DOI Page / Citation link:
https://doi.org/10.11588/diglit.870#0039
The shape of the left leg exhibits a fine masculine character and proportion combined with the
utmost symmetry and elegance. The vein which passes down the surface of the leg proves that
the Greek artists of that period considered the observance of such minutia; as necessary to the
completion and perfection of their works.
The same delineation of veins may be seen in the torso of the Neptune in the same collection,
and this circumstance clearly shews, that, in the personifications of their deities, they adhered to the
same system of giving to the body and limbs all the natural attributes of humanity. This fact is
worthy of remark, because, in the Apollo, and in other works of that date, this practice lias not been
adopted, and the omission of it has been constantly defended by the connoisseurs of the present day,
on the plea that as the figures were intended to represent gods, they should be divested of any of
the common indications of mortality.
The back of this matchless figure is so grand and so beautiful that nature herself might have
been proud to have produced it. The graceful curve of the posterior muscle of the neck, and
the delicate protuberance of the first vertebra of the back, are worthy of observation. The well
regulated amplitude of the shoulders, and the correct and just disposition of the muscles belonging
to them, are singularly conspicuous; for although the risings and sinkings of the different masses
are marked with boldness and decision, still they melt so thoroughly into each other, as to preserve
the same breadth and harmony as is seen in nature. The trapezius muscle is shewn with great
accuracy and judgment, for it will be seen that at its termination it is not equally divided by the
back bone, as it would have been, had the body been in a perfectly straight direction; but as
the left shoulder is thrown back, all that side of the back bone becomes narrower, and consequently
utmost symmetry and elegance. The vein which passes down the surface of the leg proves that
the Greek artists of that period considered the observance of such minutia; as necessary to the
completion and perfection of their works.
The same delineation of veins may be seen in the torso of the Neptune in the same collection,
and this circumstance clearly shews, that, in the personifications of their deities, they adhered to the
same system of giving to the body and limbs all the natural attributes of humanity. This fact is
worthy of remark, because, in the Apollo, and in other works of that date, this practice lias not been
adopted, and the omission of it has been constantly defended by the connoisseurs of the present day,
on the plea that as the figures were intended to represent gods, they should be divested of any of
the common indications of mortality.
The back of this matchless figure is so grand and so beautiful that nature herself might have
been proud to have produced it. The graceful curve of the posterior muscle of the neck, and
the delicate protuberance of the first vertebra of the back, are worthy of observation. The well
regulated amplitude of the shoulders, and the correct and just disposition of the muscles belonging
to them, are singularly conspicuous; for although the risings and sinkings of the different masses
are marked with boldness and decision, still they melt so thoroughly into each other, as to preserve
the same breadth and harmony as is seen in nature. The trapezius muscle is shewn with great
accuracy and judgment, for it will be seen that at its termination it is not equally divided by the
back bone, as it would have been, had the body been in a perfectly straight direction; but as
the left shoulder is thrown back, all that side of the back bone becomes narrower, and consequently