DOI Page / Citation link:
https://doi.org/10.11588/diglit.5253#0394
360 THE AGE OF PHEIDIAS AND OF POLYCLEITOS.
ing group, seen by Carrey, consisted of two seated draped females, one of
whom supported on her lap another, a nude companion, while beside them
was a child; but, of these, only one small fragment is preserved, being a part
of the first draped seated figure. These are, perhaps, a Nereid and Thalassa,
who bears the nude Aphrodite accompanied by her son Eros. That this Aphro-
dite, the only known nude female form in sculpture of the time of Pheidias,
although in vases frequently met, is gone, is an irreparable loss ; as it would
have taught us how that sublime age represented this difficult subject.
In the remoter corner are two local gods, — the first a crouching river-god,
now in Athens, whose position is thought to represent the crooked windings of
the Ilissos in the south of Attica; while the adjoining recumbent figure of the
extreme corner is thought to represent the sacred spring Callirrhoe, which in
reality takes its rise in the bed of the Ilissos.
Glancing at the composition of this pediment, as preserved to us by Carrey,
we find strict symmetry, but veiled so as scarcely to be recognized. The action
does not flow outward, as in the very ancient Megara pediment at Olympia; nor
does it flow inward, as in the /Egina marbles, or seem confused, as in the west
pediment at Olympia, but combines with greatest clearness most varied move-
ments. The rise and fall is such, that it seems altogether independent of the
stern architectural lines bounding it; and the diagonal lines of the sculpture
break the impression of threatening weight made by the sloping eaves of the
cornice. Of all the heads seen by Carrey, not one is with certainty preserved
to us. One marble head sadly restored, now in Paris, from the Venetian col-
lection of San Gallo, Morosini's private secretary, is thought by some to ap-
proach the Parthenon sculptures in character; but its deeply set eyes, dimpled
chin, loosely falling hair, and pathetic expression, are strong reasons for be-
lieving that it belongs to the century after Pheidias. Doubtless the head of the
draped Aphrodite, now in Berlin, and which we have associated with Alcamenes'
name, Plate II., comes nearer to what these heads must have been; showing us,
in its grand reserve and exquisite tenderness, a style quite worthy of these
torsos, and very like that of the preserved heads of the frieze.
In looking over both pedimental groups, we find, that, while different hands
must have been employed in the execution of the individual statues, there is not
that great difference in excellence which characterized the ^Eginetan pediments.
Many Attic sculptors of this time must have been possessed of astonishing
skill in carrying out conceptions, emanating, we must believe, from one master-
mind, whose imagination here displays a richness of creative power unsurpassed.
This imagination conceived, as we have seen, the strong youth in action and
repose; the queenly beauty draped, reclining or seated ; the girlish form in
swift motion ; nude and draped female shapes, leaning forward, and guiding
proud steeds ; children, river-gods, and the shapes of the powerful " earth-
shaker," and others of the mighty gods ; while it has blended all into har-
ing group, seen by Carrey, consisted of two seated draped females, one of
whom supported on her lap another, a nude companion, while beside them
was a child; but, of these, only one small fragment is preserved, being a part
of the first draped seated figure. These are, perhaps, a Nereid and Thalassa,
who bears the nude Aphrodite accompanied by her son Eros. That this Aphro-
dite, the only known nude female form in sculpture of the time of Pheidias,
although in vases frequently met, is gone, is an irreparable loss ; as it would
have taught us how that sublime age represented this difficult subject.
In the remoter corner are two local gods, — the first a crouching river-god,
now in Athens, whose position is thought to represent the crooked windings of
the Ilissos in the south of Attica; while the adjoining recumbent figure of the
extreme corner is thought to represent the sacred spring Callirrhoe, which in
reality takes its rise in the bed of the Ilissos.
Glancing at the composition of this pediment, as preserved to us by Carrey,
we find strict symmetry, but veiled so as scarcely to be recognized. The action
does not flow outward, as in the very ancient Megara pediment at Olympia; nor
does it flow inward, as in the /Egina marbles, or seem confused, as in the west
pediment at Olympia, but combines with greatest clearness most varied move-
ments. The rise and fall is such, that it seems altogether independent of the
stern architectural lines bounding it; and the diagonal lines of the sculpture
break the impression of threatening weight made by the sloping eaves of the
cornice. Of all the heads seen by Carrey, not one is with certainty preserved
to us. One marble head sadly restored, now in Paris, from the Venetian col-
lection of San Gallo, Morosini's private secretary, is thought by some to ap-
proach the Parthenon sculptures in character; but its deeply set eyes, dimpled
chin, loosely falling hair, and pathetic expression, are strong reasons for be-
lieving that it belongs to the century after Pheidias. Doubtless the head of the
draped Aphrodite, now in Berlin, and which we have associated with Alcamenes'
name, Plate II., comes nearer to what these heads must have been; showing us,
in its grand reserve and exquisite tenderness, a style quite worthy of these
torsos, and very like that of the preserved heads of the frieze.
In looking over both pedimental groups, we find, that, while different hands
must have been employed in the execution of the individual statues, there is not
that great difference in excellence which characterized the ^Eginetan pediments.
Many Attic sculptors of this time must have been possessed of astonishing
skill in carrying out conceptions, emanating, we must believe, from one master-
mind, whose imagination here displays a richness of creative power unsurpassed.
This imagination conceived, as we have seen, the strong youth in action and
repose; the queenly beauty draped, reclining or seated ; the girlish form in
swift motion ; nude and draped female shapes, leaning forward, and guiding
proud steeds ; children, river-gods, and the shapes of the powerful " earth-
shaker," and others of the mighty gods ; while it has blended all into har-