DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.37251#0320
282
GALLERIA SUPERIORE II. 4, 5
on side mouldings. The relief has been broken in two horizontally at the middle,
and each horizontal piece again in two vertically, the irregular joins being made up
with plaster.
The procession of three figures moves from 1. to r.
On the r. a Maenad leads the procession advancing with i. leg
forward, and beating the tympanum, with head slightly thrown back; she
is rather taller than her companions and has a long flowing drapery
thrown over her 1. shoulder, which leaves her r. side and leg bare.
In the centre a youthful satyr with hair confined by a fillet, and
panther's skin over his 1. shoulder, advances to r. and plays on the double
flutes. He has a tail, but human ears.
On the 1. we have a satyr with in his r. hand and panther's
skin wrapped round his 1. arm and tied round his neck, advancing on tip-
toe to r. with his weight on the r. leg and the 1. drawn back. He has
pointed ears but no tail showing. The Dionysiac panther runs alongside
and looks up at him.
All three figures stand on a small raised plinth which projects from
but does not occupy the whole width of the slab.
These types are common Neo-Attic subjects (cf. TrzbM/z, no. 7).
Ordinary rough work, perhaps of the Augustan period.
Provenance unknown.
5. COLOSSAL HERACLES OF GILDED BRONZE (pi. 113).
H. 2-41 m. The club and the 1. foot have been broken otf and replaced. There
are several irregular patches. There is a large hole at the back of the r. thigh,
inside which the supporting rod of the leg is visible, and another roughly circular
one (-11 m. diam.) in the top of the head. Eyes rendered on the surface of the
bronze by an incised circle enclosing a crescent-shaped depression.
Heracles is represented as youthful and unbearded. He stands up-
right with his weight on the 1. leg and the r. advanced and carried a little
to the side. In his 1. hand, which is bent at the elbow and extended
forwards, he holds the three apples of the Hesperides. His r. hand holds
a knotted club by the top (the projection on the end shows that it once
rested on some support which is now missing). The r. shoulder is raised
and the muscles and veins of the arm are more emphasized than seems
consistent with holding a club which was otherwise supported; the head
turns slightly in the same direction. The long and slender hips seem
barely capable of supporting the massive torso. The hair is short, with
an olive-wreath round it, and the locks are treated in the manner of the
third century B. c. with a fringe of small upstanding tufts as in the
' Hermes ' of Anticythera.
The presence of the apples marks the statue as Hellenistic, since
before the third century they are not given to Heracles (see Furtwangler
in Roscher, p. 21*72). The statue is best understood by com-
parison with the small bronze statue of the same subject, and evidently
copied from the same original, namely the Heracles from Byblos in the
British Museum(j5*. ./1A 827 —Clarac 785, 1966 —
pi. go*), and an inferior replica in the Terme with lion-skin wrapped
* In this publication (1915) the bronze is only compared to the colossal statue
in the Rotonda of the Vatican (HelbigS, 293), which, however, though also showing
Scopaic influence in the head (see Helbig), has a totally different rhythm and pose.
GALLERIA SUPERIORE II. 4, 5
on side mouldings. The relief has been broken in two horizontally at the middle,
and each horizontal piece again in two vertically, the irregular joins being made up
with plaster.
The procession of three figures moves from 1. to r.
On the r. a Maenad leads the procession advancing with i. leg
forward, and beating the tympanum, with head slightly thrown back; she
is rather taller than her companions and has a long flowing drapery
thrown over her 1. shoulder, which leaves her r. side and leg bare.
In the centre a youthful satyr with hair confined by a fillet, and
panther's skin over his 1. shoulder, advances to r. and plays on the double
flutes. He has a tail, but human ears.
On the 1. we have a satyr with in his r. hand and panther's
skin wrapped round his 1. arm and tied round his neck, advancing on tip-
toe to r. with his weight on the r. leg and the 1. drawn back. He has
pointed ears but no tail showing. The Dionysiac panther runs alongside
and looks up at him.
All three figures stand on a small raised plinth which projects from
but does not occupy the whole width of the slab.
These types are common Neo-Attic subjects (cf. TrzbM/z, no. 7).
Ordinary rough work, perhaps of the Augustan period.
Provenance unknown.
5. COLOSSAL HERACLES OF GILDED BRONZE (pi. 113).
H. 2-41 m. The club and the 1. foot have been broken otf and replaced. There
are several irregular patches. There is a large hole at the back of the r. thigh,
inside which the supporting rod of the leg is visible, and another roughly circular
one (-11 m. diam.) in the top of the head. Eyes rendered on the surface of the
bronze by an incised circle enclosing a crescent-shaped depression.
Heracles is represented as youthful and unbearded. He stands up-
right with his weight on the 1. leg and the r. advanced and carried a little
to the side. In his 1. hand, which is bent at the elbow and extended
forwards, he holds the three apples of the Hesperides. His r. hand holds
a knotted club by the top (the projection on the end shows that it once
rested on some support which is now missing). The r. shoulder is raised
and the muscles and veins of the arm are more emphasized than seems
consistent with holding a club which was otherwise supported; the head
turns slightly in the same direction. The long and slender hips seem
barely capable of supporting the massive torso. The hair is short, with
an olive-wreath round it, and the locks are treated in the manner of the
third century B. c. with a fringe of small upstanding tufts as in the
' Hermes ' of Anticythera.
The presence of the apples marks the statue as Hellenistic, since
before the third century they are not given to Heracles (see Furtwangler
in Roscher, p. 21*72). The statue is best understood by com-
parison with the small bronze statue of the same subject, and evidently
copied from the same original, namely the Heracles from Byblos in the
British Museum(j5*. ./1A 827 —Clarac 785, 1966 —
pi. go*), and an inferior replica in the Terme with lion-skin wrapped
* In this publication (1915) the bronze is only compared to the colossal statue
in the Rotonda of the Vatican (HelbigS, 293), which, however, though also showing
Scopaic influence in the head (see Helbig), has a totally different rhythm and pose.