DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.870#0037
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quantity of space afforded in their respective situations. Thus those figures which were placed at the
extreme angles of the pediment were made recumbent; for instance the Hyperion, the Theseus,
the Ilyssus, and the first figure in the group of the Fates. Those next adjoining were represented in
sitting postures; and those in the centre, where the greatest perpendicular extent was allowed, were
formed standing upright. The whole of these figures were most admirable in their execution,
but that which appears the best entitled to precedence is the
THESEUS.*
Plates 2, 3, 4, 5. No. 71.
The unrivalled excellence in the form and attitude of this figure claims the highest commendation
that can he bestowed on a work of art. When the position of the body is considered, the beautiful
and elegant sweep from the head to the knees is most striking.
* M. Visconti, a celebrated antiquarian, calls this figure Hercules. His opinion, it is said, is founded on the circumstance of its sitting
on a lion's skin, and also on the similarity of the attitude to the ancient medal of the Crotonian Hercules, in the possession of the British
Museum.
The Author, having in a former part of this Essay acknowledged his ignorance in antiquarian matters, forbears offering any opinion
on this question, deeming it the safest course to follow the Synopsis published by the Museum, both in regard to the name of this figure
as well as of all the rest.
The subject of each Plate is numbered the same as the original in the Museum. It is possible, however, that the numbers on the
originals may be altered at some future period, in consequence of a fresh arrangement, but against such a contingency it is impossible
for the Author to provide. He therefore deemed it necessary to advert to that circumstance in order to account for any variation in
the numbers which may hereafter take place.
E 2
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quantity of space afforded in their respective situations. Thus those figures which were placed at the
extreme angles of the pediment were made recumbent; for instance the Hyperion, the Theseus,
the Ilyssus, and the first figure in the group of the Fates. Those next adjoining were represented in
sitting postures; and those in the centre, where the greatest perpendicular extent was allowed, were
formed standing upright. The whole of these figures were most admirable in their execution,
but that which appears the best entitled to precedence is the
THESEUS.*
Plates 2, 3, 4, 5. No. 71.
The unrivalled excellence in the form and attitude of this figure claims the highest commendation
that can he bestowed on a work of art. When the position of the body is considered, the beautiful
and elegant sweep from the head to the knees is most striking.
* M. Visconti, a celebrated antiquarian, calls this figure Hercules. His opinion, it is said, is founded on the circumstance of its sitting
on a lion's skin, and also on the similarity of the attitude to the ancient medal of the Crotonian Hercules, in the possession of the British
Museum.
The Author, having in a former part of this Essay acknowledged his ignorance in antiquarian matters, forbears offering any opinion
on this question, deeming it the safest course to follow the Synopsis published by the Museum, both in regard to the name of this figure
as well as of all the rest.
The subject of each Plate is numbered the same as the original in the Museum. It is possible, however, that the numbers on the
originals may be altered at some future period, in consequence of a fresh arrangement, but against such a contingency it is impossible
for the Author to provide. He therefore deemed it necessary to advert to that circumstance in order to account for any variation in
the numbers which may hereafter take place.
E 2
■I