nos. 1 and 2 are not only portraits of the
same person, but practically replicas of the same portrait.
Indifferent work of the early Antonine period.
no. 14461), and a less complete one in the Villa Giulia Museum (GW<2<3.
11453, P- 316)- in style, however, they differ from each other and from this
group, though none are earlier than the late fourth century or Hellenistic
period. In the Stroganoff terra-cotta the runner's head is turned to her
1. and the rider's to front, which seems to be the reverse of the present;
nor do the eyes of the runner appear to have been covered. The subject
in all cases is usually held to be one of showing girls playing the
game of'E^eSproyHs (Pauly-Wissowa, v, p. 2747); but in holding, as do
most archaeologists, that it represents a children's game, we cannot over-
look the fact that the figures have the strongly developed forms of grown
women, and the size and excellence of the present group may point to
something more important than
The twist of the body above the waist (claimed by Dickins,
&W2^Azr<?, p. 47, to be characteristic of the Lysippic school, and especially
of its Rhodian branch), the high girding, the prominent breasts with
nipples set above the centre, the skilful treatment of the almost trans-
parent drapery and the effect of the air on it and on the heavier material,
are marks of the end of the fourth or the first half of the third century B. c.,
and connect the work more particularly with the Nike of Samothrace ;
while the transparency of the drapery, and the way in which it loses itself
on close contact with certain points, for instance in the runner's r. leg,
show the influence of the Epidaurus sculptures and the school of
Timotheus.
That the artist cared more for the effectiveness of the composition
and execution than for truth to nature in detail is apparent from the
runner's long draperies, which, suitable enough for a winged figure just
alighting, are impossible in a runner; while her hands, which in reality
would have to support almost all the weight of the rider, barely touch
each other. Whether this group (the largest surviving and the only one
in marble) is a late fourth century original or a copy, remains undecided.
The execution is good.
Found (April ig, 1907) in Piazza Dante.
Brought from the Antiquario Comunale in 1921.
Mariani in AW/. (Y7/2. xxxv (1907), pp. 34 ff., pi. vi, and hV&A?, viii
(1921), p. 323; HelbigS, 1041. Lippold, 717^2472 2272a? ^772^27^2272^72, p. 134.
SALA DELLA CAPPELLA
1. BUST OF YOUNG ROMAN LADY (pi. 20).
H. (with pedestal) -63 m. Marble, Restored: tip oi nose, patches
on both lips, neck mended in plaster ; bust (copied from no. 2).
Head of young woman turned slightly to right; iris and pupil faintly
indicated. Hair parted in the middle and arranged in undulating waves;
ending behind in a plaited coil. Smooth features without much expression.
There can be no doubt that nos. 1 and 2 are not only portraits of the
same person, but practically replicas of the same portrait.
Indifferent work of the early Antonine period.