DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5253#0292
ATLAS METOPE, OLYMPIA.
259
scale as the remaining metopes, though larger in the engraving, shows us that
fictitious simultaneousness which occurs continually in ancient paintings and
sculpture, crowding successive events all into one picture. Thus King Atlas,
with royal band in hair, has just returned with both hands full of apples; but
Fig. 123. Metope from Temple of Zeus at Oiympia. Heracles, Atlas, and Hesperid.
Heracles already has the cushion on his shoulder, the world borne by it being
left to the imagination. The apples of the second hand are not represented
in the cut, since the engraving was made before they were found. Another
of the details of the mythic story crowded into this relief is a kind-hearted
nymph, one of the guardians of the tree, who stands by, and extends her hand
to give the hero friendly aid. The vigorous forms of Heracles and Atlas are
259
scale as the remaining metopes, though larger in the engraving, shows us that
fictitious simultaneousness which occurs continually in ancient paintings and
sculpture, crowding successive events all into one picture. Thus King Atlas,
with royal band in hair, has just returned with both hands full of apples; but
Fig. 123. Metope from Temple of Zeus at Oiympia. Heracles, Atlas, and Hesperid.
Heracles already has the cushion on his shoulder, the world borne by it being
left to the imagination. The apples of the second hand are not represented
in the cut, since the engraving was made before they were found. Another
of the details of the mythic story crowded into this relief is a kind-hearted
nymph, one of the guardians of the tree, who stands by, and extends her hand
to give the hero friendly aid. The vigorous forms of Heracles and Atlas are