DOI Page / Citation link:
https://doi.org/10.11588/diglit.1755#0063
1
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Wr-4
36
DRAPERIES OF EARLY GREEK SCULPTURE.
ments of columns, and a range of tryglyphs, are observable there to this
day. In the execution of this metope, great attention
has been paid to details of the folds;
and a nearer approach to movement
than in the Xaothian monument is
evident.
Similar to the above are two figures,
displaying great carefulness of execu-
tion, although of different materials.
(Figs. 77, 78.) The one of clay, brought
by Lord Strangford from Greece, and
now in the Museum at Canterbury,
represents a female with hair plaited,
somewhat resembling that of the Mi-
nerva Polias (Fig. 70). The drapery is
carefully modelled, although still very
formal. The other figure, holding a
pomegranate, represents a female, pro-
bably Proserpine.
Hitherto every indication of drapery
that we have met witli in Greek sculp-
ture consists of a tight-fitting dress, or a vague marking of the limbs under a
cloak ; but no attempt to firmly express a fold. The early Greeks covered the
naked form in their statues with coloured pat-
terns, evidently to suggest the idea of clothing.
They afterwards began to mark the edges of the
garments more clearly, and at last succeeded in
imitating the zig-zag lines caused by the bottom
of a series of plaits, as in the back view of the
Canterbury figure (Fig. 77 a). In these figures,
however, for the first time we observe an attempt
beyond this. The dress of the figure (77)
displays a curved fold as her left hand raises it.
The plaits on the back of the metope figure
(Fig. 76) are curved; but in the sitting female
(Fig. 78) there is no bend in the drapery from
knee to knee, as would be natural, and as we
might expect, from the zig-zag and folds of
the rest of the drapery being so well done and cleverly arranged. This figure
was found at Chiusi. The limbs are of separate pieces, and attached to the
Wm
w\
rail
1
1 j Wilw /
III
1
i if
Tig. 78.
a
-1-
Wr-4
36
DRAPERIES OF EARLY GREEK SCULPTURE.
ments of columns, and a range of tryglyphs, are observable there to this
day. In the execution of this metope, great attention
has been paid to details of the folds;
and a nearer approach to movement
than in the Xaothian monument is
evident.
Similar to the above are two figures,
displaying great carefulness of execu-
tion, although of different materials.
(Figs. 77, 78.) The one of clay, brought
by Lord Strangford from Greece, and
now in the Museum at Canterbury,
represents a female with hair plaited,
somewhat resembling that of the Mi-
nerva Polias (Fig. 70). The drapery is
carefully modelled, although still very
formal. The other figure, holding a
pomegranate, represents a female, pro-
bably Proserpine.
Hitherto every indication of drapery
that we have met witli in Greek sculp-
ture consists of a tight-fitting dress, or a vague marking of the limbs under a
cloak ; but no attempt to firmly express a fold. The early Greeks covered the
naked form in their statues with coloured pat-
terns, evidently to suggest the idea of clothing.
They afterwards began to mark the edges of the
garments more clearly, and at last succeeded in
imitating the zig-zag lines caused by the bottom
of a series of plaits, as in the back view of the
Canterbury figure (Fig. 77 a). In these figures,
however, for the first time we observe an attempt
beyond this. The dress of the figure (77)
displays a curved fold as her left hand raises it.
The plaits on the back of the metope figure
(Fig. 76) are curved; but in the sitting female
(Fig. 78) there is no bend in the drapery from
knee to knee, as would be natural, and as we
might expect, from the zig-zag and folds of
the rest of the drapery being so well done and cleverly arranged. This figure
was found at Chiusi. The limbs are of separate pieces, and attached to the
Wm
w\
rail
1
1 j Wilw /
III
1
i if
Tig. 78.
a