DOI Page / Citation link:
https://doi.org/10.11588/diglit.5253#0520
HEAD OF THEMIS. 4§5
may be, that she leaned against some support; but this fragment may be the
trace of some peculiar head-ornament. The slightly opened mouth, through
which are seen the upper teeth, gives the impression at first sight of singing;
but, with the head raised like this in contemplation, it is natural for the lips to
open slightly. So new is the cast of this beautiful face, and so remarkable its
intensely absorbed expression, that the question becomes a most interesting
one, who the goddess may be, represented here. Certainly this face has not
the Aphrodite type, there being nothing of the love-seeking, bewitching eye of
that goddess, with her expression of immediate presence; neither do we see
the cold, imperious Hera. The fact that the head was discovered on the south-
ern slope of the Acropolis, where Pausanias reports the existence of a shrine to
Themis, as well as its intensely contemplative, rapt expression, make it proba-
ble that this is indeed the inspired prophetess Themis, the counsellor of Zeus,
the mother of the Hours, and goddess of order in the universe.97<> But the
rich motherliness of her type seems to point to the goddess Ge Curotrophos,
the Carer for Youth, who was also worshipped on the same site. A recently
discovered inscription happily gives us the key to this beautiful combination of
types, teaching us that these goddesses reported by Pausanias as worshipped
in separate shrines were in reality reverenced as one being called Ge Themis.977
Forgetting for a moment the expression of great soul-beauty beaming
through this face, our attention will be drawn to the remarkable handling of
the marble, the exquisite use of its translucent effects, producing soft and sub-
tile skin, and, again, its bold, easy treatment in the hair, calling to mind similar
peculiarities in Praxiteles' Hermes. Indeed, so strong are the reminders here
of what the ancients praised in Praxiteles, — the truth to nature which seemed
to turn stone to beaming life,—as to leave no doubt, that, if not by that
master, it is full)' worthy of his great name, and belongs at least to his school.
That this head was celebrated in antiquity, appears from a copy made in Roman
times, which is now in the Berlin Museum. A comparison of the two heads
(Selections, Plate X.) will show how the artist of later times smoothed away
all the peculiar charms of surface treatment; how, making the eye more natu-
ralistic, he has robbed it of expression; and, finally, how he has left off the
curls, and dryly elaborated the hair to suit the taste of his day, sacrificing that
exquisite bloom which marks the Athenian head.
Of the architectural monuments of this age in Athens, decorated with
sculptures, almost the only one a tall complete is the choragic monument oi
Lysicrates, popularly called the Lantern of Diogenes, and erected in accord-
ance with an interesting ancient custom. At the expense of some wealthy
citizen, a choir was furnished and drilled for musical or dramatic performances,
to add to the brilliancy of the public festivals held in honor of the gods.
Phe contest for a prize, which took place between several such choirs, furnished
an attractive feature of these solemnities, and was generally held between the
may be, that she leaned against some support; but this fragment may be the
trace of some peculiar head-ornament. The slightly opened mouth, through
which are seen the upper teeth, gives the impression at first sight of singing;
but, with the head raised like this in contemplation, it is natural for the lips to
open slightly. So new is the cast of this beautiful face, and so remarkable its
intensely absorbed expression, that the question becomes a most interesting
one, who the goddess may be, represented here. Certainly this face has not
the Aphrodite type, there being nothing of the love-seeking, bewitching eye of
that goddess, with her expression of immediate presence; neither do we see
the cold, imperious Hera. The fact that the head was discovered on the south-
ern slope of the Acropolis, where Pausanias reports the existence of a shrine to
Themis, as well as its intensely contemplative, rapt expression, make it proba-
ble that this is indeed the inspired prophetess Themis, the counsellor of Zeus,
the mother of the Hours, and goddess of order in the universe.97<> But the
rich motherliness of her type seems to point to the goddess Ge Curotrophos,
the Carer for Youth, who was also worshipped on the same site. A recently
discovered inscription happily gives us the key to this beautiful combination of
types, teaching us that these goddesses reported by Pausanias as worshipped
in separate shrines were in reality reverenced as one being called Ge Themis.977
Forgetting for a moment the expression of great soul-beauty beaming
through this face, our attention will be drawn to the remarkable handling of
the marble, the exquisite use of its translucent effects, producing soft and sub-
tile skin, and, again, its bold, easy treatment in the hair, calling to mind similar
peculiarities in Praxiteles' Hermes. Indeed, so strong are the reminders here
of what the ancients praised in Praxiteles, — the truth to nature which seemed
to turn stone to beaming life,—as to leave no doubt, that, if not by that
master, it is full)' worthy of his great name, and belongs at least to his school.
That this head was celebrated in antiquity, appears from a copy made in Roman
times, which is now in the Berlin Museum. A comparison of the two heads
(Selections, Plate X.) will show how the artist of later times smoothed away
all the peculiar charms of surface treatment; how, making the eye more natu-
ralistic, he has robbed it of expression; and, finally, how he has left off the
curls, and dryly elaborated the hair to suit the taste of his day, sacrificing that
exquisite bloom which marks the Athenian head.
Of the architectural monuments of this age in Athens, decorated with
sculptures, almost the only one a tall complete is the choragic monument oi
Lysicrates, popularly called the Lantern of Diogenes, and erected in accord-
ance with an interesting ancient custom. At the expense of some wealthy
citizen, a choir was furnished and drilled for musical or dramatic performances,
to add to the brilliancy of the public festivals held in honor of the gods.
Phe contest for a prize, which took place between several such choirs, furnished
an attractive feature of these solemnities, and was generally held between the