DOI Page / Citation link:
https://doi.org/10.11588/diglit.5253#0276
STYLE OF WEST-PEDIMENT GROUP. 243
the symmetry observed in this pedimental group ! The exact correspondence
of the figures on each side will strike every observer, and call to mind the like
symmetry in the pediment of the Megara Treasury at Olympia, described
above on p. 211. But, in these yEgina marbles, a single figure occupies the
centre of the pediment, instead of a divided group, as in the Megara pedi-
ment : besides, the combatants move more agreeably towards the centre, and
do not rush away from it, as in those marbles where they seem in danger of
striking their heads against the hard, sloping lines of the cornice. But, in
spite of the decided improvements upon that earlier work, the composition of
this /Eginetan group is still too clearly artificial strongly to appeal to us. The
prime excellence of its marbles lies, then, not in their composition, but in that
pervading correctness in the well-developed muscles, and the excited move-
ments of the bodies, rendered with understanding of the form. The artist
does not attain complete naturalism, and doubtless did not strive for it: the
great emphasis seems laid upon the bony framework and its muscular envelope.
He gives the collar-bones their true proportions and direction, thus determin-
ing the height and breadth of the shoulders. He always emphasizes the breast-
bone, and even the prominence at its base, only visible in nature when the body
is erect. The true and false ribs are correctly given : the well-built upper part
of the body connects with the lower by an easy and natural curve of the back,
quite different from the rigid and exaggerated lines of earlier statues. The
loins are still narrow compared with the shoulders, but in the greater shallow-
ness of the triangle at the lower end of the pelvis there is a nearer approach
to nature than in statues of the sixth century. The limbs are long in propor-
tion to the trunk, and give the impression of a lack of massive strength. Upon
this framework the sculptor has intelligently spread out the muscular system.
The intercostals weave naturally in and out of the ribs, and the muscles of
arms and legs appear in true proportions. The perpendicular and horizontal
furrows of the abdomen are always visible ; but the stiffly uniform space be-
tween the horizontal muscles compares unfavorably with the more natural divis-
ions in archaic Attic forms, as will appear on comparing these /Eginetan works
with the group of Aristogeiton and Harmodios (traceable to an Attic origi-
nal), where the two lower spaces are considerably wider than the one above.
Moreover, the flatness of the stomachs in these /Eginetan figures from the west
pediment calls to mind the same characteristic in earlier statues. The heads
are small, the eyes protruding and Chinese-shaped, the eyebrows at an ugly
obtuse angle, the noses and upper lips short, the chins long and square, and the
tightly closed mouths of every one of these warriors, whether fighting or dying,
are drawn up as though smiling. The hair lies in locks resembling strings of
macaroni, or in precise curls like rows of snail-shells. Age is distinguished
from youth simply by the addition of a beard. Very few veins are rendered ;
and no intimation is given of the underlying layers of fat which in nature
the symmetry observed in this pedimental group ! The exact correspondence
of the figures on each side will strike every observer, and call to mind the like
symmetry in the pediment of the Megara Treasury at Olympia, described
above on p. 211. But, in these yEgina marbles, a single figure occupies the
centre of the pediment, instead of a divided group, as in the Megara pedi-
ment : besides, the combatants move more agreeably towards the centre, and
do not rush away from it, as in those marbles where they seem in danger of
striking their heads against the hard, sloping lines of the cornice. But, in
spite of the decided improvements upon that earlier work, the composition of
this /Eginetan group is still too clearly artificial strongly to appeal to us. The
prime excellence of its marbles lies, then, not in their composition, but in that
pervading correctness in the well-developed muscles, and the excited move-
ments of the bodies, rendered with understanding of the form. The artist
does not attain complete naturalism, and doubtless did not strive for it: the
great emphasis seems laid upon the bony framework and its muscular envelope.
He gives the collar-bones their true proportions and direction, thus determin-
ing the height and breadth of the shoulders. He always emphasizes the breast-
bone, and even the prominence at its base, only visible in nature when the body
is erect. The true and false ribs are correctly given : the well-built upper part
of the body connects with the lower by an easy and natural curve of the back,
quite different from the rigid and exaggerated lines of earlier statues. The
loins are still narrow compared with the shoulders, but in the greater shallow-
ness of the triangle at the lower end of the pelvis there is a nearer approach
to nature than in statues of the sixth century. The limbs are long in propor-
tion to the trunk, and give the impression of a lack of massive strength. Upon
this framework the sculptor has intelligently spread out the muscular system.
The intercostals weave naturally in and out of the ribs, and the muscles of
arms and legs appear in true proportions. The perpendicular and horizontal
furrows of the abdomen are always visible ; but the stiffly uniform space be-
tween the horizontal muscles compares unfavorably with the more natural divis-
ions in archaic Attic forms, as will appear on comparing these /Eginetan works
with the group of Aristogeiton and Harmodios (traceable to an Attic origi-
nal), where the two lower spaces are considerably wider than the one above.
Moreover, the flatness of the stomachs in these /Eginetan figures from the west
pediment calls to mind the same characteristic in earlier statues. The heads
are small, the eyes protruding and Chinese-shaped, the eyebrows at an ugly
obtuse angle, the noses and upper lips short, the chins long and square, and the
tightly closed mouths of every one of these warriors, whether fighting or dying,
are drawn up as though smiling. The hair lies in locks resembling strings of
macaroni, or in precise curls like rows of snail-shells. Age is distinguished
from youth simply by the addition of a beard. Very few veins are rendered ;
and no intimation is given of the underlying layers of fat which in nature