DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5253#0320
CRITIOS AND NESIOTES. 287
same group appears, storming against a Tyrant, thus making well-nigh con-
clusive the relationship of all these monuments to the bronze figures of the
Attic heroes by Critios and Nesiotes. The head of the Aristogeiton (d) in
Naples is restored : and it is possible that a bearded head in Madrid, inscribed
Pherekydes, may belong to it, as suggested by Treu; but the life which must
have pulsated in the body of the energetic Tyrant-slayer is certainly not ex-
pressed in this neck, whose muscles seem inactive, and more suited to a statue
in quiet. That Critios' and Nesiotes' group must have enjoyed a very great
fame, appears from its frequent representation on so many different kinds of
Athenian monuments, sometimes as seen from one side, and sometimes from
the other. The fire of these excited companions, and the earnestness of their
mission, moreover, seem exaggerated in expression, in true keeping with the
olden time, to which the group must have belonged.
Critios, one of the sculptors of this celebrated group, is said to have been
the head of a school which lasted for several generations ; but, of the masters
comprising it, we know little besides their names. It may be possible, in time,
to trace in archaic Attic works its influence.5" Several tantalizing inscriptions
from pedestals have been found on the Acropolis, with the names of Critios
and Nesiotes ; but we learn nothing from them of their works and artistic
style, compared by Lucian to that of the old writers, " compressed, sinewy,
rigid, and sharply outlined." 512 Pliny styles these men the rivals of Pheidias;
but they were, no doubt, much his seniors.5'3
Another old Attic master, Hegias, is also mentioned. His works are said
by Pliny to have been an Athena; a Pyrrhos, son of Achilles ; and the Dios-
curi, seen in later days before the temple of Jupiter Tonans at Rome.SM His
cclctizontcs pueri may have been like those boys on horseback, connected with
the graves, such as we have seen in painting decorated the tombstone of Lysias ;
and such a figure in the round, in the hard style of early art, has been discov-
ered near Athens.5'5 The general interest of this Athenian master lies, how-
ever, not so much in his works, termed harsh and stiff by the ancients, as in
the fact that he was the first teacher of Pheidias.
From the scanty literary notices of artistic activity in Athens during the
years previous to the Persian war, we learn that Miltiades consecrated a goat-
footed Pan on the Acropolis, and that Themistocles put up a statue of a water-
carrying maiden, as a warning against the abuse of water-privileges ; the cost
of the statue having been defrayed with moneys collected as fines for such
abuse. This figure was carried off by the Persians with their other booty.
When the wall of Athens, three years after the battle of Salamis, was to
be built, in accordance with the decision of people and council, a statue of
Hermes Agoraios was dedicated by the archous, — a work so fine, that, as we
learn, it became thoroughly black from the continual moulds taken by later
artists.5'^
same group appears, storming against a Tyrant, thus making well-nigh con-
clusive the relationship of all these monuments to the bronze figures of the
Attic heroes by Critios and Nesiotes. The head of the Aristogeiton (d) in
Naples is restored : and it is possible that a bearded head in Madrid, inscribed
Pherekydes, may belong to it, as suggested by Treu; but the life which must
have pulsated in the body of the energetic Tyrant-slayer is certainly not ex-
pressed in this neck, whose muscles seem inactive, and more suited to a statue
in quiet. That Critios' and Nesiotes' group must have enjoyed a very great
fame, appears from its frequent representation on so many different kinds of
Athenian monuments, sometimes as seen from one side, and sometimes from
the other. The fire of these excited companions, and the earnestness of their
mission, moreover, seem exaggerated in expression, in true keeping with the
olden time, to which the group must have belonged.
Critios, one of the sculptors of this celebrated group, is said to have been
the head of a school which lasted for several generations ; but, of the masters
comprising it, we know little besides their names. It may be possible, in time,
to trace in archaic Attic works its influence.5" Several tantalizing inscriptions
from pedestals have been found on the Acropolis, with the names of Critios
and Nesiotes ; but we learn nothing from them of their works and artistic
style, compared by Lucian to that of the old writers, " compressed, sinewy,
rigid, and sharply outlined." 512 Pliny styles these men the rivals of Pheidias;
but they were, no doubt, much his seniors.5'3
Another old Attic master, Hegias, is also mentioned. His works are said
by Pliny to have been an Athena; a Pyrrhos, son of Achilles ; and the Dios-
curi, seen in later days before the temple of Jupiter Tonans at Rome.SM His
cclctizontcs pueri may have been like those boys on horseback, connected with
the graves, such as we have seen in painting decorated the tombstone of Lysias ;
and such a figure in the round, in the hard style of early art, has been discov-
ered near Athens.5'5 The general interest of this Athenian master lies, how-
ever, not so much in his works, termed harsh and stiff by the ancients, as in
the fact that he was the first teacher of Pheidias.
From the scanty literary notices of artistic activity in Athens during the
years previous to the Persian war, we learn that Miltiades consecrated a goat-
footed Pan on the Acropolis, and that Themistocles put up a statue of a water-
carrying maiden, as a warning against the abuse of water-privileges ; the cost
of the statue having been defrayed with moneys collected as fines for such
abuse. This figure was carried off by the Persians with their other booty.
When the wall of Athens, three years after the battle of Salamis, was to
be built, in accordance with the decision of people and council, a statue of
Hermes Agoraios was dedicated by the archous, — a work so fine, that, as we
learn, it became thoroughly black from the continual moulds taken by later
artists.5'^