DOI Page / Citation link:
https://doi.org/10.11588/diglit.870#0049
The figures are so much mutilated that the drapery constitutes at present the chief beauty of the
composition. The detail of the folds is extremely minute and elaborate, but it is so judiciously
arranged and so happily contrasted with the broad expansion of opposing parts, as to have the
finest general effect, and to exhibit at a distance a proper breadth and distinction of masses.
The disposition of the folds betrays no marks of formality or studied design; on the contrary,
every fold appears to be the result of an accidental direction given to it by some fortuitous change
in the position of the body. The same attention to the finishing of the posterior side of the figures
is manifested in this group as it is in the Theseus and Ilyssus, although those parts could not be seen
when placed in the pediment; and this circumstance proves that such was the love of their art
cherished by those eminent sculptors that they could not leave any part of their works unfinished,
even in cases where such a neglect could not have been detected. The left arm of the second figure,
when viewed behind, is extremely beautiful.
This group was placed at the angle of the eastern pediment.
CARYATIS.
Plate 13. No. 43
The entablature of the Temple of Pandrosus was supported by six of these figures. According
to Vitruvius, it appears that after the defeat of the Persians, and the destruction of the city of Carya,
the architects of those times placed female figures of this description in public buildings to
perpetuate the ignominy of those who deserted the cause of liberty and their country.
composition. The detail of the folds is extremely minute and elaborate, but it is so judiciously
arranged and so happily contrasted with the broad expansion of opposing parts, as to have the
finest general effect, and to exhibit at a distance a proper breadth and distinction of masses.
The disposition of the folds betrays no marks of formality or studied design; on the contrary,
every fold appears to be the result of an accidental direction given to it by some fortuitous change
in the position of the body. The same attention to the finishing of the posterior side of the figures
is manifested in this group as it is in the Theseus and Ilyssus, although those parts could not be seen
when placed in the pediment; and this circumstance proves that such was the love of their art
cherished by those eminent sculptors that they could not leave any part of their works unfinished,
even in cases where such a neglect could not have been detected. The left arm of the second figure,
when viewed behind, is extremely beautiful.
This group was placed at the angle of the eastern pediment.
CARYATIS.
Plate 13. No. 43
The entablature of the Temple of Pandrosus was supported by six of these figures. According
to Vitruvius, it appears that after the defeat of the Persians, and the destruction of the city of Carya,
the architects of those times placed female figures of this description in public buildings to
perpetuate the ignominy of those who deserted the cause of liberty and their country.