DOI Page / Citation link:
https://doi.org/10.11588/diglit.14144#0145
HARMODIUS AND ARISTOGEITON.
109
while Aristogeiton, acting as protector to his young friend, spreads his
cloak by way of shield, and holds his sword in readiness for action.
Nothing can be more admirable than the rhythm of these beauti-
ful figures, and the manner in which the left limbs of the one corre-
spond with the right limbs of the other. Without concealing one
another they appear in the most natural and harmonious combination,
the one being placed a little in advance, so that the vacant spaces are
well filled up, and strict unity given to the group as a whole.
We have dwelt the more fully on this group, not merely on account
of its historical interest, but because it is peculiarly fitted to give a
correct idea of Attic art at this period. We see in this work the hard
outlines of powerful but rigid forms, the stiff conventional folds in the
mantle thrown over the arm of the older hero, the marks of care and
diligence so characteristic of the age, combined with a certain refine-
ment and grace which are essentially Attic.
A work which seems to be another copy of this group may be
seen in the Boboli Gardens at Florence. Though freer in style,
it is inferior in execution and interest. The same subject forms
the device of the shield of Athene, in a painting on a pseudo-
archaic vase in the British Museum (Table-case G), and on a Lecythus
(oil flask) at Vienna.1
As we look at these works we understand why, with all their
archaic stiffness, they were so highly esteemed by the connoisseurs of
antiquity. Quintilian - couples the name of Hegias (or Hegesias) with
that of Callon, and says that his statues are harder and more like the
Etruscan (duriora ct Tuscanicis proximo). He should have added
that, in spite of this superficial resemblance, there was this essential
difference, that while the works of the Attic school are full of life and
promise, the figures moulded by Etruscan artists are a ' mere assem-
blage of well-executed limbs which have no organic connexion.'
Lucian speaks of the statues irakaias ipyaaias of Kritios, Hegesias,
and Nesiotcs, and compares their style to that of ancient writers.
1 Black figures on red clay in
manga collection; *** Eugen
Arch-Episniph. lititkliltatgt* a
icich. For other repetitions sec
his/, viii. 46 (M), and Conze's Veritgtilfiiiet,
Str. vii. Taf. 7. Conf. Arch. Zeittmg, 1S70,
r. 24. 1. <-. 6.
* Oral. xii. 10. 7.
109
while Aristogeiton, acting as protector to his young friend, spreads his
cloak by way of shield, and holds his sword in readiness for action.
Nothing can be more admirable than the rhythm of these beauti-
ful figures, and the manner in which the left limbs of the one corre-
spond with the right limbs of the other. Without concealing one
another they appear in the most natural and harmonious combination,
the one being placed a little in advance, so that the vacant spaces are
well filled up, and strict unity given to the group as a whole.
We have dwelt the more fully on this group, not merely on account
of its historical interest, but because it is peculiarly fitted to give a
correct idea of Attic art at this period. We see in this work the hard
outlines of powerful but rigid forms, the stiff conventional folds in the
mantle thrown over the arm of the older hero, the marks of care and
diligence so characteristic of the age, combined with a certain refine-
ment and grace which are essentially Attic.
A work which seems to be another copy of this group may be
seen in the Boboli Gardens at Florence. Though freer in style,
it is inferior in execution and interest. The same subject forms
the device of the shield of Athene, in a painting on a pseudo-
archaic vase in the British Museum (Table-case G), and on a Lecythus
(oil flask) at Vienna.1
As we look at these works we understand why, with all their
archaic stiffness, they were so highly esteemed by the connoisseurs of
antiquity. Quintilian - couples the name of Hegias (or Hegesias) with
that of Callon, and says that his statues are harder and more like the
Etruscan (duriora ct Tuscanicis proximo). He should have added
that, in spite of this superficial resemblance, there was this essential
difference, that while the works of the Attic school are full of life and
promise, the figures moulded by Etruscan artists are a ' mere assem-
blage of well-executed limbs which have no organic connexion.'
Lucian speaks of the statues irakaias ipyaaias of Kritios, Hegesias,
and Nesiotcs, and compares their style to that of ancient writers.
1 Black figures on red clay in
manga collection; *** Eugen
Arch-Episniph. lititkliltatgt* a
icich. For other repetitions sec
his/, viii. 46 (M), and Conze's Veritgtilfiiiet,
Str. vii. Taf. 7. Conf. Arch. Zeittmg, 1S70,
r. 24. 1. <-. 6.
* Oral. xii. 10. 7.