DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5253#0319
286
ARCHAIC SCULPTURE.
olis, ordered Amphicrates, as suggestive of her name, to execute the statue of a
lioness, whose open, tongueless jaws should indicate the girl's steadfast silence.
After Xerxes' plundering expedition, a new group, in bronze, of the two Tyrant-
slayers was erected at Athens in place of the one carried off by the invader.
This was done by Critios and Nesiotes, the latter, perhaps, from- Naxos.S0^
Numerous repetitions of an excited group of two men rushing forward in
attack, indicate that the original from which these works were derived was a
very favorite one in antiquity. These are found on coins (tctradraclmue), leaden
Fig. 136. Harmodios and Aristogeiton: (a) Relief from Chair in Athens; (6) Coin of Athens; (c, d) Statues in
Naples, — all traceable to a Group by Critios and Nesiotes.
marks and vases from Athens, all of which are doubtless allied to the group by
Critios and Nesiotes.510 Instances of these repetitions of this subject are on
the shield of an Athena, painted on a prize-vase now in the British Museum ;
on the arm of a marble chair found in Athens (Fig. 135 <?); and on Athenian
coins of the fifth century (b). It has also been recognized in the statues (c, d)
now in Naples, restored as gladiators standing apart, and, where untouched by
the restorer, having a lean and sinewy look. In Florence also is a replica of
one of the statues, but executed without any archaism. In these groups the
majority of archa;ologists recognize Aristogeiton in the older, bearded figure
with extended arm, on which hangs his mantle; and in the younger Harmo-
dios, who raises his arm as if to strike a blow. On a vase in Wiirzburg, this
ARCHAIC SCULPTURE.
olis, ordered Amphicrates, as suggestive of her name, to execute the statue of a
lioness, whose open, tongueless jaws should indicate the girl's steadfast silence.
After Xerxes' plundering expedition, a new group, in bronze, of the two Tyrant-
slayers was erected at Athens in place of the one carried off by the invader.
This was done by Critios and Nesiotes, the latter, perhaps, from- Naxos.S0^
Numerous repetitions of an excited group of two men rushing forward in
attack, indicate that the original from which these works were derived was a
very favorite one in antiquity. These are found on coins (tctradraclmue), leaden
Fig. 136. Harmodios and Aristogeiton: (a) Relief from Chair in Athens; (6) Coin of Athens; (c, d) Statues in
Naples, — all traceable to a Group by Critios and Nesiotes.
marks and vases from Athens, all of which are doubtless allied to the group by
Critios and Nesiotes.510 Instances of these repetitions of this subject are on
the shield of an Athena, painted on a prize-vase now in the British Museum ;
on the arm of a marble chair found in Athens (Fig. 135 <?); and on Athenian
coins of the fifth century (b). It has also been recognized in the statues (c, d)
now in Naples, restored as gladiators standing apart, and, where untouched by
the restorer, having a lean and sinewy look. In Florence also is a replica of
one of the statues, but executed without any archaism. In these groups the
majority of archa;ologists recognize Aristogeiton in the older, bearded figure
with extended arm, on which hangs his mantle; and in the younger Harmo-
dios, who raises his arm as if to strike a blow. On a vase in Wiirzburg, this