DOI Page / Citation link:
https://doi.org/10.11588/diglit.52591#0147
THE TREASURY OF THE SIPHNIANS 131
continued in the west frieze, is naturally explained by the
fact that the gods this time are down in the actual fighting,
and so must be divided according to their sympathies.
They are present to urge on and strengthen their sides ;
but they do not themselves directly join in the fight: so
they are characterized by their usual attributes, and do not
carry weapons, as in the giant frieze on the north side of
the building. Only Athena, the goddess of battle, is arming
herself with the aegis,, but the lance is not seen; neither
is she about to fight, as little as Aphrodite, who is putting
her dangerous “ weapon,” the pearl necklace, about her
neck.
If there is thus agreement in point of content between
the east and west friezes, the styles, on the other hand, are
quite different. The west frieze is in style similar to the
south frieze (figs. 37, 38): the figures have the same large
feet with sharply bent edges ; the preference for incised
lines and stylization in place of modelling and modulation
of the surface are the same. In the figure of Hermes
the twist of the body is not softened by transition between
abdomen and breast, the knee-caps are too far forward,
and the fibulae are prettily but lifelessly stylized. Athena’s
movement seems to us awkward and straddling ; but the
big folds of the mantle have free play, and originally made
amends by their colouring. The horses are charming,
but unfortunately not so well preserved as those of the
south frieze. No doubt is possible : the south and west
friezes were executed by the same sculptor, who is more
archaic than the artist of the east frieze, whom we meet
again in the finest and best preserved part of the sculptures
of the building, viz. :
NORTH FRIEZE OF THE SIPHNIAN TREASURY
This frieze faced the Sacred Way, and has been recovered
in about its whole length, 8’90 metres. The subject is the
battle of the gods and giants, and we will begin our de-
scription from the left, from the north-east corner of the
building.
Here we see furthest, by the vertical border, a long-haired,
continued in the west frieze, is naturally explained by the
fact that the gods this time are down in the actual fighting,
and so must be divided according to their sympathies.
They are present to urge on and strengthen their sides ;
but they do not themselves directly join in the fight: so
they are characterized by their usual attributes, and do not
carry weapons, as in the giant frieze on the north side of
the building. Only Athena, the goddess of battle, is arming
herself with the aegis,, but the lance is not seen; neither
is she about to fight, as little as Aphrodite, who is putting
her dangerous “ weapon,” the pearl necklace, about her
neck.
If there is thus agreement in point of content between
the east and west friezes, the styles, on the other hand, are
quite different. The west frieze is in style similar to the
south frieze (figs. 37, 38): the figures have the same large
feet with sharply bent edges ; the preference for incised
lines and stylization in place of modelling and modulation
of the surface are the same. In the figure of Hermes
the twist of the body is not softened by transition between
abdomen and breast, the knee-caps are too far forward,
and the fibulae are prettily but lifelessly stylized. Athena’s
movement seems to us awkward and straddling ; but the
big folds of the mantle have free play, and originally made
amends by their colouring. The horses are charming,
but unfortunately not so well preserved as those of the
south frieze. No doubt is possible : the south and west
friezes were executed by the same sculptor, who is more
archaic than the artist of the east frieze, whom we meet
again in the finest and best preserved part of the sculptures
of the building, viz. :
NORTH FRIEZE OF THE SIPHNIAN TREASURY
This frieze faced the Sacred Way, and has been recovered
in about its whole length, 8’90 metres. The subject is the
battle of the gods and giants, and we will begin our de-
scription from the left, from the north-east corner of the
building.
Here we see furthest, by the vertical border, a long-haired,