DOI Page / Citation link:
https://doi.org/10.11588/diglit.5253#0380
346 THE AGE OF PHEIDIAS AND OF POLYCLEITOS.
Passing to the west end, the rear of the temple, we should find that only
one beautiful slab (Selections, Plate V.) has been removed from the Parthenon.
The general quiet of this west frieze is enlivened by motion in its centre. The
procession is forming, doubtless as it often did in reality, in the outer Kcramei-
cos; a horse is being bridled ; a marshal seems expostulating about delay; two
figures tighten their sandals, and look up at those already mounted ; another
puts on his garments; others still stand quietly by their steeds, one of which
appears to be brushing a fly off his front leg; another horseman swings a whip
at his unruly beast. Here and there are couples already under way, and gallop-
ing on to join those of the north side, as we see in the first group, just before
they reach the angle (Selections, Plate V.). How beautiful, in these two fig-
ures, the impatience of the steeds and the joyous self-reliance of the youths !
Happily the face of one in full front view is preserved. The graceful move-
ment of this youth as if to adjust a wreath, and the turn of the head of many
another, give us charming touches of nature. The direction of the procession,
diverging to pass around the two sides of the building, is without harsh dis-
turbance of the lines ingeniously started on this west side, by a horse who
breaks loose among the youths facing the north, and turns to run in the oppo-
site direction.663 His keeper struggles to check him, while a comrade comes to
his assistance. The line being thus broken, the eye accepts, although uncon-
sciously, the opposite direction, soon taken by the whole of the procession along
the south side. This masterly group of the rearing horse and his keeper may
have suggested the similar motive of the " Horse Tamers," on Monte Cavallo
at Rome. This and other figures from the frieze seem to have been familiar
motives ; since they appear on various later monuments, such as the Nereid
monument, and also on vases and terra-cottas.66-*
In these fascinating rows of horsemen, no two sit just alike. The usual
pose is in profile, but at intervals riders break the uniformity by turning the
body to speak or beckon to those following. Note the back of a rider from
whose shoulders the mantle has fallen, or the front of the one who looks back,
and raises his hand to his head as if to adjust his wreath (Selections, Plate V.).
The perfectly easy and natural manner in which the hands are used is a beauti-
ful study in itself. Sometimes they stroke caressingly the mane, as if to quiet
the fiery steed ; again, they pull the ear, the horse's most sensitive part; or
swing the whip; or, as in the majority of cases, simply hold the bridle. All
this is done with such subtle and beautiful variations in attitude, and in pose
of arms and fingers, as to make their study a true delight, showing us how
simple and yet effective the changes made on a single theme. The farther
feet of only a few of the horsemen are given, the great majority being appar-
ently covered by the nearer foot, or perhaps originally indicated by color,
of which, however, no traces are now to be found. Wherever given, the far-
ther foot is rendered with great skill; and its omission cannot possibly be an
Passing to the west end, the rear of the temple, we should find that only
one beautiful slab (Selections, Plate V.) has been removed from the Parthenon.
The general quiet of this west frieze is enlivened by motion in its centre. The
procession is forming, doubtless as it often did in reality, in the outer Kcramei-
cos; a horse is being bridled ; a marshal seems expostulating about delay; two
figures tighten their sandals, and look up at those already mounted ; another
puts on his garments; others still stand quietly by their steeds, one of which
appears to be brushing a fly off his front leg; another horseman swings a whip
at his unruly beast. Here and there are couples already under way, and gallop-
ing on to join those of the north side, as we see in the first group, just before
they reach the angle (Selections, Plate V.). How beautiful, in these two fig-
ures, the impatience of the steeds and the joyous self-reliance of the youths !
Happily the face of one in full front view is preserved. The graceful move-
ment of this youth as if to adjust a wreath, and the turn of the head of many
another, give us charming touches of nature. The direction of the procession,
diverging to pass around the two sides of the building, is without harsh dis-
turbance of the lines ingeniously started on this west side, by a horse who
breaks loose among the youths facing the north, and turns to run in the oppo-
site direction.663 His keeper struggles to check him, while a comrade comes to
his assistance. The line being thus broken, the eye accepts, although uncon-
sciously, the opposite direction, soon taken by the whole of the procession along
the south side. This masterly group of the rearing horse and his keeper may
have suggested the similar motive of the " Horse Tamers," on Monte Cavallo
at Rome. This and other figures from the frieze seem to have been familiar
motives ; since they appear on various later monuments, such as the Nereid
monument, and also on vases and terra-cottas.66-*
In these fascinating rows of horsemen, no two sit just alike. The usual
pose is in profile, but at intervals riders break the uniformity by turning the
body to speak or beckon to those following. Note the back of a rider from
whose shoulders the mantle has fallen, or the front of the one who looks back,
and raises his hand to his head as if to adjust his wreath (Selections, Plate V.).
The perfectly easy and natural manner in which the hands are used is a beauti-
ful study in itself. Sometimes they stroke caressingly the mane, as if to quiet
the fiery steed ; again, they pull the ear, the horse's most sensitive part; or
swing the whip; or, as in the majority of cases, simply hold the bridle. All
this is done with such subtle and beautiful variations in attitude, and in pose
of arms and fingers, as to make their study a true delight, showing us how
simple and yet effective the changes made on a single theme. The farther
feet of only a few of the horsemen are given, the great majority being appar-
ently covered by the nearer foot, or perhaps originally indicated by color,
of which, however, no traces are now to be found. Wherever given, the far-
ther foot is rendered with great skill; and its omission cannot possibly be an