DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22421#0117
was at length set free. Yet, notwithstanding her acquired in-
dependence and liberty, she was never, even to the latest period of
antique art, entirely alienated from the mother ; while in the earlier
time she still clung to her with filial attachment. To this early pe-
riod the sculptures of the Parthenon belong. The general arrange-
ment is still entirely determined by the architecture, and even the
several groups correspond, as masses, with architectonic symmetry.
In the execution, however, the greatest freedom is displayed in
the manifold alternations and contrasts of the attitudes, which are
so easy, unconstrained, and natural, that we might believe that the
architecture had been adopted as a frame to the sculptures, rather
than the sculptures suited to the architecture. Nor was it only in
the local arrangement, but also in the conception of the subject,
that architecture had an influence. For in all the subjects repre-
sented, even in those requiring the most lively expression and
action, as, for instance, in the combats of the Greeks and Centaurs
in the Metopes, these requisites are most delicately combined
with a certain quiet dignity and solemnity. It is in this com-
bination of the laws of architecture with the greatest plastic
freedom and animation in the details, that the peculiar sublimity
of these monuments consists. Their highest charm, however, like
the poems of Homer, is derived from their simplicity. As the
authors of them, in the enthusiastic endeavour to treat their
subjects with the utmost possible perspicuity and beauty, had at-
tained the most complete knowledge of nature, and an absolute
command of all the means of representing their ideas, thereby
throwing aside all that was conventional in earlier art, it never
occurred to them to use these advantages, except for the purposes
of perspicuity and beauty. Nothing was more remote from their
minds than, as in later times, to display and make a show of them
for their own sake. Hence, all the characters of the figures are
so perfectly adapted to the subjects ; hence, in all the motions,
such simple, natural grace. Equally unique is the manner in
which the imitation of nature, of which the noblest models have
everywhere been selected, is combined with the conditions ne-
cessary to produce the due effect in art. The execution is so
careful, that even the veins and the surface of the skin are repre-
sented, thus giving the impression of truth of nature in a very high
degree. Yet all is so subordinate to the main forms, that the
dependence and liberty, she was never, even to the latest period of
antique art, entirely alienated from the mother ; while in the earlier
time she still clung to her with filial attachment. To this early pe-
riod the sculptures of the Parthenon belong. The general arrange-
ment is still entirely determined by the architecture, and even the
several groups correspond, as masses, with architectonic symmetry.
In the execution, however, the greatest freedom is displayed in
the manifold alternations and contrasts of the attitudes, which are
so easy, unconstrained, and natural, that we might believe that the
architecture had been adopted as a frame to the sculptures, rather
than the sculptures suited to the architecture. Nor was it only in
the local arrangement, but also in the conception of the subject,
that architecture had an influence. For in all the subjects repre-
sented, even in those requiring the most lively expression and
action, as, for instance, in the combats of the Greeks and Centaurs
in the Metopes, these requisites are most delicately combined
with a certain quiet dignity and solemnity. It is in this com-
bination of the laws of architecture with the greatest plastic
freedom and animation in the details, that the peculiar sublimity
of these monuments consists. Their highest charm, however, like
the poems of Homer, is derived from their simplicity. As the
authors of them, in the enthusiastic endeavour to treat their
subjects with the utmost possible perspicuity and beauty, had at-
tained the most complete knowledge of nature, and an absolute
command of all the means of representing their ideas, thereby
throwing aside all that was conventional in earlier art, it never
occurred to them to use these advantages, except for the purposes
of perspicuity and beauty. Nothing was more remote from their
minds than, as in later times, to display and make a show of them
for their own sake. Hence, all the characters of the figures are
so perfectly adapted to the subjects ; hence, in all the motions,
such simple, natural grace. Equally unique is the manner in
which the imitation of nature, of which the noblest models have
everywhere been selected, is combined with the conditions ne-
cessary to produce the due effect in art. The execution is so
careful, that even the veins and the surface of the skin are repre-
sented, thus giving the impression of truth of nature in a very high
degree. Yet all is so subordinate to the main forms, that the