DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14144#0569
533
by Lodovico Salvetti, and placed in the Loggia de' Lanzi at Florence
(fig. 217), where it now stands ; III. a group found in the mausoleum of
Augustus in Rome, and now in the court of the Pilti Palace at Florence;
IV. another group of which the head of the elder, and the legs of the
younger, warrior were discovered by Gavin Hamilton in Hadrian's
Villa at Tivoli. These arc now in the Vatican, where the Head of
Mcnclaus especially is the object of enthusiastic admiration. The
way in which mingled sorrow and reproach are expressed in the
noble upturned face is indescribably fine.
About forty years ago the Florentine sculptor Ricci combined
the first three fragments into a complete group, Fio. 217.
copying the left arm of Mcnclaus, which ex-
isted in none of the antique remains, from the
restoration of Tacca.
Nothing can be more admirable than the
design of this noble work, which, as a repre-
sentation of self-forgetting heroic friendship,
contains just the ideal and moral element
which we so painfully miss in the Laocoon
and the Toro Farncse. Very effective is the
contrast between the manly form of Mcnclaus,
in the fulness of life and in the utmost ex-
ertion of all his powers, with the drooping
lifeless form and relaxed limbs of his youth- A->A*.
ful friend. There is a legitimate pathos in the upturned head, and
half sad, half threatening expression in the face of Mcnclaus, in
which the verse of Homer is written in characters of stone—
tov KTOjUMU fiefuzws, Cans mov y aPTtot «A#m,
To all who might oppose him threatening death.
It affects us deeply without depressing or degrading us by a mere
violent attack upon our nerves. In fact, so noble is this work both in
wot if and execution, so free from exaggeration and ultra-realism, that
its very excellence may be, and has been,1 urged against assigning it
to this period or the Rhodian school.
Kricdcric
x-forc the 4th cent. H.c'
by Lodovico Salvetti, and placed in the Loggia de' Lanzi at Florence
(fig. 217), where it now stands ; III. a group found in the mausoleum of
Augustus in Rome, and now in the court of the Pilti Palace at Florence;
IV. another group of which the head of the elder, and the legs of the
younger, warrior were discovered by Gavin Hamilton in Hadrian's
Villa at Tivoli. These arc now in the Vatican, where the Head of
Mcnclaus especially is the object of enthusiastic admiration. The
way in which mingled sorrow and reproach are expressed in the
noble upturned face is indescribably fine.
About forty years ago the Florentine sculptor Ricci combined
the first three fragments into a complete group, Fio. 217.
copying the left arm of Mcnclaus, which ex-
isted in none of the antique remains, from the
restoration of Tacca.
Nothing can be more admirable than the
design of this noble work, which, as a repre-
sentation of self-forgetting heroic friendship,
contains just the ideal and moral element
which we so painfully miss in the Laocoon
and the Toro Farncse. Very effective is the
contrast between the manly form of Mcnclaus,
in the fulness of life and in the utmost ex-
ertion of all his powers, with the drooping
lifeless form and relaxed limbs of his youth- A->A*.
ful friend. There is a legitimate pathos in the upturned head, and
half sad, half threatening expression in the face of Mcnclaus, in
which the verse of Homer is written in characters of stone—
tov KTOjUMU fiefuzws, Cans mov y aPTtot «A#m,
To all who might oppose him threatening death.
It affects us deeply without depressing or degrading us by a mere
violent attack upon our nerves. In fact, so noble is this work both in
wot if and execution, so free from exaggeration and ultra-realism, that
its very excellence may be, and has been,1 urged against assigning it
to this period or the Rhodian school.
Kricdcric
x-forc the 4th cent. H.c'