DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14144#0487
45i
thus much of fact from his high-flown panegyric that the god was re-
presented standing in an easy attitude, with his right hand on his head,
like the Apollo of the Gymnasia, the Barberini Faun, the 'Ariadne,'
and some statues of Bacchus. In speaking of Apollo, Lucian1 says,
t) Ss^til Be virsp Ty? k£tf>a\i]S avatcsKkaa fxsvri, &cnrsp sk kci^/itou
fxaicpov avairavofjupov Beikvvcti top dsov. The hand on the head
is common in sleepers, and may have been an invention of Praxiteles.2
He wears a bright smile of conscious pride
on his lips, and the glance of his eye is ¥"'- '99-
at once sweet and fiery.3 The orator tells
us that ' as he gazed at this beautiful work-
he could believe that Daedalus made a
choir of dancers in actual motion, and im-
parted feeling to the gold, since Praxiteles
had almost inspired the image of his Eros
with thought, and enabled him to cut the
air with his pinions.' The figure of Eros
in Dresden (fig. 199) would probably corre-
spond very closely with the description of
Callistratus but for the false restoration
of the arms.
29. Diaditmcnos in Athens. Among the
very few figures of human beings by Praxi-
teles was that of an Ephebos, binding his
hair, not with a victor's wreath (the sinewy
athlete was no subject for Praxiteles) but statoe ok eros at Dresden.
with a ribbon to keep off the long locks
from his forehead. All that we know of this statue, too, is again
derived from Callistratus, who describes it as 'a flower of youthful
beaut)', in whose eyes glow mingled desire and bashfulness,4 and
whose face is full of loving grace. Though motionless, he seems to
possess the power of motion, and to be preparing for the dance.'
1 Anacharsis, c. y. " Friedr. A'io/'C, y>. 21. 5mir)a^W.
" Kallistrntos, .\/a/. 3: iyavfioinu Si tls ' Callistratus, .S'AJ/. II: u^ia Si Ijtto&Stf
g 2
thus much of fact from his high-flown panegyric that the god was re-
presented standing in an easy attitude, with his right hand on his head,
like the Apollo of the Gymnasia, the Barberini Faun, the 'Ariadne,'
and some statues of Bacchus. In speaking of Apollo, Lucian1 says,
t) Ss^til Be virsp Ty? k£tf>a\i]S avatcsKkaa fxsvri, &cnrsp sk kci^/itou
fxaicpov avairavofjupov Beikvvcti top dsov. The hand on the head
is common in sleepers, and may have been an invention of Praxiteles.2
He wears a bright smile of conscious pride
on his lips, and the glance of his eye is ¥"'- '99-
at once sweet and fiery.3 The orator tells
us that ' as he gazed at this beautiful work-
he could believe that Daedalus made a
choir of dancers in actual motion, and im-
parted feeling to the gold, since Praxiteles
had almost inspired the image of his Eros
with thought, and enabled him to cut the
air with his pinions.' The figure of Eros
in Dresden (fig. 199) would probably corre-
spond very closely with the description of
Callistratus but for the false restoration
of the arms.
29. Diaditmcnos in Athens. Among the
very few figures of human beings by Praxi-
teles was that of an Ephebos, binding his
hair, not with a victor's wreath (the sinewy
athlete was no subject for Praxiteles) but statoe ok eros at Dresden.
with a ribbon to keep off the long locks
from his forehead. All that we know of this statue, too, is again
derived from Callistratus, who describes it as 'a flower of youthful
beaut)', in whose eyes glow mingled desire and bashfulness,4 and
whose face is full of loving grace. Though motionless, he seems to
possess the power of motion, and to be preparing for the dance.'
1 Anacharsis, c. y. " Friedr. A'io/'C, y>. 21. 5mir)a^W.
" Kallistrntos, .\/a/. 3: iyavfioinu Si tls ' Callistratus, .S'AJ/. II: u^ia Si Ijtto&Stf
g 2