DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5009#0195
MYTHOLOGY OF SCULPTURE. 175
tended nostrils, a less serene forehead than other sons of Jnpiter.
With regard to age, he appears more manly than Apollo, and even
than Hermes, the youth (ephohos) among the gods—as a youthful
man, whom, like almost all heroes, early art formed with a heard,
improved art, on the contrary, without heard ; the former repre-
sentation, however, was also preserved in many districts and for
many purposes.
The drapery of Ares, where he does not appear entirely un-
dressed, is a chlamys. On reliefs in the archaic stylo he is seen
in armour; in later times ho retained merely the helmet. He
usually stands; a vigorous stride marks the Gradivus on Roman
coins; the legionary eagle and other signs, the Stator and TJltor
(who recovered them); victories, trophies, and the olive branch,
the Victor and Pacifier. Scopas sculptured a sitting Ares, he was
doubtless conceived as reposing in a mild mood, which seems also
to be the meaning of one of the chief statues extant (the Ludovisi
Mars), in which a copy after Scopas is, perhaps, preserved to us.
In groups he is frequently represented together with Aphrodite,
symbolical of the union of war and love, which in the posture of
the bodies and disposition of the drapery, indicate a famous original.
In Roman art he is sometimes represented as descending to Rhea
Silvia, a subject pleasing to the Komans, as they considered him
their progenitor.
Attributes :—
Spear, helmet, and shield. The wolf and woodpecker were
sacred to him.
Statues :—
The Ludovisi Mars. Villa Ludovisi, Rome.
Rorghesc Mars. Louvre.
Mars and Venus. Florentine Gallery.
Arn rodite.—Venus.
When art, in the cycle of Aphrodite, soared above rude stones and
shapeless idols, it suggested the idea of a goddess powerfully sway-
lng, and everywhere prevailing; it was usual to represent her
enthroned, with symbols of blooming nature and luxuriant fertility;
her drapery was complete, only that, perhaps, the chiton partly dis-
posed her left breast, and gracefully-folded, as an affected grace in
drapery and motion belonged, of all others, to the character of Aphro-
dite. Art in the Phidian period also represented in Aphrodite the
sexual relation in its sacredness and dignity. Later Attic art at first
tended nostrils, a less serene forehead than other sons of Jnpiter.
With regard to age, he appears more manly than Apollo, and even
than Hermes, the youth (ephohos) among the gods—as a youthful
man, whom, like almost all heroes, early art formed with a heard,
improved art, on the contrary, without heard ; the former repre-
sentation, however, was also preserved in many districts and for
many purposes.
The drapery of Ares, where he does not appear entirely un-
dressed, is a chlamys. On reliefs in the archaic stylo he is seen
in armour; in later times ho retained merely the helmet. He
usually stands; a vigorous stride marks the Gradivus on Roman
coins; the legionary eagle and other signs, the Stator and TJltor
(who recovered them); victories, trophies, and the olive branch,
the Victor and Pacifier. Scopas sculptured a sitting Ares, he was
doubtless conceived as reposing in a mild mood, which seems also
to be the meaning of one of the chief statues extant (the Ludovisi
Mars), in which a copy after Scopas is, perhaps, preserved to us.
In groups he is frequently represented together with Aphrodite,
symbolical of the union of war and love, which in the posture of
the bodies and disposition of the drapery, indicate a famous original.
In Roman art he is sometimes represented as descending to Rhea
Silvia, a subject pleasing to the Komans, as they considered him
their progenitor.
Attributes :—
Spear, helmet, and shield. The wolf and woodpecker were
sacred to him.
Statues :—
The Ludovisi Mars. Villa Ludovisi, Rome.
Rorghesc Mars. Louvre.
Mars and Venus. Florentine Gallery.
Arn rodite.—Venus.
When art, in the cycle of Aphrodite, soared above rude stones and
shapeless idols, it suggested the idea of a goddess powerfully sway-
lng, and everywhere prevailing; it was usual to represent her
enthroned, with symbols of blooming nature and luxuriant fertility;
her drapery was complete, only that, perhaps, the chiton partly dis-
posed her left breast, and gracefully-folded, as an affected grace in
drapery and motion belonged, of all others, to the character of Aphro-
dite. Art in the Phidian period also represented in Aphrodite the
sexual relation in its sacredness and dignity. Later Attic art at first