DOI Page / Citation link:
https://doi.org/10.11588/diglit.14144#0292
2S6 THE SCULPTURES OF THE PARTHENON.
greatly embarrassed in his task by her weight. The most beautiful
of the whole series are No. I. (fig. 96) (still in its place on the temple),
where the Centaur has got the Lapith's head ' in chancery'; No.
XXVII. (12, Brit. Mus.) (fig. 97), in which the magnificent form
of the Lapith, who is stopping the flight of the Centaur, is shown to
FlG g9 great advantage against the background of
his outspread mantle; and No. XXVIII. (13,
Brit. Mus.) (fig. 98), to which by common
consent the palm has been awarded, where the
Centaur is rearing triumphantly over his pros-
trate foe, with every muscle and fibre of his
body instinct with life and vigour.
We have here the most perfect blending of
FEMALE CENTAUR, PLAYING . , • r , r\ i 1
the double flute. the human and equine lorm : Uuadrupcdes-
(From a bronze bas-relief in que hominis cum pectore pectora junctos.'
the Museum of Naples.) _ ir. - . ,
The Ccnlauress (fig. 99) is not unknown to
ancient art, but occurs very rarely, and generally in the retinue of
Dionysus.1 The invention is attributed to the painter Zeuxis, and
Lucian 2 praises him for the bold innovation. There were, however,
representations of the Ccntauress on vases before the time of Zeuxis.3
1 Vid. Bas-relief in the Vatican found on oiSiW Kofxi&fi vrfrricf. Winckelmann [A/on.
the coast of Campania (Yisconti, Mus. P. ined. So) mentions a gem representing a
CI. iv. PI. 21). Conf. Ovid, Met.'Otyrrhoe,' Ccntauress giving suck to a baby Centaur,
the daughter of the Centaur Chiron. and thinks that it is a copy of a picture of
- 1 Zeuxis,' 3. £v $e rols &\\ois To\/j.Tifj.a(Ti Zeuxis.
Kai Bi]\tiav '\TTT70Kivravpov u ZeC£is eVoiTjtrev a Bbtlicher, VasengeiiU iii. 14S.
avarpttpovvav ye Trpofferi iraidtcp 'l-JnTOKevravpcf
greatly embarrassed in his task by her weight. The most beautiful
of the whole series are No. I. (fig. 96) (still in its place on the temple),
where the Centaur has got the Lapith's head ' in chancery'; No.
XXVII. (12, Brit. Mus.) (fig. 97), in which the magnificent form
of the Lapith, who is stopping the flight of the Centaur, is shown to
FlG g9 great advantage against the background of
his outspread mantle; and No. XXVIII. (13,
Brit. Mus.) (fig. 98), to which by common
consent the palm has been awarded, where the
Centaur is rearing triumphantly over his pros-
trate foe, with every muscle and fibre of his
body instinct with life and vigour.
We have here the most perfect blending of
FEMALE CENTAUR, PLAYING . , • r , r\ i 1
the double flute. the human and equine lorm : Uuadrupcdes-
(From a bronze bas-relief in que hominis cum pectore pectora junctos.'
the Museum of Naples.) _ ir. - . ,
The Ccnlauress (fig. 99) is not unknown to
ancient art, but occurs very rarely, and generally in the retinue of
Dionysus.1 The invention is attributed to the painter Zeuxis, and
Lucian 2 praises him for the bold innovation. There were, however,
representations of the Ccntauress on vases before the time of Zeuxis.3
1 Vid. Bas-relief in the Vatican found on oiSiW Kofxi&fi vrfrricf. Winckelmann [A/on.
the coast of Campania (Yisconti, Mus. P. ined. So) mentions a gem representing a
CI. iv. PI. 21). Conf. Ovid, Met.'Otyrrhoe,' Ccntauress giving suck to a baby Centaur,
the daughter of the Centaur Chiron. and thinks that it is a copy of a picture of
- 1 Zeuxis,' 3. £v $e rols &\\ois To\/j.Tifj.a(Ti Zeuxis.
Kai Bi]\tiav '\TTT70Kivravpov u ZeC£is eVoiTjtrev a Bbtlicher, VasengeiiU iii. 14S.
avarpttpovvav ye Trpofferi iraidtcp 'l-JnTOKevravpcf